Pictures at a Revolution
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Psychedelic Cinema, produced and directed by Greg Carson, (MGM Home Entertainment Inc., copyright 2002, available on the DVD edition of Casino Royale).
Schickel, Richard, commentary track on the two-disc special edition of The Good, the Bad, and the Ugly (MGM Home Entertainment LLC, copyright 2004).
The Spencer Tracy Legacy: A Tribute by Katharine Hepburn, directed by Heeley; produced by David Heeley and Joan Kramer; written by John Miller (1986).
Sterritt, David, commentary track on Le Petit Soldat (Koch Lorber Films/Winstar Home Video, copyright 2001).
Steve McQueen: The Essence of Cool, written, produced, and directed by Mimi Freedman (Turner Classic Movies, copyright 2005, available on the two-disc special edition of Bullitt).
Webb, Charles, interviewed by Susan Stamberg, National Public Radio, November 8, 1976.
Who’s Afraid of Virginia Woolf?: A Daring Work of Raw Excellence, Who’s Afraid of Virginia Woolf?: Too Shocking for Its Time, and a July 29, 1966, Today show interview with Mike Nichols, on the two-disc special edition of Who’s Afraid of Virginia Woolf? (Warner Bros. Entertainment and Turner Entertainment Co., copyright 2006).
NOTES
CHAPTER 1
1. Author interview (AI) with Robert Benton; Finstad, Suzanne. Warren Beatty: A Private Man (New York: Harmony, 2005).
2. François Truffaut: Correspondence 1945–1984, translated by Gilbert Adair (New York: Noonday Press/Farrar, Straus & Giroux, 1990), p. 172.
3. AI with Arthur Penn.
4. Schumach, Murray. “Movie Creativity in Europe Hailed.” New York Times, April 13, 1961.
5. “French Say, ‘It Ain’t So, Bos,’ as Many Dispute Critic’s ‘Quality Gap.’” Variety, December 26, 1962.
6. AI with Leslie Newman.
7. AI with Benton.
8. The Gang That Couldn’t Write Straight: Wolfe, Thompson, Didion, and the New Journalism Revolution by Marc Weingarten (New York: Crown, 2006) provided useful background on the history of Esquire in the early 1960s.
9. AI with Benton.
10. Benton, Robert, and David Newman. “Lightning in a Bottle.” In The Bonnie and Clyde Book, compiled and edited by Sandra Wake and Nicola Hayden (New York: Simon & Schuster, 1972).
11. AI with Benton.
12. Ibid.
13. Goldstein, Patrick. “Blasts from the Past.” Los Angeles Times, August 24, 1997.
14. Benton and Newman, “Lightning in a Bottle,” op. cit.
15. AI with Benton.
16. Master Detective, February 1945.
17. AI with Benton.
18. Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI by Bryan Burrough (New York: Penguin Press, 2004) was a valuable resource for background information on Parker, Barrow, and their confederates.
19. Text of the Production Code and subsequent revisions, reprinted in Reel Facts, updated ed., edited by Cobbett Steinberg (New York: Vintage, 1982).
20. AIs with Benton and Elinor Jones.
21. AI with Norton Wright.
22. Ibid.
23. AI with Jones.
24. AI with Penn.
25. De Baecque, Antoine, and Serge Toubiana, translated by Catherine Temerson. Truffaut (New York: Alfred A. Knopf, 1999), pp. 198–1999.
26. Reed, Rex. “Penn: And Where Did All the Chase-Ing Lead?” New York Times, February 13, 1966.
27. AI with Penn.
28. François Truffaut: Correspondence 1945–1984, pp. 220–223.
29. Crowdus, Gary. “The Importance of a Singular, Guiding Vision: An interview with Arthur Penn.” Cineaste, March 22, 1993.
30. AI with Penn.
31. AI with Jones.
32. Menand, Louis. “Onward and Upward with the Arts: Paris, Texas.” The New Yorker, February 17 and 24, 2003.
33. Letter from Helen Scott to François Truffaut, December 4, 1963, courtesy of Elinor Jones.
34. Menand, op. cit.
35. Letter from François Truffaut to Helen Scott, December 17, 1963, Truffaut Correspondence, p. 229.
36. Letter from Truffaut to Scott, January 1964 undated, Truffaut Correspondence, p. 234.
CHAPTER 2
1. Author interview with Warren Beatty.
2. Ibid.
3. Ibid.
4. Fonda, Jane. My Life So Far (New York: Random House, 2005), p. 198.
5. AI with Beatty.
6. Thompson, Howard. “Inge’s Kansas Through a Kazan Kaleidoscope.” New York Times, May 22, 1960.
7. Ibid.
8. Finstad, op. cit.
9. AI with Beatty.
10. Ibid.
11. Navasky, Victor. Naming Names (New York: Viking, 1980), pp. 302–304.
12. Finstad, op. cit., pp. 301–303.
13. AI with Robert Solo.
14. Thomas, Bob. Clown Prince of Hollywood (New York: McGraw-Hill, 1990), p. 239.
15. Finstad, op. cit., pp. 274–275.
16. Variety’s Film Reviews 1964–1967 (New York: R. R. Bowker, 1983). Review originally published in Weekly Variety, September 23, 1964.
17. Crowther, Bosley. “‘Nothing but a Man’ and ‘Lilith’ Presented.” New York Times, September 21, 1964.
18. AI with Beatty.
19. Ibid.
20. Ibid.
21. Finstad, op. cit., p. 314.
22. AI with Beatty.
23. Webb, Charles. The Graduate (New York: New American Library, 1963; reprinted by Washington Square Press, 2002).
24. Finstad, op. cit.
25. AI with Lawrence Turman.
26. Prescott, Orville. “Books of the Times: ‘Talent Busting Out All Over.’” New York Times, October 30, 1963.
27. Nichols, Lewis. “In and Out of Books.” New York Times, June 30, 1963.
28. Allis, Tim. “Post-Graduate Life Proves Unkind to Author Charles Webb—Footloose, Fundless and Looking for Help.” People, October 24, 1988.
29. AI (by e-mail) with Charles Webb.
30. AI with Webb.
31. Webb, op. cit., p. 63.
32. AI with Webb.
33. Turman, Lawrence. So You Want to Be a Producer (New York: Three Rivers Press, 2005).
34. Bart, Peter. “An Ambition: To Make a Movie No One Else Would.” New York Times, January 30, 1966.
35. AI with Turman.
36. Webb, Charles, interviewed by Susan Stamberg on National Public Radio, November 8, 1976.
37. Turman, So You Want to Be a Producer, op. cit.
38. AI with William Hanley.
39. The website http://members.triod.com/[tilde]Puddleby/index.html is a useful resource for information on the life of Hugh Lofting.
40. AI with Christopher Lofting, as are all comments attributed to him that follow.
41. Unfilmed screenplay for Doctor Dolittle by Larry Watkin, Arthur P. Jacobs Collection, Special Collections Department, Charles Von Der Ahe Library, Loyola Marymount University.
42. Bricusse, Leslie. The Music Man: The Key Changes in My Life (London: Metro Publishing Ltd., 2006), pp. 141–142 and 180.
43. Memo headed “‘Doctor Dolittle’ Lawsuit,” from Arthur P. Jacobs to Jack Schwartzman, September 7, 1966, Jacobs Collection.
44. AI with Lofting.
45. Dunne, John Gregory. The Studio (New York: Farrar, Straus & Giroux), 1969.
46. Archer, Eugene. “5 Million Film Offer Made for ‘Fair Lady.’” New York Times, September 27, 1961.
47. Memo from Jacobs to Schwartzman, September 7, 1966, op. cit.
48. “Lerner to Write a Movie Musical; Will Do Script and Lyrics for ‘Dr. Dolittle’ Stories.” New York Times, January 6, 1964.
49. Memo from Jacobs to Schwartzman, op. cit.
50. Harrison, Rex. Rex: An Autobiography (New York: William Morrow & Co., 1975), p. 193.
51. Walker, Alexander. Fatal Charm: The Life of Rex Harrison (London: Weidenfeld & Nicolson, 1992), pp. 299–306.
52. Memo from Jacobs to Schwartzman, op. cit.
CHAPTER 3
1.
Truffaut Correspondence, op. cit., letter from François Truffaut to Helen Scott, January 1964, undated.
2. Author interview with Benton.
3. AI with Jones.
4. AI with Jones.
5. Letter from François Truffaut to Helen Scott, February 22, 1964, Truffaut Correspondence, op. cit.
6. AI with Jones.
7. Friedman, Lester D., ed. Bonnie and Clyde. (London: BFI Publishing, 2000), p. 11.
8. AI with Benton and Jones.
9. Benton and Newman, “Lightning in a Bottle,” op. cit.
10. Ibid.
11. Original treatment with introduction courtesy of Elinor Jones.
12. AI with Benton.
13. AI with Jones.
14. Truffaut, op. cit., p. 211.
15. Benton and Newman, “Lightning in a Bottle,” op. cit.
16. AI with Beatty.
17. Letter from Truffaut to Helen Scott, December 1964, p. 259, Truffaut Correspondence, op. cit.
18. AI with Harrison Starr.
19. AI with Beatty and Penn.
20. AI with Starr.
21. AI with Alexandra Stewart.
22. Ibid.
23. AI with Starr.
24. AI with Beatty.
25. Background on the history of United Artists can be found in United Artists: The Company That Changed the Film Industry by Tino Balio (Madison University of Wisconsin Press, 1987).
26. Balio, op. cit., p. 87.
27. Ibid., pp. 134–136.
28. Eames, John Douglas. The MGM Story, 2nd rev. ed. (New York: Crown, 1982), p. 310.
29. Thomas, Clown Prince of Hollywood, op. cit., pp. 260–261.
30. Records of Jacobs’s meetings with Warner, Minnelli, Andrews, and Ira Steiner come from memo from Jacobs to Schwartzman, September 7, 1966, op. cit., Jacobs Collection.
31. Smith, Kenneth S. “Skouras Defends ‘Cleopatra’ to Stockholders.” New York Times, May 16, 1962.
32. “Zanuck Succeeds Skouras as President of Fox.” New York Times, July 26, 1962.
33. Alden, Robert. “Zanuck Dismisses ‘Cleopatra’ Chief.” New York Times, October 24, 1962.
34. Archer, Eugene. “Zanuck Reports on Fox Finances.” New York Times, February 21, 1964; Esterow, Milton. “‘Cleopatra’ Termed ‘Success.’” New York Times, March 27, 1964; Canby, Vincent. “Costly ‘Cleopatra’ Is Nearing Its Break-Even Point.” New York Times, March 25, 1966.
35. “Zanuck Reports on Fox Finances,” op. cit.
36. Archer, Eugene. “Zanuck Shuts Fox’s Coast Studio; 300 Employees Are Suspended.” New York Times, August 20, 1962.
37. Mosley, Leonard. Zanuck: The Rise and Fall of Hollywood’s Last Tycoon (Boston: Little, Brown, 1984), p. 344.
38. AI with Richard Zanuck.
39. Ibid.
40. Memo from Arthur Jacobs to Jack Schwartzman, September 7, 1966, op. cit.
41. “Proposal,” memo from William Morris Agency, 1964 undated, Jacobs Collection.
42. Memo from Arthur Jacobs to Richard Zanuck, May 29, 1964, Jacobs Collection.
43. Reference in letter of agreement between 20th Century-Fox and Apjac, May 24, 1965, Jacobs Collection.
44. Draft of 20th Century-Fox publicity materials, undated, Jacobs Collection.
45. Jablonski, Edward. Alan Jay Lerner: A Biography (New York: Henry Holt & Co., 1996).
46. Dunne, The Studio, op. cit., pp. 32–33.
CHAPTER 4
1. Author interview with Mike Nichols.
2. Background on Nichols’s early life and career comes from “Profiles: Making It Real—How Mike Nichols Re-Created Comedy and Himself” by John Lahr, The New Yorker, February 21 and 28, 2000.
3. AI with Nichols.
4. Scheuer, Philip K. “Nichols: The Whiz Kid Whizzes Onward.” Los Angeles Times, February 5, 1967.
5. Lahr, op. cit.
6. Smith, Gavin. “Mike Nichols Interview.” Film Comment (May 1999).
7. Lahr, op. cit.
8. AI with Nichols.
9. Smith, op. cit.
10. Lefferts, Barney. “Now the Mike Nichols Touch.” The New York Times Magazine, November 22, 1964.
11. AI with Turman.
12. O’Steen, Sam, as told to Bobbie O’Steen. Cut to the Chase: Forty-Five Years of Editing America’s Favorite Movies (Studio City, CA: Michael Wiese Productions, 2001).
13. AI with Nichols.
14. AI with Hanley.
15. AI with Nichols.
16. Ibid.
17. Wiley, Mason, and Damien Bona. Inside Oscar: The Unofficial History of the Academy Awards, 10th anniversary ed. (New York: Ballantine, 1996), p. 360.
18. Ibid., pp. 362–364.
19. Poitier, Sidney. This Life (New York: Alfred A. Knopf, 1980), p. 253.
20. Goudsouzian, Aram. Sidney Poitier: Man, Actor, Icon (Chapel Hill: The University of North Carolina Press, 2004), p. 206.
21. Schumach, Murray. “Stars Join Drive Against Bigotry.” New York Times, July 15, 1963.
22. ———. “Hollywood Cause.” New York Times, August 22, 1963.
23. Wiley and Bona, op. cit., p. 360.
24. Poitier, Sidney. The Measure of a Man: A Spiritual Autobiography (San Francisco: HarperSanFrancisco, 2001), p. 107.
25. Pryor, Thomas H. “A ‘Defiant One’ Becomes a Star.” New York Times, January 25, 1959.
26. Schumach, Murray. “Poitier Says Bias Exists on Coast.” New York Times, August 19, 1960.
27. Background on Poitier’s relationship with Diahann Carroll comes from Poitier’s two autobiographies, cited previously, and from Diahann! by Diahann Carroll with Ross Firestone (New York: Little, Brown, 1986).
28. “Wailing for Them All,” Time, April 24, 1964.
29. Ibid.
30. Schumach, Murray. “N.A.A.C.P. Assails the Movie Industry.” New York Times, November 29, 1961.
31. ———. “Hollywood Wary on Charges by the N.A.A.C.P.” New York Times, June 27, 1963.
32. Raymond, Jack. “Negroes Listed in D-Day Assault.” New York Times, June 28, 1963.
33. “Richard Zanuck Surprised.” New York Times, June 28, 1963.
34. Schumach, Murray. “N.A.A.C.P. Seeks Job Equality in Hollywood Film Companies.” New York Times, June 26, 1963.
35. ———. “Producers Agree on Using Negroes.” New York Times, August 22, 1963.
36. ———. “Negro Assistant Film Director Solves Problems of Protocol.” New York Times, January 31, 1963.
37. ———. “N.A.A.C.P. Scores Film Labor Units”. New York Times, June 1, 1964.
38. AI with Elizabeth Wilson.
39. Gould, Jack. “Honesty and Ad Libs Enliven Ceremonies; Academy Awards Show Has ‘Rented’ Look.” New York Times, April 15, 1964.
40. Poitier to Sheilah Graham. New York World-Telegram and Sun, August 9, 1965.
41. “Poitier’s Oscar Has Exhibs Whistling Dixie.” Variety, April 22, 1964.
42. “Actor Tells Press Off.” Variety, April 22, 1964.
CHAPTER 5
1. Author interviews with Robert Benton and Elinor Jones.
2. Postcard from David Newman to Elinor Jones, postmarked May 24, 1964, courtesy of Jones.
3. “Lightning in a Bottle,” op. cit.
4. AI with Wright.
5. Ibid.
6. The account of Truffaut’s meeting with Jones at the Algonquin comes from the author’s interview with Jones and her own notes written after the meeting.
7. AI with Starr.
8. Newman, David, and Robert Benton. “The New Sentimentality.” Esquire, July 1964.
9. Newman, David. “What’s It Really All About?: Pictures at an Execution.” In Arthur Penn’s Bonnie and Clyde, ed. by Lester D. Friedman (Cambridge: Cambridge University Press, 2000), p. 39.
10. AI with Wright.
11. Ibid.
12. Letter from François Truffaut to Elinor Jones, September 7, 1964, Truffaut Correspondence, op. cit.
13. Letters from François Truffaut
to Helen Scott, May 28, 1964, and August 19, 1964, Truffaut Correspondence, op. cit.
14. De Baecque and Toubiana, Truffaut, op. cit.
15. Steinberg, Cobbett. Reel Facts: The Movie Book of Records, Updated Edition (New York: Vintage, 1982).
16. AI with Jones.
17. AI with Wright.
18. AI with Starr.
19. AI with Wright.
20. AI with Jones.
21. AI with Newman.
22. AI with Jones.
23. This account of the meeting is based on interviews with Benton, Jones, and Wright.
24. AI with Starr.
25. AI with Henry.
26. Undated notes by Elinor Jones about her conversation with Helen Scott, probably on or about September 21, 1964, courtesy of Elinor Jones.
27. Ibid.
28. AI with Wright.
29. Undated notes by Jones about her conversation with Scott, op. cit.
30. AI with Newman.
31. AI with Benton.
32. AI with Turman.
33. So You Want to Be a Producer, op. cit., pp. 195–196.
34. Archer, Eugene. “Hunter of Love, Ladies, Success.” New York Times, October 16, 1960.
35. AI with Nichols.
36. Weiler, A. H. “Miss Ross’ ‘Bus’ Moves Toward Screen”. New York Times, December 13, 1964.
37. AI with Nichols.
38. So You Want to Be a Producer, op. cit., p. 196.
39. AI with Henry.
40. AI with Nichols.
41. AI with Lumet.
42. AI with Turman.
43. So You Want to Be a Producer, op. cit., p. 196.
44. “Most Fans Think Antonioni Is a Cheese—Levine.” Variety, May 24, 1967.
45. “Embassy to Film ‘Graduate.’” New York Times, October 7, 1964.
46. Lefferts, “Now the Mike Nichols Touch,” op. cit.
47. “The Nichols Touch,” Time, November 27, 1964.
48. “Movie Rights to ‘Virginia Woolf’ Sold to Warners for $500,000.” New York Times, March 5, 1964.
49. “Who’s Afraid of Virginia Woolf?: A Daring Work of Raw Excellence.” Documentary featurette on two-disc DVD reissue of Who’s Afraid of Virginia Woolf? (Warner Home Video).
50. Fonda, Henry, as told to Howard Teichmann. Fonda: My Life (New York: New American Library, 1981), p. 283.
51. Leff, Leonard J. “A Test of American Film Censorship: ‘Who’s Afraid of Virginia Woolf?’” Cinema Journal 19, no. 2 (Spring 1980): 43.