Pauline Kael - Brian Kellow [252]
252 “There’s this line, and they’re mostly women”: Ibid.
253 “funny and buoyant besides”: Kael, The New Yorker (March 6, 1978).
253 “floating, not-quite-sure not-quite-here quality is just right”: Ibid.
253 “a superb shaggy screenwriter and rarely less than deft”: Ibid.
253 “whether she’s struggling toward independence”: Ibid.
253 “She at that point in her movie criticism was becoming a kineticist”: Author interview with Richard Albarino, November 23, 2009.
254 “Jimmy needs to be an exciting, violent, emotional man”: Kael, The New Yorker (March 13, 1978).
254 “still locked up in the writer-director’s head”: Ibid.
254 “The shock is in the speed of Dreems’s action”: Ibid.
254 “The only time I ever felt Pauline levitate”: Author interview with George Malko, April 15, 2009.
254 “Normality doesn’t interest Toback”: Kael, The New Yorker (March 20, 1978).
254 “You refer to the literary adolescent’s way”: Author interview with James Toback, May 21, 2009.
254 “so far beyond anything in his last film, Carrie”: Ibid.
255 “No Hitchcock thriller was ever so intense”: Ibid.
255 “What she lost was her taste”: Author interview with Joe Regan, November 10, 2010.
CHAPTER TWENTY
256 “Discriminating moviegoers want the placidity of nice art”: Pauline Kael, “The Current Cinema,” The New Yorker, September 25, 1978.
256 “no desire but to please”: Ibid.
257 “The trucks give the performances in this movie”: Ibid.
257 “took risks”: Author interview with Jeanine Basinger, November 19, 2010.
258 “How can Woody Allen present”: Ibid.
258 “Surely at root the family problem is Jewish”: Ibid.
258 “This droll piece of work is his most majestic so far”: Penelope Gilliatt, “The Current Cinema,” The New Yorker (August 7, 1978).
258 “A wedding. . . . I’m taking this crew, and we’ll be doing weddings”: Author interview with Robert Altman, June 19, 2004.
258 “like a busted bag of marbles”: Kael, The New Yorker (September 25, 1978).
258 “doesn’t like the characters on the screen”: Ibid.
259 “began tuning out on Eva’s tirade”: The Village Voice, November 6, 1978.
259 “as the truth”: Kael, The New Yorker (November 6, 1978).
259 “It’s like the grievances of someone who has just gone into therapy”: Ibid.
260 “He was always pushing her to get out ”: Author interview with Richard Albarino, November 23, 2009.
260 “was cast out in no uncertain terms”: Ibid.
260 “I can remember a couple of times, at least, seeing him turn so red when they would start arguing”: Author interview with William Whitworth, November 30, 2009.
260 “The problem Shawn had with her over and over”: Ibid.
261 “. . . he bats his eyelids”: Kael, The New Yorker (November 27, 1978), galley proof courtesy of William Whitworth.
261 “This piece pushes her earthiness at us”: Ibid.
261 “He’s like a young kid pretending to be an old coot”: Ibid.
261 “Her earthiness, her focus on body functions”: Ibid.
261 “a commercial for cunnilingus”: Ibid.
261 “This has to come out”: Ibid.
261 “long takes and sweeping, panning movements”: Kael, The New Yorker (December 18, 1978).
261 “an astonishing piece of work”: Ibid.
261 “his xenophobic yellow-peril imagination”: Ibid.
262 “traditional isolationist message: Asia should be left to the Asians”: Ibid.
262 “We have come to expect a lot from De Niro: miracles”: Ibid.
262 “Pardon me—he’s someone you babysat!”: Author interview with Daryl Chin, November 16, 2010.
262 “When I see something as huge, as rich”: Letter from Owen Gleiberman to Pauline Kael, March 13, 1979.
262 “the American movie of the year—a new classic”: Kael, The New Yorker (March 15, 1976).
262 “the San Francisco brand of humanity”: Ibid.
263 “a grown-up, quicksilver talent”: Ibid.
263 “such instinct for the camera that even when she isn’t doing anything special”: Kael, The New Yorker (March 13, 1979).
263 “Sweetie, you need a publicist—nobody knows you”: Author interview with Philip Kaufman, May 7, 2009.
263 “She recognized that Body Snatchers was in large part a comedy