Shock Value - Jason Zinoman [122]
41 “All that stuff’s”: AI with Romero, Russo.
42 “He simply gave”: AI with Romero.
42 “Man, this is good for us”: Ibid.
43 “[After the assassination]”: AI with Peter Bogdanovich, Robert Evans.
43 “All the great movies”: Aljean Harmetz, “Peter Still Looks Forward to His Citizen Kane,” The New York Times, November 14, 1971.
44 “I felt raped”: AI with Bogdanovich.
44 “I was convinced”: Ibid.
44 “Are you interested?”: AI with Roger Corman, Bogdanovich; Peter Bogdanovich, Pieces of Time: Peter Bogdanovich on the Movies (New York: Arbor House Pub, 1973), pp. 18–20.
45 “I remember thinking”: AI with Bogdanovich.
46 “What is modern horror?”: Ibid.
46 Corman told his actors: Roger Corman, How I Made a Hundred Movies in Hollywood and Never Lost a Dime (New York: Da Capo Press, 1990), p. 81.
46 Karloff was troubled: AI with Bogdanovich; Gordon B. Shriver, Boris Karloff: The Man Remembered (Baltimore: PublishAmerica, 2004), p. 132.
47 In an insightful essay: Renata Adler, “One Does Not Want This Sniper to Miss,” The New York Times, August 25, 1968.
47 “This is the only flaw”: Howard Thompson, “Two Case Histories of Horror Are Joined: Boris Karloff Stars in Gripping ‘Targets’ Film by Bogdanovich at 46th St. Embassy,” The New York Times, August 14, 1968.
48 “How intellectually chaotic”: Penelope Gilliatt, “The Current Cinema,” The New Yorker, September 7, 1968.
CHAPTER THREE
50 “It was about a woman”: AI with Dan O’Bannon.
50 “Nobody makes it”: AI with Terence Winkless.
51 “From Polanski I realized”: AI with John Carpenter.
52 “That’s what he’s like”: AI with Brian Narelle.
52 “You shouldn’t take everything I say”: Giles Boulenger, John Carpenter: The Prince of Darkness (Los Angeles: Silman-James Press, 2003), p. 62.
52 Carpenter loved genre movies: Frederick S. Clarke, “Roots of Imagination: Carpenter’s Boyhood Dream Was Making Horror Films,” Cinefantastique, Summer 1980.
52 He wanted to make movies like that: AI with Carpenter.
52 “It was viewed as”: Ibid.
53 “That’s not fair!”: AI with O’Bannon.
53–54 “But for Dan”: AI with Winkless.
54 “You knew all you needed to know”: AI with Carpenter.
54 “I’m telling you”: Jordan R. Fox, “Riding High on Horror,” Cinefantastique, Summer 1980.
54 Carpenter proposed making a movie: AI with Carpenter, O’Bannon.
55 “He knew he had to have”: AI with Nick Castle.
55 “We just skipped the step”: AI with Castle.
56 “I looked over . . . accepted him”: Thomas S. O’Bannon, unpublished document, “The Book of Daniel”; Daniel O’Bannon’s unpublished autobiography was also useful in his family background and the background of his birth.
56 It sat in front of a sign: AI with Diane O’Bannon; O’Bannon,“The Book of Daniel.”
57 “They were so wrapped up”: AI with O’Bannon.
57 “This morning . . . Not bad, huh?”: O’Bannon, “The Book of Daniel.”
58 “I want to talk on anyhow”: Ibid.
58 “As an artist”: Ibid.
58 “And he was unstable”: AI with O’Bannon.
58 He also demonstrates interest: Dan O’Bannon, “Movie in Reviews” columns about Seconds and The American Dream, before publication.
58 After reading an advice column: AI with O’Bannon.
59 “The story is tendentious”: Ibid.
59 Another time, Winkless: AI with Winkless.
59 “O’Bannon was a bit crazed”: AI with Narelle.
60 “Dan had enormous confidence”: AI with Carpenter.
60 To take one example: Nick Castle at Dan O’Bannon’s memorial.
60 “I needed a friend”: AI with O’Bannon.
60 O’Bannon’s favorite: Ibid.
60 Carpenter recalls: AI with Carpenter.
61 A man chasing you: Stephen T. Asma, On Monsters: An Unnatural History of Our Worst Fears (New York: Oxford University Press, 2009), p. 186. Asma deftly explains how Freud, Heidegger, and Lovecraft, while very different thinkers, were trying to articulate a similar kind of oblique, irrational experience.
61 His favorite tale was “The Outsider”: Joyce Carol Oates, ed., Tales of H. P. Lovecraft (New York: Ecco, 1997).
62 “The oldest and strongest emotion”: H. P. Lovecraft, Supernatural Horror in Literature (New York: Dover Publications, 1973), p. 12.
63 “What if it’s a talking