Godfather
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61. Joseph Conrad, Youth and Heart of Darkness (New York: Doubleday, 1925), p. 118.
62. Joy Boyum, Double Exposure: Fiction into Film (New York: Universe, 1985), p. 111.
63. Philip Horne, “Casualties of War,” Sight and Sound, n.s., 11, no. 11 (2001): 14.
64. Ibid., p. 15. See also Richard Corliss, “Apocalypse Back Then, and Now,” Time, 6 August 2001, p. 60.
65. Cowie, Apocalypse Now Book, p. 73.
66. Chiu, “Coppola’s Cinematic Apocalypse.”
67. Peter Keough, “Coppola Carves Out a Cinematic Elegy,” Chicago Sun-Times Show, 10 May 1987, p. 5.
68. Schumacher, Francis Ford Coppola, p. 382.
69. See Ziesmer, Ready When You Are, pp. 195ff.
70. Goodwin and Wise, On the Edge, p. 416.
71. Keough, “Coppola Carves Out a Cinematic Elegy,” p. 5.
72. Goodwin and Wise, On the Edge, p. 425.
73. Jeff Silverman, “Angelica’s Arrival,” Chicago Tribune, 10 May 1987, sec. 13, p. 7.
74. Robert Lindsey, “Coppola Returns to the Vietnam Era,” New York Times, 3 May 1987, sec. 2, p. 34.
75. Schumacher, Francis Ford Coppola, p. 388. See also Cowie, Coppola, p. 208.
76. Cowie, Coppola, p. 208.
77. Francis Ford Coppola, 8 August 1991, “Journal: 1989–1993,” in Projection Three: Filmmakers on Filmmaking, ed. John Boorman and Walter Donohue (Boston: Faber and Faber, 1994), p. 17.
78. Lindsey, “Coppola Returns to the Vietnam Era.” p. 34.
79. Oldham, Conversations with Film Editors, p. 331.
80. Keough, “Coppola Carves Out a Cinematic Elegy,” p. 5.
81. Oldham, Conversations with Film Editors, p. 331.
82. Keough, “Coppola Carves Out a Cinematic Elegy,” p. 9.
83. Richard Blake, “Overgrown: Gardens of Stone,” America, 17 June 1987, p. 506.
7. Exiled in Eden
1. Biskind, Easy Riders, p. 417.
2. Chaillet and Vincent, Francis Ford Coppola, p. 73.
3. Lillian Ross, “Some Figures on a Fantasy: Francis Ford Coppola, New Yorker, 8 November 1982, p. 49.
4. Lewis, Whom God Wishes to Destroy, pp. 10–11.
5. Francis Coppola, “Memorandum,” Esquire, November 1977, pp. 190–96 passim.
6. Schumacher, Francis Ford Coppola, p. 267. See also Goodwin and Wise, On the Edge, p. 291.
7. Cowie, Coppola, p. 155. See also Chaillet and Vincent, Francis Ford Coppola, p. 88.
8. Ross, “Some Figures on a Fantasy,” p. 49.
9. Cf. Scott Haller, “Francis Coppola’s Biggest Gamble,” Saturday Review, July 1961, p. 26.
10. Goodwin and Wise, On the Edge, p. 317.
11. Biskind, Easy Riders, p. 418.
12. Ross, “Some Figures on a Fantasy,” p. 69.
13. Haller, “Francis Coppola’s Biggest Gamble,” p. 24. See also Ross, “Some Figures on a Fantasy,” p. 69.
14. Ross, “Some Figures on a Fantasy,” pp. 68–69. See also Lewis, Whom God Wishes to Destroy, pp. 57–59.
15. Ross, “Some Figures on a Fantasy,” p. 69.
16. Pollock, George Lucas, p. 245. See also Ross, “Some Figures on a Fantasy,” pp. 76, 81.
17. LoBrutto, Film Editors on Editing, p. 100.
18. Ibid.
19. Richard Jameson, “One from Coppola,” Film Comment 17, no. 3 (1981): 4.
20. Ross, “Some Figures on a Fantasy,” p. 76.
21. Richard Corliss, “Coppola Previews His New Film,” Time, 25 January 1982, p. 70. See also Ross, “Some Figures on a Fantasy,” pp. 75–76.
22. Schumacher, Francis Ford Coppola, p. 306.
23. Chaillet and Vincent, Francis Ford Coppola, p. 90.
24. Richard Corliss, “Surrendering to the Big Dream,” Time, 25 January 1982, p. 71.
25. Pauline Kael, Taking It All In (New York: Holt, Rinehart, and Winston, 1984), pp. 296–98.
26. Jerome Ozer, ed., Film Review Annual (Englewood, N.J.: Film Review Publications, 1983), p. 859; see also pp. 858–69 for a survey of the film’s reviews.
27. Chaillet and Vincent, Francis Ford Coppola, pp. 87–88.
28. Schumacher, Francis Ford Coppola, p. 278.
29. Leonard Matlin, et al., Movie Guide, rev. ed. (New York: Penguin, 2003), p. 570; cf. Todd McCarthy, “Michael Powell: Zoetrope’s Senior Director in Residence,” in Michael Powell: Interviews, ed. David Lazar (Jackson: University Press of Mississippi, 2003), pp. 67–70.
30. Greg Solmon, “Walter Hill’s Supernova,” Film Comment 36, no. 4 (2000): 22.
31. Gallagher, Film Directors on Film Directing, pp. 273–74.
32. Robert Lindsey, “Promises to Keep,” New York Times Magazine, 24 July 1988, p. 27.
33. Goodwin and Wise, On the Edge, p. 410.
34. Bergan, Francis Ford Coppola, p. 74.
35. Keough, “Coppola Carves Out a Cinematic Elegy,” p. 9. See also Lindsey, “Promises to Keep,” p. 27.
36. Cited by Goodwin and Wise, On the Edge, p. 337.
8. Growing Pains
1. Bergan, Francis Ford Coppola, p. 65.
2. Lewis, Whom the Gods Wish to Destroy, pp. 100–101.
3. David Thomson and Lucy Gray, “Idols of the King,” Film Comment 19, no. 5 (1983): 64.
4. Chaillet and Vincent, Francis Ford Coppola, p. 93.
5. Stephen Farber, “Directors Join the S. E. Hinton Fan Club,” New York Times, 20 March 1983, sec. 2, p. 19.
6. Goodwin and Wise, On the Edge, p. 346.
7. Schumacher, Francis Ford Coppola, p. 324. See also Goodwin and Wise, On the Edge, p. 346.
8. Thomson and Gray, “Idols of the King,” 65. See also Chaillet and Vincent, Francis Ford Coppola, p. 93.
9. Thomson and Gray, “Idols of the King,” 62.
10. Schumacher, Francis Ford Coppola, p. 320.
11. Farber, “Directors Join the S. E. Hinton Fan Club,” sec. 2, p. 27.
12. Goodwin and Wise, On the Edge, p. 343.
13. Schumacher, Francis Ford Coppola, p. 323.
14. Thomson and Gray, “Idols of the King,” p. 65.
15. Chaillet and Vincent, Francis Ford Coppola, p. 93.
16. Chown, Hollywood Auteur, p. 165.
17. Richard Corliss, “Playing Tough,” Time, 4 April 1983, p. 78. For the comparison with Scorpio Rising, see The Advocate, 22 April 1983, p. 40.
18. Cowie, Coppola, p. 170.
19. See Francis Ford Coppola, “The Outsiders,” with Katherine Rowell, unpublished screenplay (Warner Bros., 1982), pp. 115–16.
20. Ibid., pp. 116–17.
21. Ibid., p. 114.
22. Corliss, “Playing Tough,” p. 78.
23. Thomson and Gray, “Idols of the King,” 64.
24. Farber, “Directors Join the S. E. Hinton Fan Club,” sec. 2, p. 27.
25. Thomson and Gray, “Idols of the King,” 65–66.
26. Ibid., 63.
27. Farber, “Directors Join the S. E. Hinton Fan Club,” sec. 2, p. 27.
28. Foster Hirsch, The Dark Side of the Screen (New York: Da Capo, 1982), p. 54.
29. Goodwin and Wise, On the Edge, p. 352.
30. Farber, “Directors Join the S. E. Hinton Fan Club,” sec. 2, p. 27.
31. Gallagher, Film Directors on Film Directing, p. 136.
32. Oldham, Conversations with Film Editors, p. 330.
33. Goodwin and Wise, On the Edge, p. 383.
34. Jon Lewis, “The Road to Romance and Ruin: Rumble Fish,” in Crisis Cinema, ed. Christopher Starrett (Washington, D.C.: Maison Elve Press, 1993), pp. 136–37.
35. Thomson and Gray, “Idols of the King,” 63.
36. Cowie, Coppola, p. 176.
37. Lourdeaux, Italian and Irish Filmmakers, p. 202.
38. Francis Ford Coppola, “Rumble Fish,” with S. E. Hinton, unpublished screenplay (Universal, 1982), pp. 93–94.
39. Goodwin and Wise, On the Edge, p. 350.
40. David Ehrenstein, “One from the Art,” Film Comment 29, no. 1 (1993):
30. See also Ozer, Film Review Annual (1984), pp. 1020–32, for a survey of the film’s reviews.
41. Oldham, Conversations with Film Editors, p. 330.
42. Bergan, Francis Ford Coppola, p. 69.
9. Night Life
1. Michael Daly, “A True Tale of Hollywood,” New York, 7 May 1984, p. 46. See also Evans, Kid Stays in the Picture, p. 334.
2. Douglas Brode, Money, Women, and Guns: Crime Movies (New York: Carol, 1995), p. 97. See also Biskind, Easy Riders, p. 425.
3. Thomson and Gray, “Idols of the King,” 74. See also Evans, Kid Stays in the Picture, p. 336.
4. Thomson and Gray, “Idols of the King,” pp. 74–75.
5. Daly, “A True Tale of Hollywood,” p. 46.
6. John Connolly, “Man of a Thousand Lives,” Premiere 14, no. 8 (2001): 96. See also Evans, Kid Stays in the Picture, p. 376.
7. Thomson and Gray, “Idols of the King,” 75.
8. Goodwin and Wise, On the Edge, p. 366. See also Lewis, Whom God Wishes to Destroy, p. 124.
9. Goodwin and Wise, On the Edge, p. 367.
10. Chown, Hollywood Auteur, p. 187.
11. Evans, Kid Stays in the Picture, p. 345.
12. Goodwin and Wise, On the Edge, p. 370.
13. Ibid., p. 372.
14. Bergan, Francis Ford Coppola, p. 72. See also Evans, Kid Stays in the Picture, p. 345.
15. Biskind, Easy Riders, p. 425.
16. Evans, Kid Stays in the Picture, pp. 345–47. See also Goodwin and Wise, On the Edge, p. 389.
17. Cowie, Coppola, pp. 183–85.
18. Ibid.
19. Daly, “A True Tale of Hollywood,” p. 56.
20. Schumacher, Francis Ford Coppola, p. 349.
21. Daly, “A True Tale of Hollywood,” p. 53.
22. Goodwin and Wise, On the Edge, p. 385.
23. Lewis, Whom God Wishes to Destroy, p. 130.
24. Connolly, “Man of a Thousand Lives,” p. 97; see Evans, Kid Stays in the Picture, p. 352.
25. Oldham, Conversations with Film Editors, p. 332.
26. Evans, Kid Stays in the Picture, pp. 353, 357.
27. Lawrence Grobel, Above the Line: Conversations with Robert Evans and Others (New York: Da Capo, 2000), p. 46. See also Lewis, Whom God Wishes to Destroy, p. 133.
28. Cowie, Coppola, p. 186.
29. Oldham, Conversations with Film Editors, pp. 332–33.
30. Neil Isaacs, “The Cotton Club: A Reverie,” Literature/Film Quarterly 24, no. 1 (1996): 110.
31. Chown, Hollywood Auteur, p. 189.
32. Ibid., p. 190.
33. Richard Corliss, “Once Upon a Time in Harlem,” Time, 17 December 1984, p. 99.
34. Kael, For Keeps, p. 1037.
10. The Past as Present
1. Goodwin and Wise, On the Edge, p. 409.
2. Chown, Hollywood Auteur, p. 199.
3. Siskel, “Celluloid Godfather,” p. 4.
4. Richard Corliss, “Just a Dream,” Time, 13 October 1986, p. 104.
5. Siskel, “Celluloid Godfather,” p. 4.
6. Goodwin and Wise, On the Edge, p. 422.
7. Siskel, “Celluloid Godfather,” p. 4.
8. Ibid.
9. Oldham, Conversations with Film Editors, p. 335.
10. Siskel, “Celluloid Godfather,” p. 4.
11. Lourdeaux, Italian and Irish Filmmakers, p. 206.
12. Bergan, Francis Ford Coppola, p. 126.
13. Stephen Farber, “Francis Ford Coppola Sallies into TV on a Fairy Tale,” New York Times, 27 December 1984, sec. C, p. 20.
14. Ibid.
11. The Disenchanted
1. Marcia Coburn, “Car and Striver: Tucker,” Chicago Tribune, 7 August 1988, sec. 13, p. 4.
2. The DVD edition of Tucker, released in 2000, has a documentary about the making of the film, as well as an audio commentary track by Coppola. I will quote from both the documentary and Coppola’s commentary.
3. Coburn, “Car and Striver,” p. 6.
4. Ibid.
5. Goodwin and Wise, On the Edge, p. 16.
6. William Murray, “Playboy Interview: Francis Ford Coppola,” Playboy, July 1975, p. 68.
7. Johnson, Francis Ford Coppola, p. 170. See also Murray, “Playboy Interview,” p. 68.
8. Francis Ford Coppola, “Memorandum,” p. 195.
9. Bob Strauss, “Coppola, Lucas, and Tucker,” Chicago Sun-Times, 7 August 1988, sec. 2, p. 5. See also Bergan, Francis Ford Coppola, p. 8.
10. Lindsey, “Promises to Keep,” p. 27.
11. Ibid., p. 26.
12. Timothy Corrigan, “Auteurs and the New Hollywood,” in The New American Cinema, ed. Jon Lewis (Durham, N.C.: Duke University Press, 1999), p. 52.
13. Lindsey, “Promises to Keep,” p. 26.
14. Goodwin and Wise, On the Edge, pp. 445–47.
15. Lewis, Whom God Wishes to Destroy, p. 153.
16. Stone, Conversations with Filmmakers, p. 646.
17. Lewis, Whom God Wishes to Destroy, p. 153.
18. Patrick McGilligan, “Arnold Schulman,” in Backstory: Interviews with Screenwriters of the 1960s (Los Angeles: University of Southern California Press, 1997), p. 324. See also Arnold Schulman, “Tucker: The Man and His Dream,” unpublished screenplay (Paramount, 1987).
19. Breskin, Filmmakers in Conversation, p. 41.
20. Robert Lindsey, “Martin Landau Rolls Up in a New Vehicle,” New York Times, 7 August 1988, sec. 2, p. 19.
21. Schumacher, Francis Ford Coppola, p. 402.
22. Lindsey, “Martin Landau Rolls Up in a New Vehicle,” p. 19.
23. McGilligan, “Arnold Schulman,” p. 325.
24. Bergan, Francis Ford Coppola, p. 86.
25. Strauss, “Coppola, Lucas, and Tucker,” p. 5.
26. Lindsey, “Promises to Keep,” p. 27.
27. Goodwin and Wise, On the Edge, p. 457.
28. Strauss, “Coppola, Lucas, and Tucker,” p. 5.
29. Cowie, Coppola, p. 219.
30. Ibid.
31. Kristin Thompson and David Bordwell, Film History: An Introduction (New York: McGraw-Hill, 2003) p. 523.
32. Richard Schickel, “On the Road to Utopia,” Time, 15 August 1988, p. 68.
33. Cowie, Coppola, p. 218.
34. Schulman, “Tucker: The Man and His Dream,” p. 125.
35. Roger Ebert, “Tucker Gives Viewers the Legend,” Chicago Sun-Times, 12 August 1988, sec. 2, p. 5.
36. Jay Scott, “Coppola’s Wish Comes True,” Toronto Globe and Mail, 12 August 1988, sec. C, p. 1.
37. Strauss, “Coppola, Lucas, and Tucker,” 5.
38. Francis Coppola, “Frankly Francis,” Premiere 15, no. 9 (2002): 20.
39. Schumacher, Francis Ford Coppola, p. 406.
40. Oldham, Conversations with Film Editors, p . 338.
41. Breskin, Filmmakers in Conversation, p. 36.
12. Fright Night
1. Francis Ford Coppola, Bram Stoker’s Dracula: The Film and the Legend, with James Hart (New York: Newmarket, 1992), pp. 167, 169.
2. Ibid., p. 2.
3. Francis Ford Coppola, Coppola and Eiko on Bram Stoker’s Dracula, with Eiko Ishioka (San Francisco: Collins, 1992), pp. 13–14.
4. Coppola, Bram Stoker’s Dracula, p. 2. See also Coppola, Coppola and Eiko, p. 13.
5. Francis Ford Coppola, “Journal,” pp. 17, 25. See also Coppola, Bram Stoker’s Dracula, p. 3.
6. Coppola, Coppola and Eiko, p. 13.
7. James Hart, “The First Time I Met Francis Coppola,” in The First Time I Got Paid for It: Writer’s Tales, ed. Peter Leecourt and Laura Shapiro (New York: Perseus, 2000), p. 86.
8. Coppola, Coppola and Eiko, p. 41.
9. Coppola, Bram Stoker’s Dracula, p. 42.
10. Eleanor Coppola, “Further Notes,” p. 61.
11. Larry Timm, The Soul of Cinema: Film Music (Upper Saddle River, N.J.: Prentice Hall, 2003), p. 280.
12. Coppola, Bram Stoker’s Dracula, p. 162.
13. Grobel, Above the Line, p. 157. S
ee also Coppola, Bram Stoker’s Dracula, p. 4.
14. Bergan, Francis Ford Coppola, p. 96.
15. Hal Hinson, “Bram Stoker’s Dracula,” in Flesh and Blood: Film Critics on Violence and Censorship (San Francisco: Mercury House, 1995), p. 168.
16. Coppola, “Journal,” p. 24.
17. Ibid., pp. 24, 31–32.
18. Ibid., pp. 32, 34.
19. Coppola, Coppola and Eiko, p. 14.
20. Coppola, Bram Stoker’s Dracula, p. 96.
21. Coppola, “Journal,” pp. 18–19.
22. Coppola, Bram Stoker’s Dracula, p. 96.
23. James Hart, “Bram Stoker’s Dracula: A Screenplay,” in Francis Ford Coppola, Bram Stoker’s Dracula: The Film and the Legend, with James Hart, (New York: Newmarket, 1992), p. 163.
24. Coppola, “Journal,” pp. 31–32.
25. Richard Corliss, “A Vampire with a Heart,” Time, 23 November 1992, p. 71.
26. Cowie, Coppola, p. 249.
27. Coppola, “Journal,” p. 19.
28. Hinson, “Bram Stoker’s Dracula,” p. 169.
29. Corliss, “Vampire with a Heart,” p. 71. See also Carol Fry and Robert Craig, “The Genesis of Coppola’s Dracula,” Literature/Film Quarterly 30, no. 4 (2002): 272–75.
30. Coppola, “Journal,” pp. 37–38.
31. Lewis, “Paramount Studios,” p. 50.
32. David Cook, “Auteur Cinema and the Film Generation in the 1970’s Hollywood,” in The New American Cinema, ed. Jon Lewis (Durham, N.C.: Duke University Press, 1999), p. 19.
33. Schumacher, Francis Ford Coppola, p. 455.
13. The Vanishing Hero
1. Mark Caro, “Francis Coppola: An Interview,” Chicago Tribune, 20 November 1997, sec. 5, p. 1.
2. Schumacher, Francis Ford Coppola, p. 474.
3. Steven Daly, “Matt Damon,” Details, September 1998, p. 225.
4. Schumacher, Francis Ford Coppola, p. 474.
5. Kent Jones, “Mythmaker: Francis Ford Coppola,” Film Comment 38, no. 2 (2002): 34.
6. Bruce Diones, “The Rainmaker,” New Yorker, 5 January 1998, p. 22.
7. lones, “Mythmaker,” p. 34.
8. Jonathan Rosenbaum, “Southern Accents,” Chicago Reader, 28 November 1997, sec. 1, p. 40.