Pictures at a Revolution (68 page)

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.

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.