Woody Allen on Woody Allen

Front Cover
Grove Press, 1995 - Performing Arts - 288 pages
2 Reviews
Woody Allen on Woody Allen is a unique self-portrait of this uncompromising filmmaker that offers a revealing account of his life and work. In a series of rare, in-depth interviews, Allen brings us onto the sets and behind the scenes of all his films. Woody Allen on Woody Allen is punctuated with his memories and opinions: afternoon movie-watching while growing up in Brooklyn; anecdotes about the film industry; discussions of favorite films, most inspirational actresses, most revered cinematographers; his love of jazz; his fascination with the city of New York. From his youthful interest in the nonsensical surrealism of Charlie Chaplin and the Marx Brothers to the poetic lyricism of Ingmar Bergman, the conversations in Woody Allen on Woody Allen reveal the broad influences of Woody Allen's eclectic vision and bring him closer, in all his vulnerable complexity, than ever before.

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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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