sitting at the bar: David Thomson, “Jack Nicholson, King of Mulholland,” Playgirl, Apr. 1981.
decorated store windows: https://www.cigaraficionado.com/article/on-his-own-terms-6022.
apricot brandy and Hennessy: Richard Warren Lewis, Nicholson Playboy interview, Apr. 1972.
started drinking only when Prohibition: Jack Mathews, “Jack Laid-Back,” Los Angeles Times, Aug. 5, 1990.
Robert Evans, a boy: Robert Evans interview with author.
“That wouldn’t be me”: Ibid.
Mrs. Walker’s hamburger stand: “Commentary,” Chinatown (1975; Los Angeles: Paramount, 1999), DVD.
bougainvillea: “Darkness at the Edge of Towne,” Michael Sragow, American Film, Feb. 1989.
time before the war: Mort Sahl Live #5, Studio 31, TV show, Mar. 21, 1992.
redwood tables: “Growing Up in a City of Senses,” Robert Towne, Los Angeles Magazine, May 1975.
“If you know what’s good for you”: Roman Polanski, Roman (New York: William Morrow, 1984), 25–26.
Chinatown is a state of mind: Robert Towne, “Dialogue on Film,” American Film, Dec. 1975.
“Ransohoff is a perfect example”: Michel Ciment, Michel Perez, and Roger Tailleur, “Interview with Roman Polanski,” trans. Paul Cronin and Remi Guillochon in Roman Polanski: Interviews, ed. Cronin (Jackson: University of Mississippi Press, 2005), 39.
Well, the producers always said: Dick Cavett Show, Dec. 22, 1971.
“What Sharon was”: http://www.sharontate.net/sharons_friends.html.
“An incredibly beautiful girl”: John Bowers, “‘Sexy Little Me,’” Saturday Evening Post, May 6, 1967.
“Hit me”: Ibid.
A few times: Polanski, Roman, 248.
steering wheel changed shape: Ibid., 237.
eyes and mouth were swastikas: Ibid., 239.
split the sugar cube: Ibid., 248.
she had heard so many sophisticates: Lloyd Shearer, “Sharon Tate: Sweetie, I’m Going to Make You a Star!” St. Petersburg Times, Sept. 18, 1966.
“Please don’t”: https://www.scribd.com/document/232487572/Tate-LaBianca-Investigation-Polygraph-of-Roman-Polanski.
“She was just fantastic”: Ibid.
“but I really hate talking about it”: Roman Polanski, Playboy interview with Larry DuBois, Dec. 1971.
“They thought Warsaw would be safer”: Peter Flax, “Exclusive: The Roman Polanski Interview (Podcast),” Hollywood Reporter, Dec. 4, 2015.
“Our emergency plan”: Polanski, Roman, 13.
“Let’s sleep”: Ibid.
she was a survivor: Ibid., 12.
“What can we do?”: Polanski, Roman, 13.
“But at the same time”: https://www.youtube.com/watch?v=zFL8gl_49Rk.
“Children don’t have any point of reference”: Franz-Oliver Giesbert, “Roman’s Novel,” trans. Paul Cronin and Remi Guillochon, in Roman Polanski: Interviews, ed. Cronin, 103.
“smart kid”: Polanski, Roman, 19.
“I’d always had a craving”: Ibid.
“My own worst fear at this time”: Ibid., 21.
“Of course, science gives hope”: “Roman Polanski by Thom Mount,” Interview, Sept. 1985.
“Germans would raid families”: https://www.youtube.com/watch?v=SkDrSZJ6sAE.
“[Pawel] was my first friendship”: Ibid.
“That’s what [war] means to me”: Richard Coombs, “Traveler Running Out of Countries,” Observer, Sept. 27, 1992.
“We heard noises coming from upstairs”: Flax, “Exclusive: The Roman Polanski Interview.”
The blood, he noted…, burst from her back: https://www.youtube.com/watch?v=SkDrSZJ6sAE.
“I remember,” Polanski said: “A Safe Darkness—Transcripts.” William Friedkin Papers, file 1209, Margaret Herrick Library, Los Angeles.
“He had a photo of him with his mother”: https://www.youtube.com/watch?v=SkDrSZJ6sAE.
“They took your mother…”: Polanski, Roman, 24.
like being on the moon, she said: Ibid., 257.
“I have never made love more often”: Ibid., 258.
“Here in L.A.,” he reflected, “there were no skyscrapers”: Ibid., 204.
“For all of us”: Ibid.
At Disneyland he remembered Kraków: Ibid.
“an epidiascope,” he recalled: Ibid., 15.
“As a matter of fact”: “A Safe Darkness—Transcripts,” William Friedkin Papers, file 1209, roll 1, prod. 00290, Margaret Herrick Library, Los Angeles.
Jeanette MacDonald and Nelson Eddy: Polanski, Roman, 6.
“I read whatever I could on filmmaking”: https://www.youtube.com/watch?v=zFL8gl_49Rk.
Carol Reed’s Odd Man Out: Laurent Vachaud, “Ben-Hur’s Riding Crop,” trans. Paul Cronin and Remi Guillochon, in ed. Cronin, Roman Polanski: Interviews.
“The whole atmosphere, strangely enough”: https://www.dga.org/Craft/DGAQ/All-Articles/0804-Winter-2008-09/Interview-Roman-Polanski.aspx.
“I always liked the movies that happen”: Scott Foundas, “Polanski: Art as Life,” Variety Los Angeles (Apr. 8, 2014): 36–39.
“Let’s imagine that all of a sudden”: Ciment, Perez, and Tailleur, “Interview with Roman Polanski,” 42.
“Roman was an insatiable presence”: Lawrence Weschler, “Artist in Exile,” New Yorker, December 5, 1994, 93.
“It’s so naïvely beautiful”: http://www.interviewmagazine.com/film/roman-polanski-/#.
“what cinema”: Michel Pérez, “Thriller à la Polanski,” trans. Paul Cronin and Remi Guillochon, in ed. Cronin, Roman Polanski: Interviews, 124.
“Go West,” Roman said: Antoine de Baecque and Thierry Jousse, “Interview with Roman Polanski,” trans. Paul Cronin and Remi Guillochon, in ed. Cronin, Roman Polanski: Interviews, 146.
“to recreate, in a sense”: Joel Reisner and Bruce Kane, “Interview with Roman Polanski,” Cinema 5, no. 2 (Aug. 1969).
“Listen, sweetie,” the producer: “‘Sexy Little Me,’” John Bowers, Saturday Evening Post, May 6, 1967.
“I know the American public”: Ibid.
unpretentious baggy pants: Ibid.
“What’s funny is that”: Lee Beaupre, “Roman Polanski in Hate ’N’ Love,” Weekly Variety, Feb. 7, 1968.
“The studio pioneers might have been”: Dominique Maillet, “Roman Polanski,” trans. Paul Cronin and Remi Guillochon, in ed. Cronin, Roman Polanski: Interviews, 90.
“The movie business,” Richard Zanuck announced: Peter Bart, “Hollywood: New Riches, New Doubts; Hollywood Today: New Affluence, New Leaders, New Doubts,” New York Times, Dec. 12, 1966, 1.
“Not since the start of the talkies”: Ibid.
“The greatest talents from all fields: Maillet, “Roman Polanski,” 90.
“It’s like an immense suburb”: Ibid.
“You’re a genius”: Roberts Evans interview with author.
he began an investigation: Ibid.
“Downhill Racer was just a pretext to get you here”: Robert Evans, The Kid Stays in the Picture (New York: Hyperion, 1994), 142.
Polanski read the book in one sitting: Annie Nocenti, “Adapting and Directing Rosemary’s Baby: A Talk with Roman Polanski,” Scenario, 5, no. 4.
“I thought that I can get around it”: https://www.youtube.com/watch?v=6q8LbUhPzLE.
recalled Norma Desmond’s: Polanski, Roman, 263.
“This cannot possibly last”: Polanski, Playboy interview.
“and I shall never forget”: Polanski, Roman, 276.
“the wide open spaces”: Rider McDowell, “At the Point of No Return,” California, Aug. 1991.
“When I came to the States”: Ibid.
“They seem to be much more intelligent”: Gabriel Yorke, “The Slavic Odyssey of Roman Polanski,” Village Voice, May 18, 1967.
“It was Utopia”: Jill Robinson, “Polanski’s Inferno” Vanity Fair, Apr. 1997.
“This is fantastic!”: Yorke, “Slavic Odyssey.”
“There are no young people in Hollywood”: Gretchen Weinberg, “Interview with Roman Polanski,” Sight and Sound, Winter 63–64.
“The change has come”: Peter Bart, “Executive Suite: Accent on Youth,” New York Times, Nov. 20, 1966.
“Most top executives”: Bart, “Hollywood: New Riches, New Doubts.”
“There are three important men”: William Murray, “Jack Hanson, the Man Behind the Daisy,” Los Angeles Times, Apr. 16, 1967.
“few stars have ever been east of Doheny”: Barbara Wilkins, “A Tourist Guide for Tracking the Stars,” Los Angeles Times, Aug. 3, 1969.
“It sounds absurd to call the scene”: Dominick Dunne, “Murder Most Unforgettable,” Vanity Fair, Apr. 2001.
“underscored an interesting change”: Peter Bart, “Liberals vs. Their Movies,” New York Times, Aug. 29, 1965.
“We were all enchanted”: Eve Babitz, “The Summer of ’69,” Esquire, Aug. 1994.
“That was the beginning of this group”: https://www.youtube.com/watch?v=6q8LbUhPzLE.
“They all had a good time”: Susanna Moore to author.
cribbed from Clark Gable: Sharmagne Leland-St. John to author.
Mike Nichols called her “the Ant”: Anthea Sylbert to author.
“The hardest thing to find in Hollywood”: Ibid.
“If I think they’re not”: Ibid.
“and they were smart enough”: Susanna Moore to author.
“That’s how we do it”: Anthea Sylbert to author.
Sylbert had personally selected each book: Susanna Moore to author.
“By nature, I am a very analytical person”: Anthea Sylbert to author.
“Nothing that I do in my life is arbitrary”: Ibid.
“you have to marry reality to drama”: Ibid.
“I would always get a photo”: Ibid.
“Roman’s instruction”: Ibid.
“Roman insisted Rosemary”: Ibid.
Polanski’s perfectionism: Robert Evans to author.
“Roman understood more about the camera”: Hawk Koch to author.
“Roman, like all great filmmakers”: Anthea Sylbert to author.
“Billy Fraker would take”: Hawk Koch to author.
“Listen,” Evans said to Polanski: https://www.youtube.com/watch?v=6q8LbUhPzLE.
“He stuck his neck out for me”: Roman Polanski to author.
“Hollywood was just the name of the place”: “Roman Polanski Interviewed by John Gruen,” Interview, Feb. 1969.
“how to drive this machine”: Ibid.
“the best technicians in the world”: Antoine de Baecque and Thierry Jousse, “Interview with Roman Polanski,” 152.
Richard Sylbert showed him: Roman Polanski to author.
“Hollywood is the best place!”: Mary Blume, “Go West, Young Polanski,” International Herald Tribune, Jan. 3, 1969.
“Sharon couldn’t turn any friendship down”: Jim Newsome, “Blasts Press for Printing False Tales,” Biographic File on Sharon Tate, Margaret Herrick Library, Los Angeles.
Sharon savored home life: Julie Payne to author.
“the radiance of those California evenings”: Polanski, Roman, 281.
“I never knew life could be a luxury”: Polanski, Playboy interview.
“We wanted to settle for good in Los Angeles”: Ibid.
“In California,” wrote Michael Davie: Michael Davie, California: The Vanishing Dream (New York: Dodd, Mead, 1972), 21.
“the new society at last”: Walt Whitman, “Song of the Redwood-Tree,” in Leaves of Grass (Philadelphia: David McKay, [c1900])
“You had Paris in the 20s, Hollywood in the 60s”: Michael Walker, Laurel Canyon: The Inside Story of Rock-and-Roll’s Legendary Neighborhood (New York: Farrar, Straus and Giroux, 2007), 63.
“People felt free”: https://www.youtube.com/watch?v=SkDrSZJ6sAE.
“[Polanski] and Sharon Tate”: Paul Mazursky to author.
weeping on Podgórze bridge: Polanski, Roman, 24.
“Shove off,” his father whispered: Ibid., 29.
“I’ve always been very afraid of any ties”: Edward Behr, “Perils of Polanski,” Newsweek, May 14, 1979.
“Being around me”: Polanski, Playboy interview.
“Sharon wasn’t a dummy”: Ann Leslie, “Roman Polanski: With a Little Help from His Friends,” Biographic File on Sharon Tate, Margaret Herrick Library, Los Angeles.
he said she was hung up: Tate-LaBianca investigation polygraph of Roman Polanski.
“It’s that European attitude”: Notes for article “Sharon Tate by Perlberg,” circa 1968, Biographic File on Sharon Tate, Margaret Herrick Library, Los Angeles.
“She was unhappy”: Too Young to Die, written and directed by Matthias Schmidt.
“Just about the only really happy married”: Evans, Kid Stays in the Picture, 139.
“They were the happiest years of my life”: Antoine de Baecque and Thierry Jousse, “Interview with Roman Polanski,” 149.
“It was a comfortable place”: Marcia Nasatir to author.
“Everyone on his list seemed”: https://variety.com/1993/voices/columns/exec-comes-full-circle-after-descent-into-despair-1117859405/.
“Clients would just come by”: Marcia Nasatir to author.
“Bob,” she cooed: Evans, Kid Stays in the Picture, 139.
“I know that on one hand”: https://www.youtube.com/watch?v=zFL8gl_49Rk.
“To get a woman pregnant”: https://www.youtube.com/watch?v=SkDrSZJ6sAE.
“that I can have a child”: Ibid.
“an astronomical phone bill”: Newsome, “Blasts Press for Printing False Tales.”
“When are you coming?”: Tate-LaBianca investigation polygraph of Roman Polanski.
Grocery shopping on Canon Drive: Julie Payne to author.
“I know a house”: Ibid.
“she weighed herself”: Ibid.
“Sharon wore no makeup”: http://www.sharontate.net/sharons_friends.html.
“It was the crowd from the Daisy”: Dunne, “Murder Most Unforgettable.”
unable to make love to Sharon: Polanski, Roman, 303.
“Okay, go now”: Ibid., 304.
He held and kissed her: Ibid.
“That’s it,” Polanski told her. “I’m coming”: 306.
“Hello?” Braunsberg could hear something was wrong: Roman Polanski: Wanted and Desired, directed by Marina Zenovich.
“What is it?”: Polanski, Playboy interview.
banging his head against the wall: Too Young to Die.
Joan Didion and her brother-in-law: Dunne, “Murder Most Unforgettable.”
“conceived by the devil himself”: Robert Windeler, “Hollywood Is Preparing a Broad Film Classification System,” New York Times, Sept. 21, 1968.
“The murders seemed the consequence”: Robinson, “Polanski’s Inferno.”
“Everybody was thinking”: http://www.independent.co.uk/arts-entertainment/films/news/on-sharon-s-murder-the-teen-rape-and-life-since-polanski-speaks-out-7734470.html.
“We were all running around with guns”: Dunne, “Murder Most Unforgettable.”
“outward calm”: Polanski, Roman, 321.
“Would your husband have any reason”: Ibid.
“I kept saying to these people”: Marcia Nasatir to author.
Dominick Dunne sent his children: Dunne, “Murder Most Unforgettable.”
“Everybody was off frantically trying”: Too Young to Die.
“This mystical flirtation with the idea”: Joan Didion, The White Album, 41.
Hotels wouldn’t take Polanski: http://www.independent.co.uk/arts-entertainment/films/news/on-sharon-s-murder-the-teen-rape-and-life-since-polanski-speaks-out-7734470.html.
“I’m sure everybody tells you”: https://www.youtube.com/watch?v=J8mATxMYUfA.
He met with a psychiatrist: http://www.spiegel.de/international/world/director-roman-polanski-discusses-the-great-calamities-of-his-life-a-932931.html.
He went to the wake Warren Beatty: Julie Payne to author.
“The whole crime seems so illogical to me”: https://www.scribd.com/document/232487572/Tate-LaBianca-Investigation-Polygraph-of-Roman-Polanski.
He offered a reward: Tom Burke, “The Restoration of Roman Polanski,” Rolling Stone, Jul. 18, 1974.
“There is something here,” “Nothing but Bodies,” Time, Aug. 15, 1969.
“a scene,” Time said: Ibid.
“Excuse me,” Polanski sobbed: Newsome, “Blasts Press for Printing False Tales.”
“We sat around,” Sylbert said: https://www.youtube.com/watch?v=CkwEGRG_kK8.
“some kind of amateur sleuth”: https://www.youtube.com/watch?v=zFL8gl_49Rk.
horn-rimmed glasses: Jim Newsome, “Glasses: New Tate Clue,” Hollywood Citizen-News, Oct. 24, 1969.
“The house was always full”: Susanna Moore to author.
“Roman,” Moore said: Ibid.
“I think I was probably a better human”: Polanski, Playboy interview.
“I like young women”: https://www.youtube.com/watch?v=zFL8gl_49Rk.
“What happened to me diminished”: Bernard Weinraub, “If You Don’t Show Violence the Way It Is…” New York Times Magazine, Dec. 12, 1971, SM36.
“our destinies are the result”: Max Tessier, “Interview with Roman Polanski,” translated by Paul Cronin and Remi Guillochon, in ed. Cronin, Polanski: Interviews, 83.
“After all,” he said: https://www.youtube.com/watch?v=zFL8gl_49Rk.
“Unfortunately,” he said, “there is no lesson”: Polanski, Playboy interview.
Bruce Lee: Giesbert, “Roman’s Novel.”
He bought a pin mike, a transmitter: Polanski, Roman, 321.
John Phillips’s Jaguar: Ibid.
“All of a sudden”: James Greenburg, “All Grown Up … At 60,” Los Angeles Times, Mar. 13, 1994.
Julie Payne always had stories: Julie Payne to author.
“We all did,” she said: Ibid.
“Reading this book,” she said: Ibid.
“Why don’t we live like other people”: Ibid.
“I never left Beverly Hills”: Ibid.
“a delicate person,”: Ibid.
“What do your parents … do?”: Ibid.
“They never had this ‘poor-little-me-screenwriter’ attitude”: Ibid.
“It looked like Miss Havisham’s”: Ibid.
“I understood the care”: Ibid.
symptoms and allergies: Ibid.
“Nobody knew what was happening”: Ibid.
“They were so out of it”: Ibid.
“completely turned inside out”: Ibid.
“Roman was trying so hard to talk”: Ibid.
“Before Sharon Tate’s murder”: Jeff Guinn, Manson: The Life and Times of Charles Manson (New York: Simon & Schuster, 2013), 273.
“We lost trust”: Sharmagne Leland-St. John to author.
“It was the ending”: http://www.filmfreakcentral.net/ffc/2013/03/towne-country-ffc-interviews-robert-towne.html.
“It was that kind of town”: Paul Mazursky to author.
“The original version of Shampoo”: Biskind, Star, 145.
“Robert had written a script”: Ibid., 141.
“Bob would love to work”: Ibid., 140.
“If you don’t do it,” Beatty warned: Ibid., 141.
“a photo essay alive with his own childhood”: Lawrence Dietz, “Raymond Chandler’s L.A.,” West, Dec. 14, 1969.
“The best time to see Raymond Chandler’s Los Angeles”: Ibid.
“That is not an arbitrary choice” Ibid.
“So great is the rate of change”: Richard G. Lillard, Eden in Jeopardy (New York: Knopf, 1966), 12.
“Planned or unplanned”: Ibid., p. 176.
“which smash”: Davie, California: The Vanishing Dream, 61.
“a light wash of colors”: Robert Towne, “Growing Up in a City of Senses,” Los Angeles Magazine, May 1975.
Towne had never read Raymond Chandler: Joel Engel, Screenwriters on Screen-writing: The Best in the Business Discuss Their Craft (New York: Hyperion, 1995), 215.
his old roommate, Edward Taylor: Sarah Naia Stier to author.
“I used to like this town”: Raymond Chandler, The Lady in the Lake, The Little Sister, The Long Goodbye, Playback (New York: Random House, 2002), 396.
“In reading these words”: Engel, Screenwriters, 215.
“One thinks of a woman incinerating”: Dietz, “Raymond Chandler’s L.A.”
“I want a gun”: Julie Payne to author.
“wolf-killers”: Ibid.
“Take this one”: Ibid.
“Hira was a born writer’s dog”: Ibid.
Quincy Jones’s dogs: Ibid.
“Get her the gun”: Ibid.
“Where do you work?”: Academy of Motion Pictures Arts and Sciences Screening of Chinatown, Samuel Goldwyn Theater, Los Angeles, Nov. 18, 2004. Postscreening panel discussion, audio at Margaret Herrick Library.
Kerr’s Sporting Goods on Wilshire: Julie Payne to author.
his directorial debut: Robert Towne, “Dialogue on Film.”
“I work from eight to eleven”: “Sidney Skolsky,” Hollywood Citizen-News, Mar. 27, 1970.
“We had similar ambitions”: Lawrence Grobel, Above the Line: Conversations About the Movies (Cambridge: Da Capo Press, 2000), 122.
After a week or so: Julie Payne to author.
“I do favors for friends”: Gene Siskel, “Robert Towne—Script, Scalpel, Action, Oscar,” Chicago Tribune, May 9, 1976.
“To do it and make it work”: Wayne Warga, “Writer Towne: Under the Smog, a Feel for the City,” Los Angeles Times, Aug. 18, 1974.
“Jack always had his buddies”: Patrick McGilligan, Jack’s Life (New York: W.W. Norton Company, 1994), 95.
“I like the stream-of-consciousness approach”: Dave Zurawik, “Jack Nicholson,” Boston Globe, Dec. 17, 1978.
“Corey taught that”: Beverly Walker, “The Bird Is on His Own,” Film Comment, 21 no. 3 (May/June 1985).
“Nicholson doesn’t do television!” Barbara Siegel and Scott Siegel, Jack Nicholson: The Unauthorized Biography, 20.
“Cinema’s what it’s about for me”: Gregory Kirschling, “Classic Jack,” Entertainment Weekly, Nov. 4, 2005.
He believed what Nietzsche believed: Walker, “The Bird Is on His Own.”
“A lot of the kids were dislocated”: McGilligan, Jack’s Life, 88.
“that what an actor says is not”: Grobel, Above the Line, 123.
Nicholson’s innate mastery of suspense: Ibid.
“in a certain sense”: George Stevens Jr., The Great Moviemakers: The Next Generation (Knopf: New York, 2012), 678.
If Jack was improvising a seduction: Barrie Chase to author.
“I learned to write”: Grobel, Above the Line, 123.
“Jack’s capacity for indignation”: https://www.youtube.com/watch?v=zPne0cClrGc.
“One more word out of you”: “Commentary,” Chinatown DVD.
“Kid, you’re going to be a movie star”: McGilligan, Jack’s Life, 123.
“I want to write a movie for Jack”: Payne to author.
“It is this combination of mountain ranges”: Carey McWilliams, Southern California: An Island on the Land, (Utah: Gibbs Smith, 1973), 5.
“As a region, Southern California”: Ibid., 6.
“Virtually everything in the region”: Ibid., 13.
“San Francisco is a consciously”: Ibid., 19.
“Other American cities”: Ibid., 114.
“In the past the region”: Ibid., 3.
“This was the old rural American dream”: Lillard, Eden in Jeopardy, 54.
“Los Angeles, it should be understood”: Morrow Mayo, Los Angeles, 319.
the most advertised city in America: McWilliams, Southern California, 129.
“the largest internal migration”: Ibid., 135.
Angelenos of the thirties were uncommonly lonely: Ibid., 166.
“Quadrangular, reticulated cities”: Roland Barthes, Empire of Signs (New York, Hill and Wang, 1982), 30.
In 1938, the average apartment tenancy in Los Angeles: McWilliams, Southern California, 361.
“I like a conservative atmosphere”: Frank MacShane, Selected Letters of Raymond Chandler, (New York: Columbia University Press, 1981), 11.
the largest number of dog and cat hospitals in America: McWilliams, Southern California, 237.
“The succession of booms”: Ibid., 241.
national leader in embezzlement: Ibid., 247.
Los Angeles led not just in the number of bankruptcies: Ibid., 239.
the divorce and suicide rates: Ibid., 238–39.
“radically reworked the metaphorical figure”: Mike Davis, City of Quartz, 20.
“the absolute power of capitalism”: Ibid., 49.
“[The novel of speed] tends to be short”: David Wyatt, “L.A. Fiction Through Mid-century,” in The Cambridge Companion to the Literature of Los Angeles, ed. Kevin McNamara, (Cambridge University Press, 2010), 38.
“the niggers of the studio system”: Nancy Lynn Schwartz, The Hollywood Writers’ Wars, 99.
“Like every writer, or almost every writer”: Edwin McDowell, “Raymond Chandler, A Master Letter-writer, Too,” New York Times, Aug. 31, 1981. https://www.nytimes.com/1981/08/31/books/raymond-chandler-a-master-letter-writer-too.html.
“I am a writer and there comes”: Raymond Chandler, “Farewell, My Hollywood,” Antaeus (Spring/Summer 1976).
“brief enthusiasms”: https://www.nytimes.com/1981/08/31/books/raymond-chandler-a-master-letter-writer-too.html.
“Marlowe knows everything”: Raymond Chandler, The High Window, 178.
October chiseled the sun: Robert Towne, “It’s Only LA, Jake,” Los Angeles Times, May 29, 1994.
pepper trees and hay: Ibid.
“Along with Chandler”: Ibid.
only .06% of the state’s natural water: McWilliams, Southern California, 183.
a semi-arid desert: Ibid.
In 1905 and again in 1910: Ibid., 187.
“and,” McWilliams wrote: Ibid.
“the rape of Owens Valley”: Ibid., 190.
“When a crime can no longer contain”: Towne, “It’s Only LA, Jake.”
In Los Angeles, developers were carving: Julie Payne to author.
“That drove me down to City Hall”: Academy Screening, Nov. 18, 2004.
“how crooked and corrupt things were”: Engel, Screenwriters, 216.
“This project is so bad”: Casey Burchby, “The Investigative Screenwriter: An Interview with Robert Towne,” Cineaste (Summer 2012).
“The destruction of the city”: http://www.macleans.ca/uncategorized/robert-towne-looks-back-on-chinatown/.
“Everybody’s out to make a buck”: Warga, “Writer Towne.”
forty “motherfuckers”: “Great to Be Nominated Part Three,” AMPAS Screening, Samuel Goldwyn Theater, Los Angeles, Aug. 14, 2006.
a letter disseminated to the principals: Postproduction interoffice communication from Peter Guber in regard to The Last Detail language consideration, Sept. 4, 1973, Hal Ashby Collection, folder 421, Margaret Herrick Library, Los Angeles.
“this newfound freedom”: http://thehollywoodinterview.blogspot.com/2009/10/robert-towne-hollywood-interview.html.
“[It] was,” Towne said: Towne, “Dialogue on Film.”
“We lived that way”: Julie Payne to author.
Towne needed money: Ibid.
On the phone, a panicked Coppola: Stephen Hunter, “Towne and City,” Washington Post, March 19, 2006: N01.
The emotion, Coppola said: Phoebe Poon, “The Corleone Chronicles: Revisiting The Godfather Films as Trilogy,” Journal of Popular Film and Television 33, no. 4 (Winter 2006): 187–95.
“Just once,” Brando told him: Hunter, “Towne and City.”
Towne raced back to the hotel: Gene Siskel, “Hollywood’s Mr. Fix-it,” Sunday News, June 13, 1976: 9.
The “string” Towne got: Hunter, “Towne and City.”
“It’s like the relief pitcher”: Siskel, “Robert Towne—Script.”
Coppola wanted him to stay on: Julie Payne to author.
Apprised of Towne’s: Robert Evans to author.
More coveted than an invitation: Julie Payne to author.
“Do you want to come?”: Ibid.
“It should have been a great”: Warga, “Writer Towne.”
“Robert was not working for money”: Julie Payne to author.
“Twelve bloody babies…”: Ibid.
“where they had taken out the oak trees”: Ibid.
“There I was,” he said: http://thehollywoodinterview.blogspot.ie/2009/10/robert-towne-hollywood-interview.html.
He hiked the fire trails: Towne, “Growing Up.”
He breathed in: Ibid.
investigating the origins of life: Towne, “It’s Only LA.”
euphoria and demise: Ibid.
living closer to the ground: Towne, “Growing Up.”
“Memories swell”: Towne,”It’s Only LA.”
Adventure took him over: Towne, “Growing Up.”
“You know, I can’t honestly say”: http://grouchoreviews.com/interviews/147.
“I always start out saying”: Michael Sragow, “Darkness at the Edge of Towne.”
The wholesale houses: Towne, “Growing Up.”
The brick buildings of Beacon Street: Ibid.
paint-splattered Philco radio: Robert Towne, “In the Water, in the Air, in L.A.,” Sports Illustrated, Aug. 6, 1984.
listening to Joe Hernandez: Ibid.
“which dictated my future profession”: https://www.youtube.com/watch?v=P6r7exIYOo8.
“At the time this movie came out”: Mort Sahl Live #5, Studio 31, Mar. 21, 1992.
“the notion that some things”: Ibid.
“I have no regrets”: Engel, “Foreword,” Screenwriters, p. xii
“It’s a lot more efficient”: Mort Sahl Live #5.
“I needed [to find] the architecture”: Julie Payne to author.
He read Morrow Mayo’s account: Towne, “Dialogue on Film.”
a rare find at Aldine’s bookshop: Julie Payne to author.
“Everything seemed trite and untrue”: Hunter, “Towne and City.”
which his assistant got: Julie Payne to author.
“I just knew that”: Barbara Isenberg, “Dusting Off the Memories,” Los Angeles Times, Mar. 5, 2006.
“If there’s a better piece of fiction”: Warga, “Writer Towne.”
“World War II hadn’t happened”: “Commentary,” Chinatown DVD.
Nicholson was playing tennis: Academy Screening, Nov. 18, 2004.
Nicholson, he knew, was a popinjay: “Commentary,” Chinatown DVD.
“Look at my perfect teardrop nostrils”: Ibid.
“[In] most detective movies I have ever seen”: Towne, “Dialogue on Film.”
his detective would do divorce work: Ibid.
“I thought that taking someone like that”: Ibid.
“So I decided to do a movie”: Peter Rainer, “Chinatown’s Robert Towne,” Mademoiselle, Nov. 1974.
the girl, Barrie Chase: Barrie Chase to author.
“I grew up having”: Ibid.
“My father was a patriot”: Ibid.
“It was aesthetically slumming”: Engel, Screenwriters, 200.
“ashamed to be in the movie business”: Barrie Chase to author.
“Don’t you know my name?”: Ibid.
“I want to go out with your daughter”: Ibid.
Towne was shocked that she had already been married: https://www.youtube.com/watch?v=P6r7exIYOo8.
narrated tales of its origins: Barrie Chase to author.
“I don’t speak to my father”: Ibid.
When Jack moved out: Ibid.
“It seemed like he had every mystery”: Sarah Naia Stier to author.
“Edward was stoic”: Mike Koepf, letter to Virginia Kennerley.
“They were in love”: Sarah Naia Stier to author.
Eddie would always say Robert had saved his life: Virginia Kennerley to author.
“Everything Robert wrote, he ran past Eddie”: Barrie Chase to author.
“My father didn’t seem”: Sarah Naia Stier to author.
“He wanted to make enough”: Ibid.
“Robert didn’t hardly leave his desk”: Barrie Chase to author.
“Robert,” she would say: Ibid.
“You’re going to kill me…”: Dialogue, per Barrie Chase, written into the last scene of Shampoo.
Man, he thought, I never saw such purity: Hal Ashby Collection, folder 236, Margaret Herrick Library, Los Angeles.
“So much of writing”: “Commentary,” Ask the Dust DVD.
Hold the feeling: Ibid.
A hustler’s name: John Brady, The Craft of the Screenwriter, (New York: Simon & Schuster, 2013), 417.
“Jake is a good name”: Ibid.
A mother protecting her child: Towne, “Dialogue on Film.”
On February 26, 1971: Charles Lederer Family Papers, Chinatown—Notes 1971, 3-f.1, Margaret Herrick Library.
By March 6: Ibid.
“[The villain] must be the expert”: Charles Lederer Family Papers, Chinatown—Notes 1971/Undated legal pact 3f.1. Margaret Herrick Library.
“I wrote at least twenty different step outlines”: Towne, “Dialogue on Film.”
By March 17: Charles Lederer Family Papers, Chinatown—Notes 1971, 3-f.1, Margaret Herrick Library.
“Notes on Gittes”: Charles Lederer Family Papers, Chinatown—photocopied notes by Robert Towne circa 1974, “Notes on Gittes,” 3-f.2, page 1, Margaret Herrick Library.
“It wasn’t,” he typed: Ibid., 1.
“almost rude quantities of charm”: Ibid., 2.
“It was a great show”: Ibid., 3.
“Look out for your client”: Charles Lederer Family Papers, Chinatown—Notes 1971, 3-f.1, Margaret Herrick Library.
“The dream that died”: Ibid.
On April 19: “Don’t Get Lost in Chinatown,” Apr. 19, 1971, Chinatown—Notes 1971, 3-f.1, Charles Lederer Family Papers, Margaret Herrick Library, Los Angeles.
“Today his idea of gambling”: Ibid.
On June 21: Ibid.
He liked the sound: “Commentary,” Chinatown DVD.
“He must be a Christ-like”: Chinatown—Notes 1971, Charles Lederer Family Papers, 3-f.1, Margaret Herrick Library, Los Angeles.
“Someone is going to want”: Ibid.
“Gittes must come up against”: Ibid.
“Create the impression”: Ibid.
“‘What’s the point?’”: Ibid.
On June 28: Ibid.
“Perhaps the action takes place”: Ibid.
“The water commissioner found dead”: Ibid.
“How to tie in Marian”: Ibid.
“She’s the illegitimate daughter”: Ibid.
“My interest is in the kinds”: Charles Lederer Family Papers Chinatown—Notes 1971/Undated legal pact, 3f.1, Margaret Herrick Library.
“Julian Cross, The Sun King”: Ibid.
The Third Coming? The Julian Spoils: Ibid.
“If Marian is his illegitimate daughter”: Ibid.
“Julian Cross is an eminent”: Ibid.
“Katherine—must be upset”: Ibid.
Helen and Lou Towne lived: Julie Payne to author.
“They had no sense”: Ibid.
“A writer was either”: Towne, “In the Water, in the Air, in L.A.”
“Robert always [implied]”: Julie Payne to author.
his mother wrote poetry: https://www.youtube.com/watch?v=P6r7exIYOo8.
“Lou Towne’s outlook”: Julie Payne to author.
“a bottle of vodka,”: Ibid.
“He gave her guilt jewelry”: Ibid.
“Nobody’s getting me”: Ibid.
“What can I do?”: Ibid.
“‘Chinatown’ by Towne”: Chinatown—photocopied notes by Robert Towne circa 1974, Charles Lederer Family Papers, 3-f.2, page 1, Margaret Herrick Library, Los Angeles.
On October 4: Chinatown—notes 1971, Charles Lederer Family Papers, 3-f.1, Margaret Herrick Library, Los Angeles.
“Dad, where are you going?”: Katherine Andrusco to author.
a wingback chair: Julie Payne to author.
with Edward’s help: Julie Payne to author.
nearly five hundred pages: Chinatown—notes 1971, Charles Lederer Family Papers, 3-f.1, Margaret Herrick Library, Los Angeles.
“Edward was in the room with Robert”: Julie Payne to author.
his Godfather additions: Sarah Naia Stier to author.
Towne referred to Taylor as “my editor”: Julie Payne to author.
cache of Chinatown notes: Chinatown—notes 1971, Charles Lederer Family Papers, 3-f.1, Margaret Herrick Library, Los Angeles.
generative intelligence: Ibid.
“on Robert’s scripts”: Virginia Kennerley to author.
“To say Edward Taylor”: Mike Koepf to author.
“They would discuss down” Lauren Weissman to author.
“suggestions, not changes”: Edward Taylor, email to Nicolas Coster.
“It was a given”: Katherine Andrusco to author.
“Robert never wrote on his own”: Julie Payne to author.
“So many times I would ask Edward about it”: Lauren Weissman to author.
“Do you write dialogue?”: Sarah Naia Stier to author.
“What are you doing?” Katherine Andrusco to author.
“did brood for sometime”: Virginia Kennerley, email to author.
“saved my life”: as reported by Taylor to Kennerley.
“like a lump”: Julie Payne to author.
“And of course the police” Virginia Kennerley to author.
Was it an abortion: confidential source, emails provided to author by Virginia Kennerley.
“Robert and Eddie”: Katherine Andrusco to author.
“Edward, freely and without”: Nicolas Coster to author.
term papers: Ibid.
“Robert always liked”: Ibid.
“something of a mystery,” Virginia Kennerley to author.
“there was a certain lack”: Ibid.
“would have solved his money problem”: confidential source, emails provided to author by Virginia Kennerley.
“It happened at the same time”: Ibid.
“I want never to hear another word”: Edward Taylor, email to Nicolas Coster.
“His father was very successful”: Nicolas Coster to author.
“Be careful”: Barrie Chase to author.
“Central problem I have”: Chinatown—Notes 1971, Charles Lederer Family Papers Undated legal period 3-f.1, Margaret Herrick Library, Los Angeles.
“It was Eddie”: Julie Payne to author.
“ACT I,” Taylor began: Edward Taylor’s Chinatown script notes and step outlines provided to the author by Virginia Kennerley.
dozens of such outlines: Chinatown—notes 1971, Charles Lederer Family Papers, 3-f.1, Margaret Herrick Library, Los Angeles.
“formless and abstract”: Chinatown—Notes 1971, Charles Lederer Family Papers, letter dated November 4, 1971, 3-f.1, Margaret Herrick Library, Los Angeles.
three in the morning: Julie Payne to author.
“In those days”: Ibid.
“How’s it going?”: Ibid.
hold the audience’s interest: Towne, “Dialogue on Film.”
“Luck, my friend”: Robert Evans to author.
Capote’s script: Ibid.
“Love stories,” Evans announced: Ibid.
“Sounds perfect for Irish”: Evans, Kid Stays in the Picture, 257.
“So much of [the novel]”: George Stevens Jr., Great Moviemakers, 676.
“was mystified”: Towne, “Dialogue on Film.”
Payne went to see Ziegler: Julie Payne to author.
“a man of incomparable elegance,”: Marcia Nasatir to author.
“Chinatown is worth three Gatsbys”: Julie Payne to author.
“I don’t think writers work”: Ibid.
Lost, he wandered down: Marcia Nasatir to author.
In June 1972: Robert Towne Chinatown contract with Paramount pictures Corporation, dated June 15, 1977.
“He never thought Robert”: Julie Payne to author.
Julie exiled him to Catalina: Ibid.
He walked the coves: Towne, “It’s Only LA.”
summers on a tuna boat: https://www.youtube.com/watch?v=P6r7exIYOo8.
“and when [it] drops”: Ibid.
“and you can’t believe”: Ibid.
“I always thought that Hemingway’s”: George Stevens Jr., Great Moviemakers, 676.
“Each script”: https://www.youtube.com/watch?v=P6r7exIYOo8.
“One afternoon,” he said: Projections 6, edited by John Boorman, 110.
“Then,” he said, “I realized”: George Stevens Jr. Great Moviemakers, 666.
Every week, on his days: Julie Payne to author.
“He spoke of himself as working”: Virginia Kennerley to author.
“So what his friends saw”: Ibid.
Taylor was a kind of Hollis Mulwray: Mike Koepf to author.
“since college my Jiminy”: Towne, “It’s Only LA,” 1.
“The one thing [Evelyn] had”: Towne, “Dialogue on Film.”
“And, in a sense”: Ibid.
“They wrote the script”: Mike Koepf to author.
“dreaming a dream”: Engel, Screenwriters, 203.
“very tricky thing happens”: Towne, “Dialogue on Film.”
“a natural antipathy”: Rainer, “Chinatown’s Robert Towne.”
“Classically, a director”: Ibid.
“trotting the corridors”: http://www.avclub.com/article/robert-towne-13978.
“The image inevitably conveys more”: Rainer, “Chinatown’s Robert Towne.”
“The only way a screenplay”: Robert Towne, “On Moving Pictures,” Chinatown/The Last Detail (New York: Grove Press, 1997), ix.
“It occurs to me”: Schiff, “Talk of the Towne.”
“For the world”: http://www.spiegel.de/international/world/director-roman-polanski-discusses-the-great-calamities-of-his-life-a-932931.html.
“In order to survive and function”: Kenneth Tynan, “The Polish Imposition,” Esquire, Sept. 1971.
“I skied for four months”: Weinraub, “If You Don’t Show Violence.”
“The measure of his loneliness”: Tynan, “Polish Imposition.”
“untapped reserves of intelligence and imagination”: Polanski, Roman, 331.
more and more like his father: Giesbert, “Roman’s Novel” in Roman Polanski: Interviews, 107.
the emotional distance: “Roman Polanski by Thom Mount.”
profoundly Jewish superstition: Giesbert, “Roman’s Novel” in Roman Polanski: Interviews, 107.
“Why are you crying?”: Flax, “Exclusive.”
“What’s your name?”: Tynan, “Polish Imposition.”
“no, you’ll do it this way”: Lawrence Weschlen, “Artist in Exile,” The New Yorker, Dec. 5, 1994.
It would impede the creative process: Ibid.
“The human is a violent animal”: Polanski quoted in Cinefantestique, vol. 5, no. 3, 1976.
“I doubt if I shall ever again”: Polanski, Roman, 327.
“Roman was down for the count”: Sandford, Polanski: A Biography, 183.
“Robert and I couldn’t understand”: Julie Payne to author.
“The script’s a fuckin’ mess”: Evans, Kid Stays in the Picture, 258.
Polanski had always wanted to make: Roman Polanski to author.
“Anyone who loves the cinema”: Paul D. Zimmerman, “Blood and Water,” Newsweek, Jul. 1, 1974.
Huston’s film of The Maltese Falcon: “Michael Owen: News of the Arts, Roman, Sweet and Sour,” Roman Polanski Biographical File, Margaret Herrick Library, Los Angeles.
The Glass Key and This Gun for Hire: Charles Higham, “Polanski: ‘Rosemary’s Baby and After,”’ New York Times, Sept. 23, 1973.
“In almost direct opposition to MGM”: Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era, 75.
a much-needed mainstream success: Roman Polanski to author.
Evans even offered: Robert Evans to author.
“It was a bunch of friends”: https://www.youtube.com/watch?v=1fxzIUK3S60.
“Every road I drove on”: Giesbert, “Roman’s Novel” in Roman Polanski: Interviews, 109.
was far too long at 180 pages: Polanski, Roman, 351.
Sylbert agreed: Richard Sylbert and Sylvia Townsend, Designing Movies (Praeger, 2006).
so did Nicholson, Evans explained: Robert Evans to author.
“in reality,” he said, “the capitalist”: Roman Polanski Interviews, 61.
“get away clean,”: Ibid.
“I don’t mean this unkindly”: George Stevens Jr., Great Moviemakers, 661.
“but he did succeed”: Towne, “Dialogue on Film.”
“I felt this was too romantic”: Giesbert, “Roman’s Novel” in Roman Polanski: Interviews, 61.
“We were really very critical”: https://www.youtube.com/watch?v=fSZzOk2gETU.
greatest thing he had yet written: Julie Payne to author.
even more unsatisfying: Roman Polanski to author.
Dick Sylbert’s Chinese deco place: Polanski, Roman, 352.
“It changed apparently”: Caryn James, “A Life in Exile from America, from Memory,” New York Times, Nov. 17, 1993.
“Sharon’s murder and the landing”: Robinson, “Polanski’s Inferno.”
“[f]rom really bucolic suburbs”: “Roman Polanski by Thom Mount.”
“the most dramatic change” Ibid.
“The hippie movement has degenerated”: Polanski, Playboy interview.
walked out of his office: Julie Payne to author.
“It broke Zieg’s heart”: Ibid.
a bowl of cash: Benjamin Svetkey, “Jack on Jack,” Entertaiment Weekly, Jan. 3, 2003.
opulent cocaine pyramid: Confidential source to author.
“a sexy house”: Polanski, Roman, 352.
“there’s no more beautiful city”: Ibid.
he presented Towne a book: “Great to Be Nominated Part Three, Aug. 14, 2006.
“That’s enough of that dog!”: http://thehollywoodinterview.blogspot.com/2009/10/robert-towne-hollywood-interview.html.
They began by one-lining the script: Academy Screening, Nov. 18, 2004.
the office door: Paul Iorio “Sleuthing ‘Chinatown,’” Los Angeles Times July 8, 1999: 6.
“which I felt would have been”: Brady, Craft of the Screenwriter, 441.
“You [should] never show things”: Iorio, “Sleuthing ‘Chinatown.’”
“[i]t changes the rapport between them”: https://www.youtube.com/watch?v=Cb-hOU56WwU.
she can’t satisfy Gittes: Towne, “Dialogue on Film.”
“I think perhaps”: Ibid.
“posting [pages] on the door”: Academy Screening, Nov. 18, 2004.
girls promenading down: Julie Payne to author.
“People can go crazy sitting”: Iorlo, “Sleuthing ‘Chinatown.’”
“Bob,” Polanski asked: Martin Kasindorf “Hot Writer,” Newsweek, Oct. 14, 1974.
“I have no time to think”: A. Alvarez, “Can Polanski Make A Star of Polanski,” New York Times, Feb. 22, 1976.
“resilience,” Towne observed: Weschler, “Artist in Exile.”
“Winning an argument”: Susanna Moore to author.
“divine justice, or any kind of plan”: Higham, “Polanski.”
“the whole crowd”: Nandu Hinds to author.
pile together on the bed: Sharmagne Leland-St. John to author.
Roman loved people: Nandu Hinds to author.
“Once I was there”: http://www.spiegel.de/international/world/director-roman-polanski-discusses-the-great-calamities-of-his-life-a-932931.html.
“I don’t think there was a day”: Iorio, “Sleuthing ‘Chinatown.’”
“This little group”: Anthea Sylbert to author.
still didn’t get Chinatown: Robert Evans to author.
“Nobody I spoke with”: Nandu Hinds to author.
“No one understands”: Robert Evans to author.
“Evans knew Towne’s father”: Bart, Infamous Players, 197.
Towne, for his part, procrastinated: Roman Polanski to author.
“He put up more resistance”: Sylbert and Townsend, Designing Movies, 175.
Dick Sylbert, paying a visit: Ibid.
“I’ve got to go home”: Roman Polanski to author.
“Robert tried many ways”: https://www.youtube.com/watch?v=Cb-hOU56WwU.
“why don’t you speak”: Barrie Chase to author.
“entirely naked”: Ibid.
“If I stand without a gun”: https://latimesblogs.latimes.com/.a/6a00d8341c630a53ef0115705d073c970c-pi.
On her way into the swimming: Barrie Chase to author.
“It’s your mother”: Ibid.
“Robert was absolutely resistant”: Julie Payne to author.
“Initially,” Towne said: Towne, “Dialogue on Film.”
the farther they would stray: Roman Polanski to author.
“My own feeling”: Towne, “Dialogue on Film.”
“You have to show violence”: Weinraub, “If You Don’t Show Violence.”
“But then occasionally”: Chris Peachment, “No Escaping Roman’s History,” The Times (London), Apr. 19, 1995.
Leaving the theater: Roman Polanski to author.
What made him remember: Mark Cousins, “Roman Polanski: The Insider,” Sight and Sound 15, no. 10 (Oct. 2005): 20, 22–24.
A flaw in the iris: Julie Payne to author.
stopped speaking: Iorio, “Sleuthing ‘Chinatown.’”
Evans tried to referee: Robert Evans to author.
I would never work with Roman: Kasindorf, “Hot Writer.”
Ali didn’t even stop: Robert Evans to author.
“I’m a failure in many ways as a man”: “Son Stroke,” People, Feb. 14, 2017.
“If I can negotiate with the North Vietnamese”: http://www.telegraph.co.uk/culture/film/starsandstories/10447597/Robert-Evans-interview.html.
“He had the same thing that my grandfather”: Gerald Clarke, “Can Bob Evans Find True Happiness?” Esquire, Feb. 1974.
“Unlike most of my counterparts”: Ibid.
“He’s the best producer I’ve ever seen”: Julie Baumgold, “A Robert Evans Production: The Good Life at the Top in Hollywood,” New West, Sept. 13, 1976.
the distance he kept from the studio: Robert Evans to author.
“See, I was never a star-fucker”: http://www.avclub.com/article/robert-evans-13777.
the way he powered the telephone: Robert Evans to author.
“She taught me everything”: Ibid.
“Robert,” Norma said: Ibid.
“Paramount put at least a million”: Matt Tyrnauer, “Evans Gate,” Vanity Fair, Sept. 1994.
“There were more deals made”: Grobel, Above the Line, 5.
“I know it’s self-indulgent”: Baumgold, “A Robert Evans Production.”
“nothing’s rushed, no love”: Ibid.
“Maybe they fell in love with the house”: http://tmagazine.blogs.nytimes.com/2010/10/27/domesticities-at-home-with-robert-evans/?_r=1.
“I’d rather have one week”: Baumgold, “A Robert Evans Production.”
“My past”: Robert Evans to author.
“And in my contract”: http://www.avclub.com/article/robert-evans-13777.
“Talent”: Robert Evans to author.
“Because his father had been”: Evans, Kid Stays in the Picture, 14.
“It was,” Evans wrote: Ibid., 15.
“What do you think”: Ibid., 16.
“he killed himself”: Robert Evans to author.
“The wealthy will get wealthier”: Evans, Kid Stays in the Picture, 17.
“My dreams”: Ibid.
“When he came out to Los Angeles”: Peter Bart to author.
“I want to write a piece”: Robert Evans to author.
“The Beverly Hills man”: Peter Bart, “I Like It. I Want It. Let’s Sew It Up,” New York Times, Aug. 7, 1966.
“I vant”: Robert Evans to author.
“Evantz! Peck your begs”: Ibid.
“Bluhdorn’s Folly”: Robert Evans to author.
“Peter, I need you”: Ibid.
“The Times sent me out”: Peter Bart to author.
“You read, Peter”: Robert Evans to author.
“What’s the worst they can do?”: Peter Bart to author.
to Palm Springs, to Riccio: Ibid.
“We were,” Evans said: Robert Evans to author.
“It’s back to basics”: Ibid.
“What would happen”: Peter Bart to author.
“There was not one moment”: Ibid.
“clean up Bluhdorn’s faux-pas”: Ibid.
a $22 million pretax loss: Charles Glenn to author.
“These kids,” he rationalized: “The Day the Dream Factory Woke Up,” Life Magazine, Feb. 29, 1990.
“the worst dirtbag”: Peter Bart to author.
“That hour with Peter”: Robert Evans to author.
“I talked to a friend of Roman’s”: Peter Bart to author.
“I knew Calley”: Ibid.
“Lies,” he said: Ibid.
Larry Peerce: Peter Bart to author.
“We had,” Bart said: Ibid.
“pishers no more”: Robert Evans to author.
“Raise the fucking prices”: Peter Bart to author.
“America,” he murmured: Evans, Kid Stays in the Picture, 200.
“And when these people don’t feel”: “Day the Dream Factory Woke Up.”
“The minute we moved”: Peter Bart to author.
“You von’t belief”: Peter Biskind, Easy Riders, Raging Bulls (New York: Simon & Schuster), 207.
“I think it’s shit”: Ibid.
“Evans and I loved the idea”: Peter Bart to author.
“I was really comfortable with directors”: Biskind, Easy Riders, Raging Bulls, 84.
“Do you ever notice that when John Calley”: Peter Bart to author.
“Bobby has to make a choice”: Bart, Infamous Players, 198.
“a genius of film distribution”: Charles Glenn to author.
“I saved Bluhdorn’s ass”: Robert Evans to author.
“This is never going to work”: Bart, Infamous Players, 187.
“Are you out of your mind?”: Frank Yablans Oral History, Margaret Herrick Library, Los Angeles.
“I’m taking you off Locust”: Hawk Koch to author.
“If you don’t deliver the cover”: Bart, Infamous Players, 199.
“Jack,” she protested: Faye Dunaway, Looking for Gatsby (New York: Simon & Schuster, 1995), 249.
“Bobbeeeeee”: Evans, Kid Stays in the Picture, 262.
“We’re gonna lose Faye”: Robert Evans to author.
“Talk Jack into Faye”: Ibid.
“There are lots and lots”: Julie Payne to author.
“I could have arbitrated”: Roman Polanski to author.
Howard Koch Jr. and Dick Sylbert: Hawk Koch to author.
“Hollywood Boulevard was in bad shape”: Ibid.
Sylbert would name El Macondo: Paul Iorio, “A Guide to Movie’s Many Location Sites: Here’s How the ‘Chinatown’ Production Crew Made ’70s L.A. Look Just Like ’30s L.A.,” Los Angeles Times, July, 1999.
“You’re always looking around”: Carrie Rickey, “Theatrical Realism,” Film Comment 18, no. 1 (Jan./Feb.1982): 32–49, 80.
“rewrite the script”: “Sylbert: A Paragon of the Craft,” Variety, Feb. 25, 2000.
“You cannot write music without”: “Dialogue on Film: Richard Sylbert,” American Film, December 1985.
“You say to yourself, Okay, Chinatown”: Ibid.
“The reason [the buildings are] white”: Ibid.
“And not only will they all be white”: Ibid.
“it should then be the most”: Sylbert and Townsend, Designing Movies, 127.
“[M]y whole philosophy of production design”: Rickey, “Theatrical Realism.”
“What kind of ointment is that?”: “Dialogue on Film: Richard Sylbert.”
Koch drove Sylbert east: Hawk Koch to author.
“It was picked” Sylbert said: Iorio, “Guide.”
“and we looked and looked”: Hawk Koch to author.
“Because in [1937]”: Iorio, “Guide.”
“squeeze the tension of the chase scene”: Sylbert and Townsend, Designing Movies, 129.
“Yes … I think … It could work…”: Hawk Koch to author.
“Okay,” he would say: Ibid.
“hear and see everything and learn”: Ibid.
Koch walked in the Canon Drive: Ibid.
“I did what I needed to do so”: Robert Evans to author.
“Dick was very attracted to glamour”: Susanna Moore to author.
“Lily just gave birth to tvins”: Sharmagne Leland-St. John to author.
“Dick thought his father”: Susanna Moore to author.
“world I’d stepped into was elegant”: “Richard Sylbert,” Hollywood Reporter, Nov. 20, 2000.
“[W]hat did strike me”: Ibid.
“Even Jack Warner”: Ibid.
“I vatched you on the Academy”: Sharmagne Leland-St. John to author.
“Dick and Paul would sort of disappear”: Anthea Sylbert to author.
“I made an enemy”: Ibid.
“I don’t know,” Anthea reflected: Ibid.
scheduled to arrive at Western Costume at 3:30: June Weir, Article title unavailable, Los Angeles Times, Dec. 28, 1973, AMPAS Chinatown clippings file on microfiche.
“We’ll be here until eight now”: Ibid.
“I’m not fond of blue anyway”: Ibid.
“I thought he would be interested in fashion”: Anthea Sylbert to author.
“I used to even think about”: Ibid.
“telling you who the character is”: Ibid.
“This woman is old money”: Ibid.
“Roman was smart”: Ibid.
“I was born in 1937”: Ibid.
“It’s like doing a painting”: Ibid.
“so my idea of what things”: Ibid.
“I’ll pay for the overtime”: Weir, Title unavailable.
“Today,” she said, “with all our pretensions”: Ibid.
Polanski climbed onto the desk: Jesse Vint to author.
“Where are you from?”: Ibid.
“For me,” he would explain: https://www.youtube.com/watch?v=6q8LbUhPzLE.
“This is the way people work”: “Great to Be Nominated Part Three,” August 14, 2006.
“Doesn’t Evans have a legitimate doctor”: Bart, Infamous Players, 190.
“Take a sniff”: Evans, Kid Stays in the Picture, 268.
give it away in little vials for Christmas: Anthea Sylbert to author.
“It’s a miracle”: Peter Bart to author.
“Evans was too interested”: Ibid.
a most uncollaborative director: Walker, “The Bird Is on His Own.”
“People comically impugn”: Mathews, “Jack Laid-Back.”
“Where else could you have”: https://www.cigaraficionado.com/article/on-his-own-terms-6022.
“the only truly modern city”: Lynn Hirschberg, “Jack Nicholson,” Rolling Stone, Nov. 5, 1997.
“It would be a shame”: https://www.cigaraficionado.com/article/on-his-own-terms-6022.
He was in Western Costume: Diaries of Annie Marshall.
“a black porkpie hat”: Fred Schruers, “The Rolling Stone Interview: Jack Nicholson,” Rolling Stone, Aug. 14, 1986.
“A very dapper dresser”: Edwin Miller, “No Ego in His Act,” Seventeen, Apr. 1976.
“But I never heard him raise”: David Thomson, “Jack Nicholson, King of Mulholland,” Playgirl, Apr. 1981.
“You’re on your own”: “Jack Nicholson: The Star with the Killer Smile,” Time, Aug. 12, 1974.
“I always knew there wasn’t”: http://ablogawayfromhome.blogspot.com/2007/12/interview-with-jack-nicholson-parade.html.
“I come from a small-town”: https://www.gamesradar.com/the-total-film-interview-jack-nicholson/.
“You’ve got to remember that”: Schruers, “Rolling Stone Interview.”
“The only way I’ve been”: Rex Reed, “Movies: The Man Who Walked Off with ‘Easy Rider,’” New York Times, Mar. 1, 1970.
“As an actor”: Walker, “Bird Is on His Own.”
“And I started to realize”: Benjamin Svetkey, “Jack on Jack,” Entertainment Weekly, Jan. 3, 2003.
“There’s something about the familiarity”: Chris Chase, “The Legend That Jack Built,” Cosmopolitan, Feb. 1983.
“You know, Jack”: Ibid.
“Pal, you don’t know me”: Evans, Kid Stays in the Picture, 162–63.
he brokered the casting: Roman Polanski to author.
“When the Ant does your costumes”: Anthea Sylbert to author.
“Jack was easy to dress”: Ibid.
“I’ve always been one of the top”: Kevin Thomas, “Nicholson Leaves Obscurity in Dust,” Los Angeles Times, Aug. 28, 1969.
the cancer of film: Hilary de Vries, “Still Simmering Under the Shades,” Los Angeles Times, Dec. 6, 1992.
“The overall concept of a film”: Phyllis Battelle, “Movie Actor Tells of Film Set in Hospital,” L.A. Herald-Examiner, Nov. 21, 1975.
“It’s a demographic principle”: Hirschberg, “Jack Nicholson.”
“I’m not going to win”: Ibid.
“I’m a romantic”: Winfred Blevins, “Jack Nicholson: A Realistic Romantic,” Los Angeles Herald Examiner, Feb. 14, 1971.
in the back of a station wagon: Peter Biskind, “The Low Road to Chinatown,” Premiere, June 1994.
“And I’ve learned that”: Polanski, Playboy interview.
“psychologically invulnerable”: Ibid.
“If I’ve learned one thing about filmmaking”: Ibid.
threw up in the dirt: Biskind, “Low Road.”
discovering for himself Gittes’s secret: Ron Rosenbaum “The Method and Mystique of Jack Nicholson,” New York Times, Jul. 13, 1986.
He could plan only so much: Gene Siskel, “Jack Is Back,” Boston Globe, Feb. 10, 1982.
“at least 75% of every character I play”: “Jack Nicholson: The Star with the Killer Smile,” Time, Aug. 12, 1974.
“slow to inspire”: https://www.youtube.com/watch?v=lTgcasf4X1k.
“crawl completely inside the skin”: Bill Davidson, “The Conquering Antihero,” New York Times, Oct. 12, 1975.
Jake Gittes brought them back: Aljean Harmetz, “Jack Ransacks the Cupboards of His Past,” Los Angeles Times, Mar. 31, 1974.
“You believe in aliens?”: Jesse Vint to author.
he had pushed for Gordon Willis: Roman Polanski to author.
Evans feared reteaming: https://www.youtube.com/watch?v=Ud5LlVZCqik.
“He’s putting down a dance floor?”: Hawk Koch to author.
“had his name on a number of films”: C.O. Erickson Oral History AMPAS, Margaret Herrick Library, Los Angeles.
“like ordering a first class suit”: http://zakka.dk/euroscreenwriters/interviews/roman_polanski_526.htm.
“letting them rehearse and seeing”: David Thompson, “I Make Films for Adults,” Sight and Sound, Apr. 1, 1995.
“Get your clubfoot”: Jesse Vint to author.
any closer to the actors: Howard Koch to author.
Vint raised the crutch: Jesse Vint to author.
“He cannot stop”: Tom Burke, “The Restoration of Roman Polanski,” Rolling Stone, July 18, 1974.
“You think that’s a hit?”: Jesse Vint to author.
Studying the results: Ibid.
Why should he tell Polanski: Robert Evans to author.
a tall rider on a white horse: Jesse Vint to author.
She was never one for set visits: Anjelica Huston, Watch Me (New York: Scribner, 2014), 36.
she saw him in Easy Rider: Ibid., 7.
“Good evening, ladies”: Ibid.
he saw class: Martha Sherrill, “Anjelica Huston: Strictly Original,” The Washington Post, Nov. 28, 1991.
they danced for hours: Huston, Watch Me, 7.
“Does that make me a secondary one?”: Ibid., 8.
In New York: Ibid., 20.
When she arrived in London: Ibid., 21.
slept with another woman: Ibid.
“Oh, Toots,” he answered: Ibid.
She tried to imagine marriage: Diann Maychick, Mademoiselle, April 1987.
In Barcelona: Huston, Watch Me, 27.
She became a detective: Ibid., 29.
“my idol since childhood”: Deborah Caulfield, “Nicholson on the Matter of His ‘Honor,’” Los Angeles Times, June 16, 1985.
“I consciously knew for a certain period”: “Jack Nicholson Has Never Been to an Orgy,” GQ, Jan. 1996.
“He’s one of those people”: Lawrence Grobel, The Hustons (New York: Scribner, 1989), 760.
“Jack’s a virtuoso”: Gene Siskel, “Terms of Fulfillment: Jack Nicholson Talks About His Career,” Chicago Tribune, June 16, 1985.
His own father Huston practically never: John Huston Interviews, 198.
“And since he had never played”: Ibid.
“When John Huston dies”: Brad Darrach, “Jack Finds His Queen of Hearts,” People, July 8, 1985.
“I felt that I had to do the movie”: Lawrence Grobel, The Hustons (New York: Scribner, 1989), 603
“she’s going to die on that horse”: Ibid., 606.
“practically do [Anjelica] in”: Ibid.
“But the more you”: Ibid., 226.
“I couldn’t get through my own pain”: Ibid., 613.
“You don’t like Van Gogh?”: Mark Morrison, “Life with Father,” LA Times Magazine, June 21 1987.
she clung to his leg: Ibid.
“a certain kind of square-earthed”: Grobel, The Hustons, 675.
“triangular offstage situation”: Rosenbaum, “Acting.”
“I hear you’re sleeping”: Huston, Watch Me, 36.
“I don’t like sunlight very much”: Polanski interview, June 17, 1976, Cinefantastique Magazine Records, The Tenant, folder 761, AMPAS Special Collections.
“Roman was just letting everybody know”: Thomas Kiernan, “Roman and Sharon,” Oui, June 1981.
“What’s with the ending?”: Robert Evans to author.
Evans claimed Frank Yablans refused: Ibid.
The Santa Anas were blowing: Diaries of Annie Marshall.
“meek little wives feel the edge”: Raymond Chandler, “Red Wind,” Dime Detective, Jan. 1938.
“woke in the night troubled not only”: Joan Didion, “Los Angeles Notebook” in Slouching Towards Bethlehem (New York: Farrar, Straus and Giroux, 1968), 218.
“The city burning,”: Didion, Slouching Towards Bethlehem, 220.
niggling Polanski to change: Roman Polanski to author.
to flush her own toilet: Biskind, “Low Road.”
“Ugh. Here she comes”: Crewperson to author.
an actress who hadn’t prepared: Roman Polanski to author.
“I think Jack and Roman had great patience”: Hawk Koch to author.
“The word motivation”: Mel Gusow, “Only Faye Dunaway Knows What She’s Hiding,” New York Times, Oct. 20, 1974.
“rigid, dictatorial approach”: Ibid.
“A director like Polanski”: Ibid.
“Hi, Faye. It’s Howard”: Hawk Koch to author.
“Give me those things”: Ibid.
“Lunch!”: Ibid.
“I don’t believe it!”: Polanski, Roman, 356.
“Fire Polanski”: Robert Evans to author.
“she did it with a wink”: Peter Bart to author.
“Sue couldn’t read a contract”: Confidential source to author.
“I’ll give you Mark Rydell”: Robert Evans to author.
“One or the other”: Ibid.
“What is this?”: Roman Polanski to author.
“were sometimes quite naive,”: Ibid.
“Cortez’s style”: Ibid.
“Bob, you tell him,”: Ibid.
“was always this charming, wonderful man”: Ibid.
“He wants reality”: Gorgiana Alonzo to author.
a “précis of the city”: Ibid.
“a quick appreciation”: Ibid.
“They stole the water?” Ibid.
“I work with a very lean” Ibid.
“How can you do this?”: Doc Erickson Oral History, 386, Margaret Herrick Library, Los Angeles.
“cognizant of the cinematographer’s problems”: John. A. Alonzo, “Behind the Scenes of ‘Chinatown,’” American Cinematographer 56, no. 5 (May 1975).
“he would motion at Alonzo”: Gorgiana Alonzo to author.
“were out-and-out”: Alonzo, “Behind the Scenes.”
“[Polanski] would pick out”: Ibid.
“I have an idea”: Ibid.
Polanski defended the rigor of his frame: Gorgiana Alonzo to author.
“exasperated”: Priscilla English, “‘Chinatown’: Two Wrongs Make a Right,” Los Angeles Times, May 5, 1974.
Nicholson, hands in his pockets: Ibid.
“I want it like this”: Diane Ladd to author.
“Everyone thought Roman”: Ibid.
“Roman, what is that?”: Ibid.
“When it came to”: Maggie Parker to author.
“I look at acting”: http://movieline.com/2004/11/01/jack-nicholson-a-chat-with-jack/.
Lakers tickets: Diaries of Annie Marshall.
receive the stimulus: Brian Case, “Howlin’ Jack,” Time Out (London), Aug. 17, 1993.
“And it’s just like”: Schiff, “Jumping Jack.”
“Jack,” Polanski said: https://www.youtube.com/watch?v=fSZzOk2gETU.
“so I had him talk differently”: Dan Pattarson, “Jack Nicholson and Roman Polanski Talk About Acting at the Strasberg Institute,” Drama-Logue, Jun. 3, 1977.
“No, no, no” Polanski said: Academy Screening, Nov. 18, 2004.
“Roman, I don’t think I should stand”: Hawk Koch to author.
“I saw immediately”: English, “‘Chinatown.’”
“total and complete”: Hawk Koch to author.
“Is this shot about me”: Biskind, “Low Road.”
“I’ll be right there”: Hawk Koch to author.
“smiling like a monkey”: Ken Kelley, “That Old Magic,” Viva, circa 1975.
“Let’s not tell anyone”: Polanski, Roman, 359.
“That’s a fantastic relationship”: Ken Kelley, “That Old Magic,” Viva, circa 1975.
“It will be okay, Jack”: Hawk Koch to author.
versed in all manner of mechanics: Ibid.
busloads of actors: Sandford, Polanski: A Biography, 194.
“Jack, please,” he said: https://www.youtube.com/watch?v=zFL8gl_49Rk.
“I think we ended up with about twelve”: Biskind, “Low Road.”
“a little kid who was fighting”: Hawk Koch to author.
“alone, staring off into space”: Gorgiana Alonzo to author.
“the greatest prolonged boom”: Andreas Killen, 1973: Nervous Breakdown: Watergate, Warhol, and the Birth of Post-Sixties America, 3.
“a genuine low point in U.S. history”: Ibid., 4.
“the endless exfoliations”: Tom Wolfe, “The Perfect Crime,” Mauve Gloves and Madmen, Clutter and Vine (Bantam, 1977).
“It is astonishing”: Ibid.
He invited cast and crew: Roman Polanski to author.
“He decided he was going”: Roman Polanski: Wanted and Desired, directed by Marina Zenovich.
“this is the most important thing”: “Roman Polanski by Thom Mount.”
Polanski would play offended: Nandu Hinds to author.
“Nicholson could stay up”: Iorio, “Cover Story.”
He was often with Evans: Robert Evans to author.
“I was amazed sometimes”: Zimmerman, “Blood and Water.”
“It was bizarre”: Hawk Koch to author.
“You find these things”: Roman Polanski Interviews, 62.
rolling his fingers over the face: Nandu Hinds to author.
“She wouldn’t say it”: https://www.youtube.com/watch?v=Cb-hOU56WwU.
“Look,” she said to Jack: Dunaway, Looking for Gatsby, 250.
“You think you’ve got problems, Dread?”: Ibid., 256.
The set was tense: Hawk Koch to author.
“I don’t like hittin’ women”: English, “‘Chinatown’: Two Wrongs Make a Right.”
“This is the place, right here, guys”: Ibid.
Alonzo reviewed the particulars with her: Gorgiana Alonzo to author.
“in the iris of the eye”: Alonzo, “Behind the Scenes.”
“I noticed there’s no name”: James Hong to author.
“It’s all different now”: English, “‘Chinatown’: Two Wrongs Make a Right.”
a houseplant in the kitchen: crew member to author.
“it would take hours”: Nandu Hinds to author.
“She prepared intensely”: James Hong to author.
“I used to love my father”: Lloyd Shearer, “Faye Dunaway: Strong, Southern, Sexy and Striving for Stardom,” Boston Globe, Jan. 8, 1967, C8.
“a wicked grin on his face”: Dunaway, Looking for Gatsby, 240.
“Universal made shit”: Polanski to author.
“We were shooting the my sister/my daughter”: Academy Screening, Nov. 18, 2004.
“I’m gonna get your ass, Bobby”: Baumgold, “Robert Evans Production.”
“Nicholson is the vulnerable attacker”: Robert Evans to author.
“gutter players”: Grobel, Above the Line, 37.
“Would you get me a sweater?”: Baumgold, “Robert Evans Production.”
Henry Kissinger, a frequent overnight guest: Robert Evans to author.
“He’s imprinted everywhere”: Matt Tyrnauer, “Evans Gate,” Vanity Fair.
“America’s gift, its greatest cultural”: Robert Evans to author.
“You know, Robert”: Ibid.
Evans expelled him from Woodland: Bart, Infamous Players, 42.
“It was built for me”: https://www.youtube.com/watch?v=FL_Y1-knz8s.
“a social history of the region”: Walker, “The Bird Is on His Own.”
“The first story began in 1937”: Ibid.
“It’s a big piece of writing”: Ibid.
“Now really, Sue”: https://www.youtube.com/watch?v=yImVvMovTVw.
“The turnout of guests was dazzling”: Bart, Infamous Players, 44.
let himself dream of the glamour: Susanna Moore to author.
white orchids: Didion, White Album, 153.
“since there are enough imponderables”: Ibid., 154.
“It is in this tropism toward survival”: Ibid., 155.
“The action is everything”: Ibid., 160.
“It’s a very small group of people”: Sam Cohn interviewed by William Wolf, William Wolf Papers, New York Public Library for the Performing Arts.
“You pull out”: Didion, White Album, 167.
“nearly fifty miles an hour”: Burke, “Restoration.”
“Put it into your words”: Roman Polanski to author.
“The point is the girl dies”: Kirk Honeycutt, “‘Chinatown’: Don’t Forget It,” Hollywood Reporter, Apr. 25, 1995.
“Okay, Earl”: Alonzo, “Behind the Scenes.”
“I want a crane,” he said: Ibid.
“In the sequence, up to this point”: Ibid.
“Roman was on one end”: James Hong to author.
“What took you so long?”: Huston, Watch Me, 36.
“Now come on, John”: Burke, “Restoration.”
“Iksnalop”: Saul Kahan, “Polanski Talks about ‘Chinatown,’” Los Angeles Herald Examiner, July 3, 1974.
“I want the mark now!”: Burke, “Restoration.”
on the hood of the Packard: Justin Humphreys, Names You Never Remember, with Faces You Never Forget.
gambling debts: Julie Payne to author.
“I liked myself in Chinatown”: Lawrence Grobel, John Huston, Playboy interview, Sept. 1985.
“He was very unhappy at the time”: David Thomson, “A Bit of a Coyote, a Hell of a Woman,” American Film, Nov. 1990.
“Where is chair for Mr. Huston”: Burke, “Restoration.”
“A film sums up the experiences”: Weinraub, “If You Don’t Show.”
“I don’t know who designed”: Great to Be Nominated Part Three: Aug. 14, 2006.
“This playing of endless children’s”: Burke, “Restoration.”
“Chinatown was the first film where I had”: https://www.youtube.com/watch?v=Cb-hOU56WwU.
“I was really like a racing driver”: Ibid.
considered selling his London flat: Burke, “Restoration.”
“Movies have competition”: https://www.nytimes.com/1973/01/09/archives/on-adolph-zukors-100th-birthday-paramount-throws-nostalgic-party.html.
a dinner party for Zukor at the Bistro: Frank Yablans Oral History, Margaret Herrick Library, Los Angeles.
“Yablans was very good”: Peter Bart to author.
“I wanted to be president”: Yablans Oral History.
“gripped by the delusion”: Didion, White Album, 155.
“What in the fuck did we just see?”: Biskind, Easy Riders, Raging Bulls, 222.
too afraid even to preview: Ibid.
“What’s a couple-million-dollar movie”: Alan Ladd Jr. to author.
“revise their method of selling it”: Rex Reed, “Hollywood Picks on the Wrong Guy,” Los Angeles Times, Jan. 9, 1972.
“a promotion campaign”: “Billy Jack Slated for Re-Issue with New Ad Campaign,” Hollywood Reporter, Jan. 8, 1973.
“and for years,” he recalled: Max Youngstein, “Throw Away the Manual—Try Thinking,” Variety 40th Anniversary Issue.
“We adapted every proven”: Ibid.
“I have checked my personal experience”: Ibid.
“filmgoer should be able”: Richard Albarino, “‘Nerve & Money’ Key ‘Billy’ Phenom,” Variety, Nov. 7, 1993.
“I don’t claim that a terrible picture”: Max Youngstein, “Throw Away the Manual.”
“the biggest production”: “Exhibs Bedeviled by WB Four-Wall ‘Exorcist’ Plans,” Variety, Apr. 2, 1994.
“Kid, the fun is over”: Biskind, Easy Riders, Raging Bulls, 224.
upstairs at the the Rainbow: Diaries of Annie Marshall.
“Sometimes one experiences a very soft”: Sadie Plant, Writing on Drugs, 63.
“The words tonic and refreshment”: Ibid., 71
“You can write, you can direct”: Biskind, Easy Riders, Raging Bulls, 81.
Jack Nicholson surmised: Jack Nicholson, Playboy interview.
It was about that time: Peter Bart to author.
“That was it”: Harry Ufland to author.
“a new, almost defiant openness”: Bart, Infamous Players, 190.
“I was surprised Evans”: Peter Bart to author.
“What does it look like?”: Burke, “Restoration.”
Encountering his rough cuts: https://www.youtube.com/watch?v=fSZzOk2gETU.
the thrill of plot concealed: Ibid.
“If you pick at a sore”: Sam O’Steen, Cut to the Chase, 6.
Polanski’s lifelong trust: Roman Polanski to author.
“[Polanski’s] film tells me where”: O’Steen, Cut to the Chase, 131.
“Sam taught me to sacrifice”: Roman Polanski to author.
“the timing is right”: O’Steen, Cut to the Chase, 235.
“We play that shot on Curly”: Burke, “Restoration.”
“the weirdest line readings”: O’Steen, Cut to the Chase, 124.
“to find where she said ‘father’”: Ibid.
“we’re going to kill somebody”: Ibid.
none of which Polanski took seriously: Roman Polanski to author.
“Stop talking!”: O’Steen, Cut to the Chase, 129.
he would speak of “texture”: Robert Evans to author.
“I’m a music freak”: https://www.nytimes.com/1976/08/15/archives/robert-evanss-rise-from-gradeb-actor-to-aplus-producer-from-bactor.html.
“He was so full of it”: Roman Polanski to author.
“Evans felt that he was a filmmaker”: Biskind, Easy Riders, Raging Bulls, 158.
“Why don’t you wait until after we mix”: O’Steen, Cut to the Chase, 128.
“Phillip,” his girlfriend: Phillip Lambro, Close Encounters of the Worst Kind, 288.
“On this one Bob Evans”: Burke, “Restoration.”
“It’s the story, Roman”: Lambro, Close Encounters, 291.
“That was wonderful”: Ibid., 301
“Hi, Phillip, this is Bob Evans”: Lambro, Close Encounters, 305.
“Listen, you leave Evans”: Ibid., 308.
“If you give me ten more minutes”: Page Cook, “The Sound Track,” Films in Review, Nov. 1974.
The score wasn’t bad: Sylbert and Townsend, Designing Movies, 132.
Susanna Moore, the youngest: Susanna Moore to author.
He hated the movie: Julie Payne to author.
“The score assaulted my senses”: Ibid.
“Evans,” she said: Ibid.
“Listen,” Jack began: Lambro, Close Encounters, 318.
“You have the wrong extension”: Lambro, Close Encounters, 307.
the return of the Zodiac Killer: Ibid., 320.
legendary film composer Bronislau Kaper: Polanski, Roman, 361.
“I’m going to fight”: Lambro, Close Encounters, 307.
“Aren’t you in control anymore”: Ibid.
“I need you to save my life”: Robert Evans to author.
“Bob,” Goldsmith replied: https://www.youtube.com/watch?v=utgHa-b6CO0.
jukebox rotation at Dominick’s: Sylbert and Townsend, Designing Movies, 133.
“What do you hear”: https://www.youtube.com/watch?v=utgHa-b6CO0.
“In the 1940s,” he recalled: Mark Russell and James Young, Film Music, Screencraft series (Boston: Focal Press, 2000), 59.
“I have come to a country where”: Dorothy Lamb Crawford, A Windfall of Musicians: Hitler’s Emigres and Exiles in Southern California (New Haven: Yale University Press, 2011), 103–04.
“a period piece”: https://www.criticsatlarge.ca/2014/05/notes-and-frames-ii-interview-with.html.
“There was a limit to what I could do”: http://jazzprofiles.blogspot.com/2017/10/uan-rasey-hollywood-studio-artist.html.
“We could live on that”: Ibid.
“I could play higher than he could”: Ibid.
“It was nothing to play”: Ibid.
The sound stunned Evans: Robert Evans to author.
thinking of his father: Ibid.
Pietro’s: Evans, Kid Stays in the Picture, 270.
Bluhdorn’s “almost dynastic need”: Bernard F. Dick, Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood (Lexington: University Press of Kentucky, 2001), 124.
“Charlie was a father”: Robert Evans to author.
“Charlie, we’re not a partnership”: Biskind, Easy Riders, Raging Bulls, 268.
left the supervision of the score to Evans: Roman Polanski to author.
“Is there anything anyone”: Sylbert and Townsend, Designing Movies, 132.
“stay in the shadows”: Ibid.
“Evans is nervous”: Julie Payne to author.
“Evans was a great marketer”: Hawk Koch to author.
Barry Diller sat with Towne: Biskind, Easy Riders, Raging Bulls, 262.
Well, Towne thought, maybe we’ll get away: http://www.macleans.ca/uncategorized/robert-towne-looks-back-on-chinatown/.
“This is a great fucking”: Biskind, Easy Riders, Raging Bulls, 269.
“Evans has a bomb”: Howard Koch to author.
No prepublicity: Gordon Gow, “The Cool Bonanza,” Films and Filming, Jan. 1975.
“What kind of dreck is this shit?”: Robert Evans to author.
“How could you make this picture?”: Ibid.
“Sorry, kid”: Ibid.
headed to Chasen’s: Jean Cox, “Fortune’s Cookies,” Women’s Wear Daily, June 16, 1974.
“After Chinatown”: Rex Reed, “Robert Evans,” Southland Sunday, Jan. 1974.
Charles Champlin of the Los Angeles Times: Charles Champlin, “‘Chinatown’ Tour de Force,” Los Angeles Times, June 21, 1974.
Roger Ebert plainly hailed: “The Inscrutable ‘Chinatown,’” Roger Ebert, Boston Globe, Aug. 11, 1974.
“The film holds you, in a suffocating way”: Pauline Kael, 5001 Nights at the Movies (New York: Holt, Rinehart & Winston, 1982), 135.
“vision of a time, a place, and a life-style”: Champlin, “‘Chinatown’ Tour de Force.”
“Longing on a large scale”: Don DeLillo, Underworld (New York: Simon & Schuster, 1997), 11.
Evans was elated: Robert Evans to author.
“We had something”: Ibid.
“[They] hated each other”: Peter Bart to author.
something of a relief to Evans: Evans to author.
“I’ve always been a proponent”: A. H. Weiler, “Film Box-Office Receipts in ’74 a Record $1.9-Billion,” New York Times, Jan. 26, 1975.
“gaudier and more lurid”: Stephen Farber, “Hollywood’s New Sensationalism: The Power and the Gory,” New York Times, July 7, 1974.
“cinema of attractions”: David A. Cook, Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970–1979 (Berkeley: University of California Press, 2002), 43.
“One thing,” Evans told Bludhorn: Robert Evans to author.
He had no intention of working for Diller: Peter Bart to author.
“didn’t really know the movies”: Ibid.
“We’re gonna do great work together”: Robert Evans to author.
Julie Payne felt a change: Julie Payne to author.
“She was allergic to the sun”: Ibid.
“Los Angeles itself, the sprawl-city”: Pauline Kael, “Beverly Hills as a Big Bed,” The New Yorker, Feb. 2, 1975.
The phone at Hutton Drive: Julie Payne to author.
For the BAFTAs in London: Ibid.
“I said I wouldn’t work with him”: Ibid.
“He would just give his friends”: Ibid.
a record $1.9 billion: Weiler, “Film Box-Office.”
“there was a common assumption”: Bernard Weinraub, “Giving Screenplays a Sense of Reality,” New York Times, Sept. 8, 1998, 1.
“a hunger on both sides”: http://www.filmfreakcentral.net/ffc/2013/03/towne-country-ffc-interviews-robert-towne.html.
“did their jobs too well”: Sarah Morris film Robert Towne.
“the futility of good intentions”: Casey Burchby, “Investigative Screenwriter,” Cineaste 37, no. 3 (Summer 2012): 20, 51.
“The American has not yet assimilated”: William Barrett, Irrational Man: A Study in Existential Philosophy (New York: Doubleday, 1958), 10.
“a mix of nostalgia and parody”: Kael, “On the Future of Movies.”
“Perhaps no work of art is possible”: Ibid, 55.
“It’s good for who it’s good for”: Svetkey, “Jack on Jack.”
“I didn’t think we would get any awards”: Roman Polanski gmail to author.
talk shows and interviews: Ibid.
“I’ve only heard two opinions”: https://www.cigaraficionado.com/article/on-his-own-terms-6022.
this wasn’t going to be his year: Hawk Koch to author.
It was still drizzling: Julie Payne to author.
“It’s your night”: Evans, Kid Stays in the Picture, 267.
“Hiya, Bullhorn”: Hawk Koch to author.
“Yes, ladies and gentlemen”: the Academy Awards broadcast.
“He was very excited”: Sarah Naia Stier to author.
Payne, still waiting: Julie Payne to author.
“I did not want to do that”: Beverly Walker, “Film Comment,” New York 23, no. 5 (Sept. 1987): 24–26.
“Frankly,” Sylbert said: Hollywood Reporter 45th Anniversary Edition, 1975.
“have never dealt with with those day-to-day”: Ibid.
Sylbert would confer with Evans: Robert Evans to author.
“There is still an audience for pictures”: Hollywood Reporter 45th Anniversary Edition, 1975.
“With all the difficulties this book presents”: Richard Sylbert Papers, Sylbert letter re: Falconer, May 30, 1976.
Sylbert took A Piece of My Heart: Sharmagne Leland-St. John to author.
“Science-Fiction is an escalating area”: Richard Sylbert Papers, Sylbert to David Picker re: Puma by Anthony Burgess, Oct. 13, 1976.
“It is the longest 125 pages”: Richard Sylbert Papers, letter re: Days of Heaven, June 8, 1976.
“When he’d lose”: Fleming, High Concept, 17.
slaughter them with bare hands: Debby Bull, “Don Simpson on Don Simpson,” Smart, May 1990.
“He used to pick me up”: Ibid.
“He’s the brightest, most interesting guy”: Fleming, High Concept, 15.
leave the ending open: Richard Sylbert Papers, Don Simpson letter re: Oliver’s Story, Dec. 7, 1976.
appalled at the suggestion of one: Sharmagne Leland-St. John to author.
“even the best Bergman”: Richard Sylbert Papers, Don Simpson letter re: The Merry Widow, Dec. 1, 1976.
“a picture like this should”: Richard Sylbert Papers, Don Simpson letter to David Picker re: The Bomb, July 19, 1976.
“strong enough to make this”: Richard Sylbert Papers, Don Simpson letter re: Moontrap, Nov. 22, 1976.
“It is to the West”: Richard Sylbert Papers, Sylbert letter re: Moontrap by Alan Sharpe, Nov. 14, 1976.
“Dick knew he made a mistake”: Susanna Moore to author.
“Dick never played the game”: Peter Biskind, “The Joy of Sets,” Premiere, Dec. 1993.
“someone who likes to be the center”: Michael Cieply and Elaine Dutka, “Paramount’s Big Spin: A Look Inside the Changing Studio, the People Who Run It and the 1990 High-Profile, Big-Money Movie Strategy,” Los Angeles Times, Mar. 18, 1990, 9.
“When Eisner came in”: Biskind, “Joy of Sets.”
“fundamental”: Hawk Koch to author.
“The picture’s only villain”: Biskind, Easy Riders, Raging Bulls, 279.
“Vietnam is like cancer”: Guy Flatley, “At the Movies: Producer Sets Hoffman’s Sail for ‘Popeye,’” New York Times, Oct. 14, 1977, 58.
“Paramount thought it was going”: Ibid.
“Try this,” Evans said: Hawk Koch to author.
“the television mentality”: Fleming, High Concept, 30.
“Until then”: Ibid.
“We have no obligation to make history”: Don Cox, “The Keys to the Kingdom: How Michael Eisner Lost His Grip—Masters’ Mouse Trap Fails to Catch Eisner,” Variety Online, Apr. 3, 2000.
“In a free enterprise, private-property system”: Milton Friedman, “The Social Responsibility of Business Is to Increase Its Profits,” New York Times Magazine, Sep. 13, 1970.
“One thing must be very clear”: Charles A. Pratt, “Turning a Dud into a B.O. Hit,” Daily Variety 41st Anniversary Issue.
In a corner of his attic: Sharmagne Leland-St. John to author.
“These five nothing TV agents”: Marcia Nasatir to author.
“ten percent”: Ross Lipson, “Super-Agent Strikes Again,” New York Times, June 26, 1977.
“As long as they’re dumb enough”: Brian Kellow, Can I Go Now? The Life of Sue Mengers, Hollywood’s First Superagent, 145.
“Studios now have an enormous amount”: Iorio, “Sleuthing.”
“What used to be quick”: Engel, Screenwriters, 221–22.
“There were practical reasons”: https://www.hollywoodreporter.com/features/brilliant-bitter-history-las-fabled-810278.
“People hated Patrick”: Ibid.
“Hollywood has swelled its executive suites”: Jim Harwood, “More and More Outsiders Fill Film Exec Ranks,” Variety, Mar. 18, 1976.
“If I ever talk about politics”: Maureen Orth, “After Begelman: The Whiz Kids Take Over,” New York Magazine, June 12, 1978.
“None of us cooks”: Ibid.
“What we learned in the sixties”: Ibid.
“Bob Evans,” John Landis said: Ibid.
“Who’s that?”: Susanna Moore to author.
“[W]hen I saw the new movie people”: Peter Biskind, “Richard Sylbert,” Hollywood Reporter, Nov. 20, 2000.
“heard screams”: Julie Payne to author.
“It was the memory of that interview”: Polanski, Roman, 361.
an unwelcome change in the studio: Ibid., 367.
“The minute they paid that money”: McGilligan, Jack’s Life, 290.
“who, incidentally, I believe”: Academy Awards broadcast.
“I want more”: Polanski, Roman, 368.
“Oh, little marriage”: Huston, Watch Me, 50.
“about a time in America when everybody”: Wayne Warga, “Nichols Making ‘Fortune’ with a Wealth of Talent,” Los Angeles Times, Sept. 22, 1974.
“Shorty,” said Jack: McGilligan, Jack’s Life 263.
“Yes,” Lorraine began: Nancy Collins, “Jack the Wolf,” Vanity Fair, Apr. 1994.
“My mother [Ethel May]’s intimate friends”: Ibid.
“Mud just grabbed that baby” Ibid.
“But they were both so afraid”: Ibid.
“After Jack found out the truth”: Julie Payne to author.
Anjelica found love notes: Huston, Watch Me, 61.
“I think we should marry this man”: Marie Brenner, “Cool Angel,” Vanity Fair, Nov. 1985.
“Is anyone here?”: Huston, Watch Me, 80.
“Many little girls fantasize”: Samantha Geimer, The Girl: A Life in the Shadow of Roman Polanski (New York, Simon & Schuster, 2013), 17.
“knew [Polanski] was powerful and famous”: Ibid., 31.
“[Samantha] was a different girl”: Polanski, Roman, 385.
a love bite on her neck: Ibid.
change into a new outfit: Ibid.
“I’m going to call up Jack Nicholson”: http://www.thesmokinggun.com/file/roman-polaski-fugitive-director/page-9.
“Do you have a boyfriend?” Ibid., 39.
“Should I open it”: http://www.thesmokinggun.com/file/romanpolanski-fugitive-director?page-12.
“Let’s take some photos in the Jacuzzi”: Ibid., 43.
“Do you want me to come pick you up?”: http://www.thesmokinggun.com/file/roman-polanski-fugitive-director?page=17.
“kind of late”: Ibid.
‘Why a Jacuzzi?’” Ibid., 43
“We went into the bathroom before”: Ibid.
“Is this a Quaalude?”: http://www.thesmokinggun.com/file/roman-polanski-fugitive-director?page=18.
“Come here”: Ibid., 46.
“No. No, I got to get out”: http://www.thesmokinggun.com/file/roman-polanski-fugitive-director?page=24.
“What is it?”: Huston, Watch Me, 81.
“It’s okay,” he whispered: Grobel, The Hustons, 700.
“lewd and lascivious act upon and with”: Sandford, Polanski: A Biography, 228–29.
“[I]he fact that the family believes”: Ibid., 240.
“We all understood that avoiding”: Geimer, The Girl, 138.
“not in any way involve”: Sandford, Polanski: A Biography 240.
“Fucking Nazi!”: Ibid., 241.
“I had sexual intercourse with a female person”: Ibid., 242.
Jack Nicholson presided: Polanski, Roman, 412.
“She’s been very wronged”: The Rolling Stone Film Reader: The Best Film Writing from Rolling Stone Magazine,” 40.
“Forty-two days is not enough time”: Roman Polanski: Wanted and Desired, directed by Marina Zenovich.
“I want people to think I’m a tough”: Geimer, The Girl, 168.
“[H]e was flatly admitting”: Ibid., 149.
“a sham,” as Gunson later called it: Roman Polanski: Wanted and Desired.
“available to disclose this information”: Ibid.
“He gave as his reason”: Ibid.
“I didn’t know what I was going”: Ibid.
“[I]t was my opinion that the sentence”: Ibid.
“Can we trust him?”: Ibid.
“I was extremely private”: Julie Payne to author.
“Robert,” she said, “you’re the writer”: Ibid.
“walking out with this jacket”: Anthea Sylbert to author.
“Norman, you have to tell him”: Ibid.
“I didn’t want to be a designer”: Ibid.
“What is wrong with you?”: Julie Payne to author.
“It was deliberate”: Ibid.
“If he controlled”: Ibid.
“Since the ‘society’ has no future”: Christopher Lasch, The Culture of Narcissism: American Life in an Age of Diminishing Expectations (New York: W.W. Norton, 1979), 6.
“expressed in its crudest form”: Ibid., 49.
By 1979, Towne: Julie Payne to author.
“best American screenplay written during the 1970s”: Syd Field, Screenplay (New York: Dell Publishing, 1979), 70.
“What makes it so good”: Ibid.
a million-dollar payday: Julie Payne to author.
Towne fired Zeigler: Ibid.
“Robert,” Andrusco wrote: Julie Payne papers, letter from Katherine Andrusco to Gary Chase, Feb. 11, 1985.
“unspeakably cruel and mean-hearted”: Ibid.
he called her—the child: Katherine Andrusco to author.
“Don’t call her that!”: Ibid.
“at which point,” recalled a family friend: Julie Payne papers, letter from Michael Lindsay to Gary Chase, Jan. 20, 1984.
Towne called her allegations “slanderous”: Declaration of Robert B. Towne, August 2 1983.
“Mommy says you take cocaine”: Ibid.
“This remark greatly disturbed me:” Ibid.
“Warren Beatty called me”: Letter from Barbara Phillips Wright, M.A., M.F.C.C., to Dr. Rocco Motto, August 23, 1983.
Towne, in a sworn testimony: “Declaration of Robert Towne in support of orders requested at the time of hearing” (“Attachment to responsive declaration”), 15.
“In the 7 sessions”: Robert Towne v. Julie Payne, Rocco Motto, Custody Recommendation and Assessment 9-5-83.
“non-attentive”: Ibid.
Towne, by contrast: Ibid.
Edward Taylor was deposed: Deposition of Edward M. Taylor in the Marriage of Julie Payne Towne and Robert B. Towne, June 18, 1984.
“What is your present occupation”: Deposition of Edward M. Taylor in the Marriage of Julie Payne Towne and Robert B. Towne, June 18, 1984.
“Going back to the period”: Deposition of David Geffen in the Marriage of Julie Payne Towne and Robert B. Towne, February 20, 1985.
“Did you know about an account”: Deposition of Katherine Lober Andrusco in the Marriage of Julie Payne Towne and Robert B. Towne, August 9, 1984.
“Did you talk with [Towne]”: Deposition of Patti Dennis in the Marriage of Julie Payne Towne and Robert B. Towne, June 29, 1984.
“Peter [Peyton] came to me in April”: Deposition of Katherine Lober Andrusco.
personal loan, eventually forgiven: Julie Payne Letter to West Los Angeles Police Department, February 23, 1987.
“I have been Towne’s personal physician”: Robert Towne v. Julie Payne, Rocco Motto, Custody Recommendation and Assessment 9-5-83.
went to the bathroom six times: Psychological Evaluation of Robert Towne by Robin Drapkin.
a quarter of a gram: Ibid.
“drug addict parent”: Julie Payne to author.
“It was like the ending”: Ibid.
Nicholson gathered: Joe Morgenstern, “Remember It, Jack. It’s Chinatown,” GQ, Jan. 1990.
“Let’s not have any agents”: Cameron Stauth, “The Schmooze: Everything’s Jake in Hollywood,” LA Business, Feb. 1989.
“By the time you start a film”: Grobel, Above the Line, 39.
“we all put our hands together”: Morgenstern, “Remember It.”
“[Gittes] came back much more”: Jerry Lazar, “Robert Towne on The Two Jakes” Hollywood Magazine, Dec. 89–Jan. 90.
“Both of ya,” Evans said: Evans, Kid Stays in the Picture, 353.
on the day of the wedding: Ibid., 355.
immediately into therapy: Ivor Davis, “Can Jack Save Jake,” Los Angeles Magazine, Dec. 1989.
“spent long periods in the bathroom together”: Ibid.
“The changes reflected”: Ibid.
On the day of his tests: Ibid.
Evans’s plastic surgery: Confidential source to author.
“He was in a fetal position under the couch”: Schruers, “The Two Jacks.”
“There was terror and fear”: Davis, “Can Jack Save Jake.”
“Bob,” he said, “you should drop out”: Evans, Kid Stays in the Picture, 355.
“What about Nicholson?”: Ibid., 356.
“Why ya backin’ out?”: Ibid.
“Loyalty,” Evans would say of Nicholson: Grobel, Above the Line, 6.
an emergency meeting: Evans, Kid Stays in the Picture, 357.
“Listen, Beener”: Ibid., 358.
“impeccable” work: Sylbert, “Dialogue.”
In January 1985, Evans called Julie Payne: Julie Payne to author.
“The money men wanted”: Ibid.
“I’ve never separated production”: Champlin, “On the Lot.”
“the head of distribution shouldn’t be”: Stanley Jaffe Oral History, AMPAS Margaret Herrick Library, Los Angeles.
“wept and wept and wept”: Grobel, The Hustons, 782.
He dreamed regularly of flying: Mitchell Glazer, “On the Lam with Roman Polanski,” Rolling Stone, Apr. 2, 1981.
Polanski dreamed once of a strange cinema: “A Safe Darkness—Transcripts,” William Friedkin Papers, file 1209, roll 2, prod. 00290, Margaret Herrick Library, Los Angeles.
“No one at Paramount wants”: Evans, Kid Stays in the Picture, 379.
“Our country is becoming corrupted”: https://www.rollingstone.com/culture/features/the-rolling-stone-interview-jack-nicholson-19860814.
Drive down to Kansas City: Ibid.
“blockbuster city”: Walker, “Bird Is on His Own.”
“When I started”: Svetkey, “Jack on Jack.”
“I was always attracted”: https://www.gamesradar.com/the-total-film-interview-jack-nicholson/.
“The world,” Nicholson predicted: https://www.rollingstone.com/culture/features/the-rolling-stone-interview-jack-nicholson-19860814.
“The one thing you must not do”: David Wild, “Jack Nicholson,” Rolling Stone, May 3, 2007.
“Dream on, dream on”: https://www.rollingstone.com/culture/features/the-rolling-stone-interview-jack-nicholson-19860814.
“A few years from now”: Walker, “Bird Is On His Own.”
“I still make the movies”: https://www.rollingstone.com/culture/features/the-rolling-stone-interview-jack-nicholson-19860814.
“the Trump Tower of movies”: Dennis McDougal, Five Easy Decades: How Jack Nicholson Became the Biggest Movie Star in Modern Times (Hoboken, NJ: John Wiley & Sons), 295.
“so huge”: https://www.rollingstone.com/culture/features/the-rolling-stone-interview-jack-nicholson-19860814.
“a detective,” Towne explained: Lazar, “Robert Towne.”
a few notes, a paragraph synopsis: Jerry Lazar, “Towne’s Country ‘Tequila Sunrise’ Dives Back into Depths of L.A.,” Chicago Tribune, Dec. 4, 1988.
Mancuso’s chance to return the favor: Robert Evans to author.
paranoid conviction that Woodland itself: Evans, The Kid Stays in the Picture, 385.
Jakes dailies every night at Woodland: Robert Evans to author.
“Strange,” Evans wrote: Evans, The Kid Stays in the Picture, 390.
“deep roots”: Aljean Harmetz, “The Two Jacks,” New York Times, Sept. 10, 1989.
fiancé had been lost in the war: Ibid.
“When I came here”: James Greenberg, “Forget It, Jack, It’s The Two Jakes,” American Film, Feb. 1, 1990.
Two weeks of private rehearsals: Joanie Blum to author.
“I’ve never done”: Ibid.
evocative of Charles Sheeler: McDougal, Five Easy Decades, 301.
“Jack cared about the clock”: Joanie Blum to author.
He pictured a visual correlate: Ibid.
“Let’s just say that maybe”: Schuers, “The Two Jacks.”
a much-needed vacation: Greenberg, “Forget It, Jack.”
“He simply left every time”: Julie Payne to author.
“Jack was one of the most important people”: Biskind, Easy Riders, Raging Bulls, 432.
a favor from James L. Brooks: Confidential source to author.
“Joker! Joker! Joker!”: Joe Morgenstern, “Remember it, Jack. It’s Chinatown,” GQ Jan. 1990.
“Is Gittes eight feet tall?”: Greenberg, “Forget It, Jack.”
“I had to cover up all that weight”: Brad Darrach, “The Father, the Director, and…” Life, Sept. 1990.
“Look,” his gaffer said: J-i-gittes.blogspot.com/2017/07/the-two-jakes-take-2.html.
back to his house for a shower: Joanie Blum to author.
Scripps Memorial Hospital: http://www.nytimes.com/1993/05/20/movies/the-rise-and-fall-and-now-rise-of-robert-evans.html?pagewanted=all.
“Jack saw me shrivel in front of him”: Tyrnauer, “Evans Gate.”
“I look like Mike Tyson!”: Joanie Blum to author.
“Two good lines of narration”: Mathews, “‘Two Jakes.’”
“I have something to tell you”: Huston, Watch Me, 217.
Towne would consult with Edward Taylor: Virginia Kennerley to author.
“Robert refused to say anything good”: Virginia Kennerley, email to author.
“Much has been shared”: Ibid.
“my opinion”: “Notes on Julie” by Julie Payne, undated.
“When I think of the people”: Declaration of Robert Towne in Support of Orders Requested at the Time of Hearing, December 1990.
“The phrases [Payne] uses”: Psychological Evaluation of Robert Towne, Robin Drapkin.
“I have flashbacks every day”: Julie Payne to author.
Nicholson flew to Monte Carlo: Army Archerd, “Just for Variety,” Variety, Jan. 5, 1990.
“Will you please sell Evans”: Robert Evans to author.
“To you it’s a piece of real estate”: Robert Evans interviewed by Wes Anderson (2002), https://www.youtube.com/watch?v=FL_Y1-knz8s, accessed July 20, 2017.
“This is the end of J. J.”: Mathews, “‘Two Jakes.’”
Polanski was pleasantly surprised: Rider McDowell, “At the Point of No Return,” California magazine, Aug. 1991.
“Even if he was aware”: Ibid.
“They travel a lot”: McDowell, “At the Point.”
“I would say I’m a fugitive from injustice”: Caryn James, “A Life in Exile from America, from Memory,” New York Times, Nov. 17, 1993.
“it was all done with innocence”: https://www.youtube.com/watch?v=zFL8gl_49Rk.
“because I don’t think that anybody was hurt”: http://www.dailymotion.com/video/x2w3kw.
“I know now”: Ibid.
“There was something considered generally positive”: Geimer, The Girl, 113.
after he put Morgane to bed: https://www.harpersbazaar.com/culture/features/a10229/morgane-polanski-0415/.
“Even now, there are certain things”: Ibid.
“I like psychological thrillers”: https://www.interviewmagazine.com/film/morgane-polanski.
“I’m Morgane”: Charlotte Cowles, “Fabulous at Every Age: Morgane Polanski, 20s” Harper’s Bazaar, Mar. 12, 2015.
Once, dining in a Paris restaurant: Robert Evans to author.
“Evans and I sit up at his house alone”: Amy Wallace, “Robert Evans’ Latest Remake,” Los Angeles Times, Jan. 4, 1998.