Shock Value - Jason Zinoman [126]
146 “‘So cut her head off’”: Michael Wolff, “So What Do You Do At Midnight? You See a Trashy Movie,” The New York Times, September 7, 1975.
146 “$602,133 in the first four days”: Jaworzyn, The Texas Chain Saw Massacre Companion.
146 $47.17: AI with Hansen.
147 “I had one of my kids”: Farley and Knoedelseder, “The Real Texas Chain Saw Massacre.”
147 “Of course now I’ve learned”: AI with Hooper.
147 Consider that George Romero: AI with Romero.
148 “well-made, well-acted”: Roger Ebert, “Texas Chainsaw Massacre,” Chicago Sun-Times, January 1, 1974.
148 “I consider myself ”: Paul Roen, Castle of Frankenstein, June 25, 1975.
148 “If we called it”: AI with Henkel.
149 By that he meant : AI with Hooper.
149 This new intelligentsia: Stephen Koch, “Fashions in Pornography: Murder as an Expression of Cinematic Chic,” Harper’s, November 1976.
CHAPTER EIGHT
152 He described his dad: AI with Brian De Palma; Julie Salamon, The Devil’s Candy: The Anatomy of a Hollywood Fiasco (New York: Da Capo Press, 1990).
152 The Times called: Charles Higham, “My Films Come Out of My Nightmares,” The New York Times, October 28, 1973.
152 Everyone agrees that: A. O. Scott, “Say Brian De Palma, Let the Fighting Start,” The New York Times, September 17, 2006. To get a sense of the polarized opinions about De Palma, start here.
153 “Like when I was a kid”: Susan Dworkin, Double De Palma (New York: Newmarket Press, 1984), p. 141; Laurence Knapp, Brian De Palma Interviews (Jackson: University of Mississippi Press, 2003); Michael Bliss, Brian De Palma (Metuchen, NJ: The Scarecrow Press, 1983); Laurent Bouzereau, The De Palma Cut (New York: Dembner Books, 1988).
154 “Because he is”: Brian De Palma, “Village Voice, March 1973.
154 It’s no accident: AI with Jared Martin.
155 “It was all like a joke”: AI with William Finley.
155 “He protected her”: AI with Nancy Allen.
155 “I didn’t see that then”: AI with De Palma.
157 “This is the most beautiful girl”: Ibid.
157 Leach, who would win: For his years at Columbia and his time in New York in the 1960s, I relied mostly on interviews with De Palma, Martin, Finley, Tina Shepard, Paul Zimet, Ellen Rand, and Gerrit Graham.
157 “about better yield potential”: AI with Martin.
158 “If the [producer]”: AI with De Palma.
160 “It was intense”: Ibid.
161 “He meant it”: King, Danse Macabre, p. 96.
161 “an uneasy masculine shrinking”: Ibid.
163 De Palma wrote a screenplay: AI with De Palma.
163 “Spielberg wanted to talk”: AI with Lawrence D. Cohen.
163 King had admitted: Stephen King, On Writing: A Memoir of the Craft (New York: Scribner, 2010).
164 “And you saw pretty much everything”: AI with Allen.
164 “He thought that was interesting”: AI with Betty Buckley.
165 Why not just: AI with Allen, Buckley, De Palma.
165 the “most experimental”: Peter Lester, “Director Brian De Palma and Actress Nancy Allen Just Got Carrie-D Away,” People, October 22, 1979.
165 “Too show-offy.”: AI with Cohen.
167 “Squirm like a bug on a pin”: AI with Buckley.
168 “[De Palma] killed me”: AI with Amy Irving, Buckley, De Palma.
168 “After Carrie”: AI with Craven.
169 Brian De Palma said: AI with De Palma.
169 “No one else”: Pauline Kael, “The Current Cinema,” The New Yorker, November 22, 1976.
169 Others saw its: Richard Eder, “After the Prom, the Horror,” The New York Times, November 17, 1976.
170 “You are a mind-fucker”: AI with Allen, De Palma.
170 an observation Allen : AI with Allen.
171 “He was pleased and delighted”: AI with Allen, De Palma, Finley.
172 “But what he perhaps”: AI with Keith Gordon.
CHAPTER NINE
175 As for The Exorcist: AI with Brian De Palma, William Friedkin.
176 but fifteen years after Psycho: Roger Ebert, “Jaws,” Chicago Sun-Times, January 1, 1975; Vincent Canby, “Entrapped by ‘Jaws’ of Fear,” The New York Times, June 21, 1975; Terry McCarthy, “Summer of the Shark,” Time, June 23, 1975; Pauline Kael, “The Current Cinema,” The New Yorker, November 8, 1976.
176 There were no takers: AI with Wes Craven.