[Transcript of Mailer interview with members of the Hollywood Foreign Press Association] fall, 17 pp. In this exceptionally important interview, Mailer 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.
“Semi-‘Tough’ Mailer.” Article-interview by Stephen M. Silverman. New York Post, 21 September, 31. Mailer 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.
“Norman Mailer ‘Tough’ Enough?” Article-interview by Bob Lardine. Close-Up (New York) Daily News, 20 September, 1-2; cover photograph of Mailer. 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.
“Norman Mailer the Director Hangs Tough.” Article-interview by Edward Guthmann. Datebook, San Francisco Chronicle, 20 September, 19-20; cover photograph of Mailer. 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.
“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.
“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 Mailer. 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.
“Dance of a Tough Guy.” Article-interview by Michael Ventura. L.A. Weekly, 18-24 September, 14-21; cover photograph of Mailer. 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.
“Tough Guys Keep Writing.” Article-interview by Jay Carr. Boston Globe, 17 September, 85, 88. In an expansive mood, Mailer 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.