Woody Allen

[ando]

I enjoyed part 1 of the American Masters doc as well but have yet to view part 2 (may do that tonight). Allen's comment about having yet to make one good film is striking; telling. Why for instance, does he stop in his admiration of other/earlier filmmakers with Bergman and Fellini? Bergman, in his younger years, regarded Andrei Tarkovsky as the best filmmaker alive yet Allen doesn't even mention him.

[Der Spieler]

At least they were able to use clips of Mia Farrow's performances.

I was actually a little disappointed with the doc. It's not bad, it's an enjoyable clip show, but in terms of new information, it felt pretty thin. A nice intro to Allen though.

Same here. The second part felt quite rushed. An entertaining watch nonetheless.

[tavernier]

Does anyone know why there's so much F.X. Feeney in this?

[Tom Hagen]

It didn't seem particularly thin to me. I would have much rather had what the doc featured -- rare, personal interviews with Woody and his intimates -- than a bunch of critical talking heads (which, coincidentally, there were still plenty of) going on and on about stuff that's already been discussed a million times (Bergman! Master shots! New York City!).

Mercifully, the doc passed over the period between Deconstructing Harry and Match Point (with the exception of a brief piece of Sean Penn's performance in Sweet and Lowdown).

[knives]

I think there are a few nuggets from that era even if none of the films come together completely.

[AWA]

Actually, I wonder if they passed over the DreamWorks period because they, for some reason, couldn't obtain the rights? All of those films were represented by publicity still shots, no clips.

I found that confusing - did DreamWorks refuse the rights (if so - why on earth would they do that? The only reason they signed Woody is because regardless of what he produced for them, it was part of his catalog and countless documentaries on his career would always be lining up screening rights contracts while helping to sell DVDs by doing so).... or did they snub those films so badly that they refused to put up the dough to even pay to get the rights to the films? Really, really strange.

I did find the second part rushed. I really hope there is a longer cut of this out there somewhere.

I was expecting to hear some of the usual from the talking heads - this is, after all, an American Masters doc which is supposed to serve as an overview of the career, which, to some people not yet born who will see this re-run on some futuristic TV, they will be understand what made Woody who he was and what he was known for. That said, it dangled a few juicy carrots out for hardcore fans to see and hope for down the road.... all that behind the scenes stuff could make it's own documentary some day (decades from now, I would imagine), stills from the unreleased / rumored to be lost or destroyed original version of September, rare stills and archival behind the scenes on Sleeper and Stardust Memories I didn't know existed... and, of course, for those watching the HD feed with a large enough television screen, great views of Woody's original typed pages from Manhattan, Stardust Memories, The Purple Rose Of Cairo and more (all of which I've never seen bootlegged on the net yet... of course, very few have been, but still).

And this is quite amusing as an outtake: 12 Questions with Woody Allen

[Professor Wagstaff]

Actually, I wonder if they passed over the DreamWorks period because they, for some reason, couldn't obtain the rights?

They did talk a bit about Match Point which was a DreamWorks film. A number of movies were unfortunately left out/minimalized and I would have liked to have heard more about them (Another Woman, September, even Radio Days which was never discussed as a film, only mined for the segment of Allen's childhood). The Bergman references were expected, but I would have liked an acknowledgment of Fellini's role in Allen's career as well.

[Tom Hagen]

Two of the highlights for me were Woody talking about his typewriter, and Scorsese comparing Woody's NYC with his own.

[AWA]

Actually, I wonder if they passed over the DreamWorks period because they, for some reason, couldn't obtain the rights?

They did talk a bit about Match Point which was a DreamWorks film. A number of movies were unfortunately left out/minimalized and I would have liked to have heard more about them (Another Woman, September, even Radio Days which was never discussed as a film, only mined for the segment of Allen's childhood). The Bergman references were expected, but I would have liked an acknowledgment of Fellini's role in Allen's career as well.

Match Point was picked up for theatrical distributed by DreamWorks in North America but was not a production of DreamWorks. The great irony was that Woody left that DreamWorks contract and two years later they were buying up a film that (some say, anyways, according to rumor) he wasn't allowed to make while under contract with them (only comedies apparently in the DreamWorks deal).

Yes, various parts of Woody's career were skipped completely, but clips from most of those films were at least shown briefly (except Another Woman) at some point. DreamWorks period was discussed, but they instead showed photos from the set, which to me indicated they either couldn't get the rights for some unknown reason or they didn't want to (which, in a way, would be some kind of delicious revenge for Woody if that contract they signed him to was half as bad for him as it was rumored to be).

[Matt]

Of the 8 films between Deconstructing Harry and Vicky Cristina Barcelona, only clips from Sweet and Lowdown and Match Point were shown. No great loss for some of them, but if Shadows and Fog merits inclusion of a lengthy clip, Small Time Crooks deserves at least a mention.

[Highway 61]

Indeed. It would have been nice to hear about working with Elaine May. The biggest letdown for me was the lack of discussion about Carlo di Palma and Sven Nykvist. I greatly prefer their work with Woody to Gordon Willis, and I would love to have had some insight into their collaboration.

And just out of curiosity, has Mia Farrow ever discussed her work with Allen since the Soon-Yi scandal? I don't mean her relationship with him, but rather, her performances in his films.

[AWA]

Indeed. It would have been nice to hear about working with Elaine May. The biggest letdown for me was the lack of discussion about Carlo di Palma and Sven Nykvist. I greatly prefer their work with Woody to Gordon Willis, and I would love to have had some insight into their collaboration.

And just out of curiosity, has Mia Farrow ever discussed her work with Allen since the Soon-Yi scandal? I don't mean her relationship with him, but rather, her performances in his films.

You mean outside of everything in her (very unreliable) autobiography? In interviews, very little though there are instances where she will recount something when asked to, albeit very briefly and usually concluding with the context of the way everything ended up between them. Only in recent years has she started to back away from constantly having to remind everyone of that. She even mentioned on a CBC TV interview a few years back that she regretted much of what was written in her biography (without naming Woody, of course, but... obviously).

I'm not sure if I prefer Willis to either diPalma or Nykvist, but all three are practically flawless when working with Woody at the helm. Those three, when working with Woody, were allowed to be true photographers and they embraced and fulfilled that allowance to the fullest. Both Carlo and Sven have since passed, of course, and perhaps that might have had something to do with their omission, but in general if you had to pick one cinematographer to mention it would have to be Willis as the education he provided Woody and was the final ingredient needed to make Woody into the filmmaker he desired to be (as well as being an essential component to pulling off something like Annie Hall)... Nykvist and DiPalma were great collaborators, but were working off the roadbed Willis had blazed for them. Same with not mentioned Susan Morse or Lepselter as editors - Ralph Rosenblum's contributions to Woody's cinema are extremely significant, on par with Willis, and even though, in the grand scheme of things for Woody's career, their collaboration was brief (and a bit rocky by all accounts), it was vital and very important into making Woody a successful filmmaker (and making him into a more serious one). So if you had to mention one editor... Ralph would be the guy.

[Matt]

I didn't realize their son (who was the subject of that brutal custody battle between them) was so accomplished...and such a looker (definitely takes after mom).

[Der Spieler]

Do they speak now?

[Matt]

He's quoted as saying in 2005, "He's my father married to my sister, that makes me his son and his brother-in-law. That is such a moral transgression. I cannot see him. I cannot have a relationship with my father and be morally consistent." No idea if things have changed since then.

[AWA]

I visited NYC this past weekend and made it to the Cafe Carlyle to see the last show of the year there from Woody and his band. They will be embarking on their usual year end tour now, only this year they will be playing dates in the US rather than Europe, which Eddy explained to me before was for cost reasons. If they come to your area (Florida and the west coast), be sure to check them out as the band are real aces.

John Doumanian, Woody's friend / bodyguard / bit actor / handler is aging very quickly. Last year when I visited the Carlyle to see the show in December 2010 I noticed how old he had become but this year he walked slowly and with a cane. Which has left Woody defenceless against the more pushy fans with flash photography and post-show meetings - usually John handles all that, but seeing John and Woody come down the stairs after the show, Woody had to ask John if he needed any help. John is also quite miserable these days and has next to no patience for fans at all - although thankfully Woody does. (Note: if you ever send Woody any mail via the Carlyle, John reads it for his own amusement at the table by the bar while waiting for Woody to arrive).

I met him after the show and gave him a present - an Olympia portable typerwriter ribbon, which he was elated to get. He perked right up and grabbed my hand and shook it - which, as anyone who has met or seen Woody will know, is kind of remarkable since he doesn't do perky nor does he enjoy touching strangers, including shaking hands. I had my iPhone in my right hand as I was not expecting to shake his hand and knew he would prefer it if I didn't offer to. But he was so happy to get the ribbon ("oh wow! These are so hard to come by now! Thank you!"), he reached for my right hand, saw my phone and grabbed my left hand and shook it firmly.

The band returns to the Carlyle earlier than usual in January 2012. It's pricey, but worth it. If you want to sit at the bar (which you can't reserve and is cheaper than a table), arrive really early to line up for it - there are only 7 seats available. Pedro runs the bar and has lots of great Carlyle stories to tell you for the two hours or so worth of dinner time before Woody arrives and the show begins.

And in case anyone is interested in what Woody's reading these days, he had a first edition copy of Philip Wylie's "A Generation of Vipers" with him.

[AWA]

I previously posted two of Woody's five COOP commercials here. Here are the other three, patched together with the previous two as a bundle of 5:

Complete COOP commercials by Woody Allen

We had someone provide a rough translation of the first two, hopefully we can have someone translate the other three.

The first one is new to the Net, featuring, of all things, aliens in search of a good grocery market to buy from. They've apparently hijacked an earthling's spacecraft in hopes of finding some good food. If you've ever wanted to know what Woody think alien lifeforms would look like - or what any sci-fi futuristic outer space film might look like - now you know.

The second is the Meat As Art commercial.

The third is the La Passione, about the man who loves fruit.

The fourth and fifth are new to me. I have no idea what is being said or what is going on in the 4th one, presumably it has something to do with the drinks shown.

The fifth is about a man who lives at the COOP to save money (to the best I can understand). Also new to me.

Hopefully some of the Italian language readers of this board can help us out here.

Again - all of these were filmed with Woody's regular film crew and lensed by long time Woody cinematographer Carlo Di Palma.

[Forrest Taft]

Bullets Over Broadway, Everyone Says I Love You, Small Time Crooks, Celebrity, Hollywood Ending, Mighty Aphrodite and Curse of Jade Scorpion have all gotten Scandinavian blu-ray releases recently. Some of these are available via third party sellers on amazon uk, should it interest anyone.

[AWA]

Here is a question for some of our "older" posters here. I'm not old enough to have seen Husbands & Wives' original theatrical release, so it's really hard to for me to say. But I'm wondering if the print currently available on DVD is a transfer from a very bad, aged print. While Woody really enjoys his warm tones, H&W has some of that to near excess. The giveaway for me though is the titles - the usual white on black Windsor Elongated font is tinted a a warmer off-white redish hue. Was it like that upon initial release - or should the titles be the standard white on black? If they should be white, then that is a definite sign the print available on DVD is transferred from one not stored properly.

Just a question I've seen asked before in other places and was wondering myself - have never seen any real definitive answer so I thought I'd ask here, with so many posters here tuned into that kind of detail.

[MichaelB]

I saw it on its original release, and don't recall anything unusual about the colour scheme compared with its immediate predecessors like Crimes and Misdemeanors and Another Woman. The only new development visually was the lurching hand-held camerawork.

[montgomery]

I saw it theatrically, and the titles WERE off-white, but they were yellowish, not reddish. I actually haven't seen the DVD, I had the laserdisc version but recently got rid of my LD player so can't check it - I think the LD preserved the yellowish titles. H&W did have a warm look, possibly more than other Allen films, but what you describe sounds extreme. Anyway, I'm sure the title color was a slight variation on the usual white.

[Duncan Hopper]

I saw a screening of this just the other day, it was an original first run print. One thing that was immediately noticeable, was how warm the colours were, very orange and brown. I was pondering while the film was running if this was a due to most of the film being set during autumn?

[kinjitsu]

Fresh Air rebroadcast from 2009: Blending Real Life With Fiction

[Dylan]

I was having a conversation with an older friend of mine the other day and Stardust Memories - a film we both like - came up. What was really interesting - and this is a unique claim as far as I know - is how he swears that the film ran longer when he saw it in its opening weekend, containing shots and entire sequences that (similar to The Shining) disappeared from the film on his second viewing and weren't on the VHS/DVD. While the situation with The Shining has been well-documented, I don't recall a single story or claim relating to Stardust Memories having similar post-release tinkering, but here I was listening to somebody I've known for years tell me about these now missing scenes. The one part he can vividly recall is an extended clip from another one of Sandy's movies that was a riff on 8 1/2 involving the character and a harem of women. Beyond that, he was a little more fuzzy (this being over thirty years ago), saying that there were other daydreams or fantasies the character had, in some cases just more shots in certain scenes, but he couldn't recall the specifics at that moment. I'm sure if he watched the film today (having not seen it in many years) he'd better recall what he saw that's no longer in the film.

What's interesting is that I once read there was a scene cut from What's New, Pussycat? that had Peter O'Toole's character doing the Guido fantasy thing from 8 1/2. I brought this up in the conversation, maybe suggesting that my friend somehow saw that scene in an alternate cut of Pussycat? and got them confused, but he hadn't even heard about that. If my friend is correct, it seems this Guido parody is a scene Woody tried to put in at least two movies, neither of which ended up with it, and who knows if he's tried it and cut it for other films (maybe this is his own real-life "classical music joke," and fans of Stardust Memories will know what I'm talking about).

Another thing, it's been written that entire plot points and characters were excised or dramatically cut for the final version of Stardust Memories (as many here know, this is the case with quite a few of Woody's films). Although I can't find the actors right now, I can also recall seeing filmographies over the years with Stardust Memories listed followed by the parenthetical (scenes deleted). I also recall an interview with somebody (whose name again I cannot recall) saying that they acted in scenes for this that featured the character Nat Bernstein, Sandy's childhood friend that is spoken of frequently but not shown in the final film.

A couple other points of interest: one executive at UA said (I believe this is quoted in the Woody book "Movies From Manhattan," which I don't have on hand) that the script and finished film were dramatically different and that he felt the script for Stardust Memories was the best he'd ever read and that in his opinion the film was "ruined in the editing." I also understand that the filming and post-production of this lasted over a year, to my knowledge the longest production in Woody's career.

Has anybody else heard about this strange "alternate cut" of Stardust Memories with a harem scene (and etc.), or can recall hearing/reading somewhere that (a la Kubrick) Woody ordered UA to send letters to the projectionists to cut the film after its opening weekend? Woody certainly had the power in 1980 to make such post-release changes, but this has never been discussed elsewhere and as far as I know nobody else claims to have seen a longer version of Stardust Memories. Also, while I'm here, has anybody read anything more than what I've recalled here about specific scenes/characters deleted from this film?

[Roger Ryan]

While I'm not an expert on the cinema of Allen (although I have seen every film he's made), I wrote a review of STARDUST MEMORIES for my high school newspaper in 1980 which means I probably saw the film opening weekend (Saturday afternoon, as I recall, in suburban Detroit). There was nothing that stood out from that first viewing that was missing from subsequent home video releases...and I don't recall a scene involving a "harem of girls". It's possible that the cuts had already been made before the opening in Detroit or my memory is faulty.