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.