In the case of The Loved One, I was hired to collaborate on an updated version of the book.
About Terry Southern
Terry Southernwas an American novelist, essayist, screenwriter, and university lecturer, noted for his distinctive satirical style. Part of the Paris postwar literary movement in the 1950s and a companion to Beat writers in Greenwich Village, Southern was also at the center of Swinging London in the 1960s and helped to change the style and substance of American films in the 1970s.
More quotes from Terry Southern
I met The Beatles and Stones at the same time, because Michael Cooper was doing several of their album covers.
American writer (1924-1995)
When Kubrick decided to go the black comedy route with his movie, he thought of me to give it that flavor.
American writer (1924-1995)
It was a good experience working with Roger Vadim and Jane Fonda.
American writer (1924-1995)
Writing on a contract for a major studio you get the very best.
American writer (1924-1995)
The important thing in writing is the capacity to astonish. Not shock – shock is a worn-out word – but astonish.
American writer (1924-1995)
I met Claxton on the set of The Cincinnati Kid.
American writer (1924-1995)
Sometimes we would be staked out in the middle of the river, several barges tied together. So we could party.
American writer (1924-1995)
After Strangelove I also started work on an adaptation of The Collector.
American writer (1924-1995)
Blue Movie was based on an idea that Stanley Kubrick had. Somebody came by one day with some porn footage.
American writer (1924-1995)
David Burnett was the son of Martha Foley, who edited the Best American Short Stories series. She hired me to work with David and her to read stories for the anthology.
American writer (1924-1995)
An angel has no memory.
American writer (1924-1995)
You can’t do the end of the world in a conventionally dramatic way or Boy Meets Girl way.
American writer (1924-1995)
The Loved One has been the most underrated film I’ve worked on.
American writer (1924-1995)
I like to work at night.
American writer (1924-1995)
It’s often the case with directors that they don’t like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.
American writer (1924-1995)
In that sense, film is superior, but the difficulty is your lack of control as a writer.
American writer (1924-1995)
Grossing Out dealt with the western nations selling arms to the Third World and exploiting these countries.
American writer (1924-1995)
When I finally made it to the set, I spent a lot of time doing damage control on The Magic Christian.
American writer (1924-1995)
In the case of The Loved One, I was hired to collaborate on an updated version of the book.
American writer (1924-1995)
Peter Beard is one of those people I’ve known a long time. We have an affinity. We share certain values.
American writer (1924-1995)
I think the degree of alienation and despair is more universal.
American writer (1924-1995)
Someone wrote a piece about Henry Green in The Partisan Review that was so intriguing that I got one of his novels, Loving, I believe, which was the first that came to attention in the United States.
American writer (1924-1995)
It’s frustrating not to have more control over your material.
American writer (1924-1995)
For a director and a producer to be named on the writing credits is practically unheard of.
American writer (1924-1995)