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52 C I N E M O N T A G E B O O K R E V I E W Discussion of making the film begins only in chapter 8, "The Producer," when Jerome Hellman is introduced as "the most insecure person in every room he entered." In this respect, he has plenty of competition. Schlesinger, whose lack of self-esteem is seen as overwhelming his personality and sometimes his profes- sionalism, receives the most attention. Frankel also extensively explores the psyches of the film's two stars, Dustin Hoffman (Ratso) and John Voight (Joe Buck, the title character). Hoffman is caught bedazzled by the overnight star- dom bestowed on him by "The Graduate," admitting to a reporter that "never in my life have I been so in love with myself." Voight, coming to the project with few screen credits, is confident in his ability to play a role he knew was perfect for him. Screenwriter Waldo Salt's history with the Hollywood blacklist and familial demons is dissected in detail, and his vital roles in both writing the script and making on-set contributions to "Midnight Cowboy" are appropriately recognized. The same is true of casting director Marion Dougherty and the cos- tume designer Ann Roth. The two women emerge as forceful, grounded individuals who know that they are masters of their crafts. Dougherty championed Voight even when Schlesinger had already hired another actor, while Roth especially stands firm in the ways her wardrobe choices complete an actor's work, sewing Joe Buck's iconic leather jacket herself. When her demand for a single card credit was refused by Hellman, he was shocked when she stood by her principles and had her name removed from the film. Schlesinger, directing his first picture in the US, was used to working with a known group of actors and technicians. The freewheeling intensity of an Amer- ican cast, and especially the parameters of working with a New York union crew, were difficult for him. The cinematog- rapher was also new to the US. Adam Holender, who at the age of three was sent with his family to a Siberian prison camp, was recommended by his friend Roman Polanski. Although Schlesinger was wary of Holender's complete lack of experience in American features, the two bonded with the shared goal of pre- senting the city in new ways. Holender insisted on shooting with a small reflex camera, not the standard bulky Mitchell BNC, and he chose soft light, shooting most street scenes (some of which were stolen shots) with natural light, not with studio kliegs. None of this set well with the crew. Frankel quotes Holender saying, "It was a constant battle. I was in charge, but the crew didn't like to be told to use something they thought was for still photographers or amateurs. But they were basically decent people and they did what I asked." Editing proved to be a much uglier battle. The film's editor was Hugh A. Robertson, a tall imposing Black man recommended by Arthur Penn. In an interview with Frankel, Irene Bowers, who worked as an apprentice editor, remembered him as, "A wonderful, tal- ented editor, a charming man, but he also had a kind of self-sabotaging streak. It wasn't an aggressive attitude, but more like 'You're not going to make me do anything I don't want to do." Jerome Hellman's recollection was that "Robert- son was a disaster." Whatever the case, Glenn Frankel. P H O T O : A U T H O R ' S W E B S I T E