Pauline Kael - Brian Kellow [257]
321 “never before been this seductive on the screen”: Kael, The New Yorker (February 10, 1986).
321 “Allen’s idea of movie acting is the reading of lines”: Notes from Pauline Kael’s screening of Hannah and Her Sisters.
321 “It doesn’t just repeat his work, it repeats itself ”: Ibid.
321 “The movie is a little stale”: Kael, The New Yorker (February 24, 1986).
322 “I don’t want to hurt him. . . . I just want to squirt him”: Author interview with Allen Barra, July 16, 2009.
322 “It seemed time for a change”: Pauline Kael, introduction, State of the Art (New York: Dutton, 1985).
322 “This bum ticker of mine”: Author interview with Trent Duffy, February 17, 2009.
323 “Frears is responsive to grubby desperation”: Kael, The New Yorker (March 10, 1986).
323 “Frears’s editing rhythms that seem so right are actually very odd”: Ibid.
323 “This Johnny wants to make something of himself ”: Ibid.
323 “Selling is what they think moviemaking is about”: Kael, The New Yorker (June 16, 1986).
324 “a phenomenal performance”: Kael, The New Yorker (September 22, 1986).
324 “the work of a genius naïf”: Ibid.
324 “what for want of a better word is called a ‘film sense,’”: Kael, The New Yorker (October 6, 1986).
324 “a true gift for informality”: Kael, The New Yorker (November 17, 1986).
325 “We can surmise”: Kael, The New Yorker (January 12, 1987).
325 “The results are overwrought”: Ibid.
325 “I’ll watch him with my own life”: Author interview with Warner Friedman, August 12, 2009.
325 “I can do better than this myself ”: Author interview with Polly Frost, April 10, 2009.
325 “Because you look like you’re a mother or a grandmother”: Author interview with Warner Friedman, August 12, 2009.
325 “Fuck you, Charlie”: Ibid.
326 “She was about to go back to San Francisco”: Author interview with Ray Sawhill, March 20, 2009.
326 “She would be let down if I would say”: Ibid.
326 “absolutely first rate”: Letter from Pauline Kael to William Abrahams, February 4, 1982.
327 “Nobody was reading my reviews in The East Side Express”: Author interview with Owen Gleiberman, February 18, 2009.
328 “To be true to what Pauline taught us”: Ibid.
CHAPTER TWENTY-SIX
329 “Dozens of people had advanced”: William Shawn to the staff of The New Yorker, fall 1976.
330 “If Shawn were to give up some of his duties as editor”: Brendan Gill, Here at The New Yorker (New York: Random House, 1975; quoted from DaCapo paperback edition), 381.
330 “powerful and apparently unanimous expression of sadness”: Letter to Robert A. Gottlieb from the staff of The New Yorker, January 13, 1987.
330 “The New Yorker has not achieved its preeminence by following orthodox paths of magazine publishing and editing”: Ibid.
331 “He was a great editor”: Pauline Kael, remarks to audience at New Yorker luncheon, Beverly Hills Hotel, May 7, 1987.
331 “with Bob Gottlieb”: Ibid.
331 “an amazing man—dedicated to what he believes to be the best writing”: Letter from Pauline Kael to Samuel M. Grupper, MacArthur Fellows Program, December 22, 1987.
331 “constitute a vote of confidence in an eighty-year-old man of letters”: Ibid.
331 “never before blended his actors so intuitively, so musically,” Pauline Kael, “The Current Cinema,” The New Yorker (December 14, 1987).
331 “funny, warm family scenes that might be thought completely outside his range”: Ibid.
332 “TOM: I don’t write”: James L. Brooks’s screenplay of Broadcast News, 1987.
332 “Basically, what the movie is saying”: Kael, The New Yorker (January 11, 1988).
332 “There’s not even a try for any style or tension in Broadcast News”: Ibid.
333 “The camera is so discreet it always seems about ten feet too far away”: Kael, The New Yorker (February 22, 1988).
333 “directed so that he never engages us”: Ibid.
333 “Yes, it gets to you by the end”: Ibid.
334 “too fastidious to do anything dangerous or dirty”: Jay McInerney, Brights Lights, Big City (New York: Vintage Books, 1984), 19.
334 “Woody Allen’s picture is meant to be about emotion”: Kael, The New Yorker (October 31,