210 “learning about the Catholic Church while I was doing that film”: Author interview with William Friedkin, May 10, 2008.
210 “no indication that Blatty”: Ibid.
210 “The whole movie was balanced on that”: Author interview with William Friedkin, May 10, 2008.
210 “I wonder about those four-hundred and ninety-nine mothers”: Kael, The New Yorker (January 7, 1974).
210 “the biggest recruiting poster”: Ibid.
210 “I found it wrong-headed”: Author interview with William Friedkin, May 10, 2008.
211 “I remember her walking in”: Author interview with Joan Tewkesbury, February 4, 2009.
211 “What you got was this sense of women”: Ibid.
211 “the pensive, delicate romanticism of McCabe, but it isn’t hesitant or precarious”: Kael, The New Yorker (February 4, 1974).
211 “saphead objectivity”: Pauline Kael, Time (March 14, 1968).
211 “Robert Altman spoils other directors’ films for me”: Kael, The New Yorker (February 4, 1974).
212 “Pauline Kael saved McCabe & Mrs. Miller”: Letter from Grover Sales to Pauline Kael, October 22, 1973.
212 “In terms of the pleasure that technical assurance gives an audience”: Kael, The New Yorker (March 18, 1974).
212 “If there is such a thing as a movie sense”: Ibid.
212 “an intellectualized movie—shrewd and artful”: Kael, The New Yorker (March 18, 1974).
213 “I guess you didn’t know that Terry is like a son to me”: Modern Maturity (March–April, 1998).
213 “Tough shit, Bill”: Ibid.
213 “Movie criticism is a happy, frustrating, slightly mad job”: Pauline Kael, acceptance speech, National Book Awards, April 18, 1974.
CHAPTER SEVENTEEN
214 “With her review of Last Tango, I think”: Author interview with Howard Kissel, July 2, 2008.
214 “I would say film critics have power ”: Ibid.
214 “the reputations of virtually every writer in town”: David Denby, “My Life as a Paulette,” The New Yorker (October 20, 2003).
215 “those who didn’t turn away in anger”: Ibid.
215 “It’s shit, honey”: Ibid.
215 “You’re too restless to be a writer”: Ibid.
215 “I’ve thought about this seriously, honey”: Ibid.
215 “Ray, his face cast down into his shrimp and rice”: Ibid.
216 “the emotional resources”: Pauline Kael, “The Current Cinema,” The New Yorker (December 23, 1974).
217 “about midway”: Ibid.
217 “Is it our imagination”: Ibid.
217 “the physical audacity”: Ibid.
217 “openhanded”: Ibid.
217 “the sensibility at work”: Ibid.
217 “a magnificent piece”: Letter from Penelope Gilliatt to Pauline Kael, December 17, 1974.
217 “in a position”: Kael, The New Yorker (August 5, 1975).
217 “didn’t plan on The Conversation being a success”: Ibid.
218 “audiences like movies that do all the work for them”: Ibid.
218 “The movie companies used to give all their pictures a chance”: Ibid.
218 “Perhaps no work of art is possible without belief in the audience”: Ibid.
219 “really care about the business end”: Letter from Fred Goldberg to Pauline Kael, August 22, 1974.
219 “a hell of a writer”: Ibid.
219 “strikingly well-edited”: Kael, The New Yorker (October 14, 1974).
219 “complete without us”: Ibid.
219 “the secret of gambling ”: Ibid.
219 “The poor bastard who buys a two-dollar ticket”: Ibid.
219 “I always enjoy reading you”: Author interview with James Toback, May 21, 2009.
220 “For a while I just felt awkward: Ibid.
220 “a lot of characters”: Kael, The New Yorker (October 14, 1974).
220 “She never liked to talk about being Jewish”: Author interview with James Toback, May 21, 2009.
220 “She thought, ‘I’m just what he was”: Ibid.
220 “one of the rare films that genuinely deserve to be called controversial”: Kael, The New Yorker (January 13, 1975).
221 “the first angry-young-woman movie”: Ibid.
221 “Burstyn appears to be”: Ibid.
221 “The trouble with Ellen Burstyn’s performance is that she’s playing against something instead of playing a character”: Ibid.
221 “so many of those discordant notes”: Ibid.
222 “might have been no more than a saucy romp ”: Kael, The New Yorker (February 17, 1975).
222 “the emotional climate of the time and place”: Ibid.
222 “an easy role”: Ibid.
222 “the most virtuoso example of sophisticated kaleidoscopic farce”: Ibid.
223 “She was very entertaining and interesting and funny about herself”: Author interview with Michael Murphy, October 15, 2009.
223 “I always had a feeling about Pauline”: Ibid.
223 “Bob was very flattered by how wonderful she thought he was”: Author interview with Sue Barton, October 23, 2008.
224 “That’s what the screening was for”: Jan Stuart, The Nashville Chronicles: The Making of Robert Altman’s Masterpiece (New York: Simon & Schuster, 2000), 281.
224 “Is there such a thing as an orgy for movie-lovers”: Kael, The New Yorker (March 3, 1975).
224 “Nashville isn’t in final shape yet”: Ibid.
224 “The great American popularity contest”: Ibid.
225 “all of those things”: Ibid.
225 “Altman wants you to be part of the life he shows you”: Ibid.
226 “no longer singing”: Kael, The New Yorker (March 17, 1975).