The writers strike may have slowed down the film industry but not Clint Eastwood. The veteran director is on track to release two films this year — a repeat of his 2006 feat.

The first, “Changeling,” is an ambitious 1920s period piece about a woman who stood up to the corrupt Los Angeles police force after it responded to her missing-persons report by placing a completely different child in her custody.

“I liked it right away,” Eastwood says of the true story. “I think crimes against children are the most deserving of whatever punishment can be meted out. I just have no tolerance for that.”

The second, “Gran Torino,” is more intimate, a contemporary glimpse at a cantankerous Korean War vet dealing with his changing neighborhood. “He’s one of these guys who finds it very hard to accept change,” says Eastwood, who found the role compelling enough to play it himself. “It just shows how his life goes and how he gets involved with the Hmong people who are living next door.”

Over the years, Eastwood has grown more selective of the material he directs, yet remains one of Hollywood’s most active helmers. “Most people my age have retired — or else somebody else has retired them,” he says. “The more subjects you embrace as a filmmaker, it keeps you young.”