The Big Screen (91 page)

“In
Written on the Wind
”: Rainer Werner Fassbinder, “Six Films by Douglas Sirk,” in Edinburgh Film Festival,
Douglas Sirk
, pp. 100–101.

On Otto Preminger, see Foster Hirsch,
Otto Preminger: The Man Who Would Be King
(2007).

On
Rio Bravo
, see McCarthy,
Howard Hawks
; Robin Wood,
Rio Bravo
(2003).

On
Some Like It Hot
, see Sikov,
On Sunset Boulevard
.

“Plain goodness”: Saul Bellow, “The Mass-Produced Insight,”
Horizon
, January 1963, p. 111.

On Henri Langlois, see Richard Roud,
A Passion for Films: Henri Langlois and the Cinémathèque Française
(1983).

“I won't conceal”: Truffaut to Marcel Moussy, June 21, 1958, in Truffaut,
Correspondence
, p. 121.

On
Les Quatre Cents Coups
at Cannes, see de Baecque and Toubiana,
Truffaut
, pp. 133–35.

“Never has the festival”:
Elle
, May 8, 1959.

“It's disgusting”: Quoted in Brody,
Everything Is Cinema
, p. 50.

“When Jean Seberg”: Truffaut,
The Films in My Life
, p. 140.

“an incredibly introverted”: Jean Seberg quoted in David Richards,
Played Out: The Jean Seberg Story
(1981), pp. 84–85.

“I'm in the midst”: Ibid., p. 86.

“
À Bout de Souffle
was modeled”: Roud,
Godard
, p. 36.

“The Americans are good at”: Interview with Godard,
Cahiers du Cinéma
171 (October 1965).

“For a long time”: Godard in
Le Monde
, March 18, 1960.

“You talk to me”: Godard, screenplay for
Pierrot le Fou
(1965), p. 62.

“
Vivre Sa Vie
suggests”: Brody,
Everything is Cinema
, p. 138.

“I wrote a great number”: Ronald Tavel quoted in Jean Stein,
Edie: An American Girl
, ed. George Plimpton (1982), p. 232.

“Her physicality was”: Robert Rauschenberg quoted in ibid. p. 250.

Monica Unvital and Jeanne Morose: Manny Farber in “Clutter,”
Farber on Film
, p. 609.

“
L'Eclisse
…continues”: Seymour Chatman,
Antonioni, or the Surface of the World
(1985), p. 64.

“I don't want to make a film”: Steven Spielberg in Carl Gottlieb,
The Jaws Log
(1975), p. 66.

“talent histogram”:
Movie
1 (June 1962).

“The politique des auteurs”: Andrew Sarris,
Film Culture
, 1962–63; see also Sarris,
The American Cinema
(1968).

On film and the novel, see John Harrington,
Film and/as Literature
(1977); George Bluestone,
Novels into Film
(1957).

“A good subject”: Aldous Huxley to Robert Nichols, 1926, quoted in Virginia M. Clark,
Aldous Huxley and Film
(1987), p. 17.

“One tries to do”: Huxley to Eugene F. Saxton, November 2, 1939, quoted in
Letters of Aldous Huxley
, ed. Grover Smith (1969), p. 450.

On Monroe Stahr, see F. Scott Fitzgerald,
The Last Tycoon
(1941).

On Faulkner and Hawks, see McCarthy,
Howard Hawks
; Andrew Sinclair,
Writers in Hollywood, 1915–1951
(1990).

On “Turnabout,” see McCarthy,
Howard Hawks
, pp. 177–86.

“We stood against”: Ernest Hemingway,
The Sun Also Rises
(1926), p. 24.

“like film waiting”: Vladimir Nabokov to Dmitri Nabokov, quoted in
Vladimir Nabokov, His Life, His Work, His World: A Tribute
, ed. Peter Quennell (1979), p. 129.

On
Psycho
, see Stephen Rebello,
Alfred Hitchcock and the Making of
Psycho (1990); Raymond Durgnat,
A Long Hard Look at “Psycho”
(2002); Philip J. Skerry, Psycho
in the Shower
(2009); David Thomson,
The Moment of
Psycho:
How Alfred Hitchcock Taught America to Love Murder
(2009).

“Since I have become”: François Truffaut to Alfred Hitchcock, June 2, 1962, in Truffaut,
Correspondence
, p. 177.

On Tippi Hedren, see Donald Spoto,
The Dark Side of Genius: The Life of Alfred Hitchcock
(1983).

“Anyway, Mr. Nabokov”: Alfred Hitchcock to Vladimir Nabokov, November 19, 1964, in
Vladimir Nabokov: Selected Letters, 1940–1977
, ed. Dmitri Nabokov and Matthew J. Bruccoli (1989), p. 363.

On Joseph Losey, see David Caute,
Joseph Losey: A Revenge on Life
(1994).

“There was a meeting,”
Conversations with Losey
, ed. Michel Ciment (1985), pp. 225–26.

“almost malignant”: Penelope Gilliatt,
The Observer
, November 17, 1963.

“the best film”: Philip Oakes,
Sunday Telegraph
, November 17, 1963.

On Stanley Kubrick, see Vincent LoBrutto,
Stanley Kubrick: A Biography
(1997); John Baxter,
Stanley Kubrick: A Biography
(1999); Michael Herr,
Kubrick
(2001).

On
Lolita
, see in addition to the several books on Kubrick, Alfred Appel, Jr., 
Nabokov's Dark Cinema
(1974); Vladimir Nabokov,
Lolita: A Screenplay
(1974); Richard Corliss,
Lolita
(1994); Brian Boyd,
Vladimir Nabokov: The American Years
(1992).

“unusually compelling”:
Lolita: A Screenplay
, p. viii.

“a graceful ingénue”: Ibid., p. ix.

“a first-rate film”: Ibid., p. xii.

“could one reproduce”: Ibid., p. 110.

“I would have advocated”: Ibid., pp. ix–x.

“He's an incredibly”: George C. Scott, quoted in LoBrutto,
Stanley Kubrick
, p. 238. 366 On James Bond, see Simon Winder,
The Man Who Saved Britain: A Personal Journey into the Disturbing World of James Bond
(2006).

On
Blow-Up
, see Roger Ebert,
The Great Movies
(2002); the screenplay to
Blow-Up
(1967); Bert Cardullo,
Michelangelo Antonioni: Interviews
(2008).

Arthur Knight said:
Playboy
, December 1966.

“I know it when I see it”: Justice Potter Stewart, concurring opinion,
Jacobellis v. Ohio
, 378 US 184 (1964). 370 On the Production Code, see Jack Valenti,
This Time, This Place: My Life in War, the White House and Hollywood
(2007).

“Bernardo Bertolucci's
Last Tango in Paris
”: Pauline Kael, “Tango,”
The New Yorker
, October 28, 1972, and Kael,
Reeling
(1977), pp. 52–53.

“Is it on?”: The screenplay to
Blue Movie
(1970).

On Brando's deal on
Last Tango in Paris
, see David Thompson,
Last Tango in Paris
(1998), p. 16.

“I had one of the most”: Marlon Brando, with Robert Lindsey,
Brando: Songs My Mother Taught Me
(1994), p. 425.

“it would have completely changed”: Ibid., p. 425.

“
Last Tango in Paris
received”: Ibid., pp. 425–26.

“Maria Schneider's freshness”: Kael, “Tango,” p. 60.

“Long shot of”: Screenplay to
Pierrot le Fou
(1969), pp. 37–38.

On Jerry Mander,
Four Arguments for the Elimination of Television
(1977), pp. 51, 113, 155, 261.

On
Bonnie and Clyde
, see Mark Harris,
Scenes from a Revolution: The Birth of the New Hollywood
(2008).

“We described a scene”: Robert Benton talking to Harris, in ibid., p. 13.

“Actually…I have no admiration”: François Truffaut to Elinor Jones, July 2, 1965, quoted in de Baecque and Toubiana,
Truffaut
(1999), p. 212.

On Warren Beatty, see Peter Biskind,
Star: How Warren Beatty Seduced America
(2009).

On Arthur Penn, see Robin Wood,
Arthur Penn
(1967); Nat Segaloff,
Arthur Penn: American Director
(2011).

“Nobody was too keen”: Estelle Parsons talking to Harris,
Scenes from a Revolution
, p. 249.

“You know what”: Screenplay for
Bonnie and Clyde
(1972 and 1998), p. 153.

“If I have to get up”: Harris,
Scenes from a Revolution
, pp. 326–27.

“a cheap piece”: Bosley Crowther,
New York Times
, August 14, 1967.

“The film critic”: Crowther quoted in Robert Steele, “The Good-Bad and the Bad-Good in Movies:
Bonnie and Clyde
and
In Cold Blood
,”
Catholic World
, May 1968.

“a squalid shoot-'em-up”: Joe Morgenstern,
Newsweek
; both reviews are extracted in the screenplay for
Bonnie and Clyde
, p. 218.

“
Bonnie and Clyde
brings”: Pauline Kael, “Crime and Poetry,”
The New Yorker
, October 21, 1967, and in
Kiss Kiss Bang Bang
, pp. 47–63.

On Roger Corman, see Roger Corman,
How I Made a Hundred Movies and Never Lost a Dime
(1998);
Roger Corman
, ed. Paul Willemen, David Pirie, David Will, and Lynda Myles (1970).

On Peter Bogdanovich, he has done so much, but it is worth stressing his earliest, groundbreaking works, the monograph interviews with Orson Welles (1961), Howard Hawks (1962), and Alfred Hitchcock (1963) done for the Museum of Modern Art in New York.

On Bob Rafelson, see the multi-film set of movies made by BBS, issued on DVD by Criterion, 2010.

On Jack Nicholson, see Patrick McGilligan,
Jack's Life: a Biography of Jack Nicholson
(1994).

“Only when I breathe”: Robert Towne,
Chinatown: A Screenplay
(1983).

On Robert Altman, see Mitchell Zuckoff,
Robert Altman: The Oral Biography
(2009); Patrick McGilligan,
Robert Altman: Jumping Off the Cliff
(1989).

“the slide area”: Gavin Lambert,
The Slide Area: Scenes of Hollywood Life
(1959).

“Why should I”: Francis Coppola in Peter Cowie,
The Godfather Book
(1997), p. 10.

“An ice-blue terrifying movie”: Al Ruddy in Cowie,
The Godfather Book
, p. 8.

On Brando and
The Godfather
, see Cowie,
The Godfather Book
, p. 13.

On Walter Murch, see Murch,
In the Blink of an Eye: A Perspective on Film Editing
(2001); Michael Ondaatje,
The Conversations: Walter Murch and the Art of Film Editing
(2004); David Thomson, “Conversation with Walter Murch,”
The Believer
(March-April 2011).

“it will be as quickly forgotten”: William F. Buckley,
New York Post
, March 14, 1972.

“overblown, pretentious,” Arthur Schlesinger, Jr.,
Vogue
, April 1972.

“one of the most brutal”: Vincent Canby,
New York Times
, March 14, 1972.

“the spaciousness and strength”: Pauline Kael,
New Yorker
, March 18, 1972.

“The young Marvin”: John Boorman,
Adventures of a Suburban Boy
(2003), pp. 135–36; see also Pamela Marvin,
Lee: A Romance
(1997).

“It's occasionally amusing”: François Truffaut to Nestor Almendros (n.d.), quoted in de Baecque and Toubiana,
Truffaut
, p. 326.

“which was true”: Dirk Bogarde, letter to Dilys Powell, January 24, 1974, in
Ever, Dirk: The Bogarde Letters
, ed. John Coldstream (2008), p. 87.

On Federico Fellini, see Peter Bondanella,
The Cinema of Federico Fellini
(1992); Tullio Kezich,
Federico Fellini: His Life and Work
(2006).

On Roman Polanski, see Roman Polanski,
Roman by Polanski
(1984).

On
The Passenger
, see Mark Peploe, Peter Wollen, and Michelangelo Antonioni, screenplay for
The Passenger
(1975).

On Luis Buñuel, see Luis Buñuel and Jean-Claude Carrière,
My Last Sigh
(1983);
Luis Buñuel's
The Discreet Charm of the Bourgeoisie, ed. Marsha Kinder (1999).

“Physical scenes don't bother me”: Catherine Deneuve, quoted in John Baxter,
Buñuel
(1994), p. 282.

On Rainer Werner Fassbinder, see Robert Katz,
Love Is Colder Than Death: The Life and Times of Rainer Werner Fassbinder
(1987); Christian Braad Thomsen,
Fassbinder: The Life and Work of a Provocative Genius
(1991); Susan Sontag, “Novel into Film: Fassbinder's
Berlin Alexanderplatz
,”
Where the Stress Falls
(2001).

“I wanted to make”: Katz,
Love Is Colder Than Death
, p. xiii.

“I worked so fast”: Ibid., p. 81

“You can't make films”: Fassbinder, “Six Films by Douglas Sirk,” p. 95.

On Jacques Rivette and
Céline et Julie Vont en Bateau
, see
Jacques Rivette: Texts and Interviews
, ed. Jonathan Rosenbaum (1977); Hélène Frappat,
Jacques Rivette: Secret Compris
(2001).

“Today's movie-house movie”: Hans-Jürgen Syberberg introduction,
Hitler: A Film from Germany
(1982), p. 19.

“The film tries”: Susan Sontag, Preface to
Hitler: A Film from Germany
, pp. xv–xvi.

On Ronald Reagan and the movies, see Dan Moldea,
Dark Victory: Ronald Reagan, MCA, and the Mob
(1986); Anne Edwards,
Early Reagan: The Rise to Power
(1987).

“Ronald Reagan's own way”: The back-flap blurb to Edmund Morris,
Dutch: A Memoir of Ronald Reagan
(1999).

“‘So you do believe'”: Morris,
Dutch
, p. 647.