Robert Redford Part 14

The two projects the new UA planned to relaunch with were the wartime Valkyrie, Valkyrie, which would star Tom Cruise, and Carnahan's which would star Tom Cruise, and Carnahan's Lions for Lambs, Lions for Lambs, which Lourd proposed to Redford to direct and star in. Redford had great incentive to make which Lourd proposed to Redford to direct and star in. Redford had great incentive to make Lions for Lambs Lions for Lambs work because he knew that a successful outcome could well lead to further codevelopments with UA, even a formal business partnership. work because he knew that a successful outcome could well lead to further codevelopments with UA, even a formal business partnership.

Lions for Lambs was about the war in Afghanistan or, more specifically, the national mood relating to American involvement in a foreign conflict that seemed to many not much different from Asian engagements of old. Redford was to play an idealistic West Coast professor, Stephen Malley, who attempts to motivate a college student slacker, whom Carnahan based on himself. The story also traced the fate of two of Malley's motivated students who join the U.S. Army and enter the conflict in Afghanistan. In a parallel plotline, a Republican senator and presidential hopeful attempts to persuade a leading female journalist to whitewash a questionable military strategy against the Taliban. was about the war in Afghanistan or, more specifically, the national mood relating to American involvement in a foreign conflict that seemed to many not much different from Asian engagements of old. Redford was to play an idealistic West Coast professor, Stephen Malley, who attempts to motivate a college student slacker, whom Carnahan based on himself. The story also traced the fate of two of Malley's motivated students who join the U.S. Army and enter the conflict in Afghanistan. In a parallel plotline, a Republican senator and presidential hopeful attempts to persuade a leading female journalist to whitewash a questionable military strategy against the Taliban.

"I thought it was ma.s.sively challenging," says Redford, "because it could so easily slip into leftist bias, and that would defeat its purpose. Malley's mission is to encourage social engagement in his students. It calls for talk before action. It's about learning as much as teaching, but it couldn't be preachy. It's about morality, but it can't be moralistic. Because of the divisive nature of Bush's war on terror, I thought it was timely. As a director, I emphatically wasn't wasn't taking sides. I didn't want to say this or that is right or wrong. I just felt taking sides. I didn't want to say this or that is right or wrong. I just felt Lions for Lambs Lions for Lambs could provoke a meaningful wider discussion." could provoke a meaningful wider discussion."

Redford envisaged Meryl Streep for the journalist Janine Roth and Denzel Washington for the Republican senator Irving. Streep jumped at the part. But Cruise became Irving. "You roll with these things," says Redford, "and of greater concern to me was the small budget-$35 million-and the short time frame, since our deal was to have the movie ready for a grand UA launch by Christmas 2007."

Troubles rained down. First, no major soundstage was available in Hollywood, so production was based at "a utility barn" at Ren-Mar Studios on Cahuenga Boulevard. Since extensive Afghanistan action scenes were required and the budget would allow no foreign locations, complex snow-machine work was sited at sunny Rocky Peak Park in Simi Valley. Then came eighteen-hour days "shuffling and reshuffling pages like card sharks." Some people thought Cruise was unprepared. He did not interact well with Streep and Cruise and Redford seemed to be on different wavelengths. Cruise was on record saying his interest in the project revolved around Redford, whose work he had followed joyfully since Ordinary People. Ordinary People. But Redford struggled with his costar's approach. "At one point he brought in some neoconservative foreign policy advisers, among them Robert Kagan, whom I thought were inappropriate," says Redford. "I called him on it, saying, 'Wait a second, Tom. This is not the way I want to do this, and certainly not with these people in my eye line.'" Cruise backed off. The delays went on. "It got to the point where we had to deploy cards with the lines written on them," says a crew member. "Meryl lost interest. She started playing with her BlackBerry. Bob freaked. It became very, very tense." But Redford struggled with his costar's approach. "At one point he brought in some neoconservative foreign policy advisers, among them Robert Kagan, whom I thought were inappropriate," says Redford. "I called him on it, saying, 'Wait a second, Tom. This is not the way I want to do this, and certainly not with these people in my eye line.'" Cruise backed off. The delays went on. "It got to the point where we had to deploy cards with the lines written on them," says a crew member. "Meryl lost interest. She started playing with her BlackBerry. Bob freaked. It became very, very tense."

Lions for Lambs stumbled through to make its deadline and opened, as promised, in November 2007. The previews did not go well. After the first screening in New York, Fox News reported that neither Streep nor Redford accompanied Cruise to the Museum of the Moving Image, where he was being honored that night. Observers read between the lines. stumbled through to make its deadline and opened, as promised, in November 2007. The previews did not go well. After the first screening in New York, Fox News reported that neither Streep nor Redford accompanied Cruise to the Museum of the Moving Image, where he was being honored that night. Observers read between the lines.

Ironically, the film incited some of the most impa.s.sioned reviews of Redford's recent career. Critic Amy Biancolli in the Houston Chronicle Houston Chronicle called it Redford's "bravest" film, and called it Redford's "bravest" film, and The Hollywood Reporter The Hollywood Reporter agreed that it "raises many important questions." But these plaudits were challenged by savage reviews deriding "pompous-a.s.sery" and "preachiness." agreed that it "raises many important questions." But these plaudits were challenged by savage reviews deriding "pompous-a.s.sery" and "preachiness."

Redford considered the failure his and his alone, and lamented the fact that the movie grossed just $63 million worldwide, rendering a loss, taking marketing costs into consideration, estimated by The New York Times The New York Times of about $50 million. Shortly after, with of about $50 million. Shortly after, with Valkyrie Valkyrie running late, Wagner announced the termination of her a.s.sociation with UA, and Redford's hope for some continuing production relationship was dead. running late, Wagner announced the termination of her a.s.sociation with UA, and Redford's hope for some continuing production relationship was dead.

In May 2008 the bombsh.e.l.l came when the Sundance Channel was sold. The channel, in terms of audience numbers, sponsorship investment and its doc.u.mentary production slate, was never healthier. Surpa.s.sing the projections made twelve years before, almost thirty million homes were now served, but its sacrifice was inevitable. It was the bitterest pill to accept that the purchaser was Rainbow Media, the programming subsidiary of Cablevision, owners of the Independent Film Channel. Redford's 6 percent share gave him $30 million. In the acquisition announcement, Josh Sapan, CEO of Rainbow, praised Sundance's record of achievement without acknowledging what media a.n.a.lysts predicted: that Sundance and the IFC would probably be merged in the coming years.

Wounded but uncowed, Redford stayed on as creative adviser to the Sundance Channel, retaining an office alongside its chief executive at Penn Plaza in New York. He immediately began to work toward a series of short films designed for mobile phone users. "I don't intend to rescind any of the policy we started out with," he said defiantly. "Sundance Channel was conceived to preserve experiment and diversity, and that's what it will continue to do."

Behind the bravado was a deep hurt. Sundance as defined just ten years before was no longer viable. "But he told us," said one staffer, "it's about evolution. We go forward with Sundance and remember our purpose: stewardship of independence, the same old acorn."

There was, of course, much for Redford to be thankful for. His personal life was never so serene, his fulfillment rich in interacting with his children and grandchildren, whose legions swelled to five when Amy and her husband, Denver-born CalArts theater director Matt August, had a daughter, Eden Hart, in August 2008. Old wounds, too, seemed healed. Lola's new life was based around Lake Champlain in Charlotte, Vermont, from where she ran Clio Inc., a media-based "virtual corporation" designed to pursue environmental and sociological activism, with her new husband, George Burrill. Part of each year she spent in New Zealand, but Redford often dined with her, enjoying, says Jamie, "the most pleasant relationship imaginable."

There was a special joy in seeing the creative growth among his loved ones. Shauna was no longer involved with the catalog or Sundance, but she continued painting and resided in Connecticut with her husband, Eric Schlosser, whose books Fast Food Nation Fast Food Nation and and Reefer Madness Reefer Madness became cla.s.sroom staples and earned him the moniker of the new Upton Sinclair. Jamie's screenwriting was thriving, with two script credits for the Hillerman Indian detective stories, now funded by PBS, under his belt and a directorial feature debut with became cla.s.sroom staples and earned him the moniker of the new Upton Sinclair. Jamie's screenwriting was thriving, with two script credits for the Hillerman Indian detective stories, now funded by PBS, under his belt and a directorial feature debut with Spin, Spin, a small-budget movie about a Latino family that starred Ruben Blades and was well received. Amy was also on the road to a significant film career, moving from acting roles in mainstream television series like a small-budget movie about a Latino family that starred Ruben Blades and was well received. Amy was also on the road to a significant film career, moving from acting roles in mainstream television series like s.e.x and the City s.e.x and the City to her own directorial start, to her own directorial start, The Guitar, The Guitar, described by festival director Geoff Gilmore as "a whimsical fairy tale," which premiered at the 2008 Sundance Film Festival. Redford "stood back and relished" all this, and was especially moved by the progress of Bylle, whose art rapidly evolved, veering through southwestern and Arabic themes to coalesce in Miro-like dream imagery that won the attention of IMG Artists, the adventurous management group whose concert and exhibition festivals would provide a global forum for her. "I had a skepticism about American expressionist art since CU," says Redford. "But Bylle's experiments changed my perspective. It reminds me how not all problems respond to linearity. The abstract viewpoint, the lateral thought, the described by festival director Geoff Gilmore as "a whimsical fairy tale," which premiered at the 2008 Sundance Film Festival. Redford "stood back and relished" all this, and was especially moved by the progress of Bylle, whose art rapidly evolved, veering through southwestern and Arabic themes to coalesce in Miro-like dream imagery that won the attention of IMG Artists, the adventurous management group whose concert and exhibition festivals would provide a global forum for her. "I had a skepticism about American expressionist art since CU," says Redford. "But Bylle's experiments changed my perspective. It reminds me how not all problems respond to linearity. The abstract viewpoint, the lateral thought, the poetry, poetry, is often the way to resolution." is often the way to resolution."

The serenity was dented by losses: Pakula, Michael Ritchie, George Roy Hill and Stuart Rosenberg all pa.s.sed away over a short period. Then came news that Paul Newman and Sydney Pollack were in advanced stages of terminal cancer.

For years he'd been trying to revive collaboration with Newman, and he'd come closest just recently, in optioning Bill Bryson's sunny memoir, A Walk in the Woods, A Walk in the Woods, about the author's trek with an ornery old buddy along the Appalachian Trail. Newman loved the idea, and the film was already alive in Redford's mind, was even penciled in for a 2009 shoot. Friendship between the men had never wavered. They had a spontaneous mutual empathy, a love of sports and the arts. Humor kept it moving. Throughout its thirty-five-plus-year span they kept in touch, usually visiting each other in Connecticut, at Newman's home in Westport. Newman's pleasure in his children's charity work and the initiatives that launched his Committee Encouraging Corporate Philanthropy (CECP) was as meaningful to him as Sundance was to Redford, but they never ceased taunting each other's self-seriousness. Throughout the years, the jokes were so endless they'd become ingrained. Once, Newman wrote to ask Redford to include his daughter's boyfriend's hemp-woven western shirts in the Sundance catalog. "Sure," Redford wrote back. "On the a.s.sumption that, if they don't work as fashion, they can be smoked." When Newman's Own, the internationally marketed sauces and other food products whose profits went to the Hole in the Wall children's charity, took off, Redford sharpened the gibes. In a scene in about the author's trek with an ornery old buddy along the Appalachian Trail. Newman loved the idea, and the film was already alive in Redford's mind, was even penciled in for a 2009 shoot. Friendship between the men had never wavered. They had a spontaneous mutual empathy, a love of sports and the arts. Humor kept it moving. Throughout its thirty-five-plus-year span they kept in touch, usually visiting each other in Connecticut, at Newman's home in Westport. Newman's pleasure in his children's charity work and the initiatives that launched his Committee Encouraging Corporate Philanthropy (CECP) was as meaningful to him as Sundance was to Redford, but they never ceased taunting each other's self-seriousness. Throughout the years, the jokes were so endless they'd become ingrained. Once, Newman wrote to ask Redford to include his daughter's boyfriend's hemp-woven western shirts in the Sundance catalog. "Sure," Redford wrote back. "On the a.s.sumption that, if they don't work as fashion, they can be smoked." When Newman's Own, the internationally marketed sauces and other food products whose profits went to the Hole in the Wall children's charity, took off, Redford sharpened the gibes. In a scene in The Milagro Beanfield War, The Milagro Beanfield War, a shopper in the background asks the clerk for Newman's Own salad dressing. "That's no good," says the storekeeper. "Try something else." a shopper in the background asks the clerk for Newman's Own salad dressing. "That's no good," says the storekeeper. "Try something else."

Even in the grip of terminal illness, Newman remained ambitious. Keen on A Walk in the Woods, A Walk in the Woods, he also wanted to direct for the stage for the first time, and his production of he also wanted to direct for the stage for the first time, and his production of Of Mice and Men Of Mice and Men was under way at the Westport Country Playhouse when he pa.s.sed away on September 26. Redford saw him six weeks before he died. He had recovered well from a long bout of chemotherapy at Sloan-Kettering and was at peace. "It was tough. He was frail. But we'd had such a joyous shared experience and his spirit was so strong that it was hard to be sad about it. I was pleased. He was pleased. It was a calm adieu." was under way at the Westport Country Playhouse when he pa.s.sed away on September 26. Redford saw him six weeks before he died. He had recovered well from a long bout of chemotherapy at Sloan-Kettering and was at peace. "It was tough. He was frail. But we'd had such a joyous shared experience and his spirit was so strong that it was hard to be sad about it. I was pleased. He was pleased. It was a calm adieu."

Making his peace with Sydney, though, was never going to be easy. Their history was too intense, their achievements over forty years too intricately interlinked. Living in Pacific Palisades, Pollack had been working nonstop until The Interpreter, The Interpreter, his 2005 movie with Nicole Kidman. He hadn't visited Sundance for several years but maintained an interest in indie film and was preproducing a drama for HBO about the Bush-Gore presidential election when stomach cancer was diagnosed. He resigned from the movie, his 2005 movie with Nicole Kidman. He hadn't visited Sundance for several years but maintained an interest in indie film and was preproducing a drama for HBO about the Bush-Gore presidential election when stomach cancer was diagnosed. He resigned from the movie, Recount, Recount, and Redford heard of his illness through the children, Becky and Rachel, who had stayed very close friends with Shauna and Amy. Redford phoned the Pollacks' home and spoke to Claire, his wife, but the requested callback from Sydney never came. Finally, Redford "just got in the car and drove over and said, 'Hey, what's going on?'" The reunion was awkward. Pollack was upbeat, even exuberant. But there was no talk of the past. and Redford heard of his illness through the children, Becky and Rachel, who had stayed very close friends with Shauna and Amy. Redford phoned the Pollacks' home and spoke to Claire, his wife, but the requested callback from Sydney never came. Finally, Redford "just got in the car and drove over and said, 'Hey, what's going on?'" The reunion was awkward. Pollack was upbeat, even exuberant. But there was no talk of the past.

"Sydney knew what lay ahead and had settled his mind on dealing with it, and I was just content that we were able to spend some time," says Redford, "and to let him know how thankful I was for the friendship and the work."

In June, at the private memorial service for Pollack at an aviation hangar in Santa Monica, Redford carefully prepared notes for his eulogy. Dustin Hoffman was there, along with Al Pacino, George Clooney, Harrison Ford and a throng of leading Hollywood figures reflective of Pollack's achievement. Redford found himself divided. He'd once written to Carol Rossen that L.A. remained forever uncomfortable for him, "still and always the gorilla in the living room." Now, surrounded by the faces that emblematized the L.A. Pollack loved, he felt depressed by the gap between them. "I've no doubt [the depression] was in response to the special nature of our friendship. It's hard to summarize such a complicated and devoted friendship in a handful of words, and it's hard to share it."

In the end, bobbing on a sea of emotions, he cast away his notes and improvised. He told the gathered friends and family, "I think a part of you dies when someone you love dies."

It was, of course, finally about film, just film. The relative failure of the recent films he most cared about, An Unfinished Life An Unfinished Life and and Lions for Lambs, Lions for Lambs, was, in the greater scheme of things, unimportant. His movies had c.u.mulatively earned almost $1 billion and he was still acknowledged, as he was at the millennium when was, in the greater scheme of things, unimportant. His movies had c.u.mulatively earned almost $1 billion and he was still acknowledged, as he was at the millennium when Life Life selected him as a symbol of grace and glamour for the twentieth century. Reflecting on his oeuvre, he decided that selected him as a symbol of grace and glamour for the twentieth century. Reflecting on his oeuvre, he decided that Jeremiah Johnson Jeremiah Johnson was his favorite movie, because it was all about continuing. Johnson suffers the slings and arrows, but is uncowed. In the same spirit, he would go on, choosing two new movie projects that sprang from his interests in sports and society. With was his favorite movie, because it was all about continuing. Johnson suffers the slings and arrows, but is uncowed. In the same spirit, he would go on, choosing two new movie projects that sprang from his interests in sports and society. With Lions for Lambs Lions for Lambs coproducer Tracy Falco, a recent executive appointee at Universal, he agreed to develop a film based on the story of the first African American Major League Baseball player, Jackie Robinson, in which he would play the Brooklyn Dodgers general manager, Branch Rickey. Given the new accent on national integration that came with Barack Obama's election as president in 2008, the subject felt timely. But superseding it came coproducer Tracy Falco, a recent executive appointee at Universal, he agreed to develop a film based on the story of the first African American Major League Baseball player, Jackie Robinson, in which he would play the Brooklyn Dodgers general manager, Branch Rickey. Given the new accent on national integration that came with Barack Obama's election as president in 2008, the subject felt timely. But superseding it came The Conspirator, The Conspirator, a script about the a.s.sa.s.sination of Abraham Lincoln that crucially examined the role of John Wilkes Booth's alleged collaborator Mary Surratt whose state execution, along with three other coconspirators, remains controversial. Redford's film, finally greenlighted as a new directorial venture in the spring of 2010, was designed less as a historical piece than a polemic. Bob Woodward was thankful for his stubborn engagement with social issues in his films."The gift he brought to me and Carl and a script about the a.s.sa.s.sination of Abraham Lincoln that crucially examined the role of John Wilkes Booth's alleged collaborator Mary Surratt whose state execution, along with three other coconspirators, remains controversial. Redford's film, finally greenlighted as a new directorial venture in the spring of 2010, was designed less as a historical piece than a polemic. Bob Woodward was thankful for his stubborn engagement with social issues in his films."The gift he brought to me and Carl and All the President's Men All the President's Men was the gift of an observer. He had a skill to hover above the project and cut to the key elements with amazing acuity," says Woodward. "That degree of a.n.a.lytical skill enhances everything he does, and we need it in all divisions of our society." was the gift of an observer. He had a skill to hover above the project and cut to the key elements with amazing acuity," says Woodward. "That degree of a.n.a.lytical skill enhances everything he does, and we need it in all divisions of our society."

It was this observational obsession that ultimately explains his appet.i.te for storytelling and his ongoing quest for characters to play. As with Chaucer and d.i.c.kens, who charted their worlds with scorn and affection in equal measure, his urge remained to shine a light on his own. "I could never stop acting," he told Jamie, "because it would be like removing curiosity and, to me, that would be like removing life itself." Acting and stardom, of course, were different matters. Acting he was compelled to; stardom was a gift, something to be grateful for, and proud of. Proud not in vainglory, but because he knew what he'd achieved in transferring its power into something concretely separate-Sundance-where others could engage and experiment with their own art. What remained, beyond the challenge of age, was the problem of how to hold on to the magical province he had created.

The Sundance Group, in its high-flight ambition, was dead. But the Sundance Inst.i.tute, the arts principle, was intact-though still under threat because of the failure of the business umbrella. Redford remained committed to restoring its vitality and was heartened when Bylle's art opened a door. IMG Artists was launching an inaugural California version of its well-established Tuscan Sun Festival. The IMG format combined concerts performed by the world's most acclaimed musical artists with literary, culinary and visual art exhibitions. Barrett Wissman, IMG Artists' chief executive, wanted to showcase Bylle's work as a local artist. Wissman met Redford and told him of his plans to explore cross-cultural events globally. Already there were Sun Festivals in Asia and Europe, and Wissman saw an important new opportunity in the Middle East, where Sheikh Zayed bin Sultan al-Nahayan of the United Arab Emirates was developing Abu Dhabi with unprecedented focus on the arts. Wissman suggested bringing Sundance to Abu Dhabi, which was an idea that immediately appealed to Redford's vision of constant evolution. In July, the sheikh sent his private Gulfstream jet to collect Redford for a visit to his desert kingdom. There Redford proposed the Middle Eastern Sundance Inst.i.tute. Several prominent Sundance board members opposed Redford's plan, but he was adamant: "Sundance was always about risk and exploration. I saw this as a wonderful opportunity to engage new voices across the globe and I determined to pursue it."

Redford dismisses the idea of involvement in Middle East politics but acknowledges the potency of film emerging from the nexus of modern Arabia. He was well aware of the contrary opinions of the Emirates' society, aware of the implications of a.s.sociation with a cultural tradition infamous for its downgrading of women, where, even today, women are airbrushed from newspaper photographs. "Articulating opinions, disseminating, debating: that's what film is about for me. Today the whole region of the Middle East is the crucible. Much of the future-all our futures-will be decided in this area."

Back in the Sundance boardroom, skepticism prevailed, and Redford buckled down for a fight. "My sense is that the resistance will go on. Sundance needs nourishment."

Sundance, of course, was more than an arts principle. It was a place. In his diary, speculating on the importance of the canyon, he wrote: "For years I searched for a religious concept that would fit. Nothing ever did. All concepts, even though momentarily satisfying, fell victim to resistance. And resistance became reality. Then, some thirty years ago, I realized it had been underfoot all the while: it was nature. It contains no politics and no corruption of power. It is constant."

Not long before, to consecrate its continuance, Redford had instructed Julie Mack to survey all the Sundance holdings, which spread over more than six thousand acres of meadow oakbrush, chokecherry and aspen forest, to define a conservation eas.e.m.e.nt of almost one thousand acres, which would be the Redford Family Nature and Wildlife Preserve, entrusted to the nation in perpetuity. This symbolic gesture, perceived as a tax break maneuver by the cynical, was as solid a marker as the Promontory Summit transcontinental railroad golden spike. At the dedication ceremony held at the high vantage of Smith Corner, Jamie told the a.s.sembled friends and supporters: "I know that I speak for my sisters when I say that of all the things [my father] provided to us, the most important are these values of conservation. We hope to carry them and pa.s.s them on to our children. Any of you who knew me as a teenager, tearing up the canyon on my motorcycle, putting my guitar amp on the deck, trying to see if people could hear me across the other side of the mountain, might have wondered what was going to happen to these lands. Well, I'm here to tell you some good news: nothing is going to happen to them, absolutely nothing other than what geological time and nature have in store."

The fact that the family's affection for Sundance had never wavered was the source of greatest pride of all to Redford. Shauna visited less, but her heart was still there. Jamie had a voice in management, always ready to engage in boardroom disputes and come down on the side of continuance. Amy spent Christmas in the A-frame with Matt and her new baby. "So much of our childhood and, I suppose, our shared dreams are in this place," says Amy. "My memories are ones of compa.s.sion and unity and all that could be achieved by staying in harmony with the elements. But it has changed. Once, Sundance was a place of meditation and retreat. Now it is the forefront of a mission."

Growing up, Jamie says, his father often seemed to him like a spirit tethered by the longest, thinnest thread to planet Earth. Still, in the force of his tenacity, he had become Jamie's greatest influence: "In my darkest days on the transplant waiting list antic.i.p.ating death, my father's courage kept me going." Ironically, Jamie was now his father's role model. "I love all my children equally, but Jamie has carried me forward," says Redford. "I write to him when I'm in distress. I tell him my woes and he shows me the way. His journey has been farther than any of ours. He's seen more of the darkness and more of the light."

In July 2009 Redford married Bylle in a quiet ceremony at the Louis C. Jacob Hotel in Hamburg, confounding those who believed he would never settle. The union is tighter and more secure than any he has enjoyed in his life, but in many ways the doubters are right. Redford remains peripatetic, shifting with the seasons from New York to Santa Fe, from Sundance to St. Helena. Jamie remains in Fairfax, where they often meet. "I try to slow him down," says Jamie. "I tell him to go back to Sundance, that that's his destiny, that's the final frontier."

Redford well knows it, and to recognize a frontier, as Heidegger says, is to have gone beyond it.

Acknowledgments.

It is impossible to adequately thank the many people who gave this book life. What started as a modest project became a ten-year one, reflective of the broad ground covered. Patience and belief became the cornerstones I depended on, and I am grateful to those who stayed true.

I could not have written the book without the input of my children, Corey Callan and Paris Callan, both drama and film students who will, I've no doubt, make their marks. Corey's wisdom and scholarship color every page (especially the annotations). Paris was an equally ingenious adviser, giving me insight and understanding from the beaches of Oahu to the darkest nights in Dublin. I was a distracted father far too often during these years, and I wrap my thanks in sincerest apology. The next one, I promise, will be easier.

The initiator of the book died before it saw the light of day. Susan Hill was an exceptional editor. She was also a loved friend. We worked together on three books, but that was the least of it. It was her conviction that Robert Redford was undervalued, and I hope herein I've answered some of her questions about him. Another key contributor who pa.s.sed away during the writing was the author Francis Xavier Feighan, the best buddy, who took me around the San Fernando Valley of Redford's boyhood. I'm indebted to him for establishing the network of contacts in Los Angeles and for supplying the linguistic riddles (words were his thing) that made his in-the-field reports so joyfully sustaining. Francis conducted a number of important interviews for this book and opened thirty years of his movie files to me. I miss our afternoons at Jerry's Deli on Ventura Boulevard.

Thanks to William Armstrong for green-lighting this work to begin with and for publishing my work for so many years. Thanks, also, to the writers John McGahern, Brian Clemens and Anthony Shaffer, who variously edited me, encouraged me and pushed me onward. Also to Philip Hinchcliffe and Chris Menaul, who grounded me in London way back and opened the drama doors at the BBC and elsewhere that were foundational in building this book. I also must acknowledge the early directors of my own dramas, Briann MacLochlainn, Michael O'Herlihy and Martin Campbell, who taught me most of what I know about filmmaking.

Since research for this book spanned two continents, my appreciation goes to a number of people on both sides of the Atlantic who built the bridges. Where I could, I visited every homestead, grave site or movie studio, the better to understand my subject's journey. Gerald M. Cruthers and Marilyn Cruthers worked tirelessly in Connecticut and Rhode Island to a.s.semble genealogical details and catalog all the residences of the New England Redfords. In Austin and San Marcos, Peggy Tombs scoured the Texan history. At the same time, Karen Cook and Judith Moore worked in Scotland, Birmingham and Manchester, tracing the Redfords of yore. In England, Michael Herbert, deputy registrar of the Manchester Register Office, was immensely helpful. In Los Angeles, Sheila Winston and Lisa Thornberg provided further doc.u.ment research and support and transport when I and my family were in town. In Carlisle, Pennsylvania, John J. Slonaker, chief of the Historical Reference Branch at the Department of the Army, was very helpful. Orla McEvoy, Lia O'Sullivan, Emer Ghee, Shirely Connell, Jeni McConnell, Paul Melrose, Colette Colfer, Catherine Barry and Fiona O'Dwyer collated library research and made sense of a mountain of often contradictory files, spanning centuries. In Utah, I relied on the trojans of Sundance, often Jean Bair Davis. Also at Sundance, Mich.e.l.le Satter, Mike Washburn, Nicole Guillemet, Geoff Gilmore and Joyce Deep were greatly supportive. I owe a special thanks to Julie Mack for her determination to explain the workings of Utah life and politics, and for making me feel welcome.

The Los Angeles partic.i.p.ants were crucial. Marcella Scott Krisel, a close friend of Martha and Charlie Redford's from the Santa Monica days, was the first person to introduce me to the Redfords' old neighborhood. Carol Eve Rossen was a sound navigator over transatlantic midnight phone calls. I am also indebted to Bill and Lucrecia Coomber, Pat Ader, Lala Brady, George Menard, Vivian Christensen, Margaret Mitch.e.l.l Clayton, Nina Gallagher, Steve Bernhardt, Jan and Bob and Tom Holman Peterson, Bill Chertok, Jim Collis, Kit Andrews, Sheila Andrews, Joanne Ward, Betty Webb, Tissie Keissig, Terry Drinkwater, Dave Ryan, Dave Stein, Don Leonard, Robert Nairin, Bill Van Atta, Alan Jackson, Andy Dowdy and Cal Vincent. Bob Brigham, d.i.c.k Guttman, Jack and Frances Stovall, Lionel Krisel and Bob Enrietto of the Hawaii Film Commission were also supportive. Shirley Story Ackroyd opened the doors for us in Van Nuys. Thereafter, at Van Nuys High School, I must thank Diane Sharrer. Judy Anderson at Laser Disc a.s.sociation supplied me with transcripts of Paul Newman's commentaries on Butch Ca.s.sidy and the Sundance Kid, Butch Ca.s.sidy and the Sundance Kid, which were useful. At Wildwood Enterprises in Los Angeles, the patient and fastidious Donna Kail kept it all moving in Los Angeles, and Sarah Mendleson and-especially-Connie Wethington kept me smiling. which were useful. At Wildwood Enterprises in Los Angeles, the patient and fastidious Donna Kail kept it all moving in Los Angeles, and Sarah Mendleson and-especially-Connie Wethington kept me smiling.

In New York, Meg McSweeney of the American Academy of Dramatic Arts went beyond the call of duty as archivist and prompter, and I'm thankful for our friendship. The former president of the academy, George Cuttingham, also a.s.sisted in a.n.a.lyzing the academy's history and Redford's tenure. At the Shubert Archive, Mark E. Schwartz supplied many doc.u.ments. Martha Wilson, Garson Kanin's a.s.sistant, was also hugely supportive. Also in New York I was helped by the late Harryetta Peterka, Kevin Scott and Dale Zaklad at the Museum of Radio and Television (now the Paley Center for Media), and the great theatrical sleuth, Jay Stein. At Architectural Digest, Architectural Digest, Josie Haskin kindly supplied copies of the 1975 layout of the Redfords' Fifth Avenue home. At the Pratt Inst.i.tute in Brooklyn, the academic advis.e.m.e.nt director, Beverly Warmath, was a terrific help. Donaldson Brown and Carla Cogan of Wildwood's New York office were kind and efficient at every turn. I wish to make a special note of Ginny Burns Kelly. The time I spent with her in New York and the stories she shared were inspirational. Josie Haskin kindly supplied copies of the 1975 layout of the Redfords' Fifth Avenue home. At the Pratt Inst.i.tute in Brooklyn, the academic advis.e.m.e.nt director, Beverly Warmath, was a terrific help. Donaldson Brown and Carla Cogan of Wildwood's New York office were kind and efficient at every turn. I wish to make a special note of Ginny Burns Kelly. The time I spent with her in New York and the stories she shared were inspirational.

In London, this marathon work was nurtured at various stages by Helen Gummer, Allegra Houston, Ian Chapman and Ian Macmillan. It was Jeremy Trevathan who saw the need for an American center of operations and introduced Knopf into the equation.

In all, I met, interviewed and corresponded with more than three hundred players in Robert Redford's world. They gave me courtesy, debate, hospitality, memorabilia and time. Among them, I express special appreciation to Sydney Pollack (who took time out from shooting a movie at Paramount to open his script files and a.s.sist me), George Roy Hill (who provided a day of unforgettable reminiscences in his New York home), Michael Ritchie, Barbra Streisand, Alan J. Pakula ("the shrink"), Jane Fonda (thank you, Jan), Arthur Penn, Bob Woodward, Stuart Rosenberg, Hume Cronyn, Paul Newman (special thanks to Dorese, in Paul Newman's office), Paul Burke, Tom Skerritt, Mike Connors, Patrick Markey, John Saxon, Sondra Lee, Jack Clayton, Liam Clancy, Julie Harris, Bradford Dillman, Hugh Hall, Mary Tyler Moore, Barry Levinson, Chick Vennera, Mike Nichols, Jeremy Larner, David Ward, Stephanie Phillips, Mike Dowd, Mike Frankfurt, Steve Frankfurt, Richard Altman, Michael Phillips, Julia Phillips, Garson Kanin, Tom DiCillo, Ken Brecher, Brent Beck, Fae Beck, Alex Beck, Jerry Hill, Mike Moder, Gary Beer, Richard Friedenberg, John Landis, David Cronenberg, Frank R. Pierson, Jeremy Kagan, Reg Gipson, Stuart Craig, Karen Tenkhoff, Susan Harmon, Hank Corwin, Tom Rolf, Freeman Davies, Thomas Newman, Gavin Lambert, Dan Melnick, Walter Coblenz, Chris Soldel, Manny Azenberg, Bryan Lourd, James Grady, Joanna Lumley, Gordon Bowen, Bob Crawford, Marion Dougherty, Harry Mastrogeorge, John Pierce, Pete Masterson, Carlin Masterson, John Adams of the Natural Resources Defense Council, Michael Nozik, Damon Pennington, Ruben Blades, Richard Ayres, Jack Brendlinger, Stan Collins, Mary Alice Collins, Conrad Hall, Cynthia Burke, David Rayfiel, Bernie Pollack, Gary Liddiard, Bunny Parker, Ian Calderon, Sherman Labby, Richard Schickel, Sterling Van Wagenen, Wayne Van Wagenen, Bill Bradley, Ted Wilson, George Peppard, James Coburn, Monique James, Rob Morrow, Debbie Slyne, Michael J. Reilly, Lou Marks, Marjorie Bird, Buddy Hoffman, Ben Young, Jo Sanchez, Robert Altman, Leslie Halliwell, Eric Gertz, Richard Brooks, Ron Greene, Jake Eberts, Ed Brown, Michael Daves, Bill Carver, Joan Claybrook, Jon Avnet, Ted Zachary, Rod Taylor, Penny Fuller and Yoko Ono.

Among the libraries and records offices consulted or visited were the Mugar Memorial Library at Boston University; the Connecticut State Library in Hartford; the Rhode Island Historical Society in Providence; the Manchester Central Library in England; the Manchester Register Office in Spinningfields; the General Register Office for Scotland in Edinburgh; the Foundation for Ancient Research and Mormon Studies in Provo, Utah; the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences in Los Angeles; the library of the Museum of Television and Radio (now the Paley Center for Media) in New York City; the archive at the Pratt Inst.i.tute in Brooklyn; the library of the British Film Inst.i.tute in London; the archive of the University of Colorado at Boulder (thank you, Jeannine Malmsberry and library technician Marty Conner Covey); the Federal Archives Library in Fort Worth, Texas; and Trinity College Library Dublin.

Also in Ireland, I must thank the ever-supportive Trina Stalley, Professor Roger Stalley, Professor Kevin Rockett of Trinity College's drama, film and music department, Trinity College provost John Hegarty, Ian Condy (thank you for those overnight deliveries of New York newspapers), Dr. John Kelly, Shay Hennessy, Ray McGovern, Sean Simon, my inspirational sister, Jeannette and Jim Kearney, my great brothers Eamonn and Ron Callan and the wonderful Mae Ward, a special lady we loved who sadly pa.s.sed away just before completion of this work. I must not forget Antony and Jay Worrall Thompson, who egged me on endlessly, or my business partner and friend, Olivier Capt (and Alma). Also, transcendently, Brian Wilson.

The nature of this book was acc.u.mulative as much as evaluative. Two leading players kept control of the flying pieces. They are Lois Smith of PMK, who introduced me to Robert Redford and was the project's manager from its earliest days, and Wendy Hopkins, Redford's Utah a.s.sistant, who fielded every query, promise and complaint and supplied mountains of FedEx packages to nourish me. I came to regard Wendy as my field guide.

Robert Redford was a gracious host. His generosity goes without saying, but his trust was the greater gift. Because of him, I had the opportunity to talk with Jamie Redford, Shauna Redford Schlosser, Amy Hart Redford and Sibylle Szaggars, and their candid insights proved invaluable.

For safe navigation of this book to its home between Knopf covers, I thank Sonny Mehta. I'm also indebted to the great Jonathan Segal, who honed a quarter of a million words into a manageable text and never ceased challenging me to go one better. Jon's support, vision and skill are deeply appreciated.

Finally, a word of grat.i.tude to my father, Michael Callan, a supreme storyteller and historian, whom we also lost just weeks before the publication of this work. His appet.i.te for education and his example of tireless labor drive my life. My dear mother, Margaret Feeney (whose favorite movie heroine, like Robert Redford's, was Greer Garson), followed every stage of the setup of this work with a pa.s.sion, but sadly pa.s.sed before we made it into print also. The heart of this work belongs to both of them. The rest is in the hands of my constant muse and collaborator, Ree Ward Callan, and the undefeatable Corey Wilson Callan and Paris Callan. We crossed some oceans.

Notes and Sources Since this is Robert Redford's life story, I have attempted to allow him to speak for himself. To that end, several interviews, formal and informal, were conducted over fourteen years, commencing in March 1995. Sessions took place in Sundance, Utah; Marin County, California; Los Angeles; New York; and Dublin, Ireland. Apart from formal taped sessions, we met often for lunches and dinners. Redford kindly commented on various aspects of this work in progress and introduced me to members of his family and to friends, business partners and co-workers. In all, more than three hundred partic.i.p.ants in the Robert Redford story were interviewed.

The primary research source, beyond interviews and visiting with Redford during the production for his movies, was his own jottings. An ardent scribbler, he keeps a bound notebook in his briefcase and constantly writes down observations, reflections and literary snippets that come his way. He started keeping a diary in Los Angeles in 1957 and, irregularly since, has filled several volumes of reminiscences. These take the form of short essays, which are occasionally little more than ill.u.s.trated doodles. Throughout, though, there are fragments of detailed self-a.n.a.lysis and seminal notions of new projects. The early diaries, called "Varwood" and "The German Diary," are housed in the Mugar Memorial Library at Boston University. Other journals, including "Redford Musings," dating from the 1970s, are at the Sundance archive in Utah. Redford's well-dispersed drawings and paintings dating from 1954 have now been gathered and cataloged at the Corporate Management Group offices in Los Angeles.

Additionally, the Sundance archive turned over to me Redford's correspondence files from the 1960s onward. Meticulously kept, they record his communications with individuals as diverse as Richard Leakey, Bill Bradley and Mort Sahl. Also supplied and referenced were the screenplays of the Wildwood-produced films, kept at the Sundance archive.

The late Sydney Pollack graciously allowed me access to his script library at Mirage, his production company, housed at Paramount Studios. There I had the chance to read his personal shooting versions of the seven movies he made with Redford, together with his preparatory notes and correspondence with David Rayfiel, Dalton Trumbo, Errol Trzebinski and others.

George Roy Hill wrote my letter of introduction to the Margaret Herrick Library at the Academy of Motion Picture Arts and Sciences in Los Angeles, where his papers are lodged. The Hill archive includes versions of his scripts and correspondence, which are revealing about his casting process and authorial views.

Redford's acting school, the American Academy of Dramatic Arts, gave me access to the archive files relating to his schooling there in 195759. These include his workshop a.s.sessments.

Other doc.u.ments were supplied by Emerson Junior High School and Van Nuys High School in Los Angeles, the Pratt Inst.i.tute in Brooklyn, and the Sundance Inst.i.tute in Los Angeles.

Wayne Van Wagenen of Provo, Utah, supplied me with a large file of clippings and family memorabilia relating to the Redford and Van Wagenen families, including genealogical papers.

Civic, business and marriage records were gathered in five separate areas: Scotland, Manchester, Rhode Island, Texas and Los Angeles.

I have refrained from citing reviews where I have used just a short quotation to convey the general critical reception to a particular film or play.

All major written and published materials referred to are listed in the bibliography.

Introduction America Is the Girl America Is the Girl 1 "people need the chance to see": "people need the chance to see": Robert Redford, "Search for Common Ground," Robert Redford, "Search for Common Ground," Harvard Business Review, Harvard Business Review, MayJune 1987, 108. MayJune 1987, 108.2 "This rustic Xanadu and the ideals behind [it]": "This rustic Xanadu and the ideals behind [it]": Walter Kirn, "The Two Hollywoods," Walter Kirn, "The Two Hollywoods," The New York Times Magazine, The New York Times Magazine, November November 16, 1997 16, 1997.3 "a subtle blend of Owen Wister's Trampas": "a subtle blend of Owen Wister's Trampas": Laurence Luckinbill, "Oh, You Sundance Kid!" Laurence Luckinbill, "Oh, You Sundance Kid!" Esquire, Esquire, October 1970, 160. October 1970, 160.

1. West West 1 "our Manifest Destiny": "our Manifest Destiny": Thomas R. Hietala, Thomas R. Hietala, Manifest Design: American Exceptionalism and Empire Manifest Design: American Exceptionalism and Empire (Ithaca, N.Y.: Cornell University Press, 2003), 255. (Ithaca, N.Y.: Cornell University Press, 2003), 255.2 California, especially, inspired heaven: California, especially, inspired heaven: James Kirby Martin et al., eds., James Kirby Martin et al., eds., America and Its People America and Its People (New York: HarperCollins College, 1993), 432. (New York: HarperCollins College, 1993), 432.3 "California college girls are larger": "California college girls are larger": Timothy White, Timothy White, The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern California Experience The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern California Experience (New York: Henry Holt, 1994), 8. (New York: Henry Holt, 1994), 8.4 as the Dust Bowl casualties came west: as the Dust Bowl casualties came west: Ibid., 55. Ibid., 55.5 It wasn't unusual, if you were born: It wasn't unusual, if you were born: Interview with George Menard, March 26, 1995. Interview with George Menard, March 26, 1995.6 the Redfords, Saxon in origin, had split: the Redfords, Saxon in origin, had split: Civic record doc.u.ments, Manchester Central Library, including marriage of Peter Redford and Ann Mellor, July 17, 1820 (Public Record no. 44); Peter, son of Peter and Alice Redford, baptized May 20, 1792 (Public Record no. 18); Peter Radford [adapted to Redford] married Alice Burrow September 16, 1787 (Public Record no. 38). Occupation: muslin weaver. Other children of Peter and Alice include Ann, their firstborn, who was baptized twice at Salford Christ Church (King Street Bible Christian) and Manchester Cathedral. Other Redfords (and Radfords) indicate Catholic baptism services. Pre-1850, all signed doc.u.ments by Redfords and marital partners are marked with an Civic record doc.u.ments, Manchester Central Library, including marriage of Peter Redford and Ann Mellor, July 17, 1820 (Public Record no. 44); Peter, son of Peter and Alice Redford, baptized May 20, 1792 (Public Record no. 18); Peter Radford [adapted to Redford] married Alice Burrow September 16, 1787 (Public Record no. 38). Occupation: muslin weaver. Other children of Peter and Alice include Ann, their firstborn, who was baptized twice at Salford Christ Church (King Street Bible Christian) and Manchester Cathedral. Other Redfords (and Radfords) indicate Catholic baptism services. Pre-1850, all signed doc.u.ments by Redfords and marital partners are marked with an X, X, representing their signature. representing their signature.7 Henry Redford, a merchant who became: Henry Redford, a merchant who became: James Alexander Manning, ed., James Alexander Manning, ed., The Lives of the Speakers of the House of Commons, from the Time of King Edward III to Queen Victoria The Lives of the Speakers of the House of Commons, from the Time of King Edward III to Queen Victoria (London: G. Willis, 1851), 211. (London: G. Willis, 1851), 211.8 In 1849, Presbyterian Elisha Redford married: In 1849, Presbyterian Elisha Redford married: Elisha Redford (18271904) Civic Record, Manchester, 1850. Elisha Redford born November 9, 1827, Manchester, England. Father Peter Redford, born, Manchester, England; mother Anne Bradshaw, born, Manchester, England. Elisha's wife is listed as Ann McCreery [ Elisha Redford (18271904) Civic Record, Manchester, 1850. Elisha Redford born November 9, 1827, Manchester, England. Father Peter Redford, born, Manchester, England; mother Anne Bradshaw, born, Manchester, England. Elisha's wife is listed as Ann McCreery [sic]. From Stonington, Rhode Island Register (Stonington Deaths, JanuaryJune, 1907 [sic], Vol. P).9 By century's end, Elisha was not much better off: By century's end, Elisha was not much better off: Last Will and Testament of Elisha Redford, dated May 4, 1874. District of Stonington Probate Court. Book 36, page 288. Last Will and Testament of Elisha Redford, dated May 4, 1874. District of Stonington Probate Court. Book 36, page 288.10 While the Harts drifted, the Greens built: While the Harts drifted, the Greens built: Unt.i.tled doc.u.ments in the Federal Archives Library, Forth Worth, Texas. Unt.i.tled doc.u.ments in the Federal Archives Library, Forth Worth, Texas.11 Along with three partners, he founded: Along with three partners, he founded: Ibid. State Representative Libby Linebarger wrote to Robert Redford on September 25, 1990: "One of the counties I represent is Hayes County, a beautiful area along the eastern base of the Texas Hill Country.... A resident of Hayes County and former state representative, Bob Barton, has been doing a great deal of research on Hayes County's earliest settlers and discovered that you are the great-great-grandson of two of Hayes County's earliest settlers and Democratic elected officials." On December 17, Redford responded: "Believe it or not, my knowledge of family history is limited. No one really ever gave it to me. Only a man named Eddie Gresin (Green) of San Marcos has kept me at all informed." Ibid. State Representative Libby Linebarger wrote to Robert Redford on September 25, 1990: "One of the counties I represent is Hayes County, a beautiful area along the eastern base of the Texas Hill Country.... A resident of Hayes County and former state representative, Bob Barton, has been doing a great deal of research on Hayes County's earliest settlers and discovered that you are the great-great-grandson of two of Hayes County's earliest settlers and Democratic elected officials." On December 17, Redford responded: "Believe it or not, my knowledge of family history is limited. No one really ever gave it to me. Only a man named Eddie Gresin (Green) of San Marcos has kept me at all informed."12 His father, John Gabriel, was a traveling salesman: His father, John Gabriel, was a traveling salesman: Genealogy from Missouri Records office, Travis County Records, Austin City Directory, Department of Commerce and Labor: twelfth national census June 1900; fourteenth national census, 1920, etc. Descendants of George Green and Pate-Green ancestor chart established by Peggy Blackmore Tombs, Marble Falls, Texas. Genealogy from Missouri Records office, Travis County Records, Austin City Directory, Department of Commerce and Labor: twelfth national census June 1900; fourteenth national census, 1920, etc. Descendants of George Green and Pate-Green ancestor chart established by Peggy Blackmore Tombs, Marble Falls, Texas.13 It was the unlikeliest of marriages: It was the unlikeliest of marriages: Travis County Records Office. Vol. 17, page 503. Certificate of marriage, April 30, 1913, Hayes County. Miss Sallie Green to Mr. Archibald W. Hart. Travis County Records Office. Vol. 17, page 503. Certificate of marriage, April 30, 1913, Hayes County. Miss Sallie Green to Mr. Archibald W. Hart.14 Tot was dwarfish beside: Tot was dwarfish beside: Interview with George Menard, March 26, 1995. Interview with George Menard, March 26, 1995.15 Rooted in Texas after their 1913 marriage: Rooted in Texas after their 1913 marriage: Travis County Deeds Records Register. Several property acquisitions, starting with Vol. 270, page 451: between F. J. Compte and Archibald Hart and Sallie P. Hart, recorded August 31, 1915, for purchase of Lot No. (12) and the west one-half of Lot No. 13 in the Block No. 30 of Travis Heights, a subdivision...Later purchases to Vol. 594, dated September 1, 1938 (for tract No. 3 in Ridgetop). Travis County Deeds Records Register. Several property acquisitions, starting with Vol. 270, page 451: between F. J. Compte and Archibald Hart and Sallie P. Hart, recorded August 31, 1915, for purchase of Lot No. (12) and the west one-half of Lot No. 13 in the Block No. 30 of Travis Heights, a subdivision...Later purchases to Vol. 594, dated September 1, 1938 (for tract No. 3 in Ridgetop).16 Tot's relationship with Mary P. Robinson: Tot's relationship with Mary P. Robinson: Travis County Records. Criminal District Court No 45, 324, dated June term Travis County Records. Criminal District Court No 45, 324, dated June term A.D. A.D. 1928. 1928. A.W. Hart vs. Sallie P. Hart. A.W. Hart vs. Sallie P. Hart.17 Elisha was dead by then: Elisha was dead by then: Death certificate. Elisha Redford of 25 Noyes Avenue, Stonington. Age, 76. Occupation: Jack-spinner. January 22, 1904. Death certificate. Elisha Redford of 25 Noyes Avenue, Stonington. Age, 76. Occupation: Jack-spinner. January 22, 1904.18 Charles had become a deadbeat: Charles had become a deadbeat: Advertis.e.m.e.nt in Advertis.e.m.e.nt in Westerly Directory, Westerly Directory, circa 1908. "Westerly Band. Concerts, Parades and Picnics Attended. Chas. Redford: Leader, 54 High Street, Westerly, R.I." Death certificate. Charles Redford of 19 Daniels Street, Pawtucket, Rhode Island. Age, 67. Occupation: Insurance agent. April 9, 1918. circa 1908. "Westerly Band. Concerts, Parades and Picnics Attended. Chas. Redford: Leader, 54 High Street, Westerly, R.I." Death certificate. Charles Redford of 19 Daniels Street, Pawtucket, Rhode Island. Age, 67. Occupation: Insurance agent. April 9, 1918.19 the year the Marx Brothers: the year the Marx Brothers: Jack Benny and Joan Benny, Jack Benny and Joan Benny, Sunday Nights at Seven Sunday Nights at Seven (New York: Random House, 1992), 34. (New York: Random House, 1992), 34.20 In 1911 Tiger married: In 1911 Tiger married: International Genealogical Index for Ireland, 1992 edition: Taylor family tree research conducted by Judith Moore, B.A., A.L.A., Family Histories, Flixton, Manchester. Lena Taylor, daughter of Henry and Mary Taylor, nee Tucker; Henry son of John Taylor and Elizabeth Girvin, Kircubbin, Co. Down, Ireland. International Genealogical Index for Ireland, 1992 edition: Taylor family tree research conducted by Judith Moore, B.A., A.L.A., Family Histories, Flixton, Manchester. Lena Taylor, daughter of Henry and Mary Taylor, nee Tucker; Henry son of John Taylor and Elizabeth Girvin, Kircubbin, Co. Down, Ireland.21 She joined the glee club: She joined the glee club: Martha Hart Redford's sc.r.a.pbooks. Sundance archive, Utah. Martha Hart Redford's sc.r.a.pbooks. Sundance archive, Utah.22 After high school graduation, Martha enrolled: Spin-Drift, After high school graduation, Martha enrolled: Spin-Drift, the annual of Santa Monica Junior College, 1934. ("Charlie Redford led the Corsairs batters..." p. 85; Martha Hart and Charles Redford, pictured, among the seven-person Student Body Commission.) Copies, the annual of Santa Monica Junior College, 1934. ("Charlie Redford led the Corsairs batters..." p. 85; Martha Hart and Charles Redford, pictured, among the seven-person Student Body Commission.) Copies, The Samojac, The Samojac, weekly newsletter, Santa Monica Junior College, 193334. weekly newsletter, Santa Monica Junior College, 193334.23 "Charlie was living at the corner house": "Charlie was living at the corner house": Interview with Marcella Scott Krisel, November 20, 1995. Interview with Marcella Scott Krisel, November 20, 1995.24 At Christmas he sent her a card: At Christmas he sent her a card: Martha Hart Redford's sc.r.a.pbooks, Sundance archive. Martha Hart Redford's sc.r.a.pbooks, Sundance archive.25 Charlie and Menard decided to join the CCC: Charlie and Menard decided to join the CCC: Interview with George Menard, March 26, 1995. Interview with George Menard, March 26, 1995.26 Martha fell ill: Martha fell ill: Interview with Margaret Mitch.e.l.l, October 16, 1995. Interview with Margaret Mitch.e.l.l, October 16, 1995.27 Beyond Charlie and the doctors: Beyond Charlie and the doctors: Interview with Marcella Scott Krisel, November 20, 1995. Interview with Marcella Scott Krisel, November 20, 1995.28 On the evening of August 18: On the evening of August 18: Birth Certificate No. 9191. Local Register No. 501. August 18, 1936. Charles Robert Redford Jr., born to Charles Robert Redford, 1471 So. Bedford Street, Los Angeles, aged 21, and Martha Woodruff Hart, aged 22. Born at 8.02 p.m. At Santa Monica Hospital. Birth Certificate No. 9191. Local Register No. 501. August 18, 1936. Charles Robert Redford Jr., born to Charles Robert Redford, 1471 So. Bedford Street, Los Angeles, aged 21, and Martha Woodruff Hart, aged 22. Born at 8.02 p.m. At Santa Monica Hospital.29 she sent out frilled blue cards: she sent out frilled blue cards: Martha Hart Redford's sc.r.a.pbooks, Sundance archive. Martha Hart Redford's sc.r.a.pbooks, Sundance archive.

2. Two Americas Two Americas 1 the work programs of the New Deal: the work programs of the New Deal: James Kirby Martin et al., eds., James Kirby Martin et al., eds., America and Its People America and Its People (New York: HarperCollins College, 1993), 83258. (New York: HarperCollins College, 1993), 83258.2 The pleasure piers, stretching from Venice: The pleasure piers, stretching from Venice: Fred E. Bastem, Fred E. Bastem, Santa Monica Bay Santa Monica Bay (Los Angeles: General Publishing Group, 1997), 122. (Los Angeles: General Publishing Group, 1997), 122.3 pushing beachfront prices past: pushing beachfront prices past: Ibid., 182. Ibid., 182.4 for Charlie, Martha and the baby, economic security: for Charlie, Martha and the baby, economic security: Interview with Vivian Knudson Christensen, October 29, 1995. Interview with Vivian Knudson Christensen, October 29, 1995.5 Though single-minded, Martha embraced: Though single-minded, Martha embraced: Interview with Margaret Mitch.e.l.l, October 16, 1995. Interview with Margaret Mitch.e.l.l, October 16, 1995.6 Many friends found it remarkable: Many friends found it remarkable: Interviews with Marcella Scott Krisel, January 15, 1996, and Margaret Mitch.e.l.l, October 16, 1995. Interviews with Marcella Scott Krisel, January 15, 1996, and Margaret Mitch.e.l.l, October 16, 1995.7 a $3,000 mortgage: a $3,000 mortgage: Interview with George Menard, February 9, 1996. Interview with George Menard, February 9, 1996.8 as director Alan Pakula believed: as director Alan Pakula believed: Interview with Alan J. Pakula, May 8, 1997. Interview with Alan J. Pakula, May 8, 1997.9 Studying accountancy part-time: Studying accountancy part-time: Interview with Marcella Scott Krisel, January 15, 1996. Interview with Marcella Scott Krisel, January 15, 1996.10 Redford's bond with David: Redford's bond with David: Interview with George Menard, February 9, 1996. Interview with George Menard, February 9, 1996.11 Betty Webb saw Bobby Redford as a loner: Betty Webb saw Bobby Redford as a loner: Interview with Betty Webb, November 19, 1996. Interview with Betty Webb, November 19, 1996.12 Throughout 1942 and 1943 j.a.panese bombing scares: Throughout 1942 and 1943 j.a.panese bombing scares: Bastem, Bastem, Santa Monica Bay, Santa Monica Bay, 182. 182.13 David was a sergeant in the Third Army: David was a sergeant in the Third Army: After Action Report, Third Army, August After Action Report, Third Army, August 1, 1, 1944May 9, 1945. Staff Section, Volume 11. Uncla.s.sified, dated 10/29/1984. Includes Top Secret letter from Headquarters, Third United States Army, APO 403, dated January 1, 1945, signed by Brigadier General Hobart R. Gray, Chief of Staff, detailing special ops, including "(d.) Continue to hold present line, including Saarlautern bridge-head, withdrawing only on Army order...by command of Lieutenant General Patton." U.S. Army Military History Inst.i.tute, PA. Also letter from the American Battle Monuments Commission, Washington, D.C., regarding final resting place of 1SGT David G. Redford 39157314, April 10, 1997. 1944May 9, 1945. Staff Section, Volume 11. Uncla.s.sified, dated 10/29/1984. Includes Top Secret letter from Headquarters, Third United States Army, APO 403, dated January 1, 1945, signed by Brigadier General Hobart R. Gray, Chief of Staff, detailing special ops, including "(d.) Continue to hold present line, including Saarlautern bridge-head, withdrawing only on Army order...by command of Lieutenant General Patton." U.S. Army Military History Inst.i.tute, PA. Also letter from the American Battle Monuments Commission, Washington, D.C., regarding final resting place of 1SGT David G. Redford 39157314, April 10, 1997.

3. Krazy in Brentwood Krazy in Brentwood 1 Charlie particularly was wary of national paranoia: Charlie particularly was wary of national paranoia: Interview with George Menard, February 9, 1996. Interview with George Menard, February 9, 1996.2 Douglas aircraft manufacturing had boomed: Douglas aircraft manufacturing had boomed: Fred E. Bastem, Fred E. Bastem, Santa Monica Bay Santa Monica Bay (Los Angeles: General Publishing Group, 1997), 181. (Los Angeles: General Publishing Group, 1997), 181.3 The previous year, HUAC had forced Rossen: The previous year, HUAC had forced Rossen: Interview with Carol Rossen, December 2, 1997. Interview with Carol Rossen, December 2, 1997.4 Coomber remembers their first meeting: Coomber remembers their first meeting: Interview with Bill Coomber, July 7, 1995. Interview with Bill Coomber, July 7, 1995.5 Her fortune came from her father: Her fortune came from her father: Interview with Elizabeth "Lala" Brady, September 30, 1996. Interview with Elizabeth "Lala" Brady, September 30, 1996.6 In the Emerson school newspaper: The Emersonian, In the Emerson school newspaper: The Emersonian, dated September 1949. dated September 1949.

4. East of Eden East of Eden 1 Back home the adventuring with Coomber: Back home the adventuring with Coomber: Interview with Bill Coomber, July 7, 1995. Interview with Bill Coomber, July 7, 1995.2 In November the Redfords moved to the Valley: In November the Redfords moved to the Valley: Interview with Kathleen "Kitty" Andrews, March 4, 1996. Interview with Kathleen "Kitty" Andrews, March 4, 1996.3 Kitty knew Redford was slipping away: Kitty knew Redford was slipping away: Ibid. Ibid.4 Charlie continued to believe his son's: Charlie continued to believe his son's: Interview