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Home , Assassino, A Letter to Elia, Barbara De Fina, Blood and Black Lace, Boris Leven, Bringing Out the Dead

Notes

1 Evolving Authorship, Developing Contexts: ‘Life Lessons’

1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of authorship here described, see Grist (2000: 1–9). 4. While for this book New Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the ’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). 7. That Corrigan is concerned with authorial star image is implicit in his adduc- tion of Dyer; see Corrigan (1991: 106). 8. For work on film authorship underpinned by such politics of identifica- tion in terms of sexual orientation, gender and/or race, see, for example, Medhurst (1991), Mayne (1994), Green (2001) and Projansky and Ono (2003). 9. was first mooted as a replacement for Spielberg, but his work was finally seen to be, in Greenhut’s words, ‘too close to’ Allen’s (Nathale 1989: 27). 10. For a more detailed relation of ‘Life Lessons’ to its literary sources, see Librach (1996: 128–34). 11. Almendros shot the segments directed by Douchet (‘Saint-Germain-des- Prés’) and Rohmer (‘Place de l’Etoile’). 12. For the influence of the nouvelle vague on the development of Scorsese’s authorial discourse, see Grist (2000: 12–17).

311 312 Notes

13. The canvas on which Dobie works throughout most of ‘Life Lessons’ is a reproduction of a painting titled The Bridge to Nowhere by artist Chuck Connelly. 14. As Dobie’s canvas was painted by Connelly, so Paulette’s art was painted by artist Susan Hambleton. 15. ‘Empathetic’ and ‘anempathetic’ are terms coined by Michel Chion. Empathetic music expresses ‘its participation in the feeling of the scene, by taking on the scene’s rhythm, tone, and phrasing’ (Chion 1990: 8). Anempathetic music exhibits ‘conspicuous indifference to the situation, by progressing in a steady, undaunted, and ineluctable manner’ (8). 16. As Librach points out, Dobie’s asserting that he is ‘nothing’ to Paulette reflects a like assertion by Aleksei to Polina in The Gambler (1996: 130). 17. The conception of postmodernism informing these points is indebted espe- cially to Jameson (1984).

2 Scorsese and Documentary:

1. Godard’s maxim is, ‘cinema is not the reflection of reality, but the reality of that reflection’; see MacCabe (1980: 110). 2. Apart from the material shot at Memmoli’s house and the filming of and Scorsese in the Jacuzzi, Scorsese shot unused interviews with actor and with singer- , as well as some unused exterior footage. All filming occurred over two consecutive weekends. 3. Martin can, in addition, be seen briefly during the film’s final shot. 4. It is also an argument that has been both accepted and repeated by Scorsese; see, for example, Henry (1980: 7) and Christie and Thompson (2003: 113). 5. When Helm left the tour he was replaced first by Bobby Gregg, then Sandy Konikoff, then Mickey Jones. 6. ‘’ remain largely unreleased officially. In 1975 Columbia released 16 of the recordings, along with eight songs by , as The Basement Tapes. Another two recordings, ‘’ and ‘Santa-Fe’, were released as part of , The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 (Columbia, 1991). 7. Although was shot and released after The Last Waltz, it was conceived of following ; see Henry (1980: 6). 8. The third chandelier was ‘from the Fox prop department’ (Corliss and Clarens 1978: 51). 9. See, for example, Sutton (1981) and Altman (1989: 59–62). 10. Gimme Shelter represents the free concert held at Altamont, , in December 1969, during which one person was murdered and three others died. 11. Even after Manuel’s suicide, Danko, Helm and Hudson, augmented by other musicians, continued to tour as The Band. This was maintained into and during the , when they also resumed recording. 12. Gimme Shelter, with its darker vision of the late , offers a contrasting perspective on the counter-culture, one that centres upon its latent tensions and violence. 13. For more on the postmodernist nostalgia film, see Jameson (1984: 66–8) and Grist (2000: 160–1, 191–2). Notes 313

3 Masculinity, Violence, Resistance:

1. From the early , the rating had become largely the province of, and was associated in the public’s mind with, hard-core pornography. 2. Scorsese has noted that Schoonmaker looked at The Last Waltz ‘once or twice and gave some opinions’ (Schickel 2011: 337); she is among those granted ‘special thanks’ in the film’s end credits. 3. The films included II (, 1979), The Main Event (Howard Zieff, 1979) and The Champ (Franco Zeffirelli, 1979). 4. For more on Scorsese’s campaign, see, for example, Stern (1995: 154–5) and Christie and Thompson (2003: 84–7). 5. This was Mickey Lo Faro, father of a childhood friend of Scorsese. 6. For more on the narrative operation of Taxi Driver, see Grist (2000: 140–1). 7. Correspondingly, this chapter uses ‘La Motta’ when referring to the biographi- cal individual, ‘Jake’ when referring to the character played by De Niro. 8. Most influentially in the arguments propounded by Cook (1982) and Wood (1986: 245–58). 9. Not only was each sound effect ‘different’, but, according to Scorsese, super- vising sound effects editor Frank Warner ‘wouldn’t tell’ what ‘many of the effects were’ and ‘even burnt them afterwards so nobody else could use them’ (Christie and Thompson 2003: 83). 10. ‘Rendering’ has a specific – and apposite – meaning in relation to film sound, being a term appropriated by Michel Chion to refer to the ‘use of sounds to convey the feelings or effects associated with the situation on screen – often in opposition to faithful reproduction’ (1990: 224). 11. La Motta’s biography describes how at the age of 16 he thought he had murdered one Harry Gordon, only for him to turn up alive, after La Motta had been racked by guilt for years, at the party celebrating La Motta’s world championship victory; see La Motta with Carter and Savage (1970: 8–9 and 190–2). 12. For more on the mirror motif in Scorsese’s work, see Grist (2000: 24–7, 74, 138). 13. David Friedkin describes it as ‘a climactic sublimation of the sexual act’ (1994: 128). 14. The choice of the speech was another element of Raging Bull influenced by Powell; see Ehrenstein (1992: 159) and Schickel (2011: 145). 15. Robertson’s list comprises ‘Hank Williams, Buddy Holly, Otis Redding, Janis [ Joplin], Jimi Hendrix, Elvis’.

4 Back to Travis #1: The King of

1. The persons nominated were , , Michael Chapman and Donald O. Mitchell, Bill Nicholson, David J. Kimball and Les Lazarowitz. 2. For a discussion of this cycle of father–son melodramas, see Britton (1986: 24–7). 3. Given the relation of The King of Comedy to Taxi Driver, which will in part structure the subsequent discussion, a recapitulation of the latter’s narrative is probably necessary. Taxi Driver involves Travis, a cab 314 Notes

driver appalled by ’s depravity. Amidst this he spies Betsy (), a campaign worker for Palantine, whom Travis perceives as pure. On their only date Travis inexplicably takes her to a porno cinema. Rebuffed, Travis buys some guns and begins a regimen of exercise and target practice. He stalks Palantine, and becomes obsessed with the welfare of Iris, a 12-year- old prostitute, whom he seeks to save from her pimp, Sport. After failing to assassinate Palantine, Travis storms Iris’s building, killing Sport, Iris’s timekeeper (Murray Moston) and a mafioso ( Maroff ). A coda shows Travis – who has returned Iris to her family, and been hailed a hero – appar- ently readjusted and able to drive Betsy without reaction. 4. More specifically, the mothers of Murray, J. R. and Pupkin are either seen or heard, for while the mothers of Murray and J. R. appear visually, they never speak. 5. And that is as well evidenced by Langford’s stand-in, Randall. The costume designer on The King of Comedy was, as on Raging Bull, Richard Bruno. 6. Baudrillard writes specifically of the ‘precession of simulacra’ (1981: 1); that is, of the images that constitute simulation. Evoking Plato, Fredric Jameson defines a simulacrum – simulacra in the singular – as ‘the identical copy for which no original has ever existed’ (1984: 66). 7. The film’s most extended and integrated allusions are to Journal d’un curé de campagne/Diary of a Country Priest (, 1950), ( , 1956), Psycho (, 1960) and Peeping Tom (Powell, 1960). 8. Among the symptoms noted by Lacan are ‘dissociation … ejaculatory speech that is insignificant or too significant, laden with non-meaningfulness, the decomposition of internal discourse’ (1981: 321). 9. In a nice touch, during the scene the attire and grooming of the now suc- cessful Pupkin more exactly reflects that of Langford. 10. For discussion of the Oedipal scenario as founded upon earlier kinship systems, and of woman as object within such systems, see Mitchell (1975: 370–81) and Johnston (1976: 320–3). Lacan in turn writes that whereas ‘women in the real order’ serve ‘as objects for the exchanges required by the elementary structures of kinship’, and while these structures ‘are sometimes perpetuated in the imaginary order’, ‘what is transmitted in a parallel way in the symbolic order is the phallus’ (1959: 207). 11. Pastiche can be considered the first cousin of simulation. To cite Jameson: ‘Pastiche is, like parody, the imitation of a peculiar mask, speech in a dead language: but it is a neutral practice of such mimicry, without any of paro- dy’s ulterior motives, amputated of the satiric impulse’ (1984: 65). 12. argues that although Lewis’s career ‘has been marked by an inter- play of TV and film’, his ‘television stardom grew out of his position in cinema’ (1984: 79). 13. For a condensed account of some of the modernist tendencies of Lewis’s filmmaking, see Krutnik (2007). 14. In 1983 Scorsese also appeared in /Pavlova: A Woman for All Time (), playing Gatti-Cassaza, director of the Metropolitan Opera House. 15. Zimmerman had proposed a different ending for the film: ‘I saw Rupert performing on Jerry Langford’s show as the “Kidnapping King of Comedy”. Notes 315

You’re not sure if it’s real or a fantasy’ (Kelly 1992: 159). Scorsese, however, ‘was uncomfortable with such an ambiguous ending’ (159). Naremore has also noted that Lewis ‘rejected the idea’ (1988: 269). 16. Psychologist Brothers first attained celebrity in the 1950s on The $64,000 Question. She was later a regular guest on The Tonight Show. 17. Annette Wernblad argues Pupkin’s mother’s voice is another of his imagin- ings (2011: 94–5). 18. The moment is based on an actual experience of Lewis’s. 19. Despite such parallels, Houston notes that Lewis wrote yet another ending for The King of Comedy that ‘Scorsese and Zimmerman liked, but had to reject because of the pressure from Taxi Driver and the Hinckley case’ (1984: 89). A suggestion of what this ending may have consisted of has been offered by Lewis’s comments on the completed film: ‘Rupert should have been Bickle. He should have blown someone away’ (89).

5 Adventures in Reagan and Bush Sr’s USA: and

1. Price’s script for eventually became a film directed by that was released in 1992. 2. The title derives from Tevis’s description late in of a pool table as ‘The rectangle of lovely, mystical green, the color of money’ (1960: 183). 3. For a discussion of populism, and a consideration of its ramifications within American culture, see Webster (1988). 4. Eddie likewise suffers from a ‘two brothers and a stranger’ scam in Tevis’s novel (1984: 218). 5. For a contrasting case for The Color of Money as substantively informed by homosexual connotations, see McDonough (1987). 6. In Georges Bizet’s opera Carmen, the title character, a Gypsy, sexually – if fatally – lures soldier José away from duty and fidelity into desertion, degra- dation and, eventually, murder. 7. With respect to the uncertain sexual politics of Price’s filmed scripts, consider, say, Sea of Love (, 1989), (John McNaughton, 1993) or Ransom (, 1996), on which Price shares script credit with Alexander Ignon. 8. See, specifically, Scorsese’s student It’s Not Just You, Murray! and, perhaps unsurprisingly, given their overt subcultural concern, Who’s That Knocking at My Door and . However, while the madonna–whore dichotomy can also be seen implicitly to inform , Taxi Driver suggests a trenchant critique of it as a misogynistic cultural construct. Regarding the last, see Grist (2000: 133–57). 9. Kolker’s discussion of the narrative working of GoodFellas (2000: 194–202), while contrastingly accentuated, is largely complementary to that presented by this chapter. 10. Unusual for the tightly scripted GoodFellas, the scene was an improvisation, based on an incident that happened involving Pesci; see Smith (1990: 69). 11. The real-life Jimmy Burke named his sons Frank and Jesse James Burke; see Pileggi (1985: 20). 316 Notes

12. In Introductory Lectures on Psychoanalysis, Sigmund Freud declares keys ‘a decidedly male symbol’ (1917: 192); Robin Wood observes that as in ‘capital- ist society money is the most obvious manifestation of power’, so ‘possession of money equals possession of the phallus’ (1986: 137). 13. Freud: ‘we can ask ourselves whether the replacement of the male limb by another limb, the foot or the hand, should be described as symbolic. We are, I think, compelled to do so’ (1917: 189). 14. It might be noted that the production designer for GoodFellas was , who had previously designed the parodic Mafia comedy ( , 1988). 15. Scorsese himself has referred to GoodFellas as ‘a nostalgia piece’, as well as to having ‘a nostalgia for the old-time, Italian-American gangster’ (Kelly 1992: 274). 16. The point sustains even though both Lois’s phone call and Sandy’s failure to wash up are based on fact, with only the characters’ names being changed; see Pileggi (1985: 200–1, 212). 17. In early cinema, emblematic shots can, as Noël Burch observes, ‘appear either at the beginning or at the end of a film, or both’ (1990: 193). For a consideration of the shot of Tommy in relation to the debates concerning early cinema, see Stern (1995: 1–3).

6 Yuppies in Peril: After Hours and Cape Fear

1. The term has been dated from 1983; see Grant (1998: 280). 2. To distinguish further between genres, cycles and subgenres, subgenres constitute particular combinations and weightings of generic elements that recur across historical periods. 3. With respect to , the narrative suggested relates more particularly to victim-hero films noirs; see Walker (1992: 12–14). 4. For a discussion of the cycle in relation specifically to film noir, see Grist (1992: 276–81). 5. In a footnote added to The Interpretation of Dreams in 1911, Freud writes: ‘The blinding in the legend of Oedipus, as well as elsewhere, stands for castration’ (1900: 522). Les Keyser relates Paul’s story to Scorsese’s own childhood ton- sillectomy (1992: 151). 6. As Annette Wernblad notes: ‘Dreams involving loss of hair are often expres- sions of castration anxiety’ (2011: 239 n. 8). 7. Richard Gilmore describes the bagel-and-cream-cheese paperweight as ‘pudendal’ (2007: 197) and Wernblad as ‘oddly evoking female genitalia’ (2011: 59). 8. Freud analogously regards pencils ‘undoubted male sexual symbols’ (1917: 188). 9. For the discussions regarding and different endings mooted for After Hours, see Peachment (1986: 20) and Christie and Thompson (2003: 100–1). 10. merged with independent International Pictures to form Universal-International in 1946. The studio’s original name was restored when it was taken over by entertainment con- glomerate Music Corporation of America in 1962. Notes 317

11. Stern also reads After Hours in terms of the uncanny. However, although After Hours contains much that would appear to accord with Freud’s aetiology of the uncanny – such as compulsion to repeat, castration anxiety and womb fantasy – the film’s knowing, darkly comic address aesthetically forecloses any uncanny effect. As Freud writes, while the uncanny is ‘something which is secretly familiar’ that ‘has undergone repression and then returned from it’, not everything ‘that fulfils this condition’ is ‘on that account uncanny’ (1919: 368). 12. consonantly describes Danielle as calling up Cady ‘as a defence against her incestuous desire for Sam’ (1992: 15). 13. In order to capture the spontaneity of Lewis’s responses, the scene in the theatre was shot with two cameras, and Scorsese considered using split screen to utilize the footage generated; see Kelly (1992: 290). 14. Cady’s feminine ‘drag’ has been linked by numerous critics to that of Norman Bates in Psycho; see, for example, Cook (1992: 15), Kolker (1998: 48) or Cokeliss (1999: 45–6). 15. Cook both terms Cady’s declared feminine identification ‘a bizarre assertion’ and refers to his appearance in Graciela’s uniform as his feminine side ‘scan- dalously’ surfacing (1992: 15). 16. For a further discussion of Cady as a Nietzschean figure, see Abrams (2007: 79–81). 17. Regarding the noted psychoanalytic knowingness, Josef Breuer and Freud aver: ‘Hysterics suffer mainly from reminiscences’ (1895: 58). 18. For more on post-feminism, see, for instance, Coppock, Hayden and Richter (1995) and Brooks (1997). William Kennedy Smith, a member of the Kennedy political family, was the defendant in a much-publicized rape trial in 1991; the same year Clarence Thomas was accused of sexual harassment by Anita Hill, a professor at the University of Oklahoma law school, during the Senate’s consideration of Thomas’s nomination to the Supreme Court. The Smith and Thomas–Hill situations are a repeated point of reference in contemporary critical discussions of Cape Fear; see, for example, Hoberman (1992: 10), Millar (1992: 7) or Cook (1992: 14).

7 Religion, Blasphemy and the Hollywood Institution: The Last Temptation of Christ

1. An anthology programme is one in which each episode presents a different narrative situation and set of characters. 2. For more detail regarding the attempt to produce The Last Temptation of Christ in 1983, see Jenkins (1988), Kelly (1992: 170–80) and Christie and Thompson (2003: 94–7). 3. Upon Twentieth Century-Fox being bought by Rupert Murdoch’s News Corporation in 1985, the hyphen between ‘Century’ and ‘Fox’ was dropped. 4. GoodFellas was also nominated, unsuccessfully, for the Oscars for Best Editing () and Supporting Actress (). 5. As well as providing the opening voice-over, Scorsese has in The Color of Money a one-shot cameo as one of Eddie Felson’s opponents when on the road. 318 Notes

6. The use of ’Scope was not ‘for any aesthetic reason’, but because the (then video) viewing audience was ‘getting used to the letterbox shape’ (Fuller 1991: 18). 7. For detailed accounts of the campaign waged against The Last Temptation of Christ, see Lyons (1997: 160–75) and Riley (2003: 18–28). 8. The terms ‘production design’ and ‘art direction’ are synonymous. 9. The costume designer for The Last Temptation of Christ was Jean-Pierre Delifer. 10. For the complete passage as published, see Kazantzakis (1953: 7). 11. Pam Cook has also briefly but influentially discussed The Last Temptation of Christ in terms of masochism, albeit in relation to the perversion’s reconcep- tualization by Gilles Deleuze as refracted via the film-specific work of Gaylyn Studlar; see, respectively, Cook (1988: 288), Deleuze (1971) and Studlar (1988). However, given Deleuze argues that masochism centres upon mother–son relations, the explanatory capacity of his ideas with respect to Scorsese’s film- making’s especial concern with patriarchal determination and deformation is questionable. For a concise critique of both Deleuze and Studlar’s claims regarding masochism, see Silverman (1992: 210–13, 417 n. 50). 12. For the reciprocal notions of self-overcoming and the Übermensch, see Nietzsche (1885). 13. Although the sequencing of incident finds its basis in Kazantzakis’s novel, its psychosexual implications are less apparently pressing; see Kazantzakis (1953: 176–96). 14. Scorsese is using ‘Panavision’ as a synonym for the ’Scope 1:2.35 aspect ratio. 15. Challenging Schrader’s assertion, The Passion of the Christ (, 2004) does use, mainly, Aramaic with English subtitles, although whether the aim is realism is debatable. 16. While the image of the painted snakes derives from Kazantzakis’s novel (1953: 89), the association of snakes and sexuality is not in the book con- fined to ’s apprehension. 17. Whereas much of The Last Temptation of Christ was shot near the village of Oumnast, outside of Marrakesh, the Jerusalem scenes were filmed at Meknes, further north in Morocco, with the last temptation sequence being shot similarly in the north, in the Atlas Mountains, in and around the Roman ruins at Volubilis (Christie and Thompson 2003: 142). 18. Marks is best known as the scriptwriter of Peeping Tom. While not credited as Satan, the end credits of The Last Temptation of Christ grant him ‘Special Thanks’. 19. This interpretation of the ending The Last Temptation of Christ contrasts diametrically with certain other readings of the film. Christopher Sharrett, for example, contends that Jesus, in what he terms a ‘conservative ending’, ‘snaps back’ to the cross despite, through his meeting with Paul, having a ‘foreknowledge of the shape his church will probably take’ (1989: 29). Similarly, for Tony Williams, Jesus’s final accession to brings him back under the dominance of and validates what he perceives as a monolithically oppressive and unchanging patriarchy, a position complemented by his considering the last temptation positively, as suggesting ‘the foundations of a new male order outside the Law of the Father’ (1990: 34). However, if Sharrett perhaps over-easily correlates the fictional and the historical, then Notes 319

as Williams’s positive account of the last temptation builds on Deleuze’s work on masochism, and its proposing a ‘rebirth in which the father will have no part’ (Deleuze 1971: 58), so his reductive conception of patriarchy is doubled by his argument partaking of a deficiency central to Silverman’s criticism of Deleuze’s model – that of the failure to acknowledge its disa- vowal of patriarchal authority, which, for Silverman, making it ‘utopian’ (1992: 211), leeches its psychoanalytic use value. 20. It is, complementarily, Jesus’s representation as a figure of revaluation that forms the basis of Jerold J. Abrams’s discussion of the character as ‘Nietzschean’ (2007: 82–5).

8 Style, Narrative, Adaptation: The Age of Innocence

1. The earliest sustained academic account of adaptation is accepted to be Bluestone (1966). More recent work on adaptation includes McFarlane (1996a), Cartmell and Whelehan (1999), Giddings and Sheen (2000) and Naremore (2000). 2. For a discussion of the relation of the 1991 Cape Fear to MacDonald’s novel, see MacFarlane (1996a: 171–93); for a concise thematic-cum-ideological comparison of the 1962 and 1991 versions of Cape Fear, see Diski (1992). 3. For more on the locations used in the film, see Helmetag (1998). 4. For a complementary account of this discussed section of the film, see McFarlane (2000: 168–9). 5. The persons thus credited are Robin Standefer, Lily Lodge, David Montgomery, David McFadden and Rick Ellis. 6. For an outlining of some of the films admitted by Scorsese and Cocks as influencing The Age of Innocence, see Cocks (1993). 7. Perhaps coincidentally, , who shot The Age of Innocence, was both Ophuls’s nephew and present during part of the filming of Lola Montès. 8. Regarding this, Parley Ann Boswell avers that ‘the best’ of Wharton’s writing, including, presumably, The Age of Innocence, takes off from ‘standard melo- dramatic’ plots (2007: 96). 9. For Soviet montage filmmaker and theorist S. M. Eisenstein’s conception of rhythmic montage, see Eisenstein (1929a and 1929b). 10. who photographs May is played, in another reflexive cameo, by Scorsese. 11. Apart from Cook, like opinion concerning the film’s representation of Newland is offered by, for instance, Mortimer (1994: 6–7) and Friedman (1997: 180–2). 12. If pencils are, for Freud, phallic symbols, then ‘extensible pencils’ are espe- cially so (1917: 188). 13. For a series of parallels between stills from the film and various period paint- ings, photographs and illustrations, see Scorsese and Cocks (1993: 2–75). 14. That May’s father, Mr Welland, should be one of the few characters excised from the novel in its adaptation becomes, in of Scorsese’s authorial discourse, similarly suggestive. 15. The representation of the scene is, in addition, reflective of its description in Wharton’s novel (1920: 188). 320 Notes

16. Scorsese notes of the opera-glasses effect: ‘we fell upon the idea of exposing one frame at a time, stop action, and then printing that frame three times and then dissolving between each shot so that each three frames was a dis- solve. That took about a year to figure out’ (Smith 1993: 21). 17. For some critics, The Age of Innocence, in its emphasis on detail and ritual, embodies fetishism. For Amy Taubin the ‘fetishism implicit in’ the film’s ‘approach mirrors the fetishism of the society depicted in the novel’ (1993: 6), while for Stella Bruzzi it is ‘a total fetishistic experience’ (1997: 49). That noted, Bruzzi does acknowledges the film as well offers ‘a commentary on’ fetishism’s ‘peculiarity’ (55). 18. Wharton’s novel is more explicit about Beaufort’s occupation, describing him, on his first being mentioned, as ‘Julius Beaufort, the banker’ (Wharton 1920: 28). 19. The representation of the working class in The Age of Innocence offers like- nesses to the similarly marginalized representation of black characters in Jezebel (, 1938), which Richard Dyer relates to how the film ‘explores the ways in which whiteness is related to blackness, materially … dependent on it yet still holding sway over it’ (1988: 54). 20. With respect to the last, both Beaufort and the (English) Duke of St Austrey (Kevin Sanders) kiss Ellen’s hand with assured ease. Newland’s introduction to Ellen also contrasts markedly with its depiction in Wharton’s novel (1920: 33). 21. This contrasts with the contention of Slavoj Žižek, who argues that whereas ‘in Marxism a fetish conceals the positive network of social rela- tions’, in ‘Freud a fetish conceals the lack (“castration”) around which the symbolic network is articulated’ (1989: 49). However, if ‘positive’, then this ‘network of social relations’ is also determinate and antipathetic, presents fissures and tensions that the fetishism of commodities expressly mystifies. 22. Scorsese has admitted it was only when the camera was ‘set up’ that he ‘real- ized’ he ‘had the footmen in the shot too, all around the room like guards’ (Christie and Thompson 2003: 186). 23. In discussing the rise to dominance of the three-act structure within Hollywood, Thompson cites the influence of certain scriptwriting manuals, especially that written by Syd Field (1979), concluding ‘a group of people, almost none of whom have ever authored a major feature film, have propa- gated a set of guidelines that anxious producers and writers alike seem to have taken as inviolable formulas’ (1999: 339). 24. The adduced conception of melodramatic and tragic characters derives from Heilman (1968). 25. According to Sangster, the painting ‘depicts the murder of Jenny McCrae, an actual historical event that happened in upstate New York during the Revolutionary War’ (2002: 233).

9 Power and the Look:

1. The only extracts not from an American film are from the Italian film Cabiria (Giovanni Pastrone, 1914). 2. For more on the CGI used in Casino, see Magid (1995) and Vaz (1995). Notes 321

3. Thus the crediting of production company Legende Entreprises, who bro- kered the deal for TF1. 4. The ‘Music Consultant’ credited on Casino is . 5. For examples of the academic dismissal of Casino, see Friedman (1997: 175–8) or Nyce (2004: 139–41). 6. The cavalry trilogy directed by Ford comprises Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950). 7. For a discussion of Casino as part of a trilogy with Mean Streets and GoodFellas, see Kolker (2000: 202–7). 8. For an outlining of some of the parallels between and The Godfather, Part II, as well as across the Godfather trilogy, see Bondanella (2004: 266–8). 9. can also be considered a film, although it places the gangster syndicate in opposition to Siegel’s ‘vision’ of . 10. The panopticon comprised a central tower surrounded by a circular arrange- ment of cells, the inhabitants of which were constantly under possible observation. 11. Ace’s chat show is based on one hosted by Rosenthal. However, while Rosenthal’s show was titled, simply, The Show, Ace’s is titled ‘Ace’s High’: a reflexive, possibly commentatorial adduction of a number within the film-within-a-film ‘Happy Endings’ in New York, New York. 12. With respect to the structuring oppositions informing the western, see Kitses (1969: 11). 13. Notably, in Pileggi’s book the bosses’ problems of apprehension concerning Las Vegas are referred to the aural rather than the visual, to their not having ‘the same kind of street ears in Las Vegas that they had back in Elmwood Park’ (Pileggi 1995: 142). 14. Ace’s clothes were based, according to Scorsese, on the ‘wardrobe of the real Lefty Rosenthal’, which ‘was even more extreme’ than De Niro’s was ‘in the film’ ( Jousse and Saada 1996: 19). 15. With respect to Freudian dream symbolism, ‘female genitals are symbolically represented by all such objects as share their characteristic of enclosing a hol- low space which can take something into itself: by pits, cavities and hollows … by receptacles, boxes, trunks, cases, chests, pockets and so on’ (Freud 1917: 189). 16. The setting is that of the then La Cage showroom, which stood in for the Jubilation nightclub during shooting; see Scorsese (1996b: 49). 17. Almost matching De Niro, Stone had ‘about 40’ costume changes during the film (Christie 1996: 10). 18. Among the other that were demolished at around the same time were the Sands, the Hacienda and the Landmark. The demolitions were ‘shown in slow-motion on every newscast in America’ (Powers 1996: 22). 19. For more on the nominations and awards Casino received, see Sangster (2002: 250). 10 Cinema of Transcendence, Cinema as Transcendence:

1. See, for example, Kelly (1992), Keyser (1992), Blake (1996), Friedman (1997) or Wernblad (2011). 322 Notes

2. The use of the ‘Final Chorus’ was encouraged by Saul Bass ( Jousse and Saada 1996: 21) who, with his wife Elaine, once more designed the film’s credits. 3. The Oscars for which Kundun was nominated were Best Art Direction, Best Cinematography, Best Costume Design and Best Score. 4. For Scorsese’s acknowledgement of the allusion to Psycho, see Fuller (1998: 48). 5. For a brief outline of the Seventeen-Point Agreement, see Lixiong (2002: 83); for a more detailed and critical account of the agreement and its signing, see Dalai (1977: 87–9). 6. Extending the film’s casting of non-professional actors, Lin was at the time of the film’s production a performance artist. 7. Marx’s contention is religion ‘is the opium of the people’ (1844: 244). 8. For more on the shot’s composition, see Pizzello (1998a: 41–2). 9. It should as well be noted that the damage inflicted by China on has been historically documented. In 1959 a report by the International Commission of Jurists, The Question of Tibet and the Rule of Law, declared China guilty of genocide – ‘the intent to destroy, in whole or in part, a national, ethnical, racial or religious group as such’ (quoted in 1977: 223). Scorsese in interview put the number of Tibetan dead by the mid-1990s at ‘1.6 million’ (Pizzello 1998b: 60). 10. The scene is anachronistic: it is set in 1944; India only achieved independ- ence in 1947. 11. As developed by Sigmund Freud in relation to fetishism, disavowal, as it installs a ‘substitute’ in place of an ‘unwelcome perception’, impels an ‘inter- est’ in that which it replaces (1927a: 353). 12. See, regarding the western hero, Pye (1996: 15–16), or, regarding the main couple in the musical, Altman (1989: 45–58). 13. Phala’s comment suggests a variation upon the Dalai Lama’s contention in his autobiography, regarding the Chinese invasion of Tibet: ‘Nonviolence … meant cooperation whenever it was possible, and passive resistance when- ever it was not’ (1977: 98). 14. For an admission by Scorsese of his interest in Deren and Brakhage’s work, see Smith (1993: 18). 15. For a detailed unpacking of the score and its composition, see Adams (1998). 16. In terms of the suggested influence of the composed film in the noted, earlier Scorsese-directed films, see, for example, among other scenes and sequences, the slow-motion party scene in Who’s That Knocking at My Door, which is accompanied by Ray Barretto’s ‘El Watusi’; the initial diegetic entries in Mean Streets of Charlie and () into Tony’s bar, which are accompanied by a pair of songs by The Rolling Stones, ‘Tell Me’ and ‘Jumpin’ Jack Flash’; and in Alice Doesn’t Live Here Anymore the scenes of Alice Hyatt practising and performing at her . 17. The chief exceptions are the scenes of Alice practising and performing in Alice Doesn’t Live Here Anymore, during which Alice/Burstyn sings standards arranged for the film by Richard LaSalle. 18. For an account of the principles and practices of scoring within classical Hollywood cinema, which have continued to be largely operative within post-classical Hollywood cinema, see Gorbman (1987: 70–98). 19. To cite Mulvey, the conventions of mainstream cinema see it represent ‘a hermetically sealed world which unwinds magically, indifferent to the Notes 323

presence of the audience’ (1975: 9). Hence the unsettling effect when a char- acter within this cinema, outside of genres such as comedy and the musical, directly addresses the spectator visually and/or verbally. 20. The incident with the white horse is, nevertheless, based on something that happened; see Dalai Lama (1977: 203). 21. For a summary of the most theoretically considered relation of films, cinema and dreams, which occurred under the aegis of 1970s psychoanalytic film theory, see Stam, Burgoyne and Flitterman-Lewis (1992: 139–62). 22. Plainly, Kundun is thus implying films as projected theatrically and mechanically. 23. Barad notes that, although based on common symbols and other representa- tions, ‘each is unique’ (2007: 225).

11 Back to Travis #2:

1. More specifically, Scorsese and Schrader had decided it was best not further to collaborate after a semi-autobiographical project involving themselves and Robert De Niro had fallen apart in the late 1980s; see Jackson (2004: 223). 2. Dino might, in turn, be considered to have supplanted a previously mooted but undeveloped project on another member of the , . 3. Schrader has claimed Cage took his role ‘for a million dollars’ (Bliss 2000: 9). 4. Hell’s Kitchen is bordered by Eighth Avenue, 35th Street, 57th Street and the . 5. The only scenes from which Frank is absent are those in which Mrs Burke (Phyllis Somerville), Mary and John arrive at Our Lady of Perpetual Mercy Hospital having followed Frank and Larry’s ambulance, and in which Wolls, having with Frank brought Noel to the hospital after beating him, is shown walking out of its emergency room. 6. For more on the technical aspects of the scenes’ shooting, see Rudolph (1999: 33–4); for more on the difficulties confronting the shooting itself, see Shuv (2000: 22) and Christie and Thompson (2003: 242). 7. The music associated with Marcus and Wolls contrasts with that noted in Connelly’s novel, in which Marcus is described as ‘the only black guy’ Frank ‘ever knew who loved Sinatra’ (1998: 147), while Wolls (‘Walls’ in the novel) is described as driving to the accompaniment of a ‘radio he always kept tuned to the year 1968’ (273). 8. The Steadicam operator on Bringing Out the Dead was Larry McConkey, who had previously worked on GoodFellas and The Age of Innocence. 9. Even in the children’s film Hugo (Scorsese, 2011), the dream experienced by its young protagonist, Hugo Cabret (Asa Butterfield), is an anxiety-dream. 10. The dispatcher’s voices are those of hip-hop artist Queen Latifah and, in another role that reflexively implies his position as director, Scorsese. 11. Notably, whereas in Connelly’s novel Kanita is revealed to have stolen Frank’s money and keys when he sleeps at Coates’s apartment, this detail is absent from both Schrader’s script and the completed film; see Connelly (1998: 257). 12. The tunnel does not appear in Connelly’s novel: the accordant scene takes place at the bus terminal; see Connelly (1998: 274). 324 Notes

13. With respect to Taxi Driver, see Grist (2000: 148–54). 14. At the time of the making of Bringing Out the Dead, Arquette was married to Cage. 15. In Connelly’s novel, the schools are called ‘Blessed Sacrament’ and ‘Holy Name’ (1998: 188–9). 16. Schrader has noted that, when writing the script, the suggestion ‘never occurred’ to him, although he ‘can see why people make that connection’ ( Jackson 2004: 224). 17. For the incident as described in the novel, see Connelly (1998: 338–40). In Schrader’s script, Frank only attaches the electrode patches when beside Burke’s bed. 18. Hoffman makes a like observation, albeit drawing diametrically opposed conclusions (2007: 161 n. 23). 19. Lacan observes, with respect to psychotics, castration ‘no longer has any other symbolic meaning than that of a loss of physical integrity’ (1981: 105). 20. In the novel, Mary further mentions that she had been in a relationship with Noel; see Connelly (1998: 259–60). 21. Nyce (2004: 161) and Hoffman (2007: 152) similarly link Richardson’s light- ing and Frank’s comment, although once more very different critical conclu- sions are drawn. 22. This is not to argue that religion is necessarily fascist; however, as all reli- gion is founded upon a hierarchical imperative, so it has had an always at best compromised relationship with progressive social and political activity.

12 Conclusion: ‘Of course, there’s less time …’

1. Scorsese speaking with Richard Schickel (2011: 364). 2. Ovitz formed AMG in 1998, following his departure from Disney. 3. Although LoBrutto does not, like many other writers, inextricably link, with respect to Scorsese’s filmmaking, the personal and the biographical, his criterion for deeming a project personal – ‘films in which Scorsese totally committed his personal and emotional life’ (2008: 373) – is itself reciprocally Romantic and Romantically untenable. 4. Hughes as a boy is played by Jacob Davich. 5. The Aviator concludes before Hughes acquired a controlling stake in RKO in 1948. 6. A shorter version of the documentary, titled Il dolce cinema, was shown at the in 1999. 7. Songs by The Rolling Stones, for instance, appear on the soundtracks of Mean Streets, GoodFellas, Casino and . 8. At the time of writing, Scorsese’s long-planned adaptation of Shusaku Endo’s 1966 novel Silence, which concerns Jesuit in seventeenth-cen- tury Japan, is in pre-production. 9. The other films in the series are (Wenders), (Pearce), Warming By the Devil’s Fire (Burnett), Red, White & (Figgis), Godfathers and Sons (Levin) and Piano Blues (Eastwood). Notes 325

10. Of the films directed by Scorsese mentioned in the chapter thus far, he is also credited as producer on , Shutter Island and . 11. No Direction Home was, for instance, first shown publicly at the Telluride and Toronto film festivals. 12. Scorsese is also credited as one of the film’s producers. He is as well credited as producer on Lady by the Sea, and Public Speaking. Bibliography

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Note: ‘n.’ after a page reference denotes a note number on that page.

Abbott, Diahnne, 70, 83 Amblin Entertainment, 136, 153 Abbott, Jennifer M., 221 American Beauty, 299 Abel, Robert, 26 American Boy: A Profile of Steven Prince, Abore, Renzo, 81 21–5, 27–8, 29, 32, 39, 312 n. 2, Abrahams, Jim, 8 312 n. 4, 312 n. 7 Abrams, Jerold J., 273, 319 n. 20 commercial, 307 Abramson, Marc, 262 , 274 Act, The, 39 AMG, see Artists Management Group Adidge, Pierre, 26 Amini, Hossein, 302 Adonis, Frank, 49 Anathakrishnan, Vyas, 270 After Hours, 122–35, 143, 152, 153, Anders, Allison, 246 154, 155–6, 161, 187, 241, 244, Anderson, Floyd, 49 245, 316 n. 5, 316 n. 7–9, 317 Andrew, Dudley, 183, 189–90 n. 11 Anger, Kenneth, 264, 266 Age of Innocence, The, (novel), 185, Anna Pavlova/Pavlova: A Woman for 189, 198, 201, 208, 209, 319 All Time, 314 n. 14 n. 8, 319 n. 14–15, 320 n. 18, Anthony, Marc, 273 320 n. 20 Antonioni, Michelangelo, 309 Age of Innocence, The, (film), 184–211, Apt Pupil, 299 216, 219, 222, 246, 248, 290, Arana, Tomas, 161 319 n. 3–7, 319–20 n. 10–17, 320 Archibugi, Francesca, 214 n. 19–20, 320 n. 22, 320 n. 25, Argo, Victor, 169 323 n. 8 Armani, Giorgio, 157 Agins, Robert, 93 Armani commercial (1986), 10, 157 ’s Dreams, 157 Armani commercial (1988), 157 Aldrich, Robert, 5–6 Arquette, Patricia, 273, 290, 299, 324 Algrant, Dan, 213 n. 14 Ali, Muhammad, 43 Arquette, Rosanna, 9, 123 Alice Doesn’t Live Here Anymore, 23, Artists Management Group, 301, 324 40, 73, 265, 322 n. 16, 322 n. 17 n. 2 Alighieri, Dante, 148 Asbury, Herbert, 302 Allen, Bernie, 55 August, Pernilla, 299 Allen, Steve, 216 Auld, Georgie, 74 Allen, Woody, 6, 7–8, 78, 293, 311 n. 9 Auty, Chris, 82 Allison, Bill, 219 Avery, Garth, 75 Almalfitano, Richard, 239 Aviator, The, 301, 304–5, 309, 310, Almendros, Nestor, 10, 311 n. 11 324 n. 4–5 Althusser, Louis, 224 Avildsen, John G., 42 Altman, Rick, 32 Avnet, Jon, 155 Amazing Stories, 153 Azzinaro, Christian A., 234

339 340 Index

‘Baby Let Me Follow You Down’, 35, Blair, D. J., 62 36 Blind Date, 125 Bach, Johann Sebastian, 240 Bliss, Michael, 86 Bach, Steven, 41 Block, Larry, 125 Bacon, Lloyd, 106 /Sei donne per ‘Bad’, 9, 157 l’assassino, 254 Baker, Joe Don, 137 Bloom, John, 225 Bakker, Jim, 182 Bloom, Verna, 123, 164 Bako, Brigitte, 20 Blossom, , 168 Ballhaus, Michael, 95, 155–6, 162, Blue Velvet, 125 173, 216, 319 n. 7 , 307, 308 Balsam, Martin, 184 Bodde, Margaret, 308 Band, The, 11, 26–7, 28–30, 31–2, Body and Soul, 42, 51 33–8, 312 n. 5–6, 312 n. 11 Boehm, Carl, 296 Band, The, (album), 27 Bogdanovich, Peter, 38 Barad, Judith, 257, 323 n. 23 Bono, Joseph, 49 Barnes, Johnny, 41 Bootleg Series Volumes 1–3 (Rare & Barretto, Ray, 322 n. 16 Unreleased) 1961–91, The, 312 n. 6 Barry Lyndon, 198, 213 Borge, Victor, 83 Barthes, Roland, 5, 38 Borrego, Jesse, 11 ‘Basement Tapes’, ‘The’, (recordings), Bosch, Hieronymus, 173 26–7, 36, 312 n. 6 Boswell, Parley Ann, 198, 319 n. 8 Basement Tapes, The, (album), 312 n. 6 Boucicault, Dion, 190 Bass, Elaine, 184, 322 n. 2 Bouguereau, William-Adolphe, 200, Bass, Saul, 184, 322 n. 2 201 Baudrillard, Jean, 75, 76, 314 n. 6 Bouygues, 242 Bava, Mario, 254 Bowie, David, 161, 162 Bay, Michael, 275 Boxcar Bertha, 74, 99, 155, 173, 183, Bazin, André, 25, 189 244, 315 n. 8 Beard, John, 162 Bracco, Lorraine, 101, 317 n. 4 Beatty, Warren, 156, 213, 218 Brakhage, Stan, 264, 322 n. 14 Becker, Harold, 315 n. 7 Brando, Marlon, 64, 65 Bedlam, 309 Bresson, Robert, 189, 314 n. 7 Been, Michael, 179 Brest, Martin, 155 Bentham, Jeremy, 223 Breuer, Josef, 317 n. 17 Benton, Robert, 68 Brides/Nyfes, 307 Bergman, Andrew, 218 Bridge to Nowhere, The, 312 n. 13 Bergman, Ingmar, 7 Bright, Bill, 158, 159 Bernhard, Sandra, 70 Bringing Out the Dead (novel), 273–4, Bernstein, Elmer, 184, 278 275, 276, 281, 289, 291, 292, 295, Bertolucci, Bernardo, 40 298, 323 n. 7, 323 n. 11–12, 324 Bethune, Zina, 211 n. 15, 324 n. 17, 324 n. 20 Beverly Hills Cop, 155 Bringing Out the Dead (film), 6, Bien, P. A., 178 272–300, 301, 302, 303, 323 n. 3, Big Brother and the Holding 323 n. 5–8, 323 n. 10–12, 324 n. Company, 277 14–18, 324 n. 20–1 Big Shave, The, 264 , 212 Bizet, Georges, 315 n. 6 Broadbent, Jim, 303 , 141, 265 Brooks, Albert, 274, 312 n. 2 Index 341

Brooks, Mel, 78 Carpenter, John, 138 Brothers, Dr Joyce, 83, 315 n. 16 Carr, Rand, 125 Brown, Lou, 83 Carradine, David, 74 Bruce, Brenda, 296 Carradine, John, 74 Bruce, Bryan, 125 Carson, Johnny, 80 Bruno, Richard, 314 n. 5 Casino, 213–42, 244, 246, 247, 248, Bruzzi, Stella, 226, 320 n. 17 266, 274, 275, 278, 310, 320–1 n. Buena Vista, 249 2–5, 321 n. 7, 321 n. 11, 321 n. Bugsy, 103, 218, 321 n. 9 13–14, 321 n. 16–17, 321 n. 19, Bumbalo, Victor, 125 322 n. 2, 324 n. 7 Bumstead, Henry, 184 Casino: Love and Honor in Las Vegas, Burch, Noël, 316 n. 17 214, 217, 321 n. 13 Burke, Frank James, 315 n. 11 Caton, Juliette, 161 Burke, Jesse James, 315 n. 11 Cavaciuti, Peter, 248 Burke, Jimmy, 101, 315 n. 11 , 65 Burmester, Leo, 180 Cavett, Dick, 80 Burnett, Charles, 307, 324 n. 9 Chabrol, Claude, 7 Burstyn, Ellen, 73, 322 n. 17 Champ, The, 313 n. 3 Buscemi, Steve, 9 Champion, 42, 51 Bush, George, 91, 104, 122, 151, 219 Chan, Kim, 252 Bush, George W., 303 Chanel commercial, 307 Business Week, 226, 228 Channel 4, 212 Butterfield, Asa, 310, 323 n. 9 Chapman, Michael, 22, 33, 45, 277, Butterfield, Paul, 29, 30 313 n. 1 Byrne, Bobby, 33 Charles, Ray, 11, 78 Byron, Kathleen, 141 Chartoff, Robert, 40, 42, 155 Chaucer, Geoffrey, 35 CAA, see Creative Artists Agency Chion, Michel, 312 n. 15, 313 n. 10 Cabiria, 320 n. 1 Chong, Thomas, 123 Cage, Nicolas, 272, 275, 323 n. 3, 324 Christian Marketing, 158 n. 14 Chronicle of Anna Magdelena Bach, Cahiers du cinéma, 2, 21 The/Chronik der Anna Magdelena Cajano, Pasquale, 215 Bach, 189 Cameron, Julia, 23, 39, 211 Chronik der Anna Magdelena Bach/The Campus Crusade for Christ, 158 Chronicle of Anna Magdelena Bach, , 156, 212, 274 189 Cannon, 155 Ciarfalio, Carl, 221 Tales, The, (book), 35 Cimino, Michael, 44, 69, 135 Canterbury Tales, The/I racconti di Cineplex Odeon, 158, 159 Canterbury (film), 189 , 304 Cape Fear (1962), 136, 184, 217, 319 City for Conquest, 42, 51 n. 2 Clarkson. Patricia, 304 Cape Fear (1991), 122, 135–52, 153, Clash, The, 83, 277, 278 154, 158, 183–4, 185, 198, 217, Clinton, William Jefferson (Bill), 6, 244, 245, 249, 292, 317 n. 12–16, 151, 219 317 n. 18, 318 n. 6, 319 n. 2 (novel), 213 Capital Cities/ABC, 246 Clockers (film), 213 Cappa Productions, 246 Clover, Carol J., 149 Carmen, 315 n. 6 Cobbs, Bill, 104 342 Index

Cocks, Jay, 69, 161, 166, 185, 302, Dafoe, Willem, 161, 162, 168 319 n. 6 Dalai Lama, 245, 246, 248–9, 250, Codiglia, John P., 125 256, 267, 270, 322 n. 13 Coen, Joel, 103 da Messina, Antonello, 173 Cohen, Larry, 23 Damon, Matt, 303 Colasanto, Nicholas, 49 Dances with Wolves, 157 Colesberry, Robert F., 123 Danko, Rick, 26, 29, 30, 31–2, 35, 37, Color of Money, The, (novel), 91, 91–2, 312 n. 11 315 n. 2, 315 n. 4 Danova, Cesare, 74 Color of Money (film), 8, 9, 91–100, Danson, Randy, 161 101, 104, 106, 108, 109, 115, 120, Dante, Joe, 7 142, 156, 157, 161, 162, 183, 187, Darrow, Tony, 105 219, 244, 245, 246–7, 265, 315 n. Dassin, Jules, 91 2, 315 n. 4–5, 317 n. 5 Dauman, Florence, 212 Columbia Pictures, 156, 185, 186 Davich, Jacob, 324 n. 4 Columbia Records, 312 n. 6 da Vinci, Leonardo, 224 Columbia University, 123 Davis, Sammy, Jr, 113 Comando, George, 237 Davoli, Andrew, 288 ‘Combination of the Two’, 277 Day-Lewis, Daniel, 184 ‘Come Rain or Come Shine’, 78 Deacy, Christopher, 169, 245 Con Air, 275 Deakins, Roger, 247, 258 Con gli occhi chiusi, 213–14 Dean, James, 250 Connelly, Chuck, 312 n. 13, 312 n. 14 Death Collector, 45 Connelly, Joe, 273–4, 275, 276, 281, De Cordova, Fred, 75, 83 289, 291, 292, 295, 298, 323 n. 7, De Fina, Barbara, 16, 157, 211, 275 323 n. 11–12, 234 n. 15 Deleuze, Gilles, 318 n. 11, 318–19 n. ‘Conquistador’, 11–12, 15 19 Cook, Pam, 65, 143, 168, 174, 199, Delifer, Jean-Pierre, 318 n. 9 201, 317 n. 12, 317 n. 15, 318 n. Demme, Jonathan, 125, 316 n. 14 11, 319 n. 11 De Niro, Robert, 19, 39–40, 41–2, 45, Coppola, Francis/Francis Ford, 6. 7, 47, 65, 68, 69, 70–1, 83, 89, 101, 103, 218 136, 142–3, 157, 214, 216, 217, Corbin, Jeff, 237 228, 313 n. 7, 321 n. 14, 321 n. Corrigan, Kevin, 117 17, 322 n. 16, 323 n. 1 Corrigan, Timothy, 4–5, 311 n. 7 Denton, Sally, 218, 240 Costner, Kevin, 157 De Palma, Brian, 8 ‘Coyote’, 35 Departed, The, 301, 303, 304, 305, 324 Cream, 11, 103 n. 7 Creative Artists Agency, 156, 246 De Pinto, Joey, 216 Creed, Barbara, 79 Deren, Maya, 264, 322 n. 14 Crime and Punishment, 8 DeRoy, Jamie, 113 Crooks, Harold, 307 De Sica, Vittorio, 308 Crosland, Alan, 107 DeSimone, Tommy, 101, 113 Crucifixion, The, 173 Desperate Hours, 135, 136 Cruise, Tom, 91, 94, 156 Desperately Seeking Susan, 125, 126, Crystals, The, 110 135 Cukor, George, 135 Detour, 196 Curtis, Cliff, 275 De Vito, Ralph, 45 Curtiz, Michael, 42 Diamond, Neil, 25, 29, 312 n. 2 Index 343

Diary of a Country Priest/Journal Endo, Shusaku, 324 n. 8 d’un curé de campagne, 189, End of Days, 299–300 314 n. 7 : Nothing But , DiCaprio, Leo, 301, 303, 304, 305 214 Dick Tracy, 156 E. T.: The Extra-Terrestrial, 81, 246 Dietz, Park, 87 ‘Evangeline’, 28, 29, 34 DiLeo, Frank, 107 Evans, Clarke, 125 Diller, Barry, 155 Executioners, The, 136, 184, 319 n. 2 Dino, 274–5, 323 n. 2 Directors Guild of America, 159 Face/Off, 275 Disney, 8, 156, 246–7, 249, 275, 286, Falwell, Jerry, 159 299, 305, 324 n. 2 Farrar, David, 141 Donner, Richard, 81 Farrell, Tom Riis, 276 ‘Don’t Do It’, 36 Fassbinder, Rainer Werner, 156 Doran, Ann, 250 Fatal Attraction, 125, 135 Dorjee, Ngawang, 251 Faust, 203 Dostoevsky, Fyodor, 8–9, 12 Feel Like Going Home, 307, 308, 309 Double Play Productions, 123 Felder, Clarence, 127 Douchet, Jean, 7, 311 n. 11 Fellini, Federico, 7, 188, 309 Douglas, Illeana, 19, 139, 246 Ferlinghetti, Lawrence, 36 Dragonwyck, 135 Ferrara, Abel, 103 Dr John, 28, 35 Ferretti, Dante, 188, 247, 248, 275, Dugan, Dennis, 140 286 Dunne, Griffin, 123 Field, Syd, 320 n. 23 Dunnock, Patricia, 208 Figgis, Mike, 218, 307, 324 n. 9 Dunphy, Don, 45, 60 Fight Club, 299 Dyer, Richard, 311 n. 5, 311 n. 7, 320 Film Foundation, 157–8, 307 n. 19 ‘Final Chorus’ of St Matthew Passion, Dylan, Bob, 11, 26, 34–5, 36, 306, 240, 241, 244, 322 n. 2 307, 312 n. 6 Fincher, David, 299 Fiorentino, Linda, 123 Eastman Kodak, 44 Flax, Lori Anne, 47 East of Eden, 309 Fleming, Victor, 30, 129 Eastwood, Clint, 307, 324 n. 9 Ford, John, 217, 296, 314 n. 7, 321 Ebert, Roger, 259 n. 6 Eco, Umberto, 77 ‘Forever Young’, 36 ‘Economic Problem of Masochism’, Forrest, Paul, 64 ‘The’, 47, 51 Fort Apache, 321 n. 6 Edwards, Blake, 125 Foster, Jodie, 17, 87 Eisenstein, S. M., 319 n. 9 Foucault, Michel, 223–4, 239 Eisner, Michael, 246, 249 Fox Classics, 123 El Dorado, 217 Francis, Freddie, 149, 184 Eliot, T. S., 27 Franco, Robert J., 188 Ellis, Rick, 319 n. 5 , 308 , 26 Frank Rosenthal Show, The, 321 Elvis: That’s the Way It Is, 33 n. 11 ‘El Watusi’, 322 n. 16 Frantic, 125 Emak-Bakia, 267 Frears, Stephen, 157, 274 Empire Strikes Back, The, 81 Freixenet, 307 344 Index

Freud, Sigmund, 12, 13, 46, 47, 48, Gone With the Wind, 30, 254 51, 53, 54–5, 57, 127, 130, 131, GoodFellas, 91, 100–21, 147, 156–7, 134, 137, 165, 170, 171, 191, 160, 183, 184, 186, 203–5, 208, 205, 211, 230, 282–3, 289, 316 n. 210, 213, 214, 216–17, 219, 226, 12–13, 316 n. 5, 316 n. 8, 317 n. 229, 235–6, 239, 240, 241, 244, 11, 317 n. 17, 319 n. 12, 320 n. 265, 274, 281, 315 n. 9–11, 316 21, 322 n. 11 n. 14–17, 317 n. 4, 321 n. 7, 323 Friedkin, David, 62, 313 n. 13 n. 8, 324 n. 7 Friedman, Lawrence S., 139 Goodman, John, 272 Fuller, Samuel, 79, 213 Gordon, Harry, 313 n. 11 Fuqua, Antoine, 307 Gormley, Peggy, 161 Gough, Michael, 185 Gabriel, Peter, 19, 163 Gounod, Charles, 203 Gallery of the Louvre, 201 Gowers, Bruce, 214 Gambler, The, (novel), 8–9, 14, 17, 312 , 246 n. 16 Graham, Bill, 32 Gambler, The, (film), 8–9 Grant, Barry Keith, 135 , 301, 302–3, 304, Grant, Cary, 142 305, 306, 308, 309 Grant, Richard E., 186 Garland, Judy, 134 Great Sinner, The, 8 Garr, Teri, 123 Great Train Robbery, The, 121 Gaslight, 135 Greco, Paul, 170 Geffen Company, The, 123 Greenhut, Robert, 7, 311 n. 9 Gentleman Jim, 44 ‘Greensleeves’, 37 George Harrison: Living in the Material Gregg, Bobby, 312 n. 5 World, 306–7, 308, 325 n. 10 Gregory, André, 161 Gershwin, George, 156, 274, 293 Griffith, D. W., 213 Ghent Christ Carrying the Cross, The, Grifters, The, 157 173 Guare, John, 274 Ghost Ship, The, 309 , 157 Gibson, Mel, 318 n. 15 Gulf and Western, 155 Gibson, Thomas, 205 Gyalpo, Tencho, 250 Gilmore, Richard, 316 n. 7 Gyatso, Geshi Yeshi, 259 Gimme Shelter, 35, 312 n. 10, 312 n.12 Giuliani, Rudolph, 285, 288 Hack, Shelley, 70 GK Films, 310 Halloween, 138 Glass, Philip, 247, 249, 265–6, 271 Hambleton, Susan, 312 n. 14 Gledhill, Christine, 106 Hand That Rocks the Cradle, The, 135, Glimcher, Arne, 307 136 Godard, Jean-Luc, 7, 21, 184, 312 n. 1 Hanks, Tom, 275 Godfather, The, 218, 219, 321 n. 8 Hanlon, James, 292 Godfather, Part II, The, 218, 219, 321 Hanson, Curtis, 135 n. 8 Hardcore, 40 Godfather, Part III, The, 103 Harder They Fall, The, 42, 51 Godfathers and Sons, 324 n. 9 Haro, Claudia, 235 Godfather trilogy, 229, 321 n. 8 Harris, Emmylou, 28 Golden Boy, 42 Harris, Leonard, 69 Golub, Bob, 107 Harrison, George, 116, 306, 307 Gomez, Rosemary, 284 Harrison, Matthew, 274 Index 345

Hathaway, Henry, 7 Il dolce cinema, 324 n. 6 Hawkins, Ronnie, 26, 28, 29 Il Gattopardo/The Leopard, 188 Hawks, Howard, 5, 7, 103, 217 Il mio viaggio in Italia/My Voyage to Hawks, The, 26–7 Italy, 157, 305, 308–9, 324 n. 6 HBO, 307, 308 Il pap’occhio/In the Pope’s Eye, 81 Heard, John, 123 Il trovatore, 209 Heaven’s Gate, 44, 46, 69 Imperioli, Michael, 106 Heffernan, John, 280 ‘I’m So Bored With the USA’, 278 Hell’s Angels, 309 Index of Prohibited Books, 163 Helm, Levon, 26, 29, 31–2, 35, 312 n. Infernal Affairs/Mou gaan doc, 303 5, 312 n. 11 Inferno, The, 148 Helprin, Mark, 156 Initial Entertainment Group, 301 Hendrix, Jimi, 313 n. 15 Innocent, The/L’innocente, 188–9 Henry V, 267 ‘Instincts and Their Vicissitudes’, 48 Hen That Laid the Golden Eggs, The/La International Commission of Jurists, Poule aux oeufs d’or, 267, 268 322 n. 9 Herlihy, Ed, 83 Interpretation of Dreams, The, Herman, Paul, 9, 96, 117 316 n. 5 Herrmann, Bernard, 184, 272 In the Pope’s Eye/Il pap’occhio, 81 Hershey, Barbara, 74, 155, 161, 162 Introductory Lectures on Psychoanalysis, Hill, Anita, 151, 317 n. 18 316 n. 12 Hill, Henry, 101 Invention of Hugo Cabret, The, 310 Hi-Lo Country, The, 274 I racconti di Canterbury/The Canterbury Hinckley, John W., Jr, 69, 86–7, 315 Tales, 189 n. 19 ‘I Shall Be Released’, 36, 312 n. 6 Histoires extraordinaires/Spirits of the Italianamerican, 21–5, 27–8, 29, 32, Dead, 7 312 n. 3–4 Hitchcock, Alfred, 5, 88, 119, 135, ‘’, 35 142, 307, 314 n. 7 It’s Not Just You, Murray!, 40, 45, 73, Hodson, Donald, 176 314 n. 4, 315 n. 8 Hoffman, Karen D., 172, 289, 324 n. 18 ‘I Want to Take You Higher’, 26 Holly, Buddy, 313 n. 15 Honeymoon in Vegas, 218 Jackson, Kevin, 304 Houston, Beverle, 78, 80, 81, 314 n. Jackson, Michael, 9 12, 315 n. 19 Jacobs, Marc Evan, 110 Howard, Ron, 315 n. 7 Jagger, Mick, 306 Howe, James Wong, 45 Jameson, Fredric, 27, 38, 77–8, 88, Hudson, Garth, 26, 35, 37, 312 n. 11 314 n. 6, 314 n. 11 Hughes, Howard, 304, 309, 324 n. 5 ‘Janie Jones’, 277, 278 Hugo, 310, 323 n. 9 Jason, Joel, 125 Hurt, Mary Beth, 186, 281 Jazz Singer, The, 107 Husing, Ted, 55, 61 Show, The, 83 Hustler, The, (novel), 91, 92, 315 n. 2 Jezebel, 320 n. 19 Hustler, The, (film), 91, 92, 94, 100 John, St, 66 Hyams, Peter, 299 Johnson, Cullen Oliver, 273 Hymers, Reverend R. L., 158–9 Jones, Kent, 308 Jones, L. Q., 225 IEG, see Initial Entertainment Group Jones, Mickey, 312 n. 5 Ignon, Alexander, 315 n. 7 Joplin, Janis, 313 n. 15 346 Index

Journal d’un curé de campagne/Diary of Kovacs, Laszlo, 33 a Country Priest, 189, 314 n. 7 Kramer vs Kramer, 68 Jules and Jim/Jules et Jim, 102 Kubrick, Stanley, 198, 213 Jules et Jim/Jules and Jim, 102 Kundun, 245–71, 275, 278, 292, 302, Julien, Jay, 83, 123 322 n. 3–4, 322 n. 6, 322 n. 8, ‘Jumpin’ Jack Flash’, 322 n. 16 322 n. 10, 322 n. 13, 322 n. 15, ‘Jump Into the Fire’, 116 323 n. 20, 323 n. 22 Kuras, Ellen, 308 Kafka, Franz, 127 Kurosawa, Akira, 157 Kaldan, Ngawang, 259 Kalogridis, Laeta, 304 Lacan, Jacques, 5, 13, 48, 51–2, 56, Kaplan, Jonathan, 135 60, 62, 73, 76, 77, 79, 118, 181, Kapp, George, 84 224, 260, 266, 282–3, 314 n. 8, Katz, Cindy, 192 314 n. 10, 324 n. 19 Katzenberg, Jeffrey, 8 La Due, Joe, 222 Kazan, Elia, 64, 308, 309 Lady by the Sea: The Statue of Liberty, Kazantzakis, Nikos, 154–5, 159, 160, 308, 325 n. 12 163–4, 166, 167, 168, 172, 173, La Motta, Jake, 39–40, 44, 45, 46, 47, 174, 175–6, 178, 179, 318 n. 13, 51, 52, 56, 274, 313 n. 11 318 n. 16 Landis, John, 7 Keitel, Harvey, 17, 25, 73, 161, 162 Lang, Fritz, 136 Kellner, Douglas, 103 Lange, Jessica, 137 Kelly, Grace, 142 La Poule aux oeufs d’or/The Hen That Kelly, Mary Pat, 245 Laid the Golden Eggs, 267, 268 Keneally, Thomas, 136 La prise de pouvoir par Louis XIV/The Kershner, Irvin, 81 Rise of Louis XIV, 188 Keyser, Les, 316 n. 5 LaSalle, Richard, 322 n. 17 Key to Reserva, The, 307 Last Supper, The, 224, 244 Khangsar, Tsewang Migyur, 250 Last Temptation, The, 154–5, 163–4, Kicked In the Head, 274 168, 173, 174, 175–6, 179, 318 n. Kid Galahad, 42, 51 13, 318 n. 16 Kiley, Richard, 79 Last Temptation of Christ, The, 154–5, Kimball, David J., 313 n. 1 156, 158–82, 183, 185, 187, 243– King, Alan, 216, 220 4, 245, 247, 248, 250, 255–6, 263, King, Geoff, 275, 299 317 n. 2, 318 n. 7, 318 n. 9, 318 King, Graham, 301, 310 n. 11, 318 n. 13, 318–19 n. 16–20 King, Henry, 7 Last Waltz, The, 6, 26, 27–38, 39, 65, King of Comedy, The, 69–89, 123, 136, 66–7, 77, 112, 265, 306, 312 n. 152, 153, 155, 156, 157, 208, 7–8, 313 n. 2 297–8, 313–14 n. 3–5, 314 n. 9, La traviata, 30 314–15 n. 15, 315 n. 17–19 La tregua/The Truce, 274 King of New York, 103 Lau, Andrew, 303 Klein, Michael, 183 Laurie, Piper, 92 Knight, Darin, 22 Law, Jude, 310 Knight, Deborah, 200 Lazarowitz, Les, 313 n. 1 Kolker, Robert, 105, 119, 160, 221–2, , 218, 275 223 Lebowitz, Fran, 308 Konikoff, Sandy, 312 n. 5 Lee, Spike, 213 Koster, Henry, 7 Lee, Thelma, 85 Index 347

Legende Entreprises, 321 n. 3 ‘Loud Prayer’, 36 Lehane, Dennis, 304 Low, Chuck, 76 Leigh, Janet, 109 Lowry, Thomas, 107 Leigh, Vivien, 254 Lucas, George, 38, 298, 299 Leonard, Robert Sean, 185 Lukhang, Gyatso, 253 Leopard, The/Il Gattopardo, 188 Lungtok, Jampa, 261 LeRoy, Mervyn, 103 Lynch, David, 125 Letter to Elia, A, 308, 309, 325 n. 12 Lyne, Adrian, 125 Leven, Boris, 33, 77, 95, 162 Lyons, Charles, 182 Levin, Marc, 307, 324 n. 9 Lyotard, Jean-François, 79 Levinson, Barry, 103, 160 Levinson, Leslie, 85 Maccone, Ronald, 108, 222 Lewis, Ellen, 215 MacDonald, John D., 136, 184, 319 Lewis, Jerry, 70, 80, 81, 83, 89, 314 n. n. 2 12–13, 314–15 n.15, 315 n. 18–19 Mackendrick, Alexander, 45 Lewis, Juliette, 137, 140, 142, 317 n. MacRauch, Earl, 40 13 Mad Dog and Glory, 315 n. 7 Lewton, Val, 308, 309 , 157 Librach, Ronald S., 14, 312 n. 16 ‘Magic Bus’, 116 Life, 82 Magnificent Ambersons, The, (novel), ‘Life Lessons’, 6–20, 35–6, 72, 94, 198 98–9, 142, 156, 183, 190, 211, Magnificent Ambersons, The, (film), 265, 311 n. 9–10, 312 n. 13–14, 190, 198 312 n. 16 Magnotta, Victor, 131 Lightning in a Bottle, 307 Mahon, Kevin, 53 ‘Like a ’, 11, 15, 18, 265 Main Event, The, 313 n. 3 Lin, Robert, 253, 322 n. 6 Mak, Alan, 303 Lincoln Center, 274 Malamud, Allan, 61 Lindberg, Katherine, 307 Malle, Louis, 7 L’innocente/The Innocent, 188–9 Maloney, Jay, 246 Liotta, Ray, 100 Maltby, Richard, 4, 301–2 Little Caesar, 103 Mamoulian, Rouben, 42 Litvak, Anatole, 42 Manca, John, 222 Lloyd, Jake, 298 , 293 Lloyd, Norman, 195 Mankiewicz, Joseph L., 135 LoBrutto, Vincent, 301, 302, 309, 324 Mann, Michael, 305 n. 3 ‘’, 30, 33, 116 Lodge, Lily, 319 n. 5 Manoogian, Haig, 66 Lodoe, Tenzin, 255 Manuel, Richard, 26, 29, 37, 312 n. 11 Lo Faro, Mickey, 313 n. 5 Marco, Phil, 247 Logan, John, 304, 310 Marcus, Greil, 30 Logan, Joshua, 220 Marcuse, Herbert, 225 Lola Montès, 190, 319 n. 7 Margolyes, Miriam, 184 Lomax, Alan, 309 Marin, Cheech, 123 Lomax, John, 309 Marks, Leo, 177, 318 n. 18 Lonergan, Kenneth, 302, 307 Maroff, Robert, 313–14 n. 3 ‘Lord’s Prayer’, ‘The’, 36 Marquand, Richard, 81 Times, 61 Married to the Mob, 316 n. 14 Loteanu, Emil, 314 n. 14 Marshall, Amy, 188 348 Index

Martha and The Vandellas, 278 Miller, Dick, 124 Martin, Dean, 274 Miller, George, 7 Martin, Mardik, 23, 24, 33, 40, 312 Miller, Henry, 133, 141, 143 n. 3 Miller’s Crossing, 103 Martin Scorsese Presents The Blues: A Minion, Joseph, 123, 153 Musical Journey, 307 Minkin, Bill, 83 Marvellettes, The, 278 Minnelli, Liza, 39, 74, 76 Marx, Karl, 203–4, 253, 263, 322 n. 7 Minnelli, Vincente, 211 Mascagni, Pietro, 65 , 246, 305 Mason, Fran, 109, 229 ‘Mirror, Mirror’, 153–4, 156, 157 Mastrantonio, Mary Elizabeth, 91 Mitchell, Donald O., 313 n. 1 Mastrogiacomo, Gina, 111 Mitchell, Joni, 35 Mathison, Melissa, 246, 248, 249 Mitchum, Robert, 146, 184 Matsuhisa, Nobu, 220 Monahan, William, 303 Matsushita, 215, 242 ‘Monkey Man’, 116 Maysles, Albert, 35 Monroe, Marilyn, 78, 79 Maysles, David, 35 Monterey Pop, 35, 37 Mazar, Debi, 115 Montero, Zully, 137 MCA, see Music Corporation of Montgomery, David, 319 n. 5 America ‘Moonglow’, 220 McClure, Michael, 35 Moriarty, Cathy, 41, 45, 313 n. 1 McConkey, Larry, 323 n. 8 Morris, Helen, 274 McCowen, Alec, 186 Morris, Michael, 158, 170, 173 McCready, Keith, 93 Morris, Roger, 218, 240 McDonald, Edward, 119 Morrison, Van, 29, 272 McFadden, David, 319 n. 5 Morse, Samuel, 201 McFarlane, Brian, 209 Mortimer, Lorraine, 210 McGee, Geri, 214 Moston, Murray, 125, 313–14 n. 3 McGinnis, Kathi, 23 Motion Picture Association of McMurray, Richard, 62 America, 221 McNaughton, John, 315 n. 7 Mou gaan doc/Infernal Affairs, 303 Meadows, Jayne, 216 Movie, 2 Mean Streets, 16, 24–5, 33, 40, 73–4, Mozart, Wolfgang Amadeus, 134 101, 102–3, 112, 123, 217, 244, , 28, 30, 33, 116 245, 265, 281, 315 n. 8, 321 n. 7, Muhammad, Eddie Mustafa, 45 322 n. 16, 324 n. 7 Mulvey, Laura, 12, 223, 226, 267, Medicine Ball Caravan, 26 322–3 n. 19 Méliès, Georges, 310 Munch, Edvard, 132, 153, 279 Memmoli, George, 22, 312 n. 2 Murdoch, Rupert, 317 n. 3 ‘Memo from Turner’, 116 Murnau. F. W., 134 Mendes, Sam, 299 Muse, The, 274 Merchant-Ivory Productions, 246 Music Corporation of America, 158, Meredith, Burgess, 43 159, 215, 316 n. 10 Messina, Philip F., 274 Music from , 27 Metz, Christian, 267 Myers, David, 33 MGM, 28, 32, 34 ‘Mystery Train’, 30, 33 Michaelis, Zeph, 73 /Il mio viaggio in Milchan, Arnon, 70 Italia, 157, 305, 308–9, 324 n. 6 Miller, Barry, 165 ‘My Way’, 121 Index 349

Nabucco, 95 Nosferatu, eine Symphonie des Grauens/ Naked in New York, 213 Nosferatu, A Symphony of Horror, Naremore, James, 72, 76, 83 134–5 Narita, Hiro, 33 Notes from the Underground, 8 Nascarella, Arthur, 282 Noto, Michael A., 287 National Endowmenr for the Novocento/1900, 40 Humanities, 23 ‘Nowhere to Run’, 278 NBC, 153 Nyce, Ben, 78, 114, 174 Neal, Tom, 196 Nyfes/Brides, 307 Neeson, Liam, 303 Negulesco, Jean, 7 Oakland, Simon, 88 Neighborhood, The, (unproduced Oates, Joyce Carol, 55 script), 214 Obsession, 8 Neighborhood, The, (short), 308 Oceans of Storm, 213 ‘Nessun Dorma’, 11, 15–16, 19 O’Hara, Catherine, 123 New Jack City, 103 O’Hehir, Andrew, 268, 269 Newman, Paul, 91, 156 O. Henry’s Full House, 7 News Corporation, 317 n. 3 Oklahoma Kid, The, 106 , 69, 82 ‘Old Time Religion’, 29, 30, 37 Newvision, 249 Olivier, Lawrence, 267 New York Cinetracts Collective, Omilami, Afemo, 281 21 O’Neal, Patrick, 14 New York, New York, 3, 13, 19, 25, O’Neal, Ryan, 198 27–8, 33–4, 39, 40, 42, 67, 74, Onorati, Peter, 113 77, 82, 208, 210–11, 246, 321 , 64 n. 11 ‘Ophelia’, 31–2 New York Stories, 6, 7–8, 246–7 Ophuls, Max, 190, 213, 319 n. 7 , 66 Orange, Mac, 204, Ngokhang, Chewang Tsering, 251 , 68 Nicholls, Mark, 121 Orion, 7–8 Nichols, Bill, 23 Osborne, Lee, 22 Nichols, Mike, 311 n. 9 Oswald, Lee Harvey, 86 Nicholson, Bill, 313 n. 1 Ovitz, Michael, 156, 161, 246, 249, Nicholson, Jack, 303 301, 324 n. 2 Nietzsche, Friedrich, 144 Night and the City (1951), 91 Paar, Jack, 83 Night and the City (1992), 315 n. 1 Pacific Heights, 135, 136 ‘Night They Drove Old Dixie Down’, Paichang, Tenzin Yeshi, 247 ‘The’, 30, 37 Palef, Bonnie, 307 Nilsson, Harry, 116 Palmer, R. Barton, 245 Nimoy, Leonard, 8 Paper Moon, 38 1900/Novocento, 40 Paramount Classics, 306 Nispel, Marcus, 308 , 155, 159, 275, No Direction Home: Bob Dylan, 306–7, 305–6, 310 308, 325 n. 10, 325 n. 11 Paris vu par …/Six in Paris, 7, 10 Nolte, Nick, 9, 137 Parker, Junior, 30 Nosferatu, A Symphony of Horror/ Parry, Harvey, 61 Nosferatu, eine Symphonie des Pasolini, Pier Paolo, 188, 189 Grauens, 134–5 Passion of the Christ, The, 318 n. 15 350 Index

Pastrone, Giovanni, 320 n. 1 Presley, Elvis, 30, 313 n. 15 Patte, Jean-Marie, 188 Pressburger, Emeric, 141, 265, 266 Patton, Will, 124 Price, Richard, 9, 13, 18, 20, 91, 99, Pavlova: A Woman for All Time/Anna 213, 315 n. 1, 315 n. 7 Pavlova, 314 n. 14 Prince, Steven, 22–3, 25, 26, 312 n. 2 PBS, 307, 308 Problem Child, 140 Peacock, Steven, 204 Procol Harum, 11 Pearce, Richard, 307, 324 n. 9 Pronzati, Cristina, 204 Peck, Gregory, 145, 184 Prophet, Melissa, 235 Peeping Tom, 296, 314 n. 7, 318 n. 18 Proval, David, 102 Penland, Tim, 158 Pryce, Jonathan, 192 Pennebaker, D. A., 35 Psycho, 88, 109, 135, 138, 142, 147, People, 82 249, 297, 314 n. 7, 317 n. 14, 322 Perkins, Anthony, 88 n. 4 Persoff, Nehemiah, 176 Public Enemy, The, 103 Personal Journey with Martin Scorsese Public Speaking, 308, 325 n. 12 Through American Movies, A, Puccini, Giacomo, 11 212–3, 308 Pesci, Joe, 41, 45, 101, 214, 216, 217, Queen Latifah, 323 n. 10 313 n. 1, 315 n. 10 Question of Tibet and the Rule of Law, Pescucci, Gabriella, 188 The, 322 n. 9 Pfeiffer, Michelle, 184 Quinn, Aidan, 162 Phillips, Sam, 30 Quiz Show, 214 Phillips, Siân, 199 Phuntsok, Sonam, 251 Rafferty, Terrence, 36, 37, 65 Piano Blues, 324 n. 9 Raftis, Louis, 56 Picasso and Braque Go to the Movies, Raging Bull (book), 39–40, 46–7, 49, 307, 310 51, 52, 274, 313 n. 11 Pickup on South Street, 79 Raging Bull (film), 39–67, 68, 70, 74, Picnic, 220 81, 86, 88, 94, 108, 112, 115, Picture Post, 267 117, 119, 152, 157, 160, 168, Pileggi, Nicholas, 101, 113, 157, 213, 183–4, 208, 215, 229, 235, 244, 214, 216, 217, 274, 321 n. 13 245, 274, 281, 313 n. 5, 313 n. Piller, Jerry, 93 8–9, 313 n. 14, 313 n. 1, Pinchot, Brandon, 133 314 n. 5 Pirouzkar, Ali, 229 Raiders of the Ark, 38, 81 ‘Place de l’Etoile’, 311 n. 11 Rain, 307 , 36 Rain Man, 160, 218 Plunket, Robert, 125 Rampa, Tenzin, 259 Polanski, Roman, 125 Randall, Tony, 75, 81, 83, 314 n. 5 ‘Politician’, 11, 15, 18 Random House, 274 Pollack, Kevin, 220 Ransom, 315 n. 7 Pollet, Jean-Daniel, 7 Ray, Man, 267 Pollock, Jackson, 14, 16 Ray, Nicholas, 5, 250 Ponicsan, Darryl, 91 Reagan, Ronald, 6, 43, 44, 69, 86, 87, Porter, Edwin S., 121 90–1, 92, 95, 104, 122, 125, 133, Powell, Michael, 19, 44, 71, 134, 141, 151, 159, 182, 218–19 265–6, 296, 313 n. 14, 314 n. 7 Rebecca, 135 Powers, John, 241 Rebel Without a Cause, 250 Index 351

Redding, Otis, 313 n. 15 Round Midnight, 157 Redford, Robert, 68, 214 Roy, Mathieu, 307 Red Shoes, The, 265 Ruben, Joseph, 135 Red, White & Blues, 324 n. 9 Rubin, Ira, 73 Reichenbach, François, 26 Ruby, Jack, 29, 86 Reidy, Joseph, 222, 297 Rudin, Scott, 273, 275 Reik, Theodor, 48, 50, 61, 180, 181 Ruthless People, 8 Reisz, Karel, 8 Ryan, Michael, 103 Return of Spring, The, 200 Ryder, Winona, 184 Return of the Jedi, 81 Rhames, Ving, 273 Saada, Nicolas, 218, 232 Rhapsody in Blue, 293 ‘Saint-Germain-des-Prés’, 311 n. 11 Richardson, Robert, 216, 217, 275, Saldana, Theresa, 58 277, 298 Salle, David, 214 Rickles, Don, 216, 219 Samten, Lobsang, 263 Riehle, Richard, 227 Sanders, Denis, 33 ‘Right Time’, ‘The’, 11, 15 Sanders, Kevin, 320 n. 20 Rinzler, Lisa, 308 San Francisco Opera Company, 30 Rio Bravo, 217 Sangster, Jim, 193, 320 n. 25 Rise of Louis XIV, The/La prise de ‘Santa-Fe’, 312 n. 6 pouvoir par Louis XIV, 188 Sargent, John Singer, 201 RKO, 324 n. 5 Sarris, Andrew, 2, 6, 311 n. 2 Road to Memphis, The, 324 n. 9 Saussure, Ferdinand de, 191 Robbins, Tim, 154 Scarface, 103 Robertson, Pat, 159 Scarpelli, Glenn, 153 Robertson, Robbie, 26, 29, 30, 31–2, Schickel, Richard, 324 n. 1 33–4, 35, 37, 66–7, 157, 313 n. Schindler’s Ark, 136 15, 321 n. 4 Schindler’s List, 136 Robinson, Amy,123 Schlesinger, John, 135 Robson, Mark, 42, 309 Schoonmaker, Thelma, 42, 68–9, 162, Rock, The, 275 215, 248, 313 n. 2, 317 n. 4 Rocky, 42, 43–4, 46, 50–1 Schrader, Paul, 8, 40, 41, 63, 126, 155, Rocky II, 313 n. 3 156, 158, 160–1, 163, 164, 166, Rodowick, D. N., 60 167, 168, 169, 174, 182, 272–4, Rodriguez, Luis, 284 275, 281, 292, 295, 297, 298, 318 Rohmer, Eric, 7, 311 n. 11 n. 15, 323 n. 1, 323 n. 3, 323 n. Rolling Stone, 82 11, 324 n. 16–17 Rolling Stones, The, 116, 306, 322 n. Schreber, Senatspräsident, 53, 54 16, 324 n. 7 Schreck, Max, 134 Roman, Cynthia, 273 Schroeder, Barbet, 135 Romney, Jonathan, 32, 217, 230 Schuler, Fred, 77 Rosenthal, Frank ‘Lefty’, 214, 321 n. Schwarzenegger, Arnold, 299 11, 321 n. 14 Scorpio Rising, 266 Rosi, Francesco, 274 Scorsese, Catherine, 21–2, 25, 71, 114, Rossellini, , 70, 81, 211 186, 216, 249 Rossellini, Roberto, 188, 308 Scorsese, Charles, 21–2, 74, 115, Rossen, Robert, 42, 91 186 Rossetti, Dante Gabriel, 202 Scorsese, Domenica, 205 Rouch, Jean, 7 Scorsese, Francesca, 274 352 Index

Scorsese, Martin collaboration/friendship with as auteur/author, 2–7, 10, 13, 15, Robbie Robertson, 33–4, 39, 167 16–17, 18, 19, 20, 21, 22, 24–6, and The Act, 39 27–8, 32, 34, 44–6, 50, 51–2, divorce from Julia Cameron, 39 53–4, 65, 66–7, 69, 72, 76, 80–1, relationship with , 39 82, 83, 94–5, 98–9, 101–3, 109, collaboration with Robert De Niro, 112, 114–15, 117–18, 120–1, 39–40, 41–2, 47, 69–71, 136, 143, 131–2, 143, 151–2, 153–4, 160–1, 157, 216 162–3, 168, 169, 177, 179, 181, and Raging Bull, 39–40, 41–2, 44–6, 183–4, 185, 186–7, 188, 189, 190, 47, 63, 64, 66–7, 68, 70, 313 n. 9 197–8, 199, 201, 207–8, 210, collabration with Thelma 211, 212–13, 215–17, 219, 221–2, Schoonmaker, 42, 68–9, 162, 215, 229, 232–3, 240–1, 243–6, 247, 313 n. 2 248, 250, 255–6, 257–8, 259–60, campaign regarding colour film, 44, 263, 264–6, 269, 270, 274, 275, 157, 313 n. 4 276, 277–8, 279–80, 281, 286–7, and assassination attempt of John 289–90, 291, 292–3, 295, 297, W. Hinckley Jr, 69, 86–7 300, 301–10, 312 n. 4, 313 n. 12, and The King of Comedy, 69–71, 72, 315 n. 8, 318 n. 11, 319 n. 14, 80–1, 83, 89, 156, 314–15 n. 15, 322 n. 16, 323 n. 9, 324 n. 3 315 n. 19 and ‘Life Lessons’, 6–7, 8–9, 10, 12, collaboration with Jay Cocks, 69, 13, 16, 99, 156 160–1, 166, 185, 302, 319 n. 6 and New York Stories, 6–7 marriage to , 70, and The Color of Money, 8, 91, 93–5, 211 99, 156, 161, 317 n. 5 and Night and the City (1951), 91 collaboration with Paul Schrader, collaboration with Michael 8, 40, 41, 155, 156, 160–1, 168, Ballhaus, 95, 155–6, 162 272–4, 281, 297, 323 n. 1 and GoodFellas, 101–3, 114–15, 119, and Taxi Driver, 8, 172 156–7, 316 n. 15 collaboration with , 9, collaboration with Nicolas Pileggi, 13, 18, 91, 99 101, 213, 214, 216, 217, 274 marriage to , 16, and After Hours, 122–3, 152, 155–6, 157, 211 161, 316 n. 5 relationship with/influence of and Cape Fear (1991), 122, 136, 149, Michael Powell, 19, 44, 71, 134, 153, 154, 158, 159 265–6, 313 n. 14, 322 n. 16 and Schindler’s Ark, 136 and Street Scenes, 21 and ‘Mirror, Mirror’, 153, 156, 157 and Italianamerican, 21–4, 25, 312 and The Last Temptation of Christ, n. 4 154–5, 156, 160–2, 166, 169, 170, and American Boy: A Profile of Steven 172, 174, 175, 177, 178, 243–4 Prince, 22–4, 39, 312 n. 2, 312 and Beverly Hills Cop, 155 n. 4 and Witness, 155 collaboration with , and Dick Tracy, 156 23, 40 and Winter’s Tale, 156, 246 and , 25–6 and George Gershwin biopic, 156, and The Last Waltz, 26, 28–9, 32, 274 33–4, 39, 66–7 and ‘Bad’, 157 collaboration with , 33, and ‘Somewhere Down the Crazy 77, 95, 162 River’, 157 Index 353 and Armani commercials, 157 and The Muse, 274 and Made in Milan, 157 and Walter Winchell biopic, 275 and Round Midnight, 157 collaboration with Graham King, and Akira Kurosawa’s Dreams, 157 301, 310 and Guilty By Suspicion, 157 and Gangs of New York, 301, 302, 305 and The Grifters, 157 and The Aviator, 301, 305 and Film Foundation, 157–8, 307 and The Departed, 301, 303, 304, 305 and , 158, 212, collaboration with Leonardo 307, 310 DiCaprio, 301, 303 deal with Universal Pictures, 158, and Shutter Island, 303, 309, 325 185, 213, 246 n. 10 and The Age of Innocence, 185–7, deal with Paramount Pictures, 305–6 188–91, 201, 203, 211, 319 n. 6, and Shine a Light, 306 319 n. 10, 320 n. 16, 320 n. 22 and No Direction Home: Bob Dylan, collaboration with , 306, 325 n. 10 188, 247, 248, 275, 286 and George Harrison: Living in the and A Personal Journey with Martin Material World, 306, 307, 325 n. 10 Scorsese Through American Movies, and Martin Scorsese Presents The 212–13 Blues: A Musical Journey, 307 and Casino, 213–15, 216–17, 220, and Feel Like Going Home, 307 227, 229, 231, 237, 246, 310 and You Can Count on Me, 307 and Oceans of Storm, 213 and Rain, 307 and Clockers, 213 and Nyfes, 307 and Naked in New York, 213 and The Young Victoria, 307 and Con gli occhi chiusi, 213–14 and Picasso and Braque Go to the and Search and Destroy, 214 Movies, 307, 310 and Eric Clapton: Nothing But The and Surviving Progress, 307 Blues, 214 and Lighning in a Bottle, 307 and Quiz Show, 214 and Boardwalk Empire, 307 and The Neighborhood (unproduced and American Express commercial, script), 214 307 collaboration with Robert and Chanel commercial, 307, Richardson, 216, 217, 275, 277 and , 307 and Kundun, 245–6, 247–9, 255–6, and film history, 307, 309, 310 257, 263, 268, 302, 322 n. 4, 322 and World Cinema Foundation, 307 n. 9 and Frankenstein, 308 and Cappa Productions, 246 and , 308 deal with Disney, 246, 275 and The Neighborhood (short), 308 relationship with , 246 and Lady by the Sea: The Statue of and , 264 Liberty, 308, 235 n. 12 and Bringing Out the Dead, 273–4, and Public Speaking, 308, 325 n. 12 275, 277, 278, 285–7, 292–3, 301, and Il mio viaggio in Italia, 308–9 302, 323 n. 10 and A Letter to Elia, 308, 309, 325 and Dino, 274–5 n. 12 marriage to Helen Morris, 274 and Val Lewton: Man in the Shadows, and La tregua, 274 308, 309 and Kicked In the Head, 274 and Hugo, 310, 325 n. 12 and The Hi-Lo Country, 274 and Anna Pavlova, 313 n. 14 and With Friends Like These, 274 and Silence, 324 n. 8 354 Index

Scott, George C., 92 Sizemore, Tom, 273 Scream, The, 132, 153, 279 Sleeping with the Enemy, 135, 136 Seagram, 215, 242 Sly and the Family Stone, 26 Sea of Love, 315 n. 7 Smith, Alexis, 185 Search and Destroy, 214 Smith, Gavin, 216, 217, 221, 225–6, Searchers, The, 296, 314 n. 7 231 Secret Beyond the Door, 136 Smith, Margaret, 107 Seidelman, Susan, 125 Smith, William Kennedy, 151, 317 Sei donne per l’assassino/Blood and n. 18 Black Lace, 254 Smothers, Dick, 216, 225 Selznick, Brian, 310 Soelistyo, Julyana, 292 Senso, 188–9, 203 Sohn, Sonja, 285 Serpico, Terry, 293 Somebody Up There Likes Me, 44 Serrano, Nestor, 281 Somerville, Phyllis, 323 n. 5 Serrone, Christopher, 104 Something to Believe In, 307 Set-Up, The, 42 Something Wild, 125, 135 Seven Year Itch, The, 79 ‘Somewhere Down the Crazy River’, Sex Pistols, The, 121 157 Sexus, 141, 143, 146 Sorvino, Paul, 101, 112 ‘Shape I’m In’, ‘The’, 35 Soul of a Man, The, 324 n. 9 Sharrett, Christopher, 243, 318–19 Spafford, Robert, 176 n. 19 Spielberg, Steven, 7, 38, 81, 136, 153, Shaughraun, The, 190, 192, 202, 205 311 n. 9 Shaver, Helen, 92, 153 Spilotro, Anthony, 214 Shepherd, Cybill, 74, 313–14 n. 3 Spinell, Joe, 43 Shepherd, Suzanne, 115 Spirits of the Dead/Histoires She Wore a Yellow Ribbon, 321 n. 6 extraordinaires, 7 Shine a Light, 306, 307, 308 Spore, Richard, 294 Shire, Talia, 43 ‘Stage Fright’, 30, 35 Shirelles, The, 78 Stallone, Sylvester, 43, 313 n. 3 Showgirls, 218 Standefer, Robin, 319 n. 5 Shutter Island (novel), 304 Stanton, Harry Dean, 161 Shutter Island (film), 303, 304, 305–6, Staples, The, 28 309–10, 325 n. 10 Starr, Beau, 109 Sica, Fred, 74 Starr, Mike, 107 Sikelia Productions, 308 Starship Troopers, 299 Silence, 324 n. 8 Star Wars, 38 Silesius, Angelus, 144 Star Wars Episode I: The Phantom Silverman, Kaja, 180, 181, 318–19 n. Menace, 298–9 19 Star Wars Episode II: Attack of the Simon, Harper, 291 Clones, 299 Sinatra, Frank, 80, 323 n. 2, 323 n. 7 Star Wars prequels, 299 Singer, Bryan, 299 Star Wars trilogy, 299 Single White Female, 135, 136 Steiger, Rod, 64 Siodmak, Robert, 8 Stern, Lesley, 20, 51, 131, 140, 144, Sirico, Tony, 108 188, 317 n. 11 Sisto, Rocco, 133 Stigmata, 299–300 Six in Paris/Paris vu par …, 7, 10 Sting, 162 $64,000 Question, The, 315 n. 16 St Matthew Passion, 240, 244 Index 355

Stone, Sharon, 214, 241, 321 n. 17 Thompson, J. Lee, 136, 184 Storm of Strangers, A, 21 Thompson, Kristin, 207, 320 n. 23 ‘Stranger and Her Lover’, ‘The’, 9–10, 3 Men and a Baby, 8 17 Thus Spoke Zarathustra, 144 Straub, Jean-Marie, 189 Time, 82 Street Scenes 1970, 21, 42 ‘Time Fades Away’, 25 Strick, Wesley, 136, 142 To Catch a Thief, 142 Studlar, Gaylyn, 318 n. 11 Tolan, Thomas M., 83 ‘Such a Night’, 35 Tonight Show, The, 80, 83, 315 n. 16 ‘Sunshine of Your Love’, 103 ‘Too Many Fish in the Sea’, 278 Superman, 81 Topjar, Tenzin, 251 ‘Supreme Surrender’, 202 Toronto Film Festival, 325 n. 11 Suriano, Phillip, 214 Toubiana, Serge, 219 Surviving Progress, 307 , 8, 156, 247, 275 Suslova, Polina, 9–10, 12, 17 Tourneur, Jacques, 213 Suspicion, 135 Trial, The, (novel), 127 Sutton, Randy, 237 Trial, The, (film), 127 Swaggart, Jimmy, 182 Trinley, Tenzin, 256 Sweet Smell of Success, The, 45 Tropic of Cancer, 133, 143 Symphony in D Major, 134 Truce, The/La tregua, 274 Truffaut, François, 102 Tales of Hoffmann, The, 265 Tsarong, Tenzin Thuthob, 247 Taplin, Jonathan, 33–4 Tsarong, Tsewang Jigme, 251 Tarkington, Booth, 198 Turandot, 11 Taubin, Amy, 320 n. 17 Turner, Johnny, 60 Tavernier, Bertrand, 157 Turner, Tina, 78 Taxi Driver, 8, 17, 24, 25, 33, 46, 69, Turturro, Aida, 281 74–5, 77, 78, 81, 82, 85, 86–7, Turturro, John, 93 95, 152, 156, 160, 165, 168, 172, Twentieth Century-Fox/Twentieth 187, 208, 211, 244, 272–3, 274, Century Fox, 88, 123, 156, 185, 276, 277, 284, 285, 286, 288, 290, 312 n. 8, 317 n.3 296–8, 312 n. 7, 313 n. 6, 313–14 Twilight Zone: The Movie, 7 n. 3, 314 n. 7, 315 n. 19, 315 n. 8, 324 n. 13 Ufland, Harry, 83, 155, 156 ‘T. B. Sheets’, 272, 278 UGC, 147, 249 Tedeschi, David, 308 Ulmer, Edgar G., 196 ‘Tell Me’, 322 n. 16 , 7, 28, 29, 41, 42, 44 Telluride Film Festival, 39, 325 n. 11 United Artists Theaters, 159 Telotte, J. P., 35 Universal-International, 136, 316 n. 10 Tenzin, Jamyang, 252 Universal Pictures, 136, 155, 158–9, Tenzin, Tulku Jamyang Kunga, 247 185, 213, 214, 215, 216, 246, 247, Tethong, Gyurme, 247 316 n. 10 Tevis, Walter, 91, 315 n. 2, 315 n. 4 University of Oklahoma, 317 n. 18 TF1, 215, 242, 321 n. 3 Unlawful Entry, 135, 136 ‘Theme From The Last Waltz’, 28, 37 USA Network, 308 ‘Then He Kissed Me’, 110 US Catholic Conference of Bishops, 159 Thomas, Clarence, 151, 317 n. 18 Thompson, David, 293 Vadim, Roger, 7 Thompson, Fred Dalton, 145 Vale, Jerry, 216 356 Index

Vallée, Jean-Marc, 307 ‘Weight’, ‘The’, 28, 29, 30 Val Lewton: The Man in the Shadows, Weinstein, Harvey, 305 308, 309, 310 Weir, Peter, 155 van Gogh, Vincent, 157 Welles, Orson, 80, 127, 190, 198, 213, Van Peebles, Mario, 103 304 ‘Va pensiero’, 95 Wellman, William, 103 Variety, 302 Wenders, Wim, 307, 324 n. 9 Vario, Paulie, 101 ‘’, 94, 265 Vella, Vinny, 216 Wernblad, Annette, 45, 177, 280, 315 Velle, Gaston, 267 n. 17, 316 n. 6–7 Venice Film Festival, 157, 160, 186, West, Simon, 275 324 n. 6 WGA, see Writers Guild of America Verhoeven, Paul, 218, 299 Wharton, Edith, 185, 189, 191, 196, Verdi, Giuseppe, 29, 95, 203 198, 201, 208, 209, 319 n. 8, 319 Vertigo, 119 n. 14–15, 320 n. 18, 320 n. 20 Village Roadshow, 249 ‘What Is Life’, 116 Villasur, Belén Vidar, 202 What’s a Nice Girl Like You Doing in a Vincent, Craig, 226 Place Like This?, 13, 73–4, 102 Vincent, Frank, 45, 111, 216, 219 Whitaker, Forest, 96 Visconti, Luchino, 188, 209, 308 Whitcraft, Elizabeth, 113 ‘Visual Pleasure and Narrative White, Welker, 116 Cinema’, 12 ‘Whiter Shade of Pale’, ‘A’, 11, 15, von Tagen, Erika, 233 20 von Thury, Doris, 169 Who, The, 116 von Wangenheim, Gustav, 134 Who’s That Knocking at My Door, 42, Voulgaris, Pantelis, 307 73, 186, 211, 244, 265, 314 n. 4, 315 n. 8, 322 n. 16 Wadleigh, Michael, 25 Widmark, Richard, 79 Wagner, Geoffrey, 183–4, 273 Wilder, Billy, 79 Wainwright, Rupert, 299 Wildmon, Donald, 159 Walker, Michael, 135, 209–210, Williams, Hank, 313 n. 15 270 Williams, Linda, 135 Walsh, Raoul, 44 Williams, Michael Kenneth, 280 Pictures, see Disney Williams, Tony, 318–19 n. 19 Wang, Ben, 252 Williamson, Sonny Boy, II, 29, 30 Wangda, Jurme, 259 Wilson, Michael Henry, 212 Warhol, Andy, 81, 84 Wilson, Stuart, 186 Warming By the Devil’s Fire, 324 n. 9 Winchell, Walter, 275 Warner, Frank, 313 n. 9 Winkler, Irwin, 34, 40, 42, 101, 155, Warner Bros, 121, 123, 155, 157, 249, 157, 274, 315 n. 1 274–5, 305 Winkler, Margot, 89, 131 Warner Bros Records, 34 Winter’s Tale, 156, 246 Washko, Frank, Jr, 221 Wise, Robert, 42, 44 Wasserman, Lou, 158–9 Wiseguy: Life in a Mafia Family, 101 Waterston, Sam, 153 With Friends Like These, 274 Watkins, Michael, 33 Witness, 155 Wayne, John, 296 Wizard of Oz, The, 129, 134 Weathers, Carl, 43 Woo, John, 275 Weegee, 45 Wood, Natalie, 296 Index 357

Wood, Robin, 52, 53, 54, 64, 72–3, 138, Young, Neil, 25, 28 139, 142, 144, 151, 299, 316 n. 12 Young Victoria, The, 307 Woods, James, 214 Yuk, Henry, 258 Woodstock, 25–6, 35, 37, 42 Woodward, Joanne, 186 Zaillian, Steven, 136, 275, 302 Wootton, Adrian, 97 Zea, Kristi, 316 n. 14 World Cinema Foundation, 307 Zefferelli, Franco, 313 n. 3 Writers Guild of America, 159, 161 Zevon, Warren, 94 Wyatt, Justin, 81 Zieff, Howard, 313 n. 3 Wyler, William, 320 n. 19 Zimmerman, Paul D., 69, 70, 80, 86, 314–15 n. 15, 315 n. 19 X-Men, 299 Žižek, Slavoj, 164, 320 n. 21 Zsigmond, Vilmos, 33 Yang, Lia, 285 Zucker, David, 8 You Can Count on Me, 307 Zucker, Jerry, 8 Young, Bruce A., 93 Zwerin, Charlotte, 35