Notes
Introdnction
1 Mark Singer, "The Joel Silver Show," New Yorker, March 21, 1994, p. 126.
2 "Nasser Bros., Coppola Reach Agreement on General Studios Deal," Variety,
March 12, 1980, p. 6.
3 "General Studios Finally Coppola's; but He Stays with Frisco Base," Variety,
March 26, 1980, pp. 3, 40; and Lane Maloney, "Coppola: Inflation Propelling
Film to Electronics, Satellites;' Variety, March 26, 1980, p. 40.
4 Peter Boyer, "Jeffrey Katzenberg's Seven Year Itch," Vanity Fair, November 1991,
p.162.
5 The term new Hollywood refers here to Hollywood after 1980, Hollywood after
Apocalypse Now and Heaven's Gate symbolically put an end to the auteur 1970S
and short-term interest rates and rising production costs forced the major
studios to diversify and/or sell out. There have been, I know, a lot of new
Hollywoods, dating back at least to the late 1940S and the seeming collapse of the
old studio system, the late 1960s and the implementation of the ratings code,
and the early 1970S when films like The Godfather and Jaws dramatically raised
studio expectations regarding the potential profits of a single picture and at the
same time signaled the emergence of a new breed of university film school-
educated directors. By the end of this book, I find myself talking about the new
new Hollywood of the 1990S and looking forward to yet another new Hol-
lywood that may someday take shape in concert with the forthcoming informa-
tion-entertainment superhighway. For a particularly good discussion of the
concept of the new Hollywood, see Thomas Schatz, "The New Hollywood;' in
Film Theory Goes to the Movies, ed. Jim Collins, Hilary Radner, and Ava
Preacher Collins (New York: Routledge, 1993), pp. 8-36.
6 Gay Talese, "The Conversation," Esquire, July 1981, p. 87.
One. Hollywood General
1 Susan Braudy, "Francis Ford Coppola: A Profile;' Atlantic 238.2 (1976), p. 69.
2 Julia Phillips, You'll Never Eat Lunch in This Town Again (New York: Signet,
1992), p. xxvii.
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