Nora Ephron first got to know Mike Nichols in 1969 when she was assigned by The New York Times Magazine to visit the set of Catch-22. Nichols, shooting in Mexico, had been given carte blanche to burn through money on what turned out to be an immensely complex and vexed production. Ephron, a decade younger, was not yet a famous screenwriter but, according to her Times bio, “a freelance writer specializing in popular culture.” She wrote:
“Whether Catch-22 will be a masterpiece, merely a very funny film, or the first failure for Mike Nichols after two smash hit movies (The Graduate and Who’s Afraid of Virginia Woolf?) and seven hit plays (among them The Odd Couple, Luv, and Plaza Suite) is at this point almost an irrelevant question for the actors in it. What matters is that the film is a chance to work with Nichols, who, at 37, is the most successful director in America and probably the most popular actors’ director in the world. Says Orson Welles: ‘Nobody’s in his league with actors.’ What’s more, he is the first American director since Welles made Citizen Kane in 1941 to have complete creative control over his final product— including the contractual right of final cut and the option of not showing his rushes to studio executives.”
Excerpt adapted from Mike Nichols: A Life, by Mark Harris. Copyright © 2021 by Mark Harris. To be published by Penguin Press. Reproduced by permission of the Wylie Agency.
Diese Geschichte stammt aus der January 18–31, 2021-Ausgabe von New York magazine.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent ? Anmelden
Diese Geschichte stammt aus der January 18–31, 2021-Ausgabe von New York magazine.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
Drowning in Slop - A thriving underground economy is clogging the internet with AI garbage-and it's only going to get worse.
SLOP started seeping into Neil Clarke's life in late 2022. Something strange was happening at Clarkesworld, the magazine. Clarke had founded in 2006 and built into a pillar of the world of speculative fiction. Submissions were increasing rapidly, but “there was something off about them,” he told me recently. He summarized a typical example: “Usually, it begins with the phrase ‘In the year 2250-something’ and then it goes on to say the Earth’s environment is in collapse and there are only three scientists who can save us. Then it describes them in great detail, each one with its own paragraph. And then—they’ve solved it! You know, it skips a major plot element, and the final scene is a celebration out of the ending of Star Wars.” Clarke said he had received “dozens of this story in various incarnations.”
The City Politic- The Other Eric Adams Scandal The NYPD shot a fare evader, a cop, and two bystanders. He defends it.
On Sunday, September 15, Derell Mickles hopped a turnstile, got asked to leave by cops, then entered the subway again ten minutes later through an emergency exit. This was at the Sutter Avenue L station, out by his mother's house, five stops from the end of the line. Police said they noticed he was holding a folded knife. They followed him up the stairs to the elevated train, asking him 38 times to drop the weapon.
Can the Media Survive?
BIG TECH, Feckless Owners, CORD-CUTTERS, RESTIVE STAFF, Smaller Audiences ... and the Return of PRINT?
Status Update
Hannah Gadsby's fascinatingly untidy tour through life after fame and death.
A Matter of Perspective
A Matter of Perspective Steve McQueen's worst film is still a solid WWII drama.
Creator, Destroyer
A retrospective reveals an architect's vision, optimism, and supreme arrogance.
In Praise of Bad Readers
In a time of war, there is a danger in surveying the world as if it were a novel.
Trust the Kieran Culkin Process
First, he nearly dropped out of Oscar hopeful A Real Pain. Then he convinced Jesse Eisenberg to change the way he directs.
The Funniest Vampires on TV
What We Do in the Shadows is coming to an end. Its idiosyncratic brand of comedy may be too.
The Water-Tower Penthouse
Gigi Loizzo and Angel Molina's apartment on the Grand Concourse in the Bronx looks out on Yankee Stadium.