Pictures at a Revolution
Page 54
28. “Character Notes and Step Outline,” Stirling Silliphant Collection, UCLA, op. cit.
29. Jewison, Norman. This Terrible Business Has Been Good to Me (New York: St. Martin’s Press, 2005), p. 75.
30. Ibid., p. 87.
31. Ibid., pp. 92–93.
32. AI with Jewison.
33. Weddle, David. “If They Move…Kill ’Em!”: The Life and Times of Sam Peckinpah (New York: Grove Press, 1994), pp. 258–261.
34. Schumach, Murray. “Producer Decries Movie Nudity Ban.” New York Times, March 19, 1964.
35. Jewison, This Terrible Business Has Been Good to Me, op. cit., p. 114.
36. Balio, United Artists: The Company That Changed the Film Industry, op. cit., pp. 168, 185–187.
37. AI with Mirisch.
38. Bart, Peter. “Where the Action Isn’t.” New York Times, July 31, 1966.
39. This and all subsequent notes on this draft of the screenplay come from “In the Heat of the Night, First Draft” by Stirling Silliphant, dated “January–February 1966,” Stirling Silliphant Collection, UCLA.
40. “Dialogue on Film: Stirling Silliphant.” American Film, (March 1988).
41. AI with Jewison.
CHAPTER 12
1. Author interview with Penn.
2. Penn, Arthur. “Making Waves: The Directing of Bonnie and Clyde.” In Arthur Penn’s Bonnie and Clyde, edited by Lester D. Friedman (Cambridge: Cambridge University Press, 2000).
3. Reed, “Penn: And Where Did All the Chase-Ing Lead?”, op. cit.
4. AI with York.
5. Ibid.
6. Reed, Rex. “Will the Real Warren Beatty Please Shut Up.” Esquire, August 1967.
7. Finstad, Warren Beatty: A Private Man, op. cit., p. 356.
8. AI with Beatty.
9. Ibid.
10. AI with Benton.
11. AI with Dutton.
12. Bart, Peter. “N.B.C.-TV Is Sued by Film Director.” New York Times, October 27, 1965.
13. ———. “‘Place in the Sun’ Is Spared Scissors.” New York Times, February 14, 1966.
14. “Stevens Loses Suit over His Film on TV.” New York Times, May 24, 1967.
15. AI with Beatty.
16. AI with Towne.
17. AI with Beatty.
18. AI with Pollack.
19. Rose, Frank. The Agency: William Morris and the Hidden History of Show Business (New York: HarperBusiness, 1995), p. 295.
20. Penn, “Making Waves,” op. cit.
21. AI with Penn.
22. AI with Beatty.
23. Letter and attachment from Frank H. Ferguson to Jack Schwartzman, with an executed copy of Christopher Plummer’s termination agreement dated March 22, 1966, Jacobs Collection.
24. Walker, Alexander. No Bells on Sunday: The Rachel Roberts Journals (New York: Harper & Row, 1984).
25. AI with Zanuck.
26. “Notes on Proposed Script and Score Revisions Resulting from London Meetings with Rex Harrison,” memo by Leslie Bricusse, January 1966, Jacobs Collection.
27. 20th Century-Fox internal memo from Stan Hough to Bob Daniel, January 11, 1966, Jacobs Collection.
28. AI with Zanuck.
29. Fleischer, Just Tell Me When to Cry, op. cit., pp. 252–257.
30. Ibid.
31. Letter from Rex Harrison to Richard Fleischer, March 7, 1966, Fleischer Collection, USC.
32. Letter from Richard Fleischer to Rex Harrison, March 11, 1966, Fleischer Collection, USC.
33. Sheet music with lyrics, by Michael Flanders and Donald Swann, circa March 1966, Jacobs Collection.
34. Letter from Owen McLean to Sandy Bresler at William Morris Agency, March 14, 1966, Jacobs Collection.
35. Reed, Rex. “Will They Dig ‘Dr. Dolittle’?” New York Times, September 4, 1966.
36. 20th Century-Fox internal memo, February 18, 1966, Jacobs Collection.
37. AI with Eggar.
38. Ibid.
39. Morley’s salary: Telegram from Jacobs to Fleischer, February 19, 1966, Fleischer Collection.
40. A memo from Stuart Lyons to Owen McLean dated February 9, 1966, stated that Bull would accept $4,000, but a Fox budget memo from February 18, 1966, indicated that his salary would be $11,600. Jacobs Collection.
41. Fox internal memo, Hough to Daniel, January 11, 1966, op. cit.
42. Fleischer, Just Tell Me When to Cry, op. cit., p. 257.
43. Ibid., pp. 258–259; undated press release by Arthur Jacobs, Jacobs Collection.
44. Canby, Vincent. “Poitier, as Matinee Idol, Is Handsomely Rewarded.” New York Times, November 18, 1967.
45. Motion Picture Association of America promotional mailing for A Patch of Blue, New York Public Library for the Performing Arts.
46. Canby, Vincent. “‘A Patch Of Blue’ Draws in South.” New York Times, April 5, 1966.
47. Variety, December 8, 1965.
48. Ibid.
49. Crist, Judith. Review of A Patch of Blue. New York Herald-Tribune, December 16, 1965.
50. Gill, Brendan. “The Current Cinema.” The New Yorker, December 25, 1965.
51. Film Quarterly (spring 1966).
52. Review of A Patch of Blue. Saturday Review, January 8, 1966.
53. “KKK, Freshly Laundered, Pickets ‘Patch of Blue.’” Variety, May 11, 1966.
54. “Poitier, Belafonte Score Hit with East Harlem Students.” New York World-Telegram and Sun, February 17, 1966.
55. “Belafonte & Poitier Bail 5 Held in Sit-In.” New York Post, March 21, 1966.
56. Barthel, Joan. “He Doesn’t Want to Be Sexless Sidney.” New York Times, August 6, 1967.
57. Goudsouzian, Sidney Poitier: Man, Actor, Icon, op. cit., p. 252.
58. Barthel, “He Doesn’t Want to Be Sexless Sidney,” op. cit.
CHAPTER 13
1. Klemesrud, Judy. “Dustin Hoffman: From ‘Graduate’ to Ratzo Rizzo, Super Slob.” New York Times, July 14, 1968.
2. Author interview with Hoffman.
3. Ibid.
4. Klemesrud, July 14, 1968, op. cit.
5. AI with Anspach.
6. Schwartz, Tony. “Dustin Hoffman vs. Nearly Everybody.” New York Times, December 16, 1979.
7. AI with Hoffman.
8. AI with Anspach.
9. Miller, Arthur. Timebends: A Life (New York, Grove Press, 1987), p. 373.
10. AI with Anspach.
11. AIs with Wynn Handman, Ronald Ribman, and Michael Tolan all provided useful background about the early history of the American Place Theatre.
12. AI with Hoffman.
13. AI with Ribman.
14. AI with Hoffman.
15. AI with Henry.
16. AI with Ribman.
17. AI with Handman.
18. “Faye Dunaway: The Farmer’s Granddaughter.” Look, December 13, 1966.
19. Dunaway, Faye, with Betsy Sharkey. Looking for Gatsby: My Life (New York: Simon & Schuster, 1995), pp. 77 and 79.
20. Schickel, Richard. Elia Kazan: A Biography (New York: HarperCollins, 2005), pp. 407–417.
21. AI with Law.
22. AI with Hoffman.
23. AI with Handman.
24. Dunaway, Looking for Gatsby, op. cit.
25. Los Angeles Times, June 18, 1997.
26. Dunaway, Looking for Gatsby, op. cit., p. 96.
27. AI with Silverstein.
28. Dunaway, Looking for Gatsby, op. cit., p. 96.
29. AI with Silverstein.
30. AI with Ribman.
31. Ibid.
32. AI with Anspach.
33. AI with Tolan.
34. Ibid.
35. AI with Ribman.
36. AI with Tolan.
37. Kauffmann, Stanley. “Theater: Turgenev Tale.” New York Times, April 22, 1966.
38. AI with Ribman,
39. AI with Hoffman.
40. Ibid.
41. “Ticky-Tack.” Time, April 29, 1966.
42. AI with Elinor Jones.
4
3. Finstad, Warren Beatty: A Private Man, op. cit., photo insert.
44. AI with Beatty.
45. Crowther, Bosley. “The Screen: Minstrel Show ‘Othello’; Radical Makeup Marks Olivier’s Interpretation.” New York Times, February 2, 1966.
46. Kael, Pauline. “Laurence Olivier as Othello.” McCall’s, March 1966.
47. Wiley and Bona, Inside Oscar, op. cit., p. 386.
48. Crist, Judith. “Over the Rainbow—Two Big ‘Little’ Films.” New York Herald-Tribune, April 25, 1965.
49. Ward, Robert. “Hollywood’s Last Angry Man: Rod Steiger Bites the Hand That Hasn’t Been Feeding Him.” American Film, (January–February 1982).
50. AI with Lumet.
51. Bloom, Claire. Limelight and After: The Education of an Actress (New York: Harper & Row, 1982), p. 154.
52. AI with Lumet.
53. Ibid.
54. Weiler, A. H. “Board Gives Seal to ‘Pawnbroker.’” New York Times, March 29, 1965.
55. American International Pictures press release, April 29, 1966, The Pawnbroker file, New York Public Library for the Performing Arts.
56. Oulahan, Richard. Life, April 2, 1965.
57. Gill, Brendan. “The Current Cinema.” The New Yorker, Jan. 24, 1965.
58. Wiley and Bona, Inside Oscar, op. cit., p. 389.
59. “Playboy Interview: Rod Steiger,” Playboy, July 1969.
CHAPTER 14
1. Author interview with Jewison.
2. Salary sheets and cast contact information, Stalmaster Co., Norman Jewison Collection, Wisconsin Center for Film and Theater Research.
3. “In the Heat of the Night,” drafts dated March 14, 1966, and July 5, 1966, Stirling Silliphant Collection.
4. Silliphant in Backstory 3, op. cit.
5. “In the Heat of the Night,” draft dated March 14, 1966, op. cit.
6. AI with Jewison.
7. “In the Heat of the Night,” draft dated March 14, 1966, op. cit.
8. Letter from Geoffrey Shurlock to Walter Mirisch, September 23, 1966, Production Code files, Margaret Herrick Library.
9. AI with Jewison.
10. Silliphant in Backstory 3, op. cit.
11. “In the Heat of the Night,” draft dated July 5, 1966, op. cit.
12. AI with Jewison and Mirisch.
13. Accounts of the troubled production of Hurry Sundown appear in Looking for Gatsby by Faye Dunaway and My Life So Far by Jane Fonda, both previously cited, and in the documentary Preminger: Anatomy of a Filmmaker, produced and directed by Valerie A. Robins (copyright 1991, Otto Preminger Films, Ltd., available on the two-disc DVD edition of The Cardinal).
14. Reed, Rex. “Like They Could Cut Your Heart Out,” New York Times, August 21, 1966.
15. “Cross Burned at Poitier Home,” New York Post, June 21, 1966.
16. AI with Jewison.
17. Letter written by Walter Reade Jr. in advertisement, New York Times, July 9, 1961.
18. Bart, Peter. “Label Babel.” New York Times, December 6, 1964.
19. Revisions to the 1930 Production Code dated December 20, 1938, and December 3, 1947.
20. Archer, Eugene. “Catholics Urge Movie Labeling.” New York Times, December 7, 1962.
21. Canby, Vincent. “Czar of the Movie Business.” New York Times Magazine, April 23, 1967.
22. Thompson, Thomas. “Liz in a Film Shocker.” Life, June 10, 1966.
23. AI with Nichols.
24. Leff, “A Test of American Film Censorship,” Cinema Journal, op. cit., p. 52. Leff’s piece offers a fascinating and valuable account of the internal workings of the National Catholic Office for Motion Pictures, which rated films in the mid-1960s based on the combined input of two subgroups, the International Federation of Catholic Alumnae (IFCA) and a newly enlisted council of secular educators and businesspeople called the “Consultants.” The Consultants outnumbered the IFCA members three to one. Although a majority of IFCA voters wanted Virginia Woolf condemned, the Consultants group, which had been assembled only in 1965, voted for the “A-IV” rating and carried the day.
25. “‘Virginia Woolf’ to be Shown as a ‘For Adults Only’ Film.” United Press International, May 25, 1966.
26. Leff, “A Test of American Film Censorship,” Cinema Journal, op. cit., p. 43.
27. Jack Valenti, in “Who’s Afraid of Virginia Woolf?: Too Shocking for Its Time,” on two-disc DVD edition of Who’s Afraid of Virginia Woolf?
28. Canby, Vincent. “‘Virginia Woolf’ Given Code Seal.” New York Times, June 11, 1966.
29. Thompson, “Raw Dialogue Challenges All the Censors,” op. cit.
30. Valenti, in “Too Shocking for Its Time,” op. cit.
31. Thomas, Clown Prince of Hollywood, op. cit., pp. 277–278.
32. Variety, June 20, 1966.
33. Thomas, Clown Prince of Hollywood, op. cit., p. 275.
34. Nichols on Today, July 29, 1966.
35. Adams, Val. “Mike Nichols’s Career Prevents His Finishing TV Show About It.” New York Times, June 2, 1966.
36. AI with Jewison.
37. Ibid.
38. Kramer, It’s a Mad, Mad, Mad, Mad World, op. cit., pp. 217–219.
39. Affidavit of William Rose in Plunkett v. Columbia, 1973, with attached letter from Rose to Michael Zimring, July 13, 1962; also letter from Seymour Steinberg to M. Milo Mandel, July 18, 1966; Kramer Collection, UCLA.
40. Newquist, Roy. A Special Kind of Magic (New York: Rand McNally & Co., 1967), p. 34.
41. AI with Kramer. Rose’s alcoholism is also mentioned in Kate Remembered by A. Scott Berg (New York: G. P. Putnam’s Sons, 2003), p. 275.
42. Final draft, Guess Who’s Coming to Dinner, February 15, 1967, Kramer Collection, UCLA.
43. Box 292, Kramer Collection, UCLA, cited in Goudsouzian.
44. Kramer, It’s A Mad, Mad, Mad, Mad World, op cit., p. 219.
45. AI with Beatty.
CHAPTER 15
1. Author interview with Freeman.
2. Kanfer, Stefan. “The Shock of Freedom in Films.” Time, December 8, 1967.
3. AI with Beatty.
4. AI with Benton.
5. AI with Towne.
6. AI with Solo.
7. Thomas, Clown Prince of Hollywood, op. cit., pp. 130–131.
8. AI with Lederer.
9. AI with Freeman.
10. AI with Beatty.
11. Ibid.
12. AI with Michea.
13. Kanfer, “The Shock of Freedom in Films,” op. cit.
14. Thompson, Tommy. “Under the Gaze of the Charmer.” Life, Apr. 26, 1968.
15. Reed, “Will the Real Warren Beatty Please Shut Up,” op. cit.
16. AI with Zanuck. The screenplay that Beatty shopped around was actually 157 pages—significantly longer and more dialogue driven than the final shooting script.
17. AI with Starr.
18. AI with Picker.
19. AI with Beatty; “Warren Beatty Sues for Full Accounting on ‘Bonnie & Clyde.’” Variety, June 9, 1971.
20. AI with Lederer.
21. Thomas, Clown Prince of Hollywood, op. cit., p. 184.
22. AI with Lederer.
23. AI with Beatty.
24. Letter from Geoffrey Shurlock to Jack Warner, October 13, 1966, Warner Bros. Collection, USC.
25. AI with Solo.
26. Ibid.
27. Letter from Jack Warner to Walter MacEwen, Jack Warner Collection, USC, cited in Goldstein and Finstad, op. cit.
28. Fleischer, Just Tell Me When to Cry, op. cit., pp. 260–261.
29. Walker, Fatal Charm, op. cit., pp. 332–323; and Dunne, The Studio, op. cit., p. 35.
30. Letter from Harold Melniker to Frank Ferguson, April 28, 1966, Jacobs Collection.
31. 20th Century-Fox budget memo for Doctor Dolittle, May 23, 1966, Jacobs Collection.
32. Fleischer, Just Tell Me When to Cry, op. cit., pp. 260–261.
33. Bardsley, Garth. Stop the World: The Biography of Anthony Newley
(London: Oberon Books, 2003).
34. Letter from Anthony Newley to Barbra Streisand, April 6, 1966, Anthony Newley Collection.
35. Letter from Leslie Bricusse to Anthony Newley, April 20, 1966, Anthony Newley Collection.
36. “Doctor Dolittle—Second Revised Screenplay,” by Leslie Bricuse, June 1966, with handwritten notes by Rex Harrison, Rex Harrison Collection, Howard Gotlieb Archival Research Center, Boston University.
37. Ibid.
38. Bricusse, quoted in Fatal Charm, op. cit., p. 331.
39. Telegram from Arthur Jacobs, recipient unclear, May 1966, Jacobs Collection.
40. Letter from Arthur Jacobs to Rex Harrison, April 5, 1966, Jacobs Collection.
41. Cable from Arthur Jacobs to Richard Fleischer, April 12, 1966, Jacobs Collection.
42. Daily Telegraph, June 21, 1966.
43. Bart, Peter. “At Last, Rex Harrison Agreed…” New York Times, June 19, 1966.
44. Ibid; “19th Century Fox.” Time, July 8, 1966.
45. “19th Century Fox,” Time, op. cit.
46. Newsweek, August 9, 1966.
47. “‘Dr. Dolittle’ Retreating from Britain.” Variety, August 17, 1966.
48. Rex Harrison’s biographer Alexander Walker writes in Fatal Charm that fifty-one out of fifty-six shooting days were marred by rain; in The Studio, John Gregory Dunne says it was fifty-three out of fifty-eight days.
49. AI with Eggar.
50. AI with Ray Aghayan.
51. Reed, “Will They Dig ‘Dr. Dolittle’?” op. cit.
52. Harrison, Rex, op. cit., pp. 214–218.
53. Letter from Anthony Newley to Niels Larsen, July 6, 1966, Newley Collection.
54. Fleischer, Just Tell Me When to Cry, op. cit., pp. 262–263.
55. Canby, Vincent. “Now That Zanuck Is President, He Still Thinks Like a Producer.” New York Times, July 6, 1966.
56. Letter from Arthur Jacobs to Mort Abrahams, July 28, 1966, Jacobs Collection.
57. Letter from Owen McLean to Arthur Jacobs, May 17, 1966, and memo from Jacobs to Mike Pagano, July 1, 1966, Jacobs Collection.
58. Russo, Joe, and Larry Landsman, with Edward Gross. Planet of the Apes Revisited: The Behind-the-Scenes Story of the Classic Science Fiction Saga (New York: Thomas Dunne/St. Martin’s, 2001).
CHAPTER 16
1. Author interview with Jewison.
2. Poitier, This Life, op. cit., pp. 283–284.
3. Ibid.
4. AI with Jewison.
5. AI with Jewison, Stalmaster, and Wilson.
6. AI with Stalmaster, Schallert, and James.