George Clooney (41 page)

2
. See Mark Browning,
Stephen King on the Small Screen
(Bristol, UK: Intellect Books, 2011), 63–65.

1
. Walter Kirn,
Up in the Air
(New York: Random House, 2001), 41.

2
. Andrew Sarris, “The Sex Comedy without Sex,”
American Film
3, no. 5 (1978): 13.

3
. Ellen Cheshire and John Ashbrook,
Joel and Ethan Coen
(Harpenden, Herts., UK: Pocket Essentials, 2005), 124–26.

4
. Kirn,
Up in the Air
, 272.

5
. Ibid., 8.

6
. Ibid., 34 and 47.

7
. Ibid., 201.

8
. Ibid., 242.

9
. Ibid., 168.

1
. Joel Schumacher, cited by John Glover in
Shadows of the Bat: The Cinematic Saga of the Dark Knight
,
Part 6—Batman Unbound
, 2005, Warner Home Video.

2
. George Clooney, “Behind the Masks,”
Boston Globe
, June 12, 2005.

3
. Sebastian Junger,
The Perfect Storm
(London: Fourth Estate, 1997), 168.

4
. Ibid., 15.

5
. Ibid., xi.

6
. See ibid. 55, 56, 71, 109, and 125.

7
. See ibid. 155 and 104.

1
. Jami Bernard,
Quentin Tarantino: The Man and His Movies
(London: HarperCollins, 1995), 133.

2
. See Mark Browning,
Stephen King on the Big Screen
(Bristol, UK: Intellect Books, 2009), 135–37.

3
. See Mark Browning,
Wes Anderson: Why His Movies Matter
(Santa Barbara, CA: ABC-CLIO, 2011), 139–40.

1
. Derek Hill,
Charlie Kaufman and Hollywood's Merry Band of Pranksters, Fabulists and Dreamers: An Excursion into the American New Wave
(Harpenden; Herts., UK: Kamera Books, 2008), 75.

2
. Wahlberg would later go on to star in F. Gary Gray's remake in 2003.

3
. See Mark Browning,
David Fincher: Films That Scar
(Santa Barbara, CA: ABC-CLIO, 2010), 75–76.

4
. Hill,
Charlie Kaufman
, 76.

5
. Ibid., 77.

6
. Scott Frank,
Out of Sight
(Eye, Suffolk, UK: Screenpress Books, 1999), 57.

1
. George Clooney and Grant Heslov,
Good Night, and Good Luck: The Screenplay and History behind the Landmark Movie
(New York: Newmarket Press, 2006), 79.

2
. See Joe Wershba in ibid., 30.

3
. Ibid., 72.

4
. Ibid., 28.

5
. Ibid., 92.

6
. Ibid., 91.

7
. Ibid., 75.

8
. Ibid., 146.

1
. Robert Baer,
See No Evil
(New York: Three Rivers Press, 2002), 33.

2
. Ibid., 14.

3
. Ibid., 257.

4
. Ibid., 270.

5
. Ibid., 81.

6
. Ethan Coen, cited in Susan Wloszczyna, “Fall Movie Preview: Coens Dumb It down with ‘
Burn
,'”
USA Today
, September 2, 2008.

7
. George Clooney speaking at the Venice Film Festival, August 26, 2008.

8
. Baer,
See No Evil
, 74.

9
. Jon Ronson,
The Men Who Stare at Goats
(London: Picador, 2004), 41 and 45.

10
. Ibid., 78.

11
. Ibid., 159.

12
. Baer,
See No Evil
, 132.

1
. See Tzvetan Todorov,
The Fantastic: A Structural Approach to a Literary Genre
, trans. Richard Howard (Ithaca, NY: Cornell University Press, 1975).

2
. Steven Soderbergh, cited in Hugh Hart, “Partners in Angst,”
San Francisco Chronicle
, November 24, 2002,
http://articles.sun-sentinel.com/keyword/steven-soderbergh
.

3
. Tony Gilroy,
Michael Clayton
(New York: Newmarket Press, 2007), 81.

4
. William Goldman in ibid., viii.

1
. See Mark Browning,
Wes Anderson:
Why His Movies Matter
(Santa Barbara, CA: ABC-CLIO, 2011), 89–102.

The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that appear in the print index are listed below.

A League of Their Own

American, The

opening scene of

ambiguity of Jack in

development of Clooney's persona in

sin and redemption in

use of western motifs in

Anderson, Wes

Baby Talk

Baer, Robert

Barris, Chuck

Barrymore, Drew

Batman and Robin

cartoonish elements in

gay subtext in

the depth of Clooney's role in

Blade Runner

Blanchett, Cate

Bodies of Evidence

Burn after Reading

Cameron, James

Campbell, Martin

Canonero, Milena

Carpenter, John

Cheadle, Don

Clarkson, Patricia

Combat Academy

Corbijn, Anton

Clooney, George:

biographical details of

relation of paparazzi with

political activism of

Clooney, Rosemary

Coen brothers

Commercials (general):

Commercials (specific): Martini

Emidio Tucci

Toyota

Fiat

Nespresso

Honda

Fastweb

DnB

Confessions of a Dangerous Mind
: Jim Byrd in

Sam Rockwell's performance in

the authenticity of Barris's story in

Clooney's directorial style in

cinematic influences in

changes to Kaufman's script in

Cronenberg, David

Cronkite, Walter

Curtiz, Michael

Damon, Matt

Darabont, Frank

Deakins, Roger

De Palma, Brian

Descendants, The

Dyer, Richard

E/R

ER

Facts of Life, The

Fail Safe

live performance in

portrayal of nuclear issues in

role of Grady in

relationship of remake to original film in

Fantastic Mr Fox

Fincher, David

Fonda, Henry

Forrest Gump

Ford, Harrison

Frank, Scott

Frears, Stephen

Friendly, Fred

Friends

Froehlich, Bill

From Dusk Till Dawn

different generic markers in

Seth Gecko defining Clooney's persona in

extension of vampiric conventions in

Full Tilt Boogie

Gable, Clark

Gaghan, Stephen

Garfunkel, Art

Gere, Richard

Gilbert, Lewis

Gilroy, Tony

Gledhill, Christine

Golden Girls, The

Gondry, Michel

Good German, The
: Soderbergh's use of period style and technology in

relation to source novel in

Goodman, John

Good Night and Good Luck

opening in

stylistic choices

performance of David Strathairn in

Clooney's attention to detail

Murrow's battles with McCarthy

Clooney's performance in

the Wershba subplot in

historical accuracy in

Gould, Elliott

Grant, Cary

Grizzly II
:

The Predator

Guzmán, Luis

Harvest, The

Hauer, Rutger

Hayward, Susan

Hemmings, Kaui Hart

Heslov, Grant

His Girl Friday

Hunter, Holly

Ides of March, The

Intolerable Cruelty
: screwball features in

homophobic elements in

relationships with other Coen brothers' films in

Israel, Neal

It Happened One Night

Jackson, Samuel L.

Jonze, Spike

Junger, Sebastian

K Street

Kaufman, Charlie

Kidman, Nicole

Kirn, Walter

Kubrick, Stanley

Langella, Frank

Leatherheads
: screwball features in

social change in

Leder, Mimi

Lem, Stanislaw

Lloyd, Harold

Lopez, Jennifer

Lost in Translation

Lumet, Sidney

Macy, William H.

Magic Bubble, The
(
aka Unbecoming Age
)

Malkovich, John

McCarthy, Joseph.
See also Good Night and Good Luck

McGregor, Ewan

Men Who Stare at Goats, The

Michael Clayton

opening scene in

presentation of Crowder in

Michael's ambiguous status in

episode with the horses in

murder of Arthur in

the final shot in

Monicelli, Mario

Moss, Annie Lee

Mothersbaugh, Mark

Murray, Bill

Murrow, Edward R.
See also Good Night and Good Luck

Nelson, Tim Blake

Nichols, Mike

Nolan, Christopher

North by Northwest

Noyce, Philip

O Brother, Where Art Thou?

parallels with
The Odyssey
in

role of music in

comic absurdity in

character of McGill in

social commentary in

tonal mix in

Ocean's Eleven
: Similarities to original film in

style and key relationships in the
Ocean
's franchise in

Ocean's Twelve
: relationship to first film

Julia Roberts playing herself in

plot holes in

Ocean's Thirteen

relationship to first two
Ocean's
films in

self-referential jokes in

absence of violence in

Ocean's
franchise

One Fine Day

structure of central relationships in

sexual politics in

Out of Sight

the trunk scene in

Sisco and Foley relationship in

generic twists in

Pakula, Alan J.

Paley, William

Parker, Trey

Payne, Alexander

Peacemaker, The

similarities with Bond films in

dramatic power of closing chase sequence in

Perfect Storm, The
: relationship to literary precursors in

element of blame attached to Tyne in

historical accuracy in

Petersen, Wolfgang