Woody Allen on Woody Allen

Front Cover
Grove Press, 1995 - Performing Arts - 288 pages
22 Reviews
The filmmaker shares his inspirations, anxieties, and frustrations in a self-portrait that goes behind the scenes of his films, glimpses his Brooklyn childhood, and considers his opinions on a range of topics from jazz to New York City

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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  - Roderick Brunt - Goodreads

A fast and mostly enjoyable read for anyone who likes the subject involved. No far reaching perceptions or third party misinterpretations. The capable writer/filmmaker who honed his skills over the years to an exceptionally sharp edge, remarks on his life and work. Excellent! Read full review

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About the author (1995)

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.

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