by Mark Harris
52. “Movie Rights to ‘Virginia Woolf’ Sold to Warners for $500,000,” op. cit.
53. “Who’s Afraid of Virginia Woolf?: A Daring Work of Raw Excellence,” op. cit.
54. Mike Nichols, commentary track on two-disc DVD reissue of Who’s Afraid of Virginia Woolf?
55. AI with Nichols.
56. AI with Turman.
57. Leff, “A Test of American Film Censorship,” op. cit., p. 44.
58. “Miss Ross’ ‘Bus’ Moves Toward Screen,” op. cit.
59. AI with Nichols.
CHAPTER 6
1. Variety, January 4, 1967.
2. Grobel, Lawrence. The Hustons: The Life & Times of a Hollywood Dynasty, updated ed. (New York: Cooper Square Press, 2000), pp. 532–533.
3. Picker, David. “How UA Bonded with Bond.” Variety, May 3, 2005.
4. “Inside Dr. No.” Written and directed by John Cork, produced by David Naylor and Bruce Scivally. DVD documentary on special edition of Dr. No (copyright 2000, MGM Home Entertainment Inc.).
5. Rubin, Steven Jay. The Complete James Bond Encyclopedia, 2nd ref. ed. (Contemporary Books, 2003).
6. Ibid.
7. “The Goldfinger Phenomenon,” Directed by John Cork, produced and written by Mark Cerulli and Lee Pfeiffer. DVD documentary on the special edition of Goldfinger (copyright 1995, MGM/ UA Home Entertainment Inc.).
8. “New York Sound Track,” Variety, January 11, 1967.
9. Jablonski, Alan Jay Lerner: A Biography, op. cit.
10. “Lerner to Write a Movie Musical.” New York Times, January 6, 1964.
11. Memo from Jack Schwartzman to Arthur Jacobs, February 25, 1965, Jacobs Collection.
12. Ibid.
13. Cable from Arthur Jacobs to Alan Jay Lerner, December 15, 1964, Jacobs Collection.
14. Memo from Schwartzman to Jacobs, February 25, 1965, op. cit.
15. Cable from Arthur Jacobs to Irving Cohen, January 15, 1965, Jacobs Collection.
16. Dunne, The Studio, op. cit., pp. 32–33.
17. Telegram from Arthur Jacobs to Alan Jay Lerner, January 25, 1965, Jacobs Collection.
18. Memo from Schwartzman to Jacobs, February 25, 1965, op. cit.
19. Cable from Richard Zanuck to Alan Jay Lerner, March 4, 1965, Jacobs Collection.
20. Cable from Owen McLean to Irving Paul Lazar, March 11, 1965, Jacobs Collection.
21. Cable from Arthur Jacobs to Alan Jay Lerner, April 8, 1965, Jacobs Collection.
22. Harrison, Rex, op. cit., pp. 208–209.
23. Letter to Arthur Jacobs from Frank R. Ferguson, resident counsel, 20th Century-Fox, Jacobs Collection.
24. Telegrams from Arthur Jacobs to Alan Jay Lerner, May 3 1967, and May 7, 1967. Jacobs Collection.
25. Goudsouzian, op. cit., p. 221.
26. “N.A.A.C.P. Weighs Movie Job Suits.” New York Times, July 9, 1965.
27. Poitier, This Life, op. cit, pp. 279–283.
28. Ibid, pp. 268–269.
29. Thompson, Howard. “Why Is Sidney Poitier the Only One?” New York Times, June 13, 1965.
30. Barthel, Joan. “He Doesn’t Want to Be Sexless Sidney.” New York Times, August 6, 1967.
31. Goudsouzian, op. cit., p. 235.
32. Barthel, “He Doesn’t Want to Be Sexless Sidney.” op. cit.
33. Author interview with Kramer.
34. AI with Jewison.
35. Balio, op. cit., p. 180.
36. Ball, John. In the Heat of the Night (originally published by Harper & Row, 1965; reprint by Carroll & Graf, 2001).
37. Lacy, Ed (aka Len Zinberg). Room to Swing (originally published 1957; reprint by Blackmask.com, 2005).
38. “Poitier to Play Film Detective.” New York Times, June 19, 1965.
39. AI with Walter Mirisch.
40. Canby, Vincent. “Poitier, as Matinee Idol, Is Handsomely Rewarded.” New York Times, November 18, 1967.
41. “Poitier to Play Film Detective,” op. cit.
CHAPTER 7
1. “Peter Hall Seeks Divorce from Miss Caron in London.” Associated Press, June 17, 1964.
2. Letters from Warren Beatty to Charles K. Feldman, July 17 and 23, 1964, undated handwritten response from Feldman, Charles K. Feldman Collection, American Film Institute.
3. Ibid.
4. Memo from Charles K. Feldman, November 7, 1964, Feldman Collection.
5. Author interview with Beatty.
6. AI with Hiller.
7. John Lennon, interviewed by Sandy Lesburgh, May 9, 1965.
8. “London—The Swinging City.” Time, April 15, 1966.
9. Bricusse, Leslie. The Music Man: The Key Changes in My Life (London: Metro, 2006).
10. Ibid.
11. Memo from Arthur Jacobs to Richard Zanuck, May 7, 1965, Jacobs Collection.
12. Ibid.
13. Bricusse, The Music Man, op. cit.
14. Memo from Arthur Jacobs to Richard Zanuck, May 7, 1965, op. cit.
15. Bricusse, The Music Man, op. cit.
16. AI with Leslie Newman.
17. AI with Wright.
18. AI with Penn.
19. AI with Wright.
20. Jones, W. D. “Riding with Bonnie and Clyde.” Playboy (November 1968).
21. AI with Wright.
22. AI with Jones.
23. Benton and Newman, “Lightning in a Bottle,” op. cit.
24. Undated typed notes, courtesy of Elinor Jones.
25. AI with Wright.
26. AI with Benton and Wright,
27. Finstad, p. 343.
28. Ibid.
29. Letter from François Truffaut to Elinor Jones, June 18, 1965, Truffaut Correspondence, op. cit.
30. AI with Jones.
31. Letter from Elinor Jones and Norton Wright to François Truffaut, June 5, 1965, courtesy of Elinor Jones.
32. Letter from François Truffaut to Elinor Jones, June 18, 1965, Truffaut Correspondence, op. cit.
33. AI with Jones.
34. AI with Beatty.
35. AI with Benton.
36. AI with Beatty.
37. Benton and Newman, “Lightning in a Bottle,” op. cit.
38. AI with Newman.
39. Letter from Elinor Jones to François Truffaut, June 29, 1965, courtesy of Elinor Jones.
40. Letter from François Truffaut to Elinor Jones, July 2, 1965, courtesy of Elinor Jones.
41. AI with Beatty and Benton.
CHAPTER 8
1. LoBrutto, Vincent. Stanley Kubrick: A Biography (New York: Da Capo, 1999), p. 120.
2. Manso, Peter. Brando: The Biography (New York: Hyperion, 1994), p. 473.
3. Turman, So You Want to Be a Producer, op. cit., p. 84.
4. Author interview with Turman and Nichols.
5. AI with Nichols.
6. AI with Turman.
7. AI with Nelson.
8. Ibid.
9. Thompson, Tommy. “Raw Dialogue Challenges All the Censors.” Life, June 10, 1966.
10. Madsen, Axel. “Who’s Afraid of Alfred Hitchcock?” Sight and Sound 37. Cited in Jeff, Leonard J. “Play into Film: ‘Who’s Afraid of Virginia Woolf?’” Theatre Journal 33, no. 4 (December 1981): p. 457.
11. Leff, “Play into Film: ‘Who’s Afraid of Virginia Woolf?”’ op. cit., p. 456.
12. Mike Nichols, commentary track for two-disc DVD edition of Who’s Afraid of Virginia Woolf?
13. Ibid.
14. Sylbert, Richard, and Sylvia Townsend. Designing Movies: Portrait of a Hollywood Artist (Westport, CT: Praeger Publishers, 2006).
15. AI with Nichols.
16. Ibid.
17. Mike Nichols, commentary track, op. cit.
18. AI with Nichols.
19. Fonda, Jane, My Life So Far, op. cit., pp. 163–165.
20. Vadim, Roger, translated by Melinda Camber Porter. Bardot Deneuve Fonda: My Life with the Three Most Beautiful Women in the World (New York: Simon & Schuster, 1986), p. 242.
21. AI with Henry.
22. Fonda
, Peter. Don’t Tell Dad, p. 196.
23. Schumach, Murray. “Wyler Is Critical of Foreign Films; Director Assails Some for Glorifying Confusion.” New York Times, April 27, 1964.
24. Fonda, My Life So Far, op. cit.
25. AI with Pollack.
26. McDonald, Thomas. “Presenting A Happy ‘Act’: Wagner and Wood.” New York Times, June 14, 1959.
27. Fonda, Peter. Don’t Tell Dad, op. cit., pp. 206–208.
28. AI with Penn.
29. Crowdus, “The Importance of a Singular, Guiding Vision,” op. cit.
30. Reed, “Penn: And Where Did All the Chase-ing Lead?” op. cit.
31. Penn’s frankness about his unhappiness with The Chase and about his experience working with Spiegel led to a minor controversy when he gave free vent to his frustrations in an interview with Rex Reed for The New York Times when the film opened. The week after the piece appeared, Penn wrote a letter, which the Times printed, in which he denied having said many of the things attributed to him. Reed, whose response was also printed, stood by the piece and suggested that Penn had “been threatened or scared out of his wits by one of his own big-studio Powers That Be.” More than twenty-five years later, Penn, in an interview with Cineaste, gave an account of The Chase that confirmed his displeasure with the film, a view that he reiterated in his interview for this book.
32. Poitier, This Life, op. cit., pp. 276–277.
33. Vadim, Bardot Deneuve Fonda, op. cit., p. 242.
34. AI with Pollack.
35. AI with Nichols.
36. Vadim, op. cit., p. 243.
CHAPTER 9
1. Newquist, Roy. A Special Kind of Magic (New York: Rand McNally & Co., 1967), p. 44.
2. Kramer, Stanley, with Thomas M. Coffey. A Mad, Mad, Mad, Mad World: A Life in Hollywood (New York: Harcourt Brace & Co., 1997).
3. Letter from George Glass to Roy Newquist, May 10, 1967, Stanley Kramer Collection, UCLA.
4. Author interview with Jewison.
5. Schumach, Murray. “Kramer Defies American Legion over Hiring of Movie Writers.” New York Times, February 8, 1960.
6. Crowther, Bosley. “The Screen: ‘Judgment at Nuremberg.’” New York Times, December 20, 1961.
7. Kael, Pauline. “The Intentions of Stanley Kramer,” September 1965. In Kiss Kiss Bang Bang (Boston: Atlantic–Little, Brown, 1968), pp. 209–213.
8. Kantor, Bernard R., Irwin R. Blacker, and Anne Kramer. Directors at Work: Interviews with American Film-Makers (New York: Funk & Wagnalls, 1970).
9. Ibid.
10. Balio, United Artists: The Company That Changed the Film Industry, op. cit., pp. 142–146.
11. Kael, “The Intentions of Stanley Kramer,” op. cit.
12. Stevens, George Jr. Conversations with the Great Moviemakers of Hollywood’s Golden Age at the American Film Institute (New York: Knopf, 2006), pp. 562–564.
13. McDonald, Thomas. “Hollywood ‘Trial.’” New York Times, November 1, 1959.
14. Stevens, Conversations with the Great Moviemakers of Hollywood’s Golden Age at the American Film Institute, op. cit., p. 572.
15. Kramer, A Mad, Mad, Mad, Mad World, op. cit.
16. Archer, Eugene. “Columbia to Get a Kramer Movie.” New York Times, June 13, 1962.
17. Davidson, Bill. Spencer Tracy: Tragic Idol (New York: E. P. Dutton, 1987); and Leaming, Barbara. Katharine Hepburn (New York: Crown, 1995).
18. AI with Karen Sharpe Kramer.
19. Weiler, A. H. “On the Run Toward the ‘Money.’” New York Times, December 19, 1965.
20. Thompson, Howard. “Unafraid of ‘Virginia Woolf.’” New York Times, September 5, 1965.
21. Bragg, Melvyn. Rich: The Life of Richard Burton (London: Hodder & Stoughton, 1988), p. 206.
22. Ibid., p. 309.
23. Thompson, “Unafraid of ‘Virginia Woolf,’” op. cit.
24. Bragg, Rich, op. cit., p. 204.
25. AI with Nichols. A different account can be found in “Play into Film: ‘Who’s Afraid of Virginia Woolf?’” (op. cit.), in which Leonard J. Leff cites an opening scene in an early draft by Lehman in which two dogs were shown fighting and notes that Jack Warner thought the scene was “good action,” something he felt the dialogue-driven play needed.
26. “Elizabeth Taylor and Richard Burton: The Night of the Brawl.” Look, February 8, 1966.
27. O’Steen, Cut to the Chase, op. cit.
28. AI with Nichols; Nichols on Who’s Afraid of Virginia Woolf commentary track, op. cit.
29. AI with Henry.
30. Webb, The Graduate, op. cit., p. 102.
31. Ibid., p. 59.
32. Ibid., p. 182.
33. AI with Henry.
34. Ibid.
35. Webb, The Graduate, op. cit., p. 99.
36. AI with Turman.
37. Webb, The Graduate, op. cit., p. 49.
38. Alpert, Hollis. “‘The Graduate’ Makes Out.” Saturday Review, July 6, 1968.
39. AI with Henry.
40. Henry, interviewed by Terry Gross, National Public Radio, 1997.
CHAPTER 10
1. Dunne, The Studio, op. cit., p. 33.
2. Cable from Richard Zanuck to Arthur Jacobs, July 28, 1965, Jacobs Collection.
3. “Treatment for Doctor Dolittle” by Leslie Bricusse, July 14, 1965, Jacobs Collection.
4. Lofting, Hugh. The Story of Doctor Dolittle (originally published 1920) and The Voyages of Doctor Dolittle (originally published 1922).
5. Author interview with Christopher Lofting.
6. Letter from Josephine Lofting to Bernard Silbert, July 20, 1965 (misdated July 20, 1964), Jacobs Collection.
7. AI with Jewison.
8. Fleischer, Richard. Just Tell Me When to Cry: A Memoir (New York: Carroll & Graf, 1993), pp. 238–239.
9. Dunne, The Studio, op. cit., p. 33.
10. Bricusse, The Music Man, op. cit., pp. 162–165.
11. Memo from Rex Harrison to Arthur Jacobs, July 22, 1965, Jacobs Collection.
12. Accounts of Roberts’s struggle with mental illness and alcoholism come from Alexander Walker’s Fatal Charm: The Life of Rex Harrison (op. cit.), from Walker’s No Bells on Sunday: The Rachel Roberts Journals (New York: Harper & Row, 1984), and from interviews with those who knew her.
13. Bricusse, The Music Man, op. cit., pp. 166–167.
14. Fleischer, Just Tell Me When To Cry, op. cit., pp. 240–241.
15. Goudsouzian, Sidney Poitier: Man, Actor, Icon, op. cit.
16. Fleischer, Just Tell Me When to Cry, op. cit., pp. 243–246.
17. Letter from Rex Harrison to Arthur Jacobs, September 28, 1965, Jacobs Collection.
18. Bart, Peter. “Hollywood Finds Harmony Paying.” New York Times, May 14, 1966.
19. AI with Mort Abrahams; see also Bricusse, The Music Man, op. cit.
20. AI with Abrahams.
21. AI with Brown.
22. Fleischer, Just Tell Me When to Cry, op. cit., p. 247.
23. Unsigned memo dated November 1, 1965, retroactive to August 30, 1965, Jacobs Collection.
24. Unsigned memo dated November 2, 1965, Jacobs Collection.
25. Handwritten initialed note by Richard Zanuck on memo from Owen McLean to Zanuck, Jacobs, and Fleischer, November 2, 1965, Richard Fleischer Collection, USC.
26. Letter from Owen McLean to Richard Zanuck, November 4, 1965, Jacobs Collection.
27. Undated handwritten note by Arthur Jacobs, Jacobs Collection.
28. Telegrams from L. Arnold Weissberger to Anthony Newley, November 18 and November 19, 1965, Anthony Newley Papers, Boston University; letter from Owen McLean to Richard Zanuck, November 22, 1965, Jacobs Collection.
29. Geist, Kenneth L. Pictures Will Talk: The Life and Films of Joseph L. Mankiewicz (New York: Scribner, 1978), pp. 351–352.
30. Letter from Richard Fleischer to Rex Harrison, November 22, 1965, Jacobs Collection.
31. Memo from National Weather Institute to 20th Century-Fox, December 6, 1965, Jacob
s Collection.
32. AI with Abrahams.
33. Memo from Arthur Jacobs to Richard Zanuck, December 7, 1965, Jacobs Collection.
34. Mosley, Zanuck: The Rise and Fall of Hollywood’s Last Tycoon, op. cit., pp. 235–236.
35. Memo from Darryl F. Zanuck to Richard Zanuck, December 12, 1965, Jacobs Collection.
36. Cable from Richard Zanuck to Darryl F. Zanuck, December 16, 1965, Jacobs Collection.
37. Cable from Darryl F. Zanuck to Richard Zanuck, December 12, 1965, Jacobs Collection.
38. Cable from Ted Ashley to Richard Zanuck, December 27, 1965, Jacobs Collection.
39. Fleischer, Just Tell Me When to Cry, op. cit., pp. 249–252.
40. Cable from Rex Harrison to Richard Zanuck, December 30, 1965, Jacobs Collection.
41. Telegram from Richard Zanuck to Rex Harrison, December 31, 1965, Jacobs Collection.
CHAPTER 11
1. Steinberg, Cobbett. Reel Facts: The Movie Book of Records (New York: Vintage, 1982), p. 24.
2. Author interview with Beatty.
3. AI with Towne.
4. AI with Beatty.
5. De Baecque and Toubiana, Truffaut, op. cit., p. 212.
6. AI with Jones.
7. Ibid.
8. AI with Wright.
9. AI with Jones and Wright.
10. AI with Wright.
11. Variety, September 8, 1965.
12. AI with Beatty.
13. AI with Benton.
14. AI with Wright.
15. AI with Jones.
16. “The Fingers of God,” Time, August 9, 1963.
17. AI with Pollack.
18. Stirling Silliphant, interviewed by Nat Segaloff in Backstory 3: Interviews with Screenwriters of the 60s, edited by Patrick McGilligan (Berkeley: University of California Press, 1997), pp. 344–345.
19. Ibid.
20. “Poitier to Play Film Detective.” New York Times, June 19, 1965, op. cit.
21. Ball, in press notes for In the Heat of the Night, Norman Jewison Collection.
22. Ball, In the Heat of the Night, op. cit., p. 17.
23. Ibid., pp. 172–173 and 185.
24. “In the Heat of the Night Character Notes and Step Outline,” December 15, 1965, Stirling Silliphant Collection, UCLA.
25. Bart, Peter. “Liberals vs. Their Movies.” New York Times, August 29, 1965.
26. Kenworthy, E. W. “200,000 March for Civil Rights in Orderly Washington Rally; President Sees Gain for Negro.” New York Times, August 29, 1963.
27. Richardson, Robert. “‘Burn, Baby, Burn’ Slogan Used as Firebugs Put Area to Torch.” Los Angeles Times, August 15, 1965.
