Pauline Kael - Brian Kellow [242]
120 “In film, concentrating on a few elements gives those elements such importance”: Ibid.
121 “She was sore because she was only paid half a salary”: Author interview with Jane Kramer, February 24, 2009.
122 “There is so much talk now about the art of the film”: Harper’s (February 1969).
122 “because it’s smart in a lot of ways that better-made pictures aren’t”: Ibid.
122 “But they are almost the maximum of what we’re now getting from American movies”: Ibid.
122 “At the movies we want a different kind of truth”: Ibid.
122 “connects with their lives in an immediate”: Ibid.
123 “I don’t trust anyone who doesn’t admit”: Ibid.
123 “obscenely self-important”: Ibid.
123 “a celebration of cop-out”: Ibid.
123 “to think of himself as a myth-maker”: Ibid.
123 “Trash has given us an appetite for art”: Ibid.
123 “She’s such a sweet girl”: Tagline for Pretty Poison.
124 “When I discovered that Pretty Poison had opened without advance publicity or screenings”: Kael, The New Yorker (November 2, 1968).
124 “When she was on somebody’s side”: Author interview with Lorenzo Semple, Jr., October 5, 2008.
124 “I’m going to bring a friend along”: Ibid.
124 “a habit of hers when she went out to dinner”: Ibid.
CHAPTER ELEVEN
125 “the spray of venom”: Pauline Kael, “The Current Cinema,” The New Yorker (September 27, 1969).
125 “grotesque shock effects”: Ibid.
125 “the simple, Of Mice and Men kind of relationship at the heart of it”: Ibid.
126 “What is new about Easy Rider”: Ibid.
127 “a basic decency and intelligence in his work”: Ibid.
127 “really seem to have the style for anything”: Ibid.
127 “facetious Western”: Ibid.
127 “destroys one’s sense of mood and time and place”: Life (October 24, 1969).
127 “The dialogue is all banter”: Kael, The New Yorker (September 27, 1969).
127 “Listen, you miserable bitch”: Letter from George Roy Hill to Pauline Kael, September 26, 1969.
128 “Americans talk a lot about marital infidelity”: Columbia Pictures publicity handout, Bob & Carol & Ted & Alice.
128 “I felt obliged to note that I did not believe”: New York Daily News, October 6, 1969.
128 “When it was offered to me”: Author interview with Elliott Gould, June 13, 2009.
128 “unpleasant”: The New York Times, September 17, 1969.
128 “I read Canby’s review”: Author interview with Paul Mazursky, September 2, 2009.
129 “Bob & Carol & Ted & Alice is a slick, whorey movie”: Kael, The New Yorker (October 4, 1969).
129 “taken the series of revue sketches”: Ibid.
129 “looks a bit like Lauren Bacall and a bit like Jeanne Moreau”: Ibid.
129 “Someone tapped me on the shoulder from behind”: Author interview with Dyan Cannon, June 13, 2009.
129 “probably the most sophisticated intelligence”: Kael, The New Yorker (October 18, 1969).
129 “the most insidious kind of enemy”: Ibid.
129 “High School is so familiar”: Ibid.
130 “Many of us grow to hate documentaries”: Ibid.
130 “Joe is a very soft-spoken, kind guy”: Author interview with Frederick Wiseman, October 8, 2008.
130 “The impression I had was that she felt I didn’t need her”: Ibid.
130 “Dear Sir: I think I’ve figured it out”: Letter from Cornelius Freeman to The New Yorker, November 28, 1969.
130 “There was a time”: Letter from Leslie E. Jones to The New Yorker, November 1969.
130 “They’re looking for ‘truth’ ”: Kael, The New Yorker (September 27, 1969).
131 “Grim”: Author interview with Carrie Rickey, May 9, 2009.
131 “How’re you going to feed it?”: James Poe and Robert E. Thompson, screenplay of They Shoot Horses, Don’t They?, 1969.
131 “I’m tired of losing!”: Ibid.
131 “She doesn’t try to save some ladylike part of herself ”: Kael, The New Yorker (December 20, 1969).
132 “a good chance of personifying American tensions”: Ibid.
132 “Somewhere along the line”: Kael, The New Yorker (January 3, 1970).
132 “is alive to”: Ibid.
132 “to be liberated from period clothes”: Ibid.
132 “not using decadence as a metaphor for Naziism”: Ibid.
132 “Visconti, though drawn to excess”: Ibid.
132 “I have rarely seen a picture I enjoyed less”: Ibid.