Woody Allen on Woody Allen

Front Cover
Faber & Faber, 2004 - Motion picture actors and actresses - 405 pages
44 Reviews
With thirty-five years of personal film-making behind him, Woody Allen is one of the most distinctive, uncompromising and accomplished of all American directors.One of the great practitioners of film comedy, Allen progressed from the slapstick of Take the Money and Run and Bananas, through the sophisticated Freudian one-liners and existential pratfalls of Annie Hall and Manhattan, to the complex moral studies of Crimes and Misdemeanours and Husbands and Wives. In the meantime Allen's own angst-ridden on-screen persona has entered the folklore of the movies to the same degree as Chaplin's tramp or Groucho Marx's cigar-toting know-it-all.This candid, thoughtful and humorous career-length interview with Stig Björkman - editor of a similar volume on one of Allen's own heroes, Ingmar Bergman - traces the path of his career, his motivations and inspirations, and of course his nigh-legendary anxieties. Newly updated, the book contains extended discussion of such recent Allen triumphs as Bullets Over Broadway, Mighty Aphrodite, Deconstructing Harry and Sweet and Lowdown.

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Review: Woody Allen on Woody Allen (Directors on Directors)

User Review  - Hamish Crawford - Goodreads

The Faber & Faber series is always an educational and personal guide to the classic film directors. I've read six titles so far (covering Tim Burton, Terry Gilliam, David Lynch, Dennis Potter, and ... Read full review

Review: Woody Allen on Woody Allen (Directors on Directors)

User Review  - Paulina Tuch - Goodreads

Repetitive at times, but mostly fascinating. Read full review

About the author (2004)

Allen's favorite personality-the bemused neurotic, the perpetual worrywart, the born loser-dominates his plays, his movies, and his essays. A native New Yorker, Allen attended local schools and despised them, turning early to essay writing as a way to cope with his Since his apprenticeship, writing gags for comedians such as Sid Caesar and Garry Moore, the image he projects-of a "nebbish from Brooklyn"-has developed into a personal metaphor of life as a concentration camp from which no one escapes alive. Allen wants to be funny, but isn't afraid to be serious either-even at the same time. His film Annie Hall, co-written with Marshall Brickman and winner of four Academy Awards, was a subtle, dramatic development of the contemporary fears and insecurities of American life. In her review of Love and Death, Judith Christ wrote that Allen was more interested in the character rather than the cartoon, the situation rather than the set-up, and the underlying madness rather than the surface craziness. Later Allen films, such as Crimes and Misdemeanors or Husbands and Wives, take on a far more somber and philosophic tone, which has delighted some critics and appalled others. In Allen's essays and fiction reprinted from the New Yorker, Getting Even New Yorker, (1971), Without Feathers (1975), and Side Effects (1980), the situations and characters don't just speak to us, they are us.

Stig Bjorkman is a Swedish film journalist and film-maker. For Faber, he has edited Woody Allen on Woody Allen.

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