Fosse (90 page)

[>]
   “It was glorious”: Ibid.

[>]
   could not fill the vacuum: Gottfried,
All His Jazz,
220.

[>]
   He called Gwen: Ibid.

[>]
   The villa turned out to be an estate: Neil Simon,
Rewrites: A Memoir
(New York: Simon and Schuster, 1996), 346–47.

[>]
   She took him back: Gottfried,
All His Jazz
, 222.

[>]
   “Don’t think you’re going to get”: Peter MacDonald, interview with the author, March 8, 2012.

[>]
   “I’m in the camera department!”: Ibid.

[>]
   “Liza was in heaven”: Ibid.

[>]
   he was shocked: Betty Spence, “Film Editor as Creator: Artist with Bits, Pieces,”
Los Angeles Times,
January 11, 1981.

[>]
   “Well,” Fosse said: Vincent LoBrutto,
Selected Takes: Film Editors on Editing
(Westport: CT: Praeger, 1991), 55.

[>]
   “He paced like a panther”: Spence, “Film Editor as Creator.”

[>]
   “Every cut you make changes another”: LoBrutto,
Selected Takes,
58.

[>]
   He asked Ilse never to answer: Gottfried,
All His Jazz
, 222.

[>]
   Nicole, he told Ilse: Ibid.

[>]
   Janice Lynde soothed him
and following:
Janice Lynde, interview with the author, May 4, 2011.

[>]
   “I remember him saying it was”: Ann Reinking, interview with the author, November 15, 2010.

[>]
   “He took me to these strip clubs”
and following:
Janice Lynde, interview with the author, May 4, 2011.

[>]
   David Begelman told Fosse he was: Gottfried,
All His Jazz
, 224.

[>]
   one hundred identical (numbered): Richard Shepherd, interview with the author, March 13, 2009.

[>]
   “The shibboleth”: Sam Cohn interviewed by William Wolf for NYU’s School of Continuing Education Class, the Filmmakers, New York Public Library for the Performing Arts, William Wolf Film and Theater Interview Collection.

[>]
   At his peak, Sam Cohn saw: Mark Singer, “Dealmaker,”
New Yorker,
January 11, 1982.

[>]
   “Sam,” his client Herb Gardner: Ibid.

[>]
   “I have a neurotic response”: Sam Cohn interviewed by William Wolf.

[>]
   “Unless it was extremely urgent”: Arlene Donovan, interview with the author, January 10, 2011.

[>]
   “He was supposed to meet me [once]”: Ibid.

[>]
   “He seemed totally oblivious”: Teresa Carpenter, interview with the author, July 23, 2010.

[>]
   “You remember that deal we made?”: Alan Ladd Jr., interview with the author, June 7, 2010.

[>]
   “It’s a very small group of people”: Sam Cohn, interviewed by William Wolf.

[>]
   “The different disciplines exist within”: Jon Bradshaw, “May I Kiss You on the Forehead, Sam?,”
New York
, December 29, 1975.

[>]
   “Sam loved talent so much”: Alan Ladd Jr., interview with the author, June 7, 2010.

[>]
   “His clients”: Marya Cohn, interview with the author, December 11, 2012.

[>]
   “Sam was just overwhelmed by”: Arlene Donovan, interview with the author, January 10, 2011.

[>]
   “Those guys had a true guy-code”: Susan Anderson, interview with the author, January 14, 2013.

[>]
   “But Bobby is an extremely intelligent man”: Bernard Drew, “Life as a Long Rehearsal,”
American Film,
November 1979.

[>]
   There were no pictures of his children: Peter Cohn, interview with the author, December 6, 2012.

[>]
   “Family dinners?” Cohn once asked: Leslee Dart, interview with the author, July 25, 2012.

[>]
   “At any time of day”: Susan Anderson, interview with the author, January 14, 2013.

[>]
   Susan Anderson peeked through the lens: Ibid.

[>]
   Fosse told Sam about an idea: “Foreward [
sic
],” original concept for
Liza with a Z
, May 1971, LOC, box 45A.

[>]
   Fosse sent Ilse back home: Gottfried,
All His Jazz,
222.

[>]
   “Fellas, this is much too long”: Emanuel Wolf, interview with the author, March 17, 2012.

[>]
   “There’s a certain amount of self-delusion”: “Bob Fosse,”
The Dick Cavett Show,
PBS, July 8, 1980.

[>]
   “Bob would do a movie”: Wolfgang Glattes, interview with the author, November 27, 2010.

[>]
   “Now, serious theater must”: Otis Guernsey, “Edward Albee Confronts Broadway,”
Diplomat,
October 1966.

[>]
   he momentarily considered
Promises, Promises:
“Merrick Will Do 2 New Musicals: First Will Be a Goldman and Sondheim Show in Fall,”
New York Times,
May 31, 1967.

[>]
   
Hair
was a landmark musical, Fosse thought: Bob Fosse interview with Pete Hamill,
The Barry Gray Show,
December 1, 1979.

[>]
   “I took somebody to an experimental”: Tom Burke, “Steve Has Stopped Collaborating,”
New York Times,
May 10, 1970.

[>]
   “the challenge of maintaining relationships”: Stephen Sondheim,
Finishing the Hat
(New York: Knopf, 2010), 165–66.

[>]
   “a metaphoric explosion!”: Mel Gussow, “Prince Recalls the Evolution of ‘Follies,’”
New York Times,
April 9, 1971.

[>]
   “I was looking at the past with affection”: Ibid.

[>]
   Fosse liked it and asked Sondheim: Stephen Sondheim, interview with the author, February 15, 2012.

[>]
   “Out of politeness I said I would”: Ibid.

[>]
   “He called me up out of the blue”: John Rubinstein, interview with the author, September 30, 2010.

[>]
   “Fosse told me of his enthusiasm”: Stephen Schwartz, interview with the author, January 29, 2011.

[>]
   Fosse and producer Stuart Ostrow met
and following:
Stuart Ostrow,
Present at the Creation, Leaping in the Dark, and Going Against the Grain
(New York: Applause, 2006), 66.

[>]
   “Stu Ostrow trusted Bob and that made”: Wolfgang Glattes, interview with the author, November 27, 2010.

[>]
   Strolling through the woods around: Ostrow,
Present at the Creation
, 66.

[>]
   “I don’t want to,” she said
and following:
Janice Lynde, interview with the author, May 4, 2011.

FIFTEEN YEARS

[>]
   For three consecutive days before: Emanuel Wolf, interview with the author, March 17, 2012.

[>]
   Emanuel Wolf tried to calm him: Ibid.

[>]
   he called
Cabaret
the perfect movie: Martin Gottfried,
All His Jazz
(Cambridge, MA: Da Capo, 1998; first published by Bantam in 1990), 228. Citations refer to the Da Capo edition.

[>]
   “Bob and I were standing in the back”: Emanuel Wolf, interview with the author, March 17, 2012.

[>]
   “Until now there has never been”: Pauline Kael, “Grinning,”
New Yorker,
February 19, 1972.

[>]
   cameras each held a twelve-hundred-foot: Barbara Goldsmith, “Barbara Goldsmith on Film,”
Harper’s Bazaar,
September 1972.

[>]
   “the real me”: Cecil Smith, “Liza Minnelli Hopes ‘Real Me’ Shows Up in Special,”
Los Angeles Times,
September 3, 1972.

[>]
   “Fosse wanted to bring reality”
and following:
Phil Ramone, interview with the author, October 10, 2010.

[>]
   “When the sponsors would come around”: Liesl Schillinger, “Suddenly Liza,”
New
York,
February 26, 2006.

[>]
   “He could not be stopped”: Owen Roizman, interview with the author, September 2, 2010.

[>]
   “Now, you’ve gotta imagine”: Liza Minnelli interview,
Liza with a Z
(Showtime Entertainment, 2006), DVD.

[>]
   “I always watched [Fosse’s] face”: Ibid.

[>]
   “Liza really, really wanted to learn”: Candy Brown, interview with the author, January 7, 2011.

[>]
   “One night”: Owen Roizman, interview with the author, September 2, 2010.

[>]
   “When you get out there”: Ibid.

[>]
   What Minnelli needed now: Liza Minnelli interview,
Liza with a Z
DVD.

[>]
   “It was a hooker hotel!”: Ibid.

[>]
   “Liza was very nervous”: Christopher Newman, interview with the author, September 10, 2010.

[>]
   “I think she’s great because”: Fred Ebb, interviewed by Michael Kantor, March 29, 2009, New York Public Library for the Performing Arts, Theatre on Film and Tape Archive.

[>]
   Candy Brown took the long way out: Candy Brown, interview with the author, January 7, 2011.

[>]
   It always began the same: Bob Fosse describes his audition process in pages 54 to 57 of his May 13, 1976, deposition for
Grove Entertainment v. Pippin/Ostrow,
LOC, box 24C.

[>]
   “What do you see in ‘Tea for Two’?”: Chet Walker, interview with the author, December 22, 2010.

[>]
   “It has jumps, turns, rhythm”: Ibid.

[>]
   “Sometimes, he’d put in this”: Jane Lanier, interview with the author, February 10, 2011.

[>]
   “A lot of people wouldn’t see”: Kathryn Doby, interview with the author, November 27, 2010.

[>]
   “He was always there to”: Gordon Harrell, interview with the author, February 23, 2011.

[>]
   “He would tell people in”: Candy Brown, interview with the author, January 7, 2011.

[>]
   “I’ve seen Bob audition people”: Laurent Giroux, interview with the author, December 13, 2010.

[>]
   “Our eyes met during”: John Sowinski, interview with the author, February 1, 2011.

[>]
   “It was like he was cutting himself”: Albert Wolsky, interview with the author, August 11, 2010.

[>]
   “He would literally walk over”: Valarie Pettiford, interview with the author, February 2, 2011.

[>]
   “I think I’ve turned down”: “Bob Fosse,”
The Dick Cavett Show,
PBS, July 8, 1980.

[>]
   On the day Sacco was cut: McCandlish Phillips, “For Stage Tryouts, 4 Seconds of Hope,”
New York Times,
February 9, 1972.

[>]
   “I remember once”: Ken Urmston, interview with the author, May 12, 2011.

[>]
   “He would cast dancers”: Stephen Schwartz, interview with the author, January 29, 2011.

[>]
   “You couldn’t have gotten a more”: Candy Brown, interview with the author, January 7, 2011.

[>]
   Ann Reinking arrived at
and following:
Ann Reinking, interview with the author, November 15, 2010.

[>]
   “Ann extended Bob’s talent”: “Bob Fosse: Dancing on the Edge,”
Biography,
A&E, August 24, 1999.

[>]
   That night he called her: Ann Reinking, interview with the author, November 15, 2010.

[>]
   Reinking was cool: Ibid.

[>]
   “
Separate
is not the right word”: “Bob Fosse: Steam Heat,”
Great Performances: Dance in America,
PBS; first aired February 23, 1990.

[>]
   “I want to be a good father”: Chris Chase, “Fosse, from Tony to Oscar to Emmy,”
New York Times,
April 29, 1973.

[>]
   “Bob was the most notorious”: Cyrus M. Copeland,
Farewell, Godspeed: The Greatest Eulogies of Our Time
(New York: Harmony Books, 2003), 9.

[>]
   “I always look up to you, Bob”: Ibid., 10.

[>]
   Fosse asked John Rubinstein to: John Rubinstein, interview with the author, September 30, 2010.

[>]
   “When I
really
read the script”: Ibid.

[>]
   “The place had a fun and temporary feel”: Sandahl Bergman, interview with the author, April 27, 2012.

[>]
   “We were sort of looking at each other”: John Rubinstein, interview with the author, September 30, 2010.

[>]
   The morning after the fire, a sentimental stranger: Warren Allen Smith, interview with the author, August 19, 2012.

[>]
   “Bob would always be pushing people”: Alan Heim, interview with the author, July 22, 2010.

[>]
   “I arranged a very elaborate system”
and following:
Trudy Ship, interview with the author, January 21, 2011.

[>]
   “the Fosse diet”
and following:
Alan Heim, interview with the author, July 22, 2010.

[>]
   “Don’t worry about it”: Ben Vereen, interview with the author, January 11, 2011.

[>]
   “On the page”: Ibid.

[>]
   Schwartz and Hirson liked the idea: Stephen Schwartz, interview with the author, January 29, 2011.

[>]
   “The show was being discovered”: Ibid.

[>]
   “I realized [Fosse] was having me”: John Rubinstein, interview with the author, September 30, 2010.

[>]
   “I didn’t feel Bob’s dominance was”: Stephen Schwartz, interview with the author, January 29, 2011.

[>]
   Angrily annotated scripts:
Pippin
scripts, LOC, boxes 24A and 24B.

[>]
   “There’s a theory”: Harvey Evans, interview with the author, January 28, 2011.

[>]
   “
Pippin
is classic vaudeville with”: Ann Reinking, interview with the author, November 15, 2010.

[>]
   It was an interesting idea, Schwartz thought: Stephen Schwartz, interview with the author, January 29, 2011.