Pauline Kael - Brian Kellow [243]
133 “a B-25 pilot”: Twentieth Century–Fox publicity handout, M*A*S*H.
133 “Bob had gotten fired from Warners”: Author interview with George Litto, June 4, 2010.
133 “Did you hear that?”: Author interview with Rene Auberjonois, September 2, 2009.
133 “He was referring to a conversation”: Ibid.
134 “I remember the sound engineer”: Ibid.
134 “Donald Sutherland and I became very close during the process”: Author interview with Elliott Gould, June 13, 2009.
135 “We were completely under the radar”: Author interview with Rene Auberjonois, September 2, 2009.
135 “This picture wasn’t released—it escaped”: Robert Altman, interview for Twentieth Century–Fox DVD release, M*A*S*H.
135 “a marvelously unstable comedy”: Kael, The New Yorker (January 24, 1970).
135 “competence is one of the values the movie respects”: Ibid.
135 “I’ve rarely heard four-letter words used so exquisitely well”: Ibid.
135 “When the dialogue overlaps”: Ibid.
135 “Many of the best recent American movies leave you feeling”: Ibid.
136 “His pictures showed life taking its course”: Author interview with Elliott Gould, June 13, 2009.
136 “After so many movies that come on strong”: Kael, The New Yorker (March 4, 1970).
136 “Pauline Kael is my favorite movie critic”: The New York Times, undated.
137 “While I miss the polemics”: Ibid.
137 “One doesn’t want to talk about how Tolstoi got his effects”: Pauline Kael, “Trash, Art and the Movies”: Harper’s (February 1969).
137 “By neglecting to analyze technique”: The New York Times Book Review, February 22, 1970.
137 “About film art”: Ibid.
137 “In her youth, as the author avows”: Ibid.
139 “I never adapted to New York”: People (April 18, 1983).
139 “for her film criticism”: Citation from the American Academy of Arts and Letters and the National Institute of Arts and Letters, May 26, 1970.
140 “Gimme a P, Gimme a G”: Letter from Michael B. Pulman, Department of History, Florida State University, to The New Yorker, May 23, 1971.
140 “could focus under the most intense sedation—alcohol”: Author interview with Jane Kramer, February 24, 2009.
141 “My sense was that they stayed out of each other’s way almost intentionally”: Ibid.
141 “My personal feeling—more than personally—is that Pauline did not have any respect, particularly, for Penelope”: Author interview with Sally Ann Mock, February 27, 2009.
CHAPTER TWELVE
143 “there was an obvious hunger for film”: Toby Talbot, The New Yorker Theater and Other Scenes from a Life at the Movies (New York: Columbia University Press, 2009), 53.
144 “at one end of the table were the intellectuals”: Author interview with Judith Crist, July 17, 2008.
144 “I always felt that there was an assumption”: Author interview with Kathleen Carroll, February 25, 2009.
144 “Headliners and by-liners help us do the job”: The New York Times, September 15, 1968.
145 “I have slept through more productions of this dated play”: New York Daily News, June 1, 1973.
145 “Well, when he shows up at screenings”: Author interview with Judith Crist, July 17, 2008.
146 “Pauline! Of course, you come to all the finest pictures”: Author interview with John Simon, March 6, 2008.
146 “There were a lot of directors”: Author interview with Paul Schrader, August 31, 2009.
146 “It used to be that understood that no matter how low your estimate of the public intelligence was”: Pauline Kael, “The Current Cinema,” The New Yorker (October 3, 1970).
147 “no contemporary American subject provided a better test of the new movie freedom than student unrest”: Ibid.
147 “the recently developed political consciousness”: Ibid.
147 “slanted to feed the paranoia of youth”: Ibid.
147 “members of the audience responded on cue”: Ibid.
147 “manipulation of the audience is so shrewdly, single-mindedly commercial”: Ibid.
148 “not caring, and not believing anything”: Ibid.
148 “She owned Gina”: Author interview with Charles Simmons, June 29, 2009.
149 “tone deaf about the effects of things on people”: Author interview with Dana Salisbury, September 20, 2009.
149 “I think George lifted Barbra, in a way