Contemporary interview with Gordon Willis in The Boston Globe by Mark Feeny January 14 2007. Conrad Hall calls Willis "The Prince of Darkness."

Chapter 1 should focus more on Klute and the status of noir in the early 1970s. Quote Naremore on the problems and possibilities of colorized noir. Note Straw's account of the mulitplicity of noir-like tags: film-blanc, film-gris, etc. Straw's development of tabloid crime aesthetic based on true crime digest covers that feature place-less b&w crime scenes in broad daylight (as opposed to hi-contrast, or Wee Gee-like crime scenes) could be drawn into parallel with "figures in windows" aesthetic. Perhaps also verite could be mentioned here as THE b&w moving image of the 1960s. Color would be associated with technicolor/H-wood artifice. Also ref. opening essay to recent Neo-Noir anthology.

From Show magazine, July 9, 1970, p. 12 ("Showing Up" section), A short piece about Gordon Willis:

"Cinematographer Gordon Willis has become recognized as one of the great talents working in films today. So far this year he has in release End of the Road, Loving, and The Landlord. With stark simplicity, he has found out how things really look, distilling appearances and discovering a reality that transcends most of what has been seen on the screen up until now. With the most accurate, artistically devised lighting, he has developed a style that is clearly his own, but that is also perfectly right for the style of the film. He starts filming Alan J. Pakula's Klute next month in New York, where he has a knack of fining more poetry in litter than most cinematographers can find in a rose garden."

Too busy writing to explore this stuff now, but: 

- The Seventies in America eds. Bailey and Farber contains a chapter entitled "Adults Only: The Construction of an Erotic City in New York in the 1970s" by Peter Braunstein. 

- Mineshaft Nights is a memoir by Leo Cardini of time spent in the NY s&M club that Cruising was filmed in. 

A few notes to put here just in case they get lost in the shuffle:

-While filming Klute, Pakula describes Fonda as being constantly on the phone, organizing her political activities and speaking engagements. She was also, at the time, under surviellance by the FBI. I'm unsure if she is aware of this fact at the time. (Jane Fonda's War: A Political Biography, p 22) - I think this information can orginally be found in The Films of Jane Fonda by George Haddad-Garcia. 

-Klute starts shooting in the spring of 1970. The scenes of Peter Cable in his high-rise boardroom feature cranes and a building that seem very likely to be one of the WTC towers! The cranes are in movement during the shot. 

Also, these two images. One of Nixon in 1972, the other, earlier, of Peter Cable in Klute. Did Gordon Willis come to DEFINE a particular mode of visual presentation, so much so as to be influential in how American presidents, however disgraced, could be shown that way? 

Edit: The picture of Nixon was taken by Ollie Atkins, presidential photographer, at Camp David right after the 1972 election, during which the events of Watergate were still unfolding. 

The Klute DVD has a great contemporaneous behind-the-scenes documentary included in the special features entitled "Klute: A Background for Suspense" with great quotes from Pakula and Willis (also Sutherland and Fonda).

Parts of Klute were also filmed at Filmways Studios in Harlem (possibly 245 E 127 St) where the Godfather was also filmed. It would be interesting to find out what else from my list was shot here, as I'm sure imdb info on this is incomplete.

Also found an article from New York Magazine, March 16, 1992 (pp42-?) that has some things about Sonny Grosso's film and television work.