Bibliographic Notes

Marjorie Rosen interviewed Jay Presson Allen in the Los Angeles Times (May 11, 1975); Debra Goldman's article "Nuts" profiling Allen appeared in American Film (March 1988); and Justine Blau's interview "The Prime of Jay Presson Allen" appeared in Columbia Film View 3 (1988).

Allen is one of the people interviewed by Judith Crist in Take 22: Moviemakers on Moviemaking (New York: Viking, 1984).

A portion of my interview with Jay Presson Allen originally appeared, in different form, in the biography George Cukor: A Double Life, by Patrick McGilligan (New York: St. Martin's, 1991).

Allen is well represented in the multitude of books about Alfred Hitchcock. Hitchcock himself discussed the shortcomings of Marnie in Hitchcock/Truffaut, François Truffaut's book-length interview with him (New York: Simon and Schuster, 1967). Jay Presson Allen and Evan Hunter, who wrote The Birds for Hitchcock, conducted a colloquy on the director for the Writers Guild of America-East newsletter On Writing (March 24, 1993). A few of her remarks from that session appear here, with Allen's permission.

The producer David Brown tells his side of what happened behind the scenes of The Verdict in Let Me Entertain You (New York: Morrow, 1990), while Making Movies (New York: Knopf, 1995), the autobiography of Sidney Lumet, makes essential crossreferences to Jay Presson Allen's career, as well as to Walter Bernstein's.

Nick Roddick chronicled Allen's career in the Dictionary of Literary Biography, vol. 26, American Screenwriters (Detroit: Gale Research, 1984 [hereafter cited as DLB, 26]).

George Axelrod has a cult following in the United States and abroad, and has been interviewed for publications on both sides of the Atlantic. Bertrand Tavernier's interview with Axelrod in French in Positif (February 1974) is one of the first and best; but

Richard Corliss also profiles him in "Midsection: The Hollywood Screenwriter," Film Comment (July-August 1978). (Corliss also assesses Axelrod's career in his definitive Talking Pictures: Screenwriters in the American Cinema [New York: Overlook Press, 1974].) A more recent feature ("Enter George Axelrod  . . . and the Lady Reappears") was published in Films Illustrated (May 1979).

Axelrod has often been interviewed for newspapers. Arthur Gelb profiled him early on in "Young Man with a Smash Hit" for the New York Times (March 1, 1953); Cecil Smith interviewed him ("Playwright Axelrod Sings Blues; Can't Keep the Money He Makes") for the Los Angeles Times (May 6, 1956); Charles Champlin profiled his career in "Hollywood Memo: Let George Do It" for the Los Angeles Times (November 29, 1965), and again for "Fragments from a Sanskrit Lunch," also in the Los Angeles Times (October 16, 1967); and J. A. Engels interviewed Axelrod for his article "Axelrod: 'Too Old, Too Rich, Too Successful' " in the Los Angeles Herald-Examiner (September 3, 1977).

Joshua Logan wrote about Axelrod and the making of Bus Stop in his second memoir, Movie Stars, Real People and Me (New York: Delacorte, 1978); and Axelrod is among the people interviewed about working with Billy Wilder in Billy Wilder in Hollywood, by Maurice Zolotow (New York: Putnam, 1977).

Guy Flatley of the New York Times profiled Walter Bernstein in his "At the Movies" column (December 3, 1976). Cinemag (March 31, 1980) covered the production of Little Miss Marker with "Bernstein Remakes Runyon & Marker." Cineaste 3 (1987) published Pat Aufderheide's "Language of Film and the Grammar of Politics: An Interview with Walter Bernstein." Aufderheide also reported on the making of The House on Carroll Street for Film Comment's "Journals" section (January-February 1988).

Bernstein's years of blacklisting receive limited coverage in Victor S. Navasky's Naming Names (New York: Viking, 1980); but more recent oral histories that include his experience, in his own words, are Red Scare: Memories of the American Inquisition, by Griffin Fariello (New York: Norton, 1995); and The Box: An Oral History of Television, 1920–1961, by Jeff Kisseloff (New York: Viking, 1995).

The NPR Interviews 1994, edited by Robert Siegel (Boston: Houghton Mifflin, 1994), includes the transcript of a National Public Radio interview with Bernstein and Abraham Polonsky, reminiscing about their scripts for the You Are There television series of the 1950s. (A collection of Polonsky's blacklist-era television work, To Illuminate Our Time: The Blacklisted Teleplays of Abraham Polonsky, edited by John Schultheiss and Mark Schaubert, was published in 1993 by Sadanlaur Publications in Los Angeles.)

Bernstein's work with Martin Ritt is explored in Carlton Jackson's Picking up the Tab: The Life and Movies of Martin Ritt (Bowling Green, Ohio: Bowling Green State University Popular Press, 1995), which is also recommended for further reading on Irving Ravetch and Harriet Frank Jr.

An interview with Bernstein, of some length, appears in Contemporary Authors, vol. 106 (Detroit: Gale Research, 1983).

A portion of my interview with Bernstein appeared in McGilligan's George Cukor: A Double Life.

Horton Foote was interviewed by Nina Darnton for "Horton Foote Celebrates a Bygone America in 1918 " in the New York Times (April 21, 1985); Samuel G. Freed-

man also profiled Foote in "From the Heart of Texas," in the New York Times (February 9, 1986); and Myra Forsberg reported on the making of Convicts in "Southern Memories Shadow the Makers of Convicts " for the New York Times (December 3, 1989).

Elizabeth Gordon profiled Foote ("Oscar-winning Writer Foote Explores His Family's Past") in Film Journal (May 1986); and Louise Tanner interviewed him for Films in Review (November 1986). The playwright-screenwriter was interviewed by Tom Teicholz in Interview (September 1985). Foote participated in "Dialogue on Film" published in American Film (October 1986); and Margy Rochlin spotlighted his career in "Tender Crimes" also in American Film (January-February 1987). Literature Film Quarterly has profiled Foote twice: T. Barr and G. Wood assessed his work in "A Certain Kind of Writer" No. 4 (1986); and G. Edgerton contributed the article "A Visit to the Imaginary Landscape of Harrison, Texas: Sketching the Film Career of Horton Foote" No. 1 (1989).

Foote is among the writers quoted on screenwriting in Screenwriters on Screenwriting, by Joel Engel (New York: Hyperion, 1955). Foote is also cited in Kisseloff's Box.

Foote's career is detailed in numerous reference books on theater and film. Joseph R. Millichap discusses Foote's film work in DLB, 26; and Foote is interviewed at length in Contemporary Authors, n. rev. s., vol. 34 (Detroit: Gale Research, 1991).

"Tomorrow " and "Tomorrow" and "Tomorrow," edited by David G. Yellin and Marie Connors (Jackson: University Press of Mississippi, 1985), chronicles the evolution of William Faulkner's short story "Tomorrow" into television and film, incorporating the original story basis, teleplay, the motion picture script, and an interview with Foote.

Foote's three most famous screenplays—To Kill a Mockingbird, Tender Mercies, and The Trip to Bountiful —have been published with an introduction by the writer (Three Screenplays [New York: Grove Press, 1989]).

Walon Green is discussed in recent biographies of Sam Peckinpah, including Garner Simmons's Peckinpah, a Portrait in Montage (Austin: University of Texas Press, 1982); Marshall Fine's Bloody Sam (New York: D. I. Fine, 1991); and David Weddle's If They Move—Kill 'Em!: The Life and Times of Sam Peckinpah (New York: Grove Press, 1994). Nat Segaloff also interviewed Green for Hurricane Billy: The Stormy Life and Films of William Friedkin (New York: Morrow, 1990), in which a portion of the Backstory 3 interview originally appeared.

An in-depth interview with Charles B. Griffith, "Charles Griffith and the Little Shop of Corman!" by Mark Thomas McGee, appeared in Fangoria 11 (February 1981).

Recommended for background on Griffith's career is Samuel Z. Arkoff's memoir Flying through Hollywood by the Seat of My Pants, with Richard Trubo (New York: Birch Lane Press, 1992); and Roger Corman's How I Made a Hundred Movies in Hollywood and Never Lost a Dime, with Jim Jerome (New York: Random, 1990). Griffith is interviewed and quoted extensively in the Corman autobiography, shedding light on hidden facets of his years writing low-budget pictures.

There are many books about Roger Corman and AIP that include discussion of Griffith's contribution to the Corman mystique. Among the most comprehensive and reliable is Fast and Furious: The Story of American International Pictures, by Mark Thomas McGee (Jefferson, N.C.: McFarland, 1984).

Donald Spoto interviewed John Michael Hayes for his definitive-to-date The Dark Side of Genius: The Life of Alfred Hitchcock (Boston: Little, Brown, 1983). In Hitch-

cock's authorized biography, The Life and Times of Alfred Hitchcock, by John Russell Taylor (New York: Pantheon, 1978), the author ungraciously described Hayes as "not too strong on construction (Hitch could supply that) but great in the creation of lively, funny, sophisticated dialogue and smoothly believable characterization." Taylor's book, in contrast to Spoto's, is stingy with comments about the screenwriter's contribution to Hitchcock's oeuvre.

Hayes is interviewed in Contemporary Authors, vol. 108 (Detroit: Gale Research, 1982); and his career is chronicled by Willard Carroll in DLB, 26.

Ring Lardner Jr. has written occasional pieces of journalism over the years, often reflecting on his own life and career. An article, adapted from his speech to the American Jewish Congress about the thirtieth anniversary of the HUAC hearings, appeared in the New York Times (March 18, 1978); and his obituary for the producer Hannah Weinstein in the Nation (March 24, 1984) touches on his pseudonymous television work during the cold war era. His "Foul Ball" article in American Film (July—August 1988) describes John Sayles's filming of Eight Men Out, about the 1919 Chicago White Sox scandal, in which Sayles plays Lardner's father, the sportswriter Ring Lardner.

An article in the New York Times (January 13, 1987) reported on Lardner's revisit to the Soviet Union after fifty-three years and his second thoughts on the Communist Party.

Lardner is a key player in many books about Hollywood politics and the blacklist period. Among the most authoritative are Navasky's Naming Names; Nancy Lynn Schwartz's Hollywood Writers' Wars (New York: Knopf, 1982), about the background and struggle to organize the Screen Writers Guild; and Larry Ceplair and Steven Englund's definitive The Inquisition in Hollywood: Politics in the Film Community, 1930–1960 (Garden City, N.Y.: Anchor/Doubleday, 1980). Lardner is also included among the subjects in Fariello's more recent Red Scare and Kisseloff's Box.

Lardner is one of William Froug's interview subjects in the indispensable The Screenwriter Looks at the Screenwriter (New York: Dell, 1972). Lardner is interviewed by Kenneth Geist in Richard Corliss's anthology The Hollywood Screenwriters; and his career is assessed by Corliss in Talking Pictures.

Lardner wrote the nonfiction The Lardners: My Family Remembered (New York: Harper and Row, 1976), which, though not expressly about himself, contains fascinating autobiographical material about his own life, as well as about his family.

Lardner is interviewed in Contemporary Authors, n. rev. s., vol. 13 (Detroit: Gale Research, 1984); and his life and career are sketched by Joyce Olin in DLB, 26.

Mick Martin's interview with Richard Matheson ("Matheson: A Name to Conjure With!") appeared in Cinefantastique 2 (1974); Paul M. Sammon wrote about Matheson's films and interviewed him for "Richard Matheson: Master of Fantasy," in Fangoria Nos. 2, 3 (October, December 1979); and Lawrence French contributed "Richard Matheson on Twilight Zone and Jaws 3-D," also in Fangoria I (1982), focusing on the writer's relationship with Steven Spielberg. Tom Milne wrote "Richard Matheson, or the Inhuman Condition," chronicling Matheson's career for the Monthly Film Bulletin (April 1981).

Matheson was profiled ("Master of Things That Go Bump in the Night") by the Los Angeles Times (February 26, 1978), and by Sean Mitchell ("This Man Can Make Your Blood Run Cold") for the Los Angeles Herald-Examiner (July 21, 1983).

Matheson is interviewed in Contemporary Authors, vols. 97–100 (Detroit: Gale Research, 1981); he is profiled by Roberta Sharp in Dictionary of Literary Biography, vol. 44, American Screenwriters 2d ser. (1986); and Raymond Carney writes about his literary career in Dictionary of Literary Biography, vol. 8, Twentieth-Century American Science Fiction Writers (Detroit: Gale Research, 1981).

A republished edition of Matheson's breakthrough novel The Shrinking Man (Boston: Gregg Press, 1979) contains an excellent introduction by Joseph Milicia, as well as the director Jack Arnold's storyboard drawings for the film version.

Books about Roger Corman and Steven Spielberg routinely cite Matheson's contribution to their work.

Wendell Mayes is interviewed in Contemporary Authors, vol. 103 (Detroit: Gale Research, 1982); and Tamita C. Kelly discusses his career in DLB, 26. Mayes was also one of Billy Wilder's collaborators interviewed for Zolotow's Billy Wilder in Hollywood.

Irving Ravetch and Harriet Frank Jr. have only rarely given interviews for publication.

Before the media explosion over the telefilm And the Band Played On,Arnold Schulman had escaped undue publicity. A definitive article about the long, troubled history of the HBO production ("As the Band Played On: Searching for Truth," by Betsy Sharkey) appeared in the New York Times (September 5, 1993).

Schulman was not interviewed for Joseph McBride's exhaustive Frank Capra: The Catastrophe of Success (New York: Simon and Schuster, 1992); nor was he interviewed for On the Edge: The Life and Times of Francis Coppola, by Michael Goodwin and Naomi Wise (New York: Morrow, 1989), where his name is misspelled; nor was he interviewed for George Cukor: Master of Elegance, by Emmanuel Levy (New York: Morrow, 1994).

A portion of my interview with Schulman appeared in McGilligan's George Cukor: A Double Life.

The article "Silliphant Proving Screenwriters on Par with Those 'Auteurs,' " by Thomas Pryor, focusing on Stirling Silliphant, appeared in Variety (July 23, 1975). Silliphant was also featured in the "Dialogue on Film" section of American Film (March 1988).

Silliphant's interview is one of those featured in Froug's Screenwriter Looks at the Screenwriter; and his career is reviewed by Randall Clark in DLB, 26.

Silliphant's script for A Walk in the Spring Rain was the subject of the book Fiction into Film, by Rachel Maddux, Stirling Silliphant, and Neil D. Isaacs (Knoxville: University of Tennessee Press, 1970), which published the screenplay, along with Rachel Maddux's original novella and critical commentary on the novel into film.

Key interviews and articles published at the height of Terry Southern' s fame, 1964 through 1970, include "A Creative Capacity to Astonish," by Jane Howard in Life (August 21, 1964); and an interview about The Loved One and The Cincinnati Kid, by the future screenwriter-director Curtis Hanson in Cinema (August 1965). More recent pieces include an illustrated feature in Interview magazine (February 1990); Lee Hill's "The Vox Interview with Terry Southern," Vox (Canada) (September 1990); and Mike Golden's "Now Dig This: Interview with Terry Southern" in Reflex (September 1992).

Additional background on The Loved One appears in Southern's Journal of "The Loved One " (New York: Random, 1965), with photos by William Claxton; and Tony Richardson's Long Distance Runner: A Memoir (New York: Morrow, 1993). Southern is interviewed "On Elvis, Strangelove, Barbeque, and Barbarella " in The Catalog of Cool edited by Gene Sculatti (New York: Warner Books, 1982). Michel Ciment's Kubrick (New York: Holt, Rinehart and Winston, 1983) features long interviews with the enigmatic director, mentioning Southern. Alexander Walker's Hollywood, England (London: Michael Joseph, 1974) is arguably the definitive account of the sixties British film boom, in which Southern was a key figure.

Beginning in the 1950s, Southern was an advisory editor to the Paris Review and a frequent contributor to the Nation. His work also appeared in New Story, Zero, London Magazine, Queen, the Realist, Grand Street, the Evergreen Review, National Lampoon, Spin, the New York Review of Books, Saturday Review, Esquire, and the New York Times, among others. Southern's highly amusing accounts of working on an abandoned Doors film ("Dennis Hopper/Terry Southern") and Dr. Strangelove ("Strangelove Outtakes: Notes from the War Room") have appeared in Grand Street Nos. 36, 49 (1991, 1994).

Southern is one of the subjects explored in Corliss's Talking Pictures. Jerry McAninch wrote about his fiction in Dictionary of Literary Biography, vol. 2, American Novelists since World War II (Detroit: Gale Research, 1978).

The published script of Easy Rider (New York: New American Library, 1969), edited by Nancy Hardin and Marilyn Schlossberg, is in fact a "cutting continuity"—not the actual screenplay, but a transcript of the edited version of the film. But Grove Press has recently announced an ambitious reissue program of Southern's work to include the original screenplays of Dr. Strangelove, Easy Rider, and Barbarella.