Pictures at a Revolution (70 page)

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 misplace 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).

53.
AI with Hoffman.

CHAPTER 21

1.
Newquist,
A Special Kind of Magic
, op. cit., p. 93.

2.
Poitier,
The Measure of a Man
, op. cit., p. 121.

3.
Author interview with Katharine Houghton, Karen Kramer, and Marshall Schlom.

4.
Poitier,
The Measure of a Man
, op. cit., p. 122.

5.
Newquist,
A Special Kind of Magic
, op. cit., p. 93.

6.
Poitier,
This Life
, op. cit., pp. 285–286.

7.
Newquist,
A Special Kind of Magic
, op. cit., p. 92.

8.
Hernton, Calvin.
White Papers for White Americans
(New York: Doubleday, 1966), p. 64.

9.
Prelutsky, Bert. “Hollywood's Negroes Mired in Stereotypes.”
Los Angeles Times
, February 19, 1967.

10.
AI with Houghton.

11.
AI with Karen Kramer.

12.
Columbia Pictures memo from Gordon Stulberg to Seymour Steinberg, January 30, 1967,
Guess Who's Coming to Dinner
production files, Margaret Herrick Library.

13.
AI with Kramer and Eggar.

14.
AI with Houghton.

15.
Memo from Gordon Stulberg to Samuel Zagon, February 10, 1967, and memo to Zagon from Earl Kramer, March 22, 1967, Kramer Collection, UCLA.

16.
Swindell, Larry.
Spencer Tracy: A Biography
(New York: NAL/World, 1969), p. 267.

17.
“Location Delays, but ‘Dolittle' Not Way Over-Budget.”
Variety
, January 11, 1967.

18.
Memo from Marjorie Fowler to Arthur Jacobs, December 15, 1966; Fox interoffice memo from Sam Beetley to Stan Hough, January 3, 1967; letter from Fowler to Jacobs, January 7, 1967, all from Jacobs Collection.

19.
Walker,
No Bells on Sunday: The Rachel Roberts Journals
, op. cit.