Peter Bogdanovich - Later Years

Later Years

Bogdanovich turned back to writing as his directorial career sagged, beginning with The Killing of the Unicorn: Dorothy Stratten (1960–1980), a memoir published in 1984. Teresa Carpenter's "Death of a Playmate" article about Dorothy Stratten's murder was published in The Village Voice and won the 1981 Pulitzer Prize, and while Bogdanovich did not criticize Carpenter's article in his book, she had lambasted both Bogdanovich and Playboy mogul Hugh Hefner, claiming that Stratten was a victim of them as much as of her husband, Paul Snider, who killed her and himself. Carpenter also criticized Bogdanovich for his "puerile preference for ingenues". Carpenter's article served as the basis of Bob Fosse's film Star 80 (1983), in which Bogdanovich, for legal reasons, was portrayed as the fictional director "Aram Nicholas," a sympathetic but possibly misguided and naive character.

On December 30, 1988, the 49-year-old Bogdanovich married 20-year-old Louise Stratten, Dorothy's younger sister, whom he had begun dating a few years after Dorothy's death. The couple divorced in 2001. The marriage was viewed as a scandal because of his previous engagement to her sister.

Though he achieved success with Mask in 1985, Bogdanovich's 1990 sequel to The Last Picture Show, called Texasville was a critical and box-office disappointment. Both films occasioned major disputes between Bogdanovich, who still demanded a measure of control over his films, and the studios, which controlled the financing and final cut of both films. Mask was released with a song score by Bob Seger against Bogdanovich's wishes (he favored Bruce Springsteen), and Bogdanovich has often complained that the version of Texasville that was released was not the film he had intended. A director's cut of Mask, slightly longer and with Springsteen's songs, was belatedly released on DVD in 2006. A director's cut of Texasville was released on laserdisc, and was released on DVD by MGM in 2005. Around the time of the release of Texasville, Bogdanovich also revisited his earliest success, The Last Picture Show, and produced a slightly modified director's cut. Since that time, his recut has been the only available version of the film.

Bogdanovich directed two more theatrical films in 1992 and 1993, but their failure kept him off the big screen for several years. One, Noises Off..., based on the Michael Frayn play, has subsequently developed a strong cult following, while the other, The Thing Called Love, is better known as one of River Phoenix's last roles before his untimely drug-related death.

Bogdanovich, drawing from his encyclopedic knowledge of film history, authored several critically lauded books, including Peter Bogdanovich's Movie of the Week, which offered the lifelong cinephile's commentary on 52 of his favorite films, and Who The Devil Made It: Conversations with Legendary Film Directors and Who the Hell's in It: Conversations with Hollywood's Legendary Actors, both based on interviews with directors and actors.

In 2001, Bogdanovich resurfaced with The Cat's Meow. Returning once again to a reworking of the past, this time the supposed murder of director Thomas Ince by Orson Welles's bête noire William Randolph Hearst, The Cat's Meow was a modest critical success but made little money at the box office. Bogdanovich says he was told the story of the alleged Ince murder by Welles, who in turn said he heard it from writer Charles Lederer.

In addition to directing some television work, Bogdanovich has returned to acting with a recurring guest role on the cable television series The Sopranos, playing Dr. Melfi's psychotherapist. Bogdanovich directed a fifth-season episode of the series. In an homage to his Sopranos character, he also voiced the analyst of Bart Simpson's therapist in an episode of The Simpsons, and appeared as himself in the "Robots Versus Wrestlers" episode of How I Met Your Mother along with Arianna Huffington and Will Shortz. Quentin Tarantino also cast Bogdanovich as a disc jockey in Kill Bill Volume 1 and Kill Bill Volume 2. "Quentin knows, because he's such a movie buff, that when you hear a disc jockey's voice in my pictures, it's always me, sometimes doing different voices," said Bogdanovich. "So he called me and he said, 'I stole your voice from The Last Picture Show for the rough cut, but I need you to come down and do that voice again for my picture...'"

Bogdanovich hosted The Essentials on Turner Classic Movies, but was replaced in May 2006 by TCM host Robert Osborne and film critic Molly Haskell. Bogdanovich is also frequently featured in introductions to movies on Criterion Collection DVDs, and has had a supporting role as a fictional version of himself in the Showtime comedy series Out of Order. He will next appear in The Dream Factory.

In 2006, Bogdanovich joined forces with ClickStar, where he hosts a classic film channel, Peter Bogdanovich's Golden Age of Movies. Bodganovich also writes a blog for the site. In 2003 he appeared in the BBC documentary, Easy Riders, Raging Bulls and in 2006 he appeared in the documentary Wanderlust.

In 2007, Bogdanovich was presented with an award for outstanding contribution to film preservation by The International Federation of Film Archives (FIAF) at the Toronto International Film Festival.

In 1998, the National Film Preservation Board of the Library of Congress named The Last Picture Show to the National Film Registry, an honor awarded only to culturally significant films.

In 2010, Bogdanovich joined the directing faculty at the School of Filmmaking at the University of North Carolina School of the Arts. On April 17, 2010, he was awarded the Master of Cinema Award at the 12th Annual RiverRun International Film Festival. In 2011, he was given the Auteur Award by the International Press Academy, which is awarded to filmmakers whose singular vision and unique artistic control over the elements of production give a personal and signature style to their films.

In 2012, Bogdanovich made news with an essay in the Hollywood Reporter, published in the aftermath of the Aurora, Colorado theater shooting, in which he argued against excessive violence in the movies:

Today, there’s a general numbing of the audience. There’s too much murder and killing. You make people insensitive by showing it all the time. The body count in pictures is huge. It numbs the audience into thinking it’s not so terrible. Back in the ’70s, I asked Orson Welles what he thought was happening to pictures, and he said, “We’re brutalizing the audience. We’re going to end up like the Roman circus, live at the Coliseum.” The respect for human life seems to be eroding.