Anon. "Dialogue on Film." American Film 3 (March 1978):33-48. In addition to supplying information on several of Simon's plays, this interview contains a wealth of material on Simon's film work, especially Barefoot in the Park, The Heartbreak Kid, and The Goodbye Girl.

Farber, Stephen. "You See Yourself in 'Heartbreak."' New York Times, 18 February 1973, Section 2, p. 1. An exceptionally penetrating analysis of the film based on Simon's best screenplay, The Heartbreak Kid.

Hirschhorn, Clive. "Make 'em Laugh." Plays and Players 24 (September 1977):12-15. An interview in which Simon offers an incisive analysis of Thc Star-Spangled Girl and of the pressures of success.

Johnson, Robert K. Neil Simon.  Boston: G.K. Hall & Company, 1983.  An excellent commentary on Neil Simon's life and efforts from Broadway Bound to Only When I Laugh.   Well-researched and the source of the majority of this bibliography. 

Kerr, Walter. "What Simon Says." New York Times Magazine, 22 March 1970, pp. 6, 12, 14, 16. One of the first articles to cite and discuss the serious elements in Simon's stage comedies, Kerr's essay is particularly insightful concerning The Odd Couple and Plaza Suite.

Linderman, Lawrence. "Playboy Interview: Neil Simon." Playboy 26 (February 1979):58, 60, 62, 66, 68,73-76,78. So far, the best interview that Simon has given. In it, Simon analyzes his development as a playwright from his first play to They're Playing Our Song; he also straightforwardly discusses his two marriages, The Goodbye Girl, and the casting of several of his movies.

McGovern, Edythe M. Not-So-Simple Neil Simon: A Critical Study. New York: Frederick Ungar, 1979. The first full-length study of Simon's stage comedies through Chapter Two, this underrated book offers both detailed synopses of the plays and many insights into individual plays by Simon and into the canon of Simon's comedies.

Meehan, Thomas. "The Unreal, Hilarious World of Neil Simon. " Horizon 21 (January 1978):70 - 74. An intelligent, if somewhat patronizing outline of Simon's basic beliefs and attitudes and of the makeup of the audience that enjoys Simon's urban-centered plays.

Meryman, Richard. "When the Funniest Writer in America Tried to Be Serious." Life, 7 May 1971, pp. 60B-60D, 64, 66 - 69, 71, 73, 75, 77, 79-80, 83. This absorbing account of the history (starting with the first rehearsals) of the Broadway production of The Gingerbread Lady also offers a variety of comments on Simon by his brother, Danny, and his friends and professional associates regarding Simon's career and personality.

Monaco, James. "The Sunshine Boys Make Movies: Neil Simon, Mel Brooks, Woody Allen." In: American Film Now. New York: Oxford University Press, 1979, pp. 232 - 48. Although he devotes only three pages to Simon's film work and is too quick to grant others' adverse criticisms of that work Monaco points out Simon's lack of control over movies made from his screenplays; praises such films as The Sunshine Boys, The Heartbreak Kid, and California Suite; and quite rightly stresses the major contributions such directors as Elaine May and Herbert Ross made to films scripted by Simon.

Rooney, Terrie M., ed.  Contemporary Theatre, Film, & Television.  vol. 13.  Detroit: Gale Research, Inc., 1995, pp. 372-75.  This resource is the source of much of the information on this site.   From dates to lists to addresses to facts, this is a very informative source.

Zimmerman, Paul D. "Neil Simon: Up from Success." Newsweek, 2 February 1970, pp. 52-56. In this article focusing on Simon's career through the opening of Last of the Red-Hot Lovers, Simon talks about his childhood, his early years as a comedy writer, and his desire, after the success of his first plays, to portray more complex characters within plays utilizing a more sophisticated structure.

additional sources:
New York Times, November 13, 1988
New York Times Magazine, February 17, 1991, p. 30