Swank, Hilary, 538
Swann v. Charlotte-Mecklenburg Board of Education (1971), 493
Sweet Bird of Youth, 43
Sweet Charity, 108
Swimmer, The, 98
Sylbert, Anthea, 182, 192–94, 202, 248
Sylbert, Dick, 9, 59, 63, 68, 88, 105, 141, 144, 182, 207, 246, 319–20, 468, 486, 501, 511, 545, 551
on Beatty’s medical obsession, 18
on Beatty’s Mulholland Drive house, 203, 204
book on designing movies by, 183
and Dick Tracy, 386, 388, 399, 413, 449
Feldman and, 41
and The Fortune, 199, 205, 219
on Heaven Can Wait, 244, 258
MacLeod and, 264
and Reds, 264, 265, 270, 274, 282–83, 299, 304, 313, 318–19
and Shampoo, 186, 188, 194–96, 215
and Splendor in the Grass, 33
on Towne’s relationship with Beatty, 156, 212, 465
and What’s New, Pussycat?, 73
on women in Beatty’s life, 16, 59, 67, 90, 92, 151, 155, 158, 452, 485
Sylbert, Paul, 182, 208, 229–31, 236, 240, 272, 316, 362–64, 477
and Heaven Can Wait, 232, 233, 247–49, 257, 259, 319
and Ishtar, 341, 347–49, 351, 352, 354–56, 360, 381–82
Taffel, Sherri, 293, 332, 364
Tammy and the Bachelor, 183
Tapeheads, 468
Tarantino, Quentin, 551
Tarnished Angel (Lee), 159
Tate, Sharon, 98, 144
Tatira, 82, 84
Tatum, Art, 439
Tavoularis, Dean, 113
Taxi Driver, 130, 132, 393, 477
Taylor, Elizabeth, 13, 14, 27, 32, 43, 121, 141–43, 148, 149
Taylor, James, 159, 171
Teamsters Union, 451, 533–34
Ten Days That Shook the World (Reed), 111, 224, 281
Tender Trap, The, 183
Tequila Sunrise, 330, 389, 394
Terminator
2: Judgment Day, 456
3: Rise of the Machines, 238
Tet Offensive, 132
Tewkesbury, Joan, 151, 154
Texas Rangers, 108
Thalia Theater (New York), 64
Thatcher, Molly, 35
That Cold Day in the Park, 146
That Was the Week That Was, 234
Thelma & Louise, 460–61
They Live By Night, 130
Thomas, Marlo, 248
Thompson, Hunter, 133, 167, 168, 251, 373
Thompson, Tommy, 154, 163
Thomson, David, 5
Thoroughly Modern Millie, 117
Three Men and a Baby, 428
Threepenny Opera, The, 43
3 Women, 153
Tillich, Paul, 68
Time magazine, 50, 93, 122, 131, 209, 219, 229, 255, 292, 315, 342, 375, 378, 395
Time Step, 420
Time Warner, 422
Timex, 421
Tinker, Grant, 298
Toback, James, 2–3, 106, 222, 244–45, 411, 442–43, 450, 479, 484, 486, 547
Begelman humiliated by, 445–46
Bugsy script by, 331, 418, 427, 434–37, 441, 446, 454, 457, 460, 461, 493
and Bulworth, 490–94, 502
Fingers directed by, 245–46, 448
gambling by, 245, 358, 440
Love & Money written and directed by, 246–47, 272
MacLeod and, 363–64, 452–53, 526
and marketing of Bugsy, 456, 458–60
observations on Beatty’s character by, 284, 446–48, 462
The Pick-up Artist written and directed by, 331, 362, 364–65
Today show, 99, 210, 507
To Have and Have Not, 408
Toland, John, 65–66
Tolstoy, Leo, 167, 375
Tomb of Ligeia, The, 78
Tom Jones, 68, 70
Tony awards, 27
Tootsie, 219, 328, 330, 333, 336, 490
Toronto International Film Festival, 326–28, 452
Touch of Evil, 5
Town & Country, 488, 490–91, 503, 511–28, 537–46, 549, 551
Towne, Robert, 9, 61, 125, 156–57, 197, 231, 233, 244, 246, 253, 406, 407
at American Film Institute ceremony, 2
Ashby and, 182
Beatty’s first meeting with, 78
and Bonnie and Clyde, 81, 88, 93, 95–96, 99, 107, 110, 118, 128
Corman and, 78–79, 212
and Heaven Can Wait, 176
Kael and, 208–9, 272
Love Affair script by, 465, 469, 485–86
and Reds, 224, 259, 262, 267, 268, 295, 296
Shampoo script by, 83–84, 103–5, 140–41, 156, 181, 184–86, 193–95, 203, 207, 211–13, 215, 216, 490
Tequila Sunrise written and directed by, 330, 389, 394
Toys in the Attic, 63
Tracy, Spencer, 24, 123
Train, The, 87, 96
Transamerica Corporation, 383
Trans-Audio, 288, 295, 304
Tribulations of a Chinaman in China, 491
Tribune Company, 332, 546
TriStar Productions, Inc., 434, 444, 453, 457, 461, 486
Tropic of Cancer (Miller), 266
Trotsky, Leon, 3, 274
Trudeau, Pierre, 223
True Confessions, 301–2
Truffaut, François, 50, 64, 65, 68, 70, 73, 74, 80, 83, 84, 93, 126, 340, 538
Trumbo, Dalton, 28
Truth or Dare, 430, 439
Turning Point, The, 254
20th Century-Fox, 30, 36, 40, 127, 148, 177, 323, 329, 363, 387, 491, 499, 506, 507, 535, 537
20/20, 421
Twickenham Studios, 274
Twiggy, 158, 159
Twilight of Honor, 53
Two Jakes, The, 157, 202, 330, 331
Two for the Seesaw, 63
Two Women, 52
Tydings, John, 134
Tynan, Kenneth, 15, 27
Ugly American, The, 18
Ullmann, Liv, 159
Uncle Vanya (Chekhov), 179
Unfinished Business (Houseman), 48
United Artists (UA), 80, 81, 83, 93, 383
Universal Studios, 238, 329, 387, 406, 412, 461, 546
University Theater (Toronto), 327–28
Unmarried Woman, An, 259
Untouchables, The, 332
Ure, Mary, 36
USO, 127
Valentino, 221
Valmont, 438
Vanity Fair magazine, 2, 3, 7, 338, 481
van Runkle, Theadora, 96
Variety, 126, 288, 382, 387, 454, 540, 542
Vaughn, Robert, 34
Ventura, Jesse, 530
Verne, Jules, 491
Verso Press, 536
Vibe, 506
Victim of Romance (Phillips), 223
Vietnam Veterans Against the War, 259
Vietnam War, 108, 113, 127, 129–33, 136, 139–40, 143, 166, 172–74, 213, 322
Villa, Pancho, 111, 226
Vincent, Fay, 358, 360, 382–83
Visconti, Luchino, 45, 53
Vogue magazine, 7, 135, 203
Voight, Jon, 259
Voynow, Zina, 308–9, 501
Vreeland, Diana, 135, 203, 349
Vreeland, Tim, 203
Wagner, R. J., 24, 30, 32, 36–37, 43, 46, 52, 59, 67
Wahlberg, Mark, 488
Waiting for Lefty (Odets), 50
Wait Until Dark, 88
Wall Street Journal, The, 313, 393
Wallace, George, 167, 171
Wallach, Lori, 534
Walsh, Emmet, 265
Walt Disney Pictures 187, 330, 383, 386–87, 397, 398, 409, 411, 421, 422, 425–29, 454, 456, 466, 469
Walters, Barbara, 99, 210, 221–22
Ward, Tony, 430
Warden, Jack, 183, 235, 258
Warhol, Andy, 130, 131, 258, 477
War Lover, The, 53
Warner, Jack, 6, 30, 42, 53, 57, 90, 93–95, 99, 100, 102, 110, 114,
121, 128
Warner Theatre (London), 120
Warner Brothers, 53, 118, 120, 187, 189, 220, 232, 233, 270, 512
Bonnie and Clyde at, 93–95, 101, 114, 115, 122, 125
Howard Hughes at, 385, 386, 406, 419, 420, 490
Love Affair at, 465, 478–80, 484, 486
McCabe and Mrs. Miller at, 148, 150, 163–64
The Roman Spring of Mrs. Stone at, 43
sequels produced at, 387
Splendor in the Grass at, 27, 31
Wood’s career at, 29, 75
War and Peace (Tolstoy), 167
movie of, 137
Warren Beatty and Desert Eyes (Thomson), 5
Warren Commission, 377
War of the Worlds, The, 48
Washington Post, 372, 379
Wasserman, Lew, 6, 25, 447
Watergate scandal, 175, 210, 213
Wayne, John, 41, 82, 165
Way We Were, The, 166
Webster, William, 443
Weegee, 331
Weill, Kurt, 43
Weld, Tuesday, 98
Weller, Peter, 303
Welles, Orson, 5, 41, 48, 54, 82, 191, 259, 325–26, 424, 548, 549
Wells, Frank, 187–88, 232–33, 270
Wenning, Kathy, 289, 290–94, 296, 485
Werner, Oskar, 80
West, Rebecca, 266
Western Costume Company, 414
Westmoreland, General William, 127
Weston, Jack, 230
West Side Story, 38, 46, 47
Wexler, Haskell, 182, 193–94
What Planet Are Your From?, 514, 542
What’s New Pussycat?, 41, 55–56, 66, 70–73, 77, 82, 83, 133, 231–32
What’s Up, Doc?, 234
White Heat, 115
Who’s That Girl, 397
Widmark, Richard, 445
Wild Bunch, The, 5
Wilder, Billy, 41, 55, 116, 480
Wilder, Gene, 104
Wilder Napalm, 467
William Morris Agency, 76, 88, 512
Williams, Paul, 341, 383
Williams, Robin, 456
Williams, Tennessee, 22, 28, 42–45, 51, 64, 128, 319, 409
Willis, Bruce, 465
Willis, Garry, 508
Willis, Gordon, 175, 178, 363, 468
Winger, Debra, 337, 467
Wisconsin, University of, 168
Wobblies, 225
Wolfe, Ian, 265, 388
Wolsky, Albert, 438, 444, 448–49, 451, 461
Women’s Film Festival, 218
Wood, Ellie, 34
Wood, Lana, 47, 58, 75–76, 90
Wood, Natalie, 29–30, 38, 40, 90, 97, 156, 217, 366, 368
Beatty’s relationship with, 6, 13, 46–49, 51, 58–60, 72, 75
Kennedy encounter with, 51
marriage of Wagner and, 30, 36–37, 46–47, 52–53, 67
Oscar nominations of, 52, 68, 70
in Splendor in the Grass, 30–32, 35–37, 42, 52, 107, 327
suicide attempt of, 75–77
Wood, Peter, 142
Woods, James, 389
Wooll, Nigel, 275, 276, 281, 289, 347, 349–50, 353
World Bank, 373
World War I, 224, 225, 307, 412
World War II, 53, 63, 156
Woronov, Mary, 388
Wright, Norton, 73, 80, 83, 84
Writers Guild of America, 126, 176, 310, 408, 422–23, 501
Wrong Man, The, 230
Wycherly, William, 83, 215
Wyler, William, 6, 84, 116, 196, 319, 320
Yablans, Frank, 176, 187, 188, 198
York, Susannah, 100
Young, Loretta, 318
Young, Sean, 389, 398, 412–13
Young-bird, Marilyn, 338, 340
Youngblood Hawke, 57, 94
Younger, Robert, 299–303
You Only Live Once, 130
You’re Only as Good as Your Next One (Medavoy), 454
Zanuck, Darryl, 6, 41, 142
Zapruder film of Kennedy assassination, 109
Zinnemann, Fred, 53, 116
Zinoviev, Grigory, 226, 262, 265, 278, 282, 284, 306
Zsigmond, Vilmos, 152
Big sister Shirley MacLaine and young Warren Beatty with mother, Kathlyn, and grandmother, c. 1940–41. (Photofest)
Beatty, front, with cigar, in a variety show at Northwestern University, c. 1955.
Beatty with Joan Collins, c. 1959. She said, “He was just desperate to become famous.” (Photofest)
Elia Kazan welcomed, even solicited Beatty’s suggestions on the set of Splendor in the Grass (1961). (Time Life Pictures/Pix Inc./Getty Images)
Kazan with Natalie Wood. He believed she and Beatty had begun an affair during the production, but most others deny it. (Sam Falk/New York Times/Redux)
Playwright William Inge, with Beatty on the set of All Fall Down (1962), was the architect of Beatty’s early career. (Photofest)
Agent and producer Charlie Feldman, one of Beatty’s early mentors. They quarreled over What’s New Pussycat? (1965), but the star admired Feldman’s style. (Jean Howard Papers, American Heritage Center, University of Wyoming)
Beatty got more than he bargained for with Leslie Caron, including a raft of bad press and legal entanglements. (Photofest)
A premonition of things to come, as Alexandra Stewart, whom director Arthur Penn said “had no inner fire,” rehearses the embarrassing Mickey One (1965), with Penn and Beatty. (Sam Falk/New York Times/Redux)
Beatty’s first glimpse of Julie Christie, shaking the hand of Queen Elizabeth II at the premiere of Born Free (1966), as Leslie Caron watches, joined by Bill Travers, Catherine Deneuve, Christopher Lee, Ursula Andress, and Raquel Welch. (Photofest)
Beatty and Faye Dunaway were barely speaking during Bonnie and Clyde (1967), a film that turned Hollywood on its head.
Beatty, who produced as well as starred, takes a sorely needed nap on the set of Bonnie and Clyde. (Photofest)
In the wake of the assassination of Bobby Kennedy in 1968, Beatty, who campaigned on his behalf, speaks out for gun control at a Giants game in San Francisco to a mixture of cheers and boos. (AP Photo)
Beatty learned to write on McCabe and Mrs. Miller (1971). Here with director Robert Altman. The two were like oil and water. Altman hated big stars, and Beatty hated his slap-dash directorial style. (Courtesy of the Everett Collection)
Anti-star Julie Christie dressing down in bib overalls on the set of Shampoo in March 1974. Although she and Beatty had already broken up, they continued to be involved. (Ron Galella)
Writer Robert Towne was so close to Beatty he was like his “shadow,” says Buck Henry. Here, the two converse with Shampoo (1975) director Hal Ashby, left. (© Steve Schapiro)
Beatty and the acid-tongued Dick Sylbert, a close friend and collaborator who designed the production, on the set of Shampoo. (© Peter Sorel/Courtesy of the Academy of Motion Pictures Arts and Sciences)
Beatty segued from Christie to former Mamas and the Papas beauty Michelle Phillips, replacing Jack Nicholson. Here with daughter Chynna Phillips at the Broadway opening of Man on the Moon on January 29, 1975. (Ron Galella/WireImage/Getty Images)
Beatty, agent Sue Mengers, and Jack Nicholson, along with former Paramount production head Robert Evans (far right) at the premiere of Black Sunday (1977). Evans worshipped Beatty, offered him almost every picture that came along. (Alan Berliner © Berliner Studio/BEImages)
Beatty and Buck Henry “co-directed” the 1978 hit Heaven Can Wait, but when the star realized he could do it himself, he did so without hesitation, elbowing Henry aside. The film became the first he directed. (Photofest)
Beatty with then Paramount head Barry Diller. The two men were fast friends but fought like tomcats over Reds (1981), then patched up their differences. (Ron Galella/WireImage/Getty Images)
On location in Spain, in the shadow of Karl Marx, shooting Reds. Beatty was no Communist but empathized with the idealism of the American left, and the film, his ma
sterpiece, reflects his ambivalence. (David Appleby)
The Reds brigade: Beatty behind the camera, director of photography Vittorio Storaro to the right of Beatty, Zelda Barron, script supervisor, far left; associate producer/1st assistant director Simon Relph behind Beatty, editor Dede Allen behind Relph. (David Appleby)
On the beach with Beatty and Diane Keaton. The two fell out during the course of the production, but Beatty insisted he would not have made Reds if she hadn’t agreed to play Louise Bryant, a role originally slated for Julie Christie. (David Appleby)
Elaine May on the set of A New Leaf (1971). Beatty gave her Ishtar out of gratitude for her contribution to Reds. (Photofest)
Isabelle Adjani on the set of Ishtar. About her relationship with Beatty, Dustin Hoffman says, “There wasn’t two sentences between them. It was awful.” (© Columbia Pictures/Courtesy of the Everett Collection)
Beatty’s cousin and right hand man David MacLeod being hustled from the 83rd Precinct to central booking, December, 8, 1989. (Ken Murray/The Daily News)
Beatty and Madonna at the Dick Tracy premiere in Washington, 1990. The affair ended when the shooting stopped. (Mark Reistein/IPOL/Globe Photos)
Beatty, who was afflicted with puffiness around the eyes, taking the cucumber cure on the set of Bugsy (1991). (© Peter Sorel/Courtesy of the Academy of Motion Pictures Arts and Sciences)
Few knew about Annette Bening’s relationship with Beatty during the Bugsy shoot, let alone her pregnancy. Director Barry Levinson, left, observes the chemistry between the two. (Peter Sorel/Courtesy of the Academy of Motion Pictures Arts and Sciences)
Bugsy writer Jim Toback takes a stroll in the desert with the star. Toback was nominated for an Oscar. (Columbia/Courtesy of the Neal Peters Collection)
Beatty cutting loose with Halle Berry in Bulworth. A razor-sharp commentary on contemporary American politics, it was one of his best pictures, but it never got the business nor recognition it deserves. (Photofest)
Nastassja Kinski playing the cello in the nude while Beatty watches, transfixed. He feared this opening of Town & Country would make his character unsympathetic, and he was right. (Photofest)
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