Pictures at a Revolution (67 page)

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.

43.
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.