Deliverance to the - Charles Bethea
Deliverance to the - Charles Bethea
Deliverance to the - Charles Bethea
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In <strong>the</strong> summer of<br />
1971, Hollywood came<br />
<strong>to</strong> North Georgia <strong>to</strong><br />
bring James Dickey’s<br />
<strong>Deliverance</strong> <strong>to</strong> <strong>the</strong><br />
silver screen. Over three<br />
months, <strong>the</strong> cast and<br />
crew battled relentless<br />
chiggers, stifling heat, a<br />
raging river, <strong>the</strong> author’s<br />
drunken outbursts,<br />
and suspicious locals<br />
<strong>to</strong> film one of <strong>the</strong> most<br />
disturbing and powerful<br />
movies of <strong>the</strong> decade.<br />
In an oral his<strong>to</strong>ry that<br />
includes Dickey’s neverbefore-published<br />
correspondence, star<br />
Burt Reynolds and<br />
direc<strong>to</strong>r John Boorman<br />
join more than a dozen<br />
o<strong>the</strong>rs (including <strong>the</strong><br />
creepy banjo player) in<br />
recalling <strong>the</strong> making<br />
of a movie that would<br />
forever change how <strong>the</strong><br />
world sees Georgia.<br />
by charles be<strong>the</strong>a<br />
“I don’t believe I have ever seen<br />
anything like some of <strong>the</strong> scenes<br />
that John Boorman has shot,”<br />
James Dickey wrote in <strong>the</strong> summer<br />
of 1971, when <strong>Deliverance</strong> was<br />
filmed in North Georgia. “I was<br />
pretty as<strong>to</strong>unded and horrified<br />
at what I saw. But <strong>the</strong> damn thing<br />
is relentless, and I don’t think<br />
anyone will leave <strong>the</strong> <strong>the</strong>ater in<br />
a mood <strong>to</strong> forget what he has<br />
seen.” The cast and crew posed<br />
for this picture on location. Jon<br />
Voight, Ronny Cox, Ned Beatty,<br />
and Burt Reynolds are pictured in<br />
<strong>the</strong> front. Direc<strong>to</strong>r John Boorman,<br />
in <strong>the</strong> Georgia Tech shirt, is over<br />
Beatty’s right shoulder.<br />
atlanta<br />
page 100
It’s near<br />
impossible<br />
<strong>to</strong> float down<br />
a river in Georgia<br />
without<br />
someone<br />
referencing<br />
<strong>Deliverance</strong>,<br />
usually exclaiming, in an exaggerated drawl, “Squeal like a pig!”<br />
That many of <strong>the</strong>se giddy rivergoers—almost always from <strong>the</strong> Big<br />
City—have never seen <strong>the</strong> film or read James Dickey’s 1970 novel,<br />
much less considered <strong>the</strong> horrific act that line conjures, is <strong>the</strong><br />
point: Movie lines live a life of <strong>the</strong>ir own. Just visit squeallikeapig.<br />
com, <strong>the</strong> personal website of ac<strong>to</strong>r Bill McKinney, who uttered it.<br />
Or spend a few minutes on a summer Sunday watching <strong>the</strong> rafts<br />
plunge down Bull Sluice, <strong>the</strong> Chat<strong>to</strong>oga River’s main event, and<br />
listen for <strong>the</strong> jokes straining over <strong>the</strong> roar of <strong>the</strong> rapids. Is it <strong>the</strong><br />
river that made <strong>the</strong> film, or <strong>the</strong> film that made <strong>the</strong> river? James<br />
Dickey wrote a dark, muscular novel, which became an even<br />
darker, more unsettling film. It’s about a canoe trip gone wrong on<br />
a remote river in North Georgia, but it’s also about “<strong>the</strong> measures<br />
that decent people may—or must—take against <strong>the</strong> amoral human<br />
monsters that are constantly amongst us, whe<strong>the</strong>r in <strong>the</strong> woods<br />
of North Georgia or on <strong>the</strong> streets of New York,” as Dickey wrote<br />
<strong>to</strong> William F. Buckley in September of 1972. When I first read <strong>the</strong><br />
book, at seventeen, it felt like a portal <strong>to</strong> manhood. <strong>Deliverance</strong> is<br />
a product of <strong>the</strong> male ego: <strong>the</strong> egos of <strong>the</strong> alcoholic-poet-turnednovelist<br />
(when <strong>the</strong> film was being made, Dickey wrote in a journal,<br />
“It seems <strong>to</strong> me that I am <strong>the</strong> bearer of some kind of immortal<br />
message <strong>to</strong> humankind”), a fearless English direc<strong>to</strong>r, and, not<br />
least of all, a B-movie ac<strong>to</strong>r who grew up in Waycross, Georgia,<br />
whose name was Bur<strong>to</strong>n Leon Reynolds Jr. And <strong>the</strong>n, still, <strong>the</strong><br />
fictional egos of <strong>the</strong> four men in <strong>the</strong> two canoes who, led by <strong>the</strong><br />
possessed Lewis, go down <strong>the</strong> fictional Cahulawassee “because<br />
it’s <strong>the</strong>re.” There for now, that is. It’s a disappearing river, about <strong>to</strong><br />
be dammed <strong>to</strong> generate power for <strong>the</strong> civilized folks from Atlanta.<br />
Instead of Roman Polanski or Sam<br />
Peckinpah, who were both discussed,<br />
Warner Bro<strong>the</strong>rs chose <strong>the</strong> lesser-known<br />
John Boorman <strong>to</strong> direct. He was a direc<strong>to</strong>r<br />
on <strong>the</strong> rise, having done Point Blank and<br />
Hell in <strong>the</strong> Pacific—both starring Lee Marvin—in<br />
<strong>the</strong> previous four years. Warren<br />
Beatty, Robert Redford, Charl<strong>to</strong>n Hes<strong>to</strong>n,<br />
Paul Newman, Jack Nicholson, Marlon<br />
Brando, Gene Hackman, and George C.<br />
Scott were all considered for parts that<br />
went <strong>to</strong> newcomers Jon Voight and Burt<br />
Reynolds. Nearly half <strong>the</strong> cast were local<br />
mountain people. It is something of a miracle,<br />
you begin <strong>to</strong> realize, that this bunch<br />
made a Hollywood film on a wild river that<br />
almost no one had canoed, in a state where<br />
movies weren’t made, and that it became<br />
one of <strong>the</strong> most lasting depictions—<strong>to</strong> say<br />
nothing of its accuracy—of <strong>the</strong> rural South,<br />
and North Georgia in particular.<br />
It also set in motion four decades of<br />
film production in Georgia. Reynolds ultimately<br />
appeared in eight films made in <strong>the</strong><br />
state (see page 87). For fiscal year 2011, <strong>the</strong><br />
impact of <strong>the</strong> film industry in Georgia was<br />
$2.4 billion. How did this start? To compile<br />
this oral his<strong>to</strong>ry of Georgia’s cinematic big<br />
bang, Atlanta magazine interviewed more<br />
than twenty people who helped bring<br />
<strong>Deliverance</strong> <strong>to</strong> <strong>the</strong> big screen, and quoted<br />
from some of <strong>the</strong> memoirs and letters associated<br />
with <strong>the</strong> production.<br />
///////////////////////////<br />
james dickey was born at Crawford<br />
Long hospital on February 2, 1923. Though<br />
he wanted <strong>to</strong> be a fighter pilot—and later<br />
said he was—Dickey was a flight naviga<strong>to</strong>r<br />
and weapons officer in World War II.<br />
He became an advertising executive and<br />
celebrated poet before publishing his first<br />
novel, <strong>Deliverance</strong>, in 1970. In Summer of<br />
<strong>Deliverance</strong>: A Memoir of Fa<strong>the</strong>r and Son,<br />
Dickey’s oldest son, Chris<strong>to</strong>pher, described<br />
his fa<strong>the</strong>r as “<strong>the</strong> advertising man by day,<br />
<strong>the</strong> poet by night, <strong>the</strong> archer and canoer<br />
and tennis player on <strong>the</strong> weekends. He was<br />
<strong>the</strong> fa<strong>the</strong>r in <strong>the</strong> armchair on Westminster<br />
Excerpts from James Dickey’s letters and pho<strong>to</strong>graphs<br />
reprinted with permission from <strong>the</strong> Estate<br />
of James Dickey and <strong>the</strong> Manuscript, Archives,<br />
and Rare Book Library, Emory University.<br />
Above, left: James Dickey, who played <strong>the</strong> sheriff, and his son Chris<strong>to</strong>pher. Above, right:<br />
Burt Reynolds. Below: Billy Redden was just a teenager when he was cast as <strong>the</strong> banjo player,<br />
even though he didn’t play <strong>the</strong> instrument. He still doesn’t. Pho<strong>to</strong>graphed in Clay<strong>to</strong>n on July 30.<br />
1 0 2 | at l a n ta | s e p t e m b e r 2 0 1 1<br />
r e d d e n : p h o t o g r a p h b y j a s o n m a r i s
Above, Jon Voight’s climactic climb up <strong>the</strong> gorge had <strong>the</strong> cast and crew on<br />
edge. Below, James Dickey and John Boorman. Right, <strong>the</strong> harrowing rape scene<br />
required makeup <strong>to</strong> show an attacker impaled with an arrow.<br />
Jon [Voight]<br />
was in a very<br />
depressed state.<br />
He wanted <strong>to</strong><br />
give up acting.<br />
He says that<br />
I saved his life<br />
and <strong>the</strong>n spent<br />
<strong>the</strong> whole<br />
film trying <strong>to</strong><br />
kill him.<br />
—John Boorman<br />
[Circle], <strong>the</strong> half-rebellious son at Sunday<br />
dinners on West Wesley. He was lifting<br />
weights, still, in <strong>the</strong> carport, and cruising<br />
<strong>the</strong> Buckhead strip malls in <strong>the</strong> MGA<br />
sports car his mo<strong>the</strong>r bought him . . . He<br />
wanted <strong>to</strong> try everything.”<br />
lewis king, eighty-three, was a friend<br />
of James Dickey’s and a technical adviser for<br />
<strong>the</strong> film. He lives in Sautee-Nacoochee. Dickey<br />
dedicated <strong>the</strong> book <strong>to</strong> me because I <strong>to</strong>ok<br />
him canoeing. He enjoyed it, but he wasn’t<br />
much of a paddler.<br />
doug woodward, seventy-four, was a<br />
cofounder of Sou<strong>the</strong>astern Expeditions guiding<br />
service and a technical adviser for <strong>the</strong> film.<br />
He lives in Franklin, North Carolina. From his<br />
memoir, Wherever Waters Flow: Dickey<br />
was an imposing figure of a man, and his<br />
presence filled <strong>the</strong> room. But it was much<br />
more than physical. There was a mystique<br />
about him—of things hidden, perhaps ominous—that<br />
he enjoyed perpetuating. There<br />
were references <strong>to</strong> <strong>the</strong> canoe trip which he<br />
and King had taken years before . . . Dickey<br />
would not describe details of that canoe<br />
trip. With a knowing smile, he would<br />
simply say, “There’s a lot more truth in <strong>the</strong><br />
s<strong>to</strong>ry [<strong>Deliverance</strong>] than you might think.”<br />
king I had <strong>to</strong> go far<strong>the</strong>r down <strong>the</strong> river<br />
<strong>to</strong> wait. I met a young guy and his fa<strong>the</strong>r.<br />
The fa<strong>the</strong>r said, “Stay with him, boy.” I<br />
think he probably had a still down <strong>the</strong>re.<br />
We waited. The man thought I shouldn’t<br />
have been snooping around with a bunch<br />
of maps. I think Jim used that.<br />
burt reynolds, seventy-five, played<br />
Lewis Medlock in <strong>the</strong> film. He now lives in<br />
Jupiter, Florida. Dickey and I didn’t see<br />
eye <strong>to</strong> eye on a lot of things, but I did love<br />
<strong>the</strong> book. He said, “You know, it really<br />
happened. We didn’t get <strong>the</strong>re in time <strong>to</strong><br />
kill <strong>the</strong> guy.” I didn’t ask him fur<strong>the</strong>r. Do<br />
I think it’s true? I don’t know. Dickey was<br />
one of <strong>the</strong> great s<strong>to</strong>rytellers ever. And I<br />
don’t mean liars.<br />
chris dickey, sixty, was a stand-in.<br />
He lives in Paris, where he is <strong>the</strong> Paris bureau<br />
chief and Middle East regional edi<strong>to</strong>r for<br />
Newsweek. From Summer of <strong>Deliverance</strong>:<br />
<strong>Deliverance</strong> was just one of his projects,<br />
something <strong>to</strong> talk through on our long<br />
drives across two continents. And as I read<br />
it that night after my marriage, in a motel<br />
on <strong>the</strong> New Jersey Turnpike, I had <strong>to</strong> admit<br />
it was very damn good. Much as I wanted<br />
<strong>to</strong>, I couldn’t put it down.<br />
Dickey wrote a screenplay, which was heavily<br />
revised by direc<strong>to</strong>r John Boorman. The revisions<br />
would be <strong>the</strong> subject of much acrimony.<br />
james dickey Letter <strong>to</strong> Eric Wallace,<br />
April 27, 1971: I first did a long “treatment”<br />
very heavily influenced by James<br />
Agee, and I thought it was very good, but it<br />
turned out <strong>to</strong> run about seven hours.<br />
woodward From Wherever Waters<br />
Flow: In King’s living room, [Dickey]<br />
held a copy in his hand. He turned <strong>to</strong> me,<br />
motioning with <strong>the</strong> script, and asked, “It’s<br />
a good book, don’t you think? Do you really<br />
like it?” . . . As he <strong>to</strong>ssed down more alcohol<br />
and <strong>the</strong> evening wore on, <strong>the</strong> question was<br />
repeated, until it became embarrassing.<br />
james dickey Letter <strong>to</strong> Edwin Peeples,<br />
January 1, 1971: I have a good direc<strong>to</strong>r,<br />
though an Englishman, John Boorman. I<br />
<strong>to</strong>ok him over in<strong>to</strong> North Georgia about six<br />
weeks ago, looking for locations, and damn<br />
near got him bit by a big copperhead. Now<br />
that would have been a <strong>to</strong>uch of “au<strong>the</strong>nticity.”<br />
Imagine having an Englishman filming<br />
a novel about North Georgia in North<br />
Georgia, his veins full of North Georgia<br />
copperhead poison.<br />
We have a good script, which I did,<br />
which John redid, and which I redid his<br />
redoing of. Anyway, we feel that we can<br />
legitimately claim equal credit, and that we<br />
have something which satisfies us both,<br />
which I guess is <strong>the</strong> point anyway.<br />
john boorman, seventy-eight, lives<br />
near Dublin, Ireland. He had a great sense<br />
of fantasy. When I first talked <strong>to</strong> him about<br />
<strong>the</strong> film, he said, “I’m going <strong>to</strong> tell you<br />
something that I’ve never <strong>to</strong>ld a living soul:<br />
Everything in that book happened <strong>to</strong> me.”<br />
He <strong>to</strong>ld everyone else <strong>the</strong> same thing. Of<br />
course, nothing in that book actually happened<br />
<strong>to</strong> him. Continued on page 118<br />
s e p t e m b e r 2 0 1 1 | at l a n ta | 1 0 5
Mountain Men<br />
Continued from page 105<br />
sarah rickman, eighty-five, was married<br />
<strong>to</strong> Frank Rickman, now deceased, who built<br />
sets and found filming locations in North Georgia.<br />
She lives in Clay<strong>to</strong>n. John Boorman had<br />
pink knitting thread holding his glasses. He<br />
was English and his wife was German.<br />
boorman I was pretty hot at <strong>the</strong> time. I<br />
read <strong>the</strong> manuscript and knew exactly how<br />
<strong>to</strong> do it. Burt and Jon were both not very hot<br />
at <strong>the</strong> time. Burt had done three TV series,<br />
which had all failed. Living in Ireland, I<br />
didn’t realize that.<br />
Voight had been in Midnight Cowboy, but<br />
little else of note. Reynolds had been in movies<br />
that, by his own account, “made you run out of<br />
<strong>the</strong> <strong>the</strong>ater screaming if you saw <strong>the</strong>m twice.”<br />
These included Caine and Skullduggery.<br />
Voight and Reynolds were joined by two Shakespearean<br />
ac<strong>to</strong>rs who’d never done movies: Ned<br />
Beatty and Ronny Cox. The film’s budget was<br />
$1.8 million.<br />
chris dickey Burt wanted respect. He<br />
wasn’t coming from <strong>the</strong> stage, or from an<br />
Academy Award–winning film. He was a<br />
former stuntman, and he wanted <strong>to</strong> be a star.<br />
reynolds I was crazy and young and<br />
thought I was <strong>to</strong>tally indomitable. <strong>Deliverance</strong><br />
saved me in terms of being thought of<br />
as a serious ac<strong>to</strong>r.<br />
ed spivia, seventy, was <strong>the</strong> state’s first<br />
film commissioner and is now chairman of <strong>the</strong><br />
Georgia Film, Video, and Music Advisory Commission.<br />
He lives on Lake Lanier. Dickey kept<br />
slapping Burt on <strong>the</strong> back and calling him<br />
Lewis. I think Burt punched him out.<br />
reynolds He was about six foot seven,<br />
240. He didn’t want <strong>to</strong> get physical with me.<br />
He was big, but I was crazy. After fighting<br />
<strong>the</strong> river, Dickey would have been a cinch.<br />
The Chat<strong>to</strong>oga was a dangerous, largely<br />
unknown river forty years ago. And <strong>the</strong> men<br />
expected <strong>to</strong> paddle down it were novices in<br />
canoes.<br />
boorman It was a location film, and<br />
I chose <strong>the</strong> river. It was <strong>the</strong> most suitable<br />
place <strong>to</strong> shoot, so we did it <strong>the</strong>re. I’ve filmed<br />
in more remote places, like <strong>the</strong> Amazon.<br />
reynolds I hadn’t paddled a river until<br />
we did <strong>the</strong> movie. None of us had. At that<br />
time, no one had done <strong>the</strong> Chat<strong>to</strong>oga in a<br />
canoe. Just rafts that crashed and burned.<br />
buzz williams, sixty-one, was an early<br />
paddler of <strong>the</strong> Chat<strong>to</strong>oga. Now <strong>the</strong> executive<br />
direc<strong>to</strong>r of <strong>the</strong> Chat<strong>to</strong>oga Conservancy, he lives<br />
in Long Creek, South Carolina. In 1968 I was<br />
a high school senior in Pendle<strong>to</strong>n, South<br />
Carolina. A couple fellas were transferred<br />
<strong>to</strong> a mill down here, and <strong>the</strong>y had kayaks.<br />
Nobody here knew what a kayak was. They<br />
found this great river and asked me <strong>to</strong> go<br />
with <strong>the</strong>m. It was <strong>the</strong> Chat<strong>to</strong>oga.<br />
reynolds The first day <strong>the</strong> four of us<br />
went out, I had Ned Beatty in <strong>the</strong> front of<br />
my boat—which was not a good idea—and<br />
Jon had Ronny in <strong>the</strong> front of his boat and<br />
we were in this little pond and <strong>the</strong> boats<br />
tipped over. I remember two old paddlers<br />
sitting on <strong>the</strong> beach saying, “This is going<br />
<strong>to</strong> be a long summer.”<br />
claude terry, seventy-four, was a<br />
technical adviser and body double for Jon<br />
Voight. He cofounded American Rivers and<br />
Sou<strong>the</strong>astern Expeditions guiding service. He<br />
lives in Atlanta. They had me up for a day<br />
<strong>to</strong> teach canoeing, and Burt wouldn’t come.<br />
They had Fred Bear teach archery, and Burt<br />
wouldn’t do that ei<strong>the</strong>r.<br />
williams You could get seriously lost,<br />
or killed. It was one of <strong>the</strong> few remaining<br />
wild places in <strong>the</strong> sou<strong>the</strong>rn Appalachians.<br />
james dickey Letter <strong>to</strong> Larry DuBois,<br />
April 8, 1971: This is going <strong>to</strong> be some thing,<br />
and some movie. If we just don’t get everybody’s<br />
brains knocked out on those rocks!<br />
They are pure murder, I can tell you.<br />
woodward From Wherever Waters<br />
Flow: We might be called on for technical<br />
advice, such as, “Where can we find a rock<br />
face with a swift current running past,<br />
that Jon Voight can be clawing at for a<br />
finger hold—and where we don’t lose him<br />
down river!” Thus <strong>the</strong> naming of “<strong>Deliverance</strong><br />
Rock.”<br />
kyle weisbrod, thirty-two, guided<br />
Sou<strong>the</strong>astern Expeditions raft trips in 2000 and<br />
2001. He lives in Seattle. Most of <strong>the</strong> Chat<strong>to</strong>oga<br />
shots were from <strong>Deliverance</strong> Rock<br />
and Screaming Left Hand Turn. They use<br />
Screaming Left Hand Turn three or four<br />
times. They didn’t <strong>to</strong>uch Bull Sluice.<br />
The set was a diverse place, as many of <strong>the</strong><br />
smaller roles were filled by mountain people in<br />
North Georgia.<br />
betsy fowler, seventy-six, was married<br />
<strong>to</strong> John Fowler, now deceased; in <strong>the</strong> film,<br />
he played a doc<strong>to</strong>r who tends <strong>to</strong> <strong>the</strong> injured<br />
canoers. She has lived in Rabun County for <strong>the</strong><br />
past forty-eight years. Boorman <strong>to</strong>ld Frank<br />
Rickman <strong>to</strong> go out and find all <strong>the</strong> people in<br />
Rabun County who were challenged in any<br />
way—physically and mentally.<br />
boorman Frank was a bulldozer man.<br />
spivia Frank knew those mountains and<br />
rivers better than anybody. His fa<strong>the</strong>r was<br />
sheriff of Rabun County and used him as a<br />
catch dog for moonshiners. Frank found <strong>the</strong><br />
buck dancer at <strong>the</strong> gas station. And he’s <strong>the</strong><br />
one that put <strong>the</strong> pig-squealing in it. Governor<br />
Carter ended up appointing him <strong>to</strong> <strong>the</strong><br />
film commission.<br />
rickman They wanted a snake <strong>to</strong> swim<br />
through <strong>the</strong> river and hold its head up.<br />
Frank knew exactly which snake <strong>to</strong> get.<br />
Frank didn’t go <strong>to</strong> <strong>the</strong> movies, but he liked<br />
making <strong>the</strong>m.<br />
spivia He was a red-clay Michelangelo.<br />
Billy Redden, fifteen years old at <strong>the</strong> time,<br />
played Lonnie, <strong>the</strong> creepy boy in <strong>the</strong> dueling<br />
banjos scene.<br />
billy redden, fifty-six, lives in Dillard,<br />
Georgia, and works at Walmart. A couple<br />
casting direc<strong>to</strong>rs came in<strong>to</strong> our school and<br />
<strong>the</strong>y picked me out. They just said, “Sit<br />
<strong>the</strong>re and be natural.” There was ano<strong>the</strong>r<br />
local boy behind me, Mike Atlas, playing <strong>the</strong><br />
banjo. I just had two scenes: sitting on <strong>the</strong><br />
porch, <strong>the</strong>n <strong>the</strong> bridge. The rest of <strong>the</strong> movie<br />
I don’t know nothing about. I left.<br />
boorman [Redden] didn’t play <strong>the</strong><br />
banjo, you know. That was ano<strong>the</strong>r boy,<br />
reaching through his sleeve. We didn’t put<br />
him in <strong>the</strong> credits.<br />
The set attracted a lot of attention; much of it<br />
came from Reynolds’s harem of women, but<br />
<strong>the</strong>re were also <strong>to</strong>urism officials interested in<br />
promoting <strong>the</strong> state.<br />
spivia I was edi<strong>to</strong>r of a little state publication<br />
called Georgia Progress. I went up <strong>to</strong><br />
Clay<strong>to</strong>n <strong>to</strong> see what <strong>the</strong>y were doing with<br />
<strong>Deliverance</strong>. I nosed around and found out<br />
<strong>the</strong>y were buying property along <strong>the</strong> river,<br />
and hotels, and food. Helping <strong>the</strong> community.<br />
It was an eye-opening experience.<br />
Georgia was having a downtime, and I<br />
thought more films would be a good way <strong>to</strong><br />
get more money spent on Georgia.<br />
woodward From Wherever Waters<br />
Flow: Nightlife in Rabun County revolved<br />
around <strong>the</strong> Clay<strong>to</strong>n Dairy Queen and <strong>the</strong><br />
Tiger Drive-in Theatre. The Tiger showed<br />
grade-B films that were so bad <strong>the</strong>y were<br />
actually good entertainment.<br />
reynolds I went <strong>to</strong> Atlanta a lot. I was<br />
dating a lovely lady and driving back at four<br />
in <strong>the</strong> morning <strong>to</strong> work on <strong>the</strong> weekends.<br />
Jon, he probably was out being a horticulturalist.<br />
I think he was testing plants. He’s<br />
always trying <strong>to</strong> fur<strong>the</strong>r his brain.<br />
rickman I was stacking wood out on <strong>the</strong><br />
carport and Burt drove up. I said, “Hold on,<br />
Burt, don’t come and don’t try <strong>to</strong> kiss me,<br />
I’m all sweaty.” He said, “I don’t care.”<br />
terry We went in<strong>to</strong> his house and I<br />
looked over and <strong>the</strong>re’s a big stack of pho<strong>to</strong>graphs<br />
of Burt in a wet suit <strong>to</strong>p. He said,<br />
“Those are for au<strong>to</strong>graphs.”<br />
The direc<strong>to</strong>r and principal ac<strong>to</strong>rs stayed at Kingwood<br />
Country Club & Resort during <strong>the</strong> production,<br />
while <strong>the</strong> crew lodged at <strong>the</strong> Heart of Rabun<br />
Motel. Dickey and Boorman began <strong>to</strong> butt heads.<br />
chris dickey From Summer of<br />
<strong>Deliverance</strong>: My fa<strong>the</strong>r had been handed<br />
<strong>the</strong> shooting script that he thought he’d<br />
approved. But this one started with a terse<br />
note: “Scenes 1–19 omit.” This was going <strong>to</strong><br />
be an action movie that began and ended on<br />
<strong>the</strong> river. Real clean. Real simple.<br />
boorman Film is different from a novel.<br />
terry We were at Kingwood, having<br />
drinks. I was talking <strong>to</strong> Boorman and Jim<br />
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Dickey comes in drunk. He flops down<br />
and says, “God, <strong>the</strong>y’re ruining my fucking<br />
movie, ain’t <strong>the</strong>y? They’re not doing my<br />
book.” I said, “I don’t know, Jim.” I look at<br />
Boorman, and Jim repeats, “They’re ruining<br />
my book, ain’t <strong>the</strong>y?” Jim grabs me by <strong>the</strong><br />
shoulders and says, “You look at me when I<br />
talk <strong>to</strong> you.”<br />
boorman He was drunk a lot, and he<br />
had become very overbearing with <strong>the</strong><br />
ac<strong>to</strong>rs. Eventually I had <strong>to</strong> ask him <strong>to</strong> leave.<br />
We carried on.<br />
reynolds From his au<strong>to</strong>biography: I just<br />
couldn’t handle his act—his Jim Bowie knife<br />
on his belt, cowboy hat, and fringed jacket.<br />
rickman Boorman and his wife, Christel,<br />
rented a house down at Kingwood, and<br />
boy, she threw <strong>the</strong> best parties. She’d go <strong>to</strong><br />
Atlanta and get a complete hoop of blue<br />
cheese. She also bought all <strong>the</strong> lemons in<br />
<strong>to</strong>wn and made bowls of fresh lemonade<br />
that she <strong>to</strong>ok <strong>to</strong> <strong>the</strong> set. She rode around<br />
Clay<strong>to</strong>n in a yellow convertible.<br />
Conflict with locals began <strong>to</strong> brew. It became<br />
clear that <strong>the</strong> film wasn’t going <strong>to</strong> be a pretty<br />
postcard from North Georgia.<br />
fowler Every character, with <strong>the</strong> exception<br />
of my husband [who played <strong>the</strong> doc<strong>to</strong>r]<br />
and <strong>the</strong> four men going down <strong>the</strong> river, was<br />
portrayed as very limited. And that didn’t<br />
make us feel good.<br />
or something. It was a very happy shoot in<br />
my recollection. Everybody was very collegial.<br />
The locals were extremely helpful.<br />
woodward From Wherever Waters<br />
Flow: Warner Bro<strong>the</strong>rs had found <strong>the</strong>ir<br />
“perfect” backwoods cabin and gas pump<br />
location for shooting <strong>the</strong> “That river don’t<br />
go <strong>to</strong> Aintree” scene. When <strong>the</strong>y returned a<br />
week later, <strong>the</strong>y were met by <strong>the</strong> owner who<br />
quickly sent <strong>the</strong>m packing with, “I just read<br />
<strong>the</strong> book and you’re not shooting that filthy<br />
s<strong>to</strong>ry on my place!”<br />
king The two things that really made<br />
<strong>Deliverance</strong> last are <strong>the</strong> concept of <strong>the</strong> modern<br />
man with <strong>the</strong> primitive weapon against<br />
<strong>the</strong> primitive man with <strong>the</strong> modern weapon.<br />
It was also an unprovoked attack by a rural<br />
element against an urban element.<br />
chris dickey The book and <strong>the</strong> movie<br />
played with <strong>the</strong> tension between <strong>the</strong> new<br />
South and <strong>the</strong> old South. The new South<br />
was Atlanta. The old South up in <strong>the</strong> mountains<br />
was a whole different world. You<br />
didn’t have <strong>to</strong> drive far <strong>to</strong> hit it.<br />
williams The whole his<strong>to</strong>ry of <strong>the</strong><br />
sou<strong>the</strong>rn Appalachians is of impoverished<br />
people in a land that was just abused and<br />
worn out and overrun. That’s why <strong>the</strong>y’re<br />
suspicious. Then, on <strong>to</strong>p of all that suffering,<br />
<strong>to</strong> have someone come in and make fun<br />
of you? They deeply resented it.<br />
boorman Most of <strong>the</strong> people who lived<br />
up <strong>the</strong>re were like that.<br />
chris dickey From Summer of <strong>Deliverance</strong>:<br />
Hollywood paid <strong>the</strong>se people and<br />
treated <strong>the</strong>m as gently as it knew how <strong>to</strong> do,<br />
but it was hard <strong>to</strong> get over <strong>the</strong> feeling as <strong>the</strong><br />
lights went on and <strong>the</strong> cameras rolled that<br />
souls were being s<strong>to</strong>len here.<br />
As <strong>the</strong> production wore on, <strong>the</strong> risk-taking and<br />
off-set drama intensified. Voight climbed hundreds<br />
of feet above Tallulah Gorge, and Reynolds<br />
voluntarily slid down a waterfall.<br />
boorman Jon was in a very depressed<br />
state when I found him; he wanted <strong>to</strong> give<br />
up acting. He says that I saved his life and<br />
<strong>the</strong>n spent <strong>the</strong> whole film trying <strong>to</strong> kill him.<br />
james dickey Letter <strong>to</strong> Jacques de Spoelberch,<br />
who edited <strong>Deliverance</strong> <strong>the</strong> novel, June<br />
26, 1971: Yesterday we were filming <strong>the</strong><br />
part where Ed climbs <strong>the</strong> rock-face, and if<br />
<strong>the</strong>re was ever a harrowing piece of filmmaking,<br />
this was it. Jon Voight did as much<br />
of <strong>the</strong> actual climbing as he was able <strong>to</strong>, and<br />
wanted <strong>to</strong> do more, but Boorman was as<br />
frightened for his life as I was.<br />
I am deathly afraid that somebody will<br />
get hurt on this film, because <strong>the</strong>re is no<br />
doubt that it is <strong>the</strong> most dangerous one ever<br />
made. If we can just get out of <strong>the</strong> gorge.<br />
king The woods represented a sort of<br />
mystery <strong>to</strong> Jim. He wasn’t very comfortable.<br />
They <strong>to</strong>ld me if I got caught in <strong>the</strong> hydro<br />
flow, swim <strong>to</strong> <strong>the</strong> bot<strong>to</strong>m and it’ll shoot you<br />
out. They didn’t tell me that it would shoot<br />
me like a submarine <strong>to</strong>rpedo! They couldn’t<br />
find me for five minutes. A mile down <strong>the</strong><br />
river, <strong>the</strong>y saw this nude man stumbling,<br />
crawling <strong>to</strong>wards <strong>the</strong>m. I’d had on <strong>the</strong>se<br />
high boots and <strong>the</strong>y were gone, <strong>the</strong> pants<br />
were gone, <strong>the</strong> underwear was gone, <strong>the</strong><br />
jacket was gone. I said <strong>to</strong> Boorman, “How’s<br />
it look, John?” He said, “Like a dummy<br />
going over <strong>the</strong> waterfall.”<br />
rickman Frank had built a walkway<br />
and put strong poles and a large rope along<br />
<strong>the</strong> sides of <strong>the</strong> gorge for you <strong>to</strong> hold on <strong>to</strong>.<br />
So <strong>the</strong>re were some precautions.<br />
chris dickey From Summer of <strong>Deliverance</strong>:<br />
To shoot that scene, a little deer was<br />
brought in from an animal park, and heavily<br />
tranquilized so it could be controlled.<br />
There was never any question of hurting<br />
it in any way. But it died. It had been given<br />
an overdose. Boorman and his assistants<br />
were in a quiet panic. “This is all we need,”<br />
I remember one of <strong>the</strong>m saying.<br />
reynolds You think that right in <strong>the</strong><br />
middle of <strong>the</strong> fact that you may be drowning,<br />
somebody’s going <strong>to</strong> say “cut” and<br />
you’re going <strong>to</strong> be all right. I don’t know if<br />
you could find four ac<strong>to</strong>rs quite that crazy<br />
<strong>to</strong> do it now. And Boorman was right <strong>the</strong>re<br />
with us most of <strong>the</strong> time.<br />
terry There were hours of hanging<br />
on <strong>the</strong> branch above a big rapid “waiting<br />
for cloud.” The cinema<strong>to</strong>grapher wanted<br />
everything overcast and <strong>the</strong>n put a brownish<br />
wash on <strong>the</strong> film <strong>to</strong> make it even darker.<br />
It seemed dark enough.<br />
Filming <strong>the</strong> scene in which Ned Beatty’s character<br />
is raped <strong>to</strong>ok more than a day. The set was closed.<br />
chris dickey From Summer of <strong>Deliverance</strong>:<br />
It was a rain forest, right here in <strong>the</strong><br />
mountains of Georgia. Its floor was so shadowed<br />
that small plants found it impossible <strong>to</strong><br />
grow in <strong>the</strong> thick loam of <strong>the</strong> rotting leaves.<br />
The mountain laurel was not shrubbery but<br />
a collection of trees twisted like gnarled fingers<br />
reaching for <strong>the</strong> light. The whole effect<br />
was beautiful and threatening. This was<br />
where <strong>the</strong> rape scene was going <strong>to</strong> be filmed.<br />
The script called it “Resting Place.”<br />
woodward From Wherever Waters<br />
Flow: [Chris] was <strong>to</strong> “stand-in” for Beatty<br />
at all <strong>the</strong> critical marks—climbing <strong>the</strong> leafy<br />
bank, bending over <strong>the</strong> log.<br />
chris dickey Nobody was sure how<br />
far it would go, or how convincing it would<br />
be. I wasn’t in my underwear. I was fully<br />
clo<strong>the</strong>d. But it was a very unpleasant sensation,<br />
lying over a log with your ass up in<br />
<strong>the</strong> air in a scene that’s eventually going <strong>to</strong><br />
be a rape.<br />
rickman Frank [<strong>the</strong> local location scout]<br />
did say that was <strong>the</strong> thing <strong>to</strong> do. And <strong>the</strong>y did<br />
it. Oh gosh. He was proud of it. He thought<br />
saying “squeal like a pig” was real funny.<br />
chris dickey Herbert “Cowboy” Coward<br />
[who plays <strong>the</strong> “Toothless Man” in <strong>the</strong><br />
rape scene] was not an ac<strong>to</strong>r at all. He’d try<br />
<strong>to</strong> get in<strong>to</strong> <strong>the</strong> role and he would say <strong>the</strong><br />
most ridiculous things. He ends up saying,<br />
“He’s got a real pretty mouth, don’t he?”<br />
williams There was already conflict<br />
between <strong>the</strong> people that traditionally used<br />
<strong>the</strong> river and people coming in from <strong>the</strong><br />
outside. <strong>Deliverance</strong> was like dropping an<br />
a<strong>to</strong>mic bomb on <strong>the</strong> whole thing.<br />
boorman When I was looking for locations<br />
up <strong>the</strong>re, before we shot <strong>the</strong> film, I ran<br />
in<strong>to</strong> <strong>the</strong> odd guy aiming a shotgun at me.<br />
But on <strong>the</strong> whole, <strong>the</strong>y were very helpful.<br />
chris dickey Life magazine asked my<br />
fa<strong>the</strong>r <strong>to</strong> write something about <strong>the</strong> making<br />
of <strong>the</strong> movie, and he said, “Have my son<br />
write it.” I was nineteen and thought it was<br />
a great chance. So I <strong>to</strong>ok <strong>to</strong>ns of notes and<br />
sat down and wrote a few thousand words.<br />
They didn’t publish it, but I kept <strong>the</strong> notes.<br />
boorman Chris was fourteen years old<br />
I couldn’t get<br />
through <strong>to</strong> my<br />
fa<strong>the</strong>r. All of a<br />
sudden everybody’s<br />
encouraging<br />
you <strong>to</strong><br />
be crazy, harddrinking,<br />
eccentric<br />
. . . you do<br />
that. And he did.<br />
—Chris Dickey<br />
reynolds I was Sou<strong>the</strong>rn, and <strong>the</strong><br />
rest of <strong>the</strong> crew weren’t. I had a real <strong>to</strong>uch<br />
with those people. And not because I was<br />
trying <strong>to</strong> talk like Erskine Caldwell. There<br />
was no way we could have made that movie<br />
without <strong>the</strong>ir permission. They let us shoot.<br />
They weren’t above blowing up canoes.<br />
james dickey Letter <strong>to</strong> Jacques de Spoelberch,<br />
June 26, 1971: Burt Reynolds, who<br />
plays Lewis, cascades down about ninety<br />
feet of hurricane-rushing water. Burt did<br />
this, and <strong>the</strong> shots of him doing it are hairraising<br />
indeed.<br />
reynolds They sent a dummy over<br />
<strong>the</strong> waterfall and it looked like shit, like a<br />
dummy. So I went over <strong>the</strong> waterfall and<br />
hit a rock about a quarter of <strong>the</strong> way down<br />
and cracked my hip bone and my coccyx.<br />
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But <strong>the</strong> first time <strong>the</strong>y were blocking <strong>the</strong><br />
scene, it was, “I’m gonna lay a big, long<br />
d--- right in your mouth.” Voight laughed.<br />
He looks around and says, “God? Burt?<br />
Somebody?”<br />
reynolds There must be some phallic<br />
thing here: The guy who did <strong>the</strong> raping was<br />
a tree-trimmer.<br />
rickman I didn’t much care for that<br />
scene.<br />
chris dickey From Summer of <strong>Deliverance</strong>:<br />
It was becoming what <strong>the</strong> movie<br />
was about, it was <strong>the</strong> thing everybody was<br />
going <strong>to</strong> remember. Not Lewis’s survivalism,<br />
not <strong>the</strong> climb up <strong>the</strong> cliff, not Ed’s conquest<br />
of his own fear.<br />
terry Chris was put through abuse <strong>to</strong><br />
<strong>the</strong> point where when he left for France he<br />
said he’d never come back except <strong>to</strong> see his<br />
stepsister.<br />
chris dickey It was a miserable time<br />
in my life. And my fa<strong>the</strong>r didn’t understand.<br />
james dickey Interview with Playboy,<br />
1973: John turned <strong>to</strong> me and said, “Jim, we<br />
all want you <strong>to</strong> play <strong>the</strong> sheriff.” I said I’d<br />
never acted in my life. “You can do it,” he<br />
said. So I just played myself dressed up in a<br />
sheriff’s uniform. After we made that scene,<br />
I wore <strong>the</strong> uniform back <strong>to</strong> where we were<br />
staying and had dinner. Somebody said <strong>to</strong><br />
me, “Does your sheriff’s outfit fit you OK?”<br />
I said, “Yeah, I haven’t had it off all day. In<br />
fact, ever since I’ve had it on, I’ve been going<br />
around collecting graft from every whorehouse<br />
in Rabun County. And that isn’t all I<br />
got, ei<strong>the</strong>r.”<br />
boorman When I <strong>to</strong>ld him <strong>to</strong> leave, I<br />
said he could come back <strong>to</strong> play <strong>the</strong> sheriff.<br />
He said, “Get yourself ano<strong>the</strong>r boy.” But he<br />
came back, of course. And did very well.<br />
reynolds No, we didn’t take any precautions.<br />
It was crazy. Absolutely crazy. But<br />
we did it and I’m glad we did it. Would I do<br />
it again? Not for three million dollars.<br />
<strong>Deliverance</strong> opened <strong>the</strong> Atlanta International<br />
Film Festival on August 11, 1972, taking <strong>the</strong> <strong>to</strong>p<br />
award, <strong>the</strong> Golden Phoenix. It went on <strong>to</strong> be<br />
nominated for numerous o<strong>the</strong>r awards, includ-<br />
ing an Oscar for Best Picture, Best Film Editing,<br />
and Best Direc<strong>to</strong>r.<br />
williams The book was big. But nobody<br />
had a clue whe<strong>the</strong>r <strong>the</strong> movie would flop. It<br />
just came like a bombshell out of <strong>the</strong> sky.<br />
rickman We went <strong>to</strong> Atlanta for <strong>the</strong><br />
premiere. Frank was in<strong>to</strong> it so deeply, it was<br />
strange for him watching <strong>the</strong> movie. I liked<br />
<strong>the</strong> scenery. But <strong>the</strong> s<strong>to</strong>ry . . .<br />
fowler I still can’t watch it all <strong>the</strong> way<br />
through.<br />
williams The first thing that struck me<br />
was <strong>the</strong> night sounds. What it sounded like<br />
on film was just like walking outside our<br />
house at night.<br />
rickman People said it put a bad picture<br />
of Rabun County <strong>to</strong> <strong>the</strong> world. Like that<br />
rape in <strong>the</strong> woods. I don’t think mountain<br />
people do that.<br />
chris dickey My fa<strong>the</strong>r’s sympathy<br />
with <strong>the</strong>m was much greater than it comes<br />
across in <strong>the</strong> movie.<br />
stan darnell, sixty-two, is <strong>the</strong> head of<br />
<strong>the</strong> Rabun County Board of Commissioners.<br />
He lives in Rabun County. Everybody up here<br />
was kind of up in arms. They didn’t expect<br />
that one scene <strong>to</strong> be in <strong>the</strong>re. But we got <strong>the</strong><br />
rafting industry, and quite a few o<strong>the</strong>r movies<br />
came here and helped real estate, and<br />
o<strong>the</strong>r businesses around.<br />
spivia At <strong>the</strong> premiere, I sat behind Mr.<br />
and Mrs. Carter and Miss Lillian. When<br />
<strong>the</strong> ac<strong>to</strong>r lets out, “Yahoo, that’s <strong>the</strong> wildest<br />
fucking river in <strong>the</strong> world,” I went under<br />
my seat. Jimmy thought it was fine, though.<br />
He always said not <strong>to</strong> inject our feelings<br />
about anybody’s movie. We were <strong>the</strong>re <strong>to</strong><br />
help <strong>the</strong>m.<br />
john dillard, sixty-six, worked for<br />
<strong>the</strong> Dillard Mo<strong>to</strong>r Lodge in Clay<strong>to</strong>n, which<br />
catered for <strong>the</strong> film set. His family now runs <strong>the</strong><br />
Dillard House restaurant in Dillard, Georgia.<br />
Some people that didn’t go <strong>to</strong> <strong>the</strong> trouble of<br />
understanding what Dickey was trying <strong>to</strong><br />
portray may have been offended. He was<br />
showing how people’s character, true character,<br />
comes out when placed in a different<br />
environment, a dangerous environment. It<br />
made for a great s<strong>to</strong>ry.<br />
james dickey Letter <strong>to</strong> William F. Buckley<br />
Jr., September 18, 1972: Have you seen our<br />
movie yet? Has it been reviewed in National<br />
Review? If it hasn’t, I have a suggestion or<br />
two. Most of <strong>the</strong> o<strong>the</strong>r reviewers have taken<br />
it as a critique of “machismo.” But this<br />
needn’t be <strong>the</strong> case. It can equally be taken<br />
as a political fable: law and order, or un-law<br />
and order (of a sort).<br />
reynolds I’ve always been amazed that<br />
he never wrote ano<strong>the</strong>r book as good. My<br />
<strong>the</strong>ory is that he didn’t have ano<strong>the</strong>r s<strong>to</strong>ry<br />
in him that really happened that dramatic.<br />
james dickey Letter <strong>to</strong> John Boorman,<br />
September 22, 1972: When you see Burt in<br />
London, please have him <strong>to</strong>ne down some<br />
of <strong>the</strong> public remarks he is making about<br />
me. I may be mythical <strong>to</strong> Burt in some way<br />
that has <strong>to</strong> do with his own psychological<br />
condition . . . I don’t think Burt is doing<br />
any of us any good by his creation of this<br />
mythical character he refers <strong>to</strong> under <strong>the</strong><br />
unlikely name of James Dickey. But tell <strong>the</strong><br />
guy that I’m very high on him, for his guts<br />
and talent.<br />
reynolds It <strong>to</strong>tally changed my career.<br />
It changed my life. It changed everything.<br />
james dickey Letter <strong>to</strong> John Foster West,<br />
Oc<strong>to</strong>ber 20, 1972: You could say ei<strong>the</strong>r that<br />
<strong>the</strong> four main characters are more or less<br />
based on people I knew—and still know.<br />
But it would probably be even more true <strong>to</strong><br />
say that <strong>the</strong>y are all aspects of myself.<br />
chris dickey From Summer of <strong>Deliverance</strong>:<br />
The smell of alcohol would ooze<br />
from his pores. And he would stand in <strong>the</strong><br />
long lines—even walk up and down <strong>the</strong><br />
lines—as people waited for tickets. “You see<br />
that?” he’d say. “That’s my movie.”<br />
boorman I was very proud <strong>to</strong> have<br />
made it.<br />
fowler My husband worked one day,<br />
and I still get residuals of $6.14, two or three<br />
times a year.<br />
According <strong>to</strong> U.S. Forest Service statistics,<br />
seventeen people were killed on <strong>the</strong> Chat<strong>to</strong>oga<br />
in <strong>the</strong> four years after <strong>Deliverance</strong> came out.<br />
Raft companies also began sending people down<br />
<strong>the</strong> river.<br />
williams It was referred <strong>to</strong> as “<strong>Deliverance</strong><br />
Syndrome.” Everybody saw <strong>the</strong> movie<br />
and wanted <strong>to</strong> go do what Lewis did. They<br />
came up here ill-prepared and got on a very<br />
dangerous river in a very remote place, and<br />
<strong>the</strong>y got killed in droves; <strong>the</strong>y didn’t have<br />
on life jackets or had no skill whatsoever.<br />
Some died of hypo<strong>the</strong>rmia. I love <strong>the</strong> river,<br />
and I love that people have <strong>the</strong> opportunity<br />
<strong>to</strong> enjoy it. But those brochures call it “The<br />
<strong>Deliverance</strong> River.” Every time I see that,<br />
and all <strong>the</strong> trash, I get nauseated.<br />
dillard Billy Redden, it sort of made a<br />
permanent celebrity out of him.<br />
redden People recognize me in <strong>the</strong><br />
s<strong>to</strong>re. I’ve had people from all over send me<br />
mail. After me and my wife divorced, I had<br />
my address changed, and I ain’t got a check<br />
from Warner Bro<strong>the</strong>rs since. That was<br />
six years ago. They were giving me about<br />
twenty bucks a month. I just want <strong>to</strong> find<br />
<strong>the</strong>ir main office and get my address fixed.<br />
Twenty dollars is a lot, but it’s not worth<br />
fighting my ex-wife for it.<br />
reynolds I wanted <strong>to</strong> hurry up and<br />
get <strong>the</strong> shot before my arms went down<br />
one day. I was pumping iron like crazy, and<br />
Billy came up and said, “Stud, my neighbor<br />
died.” And I said, “Well, I’m sorry, Billy.”<br />
And he said, “She ain’t dead, ’cause I love<br />
her.” And I thought, that’s as good as it gets.<br />
I hope he liked us. We cherished him.<br />
redden He wasn’t that nice. I tried <strong>to</strong><br />
get along with him, but he was kind of a<br />
smart-ass.<br />
chris dickey I couldn’t get through<br />
<strong>to</strong> my fa<strong>the</strong>r anymore, and wouldn’t until<br />
more than twenty years later. If you’re a<br />
writer, your ego is a big part of what you do.<br />
And if all of a sudden everybody’s encouraging<br />
you <strong>to</strong> be crazy, hard-drinking, eccentric<br />
. . . you do that. And he did.<br />
boorman He was appreciative of my<br />
help, and he professed <strong>to</strong> be very happy<br />
with <strong>the</strong> film. He used <strong>to</strong> say <strong>to</strong> people it was<br />
better than <strong>the</strong> book. Later on, he felt that<br />
I, in some ways, had betrayed <strong>the</strong> book. In<br />
<strong>the</strong> late eighties, he tried <strong>to</strong> get Hollywood <strong>to</strong><br />
remake <strong>the</strong> film with his screenplay.<br />
williams He would often say that he<br />
had tremendous regrets about <strong>the</strong> impact of<br />
that book on <strong>the</strong> river that we all loved. The<br />
last thing he said <strong>to</strong> me was, “Say goodbye<br />
<strong>to</strong> <strong>the</strong> river for me.” And I said, “Why?”<br />
And he never answered.<br />
james dickey Interview with Playboy,<br />
1973: I want <strong>to</strong> be buried on <strong>the</strong> west bank<br />
of <strong>the</strong> Chat<strong>to</strong>oga River—if <strong>the</strong> state will<br />
allow it. Just dumped in<strong>to</strong> a hole with no<br />
coffin. On a plain <strong>to</strong>mbs<strong>to</strong>ne, <strong>the</strong>re’ll be this:<br />
JAMES DICKEY, 1923 TO 19 WHATEVER,<br />
AMERICAN POET AND NOVELIST,<br />
HERE SEEKS HIS DELIVERANCE.<br />
James Dickey died on January 19, 1997, of complications<br />
of lung disease. He was seventy-three.<br />
He is buried on Pawleys Island, South Carolina.<br />
His <strong>to</strong>mbs<strong>to</strong>ne includes <strong>the</strong> final line from his<br />
poem “In <strong>the</strong> Tree House at Night.” It reads, “I<br />
move at <strong>the</strong> heart of <strong>the</strong> world.” n<br />
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