Shock Value - Jason Zinoman [121]
20 He had been strongly influenced by: James Marriot, Horror Films (London: Virgin Films, 2004), p. 135.
21 As such, Polanski told his crew and actors: AI with William Fraker.
22 Polanksi loved Waiting for Godot: William Hutchings, Samuel Beckett’s Waiting for Godot: A Reference Guide (New York: Praeger, 2005), p. 18.
22 “He has exactly”: Kathleen Tynan, ed., Kenneth Tynan: Letters (New York: Random House, 1994), p. 339.
22 “I want realism, Bill”: Castle, Step Right Up!, p. 207.
22 “Blood is phony”: Ibid.
22 “Nobody will hit a pregnant woman”: Mia Farrow, What Falls Away: A Memoir (New York: Bantam Books, 1998), p. 109.
23 Levin had to confess: Stephen King, Danse Macabre (New York: Berkley Books, 1981), p. 296.
23 “We were trying”: AI with William Fraker.
24 “Roman wanted the focus”: Ibid.
24 After he called a meeting: AI with Evans.
24 He served her divorce papers: Farrow, What Falls Away, p. 112.
25 In this final passage: King, Danse Macabre, p. 299.
25 Castle pleaded: Castle, Step Right Up!, p. 210.
25 This is going to be big: AI with Evans.
25 On August 8: UPI, “Vermont City Bans Rosemary’s Baby,” Los Angeles Times, August 8, 1968.
26 “Only a director”: No byline, “‘Rosemary’s Baby’ Given a ‘C’ Rating by Catholic Office,” The New York Times, July 21, 1968; Stanley Kauffmann, “Son of a Witch,” The New Republic, June 15, 1968.
26 “Having paid my critical respects . . . believe anything”: Charles Champlin, “‘Rosemary’s Baby’ on Crest Screen,” Los Angeles Times, June 14, 1968.
26 Simply, for a horror movie: Charles Champlin, “Toward a Definition of Good Taste in Movies,” Los Angeles Times, July 7, 1968.
CHAPTER TWO
28 “The audience is very different”: Jack Sullivan, Hitchcock’s Music (New Haven, CT: Yale University Press, 2006), p. 278.
28 The New Yorker described Vertigo: John McCarten, “The Current Cinema,” The New Yorker, June 7, 1958.
28 But the image of him: François Truffaut, Hitchcock/Truffaut (New York: Simon & Schuster, 1984).
30 This murder took one week: David Thomson, The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder (New York: Basic Books, 2009), p. 58.
30 John Carpenter cast Jamie Lee Curtis: AI with John Carpenter, Irwin Yablans.
30 Tobe Hooper patterned the madman: AI with Tobe Hooper.
30 “It’s unique to cinematic storytelling”: AI with Brian De Palma.
31 “You mean fromage”: AI with John Landis.
31 “Most intelligent people”: AI with William Friedkin.
32 “Psycho was kind of restrained”: AI with Wes Craven.
33 “We didn’t care”: AI with Herschell Gordon Lewis; Joe Bob Briggs, Profoundly Disturbing: Shocking Movies That Changed History! (New York: Universe, 2003), pp. 86–99.
33 But Lewis took this tongue: AI with Lewis.
34 “Anyone under thirty-five”: Ibid.
34 “A blot on the American film industry”: Kevin Thomas, “‘Blood Feast’ Grisly Boring Movie Trash,” Los Angeles Times, May 2, 1964.
34 “He got more directly”: AI with Lamberto Bava.
35 The same year that Blood Feast: Adam Rockoff, Going to Pieces: The Rise and Fall of the Slasher Film, 1978–1986 (Jefferson, NC: McFarland, 2002), pp. 30, 31.
36 “It didn’t matter”: AI with Immerman.
36 “Murdering mannequins . . . grammar-school histrionics”: A. H. Weiler, “Blood and Black Lace,” The New York Times, November 11, 1965.
36 “Bava is simply”: Carlos Clarens, An Illustrated History of the Horror Film (New York: Paragon Books, 1967), p. 158.
37 “When the law enforcement”: AI with Landis.
37 At around the same time: AI with Craven, Carpenter, Dario Argento.
37–38 The influential French film journal: Daney Serge, “Night of the Living Dead,” Cahiers du Cinéma, April 1970.
38 “It was legit”: AI with George Romero.
39 “You got to respect”: Ibid.
39 “That left horror”: AI with Russ Streiner.
39 Romero and nine: Paul R. Gagne, The Zombies That Ate Pittsburgh: The Films of George A. Romero (New York: Dodd, Mead, 1987), p. 29.
39 “Possibly the scariest”: AI with Romero.
40 “All horror films”: AI with John Russo.
41 “I didn’t even use the word ‘zombie’”: AI with Romero.
41 “You’re romping through