by Mark Harris
7. AI with Stalmaster.
8. Variety, December 28, 1966.
9. Zion, Sidney E. “U.S. Court Voids a Loyalty Oath.” New York Times, July 15, 1966; “Directors Guild Is Ordered to Drop Oath.” New York Times, January 28, 1967.
10. Boaty Boatwright, quoted by Jewison, This Terrible Business Has Been Good to Me, op. cit., p. 133.
11. AI with Beatty.
12. AI with Benton and Penn.
13. AI with Crowley.
14. Newman, “What’s It Really All About?” op. cit.
15. In Patrick Goldstein’s oral history of Bonnie and Clyde, “Blasts from the Past” (Los Angeles Times, August 24, 1997), Newman is quoted as saying, “Our very first meeting with Warren, he came right out and said, ‘I’m not playing a [homosexual].’ He had plenty of aesthetic reasons, but he thought it would make him terribly unsympathetic to his audience.”
16. AI with Penn.
17. An October 1961 amendment to the Production Code permitted “sex aberration” when treated with “care, discretion and restraint.”
18. The Celluloid Closet: Homosexuality in the Movies by Vito Russo (New York; Harper & Row, rev. ed. copyright 1987) remains the most valuable single-volume treatment of this subject.
19. “The Homosexual in America.” Time, January 21, 1966.
20. Gent, George. “TV: C.B.S. Reports on Homosexuals.” New York Times, March 8, 1967.
21. Newman, “What’s It Really All About?” op. cit.
22. AI with Penn.
23. AI with Beatty.
24. Ibid.
25. AI with Parsons.
26. AI with Beatty.
27. AI with Penn.
28. AI with Van Runkle.
29. AI with Parsons.
30. Ibid.
31. AI with Pollack.
32. AI with Towne.
33. AI with Beatty.
34. AI with Penn.
35. Finstad, Warren Beatty: A Private Man, op. cit., p. 362.
36. AI with Beatty and Penn.
37. Fonda, My Life So Far, op. cit., p. 171.
38. Dunaway, Looking for Gatsby, p. 110.
39. Ibid., pp. 111–115.
40. AI with Van Runkle.
41. Dunaway, Looking for Gatsby, op. cit., p. 120.
42. AI with Beatty.
43. AI with Penn.
44. Ibid.
45. AI with Beatty.
46. AI with Towne.
47. AI with Beatty.
48. AI with Penn and Towne.
49. AI with Benton.
50. AI with Van Runkle.
51. AI with Beatty.
52. AI with Towne.
53. Thompson, Life, April 26, 1968, op. cit.
CHAPTER 17
1. Letter from Hal Ashby to Norman Jewison, October 5, 1966, Hal Ashby papers, Margaret Herrick Library.
2. Haskell Wexler, commentary track on In the Heat of the Night (MGM Home Video, 2001).
3. Keller, Diane. “A Day ‘In the Heat of the Night.’” Southern Illinoisan, October 9, 1966.
4. Letter from Meta Rebner to Hal Ashby, October 7, 1966, Ashby papers.
5. Author interview with Wilson.
6. AI with James.
7. Salary sheets and cast contact lists, Stalmaster Co., Jewison Collection, op. cit.
8. AI with Jewison and Morse.
9. Letters from Hal Ashby to Norman Jewison, September 14, September 21, September 25, September 28, October 5, and October 6, 1966. Ashby papers.
10. For more on Wilder’s aversion to color cinematography, see On Sunset Boulevard: The Life and Times of Billy Wilder by Ed Sikov (New York: Hyperion, 1998), p. 469.
11. AI with Wilson.
12. AI with Jewison, Wilson, and Masterson.
13. Norman Jewison and Haskell Wexler, commentary track on In the Heat of the Night, op. cit.
14. AI with Jewison.
15. Rod Steiger, interviewed on thebigpicturedvd.com, 2001.
16. AI with Jewison.
17. AI with Morse.
18. “The Big Picture.” Los Angeles Times West Magazine, April 7, 1968.
19. AI with Jewison.
20. Poitier, The Measure of a Man, op. cit.
21. Steiger, commentary track on In the Heat of the Night, op. cit.
22. Poitier, This Life, op. cit.
23. Hutchinson, Tom. Rod Steiger (New York: Fromm International, 2000).
24. AI with Jewison.
25. AI with Grant.
26. AI with Schallert.
27. AI with Morse.
28. AI with Jewison.
29. Ibid.
30. Steiger, commentary track for In the Heat of the Night, op. cit.
31. AI with Jewison.
32. AI with Morse.
33. AI with Jewison.
34. Jewison, This Terrible Business Has Been Good to Me, op. cit.
35. Jester Hairston, interviewed by James Standifer, August 4, 1980, University of Michigan School of Music Archives.
36. AI with Morse.
CHAPTER 18
1. Author interviews with Karen Kramer and Katharine Houghton.
2. Newquist, A Special Kind of Magic, op. cit., p. 39.
3. Kramer, A Mad, Mad, Mad, Mad World, op. cit., pp. 222–223. Poitier also alludes to his nervousness in This Life.
4. AI with Karen Kramer.
5. Davidson, Bill. “Spencer Tracy.” Look, January 30, 1962.
6. Kilgallen, Dorothy. “The Voice of Broadway: Katy Hepburn Puts Spencer Ahead of Theatre.” New York Journal-American, September 11, 1963.
7. Davidson, Spencer Tracy: Tragic Idol, op. cit., pp. 103–104.
8. Swindell, Larry. Spencer Tracy: A Biography (New York: NAL/World, 1969).
9. Leaming, Barbara. Katharine Hepburn (New York: Crown, 1995), p. 508.
10. Swindell, Spencer Tracy: A Biography, op. cit.
11. Unpublished transcript of Roy Newquist interview with Tracy, Kramer Collection, UCLA.
12. Davidson, Spencer Tracy: Tragic Idol, op. cit., p. 196.
13. Leaming, Katharine Hepburn, op. cit, pp. 507–508.
14. Kramer, A Mad, Mad, Mad, Mad World, op. cit., p. 219.
15. AI with Karen Kramer.
16. Champlin, Charles. “Tracy and Hepburn to Rekindle That Old Magic.” Los Angeles Times, September 26, 1966.
17. Davidson, Spencer Tracy: Tragic Idol, op. cit., p. 206.
18. AI with Karen Kramer.
19. Unpublished transcript of Roy Newquist interview with Stanley Kramer, Kramer Collection, UCLA.
20. Undated early draft, Guess Who’s Coming to Dinner, Kramer Collection, UCLA.
21. AI with Marshall Schlom.
22. “Hepburn and Tracy Will Co-Star Again.” New York Times, September 26, 1966.
23. Internal salary memo, Columbia Pictures, November 11, 1966, and Columbia interoffice memo from Seymour Steinberg to M. Milo Mandel, Nov. 22, 1966, William Gordon Collection, Margaret Herrick Library.
24. Deposition by Stanley Kramer in Joseph Than and Elick Moll v. Columbia Pictures Corporation, November 20, 1969, Kramer Collection, UCLA.
25. Canby, Vincent. “Appeal by ‘Alfie’ Wins a Movie Code Certificate; Review Panel Votes to Waive Ban Against Mention of Abortion in Pictures.” New York Times, August 3, 1966.
26. ———. “A New Movie Code Ends Some Taboos.” New York Times, September 21, 1966.
27. Production Code Files, Guess Who’s Coming to Dinner correspondence and “Analysis of Film Content,” dated February 20, March 7, and March 16, 1967, Margaret Herrick Library.
28. “The Code of Self-Regulation: Standards for Production,” reprinted in Steinberg, Reel Facts, op. cit., p. 406.
29. Canby, “A New Movie Code Ends Some Taboos,” op. cit.
30. AI with Henry.
31. Nichols, commentary track on Who’s Afraid of Virginia Woolf?, op. cit.
32. Lambert, Gavin. Natalie Wood: A Life (New York: Alfred A. Knopf, 2004), p. 224.
33. AI w
ith Nichols.
34. Olsen, Mark. “Francois Ozon, Always a Leading Ladies’ Man.” Los Angeles Times, July 30, 2006.
35. AI with Nichols.
36. AI with Turman.
37. Neal, Patricia. As I Am (New York: Simon & Schuster, 1988), p. 290.
38. AI with Nichols.
39. Ibid.
40. “Debonair Rex Now a Celebrated Doctor.” Life, September 30, 1966.
41. AI with Trundy; get-well cards and cables from Elizabeth Taylor and Richard Burton, Darryl Zanuck, Richard Zanuck, Anthony Newley, and Leslie Bricusse, Jacobs Collection.
42. AI with Trundy.
43. Memo from Arthur Jacobs to Pat Newcomb, November 16, 1966, Jacobs Collection.
44. AI with Trundy.
45. AI with Reiss.
46. AI with Eggar.
47. Bart, Peter. “He Grew Accustomed to Rex.” New York Times, October 2, 1966.
48. 20th Century-Fox memo from Stan Hough to Jack Smith, September 6, 1966, Jacobs Collection.
49. Cable from William Eckhardt to Stan Hough, October 24, 1966, Jacobs Collection.
50. Bricusse, The Music Man, op. cit., p. 189.
51. AI with Eggar.
52. Fleischer, in Bardsley, Stop the World, op. cit.
53. AI with Holder.
54. AI with Eggar.
55. AI with Abrahams.
56. AI with Holder and Eggar.
57. Fleischer, Just Tell Me When to Cry, op. cit., pp. 262–263.
58. Walker, Fatal Charm, op. cit., pp. 334–335.
59. Cable, recipient unknown, November 21, 1966, Jacobs Collection.
60. Cable from Joan Collins to Anthony Newley, November 25, 1966, Newley Collection.
61. Cable from Arthur Jacobs to Anthony Newley, November 26, 1966, Newley Collection.
62. AI with Abrahams.
63. Memo from Arthur Jacobs to Mort Abrahams, November 22, 1966, Jacobs Collection.
64. Letter from Leslie Bricusse to Anthony Newley, November 24, 1966, Newley Collection.
65. Bricusse, The Music Man, op. cit., p. 190.
66. Letter from Leslie Bricusse to Arthur Jacobs, November 25, 1966, Jacobs Collection.
67. Undated, by Leslie Bricusse, Jacobs Collection.
CHAPTER 19
1. This chapter’s account of the production of Bonnie and Clyde comes from interviews with Warren Beatty, John C. Dutton, Morgan Fairchild, Elaine Michea, Estelle Parsons, Arthur Penn, Michael J. Pollard, Robert Solo, Dean Tavoularis, Robert Towne, and Theadora Van Runkle, among others.
2. Advertisement, Denton Record-Chronicle, 1966 undated, Warner Bros. Collection, USC.
3. Author interview with Parsons.
4. Towne, Robert. “A Trip with Bonnie and Clyde.” Cinema, III, no. 5.
5. AI with Towne.
6. AI with Beatty.
7. Ibid.
8. AI with Parsons.
9. AI with Dutton.
10. Beatty, to Curtis Hanson in Wake and Hayden, The Bonnie and Clyde Book, op. cit., p. 180.
11. Ibid., p. 179.
12. AI with Tavoularis.
13. AI with Beatty, Dutton, Penn, and Tavoularis.
14. AI with Penn and Towne.
15. Hebron, Sandra. “Curtis Hanson (part 2).” Guardian, November 16, 2002.
16. AI with Penn.
17. Dunaway, Looking for Gatsby, op. cit., p. 58.
18. AI with Van Runkle.
19. AI with Dutton and Michea.
20. “Faye Dunaway: Frank Words from a Cult Goddess,” Interview, November 2002.
21. Dunaway, Looking for Gatsby, op. cit., pp. 131–133.
22. AI with Parsons.
23. Dunaway, Looking for Gatsby, op. cit., pp. 118–119.
24. Finstad, Warren Beatty: A Private Man, op. cit., p. 372.
25. AI with Penn.
26. AI with Tavoularis.
27. AI with Dutton.
28. Goldstein, “Blasts From the Past,” Los Angeles Times, op. cit.
29. AI with Beatty.
30. AI with Towne.
31. “In the Cards.” Time, September 30, 1966.
32. AI with Michea, Parsons, and Van Runkle.
33. AI with Pollard.
34. AI with Parsons.
35. AI with Fairchild.
36. AI with Dutton.
37. Beatty to Curtis Hanson, The Bonnie and Clyde Book, op. cit., p. 178.
38. AI with Towne.
39. Labarthe, Andre and Jean-Louis Comolli. “The Arthur Penn Interview.” Cahiers du Cinéma, December 1967.
40. AI with Beatty.
41. AI with Tavoularis.
42. Ibid.
43. AI with Beatty.
44. AI with Parsons.
45. Benton and Newman’s screenplay for Bonnie and Clyde is reprinted in its entirety in both The Bonnie and Clyde Book (op. cit.) and Best American Screenplays: First Series, edited by Sam Thomas (New York: Crown, 1986).
46. AI with Penn.
47. Ibid.
48. Gilman, Richard. “Gangsters on the Road to Nowhere.” The New Republic, November 4, 1967.
49. Goldstein, “Blasts from the Past,” Los Angeles Times, op. cit.
50. “The Arthur Penn Interview,” Cahiers du Cinéma, op. cit.
51. Crowdus, “The Importance of a Singular, Guiding Vision,” Cineaste, op. cit.
52. Letter from Floria Lasky to “HWF,” October 12, 1966, Warner Bros. Collection, USC.
53. AI with Pollard.
54. AI with Tavoularis.
55. AI with Dutton. Daily production and progress reports from Bonnie and Clyde show that the production had fallen fourteen days behind schedule by December 10, the last day of the shoot in Texas; Warner Bros. Collection, USC.
56. Letter from Walter MacEwen to Warren Beatty, November 2, 1966, Warner Bros. Collection, USC.
57. Telegram from Jack Warner to Arthur Penn, October 12, 1966, Warner Bros. Collection, USC.
58. AI with Solo.
59. AI with Penn.
60. Thompson, “Under the Gaze of the Charmer,” Life, op. cit.
61. AI with Penn.
CHAPTER 20
1. Letter from Geoffrey M. Shurlock to Robert Vogel, March 30, 1966, MPAA file, Margaret Herrick Library.
2. Ibid., April 27, 1966.
3. Ibid., July 19, 1966.
4. Ibid., April 27, 1966.
5. Gold, Ronald. “Valenti Won’t ‘ Blow-Up’ Prod. Code for Status Films.” Variety, January 11, 1967.
6. Various memos, November 1967, MPAA file, Margaret Herrick Library. A November 9, 1966, memo from Sidney Schreiber to Ben Melniker indicates that MGM actually solicited advice from the Code office about the viability of releasing the movie under a subsidiary company without a seal.
7. “Approval Denied to Antonioni Film.” New York Times, December 17, 1966.
8. “M-G-M’s Leo the Lion Is Cast as a ‘Mod’ Type.” New York Times, September 20, 1966.
9. Variety, December 21, 1966.
10. Kauffmann, Stanley. “Some Notes on a Year with Blow-Up.” In Film 67/68, op. cit., pp. 274–281.
11. Reed, Rex. “Antonioni: After the ‘ Blow-Up,’ a Close-Up.” New York Times, January 1, 1967.
12. Crowther, Bosley. “In the Eye of the Beholder.” New York Times, January 8, 1967.
13. Sloane, Leonard. “7 Arts to Buy 33% of Warner.” New York Times, November 15, 1966.
14. “United Artists’ Sale Backed in Principle.” New York Times, November 21, 1966.
15. Canby, Vincent. “‘ Blow-Up’ May Get New Code Review.” New York Times, February 7, 1967.
16. Variety, February 15, 1967.
17. Ibid., March 1, 1967.
18. Crowther, Bosley. “The Ten Best Films of 1966.” New York Times, December 25, 1966.
19. Author interview with Turman and Nichols; Turman, So You Want to Be a Producer, op. cit.
20. AI with Wilson.
21. AI with Jewison. In his autobiography, Jewison appears to misplac
e the conversation with Kennedy at the end of 1965 rather than at the end of 1966.
22. Weiler, A. H. “Success Spangled Simon” (third item, headed “Harlem Whodunits”). New York Times, December 4, 1966; a September 26, 1966, memo from Hal Ashby to Norman Jewison (Hal Ashby files, Margaret Herrick Library) indicates that the possibility of a movie series based on Himes’s books was a matter of mild concern to both men.
23. Memo from Ashby to Jewison, September 14, 1966, Ashby Collection, Margaret Herrick Library, op. cit.
24. Useful background on Coppola’s early career can be found in Godfather: The Intimate Francis Ford Coppola by Gene D. Phillips (Lexington: University Press of Kentucky, 2004) and Francis Ford Coppola: Interviews, edited by Phillips (Jackson: University Press of Mississippi, 2004).
25. Alpert, Hollis. “Off the Hook.” In Film 67/68, op. cit., p. 111–112.
26. Turman, So You Want to Be a Producer, op. cit.
27. Bart, Peter. “Mike Nichols, Moviemaniac.” New York Times, January 1, 1967.
28. “Most Fans Think Antonioni Is a Cheese—Levine.” Variety, May 24, 1967.
29. AI with Turman.
30. Bart, “Mike Nichols, Moviemaniac,” op. cit.
31. “Manhunt Is On for ‘Graduate.’” New York Post, January 17, 1967; and “New York Sound Track.” Variety, January 18, 1967.
32. AI with Hirshan.
33. AI with Nichols.
34. AI with Turman.
35. Day, Barry. “It Depends On How You Look at It.” Films and Filming (November 1968).
36. AI with Nichols.
37. AI with Henry.
38. AI with Hoffman.
39. Fremont-Smith, Eliot. “Theater: What’s That?” New York Times, October 18, 1966.
40. Kerr, Walter. “The Theater Looks at Our Times: ‘Eh?’—No Security for Us?” New York Times, November 6, 1966.
41. AI with Hoffman.
42. Rambeau, Marc. “‘The Graduates’ Undergraduate.” Los Angeles Times, August 13, 1967.
43. Zeitlin, David. “A Homely Non-Hero, Dustin Hoffman, Gets an Unlikely Role in Mike Nichols’ ‘The Graduate.’” Life, November 24, 1967.
44. Ibid.
45. AI with Nichols.
46. AI with Hoffman.
47. O’Steen, Cut to the Chase, op. cit.
48. AI with Nichols.
49. AI with Henry.
50. Hoffman eventually told the story of the moment Nichols gave him the part to Neil Simon, who took the notion of an actor’s success breaking up a relationship and, ten years later, turned it into the screenplay The Goodbye Girl.
51. AI with Hoffman.
52. “Dialogue on Film: Joseph E. Levine.” American Film (September 1979).
