1. Heffernan, “The Last Movie and the Critique of Imperialism,” 15.
2. Biskind, Easy Riders, Raging Bulls.
3. Richard Nowell, Blood Money, 46–47.
4. Bordwell, Staiger and Thompson, The Classical Hollywood Cinema.
5. Gunning, “Cinema of Attraction,” 63–70.
6. Snelson, “Delinquent Daughters,” 56–72; Stanfield, “Crossover,” 437–455; and Doherty, Teenagers and Teenpics.
7. Stanfield, “Run, Angel, Run,” 73–91.
8. The post–Easy Rider road movie cycle of films was not the only Hollywood cycle attempting to capture the attention of the youth audience at the time. See also the contemporaneous “campus revolution” cycle and the post–The Graduate youth-centric comedies of Hal Ashby, Robert Altman, and Paul Mazursky. Ashby’s death-obsessed Harold and Maude (Paramount Pictures, 1971) is a particularly monstrous reiteration of Nichols’s film.
9. Neale, Genre and Hollywood, 9.
10. Cook, Lost Illusions, 162–172; Nystrom, “Hard Hats and Movie Brats,” 22; Nystrom, Hard Hats, Rednecks, and Macho Men, 5.
11. Kermode, Hatchet Job, 118.
12. Fiddler on the Roof was the highest-grossing film in the United States and Canada for 1971. Diamonds Are Forever was the fifth-highest-grossing for the year, and Bedknobs and Broomsticks was the tenth-highest-grossing. Krämer, The New Hollywood, 108.
13. Lukow and Ricci, “The ‘Audience’ Goes ‘Public’,” 29–36, cited in Neale, Genre and Hollywood, 2.
14. Neale, Genre and Hollywood, 3.
1. Neale, “‘The Last Good Time We Ever Had?’,” 91.
2. Ward, “Black Films, White Profits,” 19–22, cited in Weems, Desegregating the Dollar, 89.
3. Cha-Jua, “Black Audiences, Blaxploitation and Kung Fu Films, and Challenges to White Masculinity,” 200. Further exploration of this phenomenon can be found in Desser, “The Kung Fu Craze,” 19–43; and Bordwell, Planet Hong Kong, 84.
4. Monaco, “Summing Up the Seventies,” 30, 62.
5. Ibid., 62.
6. Biskind, Easy Riders, Raging Bulls; Cook, Lost Illusions; Harris, Pictures at a Revolution.
7. Krämer, “Post-Classical Hollywood,” 289–309; and Schatz, “The New Hollywood,” 8–36.
8. Bordwell, “Film Studies and Grand Theory,” 26–30.
9. Elsaesser, “The Pathos of Failure,” 279–292.
10. Bordwell, Staiger, and Thompson, The Classical Hollywood Cinema.
11. Kolker, A Cinema of Loneliness, cited in Krämer, “Post-Classical Hollywood,” 304.
12. Gelmis, The Film Director as Superstar; Jacobs, Hollywood Renaissance; Pye and Myles, The Movie Brats; and Cook, Lost Illusions.
13. Kael, “The Bottom of the Pit,” 3.
14. Ibid., 6.
15. Of course the concept of canon formation was always the central concern of auteurism, as the earliest auteurist writers in both France (Cahiers du cinéma) and the United States (Andrew Sarris) set out to reappraise the critical standings of commercial filmmakers such as John Ford, Howard Hawks, and Alfred Hitchcock. If a consistent trend can be identified in both first-wave auteurism and the New Hollywood project, it is that it can often take critics some time to consolidate the canon.
16. Schrader, “Notes on Film Noir,” 8–13.
17. Anonymous, “In This Issue,” 1 (emphasis added).
18. Movie and Screen echo Film Comment, taking until 1975 and 1976 respectively to acknowledge developments in contemporary Hollywood. See Krämer, “Post-Classical Hollywood,” 300.
19. Indeed, Richard Maltby and Ian Craven place the beginning of the “Hollywood Renaissance” at 1971. See Maltby and Craven, Hollywood Cinema, 478.
20. Tone, “Film Reviews: The Rain People,” 18.
21. Gelmis, Film Director as Superstar, 187.
22. Ibid., 190.
23. Elsaesser, “The Pathos of Failure,” 287.
24. Ibid., 282–283.
25. Maltby, Hollywood Cinema, 176.
26. See Deleuze, Cinema 2; and Keathley, “Trapped in the Affection Image,” 293–308.
27. Wood, Hollywood from Vietnam to Reagan.
28. Bordwell, Staiger, and Thompson, The Classical Hollywood Cinema, 370–372.
29. Krämer, “Post-Classical Hollywood,” 307.
30. Nystrom, Hard Hats, Rednecks, and Macho Men.
31. Berliner, Hollywood Incoherent, 89.
32. Wood sees the essential inarticulateness of these films as the expression of cultural anxieties within the United States. Maltby sees two sets of approaches at work: a group of directors reveling in willfully ambiguous works (Altman, Coppola, Scorsese) and another group interested in directly attacking the sensibilities of the audience with what he terms “a cinema of dissent” (Aldrich, Peckinpah). See Wood, Hollywood from Vietnam to Reagan; and Maltby, Harmless Entertainment.
33. Kirshner, Hollywood’s Last Golden Age.
1. Ebert, “Easy Rider.”
2. Anonymous, “The Flying Fondas and How They Grew,” 58.
3. Monaco, American Film Now, 56.
4. Simon, “Dennis Hopper Is Riding Easy,” 204.
5. Fonda, Don’t Tell Dad, 241.
6. Hoberman, The Dream Life, 192.
7. Ibid., 192–193.
8. Carson, “Easy Rider: A Very American Thing,” 2.
9. Ibid., 13–14.
10. Goodwin, “Camera: László Kovács,” 15.
11. Carson, “Easy Rider: A Very American Thing,” 13 (emphasis in original).
12. Ibid., 19–20.
13. Biskind, Easy Riders, Raging Bulls, 71.
14. Moskowitz, “Review: Easy Rider.”
15. See Anonymous, “Raybert Productions Presents Easy Rider,” 20; Anonymous, “Easy Rider,” July 23, 1969, 10; Anonymous, “Easy Rider,” July 30, 1969, 10; and Anonymous, “Easy Rider,” August 20, 1969, 15.
16. Anonymous, “Cinema: Top of the Decade,” 52.
17. Krämer, The New Hollywood, 107.
18. Brandum, “A Legacy Went Searching for a Film . . . Dennis Hopper and Easy Rider.”
19. Biskind, “‘I Was Scared to Death of Dennis’,” 40.
20. See Anonymous, “‘Easy Rider,’ Right-Wing Classic?”; and Walker, “The Id and the Odyssey.”
21. Hugo, “Easy Rider and Hollywood in the ’70s,” 70.
22. Ibid., 67.
23. Nystrom, “The New Hollywood,” 421–422.
24. Hugo, “Easy Rider and Hollywood in the ’70s,” 70.
25. Bordwell, Staiger, and Thompson, The Classical Hollywood Cinema, 6.
26. Hugo, “Easy Rider and Hollywood in the ’70s,” 70..
27. Bordwell, Staiger, and Thompson, The Classical Hollywood Cinema, 71.
28. Gunning, “Cinema of Attraction.”.
29. Ibid., 64 (emphasis in original).
30. Klinger, “The Road to Dystopia,” 179–203.
31. Maltby and Craven, Hollywood Cinema, 238–242.
32. Carson, “Easy Rider: A Very American Thing,” 20.
33. Dennis Hopper, audio commentary, Easy Rider DVD (Columbia TriStar Home Video Australia, 2000).
34. Ibid.
35. Hoberman, The Dream Life, 192.
36. James, Allegories of Cinema, 18, cited in Nystrom, “The New Hollywood,” 422.
37. Hoberman, The Dream Life, 197, 236.
38. See Lim, “First Look: James Benning.”
39. Nystrom, “The New Hollywood,” 423.
40. Carson, “Easy Rider: A Very American Thing,” 20–21.
41. Although the scene did not make its way into the 1969 Signet paperback edition of the Easy Rider screenplay, Dennis Hopper talked in numerous interviews about how Terry Southern’s original screenplay opened with a prologue detailing the termination of Billy and Wyatt’s employment.
42. Schroeder, “The Movement Inside,” 120–122.
43. Carson, “Easy Rider: A Very American Thing,” 21.
44. Schroeder, “The Movement Inside,” 121.
45. Elaine M. Bapis states that an earlier, unfilmed draft of the Easy Rider screenplay contained a sequence of Billy and Wyatt “befriending a pack of black cyclists who ‘lend them some gasoline’ and share a joint.” Whether or not this scene was ever filmed is undetermined; it might be one of the sequences excised from Hopper’s 220-minute cut. See Bapis, Camera and Action, 225.
46. Lim, “First Look: James Benning.”
47. Dennis Hopper interview, Shaking the Cage, on Easy Rider DVD (Columbia TriStar Home Video Australia, 2000).
48. Ibid.
49. Haskell, From Reverence to Rape, 323.
50. Hopper, audio commentary.
51. Altman, Film/Genre, 201.
52. Hopper, audio commentary.
53. Peter Fonda interview, Shaking the Cage.
54. Hopper, Shaking the Cage.
55. Hopper, audio commentary.
56. Hopper, audio commentary.
57. Ibid.
58. Fonda initially refers to Antonioni as Fellini. After correcting himself, he subsequently tells interviewers Tony Reif and Iain Ewing that he wished it were Fellini, rather than Antonioni, who had watched the film. Reif and Ewing, “Fonda,” 10.
59. Gillis, “They Blew It.”
60. Pauline Kael saw Hollywood’s embrace of such chaotic nihilism as entirely cynical: “Much of the hopelessness in movies like if . . . [dir. Lindsay Anderson, Paramount Pictures, 1968] and Easy Rider and Medium Cool [dir. Haskell Wexler, Paramount Pictures, 1969] and the new thrillers that kill off their protagonists is probably dictated not by a consideration of actual alternatives and the conclusion that there’s no hope but simply by what seems daring and new and photogenic. The moviemakers, concerned primarily with the look of their movies, may not even realize that audiences are—rightly, I think—becoming resentful of the self-serving negativism. The audience is probably just as much aware of the manipulation for the sake of beautiful violent imagery as it was of the manipulation when Hollywood gave it nothing but happy endings, and it probably knows that these apocalyptic finishes are just as much of a con.” Kael, “The Beauty of Destruction,” 117.
61. Carson, “Easy Rider: A Very American Thing,” 21.
62. Reif and Ewing, “Fonda,” 7 (emphasis in original).
63. Sarris, “From Soap Opera to Dope Opera.”
64. Lim, “First Look: James Benning.”
65. Morgenstern, “Easy Rider: On the Road,” 36.
66. Carson, “Easy Rider: A Very American Thing,” 17–18 (emphasis in original).
67. Linderman, “Gallery Interview: Dennis Hopper,” 83.
68. Ebert, “Easy Rider.”
69. Hugo, “Easy Rider and Hollywood in the ’70s,” 70.
70. Altman, Film/Genre, 135.
71. Monaco, American Film Now, 51.
72. One user review on the Internet Movie Database website reads, in part: “I was utterly surprised by this film. I was expecting nothing more than some short scenes of our now-infamous actors smoking marijuana followed by trippy Willy Wonka scenes. Oddly, this did occur, but this film was much more than that. This film should be shown in every American History class in the United States. It not only showed the beauty of the country of which we reside, but it also spoke about the people that reside in it. . . . I would dare say that we have moved so far from the 60s that I cannot see why our parents do not cry everyday.” From film-critic, “This used to be a helluva good country. I can’t understand what’s gone wrong with it.” IMDb, September 25, 2004, http://www.imdb.com/user/ur1601212/comments?order=alpha&start=154.
1. Bergan, “Obituary: Carole Eastman.”
2. Anonymous, “Playboy Interview: Jack Nicholson,” 80.
3. Lippy, “Writing Five Easy Pieces,” 166.
4. Michael Goodwin, quoted in Compo, Warren Oates, 141 (emphasis in original).
5. Compo, Warren Oates, 141.
6. Pinkerton, “Bombast: Carole Eastman.”
7. Moskowitz, “Film Review: The Model Shop,” 6.
8. In another example of all roads leading back to Easy Rider, Schatzberg took the blurry photograph that adorns the cover of Bob Dylan’s Blonde on Blonde album (1966).
9. Biskind, Easy Riders, Raging Bulls, 119.
10. Goodwin, quoted in Compo, Warren Oates, 16.
11. Campbell, “Rolling Stone Raps with Peter Fonda,” 32.
12. Nystrom, Hard Hats, 40.
13. Brackman, “Review of Five Easy Pieces,” 34, 38. Referred to in Nystrom, Hard Hats, 40.
14. Eastman, “Five Easy Pieces (1970) Movie Script.”
15. Farber, “Stephen Farber from L.A.,” 3.
16. Schroeder, “The Movement Inside,” 123.
17. This deliberately contrasts with the mannered, static mise-en-scène of the sequences shot in Bobby’s family home.
18. Kauffmann, “Stanley Kauffmann on Films—Five Easy Pieces,” 21.
19. Bingham, Acting Male, 112.
20. Biskind, Easy Riders, Raging Bulls, 119.
21. Erskine, “Five Easy Pieces.”
22. Ebert, “Five Easy Pieces.”
23. Langford, Post-Classical Hollywood, 144.
24. Pauline Kael, cited in Dare, “Five Easy Pieces.”
25. Kanfer, “Supergypsy,” 89.
26. Kauffmann, “Stanley Kauffmann on Films—Five Easy Pieces,” 21.
27. Nystrom, Hard Hats, 39.
28. Bingham, Acting Male, 114.
29. Ibid., 116.
30. Nystrom, Hard Hats, 41.
31. Kirshner, Hollywood’s Last Golden Age, 66.
32. Estelle Changas, “‘Easy’ Author on Cutting Edge,” 22.
33. Nystrom, Hard Hats, 38.
34. Schroeder, “The Movement Inside,” 123.
35. Kauffmann, “Stanley Kauffmann on Films—Five Easy Pieces,” 21.
36. Gold, “New York Film Festival Films: Five Easy Pieces,” 15.
37. Ibid.
38. Bingham, Acting Male, 111.
39. Cohen, “‘Head’ to ‘Gardens’ via ‘Easy Rider’,” 22, and Goodwin, quoted in Compo, Warren Oates, 16. In the same interview, Kovács expands on his attempts with Rafelson to create a theatrical (rather than cinematic) aesthetic for the film: “We decided that we would never move the camera when we were in exteriors, just work with cuts and composition. It’s all set shots.” See Goodwin, quoted in Compo, Warren Oates, 16.
40. Dennis Hopper, Shaking the Cage documentary.
41. Ibid.
42. Ebert, “Great Movie: Five Easy Pieces.”
43. Dare, “Five Easy Pieces.”
44. Playboy’s highest praise was reserved for Nicholson, whose performance is described as “variegated, humorous, colorful and deeply felt.” See Anonymous, “Movies: Five Easy Pieces,” 38.
45. Gold, “New York Film Festival Films: Five Easy Pieces,” 15.
46. Nystrom, Hard Hats, 45.
47. Schickel, “A Man’s Journey into His Past,” 16.
48. Kanfer, “Supergypsy,” 89.
49. Cohen, “‘Head’ to ‘Gardens’ via ‘Easy Rider’,” 21.
50. Armion, “An Interview with Jerry Schatzberg.”
51. Ibid.
52. Kael, “Blood and Sand,” 252.
53. Ibid., 251.
54. Ibid.
55. Anonymous, “Playboy Interview: Jack Nicholson,” 80.
56. Toby Rafelson, audio commentary, Five Easy Pieces DVD (The Criterion Collection, New York, 2010).
57. McLellan, “Obituaries: Charles Eastman Dies at 79.”
58. Changas, “‘Easy Author on Cutting Edge,” 22.
59. Anonymous, “Pictures: Film Institute Tutors Femmes as Directors,” 23.
60. Lippy, “Writing Five Easy Pieces,” 165, 191.
1. Medavoy, You’re Only as Good as Your Next One, 5.
2. Monte Hellman interview, You Can Never Go Fast Enough—Two Lane Blacktop Revisited, Two-Lane Blacktop DVD (Umbrella Entertainment, 2007).
3. Jones, “The Cylinders Were Whispering My Name,” 179.
4. McBride had already made the premonitory mockumentary diary film David Holzman’s Diary (1967) in New York’s 16mm underground. L. M. Kit Carson played the lead and later made a documentary on Dennis Hopper’s editing of The Last Movie, called The American Dreamer (dir. with Lawrence Schiller, EYR Films, 1971). Carson also wrote the oddball The Texas Chainsaw Massacre 2 (dir. Tobe Hooper, Cannon Films Inc., 1986), starring Hopper, and Paris, Texas (dir. Wim Wenders, Twentieth Century Fox, 1984), which starred Two-Lane Blacktop bit player Harry Dean Stanton. Two-Lane Blacktop writer Wurlitzer later wrote Sam Peckinpah’s elegiac, death-obsessed Pat Garrett and Billy the Kid (Metro-Goldwyn-Mayer, 1973).
5. Monte Hellman, audio commentary, Two-Lane Blacktop DVD (Umbrella Entertainment, 2007).
6. Ibid. Roos later produced the first two Godfather films and Apocalypse Now for Francis Ford Coppola.
7. Hellman interview, You Can Never Go Fast Enough.
8. Ibid.
9. Ibid.
10. Compo, Warren Oates, 204.
11. Hellman, audio commentary, Two-Lane Blacktop DVD.
12. Ibid.
13. Ibid.
14. Gary Kurtz, audio commentary, Two-Lane Blacktop DVD (Umbrella Entertainment, 2007).
15. Ibid.
16. Ibid.
17. There are only a few exceptions, in which real actors were brought on location from elsewhere: TV bit players Bill Keller, Katherine Squire, and a young Harry Dean (credited as “H D”) Stanton as hitchhikers, and good ol’ boy character actor Alan Vint as a young man in a diner.
18. Hellman, audio commentary, Two-Lane Blacktop DVD.
19. Ibid.
20. Ibid.
21. Monte Hellman interview, Monte Hellman: American Auteur (dir. George Hickenlooper, 1997), Two-Lane Blacktop DVD (Umbrella Entertainment, 2007).
22. Jones, “The Cylinders Were Whispering My Name,” 181.
23. Hellman interview, You Can Never Go Fast Enough.
24. Hellman interview, American Auteur.
25. Hellman interview, You Can Never Go Fast Enough.
26. Stanfield, The Cool and the Crazy, 17.
27. Wurlitzer and Corry, “Two-Lane Blacktop” screenplay, 104–114, 142, 144.
28. Compo, Warren Oates, 235.
29. Hayes, “Editor’s Notes,” 12.
30. Wurlitzer and Corry, “Two-Lane Blacktop” screenplay, 112.
31. Ibid., 113.
32. Jones, “Two-Lane Blacktop: Slow Ride,” 14.
33. Wurlitzer and Corry, “Two-Lane Blacktop” screenplay, 142 (emphasis in original).
34. Ibid., 144.
35. Berliner, Hollywood Incoherent, 89.
36. Elsaesser, “The Pathos of Failure,” 281.
37. Zimmerman, “Three for the Road,” 148.
38. Elsaesser, “The Pathos of Failure,” 281.
39. Hellman interview, You Can Never Go Fast Enough.
40. This device had previously appeared at the conclusion of both Rafelson’s Monkees caper Head and Jerzy Skolimwoski’s portrait of automotive obsession, Le départ/The Departure (Pathé Contemporary Films, 1967).
41. Jones, “Two-Lane Blacktop: Slow Ride,” 11.
42. Ibid.
43. Murphy, “Film Reviews: Two-Lane Blacktop,” 46.
44. Zimmerman, “Three for the Road,” 148.
45. Ibid., 184.
46. Ibid. (emphasis in original).
47. Ebert, “Two-Lane Blacktop.”
48. Cocks, “Cinema: Wheels: Hi Test,” 50.
49. Rosenbaum, “Paris-London Journal,” 4, 61. By 1996 Rosenbaum would reverse his position, stating that the film, “looks even better now than it did in 1971, though it was pretty interesting back then as well.” See Rosenbaum, “Two-Lane Blacktop.”
50. Silverman, “International: 351 Films Above $100,000 Gross,” 34.
51. Jones, “Two-Lane Blacktop: Slow Ride,” 11.
52. Strangelove, no. 1 (Autumn 2011).
1. Charlotte Rampling also appears in an excised scene that was retained in the alternate British cut of the film, as a dope-smoking harbinger of death encountered by Kowalski late in his journey.
2. Zazarine, “Kowalski’s Last Ride.”
3. Michael Ritchie is a director with an intriguing career trajectory in his own right. Like Sarafian, Ritchie made inroads through television before making his feature film directorial debut with Downhill Racer, and made two notable subsequent films: the political satire The Candidate (Warner Bros., 1972), starring Robert Redford, and the hard-nosed, now forgotten gangster picture Prime Cut (National General Pictures, 1974), which locates its nexus of bloody criminal activity in and around the wheat fields and slaughterhouses of Kansas. This latter film paired Lee Marvin and Gene Hackman and included the screen debut of Sissy Spacek. Ritchie’s later baseball caper The Bad News Bears (Paramount Pictures, 1976) proved to be a box-office success, as was his spiritual successor to The Longest Yard (dir. Robert Aldrich, Paramount Pictures, 1974), the Burt Reynolds football movie Semi-Tough (United Artists, 1977). The success of these two films appeared to cast Ritchie as a specialist director of comedic romps, and much of his subsequent career was filled out with such titles as the Chevy Chase vehicles Fletch (Universal Pictures, 1985), Fletch Lives (Universal Pictures, 1989), and Cops and Robbersons (TriStar, 1994); the Eddy Murphy blockbuster The Golden Child (Paramount Pictures, 1986); and the made-for-TV mockumentary The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom (HBO, 1993).
4. Richard C. Sarafian, audio commentary, Vanishing Point DVD (Twentieth Century Fox Home Entertainment, 2003).
5. Ibid.
6. Zazarine, “Kowalski’s Last Ride.”
7. Ibid.
8. Sarafian, audio commentary, Vanishing Point DVD.
9. Ibid.
10. Ibid.
11. Ibid.
12. Ibid
13. Beck, “Resistance Becomes Ballistic,” 42.
14. Sarafian, audio commentary, Vanishing Point DVD.
15. Beck, “Resistance Becomes Ballistic,” 42.
16. Ibid., 36
17. Ibid., 45.
18. Ibid.
19. Elsaesser, “The Pathos of Failure,” 280.
20. Beck, “Resistance Becomes Ballistic,” 42.
21. Sarafian, audio commentary, Vanishing Point DVD.
22. Ibid.
23. Beck, “Resistance Becomes Ballistic,” 44.
24. Ibid., 47.
25. Sidney J. Furie had also directed films that might fit under the youth-cult road movie banner, namely the prototypical British The Leather Boys (Allied Artists Pictures, 1964) and Little Fauss and Big Halsy.
26. Sarafian, audio commentary, Vanishing Point DVD.
27. Williams, Road Movies, 116.
28. Sarafian, audio commentary, Vanishing Point DVD.
29. Zazarine, “Kowalski’s Last Ride.”
30. Greenspun, “Vanishing Point: A Lot of Speed and Loads of Hair.”
31. Robe, “Film Review: Vanishing Point,” 17.
32. Chase, “Vanishing Point,” 34.
33. Zazarine, “Kowalski’s Last Ride.”
34. Beck, “Resistance Becomes Ballistic,” 47.
1. Geist, “Inter/VIEW with Sidney Furie,” 12.
2. McLellan, “Obituaries: Charles Eastman Dies at 79.”
3. Eastman, Little Fauss and Big Halsy, 44.
4. Ibid., 94.
5. An unsympathetic Susan Rice said in her review of the film in Take One: “Michael Pollard’s mugging becomes more tiresome with every film—and especially so in two viewings of this one.” See Rice, “Little Fauss and Big Halsy,” 23.
6. Downhill Racer perhaps does the same thing.
7. Kael, “Men in Trouble,” 173.
8. Another interesting motif in Little Fauss and Big Halsy is the origin of the enormous scar on Halsy’s back. At numerous points in the film he offers contradictory explanations for it: motorcycle crash, Vietnam War injury, or an accident on the stairs as a teenager. Warren Oates’s GTO character plays a similar game with his backstory in Two-Lane Blacktop.
9. Charles Eastman, Little Fauss and Big Halsy, 49–50.
10. Ibid., 67, 147–148.
11. Harris, Pictures at a Revolution, 207.
12. Shaun Considine, liner notes for Little Fauss and Big Halsy soundtrack LP (New York: Columbia Records, 1970) (emphasis in original).
13. .Eastman, Little Fauss and Big Halsy,1.
14. Ibid., 160.
15. Murphy (Murf), “Film Review: Little Fauss and Big Halsy,” 14.
16. Puner, “Full of Sound and Sidney J. Furie,” 11.
17. Kael, “Men in Trouble,” 173.
18. Rice, “Little Fauss and Big Halsy,” 21.
1. A detailed survey of this campus revolution cycle, and the response it generated in the radical press of the era, may be found in Bodroghkozy, “Reel Revolutionaries,” 38–58.
2. Garron, “Soap Opera Turns Out to Be a ‘Capitol’ Idea.”
3. The reference to Andrews is perhaps an ironic acknowledgment of Scheerer’s own very unfashionable, not-too-distant past in television musical specials.
4. Rice, “Adam at 6 A.M.,” 23.
5. Ibid., 24.
6. Rosenberg, Christiansen, and Lebensold, “The Adam at 6 A.M. Dossier,” 6.
7. Ibid.
8. Ibid.
9. Ibid.
10. Anonymous, “Natl. Genl. Preems ‘Adam’ in K.C. Sept. 22,” 41.
11. Ibid.; Anonymous, “Pictures Grosses: ‘Move’ (3),” 8.
12. Anonymous, “Critics’ Opinions,” 20.
13. This slick persona was ironically subverted again in Douglas’s casting as the psychotic everyman in Falling Down (dir. Joel Schumacher, Warner Bros., 1993).
1. Siegel later mugged that he originally considered Audie Murphy for the Scorpio role: “I was looking for a killer, and here’s the killer of all time, a war hero who had killed over 250 people. . . . It would have been the easiest part of his life.” According to Siegel, the studio rejected the suggestion. See Kaminsky, “Don Siegel,” 15.
2. Ibid., 10.
3. Kitses, “Journal: LA,” 2.
4. Ibid.
5. Chase, “The Strange Romance of Dirty Harry Callahan and Ann Mary Deacon,” 14.
6. Kitses, “Journal: LA,” 2.
7. Kaminsky, “Don Siegel,” 11–15.
8. Lovell, Don Siegel, 30–31.
9. Siegel, A Siegel Film, 294.
10. Fuller, “Don Siegel,” 12.
11. Ibid., 356.
12. Richard Schickel, audio commentary, Dirty Harry DVD (distributed by Warner Home Video, 2008).
13. Siegel, A Siegel Film, 358.
14. For a detailed consideration of the ways in which stardom and ideology are interlinked, see Dyer, Stars.
15. Lovell, Don Siegel, 36.
16. Ibid., 39.
17. Bordwell, Staiger, and Thompson, The Classical Hollywood Cinema, 3.
18. Gentry, “Director Clint Eastwood,” 64.
19. Ibid., 14.
20. Lovell, Don Siegel, 27.
21. Quoted in ibid., 60.
22. Ray, A Certain Tendency of the Hollywood Cinema, 1930–1980, 300.
23. Lev, Conflicting Visions, 36.
24. Ibid., 36–37.
25. Schickel, audio commentary, Dirty Harry DVD.
26. Ibid.
27. Ibid.
28. Chase, “The Strange Romance of Dirty Harry Callahan and Ann Mary Deacon,” 17.
29. Kael, “Saint Cop,” 386.
30. Siegel, A Siegel Film, 373.
31. Quoted in Avery, Conversations with Clint, 76.
32. Street, Dirty Harry’s America, 3.
33. Lovell, Don Siegel, 44.
34. Kael, “Saint Cop,” 386.
35. Siegel, A Siegel Film, 373. According to Peter Bogdanovich, Don Siegel was not necessarily as naïvely unaware of the ramifications of Dirty Harry as he presented himself to be amid the storm of critical disdain. In his book Who the Devil Made It, Bogdanovich recalls attending an early preview of the film with Siegel: “‘I don’t know what people are going to think of this,’ Don Siegel said in a tone of hushed conspiracy as he greeted Cybill Shepherd and me for an early private screening of Dirty Harry. He thought all his liberal friends would disown him because of the picture’s persuasive portrayal of how difficult it has become for police to apprehend criminals.” See Bogdanovich, Who the Devil Made It, 720 (emphasis in original).
36. Kael, “Saint Cop,” 387.
37. Murphy, “Film Reviews: Dirty Harry,” 66.
38. Chase, “The Strange Romance of Dirty Harry Callahan and Ann Mary Deacon,” 17.
39. Siegel, A Siegel Film, 369–70 (emphasis in original).
40. Guerrero, Framing Blackness, 105.
41. Ibid., 83.
42. Ibid., 84.
43. Ibid., 69–70.
44. Ibid., 93.
45. Stanfield, “Walking the Streets,” 287. See also Robinson, “Blaxploitation and the Misrepresentation of Liberation,” 1–12.
46. Guerrero, Framing Blackness, 110.
47. And while the audience for these films on initial release was largely determined by the inner-city placement of grindhouse cinemas, television broadcasts and home video helped them to diversify their audience. The ultimate upshot of this was Quentin Tarantino recasting the Caucasian Jackie Burke of Elmore Leonard’s Rum Punch (1992) as Jackie Brown (Miramax Films, 1997), his love letter to the blaxploitation era, reviving Pam Grier’s career in the process.
48. Stanfield, “Walking the Streets,” 284.
49. Krämer, The New Hollywood, 108.
50. Schickel, audio commentary, Dirty Harry DVD.
51. Yet even here in the seemingly straightforward application of Eastwood as star, Siegel’s fondness for ambiguity again rears its head. Throughout Dirty Harry, Siegel offers numerous instances of doubling and repetition between Harry and his adversary Scorpio, suggesting that Harry’s obsessive, unhinged need to detain and destroy his foe is not dissimilar from the psychopathic urge that spurs on Scorpio’s depraved acts. For example, the film makes use of a masking motif when occupying both characters’ points of view, first when Scorpio looks through the telescopic sight of his sniper rifle and later when Harry observes from the rooftop using binoculars. Later, Harry and Scorpio have their first physical confrontation under the giant cross at Mount Davidson. As both characters are wounded, Siegel deliberately cuts between their identical actions as they get up off the ground, visually suggesting their doubling. Lovell says of this tendency that “the place of the law in the film is further qualified by the similarities that exist between Harry and the killer. . . . In a large measure Harry embodies the same kind of isolated savagery as the killer does.” Variety also noted “the sado-masochistic mutual need of brutal criminals and brutal law enforcers.” See Lovell, Don Siegel, 43, and Murphy, “Film Reviews: Dirty Harry,” 66.
52. Lovell, Don Siegel, 44.
53. Carducci, Stone Male, 306.
54. Street, “Dirty Harry’s San Francisco,” 9.
1. Barrett, “William Friedkin Interview,” 15.
2. Biskind, Easy Riders Raging Bulls, 203.
3. Making the Connection: The Untold Stories of The French Connection (2001), The French Connection special edition DVD (Twentieth Century Fox Home Entertainment, 2000).
4. William Friedkin interview, The Poughkeepsie Shuffle: Tracing The French Connection (dir. Russell Leven, BBC, 2000), The French Connection special edition DVD (Twentieth Century Fox Home Entertainment, 2000).
5. Ibid.
6. Ibid.
7. Phil D’Antoni interview, Making the Connection, The French Connection special edition DVD.
8. Friedkin, “Anatomy of a Chase,” 25.
9. The Poughkeepsie Shuffle, The French Connection special edition DVD.
10. Ibid.
11. Friedkin, Making the Connection, The French Connection special edition DVD.
12. Ibid.
13. Sonny Grosso interview, Making the Connection, The French Connection special edition DVD. Eddie Egan later became a criminal consultant for Paramount and appeared in Michael Richie’s Prime Cut. See Murphy, “Film Review: Prime Cut,” 18.
14. Richard Zanuck interview, Making the Connection, The French Connection special edition DVD.
15. Friedkin, The Poughkeepsie Shuffle, The French Connection special edition DVD.
16. Ibid.
17. Grosso, Making the Connection, The French Connection special edition DVD.
18. Sonny Grosso and Gene Hackman interview, Making the Connection, The French Connection special edition DVD.
19. Barrett, “William Friedkin Interview,” 16 (emphasis in original).
20. Friedkin, The Poughkeepsie Shuffle, The French Connection special edition DVD.
21. Director John Sturges later took a trip into similar territory as Dirty Harry, attempting to rehabilitate John Wayne’s aging screen persona through contemporary Seattle detective work in McQ (Warner Bros., 1974).
22. Making the Connection, The French Connection special edition DVD.
23. Berliner, Hollywood Incoherent, 100.
24. Schatz, Hollywood Genres, 6.
25. Ibid., 7.
26. Friedkin, The Poughkeepsie Shuffle, The French Connection special edition DVD.
27. Hackman, The Poughkeepsie Shuffle, The French Connection special edition DVD.
28. Ibid.
29. Roy Scheider interview, The Poughkeepsie Shuffle, The French Connection special edition DVD.
30. Friedkin, The Poughkeepsie Shuffle, The French Connection special edition DVD.
31. Berliner, Hollywood Incoherent, 91.
32. Ibid., 108–109, 113–117.
33. Friedkin, The Poughkeepsie Shuffle, The French Connection special edition DVD.
34. Krämer, The New Hollywood, 108.
35. Kael, “Urban Gothic,” 318–319 (emphasis in original).
36. Ibid., 315.
37. Ibid., 316.
38. Ibid., 317.
39. Kael, “Saint Cop,” 386.
40. Ibid., 388.
41. Kael, “Saint Cop,” 385.
42. See Ramaeker, “Realism, Revisionism and Visual Style,” 144–163; and Street, “Dirty Harry’s San Francisco.”
1. Hoberman, The Dream Life, 313.
2. Biskind, Easy Riders, Raging Bulls, 124.
3. Ibid., 126; Hoberman, The Dream Life, 313. Later, Hopper would consider casting the roles with Peter and Henry Fonda, with a role for Jane as well. See Folsom, Hopper, 98.
4. Hoberman, Dennis Hopper, 20.
5. Darrach, “The Easy Rider Runs Wild in the Andes,” 56.
6. Biskind, Easy Riders, Raging Bulls, 127.
7. Anonymous, “Dennis Hopper: Triple Threat Talent,” 50.
8. If such narrative supremacy exists at all in The Last Movie; objective diegetic reality is called into question by the unraveling culmination of Hopper’s film.
9. Indeed, Rolling Stone reported that Fuller himself directed some of the film-within-a-film action sequences. See Anonymous, “The Last Movie,” in AFI Catalogue of Feature Films.
10. Heffernan, “The Last Movie and the Critique of Imperialism,” 15.
11. Ibid.
12. Tracy, “(En)fin de cinema—Andrew Tracy on The Last Movie.”
13. Rosen, “Screen and 1970s Film Theory,” 274.
14. Legend has it that Hopper initially assembled a more formally conventional cut of The Last Movie, which he eagerly showed to Jodorowsky. The Chilean director expressed his deep disappointment and disapproval that Hopper had adhered so rigidly to Hollywood convention, which prompted Hopper to abandon this version of the film and fashion a new cut adopting the more radical stylistic approach of the final film. Whether or not this story is true, it is a notable element of the mythology surrounding The Last Movie. The fact that Jodorowsky’s El Topo (Douglas Films, 1970) was typically dismissed by mainstream critics, othering its Mexican origins through a lens of confounding exoticism, anticipated the confounded hostility that awaited The Last Movie. At any rate, Hopper’s torturous editing process is covered in a March 1971 Los Angeles Times report, which mentions that Hopper had reduced a forty-hour cut to five and a half hours. See Anonymous, “The Last Movie,” in AFI Catalogue of Feature Films.
15. Hoberman, “Drugstore Cowboy.”
16. Scharres, “From Out of the Blue,” 28.
17. See, for instance, Biskind, Easy Riders, Raging Bulls, 44, 133.
18. James, “Dennis Hopper’s The Last Movie,” 39.
19. Heffernan, “The Last Movie and the Critique of Imperialism,” 15.
20. Tracy, “(En)fin de cinema—Andrew Tracy on The Last Movie.”. There were contemporary reports that the production of The Last Movie was protested by several Peruvians, who felt that the Hollywood production was exercising the very kind of cultural insensitivity that Hopper in part set out to critique. See Anonymous, “The Last Movie,” AFI Catalogue of Feature Films.
21. Hoberman, Dennis Hoppers, 21.
22. James, “Dennis Hopper’s The Last Movie,” 43 (emphasis in original).
23. Burke, “Dennis Hopper Saves the Movies,” 140 (emphasis in original).
24. King, “At Least a Witness to Myself,” 112.
25. Goodwin, :Camera: László Kovács,” 16.
26. Moskowitz, “Film Review: Venice Film Fast Reviews—The Last Movie,” 16.
27. Anonymous, “International: Dennis Hopper Unwinds at Venice Film Fest,” 20.
28. Universal Studios, “The Last Movie synopsis,” cited in Heffernan, “The Last Movie and the Critique of Imperialism,” 12.
29. Cited in Anonymous, “The Last Movie,” Filmfacts, 531.
30. Kanfer, “The Last Movie,” cited in Anonymous, “The Last Movie,” Filmfacts, 533.
31. Champlin, “The Last Movie,” cited in Anonymous, “The Last Movie,” Filmfacts, 532.
32. Cited in Anonymous, “The Last Movie,” Filmfacts, 531.
33. Canby, “Screen: The Last Movie.”
34. Ibid.
35. Ebert, “The Last Movie/Chincero [sic].”
36. Anonymous, “The Last Movie,” Filmfacts, 532.
37. Kael, “Movies in Movies,” 298.
38. Ibid. (emphasis in original).
39. Ibid.
40. Ibid.
41. Ibid., 293
42. Kael, “Trash, Art, and the Movies,” 85–129.
43. Kael, “Movies in Movies,” 293.
44. Ibid., 294 (emphasis in original).
45. Ibid., 295.
46. Ibid., 299.
47. The fact that The French Connection trumped The Last Picture Show in the Best Picture and Best Director categories confirms the primacy of a director’s cinema in the self-reckoning of the industry. Friedkin’s film aggressively telegraphs his mastery of a flashy, hyperstylized aesthetic, mirrored in Hackman’s highly mannered performance. On the other hand, Bogdanovich’s relatively subdued directorial style in The Last Picture Show allows its more nuanced performances to come to the fore, rendering it very much an “actor’s film.”
48. Kael, “Trash, Art, and the Movies,” 92. Although 2001 and Petulia were both bankrolled by Hollywood studios, both are British coproductions; Kael’s heated derision toward both may be an extension of another cultural prejudice regarding what Hollywood film can and cannot be.
49. Godard’s influence on the New Hollywood was reciprocal. The frequent homages to Classical Hollywood that riddle his earliest New Wave films are well documented, and he very nearly came to Hollywood to direct David Newman and Robert Benton’s screenplay for Bonnie and Clyde. For detailed discussion of this abortive production history, see Harris, Pictures at a Revolution.
50. Godard’s own reworking of western iconography in a Marxist mold, Le vent d’est (1970, credited to Groupe Dziga Vertov), features an extended sequence with boom and sound recorder visible on screen, much like The Last Movie.
51. Kael, “A Minority Movie,” 79.
52. Ibid., 80.
53. Kael, “Weekend in Hell,” 138; on the influence of Week End on Hopper, both Mitchell Cohen and Joseph Morgenstern attribute the 360-degree pan in Easy Rider’s commune sequence to the farmyard piano sequence in Week End. See Cohen “‘Head’ to ‘Gardens’ via ‘Easy Rider’,” 22; and Morgenstern, “Easy Rider: On the Road,” 35. However, Hopper and company had already utilized an identical 360-degree pan in a dope smoking sequence in the contemporaneous The Trip (1967).
54. Ibid., 142.
55. Ebert, “The Last Movie/Chincero”; and Ebert, “On Jean-Luc Godard.”
56. Ebert, “Weekend.”
57. Kael, “Weekend in Hell,” 143.
58. Although as the Dogme 95 experiment shows, such stunts of false modesty as removing the director from the credits can easily draw more attention to the absent presence of the auteur.
59. Hoberman, “Tout va bien Revisited,” 7.
60. Anonymous, Tout va bien, 21.
61. Hoberman, “Tout va bien Revisited,” 8. This event bears some resemblance to Bob Dylan’s mythical 1966 motorcycle accident, which arrested his electric trajectory and prompted him to withdraw from public view.
62. The lower figure comes from Kolker, “Angle and Reality,” 29. The higher figure comes from Kovacs, “Tout va bien,” 34.
63. Hoberman, “Tout va bien Revisited,” 9.
64. Kael, 5001 Nights at the Movies, 612.
65. O’Brien with Netter, “Inter/view with Dennis Hopper,” 24.
66. Rosenbaum, “‘New Hollywood’ and the 60s Melting Pot.”
67. See Anonymous, “The Last Movie,” in AFI Catalogue of Feature Films; and Hoberman, Dennis Hopper, 21.
68. Linderman, “Gallery Interview: Dennis Hopper,” 64.
69. Ibid.
70. Hopper unexpectedly assumed directorial duties on Out of the Blue (1980), in which he was originally cast as an actor, after its original director, Leonard Yakir, left the project midway through the shoot. Under Hopper’s direction, several changes were made to the screenplay, and much of the footage that had already been shot was jettisoned (see Scharres, “From Out of the Blue,” 31). Out of the Blue may be taken as the final installment in Hopper’s trilogy of sorts on the failure of the counterculture dream. Where Easy Rider depicted mainstream America’s failure to accommodate the hippie movement, and The Last Movie details the forces of commercialism and cultural imperialism corroding the hippie dream, Out of the Blue chillingly examines members of the counterculture struggling to shoulder the responsibilities of domesticity a decade later. While Hopper’s pedophilic Don is in prison after slamming his truck into a school bus while drunkenly attempting to fondle his daughter CeBe from behind the wheel (Linda Manz), his wife Kathy (Sharon Farrell) languishes in a junkie stupor, and CeBe finds a revolution of her own in the nihilistic spirit of punk, ultimately reuniting the fractured family unit in a fiery ritual suicide.
71. Linderman, “Gallery Interview: Dennis Hopper,” 60.
72. James, “Dennis Hopper’s The Last Movie,” 46.
73. Hirsch, “You’re Wrong If You Write Off Dennis Hopper,” 11.
74. Kaminsky, “Over Looked & Under Rated,” 31.
75. Ibid.
76. Rudnick, Utopian Vistas, 205.
77. James, “Dennis Hopper’s The Last Movie,” 35.
78. Ibid., 45.
79. Burns, “Dennis Hopper’s The Last Movie,” 137–147. The Gnostic texts of Nag Hammadi later inspired another voice of countercultural paranoia, Philip K. Dick’s Valis (1981).
80. Heffernan, “The Last Movie and the Critique of Imperialism,” 21.
81. Hoberman, Dennis Hopper, 20.
82. Heffernan, “The Last Movie and the Critique of Imperialism,” 12.
1. Cochran, “Violence, Feminism and the Counterculture in Peter Fonda’s The Hired Hand,” 86.
2. Fonda, Don’t Tell Dad, 297–298.
3. Bergan, “Alan Sharp Obituary”; and Horsfield, “Night Moves Revisited,” 88.
4. Ebert, “The Last Run” ; and Greenspun “The Last Run.”
5. Hopper also starred in an attempt to reinsert a kind of realism into the western genre. In James Frawley’s Kid Blue (Twentieth Century Fox, 1973), Hopper’s former outlaw struggles to adapt to the capitalist economy and is eventually forced back into a life of crime.
6. Compo, Warren Oates, 205.
7. Ibid., 210.
8. Anonymous, “Pictures: Pete Fonda Self-Directed,” 300.
9. Quoted in Compo, Warren Oates, 210.
10. Hoberman, The Dream Life, 309.
11. Biskind, Easy Riders, Raging Bulls, 72–73.
12. For licensing reasons, The Band’s version of “The Weight” was left off the retail version of the Easy Rider soundtrack, replaced with a cover version by Smith.
13. Anonymous, “Scissor Tail Editions: ST07—Bruce Langhorne—The Hired Hand (LP).”
14. Fonda, Don’t Tell Dad, 315.
15. Compo, Warren Oates, 210.
16. Quoted in ibid., 239.
17. Quoted in Hoberman, The Dream Life, 310.
18. Ibid.
19. Describing the film that he imagined would be his next project after The Last Movie, in a 1970 interview with Tom Burke, Hopper conjured a vision that sounds remarkably close to Malick’s Days of Heaven: “I’m going to make a picture about that, man—the harvest trains that start in Oklahoma and follow the crops, same families every year, great long lines of combines and trucks moving across that flat horizon.” Burke, “Dennis Hopper Saves the Movies,” 170.
20. Horsfield, “Night Moves Revisited,” 88. In this regard, Sharp’s interest in subverting the conventions of the detective genre mirrors Robert Altman’s ambition for The Long Goodbye (United Artists, 1973), which he intended to be “more about suicide than . . . about murder.” In Altman’s reckoning, his film was “a goodbye to . . . a genre that I don’t think is going to be acceptable any more.” See Dawson, “Robert Altman Speaking,” 40, 41.
21. Quoted in Compo, Warren Oates, 204–205.
22. Cochran, “Violence, Feminism and the Counterculture in Peter Fonda’s The Hired Hand,” 86.
23. Quoted in Kindred, “On Peter Fonda’s Tour,” 53; and Anonymous, “Peter Fonda’s Conditions,” 1.
24. Cochran, “Violence, Feminism and the Counterculture in Peter Fonda’s The Hired Hand,” 86.
25. Quoted in Compo, Warren Oates, 209. The narrative of the weary gunfighter turning his back on his violent ways in order to rebuild an approximation of the family unit would be repeated by Clint Eastwood’s early revisionist western, The Outlaw Josey Wales. Indeed, as chapter 8 on Dirty Harry shows, Clint Eastwood’s career has been marked by a continued strain of ambivalence in relation to both liberal and conservative ideologies.
26. Cochran, “Violence, Feminism and the Counterculture in Peter Fonda’s The Hired Hand,” 90.
27. Quoted in ibid., 90.
28. Cochran, “Violence, Feminism and the Counterculture in Peter Fonda’s The Hired Hand,” 94–95.
29. Fonda, Don’t Tell Dad, 297–298.
30. Haskell, From Reverence to Rape, 323.
31. Ibid., 336.
32. Ibid.
33. Ibid.
34. Cochran, “Violence, Feminism and the Counterculture in Peter Fonda’s The Hired Hand,” 93.
35. Ibid., 94.
36. Hoberman, The Dream Life, 310.
37. Haskell, From Reverence to Rape, 359.
38. Ibid., 358.
39. Ibid., 359
40. Frederick, “Peter Fonda Spews Scatology & Raps in Gabfest That’s Put-On & Put-Down,” 5.
41. Murphy, “Film Reviews: The Hired Hand,” 14. Murphy’s criticism anticipates charges that would later be leveled at Malick, particularly his line that Fonda’s film is “very pretty, and empty.”
42. Greenspun and Parker cited in Anonymous, “The Hired Hand” advertisement, 19.
43. Filmfacts (1971), 369–371, cited in Cochran, “Violence, Feminism and the Counterculture in Peter Fonda’s The Hired Hand,” 96.
44. Champlin cited in Compo, Warren Oates, 235–236.
45. Ebert, “The Hired Hand.”
46. Ibid.
47. Compo, Warren Oates, 213.
48. Ibid., 238; and Cochran, “Violence, Feminism and the Counterculture in Peter Fonda’s The Hired Hand,” 86.
1. Verrill, “Youth Shuns Youth-Lure Films,” 1. Intriguingly, Verrill’s murder in 1977 would help inspire William Friedkin’s notorious Cruising.
2. Kael, “Numbing the Audience,” 148 (emphasis in original).
3. Quoted in Goodwin, “Camera: László Kovács,” 16.
4. Quoted in Biskind, Easy Riders, Raging Bulls, 137.
5. Anonymous, “Pictures: ‘Electra Glide’ to Paris Following Cannes Fest,” 30.
6. Segers, “Films Crazy, Directing Easy,” 17.
7. See ibid. and Anonymous, “’Twas Guercio; Hall Denies He Directed Pic,” 3.
8. Silverman, “International: Variety Chart Summary for 1973,” 68.
9. Linderman, “Gallery Interview,” 65 (emphasis in original).
10. Ibid., 66.
11. Verrill, “Youth Shuns Youth-Lure Films,” 48.
12. O’Brien with Netter, “Inter/view with Dennis Hopper,” 24.
13. Hopper’s ability to appropriate avant-garde gestures and successfully package them into a commercially viable formula accords with Richard Maltby’s more general observation that “the avant-garde’s transgressions operate as a form of research and development for commercial culture.” See Maltby, Foreword to,” Maximum Movies—Pulp Fictions, xii.
14. Neale, “‘The Last Good Time We Ever Had?’,” 100.
15. Hall and Neale, Epics, Spectacles and Blockbusters, 198.
16. Ibid., 199.
17. See Jameson, “‘The Nostalgia Mode’ and ‘Nostalgia for the Present’,” 24.
18. Transformers: The Movie (dir. Nelson Shin, De Laurentiis Entertainment Group, 1986), Transformers (dir. Michael Bay, DreamWorks/Paramount, 2007), Transformers: Revenge of the Fallen (dir. Michael Bay, DreamWorks/Paramount, 2009), Transformers: Dark of the Moon (dir. Michael Bay, Paramount Pictures, 2011), Transformers: Age of Extinction (dir. Michael Bay, Paramount Pictures, 2014), Transformers: The Last Knight (dir: Michael Bay, Paramount Pictures, 2017) and a host of television series.
19. Anonymous, “Dialogue on Film,” 22.
20. Biskind, Easy Riders, Raging Bulls, 252.
21. Sotinel, Martin Scorsese, 27.