nyuuzyou/wikis huggingface dataset:
86.38

“At the Movies.” Article-interview by Nina Darnton. New York Times, 12 December, Sec. C, p. 10. Very brief piece on the filming of 84.17 containing one fine quote from Mailer: “When I write a novel I try not to think of a plot—I am much more concerned with character. But in a movie the plot is the motor, it is essential. It took me two months to write the novel. The screenplay took six months.” See 1986 and 1987 entries.
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86.39

“Mailer Makes a Movie.” Article-interview by Constance Gorfinkle. (Quincy, Mass.) Patriot-Ledger, 16 December, 21–22. On the Provincetown set of Tough Guys Don’t Dance near the final day (13 December) of shooting, talks about the play he was almost in at Harvard, his longtime affiliation with Actors’ Studio and, again, speaks comparatively of writing novels and directing films. See 84.17, 1986 and 1987 entries.
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86.39a

“Ryan O’Neal: God Guy, Bad Guy?” Article-interview by Bonnie Barber. Provincetown Advocate, 18 December, 3, 30. Both and O’Neal are quoted in this piece about the making of Tough Guys Don’t Dance in Provincetown. Mailer praised O’Neal, saying “I don’t know if there’s another movie star who works that hard.” O’Neal said he enjoyed working on the film, and praised Mailer’s boxing abilities: “He moves, he has combinations. He blackened my eyes.”
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86.4

“A Rampancy of Writers.” Time, 13 January, 22. Article by unidentified writer. Overview of the PEN Congress with a quote by Mailer on his appearance with Gore Vidal at one of the PEN Celebrations (pre-conference fundraisers): “a meeting between two toothless tigers.” See 85.1, 85.2, 85.6, 85.6a, 85.8, 85.9 and 1986 entries, 91.3.
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86.40

“Mailer’s Stamp on the Movies.” Article-interview by Joseph Gelmis. Providence Sunday Journal, 21 December, Sec. I, p. 3. tells Gelmis that if the movie version of 84.17 is a success, he’d like to make more films. Quotes from Ryan O’Neal and other members of the cast are included. See 1986 and 1987 entries.
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86.40a

“Mailer Ebullient About His Movie.” Article-interview by Bonnie Barber. Provincetown Advocate, 25 December, 1, 30. Mailer explained that the novel, Tough Guys Don’t Dance was partly about Provincetown: “The movie’s not. The movie could have been shot somewhere else. We would’ve lost a lot of things. We would’ve lost the beauty of Provincetown, but we wouldn’t have lost the essential story.”
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86.41

Comments at the National Arts Club Award dinner for Allen Ginsberg, 22 February 1979. Introduced and excerpted by Victor Bockris. In Best Minds: A Tribute to Allen Ginsberg, edited by Bill Morgan and Bob Rosenthal, 28–29, 184. New York: Lospecchio Press. Rpt: The comments of and the other speakers at the dinner are excerpted from a transcript of the evening’s proceedings, later assembled in a booklet, with a preface by Bockris, titled A Buddhist Apocalypse Banquet with Allen Ginsberg, Norman Mailer, William Burroughs, John Ashbery and Ted Berrigan. Photographs by Marcia Resnik. No date, no publisher.
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86.42

“Mailer: The Avenger and the Bitch.” Article-interview by Martin Amis. In The Moronic Inferno and Other Visits to America, by Martin Amis, 57–73. London: Jonathan Cape; New York: Viking, 1987. The English edition appeared in 1986. Amis’s chapter on (which contains excerpts from two conversations he had with him), consists of three short pieces from the (London) Observer (1981, 1982, 1985) cobbled together. Valuable for its representative British combination of indignation and awe in the face of genuine American phenomena.
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86.5

“Shultz Faces Critics in Speech Opening 48th PEN Assembly.” Article by Walter Goodman. New York Times, 13 January, Sec. A, p. 1, Sec. C, p. 11. Mailer, who was elected American PEN president by acclamation on 12 January, defended the presence of Secretary of State Shultz on the opening day of the Congress. Shultz was greeted by a public letter signed by 65 of the 700 writers (from 40 countries) attending the conference, including E.L. Doctorow, Susan Sontag, Galway Kinnell, John Irving and Elizabeth Hardwick. A number of writers defended Mailer, including Gay Talese, John Kenneth Galbraith and Kurt Vonnegut. Mailer told the meeting that no applicant from overseas had been denied permission to attend by the U.S. State Department. See Doctorow’s original complaint, “Shultz and PEN,” Nation, 18 January, 37; 85.1, 85.2, 85.6, 85.8, 85.9 and 1986 entries.
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86.6

“Shultz Heckled at PEN Meeting.” Article by unidentified writer. Newsday, 13 January. Another article on the appearance of Secretary of State Shultz at the PEN Congress. See 85.1, 85.2, 85.6, 85.8, 85.9 and 1986 entries.
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87.1

Chatter. Column by Tim Allis. People Weekly, 5 January, 92. Allis quotes from the Italian newspaper La Republica on the film he is poised to direct, Tough Guys Don’t Dance. The quotes, however, were made up; the interview never took place, as Mailer explained in a letter to the editor, the published version of which has not been located. See 84.17, 1986 and 1987 entries.
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87.10

Comment on James Jones. In “Glimpses: James Jones, 1921-1977.” By J. Michael Lennon and George Plimpton. Paris Review, no. 103 (summer), 205–236. This portrait of ’s friend, comprised of excerpts from Lennon’s interviews with Jones’s family and friends, including four with Mailer, are taken from those done for “James Jones: From Reveille to Taps,” a 60-minute documentary produced by Lennon and Jeffrey Van Davis for Sangamon State University (now University of Illinois, Springfield). It appeared on PBS in 1985 and 1986.
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87.10a

“Yours as Noted.” Letter (15 April 1977) from S.J. Perelman to Caskie Stinnett, rpt. Vanity Fair, July 1987, 115. Perelman recounts ’s appearance as a presenter at the 1977 Academy Awards ceremony on 29 March 1977. Mailer tells the story of Voltaire visiting a male bordello in Paris: “On emerging,” Mailer said, “he was asked how he had enjoyed the experience. He replied, ‘Once a philosopher, twice a pervert.
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87.10b

“Norman Mailer on ‘Tough Guys Don’t Dance.” Interview with Joe Leydon. Houston Post, 12 July. says that his intention was to make a film “that didn’t fit into a comfortable film category” because “life is like that. I think we’re always asking ourselves when we get into extreme situations, ‘Am I in a farce? Or am I in a tragedy? Is this funny, or is this desperate?
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87.10c

“Mailer by the Bay.” Article-interview by David Thomason. California, August, 66–69, 124, 126. Important interview that ranges over all of Mailer’s films through Tough Guys Don’t Dance, as well as his experience going to the movies as an adolescent. He recalls asking Burt Lancaster to play Lt. Hearn in a film version of The Naked and the Dead: “And Burt wanted to do it but the war in Korea started, and there was no way then of making a fairly serious movie of the book.”
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87.11

“Proud Father: Mailer Pleased with ‘Tough Guys.’” Article-interview by Tim Miller. Cape Cod Times, 14 August, 35, 38. Notable mainly for revealing that Tough Guys Don’t Dance will arrive at movie theaters on 18 September (New York premiere, 16 September). See 84.17, 1986 and 1987 entries.
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87.11a

“Novelist Mailer Turns His Latest Book into a Movie.” Article-interview by David Sterritt. Christian Science Monitor, 4 September, 19–20. His film, says, is “not a realistic picture. These are not typical American citizens.” His intention was to depict “a kind of greed and responsibility loose in American life in the last four or five years.” Fiction, he continues, “can intensify the moral consciousness of a time,” while theater “can enlarge one’s emotional appreciation of social situations,” But film “works on all the places that have never been worked on by other art forms—all the synapses between our memory and our emotions and our nerves and our sense of time.”
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87.12

“Norman Mailer Directs ‘Tough Guys’ on Film.” Interview by unidentified interviewer. Brooklyn Heights Press and Cobble Hill News, 10 September, 1, 16. speaks again of how his film cuts across categories, his previous films, the acting of Ryan O’Neal; he also compares literature and film. A cast list is given. Rpt: L.A. Alive, 18 September, 25, and in a Cannon Films publication booklet, which also contains a full crew list and biographies of the leading actors, the director and producers. See 84.17, 1986 and 1987 entries.
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87.13

“Film-Goers’ Parties Bring Out the Strangest Mix.” Article by Deirdre Kelly. Globe and Mail (Toronto), 14 September, Sec. C, p. 12. In Canada for a film festival, is quoted briefly on Ryan O’Neal and the similarities between Tough Guys Don’t Dance and David Lynch’s Blue Velvet. Accompanied by 87.15. See 84.17, 1986 and 1987 entries.
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87.14

“Mailer Flees from Decades of Yuppiedom.” Article-interview by Rick Groen. Globe and Mail (Toronto), 14 September, Sec. C, p. 12. After a press conference at Toronto’s Festival of Festivals, where Tough Guys Don’t Dance was shown, spoke to Groen about the 80s, yuppies, the coming end of communism in Russia, and called Oliver North “a young Ronald Reagan, who can press every sentimental button and sit on every pious pot.” Accompanied by 87.14. See 84.17, 1986 and 1987 entries.
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87.14a

“Isn’t This Ever Gonna End?” Article-interview by Alan Mirabella. New York Daily News, mid-September, 37. Round-up article on some new, long films, including Tough Guys Don’t Dance. Mailer says that TV has made audiences less willing to watch long films, because “we are automatically interrupted in a program after 11 or 12 minutes.”
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87.15

“Tough Guys Keep Writing.” Article-interview by Jay Carr. Boston Globe, 17 September, 85, 88. In an expansive mood, talks about his first visit to Provincetown in the early 40s, Jean-Luc Godard, actors, screenplays, Raymond Chandler, machismo, feminism, and the darkness in Tough Guys Don’t Dance (84.17). Accompanied by Carr’s positive review. See 1986 and 1987 entries.
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87.16

“Dance of a Tough Guy.” Article-interview by Michael Ventura. L.A. Weekly, 18–24 September, 14–21; cover photograph of . Ventura combines a fine interview in California with his remembrance of Mailer lecturing at University of California, Berkeley in 1972, some well-chosen quotes from Mailer’s books, and his final reflections on how Mailer “is going down slow, like the old blues [song] says, but he is going down smart.” Mailer’s elaboration of the distinction between “soul” and “psyche” is only one of several thoughtful exchanges with Ventura. Rpt: 88.6. See 84.17, 1986 and 1987 entries.
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87.17

“Mailer and the Movies: Tough Guy Gives Film Another Shot.” Article-interview by Peter Rainer. Weekend Magazine, Los Angeles Herald Examiner, 18 September, 6–7; cover photograph of . Interviewed in his attic study in Provincetown, Mailer talks about Tough Guys Don’t Dance, which opened nationwide on 18 September, and his year (1949–50) in Hollywood: “I had a hard time getting out of Los Angeles, even with nothing happening. I hated to leave with a failure and so I kept staying and staying and getting into more and more conversations about making a movie myself. And finally I gave up and said to myself, ‘Get Out.’” Accompanied by a largely negative review by Deborah J. Kunk, and a full-page ad for the film. See 84.17, 1986 and 1987 entries.
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87.18

“A New Direction: Norman Mailer Makes His First Mainstream Film.” Article-interview by Marshall Fine. Gannet Westchester Newspapers, 18 September, Sec. B, pp. 1, 12. Mailer again discusses Tough Guys Don’t Dance: how it straddles categories, his future in filmmaking, and his early films. See 84.17, 1986 and 1987 entries.
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87.19

“Mailer, 64, Stays Tough.” Article-interview by James Verniere. Boston Sunday Herald, 20 September, Sec. 3, pp. 1–2. Humdrum piece based on an interview with in Toronto where Tough Guys Don’t Dance was screened as part of that city’s Festival of Festivals. See 84.17, 1986 and 1987 entries.
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87.2

“Tough Guys Make Movie.” Article-interview by Dinitia Smith. New York, 12 January, 32–37. Report on the final days of shooting Tough Guys Don’t Dance in Provincetown. , Ryan O’Neal, producer Tom Luddy and Lawrence Tierney are quoted. Provides a good explanation of the arrangement with Cannon Films which resulted in Mailer writing the screenplay (five drafts) and directing the film. Mailer also collaborated with Angelo Badalamenti on one of the songs in the film: “You’ll Come Back (You Always Do).” See 84.17, 1986 and 1987 entries.
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87.20

“Norman Mailer the Director Hangs Tough.” Article-interview by Edward Guthmann. Datebook, San Francisco Chronicle, 20 September, 19–20; cover photograph of . Another piece based on Mailer’s Toronto visit. Mailer again discusses Blue Velvet, the uncertain category of his film, Ryan O’Neal, and audience response to the film. See 84.17, 1986 and 1987 entries.
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87.21

“Norman Mailer ‘Tough’ Enough?” Article-interview by Bob Lardine. Close-Up (New York) Daily News, 20 September, 1–2; cover photograph of . Most of Mailer’s comments are given over to his relations with the cast of Tough Guys Don’t Dance, but he also lists the four stages of knowing a woman: “(1) living with her, (2) marrying her, (3) having children with her, and (4) divorcing her. You really know nothing about a woman until you meet her in court.” See 84.17, 1986 and 1987 entries.
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87.22

“A Mellower Mailer Has a Mystery Movie.” Article-interview by Luaine Lee. Chicago Tribune, 21 September, Sec. 2 (“Tempo”), p. 3. talks more about the problems of celebrity than Tough Guys Don’t Dance in this brief piece. See 84.17, 1986 and 1987 entries.
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87.23

“Semi-‘Tough’ Mailer.” Article-interview by Stephen M. Silverman. New York Post, 21 September, 31. credits John Bailey, his cinematographer for Tough Guys Don’t Dance, with improving “the director’s vision.” He also contrasts cinematic and novelistic pace, and discusses Blue Velvet in his conversation with Silverman at Toronto’s Festival of Festivals. See 84.17, 1986 and 1987 entries.
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87.23a

[Transcript of Mailer interview with members of the Hollywood Foreign Press Association] fall, 17 pp. In this exceptionally important interview, discusses all aspects of his film, Tough Guys Don’t Dance, as well as his ideas on morality, where he lives, the occult, Jean-Luc Godard, the appeal of film to the unconscious, feminism and many other topics. He also announces, perhaps for the first time, that his novel-in-progress is about the CIA. The following note to Judith McNally, Mailer’s assistant, is written in pencil by Mailer on the title page: “Judith, Send to Mike Lennon. Mike—It’s hopelessly garbled by whoever transcribed it—and I’m probably guilty too, but I send it off to you for your sense of a complete dossier on interviews.” See 84.17, 1986 and 1987 entries.
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87.24

“Norman Mailer’s ‘Extreme’ Situations.” Article-interview. Information provided by Luaine Lee of Knight-Ridder newspapers; by Candice Burk-Block, in a dispatch of the New York Times Syndication Sales Corp.; and by Barbara Bright of Reuter News Service. St. Louis Post-Dispatch, 30 September, 1, 4. Expansion of material in 87.23, including Mailer’s comments on good and evil: “My idea of an awful person is one who is 35 percent good and 65 percent evil. A hero is perhaps a reverse percentage. I’m fascinated by the good that is in evil people.” See 84.17, 1986 and 1987 entries.
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87.25

“His Brilliant (New) Career?” Article-interview by Daphne Merkin. Photographs by Adam Bartos. American Film, October, 42–49. In this insider piece, which captures the mood of the shoot better than any other, Merkin gets comments on the set of Tough Guys Don’t Dance, not only from , but from set designer Armin Ganz, the mixer, Drew Kunin, the makeup artist, Don, the costume designer, Michael Kaplan, and actors Lawrence Tierney, Ryan O’Neal, Debra Sandlund and Frances Fisher. She also reveals that the film used six interior sets, 59 locales, and had a crew of 97. See 84.17, 1986 and 1987 entries.
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87.26

“Words and Pictures: A Conversation with Norman Mailer about Directing the Movie of His Own Novel, Tough Guys Don’t Dance87.17.” Article by unidentified writer. Vanity Fair, October, 68, 72, 76. reveals here that Warren Beatty was his first choice to play Tim Madden in his film. He also speaks at length on the director’s relationship to his crew, comparing making a film with being in the army. See 1986 and 1987 entries.
===Note===
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87.26a

“Norman Mailer Takes Over ‘Tough Guys.’” Article–interview by Vernon Scott. UPI wire story, Arkansas Gazette, 4 October, 10G. The most notable remarks by in this piece concerns screenplay writing, and the agony novelists endure when a poor job of translating their work into a film occurs: “To be crude about it, it’s like someone making love to your woman. Or to put it in a more elevated fashion, it’s like having someone else raise your child.” He also notes that he was given final cut on the film, and so bears all responsibility for it. See 84.17, 1986 and 1987 entries.
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87.27

“No Longer Such a Tough Guy, Norman Mailer Frets over His Shaky Career as a Filmmaker.” Article-interview by Alan Richman. People Weekly, 5 October, 40–42. says little new about his film in this piece, but he does discuss the writing life: “I’m not morbid, but anything I do could be the last thing. I’ve become more serious naturally. It’s a biological process.” The first weekend gross for Tough Guys Don’t Dance is reported: “a disappointing $421,390.” The film went on to make a profit. See 84.17, 1986 and 1987 entries.
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87.27a

“Why Norman Mailer Won’t Dance.” Article-interview by Brandon Judell. Advocate, 27 October, 54–55. The writer for this LGBT magazine asks why so many of the characters in his novel and film, Tough Guys Don’t Dance seem to be antigay. Mailer says: “I hate the kind of general liberality that we have now in films where you can’t say anything bad about any nationality, any group.” He added that “none of my characters ever represent my point of view by themselves.” See 84.17, 1986 and 1987 entries.
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87.28

“Mailer’s Minuet: ‘Tough Guys’ Two Left Feet.” Article-interview by Karen Jaehne. Film Comment 23 (November-December), 11–17. says more on filmmaking, and says it well, in this interview than in any other, and dissipates, to some extent, Jaehne’s initial skepticism about his abilities. He also discusses his resistance to “categories” which are “just critics’ attempt to bring order to a complex aesthetic universe.” “Forms,” he says should “be explored, not obeyed.” Tom Luddy, Wings Hauser and Frances Fisher are also quoted. See 84.17, 1986 and 1987 entries.
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87.29

“The Electronic Mailer.” Article-interview by Peter O. Whitmer. In Aquarius Revisited: Seven Who Created the Sixties Counterculture That Changed America: William Burroughs, Allen Ginsberg, Ken Kesey, Timothy Leary, Norman Mailer, Tom Robbins, Hunter S. Thompson, by Peter O. Whitmer, 55–65. New York: Macmillan, 10 October. Whitmer’s piece is based on an 80s interview with focusing on “The White Negro” (57.1). Along the way, Mailer provides opinions on Hunter Thompson, William Burroughs, Allen Ginsberg, James Dean, Ken Kesey and Robert Lindner.
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87.2a

“Mailer, at 63, Looks Easy in the Director’s Chair.” Article-interview by Henri Behar. Manchester Guardian weekly, 1 February, 13. explains that some of his characters in the novel, Tough Guys Don’t Dance (84.17), were insufficiently developed, and “the film provided me with a good opportunity to put that right. I had rather neglected the baddies—and they’re the characters I’m most interested in.” He also compares novel writing to directing: “I don’t dig the loneliness and isolation of the writer. Writing is a form of amputation—only a part of you is at work,” but when you direct, he continues, you use all of your body and mind for 15 hours a day. You are constantly being interrupted, “yet it fills you with energy.”
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87.3

“Medium-Boiled Mailer.” Article-interview by Gerald Peary. Sight and Sound, spring, 104–107. speaks of his earlier films, the pleasures of filmmaking, with an aside on how Charles Laughton had to give up his plan to direct the movie version of The Naked and the Dead (48.2). Debra Sandlund and Lawrence Tierney are also quoted. See 76.21, 84.17, 1986 and 1987 entries.
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87.30

Comments. In Two Weeks in the Midday Sun: A Cannes Notebook, by Roger Ebert, passim. Kansas City, Mo.: Andrews and McMeel. Rpt: Ebert’s memoir includes comments by from 86.35 (partial); 88.6 (partial). See 87.5.
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