Word: mailer
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...locals hunker down for a long winter of serious drinking. They hardly seem to notice a good-looking man who answers the telephone, then suddenly bolts out the door and into the street, where a white Rolls-Royce speeds away. Four times this is repeated before finally Norman Mailer says, "Print." The day's twelve hours of shooting will not wrap until 3 a.m. Such grueling conditions might test the patience of a film veteran, let alone a neophyte director making his first major motion picture. But the white- haired auteur remains focused and remarkably relaxed. Clad in a bulky...
...Mailer, 63, is in his element in more ways than one. Based on his best- selling 1984 novel, Tough Guys Don't Dance, the film is set in the autumnal gloom of the Cape Cod resort that he has frequented for years. In fact, aptly enough, the director's brick-faced home has been taken over to serve as the onscreen abode of his protagonist Tim Madden, a onetime boxer and womanizing writer who wakes up one morning with a case of alcoholic amnesia and the vague apprehension that he may have killed his wife. Due for release next fall...
...exasperation. There is a wonderful Mad Hatter editorial meeting, propelled by reasoning of the most tangential sort. There are the elusive editors who dread authors as "walking vessels of petty grievance and conceit." An especially funny cameo is Allan Schieffman, the macho editor who boasts to Frances that "Norman Mailer had punched him in the stomach, an affectionate punch, and a tribute to his washboard midriff . . . Saul Bellow had bipped him on the arm to test his biceps. William Styron, who was balding, had tugged at Allan's thick brown hair...
...read last week at the New Ehrlich Theater in Boston as part if that troupe's NEWorks series. Of the six plays to be read this fall, three will be chosen for workshop production and one will be a full production to end the season this year, says Vince Mailer, dramaturge at the New Ehrlich Theater...
...Mailer decribes Tolins' play as "strong in character and dialogue, but structurally so realistic that it might be better suited for film than stage. Jon says he wanted to stay away from being too theatrical, and he stayed a little too far." But Mailer says that the theater hoped to see more of Tolins' work and that he was certainly still in contention in the program...