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After class I talked more with Max and Julius, further convinced that Julius’s responses to Casablanca were only partially authentic. Regardless, I felt certain that if I could just get Julius alone for an hour or two, I could get him to open up about the film. So a few years later, when I was finally ready to initiate the interviews for this book, I called up Julius, and he immediately agreed to talk to me about Casablanca—and about nothing else. Now back in his early days, Julius and his twin brother Philip had grown up tough Jewish kids in New York City before they went off to Penn State so they could fight on the collegiate boxing team (bantamweights). As a result, Julius went to Penn State’s homecoming football game every fall, so we planned our interview for a few days after he got back. Sadly, Julius, already 88 years old at the time, went to the football game and suffered a severe, incapacitating stroke which permanently precluded the possibility of our discussions about Casablanca. The tragedy of Julius’s sudden illness made me even more determined to press on with my planned series of single-film interviews. It seemed to me that there were just too many good stories that needed to be told and recorded. Of course, I was fully aware that there were already several good books containing screenwriter interviews, notably Pat McGilligan’s Backstory (now a four-book series) but the conversations in both McGilligan’s book and the other interview books covered the entire creative life of the screenwriters, thus leaving very little time to discuss their most significant achievements. So, I contacted Joseph Stefano, he agreed to meet with me, and we had a long conversation about his masterful script for Hitchcock’s Psycho. Amazingly, every single interview I did for this book was a remarkable experience.

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