In 1968 Michelangelo Antonioni was hot property. He’d captured the Carnaby Street cool of late 60s London in Blow Up and turned a tidy profit for MGM in the process. The studio wanted the second film of his three-picture deal to be made in America in an attempt to snare the youth market and take advantage of […]
![](http://thebigpicturemagazine.com/wp-content/uploads/2013/11/ZP_1-copy.png)