9 One of the Provo roommates didn’t approve: Interview with Jack Brendlinger, May 28, 1997.
10 On May 3, he had written off: Letter on file, from Robert Redford, May 3, 1957. Sundance archive.
11 Redford and Brendlinger were evicted: Interview with Jack Brendlinger, May 28, 1997.
12 “Kindly look with favor upon my stepson”: Letter to the American Academy of Dramatic Arts from Helen Redford, dated August 1, 1957. Sundance archive.
13 On September 1 he mailed the requested check: Letter on file, from Robert Redford, September 1, 1957. Sundance archive.
6. At the Academy
1 The graduate course was a two-year program: Interview with Harry Mastrogeorge, April 18, 1999.
2 Francis Lettin, the senior rehearsal instructor: Documents on file, archive of the American Academy of Dramatic Arts, fall 1957.
3 Ginny Burns and another close friend: Interview with Ginny Burns Kelly, September 9, 1995.
4 Both sides of her family: Interview with Wayne Van Wagenen, January 30, 1998. Also documents on the Van Wagenen genealogy, supplied by Wayne Van Wagenen, including the diary of his great-grandfather H. N. McBride, recounting events in the mid-nineteenth century and dated 1923.
5 The speech teacher insisted he: Documents on file, archive of the American Academy of Dramatic Arts, fall 1957.
6 Redford continued to cling to his fine arts interests: Interview with Ginny Burns Kelly, September 9, 1995.
7 Summer was coming, and Redford contacted Charlie: Interview with Bill Coomber, July 7, 1995.
8 “facing what [Bob and I] knew would be”: Lola Redford interview, Provo Herald, April 13, 1971.
9 Among the new friends at the Mormon Manhattan ward functions: Interview with Stan Collins, June 10, 1996.
10 Redford played Creon in a classicist style: Interview with Richard Altman, February 14, 1998.
7. Graduation
1 The writer David Rayfiel: Interview with David Rayfiel, March 11, 1998.
2 MCA started as a modest Chicago management company: Frank Rose, The Agency: William Morris and the Hidden History of Show Business (New York: HarperBusiness, 1995), 76.
3 Around this time, Mike Thoma also recommended him: Interview with Harry Mastrogeorge, April 18, 1999.
4 But he was dismayed that: Interview with Ginny Burns Kelly, September 9, 1995.
5 The funeral service was attended: Interview with Ginny Burns Kelly, November 22, 1995. Certificate of Death. Scott Anthony Redford Cert No. 156–59 124826. Date of death: November 17, 1959. Aged 2 1/2 months. Cause of death: Bronchopneumonia. Bureau of Vital Records. Department of Health, New York.
6 Close to 80 percent of all homes: Norman L. Rosenberg and Emily S. Rosenberg, In Our Times: America Since World War II (Englewood Cliffs, N.J.: Prentice-Hall, 1976), 83.
7 NBC offered Redford a part: Interview with Monique James, April 26, 1996.
8 Playhouse 90, which had been running on CBS: Gordon F. Sander, Serling: The Rise and Twilight of Television’s Last Angry Man (New York: Dutton, 1992), 160.
8. The New Frontier
1 The problem was that Sidney Lumet: Interview with Marion Dougherty, October 14, 1996.
2 Set in 1912, Iceman deals: Arthur Gelb and Barbara Gelb, O’Neill (New York: Harper and Brothers, 1968), 871–79.
3 “[O’Neill] did not feel”: Ibid., 831–32.
4 Redford would write in his eulogy: Time, January 8, 2001.
5 Harryetta Peterka, a friend from AADA, remembered Herman Shumlin: Interview with Harryetta Peterka, September 16, 1995.
6 Saxon admits that he angled to: Interview with John Saxon, January 9, 1996.
7 on an afternoon when he was visiting Monique James: Interview with Monique James, April 26, 1996.
8 They end up gamboling in bed: Norma Krasna, Sunday in New York (New York: Random House, 1962), 114.
9 The ebullience was short-lived: Interview with Sondra Lee, May 2, 1996.
10 Pollack was still in Los Angeles: Interview with Sydney Pollack, September 1, 1995.
11 The high-volume work … rolled in: Interview with Monique James, April 26, 1996.
9. Big Pictures
1 At producer Arnold Saint Subber’s house: Interview with Mike Nichols, August 20, 1997.
2 Simon, a fluid and prolific writer: Neil Simon, Rewrites: A Memoir (New York: Simon & Schuster, 1998), 39.
3 “Corie: You can’t even walk into a candy store”: Neil Simon, Barefoot in the Park (New York: Random House, 1964), 93.
4 The stresses caused by this relationship: Elizabeth Ashley, Actress (New York: Evans, 1978), 19–31.
5 Ashley’s affair with Peppard: Ibid., 19.
6 The fifties, as the film historian: Leslie Halliwell and Philip Purser, Halliwell’s Television Companion (London: Granada, 1982), xii.
7 something Robert Shaw was reluctant to agree to: Interview with Mike Connors, July 6, 1995.
10. Child’s Play
1 “For we wrestle not against flesh and blood”: From the unpublished screenplay “Inside Daisy Clover” by Gavin Lambert.
2 The movie, written for Wood: Interview with Gavin Lambert, October 18, 1996.
3 One incident during filming: Warren G. Harris, Natalie and R.J.: Hollywood’s Star-Crossed Lovers (New York: Doubleday, 1988), 136.
4 Rosenberg reluctantly called Spiegel: Interview with Arthur Penn, October 11, 1996.
5 Jane Fonda … was curious about Redford: Interview with Jane Fonda, February 19, 1999.
6 This Property Is Condemned, meanwhile, was in development hell: Interview with Sydney Pollack, September 1, 1995.
7 The Andalusian coast Redford opted for: William Sansom, “The Great Game of Getting Away from It All,” Life, April 1960.
8 Shauna had enrolled: Interview with Shauna Redford Schlosser, June 3, 1998.
9 In July, Stan Collins received a postcard: Interview with Stan Collins, June 14, 1996.
10 Peer Oppenheimer, a journalist he’d met: Peer J. Oppenheimer, “The Hide-and-Seek Life of Robert Redford,” Family Weekly, August 20, 1967.
11 Talk of westerns filled his evenings: Interview with Sydney Pollack, September 1, 1995.
11. Toward Concord
1 It earned $9 million: John Douglas Eames, The Paramount Story (London: Octopus, 1985), 256.
2 Paramount’s wrath seemed inevitable: Interview with Mike Frankfurt, May 14, 1996.
3 The record profits of $20 million: Eames, The Paramount Story, 115.
4 In his memoirs, Polanski wrote: Roman Polanski, Roman (London: Pan, 1982), 282.
5 Sitting on the perimeter fence: Interview with Mike Frankfurt, May 14, 1996.
6 On August 5, 1968, in a press conference: “Film Star, 4 Others Buy Timp Haven Ski Resort,” Salt Lake Tribune, business section, August 6, 1968, 18.
7 By 1940, of the 477 movies released: Edward Buscombe, ed., The BFI Companion to the Western (London: Andre Deutsch, 1988), 47–53.
8 The story’s significance, as Harry Lawton wrote: Harry W. Lawton, Tell Them Willie Boy Is Here (New York: Award, 1970), 8.
9 An article in Variety criticized: Byro, review of Tell Them Willie Boy Is Here, Variety, October 19, 1969. Excerpted in James Spada, The Films of Robert Redford (Secaucus, N.J.: Citadel Press, 1984), 132.
10 “He was tough—from a poor part of town”: James Salter, Burning the Days: Recollection (New York: Random House, 1997), 234.
11 Salter’s treatment, dated September 1967: Robert Redford Papers, Mugar Memorial Library, Boston University. Redford has scribbled on the front page, “First project under new banner ‘Wildwood Productions.’ ”
12 CMA was an outgrowth of MCA: Interview with Stephanie Phillips, July 20, 1996.
13 But film historian Andrew Horton, later evaluating his oeuvre: Andrew Horton, The Films of George Roy Hill (Irvington, N.Y.: Columbia University Press, 1984), xiv.
14 Humor, on which the simple, linear story: Interview with Paul Newman, June 10, 1996.
12. Fame
2 Redford took pride in his business sense: Interview with Mike Frankfurt, May 14, 1996.
3 Redford assigned Wayne, Lola’s brother: Interview with Wayne Van Wagenen, January 30, 1998.
4 When they started out, Hendler was: Interview with Reg Gipson, September 15, 1995.
5 The epilogue of Eastman’s original draft: Charles Eastman, Little Fauss and Big Halsy (New York: Noonday Press, 1970), 160.
6 “Somewhere is Halsy, somewhere is Little”: Ibid., 161.
7 In the fall of 1970, Paramount complained: Letter to Gary Hendler from Mike Frankfurt, dated October 5, 1970, recording Stanley Jaffe’s complaints against Redford. Sundance archive.
13. Two and a Half Careers
1 Pollack and Calley decided to shoot: Interview with Sydney Pollack, February 15, 2002.
2 Milius’s script had been gutted: Sydney Pollack’s script and notes on file, Mirage Productions, Paramount Studios, California.
3 The writer Robert Pirsig has observed: Robert M. Pirsig, Lila: An Inquiry into Morals (London: Black Swan, 1992), 55.
4 As postproduction finished, Lola and the kids: Interview with Mike Shinderling, February 9, 1998.
5 For months he had been observing: Interview with Julie Mack, June 20, 1996. This dispute stretched into the 1990s. Continuing highway dispute: “Canyon Group Doesn’t Want Four Lanes,” Provo Herald, May 21, 1986; “School Board Joins Provo Citizens in Possible Suing of UDOT,” Provo Herald, May 28, 1986; Statement Submitted by Robert Redford on the Supplemental Environmental Impact Statement for the Provo Canyon Road, June 11, 1987; Utah Department of Transportation Draft Agenda for Utah Transport Commission, May 18, 1993, sent to Appel & Mattson, law offices (representing objection lobby); Draft letter to Governor Michael O. Leavitt regarding Highway 189, with notes by Redford, May 11, 1994; “UDOT Asked to Delay Project,” The Salt Lake Tribune, December 5, 1995.
6 George Roy Hill was keen to adapt: Interview with George Roy Hill, September 4, 1995.
7 Six years before, Louella Parsons had allowed him: Louella O. Parsons, “Barefoot Boy Comes Home,” New York Journal American, May 30, 1965.
8 Laurence Luckinbill, writing for Esquire: Laurence Luckinbill, “Oh, You Sundance Kid!” Esquire, October 1970, 160.
9 Jerry Brown came to believe: Interview with Jeremy Larner, September 7, 1995.
10 Ritchie, whose capacity for intellectual theorizing: Interview with Michael Ritchie, September 4, 1995.
11 Carlson herself admitted to “schizophrenic” feelings: Bruce Bahrenburg, Filming “The Candidate” (New York: Warner, 1972), 94.
12 Robert Penn Warren once wrote: Ernest Hemingway, A Farewell to Arms, with an introduction by Robert Penn Warren (New York: Charles Scribner’s Sons, 1929), viii.
13 In 1968 Tiger died of heart failure: Obituary in The New London (Conn.) Day, February 29, 1968: “Waterford. Charles Elisha Redford, formerly of 35 Summer Street, died Wednesday at Waterford Convalescent Hospital.… He was the grandfather of actor Robert Redford.… Burial will be at River Bend Cemetery, Westerly.”
14 There was the well-circulated magazine report: “A California Hippie Claims, ‘Robert Redford Is My Husband!’ ” Movie Life, August 1970.
14. Idols
1 Stark commissioned an original script: Arthur Laurents, Original Story By: A Memoir of Broadway and Hollywood (New York: Alfred A. Knopf, 2000), 264.
2 In his memoirs Laurents reports: Ibid., 269.
3 Worst of all, said Pollack, Laurents had not: Interview with Sydney Pollack, September 1, 1995.
4 In a detailed correspondence, Trumbo analyzed: Correspondence from Dalton Trumbo to Sydney Pollack, undated, appended to the script of The Way We Were in Sydney Pollack’s script files at Mirage Productions, Paramount Studios, Los Angeles.
5 “The reason I have been so hung up on Hayden’s book”: Letter from Sydney Pollack to Dalton Trumbo, undated, appended to the script of The Way We Were in Sydney Pollack’s script files at Mirage Productions, Paramount Studios, Los Angeles.
6 “Katie: Doesn’t it make you angry”: From the unpublished screenplay The Way We Were, by Arthur Laurents.
7 “I just loved working with him”: Letter to the author from Barbra Streisand, August 2, 1996.
8 It had started in October 1970: Interview with David Ward, November 8, 1997.
9 George Roy Hill stormed into the office: Interview with George Roy Hill, June 12, 1995.
10 Four lawsuits were launched against The Sting: Interview with David Ward, November 8, 1997.
11 Evans wanted to gift the famous role: Robert Evans, The Kid Stays in the Picture (New York: Hyperion, 1994), 237.
12 Clayton’s vision for the movie was specific: Neil Sinyard, Jack Clayton (Manchester: Manchester University Press, 2000), 144.
13 Clayton wrote in his preparatory notes: Ibid., 146.
14 Bruce Bahrenburg, a writer: Bruce Bahrenburg, Filming “The Great Gatsby” (New York: Berkley Medallion, 1974), 248.
15 “Ultimately,” said Farrow, “[it] was a victim”: Mia Farrow, What Falls Away (New York: Doubleday, 1997), 174.
15. Watergate
1 CAN’s progress, says administrator Cynthia Burke: Interview with Cynthia Burke (Cynthia Stein during CAN era), August 28, 1998. Copies of CAN newsletters, undated, six- to eight-page features include, in issue 2, “All About Breads,” “Home Eco” (on recycling); in issue 7, “Cleaning Products: Good Clean Fun?” “A Note on Aerosols”; in issue 13, “The Over the Counter Drug Culture,” “CAN’s (Condensed) Drug Dictionary.” All features uncredited.
2 In 1972, Adams asked Ayres: Interview with Richard Ayres, October 18, 1997.
3 After a period of friction with Hill: Letter from George Roy Hill to Bill Goldman, undated but appears to be July 1973: “Bill, I am in the process of outlining the script changes.… I think it is unrealistic to think we could ever work together again as we once did.” George Roy Hill Papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles.
4 Hill’s notebooks attest to great ambition: Documents regarding The Great Waldo Pepper, unpaginated and undated, George Roy Hill Papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles.
5 Lindsey’s comments provoked the often impulsive Hill: Letter from William H. Honan, Arts and Leisure Editor, The New York Times, to H. H. Martin, Universal Pictures, dated June 18, 1976: “Regarding Robert Lindsey’s May 30th article … I think we’re perfectly in the clear on ‘Waldo.’ ” George Roy Hill Papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles.
6 The sixteen-point addendum to his Waldo contract: Copy of contract, George Roy Hill Papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles.
7 Goldman was offended that: Bernstein Interview with Bob Woodward, January 18, 2009.
8 In the weeks that followed, Redford and Pakula: Interview with Alan J. Pakula, April 9, 1996.
9 Redford felt he was focused: Interview with Sydney Pollack, September 1, 1995.
10 Hal Holbrook and others spoke of: Interview with Carol Rossen, December 29, 1998.
16. Out of Acting
1 “It was my first major conservation issue”: Robert Redford, “Duel for the West,” USA Weekend, November 3–5, 1995, an article summarizing Redford’s philosophy about the overdevelopment of the Utah wilderness. Also, a fifty-page paper, “Marketability of Coal from Andalex Resources’ Proposed Smoky Hollow Coal Mine,” prepared for Grand Canyon Trust by John Duffied and Chris Neher, Bioeconomics Inc., and Arnold Silverman, University of Montana, May 20, 1995, which includes current and historical trends in Utah coal production.
2 “It was as if some supernatural force”: Letter from Robert Redford to Dan Arensmeier, June 17, 1978. Sundance archive.
3 “Education was the answer”: “NRDC 1970–1990—Twenty Years
Defending the Environment: A Report” (New York: NRDC, 1990); Colum F. Lynch, “Global Warning,” The Amicus Journal (a publication of the Natural Resources Defense Council), spring 1996; “25 Years of the Environment,” anniversary edition, winter 1996.
4 In Ford’s last days in office: Interview with Joyce Deep, September 16, 1995.
5 In 1978 he laid it out: Robert Redford, interview with Daniel Geery, Los Angeles Herald Examiner, January 30, 1978.
6 Diamond Fork Ranch, became the base: From 1974 approximately a hundred mares were bred and traded yearly. The breeding operation ceased in 1983, and the ranch was sold in 1996. Thereafter, the nearby Charleston Ranch was purchased for crop cultivation. It comprised thirty-one acres and cultivated black-tipped wheat, amaranth, sunflowers, sweet Annie, Indian corn, larkspur, Rocky Mountain penstemon, poppies, twelve varieties of grasses, thirty varieties of herbs, field greens, carrots, squash and onions. Much of the produce was used in the kitchens of the Sundance resort. Information: Sundance archive.
7 The American League for Industry and Vital Energy was quick: Southern Utah News, April 22, 1976.
8 “We’ve had three decades of lousy noisefests”: Interview with Joseph E. Levine conducted by Francis Feighan, circa September 1976.
9 Levine sweated like a workhorse: Ibid.
10 Goldman overcame the inherent dramatic weakness: William Goldman, Adventures in the Screen Trade (New York: Warner, 1983), 282.
11 incited Mobil Oil to place: “Musings of an Oil Person,” The New York Times, May 11, 1978.
12 “Wildwood stationery lies fallow”: From “Redford Musings,” a notebook in the Sundance archive.
17. Painted Frames
1 even dictionaries listed him under words: The online New Oxford American Dictionary defines “idol” as “an image or representation of a god used as an object of worship; a person or thing that is greatly admired, loved, or revered: movie idol Robert Redford.”
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