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Allen, Woody Biography


biography of Allen, Woody

Allan Stewart Konigsberg
1 December 1935, Brooklyn, New York City, New York, USA
5' 5"
Woody Allen was born on December 1, 1935, as Allen Konigsberg, in Brooklyn, New York. At the age of 15, he started selling one-liners to gossip columns. After working a while as a stand up comedian, he was hired to write _What's New Pussycat (1965)_ (qv) in 1965. He directed his first film a year later, _What's Up, Tiger Lily? (1966)_ (qv) in 1966.
David McCollum

Woody Allen was born December 1, 1935 in Brooklyn, New York. As a young boy he became intrigued with magic tricks and playing the clarinet, two hobbies that he continues today. He broke into show business at age 15 when he started writing jokes for a local paper, receiving $200 a week. He later moved on to write jokes for talk shows but felt that his jokes were being wasted. His agents, Charles Joffe and Jack Rollins, convinced him to start doing stand-up and telling his own jokes. Reluctantly he agreed and, although he initially performed with such fear of the audience that he would cover his ears when they applauded his jokes, he eventually became very successful at stand-up. After performing on stage for a few years, he was approached to write a script for Warren Beatty to star in: "What's New Pussycat?" and would also have a moderate role as a character in the film. As production was ongoing for the film, Woody gave himself more and better lines and left Beatty with less compelling dialogue. Beatty inevitably quit the project and was replaced by Peter Sellers, who demanded all the best lines and screen time. It was from this experience that Woody realized that he could not work on a film without complete control over its production. Woody's theoretical directorial debut was in "What's Up, Tiger Lily?"; a Japanese spy flick that he dubbed over with his own comedic dialogue about spies searching for the secret recipe for egg salad. His real directorial debut came the next year in the mockumentary "Take the Money and Run." He has written, directed and, more often than not, starred in about a film a year ever since while simultaneously writing more than a dozen plays and several books of comedy. While best known for his romantic comedies _Annie Hall (1977)_ (qv) and _Manhattan (1979)_ (qv), Woody has made many transitions in his films throughout the years, transitioning from his "early, funny ones" of "Bananas," "Love and Death" and "Everything You Always Wanted To Know About Sex But Were Afraid To Ask;" to his more storied and romantic comedies of "Annie Hall," "Manhattan" and "Hannah and Her Sisters;" to the Bergman-esque films of "Stardust Memories" and "Interiors;" and then on to the more recent, but varied works of "Crimes and Misdemeanors," "Husbands and Wives," "Mighty Aphrodite," "Celebrity" and "Deconstructing Harry;" and finally to his film of the last decade, which vary from the light comedy of "Scoop," to the self-destructive darkness of "Match Point" and, most recently, to the cinematically beautiful tale of "Vicky Cristina Barcelona." Although his stories and style have changed over the years, he is regarded as one of the best filmmakers of our time because of his views on art and his mastery of filmmaking.
Michael Castrignano

-   'Soon-Yi Previn' (qv) (22 December 1997 - present); 2 children

-   'Louise Lasser' (qv) (2 February 1966 - January 1970) (divorced)

-   'Harlene Susan Rosen' (15 March 1956 - November 1962) (divorced)

-   Frequently plays a neurotic New Yorker

-   Frequently casts himself, 'Diane Keaton' (qv), 'Mia Farrow' (qv)

-   Frequently casts 'Judy Davis (I)' (qv). and 'Scarlett Johansson' (qv),

-   A lot of his movies feature at least one character who is a writer. This is often Woody himself.

-   Nearly all of his films start and end with white-on-black credits, set in the Windsor typeface, set to jazz music, without any scrolling.

-   Films his dialog using long, medium-range shots instead of the typical intercut close-ups

-   His films are almost all set in New York City

-   His characters (that he plays himself) are often a semi-famous, semi-successful film/tv writer, director, or producer... or a novelist

-   His thick black glasses, the same type since the 1960s

-   From Stardust Memories (1980) through _Melinda and Melinda (2004)_ (qv), frequently and almost exclusively employs 'Dick Hyman (I)' (qv) to contribute musical arrangements, incidental music, and piano accompaniment.

-   From _Sleeper (1973)_ (qv) until Cassandra's Dream (2008), almost never has his movies scored, preferring to use selections from his vast personal record collection.

-   Billing his actors alphabetically on opening credits

-   His films often include opening Narration or the protagonist talking directly to the audience

-   His female characters are often free spirited but naive and often come from small town backgrounds

-   References to famous writers and literary classics

-   References to classic Films, particularly the works of Ingmar Bergman

-   Brooklyn Accent

-   Stumbling and nervous delivery

-   Often bases films on his own life experiences

-   His unchanging nebbish persona

-   Short stature

-   Reddish hair

-   His adopted daughter Bechet Dumaine, named after 'Sidney Bechet' (qv), was born in December 1998.

-   Ranked #43 in Empire (UK) magazine's Top 100 Movie Stars of All Time list (October 1997).

-   Speaks French.

-   Refuses to watch any of his movies once released.

-   He and former lover 'Mia Farrow' (qv) had three children: 'Moses Farrow' (qv) (adopted son, aka Misha), 'Dylan O'Sullivan Farrow' (qv) (adopted daughter, aka Mallone), and Satchel Farrow (biological son, b. 1988, aka Ronan).

-   Suspended from New York University.

-   He loves Venice, and helped to raise funds to rebuild the Venetian theater La Fenice, which was destroyed by a fire.

-   Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#89) (1995).

-   Adopted his second daughter Manzie Tio Allen, named after Manzie Johnson, a drummer with 'Sidney Bechet' (qv)'s band, after she had been born in Texas. (February 2000).

-   Older brother of 'Letty Aronson' (qv).

-   Was once invited to appear with the Royal Shakespeare Company. 'Stanley Kubrick (I)' (qv) also considered casting him in 'Sydney Pollack' (qv)'s part in _Eyes Wide Shut (1999)_ (qv).

-   Among his biggest idols are 'Ingmar Bergman' (qv), 'Groucho Marx' (qv), 'Federico Fellini' (qv), 'Cole Porter' (qv), and 'Anton Chekhov' (qv).

-   One of the most prolific American directors of his generation, he has written, directed, and more often than not starred in a film just about every year since 1969.

-   Accused British interviewer 'Michael Parkinson (II)' (qv) of having a morbid interest in his private life and rejected questions about the custody battle for his children during his appearance on the BBC's _"Parkinson" (1971)_ (qv) in 1999.

-   Born at 10:55 PM EST.

-   Despite the advancement of sound technology, all of his films are mixed and released in monaural sound, although later ones have a mono Dolby Digital mix.

-   Made his first appearance at the Oscars in Hollywood to make a plea for producers to continue filming their movies in New York after the 9/11 tragedy (2002).

-   Wrote the concept for the film _Hollywood Ending (2002)_ (qv) on the back of a matchbook. Years later, he found the matchbook with the notes for the film on it and made the film.

-   Attended the Cannes Film Festival for the first time to receive the Palm of Palms award for lifetime achievement (2002).

-   He has more Academy Award nominations (14) for writing than anyone else, all of them are in the Written Directly for the Screen category.

-   After completing his first musical, _Everyone Says I Love You (1996)_ (qv), he stated that he'd like to do another in the future with an all-original score. Since making that statement, however, nothing has yet to materialize.

-   In addition to being a comedian, musician and filmmaker, he is also a respected playwright.

-   Legally changed his name to Heywood Allen. Goes by "Woody" in honor of 'Woody Herman' (qv).

-   Graduated from Midwood High School at Brooklyn College.

-   Son of bookkeeper 'Martin Konigsberg' (qv) (December 25, 1900-January 13, 2001) and his wife 'Nettie Konigsberg' (qv) (November 8, 1906-January 27, 2002).

-   Biography in "Who's Who in Comedy" by Ronald L. Smith, pp. 13-16. New York: Facts on File, 1992. ISBN 0816023387

-   Was voted the 19th greatest director of all time by Entertainment Weekly.

-   Has been nominated or won 136 awards, more than 'Charles Chaplin' (qv), 'Buster Keaton' (qv), and 'Harold Lloyd (I)' (qv) combined.

-   Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985." Pages 20-29. New York: The H.W. Wilson Company, 1988.

-   Has a look-alike puppet in the French show _"Les guignols de l'info" (1988)_ (qv).

-   Ranked #4 in Comedy Central's 100 Greatest Stand-Up Comedians of All Time.

-   Biological son, Ronan Farrow, graduated from college at 15 and was accepted into Yale Law School.

-   Both of his grandfathers were immigrants, one of Austro-Jewish descent and the other of Russo-Jewish descent.

-   Longtime fan and season ticket holder of the NBA's New York Knicks.

-   Although he is barely interested in awards, he's one of the Academy's favorites - his 14 Oscar Nominations for Best Original Screenplay as of 2005 are a record for that category, and puts him ahead of 'Billy Wilder' (qv), who had 19 combined Oscar nominations for Writing and Directing. With 21 nominations in the combination of the top-three categories--acting, directing and writing--he holds the record there as well.

-   Directed 15 different actors in Oscar-nominated performances: 'Diane Keaton' (qv), 'Geraldine Page' (qv), 'Maureen Stapleton' (qv), 'Mariel Hemingway' (qv), 'Michael Caine (I)' (qv), 'Dianne Wiest' (qv), 'Martin Landau' (qv), 'Judy Davis (I)' (qv), 'Chazz Palminteri' (qv), 'Jennifer Tilly' (qv), 'Mira Sorvino' (qv), 'Sean Penn (I)' (qv), 'Samantha Morton' (qv), 'Penélope Cruz' (qv), and himself. Keaton, Caine, Wiest, Sorvino, and Cruz won Oscars for their performances in one of his movies.

-   Is a fan of 'Alfredo Zitarrosa' (qv), one of the best Uruguayan musicians.

-   Ranked #10 in Empire (UK) magazine's Greatest Directors Ever! poll (2005).

-   Directed only one movie in which both of his longtime companions 'Diane Keaton' (qv) and 'Mia Farrow' (qv) appear in: _Radio Days (1987)_ (qv)

-   He and 'Diane Keaton' (qv) made 8 movies together: _Annie Hall (1977)_ (qv), _Love and Death (1975)_ (qv), _Manhattan (1979)_ (qv), _Manhattan Murder Mystery (1993)_ (qv), _Radio Days (1987)_ (qv), _Play It Again, Sam (1972)_ (qv), _Interiors (1978)_ (qv) and _Sleeper (1973)_ (qv).

-   He and 'Mia Farrow' (qv) made 13 movies together: _Broadway Danny Rose (1984)_ (qv), _Crimes and Misdemeanors (1989)_ (qv), _Hannah and Her Sisters (1986)_ (qv), _Alice (1990)_ (qv), _Another Woman (1988)_ (qv), _The Purple Rose of Cairo (1985)_ (qv), _September (1987)_ (qv), _Husbands and Wives (1992)_ (qv), _A Midsummer Night's Sex Comedy (1982)_ (qv), _New York Stories (1989)_ (qv), _Radio Days (1987)_ (qv), _Shadows and Fog (1991)_ (qv) and _Zelig (1983)_ (qv).

-   According to 'Mia Farrow' (qv)'s biography, "What Falls Away", 'Frank Sinatra' (qv) offered to have Allen's legs broken when he was found to be having an affair with her adopted daughter, 'Soon-Yi Previn' (qv).

-   Married to 'Mia Farrow' (qv)'s adopted daughter 'Soon-Yi Previn' (qv), from her second marriage with 'André Previn' (qv).

-   Does not allow his films to be edited for airlines and television broadcasts.

-   As a boy growing up in Brooklyn, he spent most of his time alone in his room practicing magic tricks or his clarinet.

-   Got hooked on movies when he was 3-years-old, when his mother took him him to see _Snow White and the Seven Dwarfs (1937)_ (qv). From that day, he said, theaters became his second home.

-   Told a reporter that he has earned more money from two real estate transactions than he has from all of his movies combined. Sold his long-held Fifth Avenue penthouse (which he had purchased for $600,000) for a profit of $17 million and a renovated townhouse for a profit of some $7 million (December 2005).

-   Five of his movies brought home his actresses Academy Awards: _Annie Hall (1977)_ (qv) for 'Diane Keaton' (qv), _Hannah and Her Sisters (1986)_ (qv) and _Bullets Over Broadway (1994)_ (qv) both for 'Dianne Wiest' (qv), _Mighty Aphrodite (1995)_ (qv) for 'Mira Sorvino' (qv) and _Vicky Cristina Barcelona (2008)_ (qv) for 'Penélope Cruz' (qv).

-   His godson 'Quincy Rose' (qv) is also a successful writer and actor.

-   Wrote _What's Up, Tiger Lily? (1966)_ (qv), _Take the Money and Run (1969)_ (qv) and _Bananas (1971)_ (qv) with his childhood friend and first writing partner, 'Mickey Rose' (qv). Rose also co-wrote on all of Allen's earlier comedy albums and had a big hand in writing the famous "Moose" sketch.

-   Stating in an interview that he was "not interested in all that extra stuff on DVDs" and that he hopes his films would speak for themselves. Allen has never recorded an audio commentary or even so much has been interviewed for a DVD of any films with which he had been involved.

-   Distant cousin of 'Abe Burrows' (qv).

-   Was originally attached to co-star with 'Jim Carrey' (qv) in the Farrelly Brothers comedy _Stuck on You (2003)_ (qv), but decided to pass on the idea.

-   Was set to reprise his voice role in _Antz (1998)_ (qv) for a planned direct-to-video Antz 2 but the project never got off the ground.

-   Is a vegetarian.

-   Awarded an honorary doctorate degree by Pompeu Fabra University in Barcelona, Spain (June 2007).

-   His variety of neuroses include: arachnophobia (spiders), entomophobia (insects), heliophobia (sunshine), cynophobia (dogs), altophobia (heights), demophobia (crowds), carcinophobia (cancer), thanatophobia (death), misophobia (germs). He admits to being terrified of hotel bathrooms.

-   After dropping out from New York University, where he studied communication and film, he attended City College of New York.

-   The _"Seinfeld" (1990)_ (qv) character George Constanza was originally planned to be a caricature of him.

-   A life-size statue of him was erected in the Spanish city of Oviedo (2002).

-   Although depicting himself as nerd in his movies, he was a popular student and adept baseball and basketball player at high school.

-   According to Eric Lax's book Woody Allen's favorite films are (in order): _Match Point (2005)_ (qv), _The Purple Rose of Cairo (1985)_ (qv), _Stardust Memories (1980)_ (qv), _Broadway Danny Rose (1984)_ (qv), and _Manhattan Murder Mystery (1993)_ (qv).

-   His and 'Mia Farrow' (qv)'s 12-year relationship ended in a custody battle over their three children in which she accused him of sexually molesting their daughter 'Dylan O'Sullivan Farrow' (qv), though the judge dismissed the claims because they were not substantiated. Farrow ultimately won custody of the children. Allen was denied visitation rights with 'Dylan O'Sullivan Farrow' (qv) and could only see his biological son, Ronan, under supervision. 'Moses Farrow' (qv) chose not to see his father.

-   Although he was granted visitation rights for his son Ronan, after a custody battle with 'Mia Farrow' (qv), their relationship is estranged (similar to his other children with Farrow, Moses and 'Dylan O'Sullivan Farrow' (qv)). Ronan stated that he cannot have a morally consistent relationship with a man who is his father and his brother-in-law.

-   Manages his one film per year schedule by setting strict budgets. Actors large and small receive the same salary.

-   Writes his scripts on a typewriter.

-   He directed, wrote and starred in five of the American Film Institute's 100 Funniest Movies: _Annie Hall (1977)_ (qv) at #4, _Manhattan (1979)_ (qv) at #46, _Take the Money and Run (1969)_ (qv) at #66, _Bananas (1971)_ (qv) at #69 and _Sleeper (1973)_ (qv) at #80.

-   (2010) Profiled in "American Classic Screen Interviews" (Scarecrow Press).

-   Plays his clarinet at a Jazz club where the house rule is that he cannot be addressed by any member of the audience. If someone does speak to him, they are automatically ejected from the club.

-   As a homage to 'Gordon Willis (I)' (qv), his long-time friend and cinematographer, he includes a scene where you hear the actors talking outside the shot. Willis encouraged him to do this when they were shooting _Annie Hall (1977)_ (qv).

-   _Match Point (2005)_ (qv) was his first film to make money in seven years.

-   In the early 1960's, he did stand-up comedy at Enrico's Café in San Francisco.

-   The oldest Academy Award winner for Best Original Screenplay (aged 76 in 2012 for _Midnight in Paris (2011)_ (qv)).

-   He's not a member of AMPAS.

-   His top ten films of all time are: _La grande illusion (1937)_ (qv), _Citizen Kane (1941)_ (qv), _Ladri di biciclette (1948)_ (qv), _Rashômon (1950)_ (qv), _Det sjunde inseglet (1957)_ (qv), _Paths of Glory (1957)_ (qv), _Les quatre cents coups (1959)_ (qv), _8½ (1963)_ (qv), _Le charme discret de la bourgeoisie (1972)_ (qv) and _Amarcord (1973)_ (qv).

-   Every film directed by Allen since _Love and Death (1975)_ (qv) through _To Rome with Love (2012)_ (qv), was cast by longtime friend and New York casting director 'Juliet Taylor' (qv).

-   (2000) TV commercial: Telecom

-   (1980) Book: "Side Effects", Random House, Inc., New York. First NEL paperback edition, October 1981. Reprinted January 1982, November 1982, September 1983, March 1985, 1986. 0-450-05235-4

-   (1975) Book (sketches, stories, plays): "Without Feathers"

-   (1971) Book: "Getting Even"

-   Album: "Woody Allen, The Night Club Years" - live recordings of his stand-up act.

-   Book: "The Complete Prose of Woody Allen".

-   (2001) TV commercials: New York City Tourism

-   Playwright: "God", "Death" and "Sex", a trio of one-act plays. "Sex" is not and never has been available, and is rumored not to really exist.

-   (11/94) Stage: Wrote and directed "A Second Hand Memory". Atlantic Theater Company, New York City

-   (1969) Stage: Wrote "Play It Again, Sam", produced on Broadway. NOTE: Filmed as _Play It Again, Sam (1972)_ (qv).

-   (1966) Stage: Don't Drink the Water. Comedy. Written by 'Woody Allen' (qv). Scenic/Lighting Design by 'Jo Mielziner' (qv). Design by Motley. Production Sound: Robert Maybaum. Sound Design by Lincoln J. Stulick. Associate Designer: Paul Trautvetter. Assistant to Mr. Mielziner: L.C. Warner. Directed by 'Stanley Prager' (qv). Morosco Theatre (moved to The Ethel Barrymore Theatre 22 Jan 1968- 23 Mar 1968, then moved to The Belasco Theatre from 25 Mar 1968- close): 17 Nov 1966- 20 Apr 1968 (598 performances + 19 previews that began on 2 Nov 1966). Cast: 'Lou Jacobi' (qv) (as "Walter Hollander"), 'Kay Medford' (qv) (as "Marion Hollander"), 'Tony Roberts (I)' (qv) (as "Axel Magee"), 'Anita Gillette' (qv) (as "Susan Hollander"), Luke Andreas (as "Novotny"), 'Jonathan Bolt' (qv) (as "Waiter"), 'Oliver Clark (I)' (qv), James Dukas (as "as "Krojack"), John Hallow (as "Kaznar"), 'House Jameson' (qv) (as "Ambassador James F. Magee") [final Broadway role], 'Richard Libertini' (qv), Gerry Matthews, 'Donna Mills' (qv) (as "Sultan's 1st Wife"), Sharon Talbot (as "Countess Bordoni"), 'Gene Varrone' (qv) (as "Chef"), Curtis Wheeler (as "Burns"). Standbys: 'Merle Albertson' (qv) (as "Marion Hollander"), 'Don De Leo' (qv) (as "Walter Hollander") [final Broadway role]. Understudies: 'Luke Andreas' (qv) (as "Chef/Krojack/The Sultan of Bashir"), 'John Bolt' (qv) [credited as Jonathan Bolt] (as "Axel Magee"), John Hallow (as "James F. Magee/Burns/Father Drobney"), Donna Mills (as "Susan Hollander"), Jim Stevenson (as "Kaznar/Kilroy"). Replacement cast during Morosco Theatre run: Understudy: Jim Stevenson (as "Axel Magee"). Replacement cast during Ethel Barrymore Theatre: 'James Beard (I)' (qv) (as "Chef"), 'Peggy Cass' (qv) (as "Marion Hollander"), Len Cotchman (as "Kilroy") [from 31 Jul 1967- ?], Len Gochman (as "Axel Magee"), Dan Resin (as "Kilroy"), 'Gene Varrone' (qv) (as "Father Drobney"). Understudies: 'Luke Andreas' (qv) (as "Kaznar"), Jim Stevenson (as "Axel Magee"), 'Sharon Talbot (I)' (qv) (as "Susan Hollander"). Produced by 'David Merrick (I)' (qv). Produced in association with 'Jack Rollins (I)' (qv) and 'Charles H. Joffe' (qv). Associate Producer: Samuel Liff. Note: Filmed as _Don't Drink the Water (1969)_ (qv).

-   (1974) Stage: His play, "Play It Again, Sam," was performed at the Candelight Dinner Playhouse in Chicago, IL, with Peter De Maio.

-   (1960) From A to Z. Musical revue. Book by 'Woody Allen' (qv), 'Herbert Farjeon' (qv) and 'Nina Warner Hooks' (qv). Featuring songs by 'Jerry Herman (I)' (qv), Jay Thompson, 'Dickson Hughes' (qv), 'Everett Sloane' (qv), Jack Holmes, Mary Rodgers, Paul Klein, 'Fred Ebb' (qv), Norman Martin, William Dyer and Charles Zwar. Featuring songs with lyrics by 'Jerry Herman (I)' (qv), Jay Thompson, 'Dickson Hughes' (qv), 'Everett Sloane' (qv), Jack Holmes, 'Marshall Barer (I)' (qv), 'Fred Ebb' (qv), Norman Martin, Don Parks, Lee Goldsmith and 'Alan Melville (I)' (qv). Musical Director: Milton Greene. Music orchestrated by Jay Brower and 'Jonathan Tunick' (qv). Vocal arrangements by Milton Greene. Dance arrangements by Jack Holmes. "On the Beach" devised by Mark Epstein and Christopher Hewett. Directed by 'Christopher Hewett' (qv). Plymouth Theatre: 20 Apr 1960- 7 May 1960 (21 performances). Cast: 'Hermione Gingold' (qv), Alvin Epstein, Louise Hoff, 'Elliott Reid' (qv), Kelly Brown, Michael Fresco, Stuart Damon, 'Bob Dishy' (qv), Isabelle Farrell, 'Larry Hovis' (qv), Nora Kovach, Doug Spingler, Paula Stewart, 'Beryl Towbin' (qv), Virginia Vestoff. Produced by Carroll Masterson and Harris Masterson.

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-   Thierry de Navacelle. _Woody Allen on Location._ New York: William Morrow, 1997.

-   'Mel Brooks (I)' (qv). _Woody Allen._ New York: F. Watts, 1979.

-   Jurgen Felix. _Woody Allen: Komik und Krise._ Marburg, Germany: Hitzeroth, 1992.

-   Yannick Rolandeau. _le cinéma de Woody Allen._ Lyon, France: Aléas, 2006. ISBN 2-84301-1144-2

-   Charles L.P. Silet. _The Films of Woody Allen._ Lanham, MD: Scarecrow Press, 2006. ISBN 0810857367

-   Woody Allen. _Mere Anarchy._ New York: Random House, 2007. ISBN 139781400066414

-   Woody Allen. _Side Effects._ New York: Random House, 1979. ISBN 0394511042

-   Maltin, Leonard. _The Great Movie Comedians._ New York: Bell Publishing Company, 1982. ISBN 051736184

-   I don't want to achieve immortality through my work. I want to achieve it by not dying.

-   I'm not afraid of dying... I just don't want to be there when it happens.

-   [in 1977] This year I'm a star, but what will I be next year? A black hole?

-   On the plus side, death is one of the few things that can be done just as easily as lying down.

-   [when asked if he liked the idea of living on on the silver screen] I'd rather live on in my apartment.

-   [on films] I can't imagine that the business should be run any other way than that the director has complete control of his films. My situation may be unique, but that doesn't speak well for the business -- it shouldn't be unique, because the director is the one who has the vision and he's the one who should put that vision onto film.

-   Basically I am a low-culture person. I prefer watching baseball with a beer and some meatballs.

-   There are worse things in life than death. Have you ever spent an evening with an insurance salesman?

-   Money is better than poverty, if only for financial reasons.

-   I do the movies just for myself like an institutionalized person who basket-weaves. Busy fingers are happy fingers. I don't care about the films. I don't care if they're flushed down the toilet after I die.

-   Most of the time I don't have much fun. The rest of the time I don't have any fun at all.

-   [at the Academy Awards in 2002, explaining why he was the one introducing a montage of New York movies] And I said, 'You know, God, you can do much better than me. You know, you might want to get 'Martin Scorsese' (qv), or, or 'Mike Nichols (I)' (qv), or 'Spike Lee' (qv), or 'Sidney Lumet' (qv)...' I kept naming names, you know, and um, I said, 'Look, I've given you 15 names of guys who are more talented than I am, and, and smarter and classier...' And they said, 'Yes, but they weren't available.'

-   If my film makes one more person miserable, I'll feel I've done my job.

-   For some reason I'm more appreciated in France than I am back home. The subtitles must be incredibly good.

-   My relationship with Hollywood isn't love-hate, it's love-contempt. I've never had to suffer any of the indignities that one associates with the studio system. I've always been independent in New York by sheer good luck. But I have an affection for Hollywood because I've had so much pleasure from films that have come out of there. Not a whole lot of them, but a certain amount of them have been very meaningful to me.

-   The two biggest myths about me are that I'm an intellectual, because I wear these glasses, and that I'm an artist because my films lose money. Those two myths have been prevalent for many years.

-   Join the army, see the world, meet interesting people - and kill 'em.

-   Not only is there no God, but try getting a plumber on weekends.

-   If it turns out that there is a God, I don't think that he's evil. But the worst that you can say about him is that basically he's an underachiever.

-   To you, I'm an atheist; to God, I'm the Loyal Opposition.

-   If only God would give me some clear sign! Like making a large deposit in my name at a Swiss bank.

-   Time is nature's way of keeping everything from happening at once.

-   My one regret in life is that I am not someone else.

-   [on why he never watches his own movies] I think I would hate them.

-   [About the audience] I never write down to them. I always assume that they're all as smart as I am . . . if not smarter.

-   [on the Academy Awards circa 1978] I have no regard for that kind of ceremony. I just don't think they know what they're doing. When you see who wins those things -- or who doesn't win them -- you can see how meaningless this Oscar thing is.

-   [on being nominated for an Oscar for _Crimes and Misdemeanors (1989)_ (qv)] You have to be sure to keep it very much in perspective. You think it's nice at the time because it means more money for your film, but as soon as you let yourself start thinking that way, something happens to the quality of the work.

-   There was no ripple professionally for me at all when I was in the papers with my custody stuff. I made my films, I worked in the streets of New York, I played jazz every Monday night, I put a play on. Everything professionally went just the same. There were no repercussions. There was white-hot interest for a while, like with all things like that, and then it became uninteresting to people.

-   The directors that have personal, emotional feelings for me are 'Ingmar Bergman' (qv) and 'Federico Fellini' (qv), and I'm sure there has been some influence but never a direct one. I never set out to try and do anything like them. But, you know, when you listen to a jazz musician like 'Charlie Parker (I)' (qv) for years and you love it, then you start to play an instrument, you automatically play like that at first, then you branch off with your own things. The influence is there, it's in your blood.

-   Hollywood for the most part aimed at the lowest common denominator. It's conceived in venality, it's motivated by pandering to the public, by making a lot of money. People like 'Ingmar Bergman' (qv) thought about life, and they had feelings, and they wanted to dramatize them and engage one in a dialogue. I felt I couldn't easily be engaged by the nonsense that came out of Hollywood.

-   I had a line in one of my movies - 'Everyone knows the same truth.' Our lives consist of how we choose to distort it. One person will distort it with a kind of wishful thinking like religion, someone else will distort it by thinking political solutions are going to do something, someone else will think a life of sensuality is going to do it, someone else will think art transcends. Art for me has always been the Catholicism of the intellectuals. There is no afterlife for the Catholics really, and there's no afterlife for the arts. 'Your painting lived on after you' - well, that doesn't really do it. That's not what you want. Even if your painting does have some longevity, eventually that's going to go. There won't be any works of 'William Shakespeare (I)' (qv) or 'Ludwig van Beethoven' (qv), or any theatre to see them in, or air or light. I've always felt you've got to live your life within the context of this worst-case scenario. Which is true; the worst-case scenario is here.

-   When I was a kid, movies from Hollywood seemed very glamorous, but when you look back at them as a young man, you can see out of the thousands of films that came out of Hollywood there were really very few good ones statistically, and those few that were good were made in spite of the studios. I saw European films as a young man and they were very much better. There's no comparison.

-   I was just a poor student. I had no interest in it. When I make a film the tacit contract with the audience is that I will give them some entertainment and not bore them. I have to do that. I just lay a message on them. Great filmmakers, like 'Ingmar Bergman' (qv) or 'Akira Kurosawa' (qv) or 'Federico Fellini' (qv), they're very entertaining, their films are fun. Well, in college they never made it entertaining for me, they just bored me stiff.

-   The biggest flaw in being self-taught is there are gaps. You self-teach yourself something and you think you know something fairly well, but then there are gaps a university teacher would have taught you as part of a mandatory program. I would probably have been better off if I'd got a better general education, but I was just so bored.

-   I can bring stars, I've worked with terrific cameramen, but people still have a better chance of making their $150m films because they're not interested in the kind of profits I can bring if I'm profitable.

-   The sensibility of the film-maker infuses the project so people see a picture like _Annie Hall (1977)_ (qv) and everyone thinks it's so autobiographical. But I was not from Coney Island, I was not born under a Ferris wheel, my father never worked at a place that had bumper cars, that's not how I met 'Diane Keaton' (qv), and that's not how we broke up. Of course, there's that character who's always beleaguered and harassed. Certain things are autobiographical, certain feelings, even occasionally an incident, but overwhelmingly they're totally made up, completely fabricated.

-   Of course, I would love everybody to see my films. But I don't care enough ever to do anything about it. I would never change a word or make a movie that I thought they would like. I really don't care if they come or not. If they don't want to come, then they don't; if they do come, then great. Do I want to do what I do uncompromisingly, and would I love it if a big audience came? Yes, that would be very nice. I've never done anything to attract an audience, though I always get accused of it over the years.

-   [on the Academy Awards circa 1978] They're political and bought and negotiated for - although many worthy people have deservedly won - and the whole concept of awards is silly. I cannot abide by the judgment of other people, because if you accept it when they say you deserve an award, then you have to accept it when they say you don't.

-   I took a speed reading course and read 'War and Peace' in twenty minutes. It involves Russia.

-   I know it sounds horrible, but winning that Oscar for _Annie Hall (1977)_ (qv) didn't mean anything to me.

-   When I was in my early twenties, I knew a man who has since died, who was older than me and also very crazy. He'd been in a straitjacket and institutionalized, and I found him very brilliant. When I would speak to him about writing, about life, art, women, he was very, very cogent - but he couldn't lead his own life, he just couldn't manage.

-   [on shooting in London, 2004] In the United States things have changed a lot, and it's hard to make good small films now. There was a time in the 1950s when I wanted to be a playwright, because until that time movies, which mostly came out of Hollywood, were stupid and not interesting. Then we started to get wonderful European films, and American films started to grow up a little bit, and the industry became more fun to work in than the theatre. I loved it. But now it's taken a turn in the other direction and studios are back in command and are not that interested in pictures that make only a little bit of money. When I was younger, every week we'd get a 'Federico Fellini' (qv) or an 'Ingmar Bergman' (qv) or a 'Jean-Luc Godard' (qv) or 'François Truffaut' (qv), but now you almost never get any of that. Filmmakers like myself have a hard time. The avaricious studios couldn't care less about good films - if they get a good film they're twice as happy, but money-making films are their goal. They only want these $100-million pictures that make $500 million. That's why I'm happy to work in London, because I'm right back in the same kind of liberal creative attitude that I'm used to.

-   With my complexion I don't tan, I stroke.

-   I always think it is a mistake to try and be young, because I feel the young people in the United States have not distinguished themselves. The young audience in the United States have not proven to me that they like good movies or good theatre. The films that are made for young people are not wonderful films, they are not thoughtful. They are these blockbusters with special effects. The comedies are dumb, full of toilet jokes, not sophisticated at all. And these are the things the young people embrace. I do not idolize the young.

-   Man was made in God's image. Do you really think God has red hair and glasses?

-   Most of life is tragic. You're born, you don't know why. You're here, you don't know why. You go, you die. Your family dies. Your friends die. People suffer. People live in constant terror. The world is full of poverty and corruption and war and Nazis and tsunamis. The net result, the final count is, you lose - you don't beat the house.

-   Life is for the living.

-   My brain: It's my second favorite organ.

-   I don't believe in an afterlife, although I'm bringing along a change of underwear.

-   Organized crime in America takes in over $40 billion a year and spends very little on office supplies.

-   It's true I had a lot of anxiety. I was afraid of the dark and suspicious of the light.

-   I'm a practicing heterosexual, although bisexuality immediately doubles your chances for a date on Saturday night.

-   I was thrown out of NYU [New York University] for cheating on my Metaphysics final. I looked within the soul of the boy sitting next to me.

-   For me, being famous didn't help me that much. It helped a little. 'Warren Beatty (I)' (qv) once said to me many years ago, being a star is like being in a whorehouse with a credit card, and I never found that. For me, it was like being in a whorehouse with a credit card that had expired.

-   'Stanley Kubrick (I)' (qv) was a great artist. I say this all the time and people think I'm being facetious. I'm not. Kubrick was a guy who obsessed over details and did 100 takes, and you know, I don't feel that way. If I'm shooting a film and it's 6 o'clock at night and I've got a take, and I think I might be able to get a better take if I stayed, but the Knicks tipoff is at 7:30, then that's it. The crews love working on my movies because they know they'll be home by 6.

-   I never wanted movies to be an end. I wanted them to be a means so that I could have a decent life -- meet attractive women, go out on dates, live decently. Not opulently, but with some security. I feel the same way now. A guy like 'Steven Spielberg' (qv) will go live in the desert to make a movie, or 'Martin Scorsese' (qv) will make a picture in India and set up camp and live there for four months. I mean, for me, if I'm not shooting in my neighborhood, it's annoying. I have no commitment to my work in that sense. No dedication.

-   I wasn't away. And I'm not back. _Match Point (2005)_ (qv) was a film about luck, and it was a very lucky film for me. I did it the way I do all my pictures, and it just worked. I needed a rainy day, I got a rainy day. I needed sun, I got sun. 'Kate Winslet' (qv) dropped out at the last moment because she wanted to be with her family, and 'Scarlett Johansson' (qv) was available on two days' notice. It's like I couldn't ruin this picture no matter how hard I tried.

-   I think there is too much wrong with the world to ever get too relaxed and happy. The more natural state, and the better one, I think, is one of some anxiety and tension over man's plight in this mysterious universe.

-   80% of success is showing up.

-   Having sex is like playing bridge. If you don't have a good partner, you'd better have a good hand.

-   [Responding to fans, skeptical of his plan to direct an opera] I have no idea what I am doing. But incompetence has never prevented me from plunging in with enthusiasm.

-   I do feel that in everyday life people on a great spectrum get away with crime all the time, ranging from genocide to just street crime. Most crimes do go unsolved, and people commit murders and ruin other people and do the worst things in the world, and, you know, there's no one to penalize you if you don't have a sense of conscience about it. There is an element in life of enormous, enormous injustice that we live with all the time. It's just an ugly-but-true fact of life.

-   [Movies are a great diversion] because it's much more pleasant to be obsessed over how the hero gets out of his predicament than it is over how I get out of mine.

-   My mother always said I was a very cheerful kid until I was 5 years old, and then I turned gloomy.

-   I can't really come up with a good argument to choose life over death. Except that I'm too scared.

-   I was never bothered if a film was not well received. But the converse of that is that I never get a lot of pleasure out of it if it is. So it isn't like you can say, 'He's an uncompromising artist.' That's not true. I'm a compromising person, definitely. It's that I don't get much from either side.

-   Your perception of time changes as you get older, because you see how brief everything is. You see how meaningless ... I don't want to depress you, but it's a meaningless little flicker.

-   I once thought there was a good argument between whether it's worth it to make a film where you confront the human condition, or an escape film. You could argue that the 'Fred Astaire' (qv) film is performing a greater service than the Bergman film, because 'Ingmar Bergman' (qv) is dealing with a problem that you're never going to solve. Whereas 'Fred Astaire', you walk in off the street, and for an hour and half they're popping champagne corks and making light banter and you get refreshed, like a lemonade.

-   I've made perfectly decent films, but not _8½ (1963)_ (qv), not _Det sjunde inseglet (1957)_ (qv) ("The Seventh Seal"), _Les quatre cents coups (1959)_ (qv) ("The 400 Blows") or _L'avventura (1960)_ (qv) - ones that to me really proclaim cinema as art, on the highest level. If I was the teacher, I'd give myself a B.

-   Ireland's one of the few places that lives up to the hype, that is as beautiful as everyone tells you it is.

-   [on directing the LA Opera, alongside 'William Friedkin' (qv)] I figured, "Eh, I'll be dead before it happens. I'm 72. I'm never going to make it to the opera." But it came around, and next Monday, I start rehearsal. I'll just do the best I can and then get out of town and let them tar and feather Friedkin.

-   [on directing an opera] He ['Plácido Domingo' (qv)] said, "What if we do the Puccini trilogy - it's three one-acts that are always done together? The first two, Billy Friedkin will direct. You'll only be responsible for a one-act, a one-hour opera, and it's funny." You know, funny to opera people is not funny to the Marx Brothers.

-   It would be a disgrace and a humiliation if Barack Obama does not win... It would be a terrible thing if the American public was not moved to vote for him, that they actually preferred more of the same.

-   I never had a teacher who made the least impression on me and if you ask who are my heroes, the answer is simple and truthful: George S. Kaufman and the Marx Brothers.

-   I don't believe in an afterlife, although I am bringing a change of underwear.

-   [on _2001: A Space Odyssey (1968)_ (qv)] It was one of the few times in my life that I realized that the artist was so much ahead of me.

-   I've never felt that if I waited five years between films, I'd make better ones. I just make one when I feel like making it. And it comes out to be about one a year. Some of them come out good, and some of them come out less than good. Some of them may be very good and some may be very bad. But I have no interest in an overall plan for them or anything.

-   If I write a film and there is a part in it for me - great. But if I sit down in advance and think, "I'd like to be in this film," or "It's been a long time since I've been in a film so it would be fun to do one," then all of a sudden there's an enormous amount of limits and compromise. I can only play a few things so that compromises the idea instantly. I think _Deconstructing Harry (1997)_ (qv) would have been better with Dustin Hoffman or Robert De Niro, for sure. I also tried very hard to get another actor to play the part I did in _The Curse of the Jade Scorpion (2001)_ (qv). I think we tried to see if Tom Hanks was available, and Nicholson. Either they weren't available or didn't want to do it. So I finally played that part. And I shouldn't have, because it wasn't my usual kind of role, and I think that hurt the film.

-   I've been around a long time, and some people may just get tired of me, which I can understand. I've tried to keep my films different over the years, but it's like they complain, "We've eaten Chinese food every day this week." I want to say, "Well, yes, but you had a shrimp meal and you had a pork meal and you had a chicken meal." They say, "Yes, yes, but it's all Chinese food." That's the way I feel about myself. I have a certain amount of obsessive themes and a certain amount of things I'm interested in and no matter how different the film is, whether it's _Small Time Crooks (2000)_ (qv) here or _Zelig (1983)_ (qv) there, you find in the end that it's Chinese food. If you're not in the mood for my obsessions, then you may not be in the mood for my film. Now, hopefully, if I make enough films, some of them will come out fresh, but there's no guarantee. It's a crapshoot every time I make one. It could come out interesting or you might get the feeling that, God, I've heard this kvetch before - I don't know.

-   [on _Match Point (2005)_ (qv)] To me, it is strictly about luck. Life is such a terrifying experience - it's very important to feel, "I don't believe in luck, Well, I make my luck." Well, the truth of the matter is, you don't make your luck. So I wanted to show that here was a guy - and I symbolically made him a tennis player - who's a pretty bad guy, and yet my feeling is, in life, if you get the breaks - if the luck bounces your way, you know - you can not only get by, you can flourish in the same way that I felt Marty Landau could in _Crimes and Misdemeanors (1989)_ (qv). If you can kill somebody - if you have no moral sense - there's no God out there that's suddenly going to hit you with lightning. Because I don't believe in God. So this is what was on my mind: the enormous unfairness of the world, the enormous injustice of the world, the sense that every day people get away with the worst kinds of crimes. So it's a pessimistic film, in that sense.

-   [on his least favorite of his own films, _Manhattan (1979)_ (qv)] I hated that one. I even made _Stardust Memories (1980)_ (qv) for United Artists just so Manhattan would stay on the shelf. And even after those efforts, I still can't believe even to this day how it became so commercially successful. I can't believe I got away with it.

-   I'm kind of, secretly, in the back of my mind, counting on living a long time. My father lived to a hundred. My mother lived to 95, almost 96. If there is anything to heredity, I should be able to make films for another 17 years. You never know. A piano could drop on my head. (December 2005)

-   I've never, ever in my life had any interference. I've always had final cut, no-one saw scripts, no-one saw casting. So since _Take the Money and Run (1969)_ (qv), I've been spoiled. But recently, at about the time of _Match Point (2005)_ (qv), the studios began to behave differently. They started to say, "Look, we like to make films with you and we'll give you the money, but we don't want to be treated as if we're just a bank, putting money in a bag and then just going away. You'll still have final cut and all of that, but we would like to see a script, know who you're casting and be involved in some way." I feel that this is a completely reasonable request, but I just wasn't used to working that way, so I went over to Europe. There's no studio system, so they don't care about any of that stuff. They're bankers. And they're happy to be bankers. They put up the money, you give them the film, and that's what they care about. That worked very well for me on _Match Point (2005)_ (qv). So I did it again with _Scoop (2006)_ (qv) and _Cassandra's Dream (2007)_ (qv). And I made _Vicky Cristina Barcelona (2008)_ (qv) in Spain under the same circumstances.

-   If they said to me tomorrow, "We're pulling the plug and we're not giving you any more money to make films," that would not bother me in the slightest. I mean, I'm happy to write for the theatre. And if they wouldn't back any of my plays, I'm happy to sit home and write prose. But as long as there are people willing to put up the vast sums of money needed to make films, I should take advantage of it. Because there will come a time when they won't.

-   Retire and do what? I'd be doing the same thing as I do now: sitting at home writing a play, then characters, jokes and situations would come to me. So I don't know what else I would do with my time.

-   [on 'Shelley Duvall' (qv)] She's a true one of a kind. She's so effective on the screen, that if she's cast properly, she's incapable of being anything else but fascinating.

-   [on 'Michelangelo Antonioni' (qv)] I knew him slightly and spent some time with him. He was thin as a wire and athletic and energetic and mentally alert. And he was a wonderful ping-pong player. I played with him; he always won because he had a great reach. That was his game.

-   [on 'Ingmar Bergman' (qv)] He and I had dinner in his New York hotel suite; it was a great treat for me. I was nervous and really didn't want to go. But he was not at all what you might expect: the formidable, dark, brooding genius. He was a regular guy. He commiserated with me about low box-office grosses and women and having to put up with studios. The world saw him as a genius, and he was worrying about the weekend grosses. Yet he was plain and colloquial in speech, not full of profound pronunciamentos about life. 'Sven Nykvist' (qv) told me that when they were doing all those scenes about death and dying, they'd be cracking jokes and gossiping about the actors' sex lives. I liked his attitude that a film is not an event you make a big deal out of. He felt filmmaking was just a group of people working. I copied some of that from him. At times he made two and three films in a year. He worked very fast; he'd shoot seven or eight pages of script at a time. They didn't have the money to do anything else. I think his films have eternal relevance, because they deal with the difficulty of personal relationships and lack of communication between people and religious aspirations and mortality, existential themes that will be relevant a thousand years from now. When many of the things that are successful and trendy today will have been long relegated to musty-looking antiques, his stuff will still be great.

-   The biggest personal shock to me of all the movies that I've done is that _Hollywood Ending (2002)_ (qv) was not thought of as a first-rate, extraordinary comedy. I was stunned that it met with any resistance at all. I thought it was a very, very funny idea and I thought that I executed it absolutely fine, and that I was funny and that 'Téa Leoni' (qv) was great. I thought it was a simple, funny idea that worked. I didn't think I blew it anywhere along the line - in performance, in shooting it, in the jokes, situations. When I showed it to the first couple of people, film writers, they said, "This is just great. This is one of the funniest movies you've done." But that's not what the subsequent reactions were. And I was so shocked. I generally don't love my own finished product but this one I did. I don't think many people would, but I would put it toward the top of my comedies. The audience didn't show up. I think if people had gone to see it they would have enjoyed it. But they didn't go to see it.

-   [on _Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)_ (qv)] Everything wonderful about that movie... is because of the way it was directed. Otherwise, I thought there were flaws in the writing of the movie and flaws in some of the performances of the movie. But the directing of the movie was so bravura and so superb, that it was just a knockout.

-   Whenever they ask women what they find appealing in men, a sense of humor is always one of the things they mention. Some women feel power is important, some women feel that looks are important, tenderness, intelligence...but sense of humor seems to permeate all of them. So I'm saying to that character played by 'Goldie Hawn' (qv), "Why is that so important?" But it is important apparently because women have said to us that that is very, very important to them. I also feel that humor, just like 'Fred Astaire' (qv) dance numbers or these lightweight musicals give you a little oasis. You are in this horrible world and for an hour and a half you duck into a dark room and it's air-conditioned and the sun is not blinding you and you leave the terror of the universe behind and you are completely transported into an escapist situation. The women are beautiful, the men are witty and heroic, nobody has terrible problems and this is a delightful escapist thing, and you leave the theatre refreshed. It's like drinking a cool lemonade and then after a while you get worn down again and you need it again. It seems to me that making escapist films might be a better service to people than making intellectual ones and making films that deal with issues. It might be better to just make escapist comedies that don't touch on any issues. The people just get a cool lemonade, and then they go out refreshed, they enjoy themselves, they forget how awful things are and it helps them-it strengthens them to get through the day. So I feel humor is important for those two reasons: that it is a little bit of refreshment like music, and that women have told me over the years that it is very, very important to them.

-   I think what I'm saying is that I'm really impotent against the overwhelming bleakness of the universe and that the only thing I can do is my little gift and do it the best I can, and that is about the best I can do, which is cold comfort.

-   You want some kind of relief from the agony and terror of human existence. Human existence is a brutal experience to's a brutal, meaningless experience-an agonizing, meaningless experience with some oases, delight, some charm and peace, but these are just small oases. Overall, it is a brutal, brutal, terrible experience, and so it's what can you do to alleviate the agony of the human condition, the human predicament? That is what interests me the most. I continue to make the films because the problem obsesses me all the time and it's consistently on my mind and I'm consistently trying to alleviate the problem, and I think by making films as frequently as I do I get a chance to vent the problems. There is some relief. I have said this before in a facetious way, but it is not so facetious: I am a whiner. I do get a certain amount of solace from whining.

-   I think 'Frank Capra' (qv) was a much craftier filmmaker, a wonderful filmmaker. He had enormous technique, and he knew how to manipulate the public quite brilliantly. I was just doing what I was doing because it interested me, and in fact obsessed me. I was not doing it with an eye to manipulate the public. In fact, I probably would have had a larger public if I had gone in a different direction.

-   [the existence of God, life after death, the meaning of life] were always obsessions of mine, even as a very young child. These were things that interested me as the years went on. My friends were more preoccupied with social issues-issues such as abortion, racial discrimination, and Communism-and those issues just never caught my interest. Of course they mattered to me as a citizen to some degree...but they never really caught my attention artistically. I always felt that the problems of the world would never ever be solved until people came to terms with the deeper issues-that there would be an aimless reshuffling of world leaders and governments and programs. There was a difference, of course, but it was a minor difference as to who the president was and what the issues were. They seemed major, but as you step back with perspective they were more alike than they were different. The deeper issues always interested me.

-   I didn't see _Shane (1953)_ (qv) as a martyred figure, a persecuted figure. I saw him as quite a heroic figure who does a job that needs to be done, a practical matter. I saw him as a practical secular character. In this world there are just some people who need killing and that is just the way it is. It sounds terrible, but there is no other way to get around that, and most of us are not up to doing it, incapable for moral reasons or physically not up to it. And _Shane (1953)_ (qv) is a person who saw what had to be done and went out and did it. He had the skill to do it, and that's the way I feel about the world: there are certain problems that can only be dealt with that way. As ugly a truth as that is, I do think it's the truth about the world.

-   I feel that is true-that one can commit a crime, do unspeakable things, and get away with it. There are people who commit all sorts of crimes and get away with it, and some of them are plagued with all sorts of guilt for the rest of their lives and others aren't. They commit terrible crimes and they have wonderful lives, wonderful, happy lives, with families and children, and they have done unspeakably terrible things. There is no justice, there is no rational structure to it. That is just the way it is, and each person figures out some way to cope.... Some people cope better than others. I was with 'Billy Graham (I)' (qv) once, and he said that even if it turned out in the end that there is no God and the universe is empty, he would still have had a better life than me. I understand that. If you can delude yourself by believing that there is some kind of Santa Claus out there who is going to bail you out in the end, then it will help you get through. Even if you are proven wrong in the end, you would have had a better life.

-   [on his character Mickey's personal crisis in _Hannah and Her Sisters (1986)_ (qv)]: I think it should be interpreted to mean that there are these oases, and life is horrible, but it is not relentlessly black from wire to wire. You can sit down and hear a Mozart symphony, or you can watch the Marx Brothers, and this will give you a pleasant escape for a while. And that is about the best that you can do.... I feel that one can come up with all these rationalizations and seemingly astute observations, but I think I said it well at the end of _Deconstructing Harry (1997)_ (qv): we all know the same truth; our lives consist of how we choose to distort it, and that's it. Everybody knows how awful the world is and what a terrible situation it is and each person distorts it in a certain way that enables him to get through. Some people distort it with religious things. Some people distort it with sports, with money, with love, with art, and they all have their own nonsense about what makes it meaningful, and all but nothing makes it meaningful. These things definitely serve a certain function, but in the end they all fail to give life meaning and everyone goes to his grave in a meaningless way.

-   Like Boris [from _Whatever Works (2009)_ (qv)] I fight it all the time. I've always been lucky: I've never experienced depression. I get sad and blue, but within a certain limit. I've always been able to work freely, to play my clarinet and enjoy women and sport - although I am always aware of the fact that I am operating within a nightmarish context that life itself is a cruel, meaningless, terrible kind of thing. God forbid the people who have bad luck, or even neutral luck, because even the luckiest, the most beautiful and brilliant, what have they got? A minuscule, meaningless life span in the grand scheme of things.

-   'Sarah Palin' (qv) is a colourful spice in the general recipe of democracy. She's a sexy woman. Yes. Me and Sarah - we could do a romance.

-   I can only hope that reading out loud does not contribute to the demise of literature, which I don't think will ever happen. When I grew up, one could always hear 'T.S. Eliot' (qv), 'William Butler Yeats' (qv), 'S.J. Perelman' (qv) and a host of others read on the Caedmon label, and it was its own little treat that in no way encroached on the pleasure of reading these people.

-   [on why he chose in 2010 to read his short stories for Adiobook]: I was persuaded in a moment of apathy when I was convinced I had a fatal illness and would not live much longer. I don't own a computer, have no idea how to work one, don't own a word processor, and have zero interest in technology. Many people thought it would be a nice idea for me to read my stories, and I gave in.

-   To me, there's no real difference between a fortune teller or a fortune cookie and any of the organized religions. They're all equally valid or invalid, really. And equally helpful.

-   Well, I'm against [the aging process]. I think it has nothing to recommend it. You don't gain any wisdom as the years go by. You fall apart, is what happens. People try and put a nice varnish on it, and say, well, you mellow. You come to understand life and accept things. But you'd trade all of that for being 35 again. I've experienced that thing where you wake up in the middle of the night and you start to think about your own mortality and envision it, and it gives you a little shiver. That's what happens to 'Anthony Hopkins (I)' (qv) at the beginning of [_You Will Meet a Tall Dark Stranger (2010)_ (qv)], and from then on in, he did not want to hear from his more realistic wife, "Oh, you can't keep doing that - you're not young anymore." Yes, she's right, but nobody wants to hear that.

-   If my films don't show a profit, I know I'm doing something right.

-   [on the controversy surrounding his marriage to Soon-Yi] What was the scandal? I fell in love with this girl, married her. We have been married for almost 15 years now. There was no scandal, but people refer to it all the time as a scandal. I kind of like that in a way because when I go I would like to say I had one juicy scandal in my life.

-   My films have developed over the years. They've gone from films that started out as strips of jokes and funny gags to more character-oriented things - slightly deeper stories where I've sacrificed some laughs. And sometimes I've tried to make serious pictures without any laughs at all. _You Will Meet a Tall Dark Stranger (2010)_ (qv) is probably a film I wouldn't have been able to make 20 years ago, because I feel I wouldn't have had the depth to make it. I'm forever pessimistic about everything in life, except my work. I feel that my best work is still to come, and I keep working and trying. It may be foolish and misplaced optimism, but nevertheless I'm optimistic. I feel I've always progressed. I've always made the film I wanted to make that year, and the films I made later were better than the ones I made earlier. _Manhattan (1979)_ (qv) and _Annie Hall (1977)_ (qv) were quite popular, but they were not as good as, say, _Match Point (2005)_ (qv), which was a better film than both of those films. _Midnight in Paris (2011)_ (qv) I think will be seen as a better film. _Vicky Cristina Barcelona (2008)_ (qv) is a better film than those I made years ago. But it's capricious. I get an idea for a film and I do it, and if I'm right in my judgment, and in execution, then the film turns out to be a good film, a step forward. If I guessed wrong and I thought the idea was wonderful and it's really not, or I execute badly, then the film is not such a good film. But it doesn't have anything to do with the chronology. [2011]

-   I think universal harmony is a pipedream and it may be more productive to focus on more modest goals, like a ban on yodeling.

-   Not only does my play have no redeeming social value, it has no entertainment value. I wrote this sprightly little one-acter only to test out my new paper shredder. If there is any positive message at all in the narrative, it is that life is a tragedy filled with suffering and despair and yet some people do manage to avoid jury duty.

-   I've always felt close to a European sensibility. It's a happy accident: when I was a young man and most impressionable, all these great European films were flooding New York City. I was very influenced by those films. I comes out in my work without trying to. It's like if you grow up hearing Mozart your whole life at home and you start to write music, probably what comes out - until you develop your own style - is an imitation of Mozart, to some degree. And that's what happened with me and films. I've very often relied on European cinema as a crutch or as a guide. The films I grew up with - Bergman and Fellini and Kurosawa and De Sica and Antonioni - just left an indelible mark on me. It's the same with certain American films that impressed me as a young boy, like _The Treasure of the Sierra Madre (1948)_ (qv) and _Citizen Kane (1941)_ (qv) and _Double Indemnity (1944)_ (qv). There have been very few American films since that have equalled the impact those films had on me, because I do think the time you see them figures into it. Consequently my films have been well appreciated in Europe, more than the United States, where it's been so-so.

-   [on _Stardust Memories (1980)_ (qv)] I wanted to make a stylish film. 'Gordon Willis (I)' (qv) and I liked to work in black and white and I wanted to make a picture about an artist who theoretically should be happy. He has everything in the world - health, success, wealth, notoriety - but in fact he doesn't have anything, he's very unhappy. The point of the story is that he can't get used to the fact that he's mortal and that all his wealth and fame and adulation are not going to preserve him in any meaningful way - he, too, will age and die. At the beginning of the movie you see him wanting to make a serious statement even though he is really a comic filmmaker. Of course, this part is naturally identified with me even though the tale is total fabrication. I never had the feelings of the protagonist in real life. When I made Stardust Memories I didn't feel I was a much adored filmmaker whose life was miserable and all around me things were terrible. I thought I was a respectable moviemaker and the perks of success - as I said in my film _Celebrity (1998)_ (qv) - actually outweighed the downside. I was never blocked, conflicted much, or steeped in gloom - though I often played that character. I did it again later in _Deconstructing Harry (1997)_ (qv). That character is also a writer but nothing like me. I wanted to make Stardust Memoies stylish. It's a dream film; the attempt is poetic. I'm not saying it comes off but the intent is poetic, so you're not locked in to a realistic story. You could certainly tell a realistic story about a guy who has everything and is unhappy but I was trying to do it on a more fantastic level. I feel if you give the film a chance, there are some rewards in it. It's dense. I haven't seen it in many years, but when I finished it I was very satisfied with it and it was my favorite film to that time.

-   [on _Shadows and Fog (1991)_ (qv)] I think I did a good job directing it and 'Santo Loquasto' (qv)'s sets are beautiful. But the picture is in the writing and people weren't interested in the story. You know when you're doing a black-and-white picture that takes place in a European city at night in the twenties, you're not going to make big bucks. Nobody liked the picture. 'Carlo Di Palma' (qv) won an award for it in Italy. It just looked great. There was pleasure in the way it was photographed, and in making it. I make these films to amuse myself, or should I say to distract myself. I wanted to see what it would be like making a film all on a set, outdoors being indoors. And setting it during one night and having all these characters and this old European quality to it. The hope is that others will enjoy it when I'm finished. It fulfilled that desire that keeps me working, that keeps me in the film business. I do all my films for my own personal reasons, and I hope that people will like them and I'm always gratified when I hear they do. But if they don't, there's nothing I can do about that because I don't set out to make them for approval - I like approval, but I don't make them for approval.

-   [on _Anything Else (2003)_ (qv)] The cast is wonderful and I thought it was an interesting story and full of good jokes and good ideas. Somebody said it summed up everything that I always say in movies - they were saying this positively - and maybe it did and that was a negative for me. I don't know. I had screening of it and people seemed to love it. Again, it was one of those pictures that nobody came to. You know, a lot of it is the luck of the draw with someone like me. I'm review-dependent. You hit a guy who likes the film and writes a good review of it, it might possibly do business. The exact same film, if that reviewer's sick that day and the other critic on the paper doesn't like it, then it doesn't do business. There are many, many people making films who are not review-dependent and it doesn't matter what anybody says about them, they have an audience. I only have to mention _Spider-Man (2002)_ (qv). With me, it depends who's writing the review. But I did think Anything Else was a funny movie. I thought it was a good movie. I was crazy about Christina [Ricci], and Jason [Biggs] was adorable and 'Stockard Channing' (qv) is always a really strong actress.

-   My sets are boring. Nothing exciting ever happens, and I barely talk to the actors.

-   [Directing']s a great loafer's job. Much less stressful than if I were running around delivering chicken sandwiches in a deli somewhere.

-   [To 'Stu Hample' (qv) on developing the comic strip "Inside Woody Allen"] Need more character engagement - instead of jokes being free-floating, they must be jokes on the way to character development. Jokes are like the decorations on the Christmas tree - but it's a beautiful tree you need to start with. Only then can you hang baubles on it. (Sorry for the disgusting metaphor.)

-   Life is full of misery, loneliness and suffering - and it's all over much too soon.

-   I finished writing the script [for _To Rome with Love (2012)_ (qv)] and saw that there was a part that I could play. I never force it. I never write something for myself. I'm trying to be faithful to the idea. If I had made To Rome with Love in the United States, I could have played 'Roberto Benigni' (qv)'s part. If I was fifty years younger, I would have played 'Jesse Eisenberg' (qv)'s part. Right now, I'm reduced to fathers of fiancees.

-   [on playing his screen persona] It's effortless. It's the only thing I can do. I'm not an actor. I can't play Chekhov, I can't play Shakespeare or Strindberg. I can do that thing that I do. There's a few different kinds of things I can act credibly. I can play an intellectual or a low-life.

-   I'm not as crazy as they [fans who meet me] think I am. They think I'm a major neurotic and that I'm phobic and incompetent and I'm not. I'm very average, middle class. I get up in the morning, I have a wife and kids, I work, I've been productive, I practice my horn, I go to ballgames, it's a normal kind of thing. I have some quirks, but everybody has some quirks.

-   [on why he always skips the Oscars] They always have it on Sunday night. And it's always - you can look this up - it's always opposite a good basketball game. And I'm a big basketball fan. So it's a great pleasure for me to come home and get into bed and watch a basketball game. And that's exactly where I was, watching the game.

-   That, or anything I ever won, has never changed my life one iota. And the fact that _Midnight in Paris (2011)_ (qv) made $160 million meant zero in terms of anyone - and by anyone I mean no one - stepping forward and saying, 'We'd like to bankroll your next film.'

-   [American financiers] don't like to work the way I like to work. They like to read the script and have some input. They want to say, 'Well, we'll let you cast who you want, but if you can get Brad Pitt, we'd much prefer you got him.' ... We don't do that, though. We don't let them see the script, or have anything to say. So I have a lot of trouble raising money in this country.

-   For me, success is, I'm in my bedroom at home and get an idea and I think it's a great idea and then I write it, and I look at the script and I say, 'My God, I've written a good script here.' And then I execute it. And if I execute the thing properly, then I feel great. If people come, it's a delightful bonus.

-   [on "Ozymandias melancholia," a term for the sense of inevitable decline which he first coined in _Stardust Memories (1980)_ (qv)] It's a phenomenon that I think everybody gets afflicted with, certainly the poet [Percy Bysshe Shelley] did, but I get afflicted with it. And you feel it really very much in Rome, because you see those ancient ruins and you're hyper-aware of the fact that thousands of yeas ago, there was a civilization that was mighty, the most dominant civilization in the world, and how glorious it must have been. And now it's a couple of bricks here and a couple of bricks there, and someone's sitting on the bricks eating their sandwich.

-   It isn't just psychological, when you're getting closer to death that time passes faster. I think something happens physiologically so that you experience time in a very different way ... It's also scary, as you'll see when you get older. It doesn't get better. You don't mellow, you don't gain wisdom and insight. You start to experience joint pain.

-   [I'm] depressed on a low flame.

-   My own feeling was always [that] I was totally uninterested in what anyone thought. I loved 'Soon-Yi Previn' (qv) and it was a serious thing, not frivolous. We've been together for years, and it's been, on a personal basis, the best years of my life, really. And certainly the best of hers - not because of my scintillating personality, but it really brought her out of herself. She really had a chance to get into the world.

-   I've shown the older one, [daughter] Bechet, a number of 'Alfred Hitchcock (I)' (qv) movies, and I've shown them both [daughters] a couple of 'The Marx Brothers' (qv) movies. But they're not that interested ... I try to encourage them musically and guide them cinematically, but my opinion ... I represent the Old World, the Europe from which they took boats to escape.

-   I have a very pessimistic view of everything. Obviously, I'm not a religious person, and I don't have any respect for the religious point of view. I tolerate it, but I find it a mindless grasp of life. [It's] the same thing with the philosophers who tell you that the meaning of life consists of what meaning you give it. I don't buy that, either. It's very unsatisfying.

-   What you're left with, in the end, are very grisly, unpleasant facts. You can't avoid them, you can't escape them. The best you can do, as far as I see it at the moment - maybe I'll get some other insight someday - is distract. I work all the time, I plunge myself into trivial problems, problems that are not life-threatening: How I'm going to work my third act, or can I get this actress to be in the movie, or am I over budget? These are my problems that obsess me, so I don't sit home and think about the fact that the universe is flying apart at breakneck speed as we're sitting here.

-   I know of only six genuine comic geniuses in movie history; Charlie Chaplin ('Charles Chaplin' (qv)), 'Buster Keaton' (qv), 'Groucho Marx' (qv) & 'Harpo Marx' (qv), 'Peter Sellers (I)' (qv), and 'W.C. Fields' (qv).

-   There are lots of nice advantages that you get, being a celebrity. The tabloid things, the bumps in the road, they come and they go. Most people don't have as big a bump as I had, but even the big bump - it's not life-threatening. It's not like the doctor's saying: 'I looked at these x-rays of your brain, and there's this little thing growing there.' Tabloid things can be handled. I just don't want a shadow on my lung on the x-ray.

-   I'm just trying to be objective and honest. If you were having a 10-film festival and showing _Citizen Kane (1941)_ (qv) on Monday, _Rashômon (1950)_ (qv) on Tuesday, _Ladri di biciclette (1948)_ (qv), _Det sjunde inseglet (1957)_ (qv) ... I don't think anything I've ever made could be placed in a festival with those films and hold its own.

-   I have an idea for a story, and I think to myself, "my God, this is a combination of 'Eugene O'Neill (I)' (qv), and 'Tennessee Williams' (qv), and 'Arthur Miller (I)' (qv)" ... but that's because [when you're writing] you don't have to face the test of reality. You're at home, in your house, it's all in your mind. Now, when it's almost over, and I see what I've got, I start to think: "what have I done? This is going to be such an embarrassment! Can I salvage it?" All your grandiose ideas go out the window. You realise you made a catastrophe, and you think: "what if I put the last scene first, drop this character, put in narration? What if I shoot one more scene, to make him not leave his wife, but kill his wife?" [But nine times out of ten, after the screening of the first rough cut,] the feeling is: "OK, now don't panic." The other 10% of the time, it's: "OK. That's not as bad as I thought."

-   My experience has been, with one exception [_Midnight in Paris (2011)_ (qv)], that when I do a film in a foreign country, the toughest audience for me is that country. In Italy, they said: 'This guy doesn't understand Italy.' And I can't argue with those criticisms. I'm an American, and that's how I see Barcelona or Rome or England. If the situation was reversed, and somebody from a foreign country made a film here, I might very well be saying: 'Yeah, it's OK, but this guy really doesn't get New York.' And I'd be right. And I'm sure they're right.

-   To have been the lead character in a juicy scandal - a really juicy scandal - that will always be a part of what people think of when they think of me. It doesn't bother me. It doesn't please me. It's a non-factor. But it's a true factor.

-   [Ageing] is a bad business. It's a confirmation that the anxieties and terrors I've had all my life were accurate. There's no advantage to ageing. You don't get wiser, you don't get more mellow, you don't see life in a more glowing way. You have to fight your body decaying, and you have less options. The only thing you can do is what you did when you were 20 - because you're always walking with an abyss right under your feet; they can be hoisting a piano on Park Avenue and drop it on your head when you're 20 - which is to distract yourself. Getting involved in a movie [occupies] all my anxiety: did I write a good scene for 'Cate Blanchett' (qv)? If I wasn't concentrated on that, I'd be thinking of larger issues. And those are unresolvable, and you're checkmated whichever way you go.

-   If you're a celebrity, you can get good medical treatment. I can get a doctor on the weekends. I can get the results of my biopsy quickly.

-   [European backers support me when Americans won't] You'd think that after a hit like _Midnight in Paris (2011)_ (qv) - made a lot of money, not by _The Dark Knight (2008)_ (qv) standards, but by my standards - there would be some companies that would want to do a film with you. But I didn't get a single offer. Not one ... and then an Italian company I'd been talking to for years was willing to put up money.

-   Making films is a very nice way to make a living. You work with beautiful women, and charming men, who are amusing and gifted; you work with art directors and costume people ... you travel places, and the money's good. It's a nice living.

-   [The French] think I'm an intellectual because I wear these glasses, and they think I'm an artist because my films lose money.

-   I have one last request. Don't use embalming fluid on me; I want to be stuffed with crab meat.

-   Editing is that moment when you give up every hope you have of making a great piece of art and you have to settle with what you have.

-   I'm very happy doing films. I wrote a novel, but it didn't come out well and I put it away. I would like to write for the theatre again, and I will continue to write for The New Yorker. But I don't have to knock myself out to do one film a year - a year's a long time to make a film. I don't make these films like, say, 'Steven Spielberg' (qv), where I take three years and a hundred million dollars. My films are much less ambitious. It's easy for me. I finish a film and I'm sitting around the house and have other ideas; I get them together and I write them. I don't require much money to make a film, so it's not hard for me to get funded. And I'm a good bet for an investor, because I work fast and inexpensively. And when the film is released, before you know it, the small amount that it cost, they've made back. Then once in a while, if I hit one that is popular - like _Match Point (2005)_ (qv), which made a hundred million dollars - then everybody makes a lot of money on it. Everybody except me. [2011]

-   There are worse things than death. Many of them playing at a theater near you.

-   I am not a hypochondriac but a totally different genus of crackpot.

-   My parents both lived to ripe old ages but absolutely refused to pass their genes to me as they believed an inheritance often spoils the child.

-   _Question de temps: Une heure avec Woody Allen (1979) (TV)_ (qv)

-   _To Woody Allen from Europe with Love (1980)_ (qv)

-   _L'oeuvre et la vie de Woody Allen (1982) (TV)_ (qv)

-   _Wild Man Blues (1997)_ (qv)

-   _The Woody Allen Show (1965) (TV)_ (qv)

-   _Woody Allen: A Life in Film (2002) (TV)_ (qv)

-   _Meetin' WA (1986)_ (qv)

-   _Love and Betrayal: The Mia Farrow Story (1995) (TV)_ (qv)

-   _"The Simpsons" (1989)_ (qv)

-   _"Saturday Night Live" (1975)_ (qv)

-   (August 2003) Is currently filming his follow-up to _Anything Else (2003)_ (qv) in New York.

-   (November 2004) He is currently directing his original play "A Second-Hand Memory" at the Atlantic Theater Company in New York.

-   (October 2005) Plays clarinet every Monday night at the Café Carlyle in Manhattan.

-   (December 2007) European concert tour (Brussels, Luxembourg, Vienna, Paris, Budapest, Athens, Lisbon, Barcelona, San Sebastian, La Coruna) with the Eddie Davis New Orleans Jazz Band.

-   _What's Up, Tiger Lily? (1966)_ (qv) -> $66,000

-   "The Guardian" (UK), 13 September 2012, by: Oliver Burkeman, "Woody Allen: 'To have been a lead character in a juicy scandal doesn't bother me'"

-   "The Washington Post" (USA), 28 June 2012, by: Ann Hornaday, "Woody Allen on 'Rome,' playing himself and why he skips the Oscars"

-   "The New York Times" (USA), 14 September 2010, by: David Itzkoff, "Woody Allen on Faith, Fortune Tellers and New York"

-   "The New York Times" (USA), 20 July 2010, by: Dave Itzkoff, "Woody Allen's Talk Therapy: Audiobooks by a Technophobe"

-   "The Times" (UK), 25 June 2010, by: Tim Teeman, "Woody Allen: 'At a certain age you conclude that greatness is not in you'"

-   "Commonweal" (USA), 15 April 2010, by: Robert E. Lauder, "Whatever Works"

-   "New York" (USA), 1 June 2009, pg. 32-39, 84-85, by: Mark Harris, "Twilight of the Tummlers"

-   "Newsweek" (USA), 18 August 2008, by: Jennie Yabroff, "Take the Bananas and Run"

-   "Moving Pictures Magazine" (USA), 15 May 2008, Vol. 2008, Iss. Summer/Cannes, pg. 32-36, by: Elliot V. Kotek, "Woody Allen: Anonymous"

-   "The Times" (UK), 15 May 2008, by: James Mottram, "What's up with Woody Allen?"

-   "Le Figaro" (France), 31 October 2007, by: Marie-Noëlle Tranchant, "Mon premier amour, c'est la tragédie"

-   "The Washington Post" (USA), 26 July 2006, by: David Segal, "Cloud In the Silver Lining"

-   "Empire" (UK), February 2006, Iss. 200, pg. 70-71, by: Adam Smith, "Match point ace comes to Blighty"

-   "Premiere" (USA), February 2006, Vol. 19, Iss. 5, pg. 98-101+116, by: Matloff, Jason, ""Woody Allen's European Vacation""

-   "Radio Times" (UK), 31 December 2005, Vol. 327, Iss. 4265, pg. 24-26, by: Andrew Duncan, "The key to Allen"

-   "K" (Greece), 18 December 2005, Iss. 133, pg. 36-46, by: Panagiotis Panagopoulos, "An kapoios mou elege oti tha pantrevomoun ena koritsi apo tin Asia ektos tis douliasmou poli neotero mou tha skeftomoun oti einai trelos"

-   "Radiotileorassi" (Greece), 4 June 2005, Iss. 1842, pg. 30,31, by: Alexandros Romanos Lizardos, "I ginekes i New York i skordalia ki ego"

-   "Uncut" (UK), May 2005, Iss. 96, pg. 74-78, by: Chris Roberts, "Film by Film: Woody Allen"

-   "Guardian" (UK), 8 April 2005, by: Peter Kelly, "The Woody Allen guide to London"

-   "Financial Times" (UK), 12 March 2005, pg. W7, by: Nigel Andrews, "King of the doubters is back"

-   "Sunday Times" (UK), 27 February 2005, by: Bryan Appleyard, "Fears of a Clown"

-   "The New York Times" (USA), 28 September 2004, by: Helene Zuber, Der Spiegel, "'That Would Be a Tragedy'"

-   "The Observer" (UK), 8 August 2004, by: Simon Garfield, "Why I love London"

-   "The Independent" (UK), 4 June 2004, by: Fiona Morrow, "I do not idolise the young. They're illiterate."

-   "To allo vima" (Greece), 31 August 2003, pg. 4,5, by: Yannis Zouboulakis, "I komodia den t5ha gini pote tosso sibathitiki oso to drama"

-   "Independent" (UK), 3 January 2003, by: Mark Kermode , "When Woody met Ingmar"

-   "El Pais" (Spain), 23 October 2002, by: Enric Gonzalez, "'Habría preferido tener el don de la tragedia'"

-   "Razor" (USA), July/August 2002, Vol. 2, Iss. 7, pg. 70-75, by: Bret Love, "The city that never sleeps "

-   "Le Monde" (France), 16 May 2002, Iss. 17823, pg. 29, by: Samuel Blumenfeld, "Je serai le premier comédien jouant un handicapé non nominé aux Oscars"

-   "TV Guide" (USA), 4 May 2002, Vol. 50, Iss. 18, pg. 3, by: Mark Lasswell, "Stardust Memories"

-   "Evening Standard" (UK), 18 April 2002, pg. 35, by: Neil Norman, "Why can't I get my new film released in Britain?"

-   "Le Monde" (France), 5 December 2001, Iss. 17685, pg. 32, by: Jean-Michel Frodon, "Woody Allen au bonheur du film d'époque"

-   "TGV" (France), December 2001-January 2002, Iss. 40, pg. 34-38, by: Olivier Boucreux, ""Je me serais bien contenté de rester chez moi à écrire""

-   "Le Figaro" (France), 25 September 2001, Iss. 17768, pg. 28, by: Marie-Noëlle Tranchant, "Woody Allen : « La vie continue ! »"

-   "Cinema" (Hungary), November 2000, Iss. 108, pg. 72, by: Ralf Blau, "Trouble in Paradise"

-   "Urban Cinefile" (Australia), 13 July 2000, Vol. na, Iss. na, pg. na, by: Jenny Cooney Carrillo, "Allen, Woody: Sweet & Lowdown"

-   "Indie" (USA), September 1998, pg. 14-15, 38-39, by: Joseph Steuer, "Woody Allen: a celebrity in spite of himself"

-   "Playboy" (Germany), August 1998, pg. 13, by: Jonathan Webster, "Playboy Blitz Interview"

-   "Diário de Notícias" (Portugal), 29 January 1998, pg. 38-39, by: Nuno Henrique Luz

-   "Studio" (France), February 1997, Iss. 119, pg. 90-95, by: Laurent Tirard, "Cours privé : la leçon de cinéma de Woody Allen"

-   "Premiere" (UK), 1997, Vol. 5, Iss. 4, pg. 70-73, by: John Clark, "Citizen Woody"

-   "Cinema" (Greece), October 1996, Iss. 72, pg. 84-87, by: Thodoris Koutsogiannopoulos, "O akatamahitos Woody kai i Afroditi tou"

-   "Ciak" (Italy), 1996, Iss. 2, pg. 36-39, by: Piera Detassis

-   "Imagenes" (Spain), 1996, Iss. 145, pg. 108-109, by: Lourdes Gomez

-   "Empire" (UK), 1995, Iss. 72, pg. 76-81

-   "Empire" (UK), February 1994, Iss. 56, pg. 75, by: Philip Thomas, "Crawling From The Wreckage"

-   "Svenska Dagbladet" (Sweden), 28 August 1993, by: Jeanette Gentele, "Allen kopplar av med mord och mystik"

-   "Time" (USA), 31 August 1992, Vol. 140, Iss. 9, pg. 59 - 61, by: Walter Isaacson, "The Heart Wants What It Wants"

-   "Saturday Review" (USA), November 1980, pg. 40-44, by: Robert F. Moss, "Creators on Creating: Woody Allen"

-   ""Eleftherotypia" Sunday edition - Culture Supplement" (Greece), 27 March 2005, Iss. 175, pg. 10-12, by: Ninos Feneck Mikelides, ""Onirevomoun panta na grafo tragodies""

-   "The New York Times" (USA), 12 January 2013, by: Woody Allen, "Hypochondria: An Inside Look"

-   "Courrier International" (France), 19 July 2012, Iss. # 1133, pg. pg. 29, by: Kaplan Sommer, Alison, "Coup de colère. Pourquoi Woody Allen tournerait-il à Jerusalem?"

-   "The Washington Post" (USA), 24 February 2012, by: Robert B. Weide, "The Zen of Woody Allen"

-   "The Orange County Register" (USA), 20 November 2011, pg. Arts & Entertainment 3, by: Rob Owen, "Woody Allen, behind the scenes"

-   "W" (USA), June 2011, Vol. 40, Iss. 6, pg. 82-89, by: Lynn Hirschberg, "Woody's Women"

-   "Los Angeles Times" (USA), 18 May 2010, by: Andrew Malcolm, "Top political strategist Woody Allen thinks Obama would get much more done as dictator; No, really"

-   "Asbury Park Press" (USA), 21 June 2009, Vol. 130, Iss. 147, pg. E8, by: Donna Freydkin, "Allen Rediscovers His New York Groove"

-   "The Independent" (UK), 19 May 2009, Iss. 7050, pg. 3, by: Guy Adams, "Take the money and run: Allen wins $5m for stolen image"

-   "Chicago Tribune" (USA), 25 February 2009, by: Anonymous, "Woody Allen Signs Freida Pinto for New Film"

-   "The Guardian" (UK), 12 January 2009, by: Woody Allen, "Scarlett: 'What's my motivation here?' Woody: 'Your salary'"

-   "The New York Times" (USA), 7 September 2008, by: Anthony Tommasini, "Puccini With a Sprinkling of Woody Allen Whimsy"

-   "Reader's Digest" (USA), September 2008, pg. 108-112, by: Andy Simmons, "Tragedy Tomorrow, Comedy Tonight"

-   "The New York Times" (USA), 20 August 2008, by: Woody Allen, "Excerpts From the Spanish Diary"

-   "The New York Times" (USA), 19 August 2008, by: Stephen Holden, "Sex (and Love and Death): Woody's World Steams Up"

-   "The New York Times" (USA), 15 August 2008, by: Manhola Dargis, "The Portrait of Two Ladies"

-   "Moving Pictures Magazine" (USA), 15 May 2008, Vol. 2008, Iss. Summer/Cannes, pg. 32-36, by: Elliot V. Kotek, "Woody Allen: Anonymous"

-   "The Guardian" (UK), 9 April 2008, by: Graham Keeley, "Spanish Language Row Over Allen Film"

-   "The New York Times" (USA), 1 April 2008, Vol. 157, Iss. 54,267, pg. C3, by: Bloomberg News, "Woody Allen Sues Clothing Maker"

-   "The Washington Post" (USA), 18 January 2008, Vol. 131, Iss. 44, pg. 23-25 in Weekend section, by: Ellen McCarthy, "A Long Lucky Streak"

-   "The Independent" (UK), 3 September 2007, Iss. 6515, pg. 10 - 11, by: Geoffrey MacNab, "Why 'Cassandra's Dream' is turning out to be Woody's Nightmare [Life, death and jokes]"

-   "The New York Times" (USA), 12 August 2007, by: Woody Allen, "The Man Who Asked Hard Questions"

-   "The New York Times" (USA), 24 June 2007, by: Adam Cohen, "Woody Allen's Universe, Still Expanding, Is as Absurd as Ever"

-   "The New York Times" (USA), 14 June 2007, by: Janet Maslin, "You Were Expecting Maybe Tragedy?"

-   "Playboy" (USA), June 2007, Vol. 54, Iss. 6, pg. 76-77+140-142, by: Woody Allen, "This Nib for Hire"

-   "The Guardian" (UK), 15 May 2007, by: Ryan Gilbey, "Woody Allen would make a great Doctor Who villain"

-   "The Village Voice" (USA), 19 December 2006, by: Leslie Camhi, "Yes, But He's Our Nebbish"

-   "The Guardian" (UK), 30 November 2006, by: Joe Queenan, "Manhattan music mystery"

-   "Austin American-Statesman" (USA), 28 July 2006, by: Chris Garcia, "No Hollywood Ending for Woody"

-   "The Washington Post" (USA), 26 July 2006, Vol. 129, Iss. 233, pg. C1+C10, by: David Segal, "Cloud In the Silver Lining: After Praise for Wody Allen's Last Film and With 'Scoop' Set to Open, Things Are Looking Up for the Director. No?"

-   "Premiere" (USA), July 2006, Vol. 19, Iss. 10, pg. 108-109, by: Webster, Andy, ""DVD Essential""

-   "Film Comment" (USA), January 2006, Vol. 42, Iss. 1, pg. 48-50, by: Harlan Jacobson, "Manhattan Transfer: Woody Allen remakes the British class system in his own image with Match Point, his darkest films since Crimes and Misdemeanors"

-   "Film Comment" (USA), January 2006, Vol. 42, Iss. 1, pg. 51-52+54+56, by: Richard Combs, "Does God's Jester Exist? Or whether there are grounds for belief in the comedy of Woody Allen"

-   "Confabulario" (Mexico), 31 December 2005, Iss. 89, pg. 2-3, by: Woody Allen, "Por Encima de la Ley, por debajo de los Box Springs"

-   "Heart" (Greece), 24 December 2005, Iss. 161, pg. 18, by: Panagiotis Timogiannakis, "Erxete me to klarineto kai kainourgia tainia"

-   "Entertainment Weekly" (USA), 23 December 2005, Vol. 1, Iss. 855, pg. 48-53, by: Rottenberg, Josh, ""Stardust Memories""

-   "The Independent" (UK), 1 December 2005, by: David Thomson, "Happy Birthday, Allen Stuart Konigsberg"

-   "Vanity Fair" (USA), December 2005, Iss. 544, pg. 320-327+365-368, by: Peter Biskind, "Reconstructing Woody"

-   "Independent" (UK), 22 March 2005, by: Sheila Johnston, "Working with Woody".

-   "Sunday Times" (UK), 13 March 2005, by: Wendy Ide, "Working for Woody"

-   "The New York Times" (USA), 24 October 2004, by: Woody Allen, "I Appreciate George S. Kaufman"

-   "The Guardian" (UK), 30 July 2004, by: Xan Brooks, "The Guardian profile: Woody Allen"

-   "The Daily Telegraph" (UK), 19 June 2004, by: Matt Born, "The Best of British for Woody Allen"

-   "The Daily Telegraph" (UK), 10 September 2003, by: Nigel Reynolds, "Woody Promises to Reveal All..But Only If the Price is Right"

-   "The Guardian" (UK), 29 August 2003, by: Fiachra Gibbons, "Woody attacks America's shrink culture"

-   "The Independent" (UK), 29 August 2003, by: Geoffrey MacNab, "Is it all over for Woody Allen?"

-   "Entertainment Weekly" (USA), 21 February 2003, Vol. 1, Iss. 696, pg. 64-68, by: Ty Burr, "Deconstructing Woody"

-   "Independent" (UK), 3 January 2003, by: Mark Kermode , "When Woody met Ingmar"

-   "The Times" (UK), 5 December 2002, by: Ian Johns, "The curse of the jaded Woody"

-   "To allo vima" (Greece), 6 October 2002, pg. 6,7, by: Yannis Zouboulakis, "Enas americanos gia tin evropi"

-   "The Guardian" (UK), 18 May 2002, by: Leader, "Woes of Woody"

-   "El Pais" (Spain), 16 May 2002, by: Angel Fernandez-Santos, "Woody Allen sigue sacando oro puro de la mina de la comedia clásica de Hollywood"

-   "International Herald Tribune" (USA), 15 May 2002, Iss. 37071, pg. 17, by: Joan Dupont, "Allen comes to town in 'a gesture or reciprocity'"

-   "The Daily Telegraph" (UK), 18 March 2002, by: Nigel Farndale, "Living On His Nerves"

-   "Premiere" (USA), September 2001, Vol. 14, Iss. 12, pg. 93, by: Andy Webster, "Filmagraphy: Woody Allen"

-   "New York Times" (USA), 21 May 2001, pg. E3, by: Emily Eakin, "Woody Allen: So Sorry He's Funny"

-   "Ciak" (Italy), August 2000, pg. 104-107, by: Ernesto Fagiani, "La Manhattan di Woody"

-   "Total Film" (Hungary), October 1999, Iss. 7, pg. 27, by: Gergely Zöldi

-   "Vox" (Hungary), June 1999, Iss. 26, pg. 54-55, by: Eszter Szikora, "A sztár, a rendezõ és az ember: Woody szerint a világ"

-   "Entertainment Weekly" (USA), 7 May 1999, Iss. 484, pg. 20-21, by: Andrew Essex, "Woody on the Block"

-   "Cinema" (Greece), March1999, Iss. 99, pg. 42,43, by: Yannis Zouboulakis, "O woody kai diasimotites tou"

-   "Vox" (Hungary), December 1998, Iss. 20, pg. 68, by: Eszter Szikora, "Woody és a nõk"

-   "Correio da Manhã" (Portugal), 26 October 1998, pg. 39

-   "Diário de Notícias" (Portugal), 26 October 1998, pg. 61

-   "Empire" (UK), May 1998, Iss. 107, pg. 66-71, by: Simon Braund, "The World According To Woody"

-   "Film Comment" (USA), March 1998, Vol. 34, Iss. 2, pg. 12-13+15-17+19, by: David Thomson, "Shoot The Actor"

-   "Cinemanía" (Mexico), January 1998, Vol. 2, Iss. 16, pg. 64, "Cinegrafía: Woody Allen"

-   "Cineaste" (USA), 1998, Vol. XXIII, Iss. 3, pg. 37- 38, by: Elayne Rapping, "A Feminist's Love/Hate Relationship with Woody"

-   "TV Guia" (Portugal), 1998, Iss. 989, pg. 78-79

-   "Expresso, Vidas" (Portugal), 1998, Iss. 1337, pg. 14, by: Isabel Margarida de Sousa, "O dinheiro de Woody"

-   "Sight and Sound" (UK), December 1997, Vol. 7, Iss. 12, pg. 61, by: Leslie Felperin and Bart Freundlich, "Woody's fingerprints"

-   "Empire" (UK), October 1997, Iss. 100, pg. 195, by: Ian Freer and Jake Hamilton, "The Top 100 Movie Stars of All Time"

-   "Total Film" (UK), May 1997, Iss. 4, pg. 70-72, by: Jonathan Webster

-   "TV Filmes" (Portugal), 1997, Iss. 6, pg. 36, by: José Vaz Pereira

-   "Diário de Notícias" (Portugal), 1997, Iss. 27, pg. 18-23, by: Jonathan Webster

-   "Cinema" (Greece), October 1996, Iss. 72, pg. 78-83, by: LIda Galanou, "O Woody Allen milai"

-   "Cinema" (Greece), October 1996, Iss. 72, pg. 62,63, by: Dimitris Mastroyannitis, "I ginekes tou Woody Allen"

-   "Time" (USA), 31 August 1992, Vol. 140, Iss. 9, pg. 54 - 58, by: Richard Corliss, "Scenes From a Breakup"

-   "Playboy" (USA), December 1991, Vol. 38, Iss. 12, pg. 124-126+218-219, by: Mordechai Richler, "Let's Hear It For Woody"

-   "Radio Times" (UK), 9 March 1991, Vol. 268, Iss. 3507, pg. 28-29, by: Barry Norman, "Barry Norman on... 'Zelig', Woody Allen's comedy of lost identity, in which the reclusive star appears with Charlie Chaplin, the Pope and Adolf Hitler. Famous for avoiding media attention, Allen defies pigeonholing almost as much as the film's chameleonic hero"

-   "Saturday Review" (USA), June 1986, Vol. 12, Iss. 2, pg. 30-34, by: David Remnick, "Comedy isn't funny"

-   "Time" (USA), 19 September 1977, by: Woody Allen, ""Woody Allen on Groucho" (Letter to the Editor)"

-   "New York" (USA), 1 June 2009, pg. 32-39, by: Mark Harris (photographs by Nigel Parry), "Twilight of the Tummlers"

-   "Moving Pictures Magazine" (USA), 15 May 2008, Vol. 2008, Iss. Summer/Cannes, pg. 32-36, by: Elliot V. Kotek, "Woody Allen: Anonymous"

-   "Playboy" (USA), July 1996, Vol. 43, Iss. 7, pg. 163, by: Ebet Roberts, "Grapevine: Blowing His Own Horn"

-   "Playboy" (USA), January 1989, Vol. 36, Iss. 1, pg. 162, "Women Of The Sixties"

-   "Playboy" (USA), December 1979, Vol. 26, Iss. 12, pg. 259, by: Jim Harwood, "Sex Stars Of 1979"

-   "Playboy" (USA), December 1977, Vol. 24, Iss. 12, pg. 212, by: Arthur Knight, "Sex Stars of 1977"

-   "Playboy" (USA), November 1977, Vol. 24, Iss. 11, pg. 161, by: Arthur Knight, "Sex In Cinema 1977"

-   "Playboy" (USA), November 1975, Vol. 22, Iss. 11, pg. 131, by: Arthur Knight, "Sex in Cinema - 1975"

-   "Playboy" (USA), April 1968, Vol. 15, Iss. 4, pg. 144, by: Arthur Knight & Hollis Alpert, "The History of Sex in Cinema - XVIII: Hollywood Unbuttons"

-   "ABC Film Review" (UK), May 1967, Vol. 17, Iss. 5, pg. 17, "Royal occasions"

-   "New York" (USA), 1 June 2009

-   "K" (Greece), 18 December 2005, Iss. 133

-   "To allo vima" (Greece), 31 August 2003

-   "TGV" (France), December 2001-January 2002, Iss. 40 (photo Denis Chapoullié)

-   "Le Point" (France), 1 December 2000, Iss. 1472

-   "Le Nouvel observateur" (France), 30 November 2000, Iss. 1282

-   "People Weekly" (USA), 31 August 1992

-   "Time" (USA), 31 August 1992, Vol. 140, Iss. 9

-   "Rolling Stone" (USA), 9 April 1987

-   "Oor" (Netherlands), 6 September 1986, Iss. 18

-   "Film Comment" (USA), June 1986, Vol. 22, Iss. 3

-   "Vanity Fair" (USA), December 1983

-   "People Weekly" (USA), 25 October 1982

-   "Saturday Review" (USA), November 1980

-   "People Weekly" (USA), 29 September 1980

-   "Skoop" (Netherlands), 1 October 1977, Iss. 8

-   "People Weekly" (USA), 4 October 1976

-   "People Weekly" (USA), 29 December 1975

-   "Esquire" (USA), July 1975

-   "Life" (USA), 21 March 1969

-   ""Eleftherotypia" Sunday edition - Culture Supplement" (Greece), 27 March 2005, Iss. 175

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Allen Woody - Wikipedia, the free encyclopedia
Allen Woody - Wikipedia, the free encyclopedia
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Woody Allen

Woody Allen - Wikipedia, the free encyclopedia
Woody Allen - Wikipedia, the free encyclopedia

Allen Woody
Allen Woody
Woody Allen
Woody Allen

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Warren Haynes on Allen Woody Part 1 - Introduction
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Blue Jasmine!” Best Film Of 2013! Woody Allen's Bumpy Road To

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Acting in movies

  1. Fading Gigolo (2013)
  2. 2011 Samsung AACTA Awards (2012) (TV)
  3. Casting By (2012)
  4. Excavating the 2000 Year Old Man (2012)
  5. Namath (2012) (TV)
  6. Paris-Manhattan (2012)
  7. The Unbelievers (2012)
  8. To Rome with Love (2012)
  9. Woody Allen: A Documentary (2012)
  10. "20 heures le journal" (1981) {(2012-06-24)}
  11. "Cinema 3" (1984) {(2012-09-20)}
  12. "Días de cine" (1991) {(2012-10-18)}
  13. "Janela Indiscreta" (2010) {(#1.134)}
  14. "Kulturzeit" (1995) {(2012-06-27)}
  15. Medianeras (2011)
  16. TV Festival Du Cannes 2011 (2011) (TV)
  17. Woody Before Allen (2011)
  18. "American Masters" (1985) {Woody Allen: A Documentary (#25.7)}
  19. "Cinema 3" (1984) {(2011-05-19)}
  20. "Daybreak" (2010) {(2011-10-06)}
  21. "Días de cine" (1991) {(2011-05-12)}
  22. "Episódio Especial" (2008) {(2011-01-22)}
  23. "Imagine" (2003) {The Art of Stand-Up: Part One - To Be or Not to Be... (#18.7)}
  24. "My Favourite Joke" (2011) {(#1.5)}
  25. "Nature" (1982) {Elsa's Legacy: The Born Free Story (#29.7)}
  26. "Willkommen Österreich" (2007) {(#1.131)}
  27. Moi, ma famille rom et Woody Allen (2010) (TV)
  28. TV Festival Du Cannes 2010 (2010) (TV)
  29. "Cinema 3" (1984) {(2010-05-22)}
  30. "Cinema 3" (1984) {(2010-06-26)}
  31. "Entertainment Tonight" (1981) {(2010-09-13)}
  32. "Gomorron" (1992) {(2010-05-18)}
  33. Buscando a Penélope (2009) (TV)
  34. Chwilami zycie bywa znosne... (2009)
  35. España, plató de cine (2009) (TV)
  36. Facing Ali (2009)
  37. Vittorio D. (2009)
  38. "Access Hollywood" (1996) {(2009-10-01)}
  39. "Entertainment Tonight" (1981) {(2009-06-11)}
  40. "Filmania: Eiga no tatsujin" (2008) {N.Y. Film School}
  41. "Top star magazín" (2008) {Top star magazín 2009/2 (#2.2)}
  42. (2008) (TV)
  43. Ceremonia de inauguración - 56º festival internacional de cine de San Sebastián (2008) (TV)
  44. Los 40 del Príncipe (2008) (TV)
  45. Música de cine (2008) (TV)
  46. Resumen - 56º festival internacional de cine de San Sebastián (2008) (TV)
  47. Speechless (2008) (TV)
  48. Thrilla in Manila (2008) (TV)
  49. XXII Premios Anuales de la Academia (2008) (TV)
  50. "Access Hollywood" (1996) {(2008-03-19)}
  51. "At the Movies" (2004) {Summer Special 2008/09 (#5.42)}
  52. "Banda sonora" (2007) {(#3.7)}
  53. "Cinema 3" (1984) {(2008-05-24)}
  54. "Cinema 3" (1984) {(2008-09-27)}
  55. "Continuarà..." (1996) {(2008-09-20)}
  56. "El club" (2004/I) {(#5.6)}
  57. "Entertainment Tonight" (1981) {(2008-06-27)}
  58. "Entertainment Tonight" (1981) {(2008-08-04)}
  59. "Entertainment Tonight" (1981) {(2008-08-05)}
  60. "Entertainment Tonight" (1981) {(2008-08-08)}
  61. "Seitenblicke" (1987) {(2008-05-20)}
  62. "Èxit" (2007) {(#2.3)}
  63. 100 Greatest Stand-Ups (2007) (TV)
  64. Brother Theodore (2007)
  65. Glass: A Portrait of Philip in Twelve Parts (2007)
  66. Sophia: Ieri, oggi, domani (2007)
  67. XXI Premios Anuales de la Academia (2007) (TV)
  68. "El hormiguero" (2006) {(#3.42)}
  69. "La nit al dia" (2002) {(#5.150)}
  70. "La nit al dia" (2002) {(#5.159)}
  71. "La nit al dia" (2002) {(#6.1)}
  72. "La tele de tu vida" (2007) {(#1.7)}
  73. Cavett Remembers the Comic Legends (2006) (V)
  74. Home (2006/III)
  75. Premio Donostia a Matt Dillon (2006) (TV)
  76. Premio Donostia a Max Von Sydow (2006) (TV)
  77. Scoop (2006)
  78. XX premios Goya (2006) (TV)
  79. "Film '72" (1971) {(2006-01-04)}
  80. "La imagen de tu vida" (2006) {(#1.3)}
  81. Candid Camera: 5 Decades of Smiles (2005) (V)
  82. Cineastas contra magnates (2005)
  83. Cineastes en acció (2005)
  84. Premio Donostia a Willem Dafoe (2005) (TV)
  85. Sigmund Freud - Auf den Spuren des berühmten Psychoanalytikers (2005) (TV)
  86. The Ballad of Greenwich Village (2005)
  87. The Comedians' Comedian (2005) (TV)
  88. The Outsider (2005)
  89. "Buenafuente" (2005) {(#2.13)}
  90. "Cinema mil" (2005) {(#1.11)}
  91. "Cinema mil" (2005) {(#1.2)}
  92. "Cinema mil" (2005) {(#1.6)}
  93. "Corazón de..." (1997) {(2005-11-30)}
  94. "Sunday AM" (2005) {(#1.15)}
  95. "The Culture Show" (2004) {(#2.7)}
  96. "Comedy Central Presents: 100 Greatest Stand-Ups of All Time" (2004)
  97. Ceremonia de apertura del festival de cine de San Sebastián (2004) (TV)
  98. François Truffaut, une autobiographie (2004) (TV)
  99. Funny Already: A History of Jewish Comedy (2004) (TV)
  100. Je t'aime... moi non plus: Artistes et critiques (2004)
  101. "Estravagario" (2004) {(#1.1)}
  102. "Estravagario" (2004) {(2004-11-01)}
  103. "I Love the '90s" (2004) {1992 (#1.3)}
  104. 100 Years of Hope and Humor (2003) (TV)
  105. 101 Most Shocking Moments in Entertainment (2003) (TV)
  106. Anything Else (2003)
  107. Charlie: The Life and Art of Charles Chaplin (2003)
  108. Jack Paar: Smart Television (2003) (TV)
  109. Last Laugh (2003) (TV)
  110. Sid Caesar Collection: Buried Treasures - Shining Stars (2003) (V)
  111. Sid Caesar Collection: Buried Treasures - The Impact of Sid Caesar (2003) (V)
  112. Sid Caesar Collection: Buried Treasures - The Legend of Sid Caesar (2003) (V)
  113. "Biography" (1987) {Diane Keaton: On Her Own}
  114. "Cinema 3" (1984) {(2003-12-05)}
  115. "Entertainment Tonight" (1981) {(2003-10-11)}
  116. "Inside the Actors Studio" (1994) {The Simpsons (#9.9)}
  117. Hollywood Ending (2002)
  118. Playboy: Inside the Playboy Mansion (2002) (TV)
  119. The 74th Annual Academy Awards (2002) (TV)
  120. The Magic of Fellini (2002) (TV)
  121. Woody Allen: A Life in Film (2002) (TV)
  122. "Die Harald Schmidt Show" (1995) {(2002-05-22)}
  123. "Estudio de actores" (2002) {(#1.1)}
  124. All About Desire: The Passionate Cinema of Pedro Almodovar (2001) (TV)
  125. Hail Sid Caesar! The Golden Age of Comedy (2001)
  126. Stanley Kubrick: A Life in Pictures (2001)
  127. The Curse of the Jade Scorpion (2001)
  128. The Sid Caesar Collection: The Fan Favorites - Love & Laughter (2001) (V)
  129. The Sid Caesar Collection: The Fan Favorites - The Dream Team of Comedy (2001) (V)
  130. The Sid Caesar Collection: The Fan Favorites - The Professor and Other Clowns (2001) (V)
  131. "Caiga quien caiga" (1996/I) {(2001-04-08)}
  132. "Celebrity Profile" (1998) {Brooke Shields}
  133. "Continuarà..." (1996) {(2001-10-06)}
  134. "El informal" (1998) {(2001-10-02)}
  135. "HARDtalk" (1997) {Woody Allen}
  136. Ali-Frazier I: One Nation... Divisible (2000) (TV)
  137. Buñuel en Hollywood (2000) (TV)
  138. Company Man (2000)
  139. CyberWorld (2000)
  140. Ljuset håller mig sällskap (2000)
  141. Picking Up the Pieces (2000)
  142. Playboy: The Party Continues (2000) (TV)
  143. Small Time Crooks (2000)
  144. The Sid Caesar Collection: Creating the Comedy (2000) (V)
  145. The Sid Caesar Collection: Inside the Writer's Room (2000) (V)
  146. The Sid Caesar Collection: The Magic of Live TV (2000) (V)
  147. Waiting for Woody (2000) (TV)
  148. "Continuarà..." (1996) {(2000-03-03)}
  149. "Scene by Scene" (1996) {Woody Allen}
  150. Howard Cosell: Telling It Like It Is (1999) (TV)
  151. Sweet and Lowdown (1999)
  152. "Parkinson" (1971) {(#13.10)}
  153. "Àgora" (1999) {(1999-12-20)}
  154. 50 años de cámaras ocultas (1998) (TV)
  155. A Really Big Show: Ed Sullivan's 50th Anniversary (1998) (TV)
  156. A Soldier's Daughter Never Cries (1998)
  157. AFI's 100 Years... 100 Movies: America's Greatest Movies (1998) (TV)
  158. AFI's 100 Years... 100 Movies: In Search of (1998) (TV)
  159. AFI's 100 Years... 100 Movies: The Antiheroes (1998) (TV)
  160. Antz (1998)
  161. NY TV: By the People Who Made It - Part I & II (1998) (TV)
  162. Sharon Stone - Una mujer de 100 caras (1998) (TV)
  163. Sugar Ray Robinson: The Bright Lights and Dark Shadows of a Champion (1998) (TV)
  164. The Impostors (1998)
  165. The Secret World of 'Antz' (1998) (TV)
  166. "Cinema 3" (1984) {(1998-12-18)}
  167. Cannes... les 400 coups (1997) (TV)
  168. Deconstructing Harry (1997)
  169. Dennis Pennis R.I.P. (1997) (V)
  170. Liv Ullmann scener fra et liv (1997)
  171. The Language Master (1997)
  172. Wild Man Blues (1997)
  173. "Avisa'ns quan arribi el 2000" (1997) {(#2.12)}
  174. "Continuarà..." (1996) {(1997-12-20)}
  175. "Just Shoot Me!" (1997) {My Dinner with Woody (#2.6)}
  176. "Mundo VIP" (1996) {Show nº55 (#2.20)}
  177. "Very Important Pennis" (1995) {Very Important Pennis: Part 3 (#1.4)}
  178. Candid Camera's 50th Anniversary (1996) (TV)
  179. Classic Stand-Up Comedy of Television (1996) (TV)
  180. Everyone Says I Love You (1996)
  181. The 68th Annual Academy Awards (1996) (TV)
  182. The Sunshine Boys (1996) (TV)
  183. "Biography" (1987) {Richard Pryor: Comic on the Edge}
  184. "Corazón, corazón" (1993) {(1996-03-02)}
  185. "Días de cine" (1991) {(1996-02-23)}
  186. 50 Years of Funny Females (1995) (TV)
  187. Mighty Aphrodite (1995)
  188. The 67th Annual Academy Awards (1995) (TV)
  189. "Lignes de mire" (1994) {(1995-01-15)}
  190. "La senda" (1994)
  191. Don't Drink the Water (1994) (TV)
  192. "Cinema 3" (1984) {(1994-12-24)}
  193. Manhattan Murder Mystery (1993)
  194. Husbands and Wives (1992)
  195. "7 sur 7" (1981) {(1992-02-09)}
  196. "Showbiz Today" (1984) {(1992-08-19)}
  197. Scenes from a Mall (1991)
  198. Shadows and Fog (1991)
  199. The 62nd Annual Academy Awards (1990) (TV)
  200. Crimes and Misdemeanors (1989)
  201. New York Stories (1989)
  202. King Lear (1987)
  203. Radio Days (1987)
  204. Hannah and Her Sisters (1986)
  205. Meetin' WA (1986)
  206. Broadway Danny Rose (1984)
  207. Bonds Are Forever (1983) (V)
  208. Zelig (1983)
  209. A Midsummer Night's Sex Comedy (1982)
  210. L'oeuvre et la vie de Woody Allen (1982) (TV)
  211. The Marx Brothers in a Nutshell (1982) (TV)
  212. Tonight Show Starring Johnny Carson 20th Anniversary (1982) (TV)
  213. "HBO World Championship Boxing" (1973) {Holmes vs. Cooney}
  214. Margret Dünser, auf der Suche nach den Besonderen (1981) (TV)
  215. Stardust Memories (1980)
  216. To Woody Allen from Europe with Love (1980)
  217. "Les nouveaux rendez-vous" (1980) {(1980-11-30)}
  218. Manhattan (1979)
  219. Question de temps: Une heure avec Woody Allen (1979) (TV)
  220. "Escenari" (1978) {(1979-05-03)}
  221. "Up Close" (1978)
  222. "Bitte umblättern" (1977) {(1978-12-11)}
  223. "Film '72" (1971) {Film 78 Special}
  224. "The South Bank Show" (1978) {Interview with Woody Allen (#2.3)}
  225. Annie Hall (1977)
  226. "Arena" (1975) {(1977-01-19)}
  227. "Arena" (1975) {(1977-10-05)}
  228. "V.I.P.-Schaukel" (1971) {(#7.3)}
  229. America at the Movies (1976)
  230. The Front (1976)
  231. The Making of 'The Front' (1976) (TV)
  232. Love and Death (1975)
  233. "ABC's Wide World of Sports" (1961) {(1974-01-26)}
  234. Sleeper (1973)
  235. Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972)
  236. Play It Again, Sam (1972)
  237. "The Tonight Show Starring Johnny Carson" (1962) {(1972-05-24)}
  238. Bananas (1971)
  239. Fight of the Century (1971) (TV)
  240. Men of Crisis: The Harvey Wallinger Story (1971) (TV)
  241. "Cinema" (1964) {Woody Allen}
  242. "The David Frost Show" (1969) {(#3.155)}
  243. "The Dick Cavett Show" (1968) {Woody Allen (#6.23)}
  244. "The Tonight Show Starring Johnny Carson" (1962) {(1971-05-06)}
  245. "Hot Dog" (1970)
  246. "Frost on Sunday" (1968) {(#2.4)}
  247. Take the Money and Run (1969)
  248. "The David Frost Show" (1969) {(#2.3)}
  249. "The Dick Cavett Show" (1968) {(#3.50)}
  250. "The Joe Namath Show" (1969) {(#1.3)}
  251. "The Kraft Music Hall" (1967) {The Woody Allen Special}
  252. "The Merv Griffin Show" (1962) {(1969-08-18)}
  253. "The Tonight Show Starring Johnny Carson" (1962) {(1969-05-23)}
  254. "The Tonight Show Starring Johnny Carson" (1962) {(1969-09-15)}
  255. "The Tonight Show Starring Johnny Carson" (1962) {(1969-12-31)}
  256. "Toast of the Town" (1948) {(#23.3)}
  257. "The Smothers Brothers Comedy Hour" (1967) {(#2.26)}
  258. All-Star Benefit Celebrity Baseball Game (1967) (TV)
  259. Casino Royale (1967)
  260. The World: Color It Happy (1967) (TV)
  261. "I've Got a Secret" (1952) {(1967-02-27)}
  262. "Our Place" (1967) {(1967-07-09)}
  263. "The Dean Martin Show" (1965) {(1967-11-23)}
  264. "The Kraft Music Hall" (1967) {Woody Allen Looks at 1967 (#1.12)}
  265. "The Tonight Show Starring Johnny Carson" (1962) {(1967-03-23)}
  266. "Toast of the Town" (1948) {(#20.22)}
  267. "Toast of the Town" (1948) {(#20.36)}
  268. Gene Kelly in New York, New York (1966) (TV)
  269. "Dusty" (1966) {(#1.3)}
  270. "Gypsy" (1965) {(1966-12-12)}
  271. "Hippodrome Show" (1966) {(#1.3)}
  272. "Hippodrome Show" (1966) {(1966-10-10)}
  273. "The Eamonn Andrews Show" (1964) {(#2.38)}
  274. "The Tonight Show Starring Johnny Carson" (1962) {(1966-01-05)}
  275. "The Tonight Show Starring Johnny Carson" (1962) {(1966-12-12)}
  276. The Best on Record (1965) (TV)
  277. The Woody Allen Show (1965) (TV)
  278. What's New Pussycat (1965)
  279. "Hullabaloo" (1965) {(#1.1)}
  280. "Hullabaloo" (1965) {(#1.18)}
  281. "I've Got a Secret" (1952) {(1965-04-19)}
  282. "Password" (1961) {Nancy Sinatra vs. Woody Allen (#4.41)}
  283. "The Andy Williams Show" (1962) {(1965-09-13)}
  284. "The Andy Williams Show" (1962) {(1965-12-27)}
  285. "The Tonight Show Starring Johnny Carson" (1962) {(1965-07-05)}
  286. "The Tonight Show Starring Johnny Carson" (1962) {(1965-12-31)}
  287. "Toast of the Town" (1948) {(#19.10)}
  288. "Toast of the Town" (1948) {(#19.5)}
  289. "That Was the Week That Was" (1964)
  290. "I've Got a Secret" (1952) {(1964-03-02)}
  291. "I've Got a Secret" (1952) {(1964-05-04)}
  292. "I've Got a Secret" (1952) {(1964-05-11)}
  293. "The Eamonn Andrews Show" (1964) {(#1.10)}
  294. "The Eamonn Andrews Show" (1964) {(#1.13)}
  295. "The Jack Paar Program" (1962) {(#2.17)}
  296. "The Jack Paar Program" (1962) {(#1.29)}
  297. "The Merv Griffin Show" (1962) {(#1.66)}
  298. "The Merv Griffin Show" (1962) {(#1.76)}
  299. "The Merv Griffin Show" (1962) {(#1.82)}
  300. "The Merv Griffin Show" (1962) {(#1.90)}
  301. "The Merv Griffin Show" (1962) {(#1.94)}
  302. "The Merv Griffin Show" (1962) {(#1.95)}
  303. "The Merv Griffin Show" (1962) {(#1.99)}
  304. "The New Steve Allen Show" (1961) {(1963-11-28)}
  305. "The Tonight Show Starring Johnny Carson" (1962) {(1963-12-31)}
  306. "The Jack Paar Program" (1962) {(#1.12)}
  307. "The Jack Paar Program" (1962) {(#1.5)}
  308. "The Merv Griffin Show" (1962) {(#1.56)}
  309. "The Merv Griffin Show" (1962) {(#1.60)}
  310. "The Merv Griffin Show" (1962) {(#1.62)}
  311. "Tonight Starring Jack Paar" (1957) {(1962-01-24)}
  312. "The Pat Boone-Chevy Showroom" (1957) {(1960-01-28)}

Composed music

  1. Sleeper (1973)


  1. Blue Jasmine (2013)
  2. To Rome with Love (2012) (written by) <1,1,1>
  3. Midnight in Paris (2011) (written by) <1,1,1>
  4. You Will Meet a Tall Dark Stranger (2010) (written by) <1,1,1>
  5. Whatever Works (2009) (written by) <1,1,1>
  6. Sdelka (2009) (play)
  7. Vicky Cristina Barcelona (2008) (written by) <1,1,1>
  8. Cassandra's Dream (2007) (written by) <1,1,1>
  9. Scoop (2006) (written by) <1,1,1>
  10. Match Point (2005) (written by) <1,1,1>
  11. Melinda and Melinda (2004) (written by) <1,1,1>
  12. Anything Else (2003) (written by) <1,1,1>
  13. Hollywood Ending (2002) (written by) <1,1,1>
  14. The Curse of the Jade Scorpion (2001) (written by) <1,1,1>
  15. Sounds from a Town I Love (2001) (TV)
  16. Small Time Crooks (2000) (written by) <1,1,1>
  17. Sweet and Lowdown (1999) (written by) <1,1,1>
  18. Celebrity (1998) (written by) <1,1,1>
  19. Count Mercury Goes to the Suburbs (1997) (story "Count Dracula")
  20. Deconstructing Harry (1997) (written by) <1,1,1>
  21. Everyone Says I Love You (1996) (written by) <1,1,1>
  22. Une aspirine pour deux (1995) (TV) (play)
  23. Mighty Aphrodite (1995) (written by) <1,1,1>
  24. Bullets Over Broadway (1994) (written by) <1,1,1>
  25. Don't Drink the Water (1994) (TV) (play) <2,1,1>
  26. Don't Drink the Water (1994) (TV) (teleplay) <1,1,1>
  27. Manhattan Murder Mystery (1993) (written by) <1,1,1>
  28. Husbands and Wives (1992) (written by) <1,1,1>
  29. Shadows and Fog (1991) (written by) <1,1,1>
  30. Alice (1990) (written by) <1,1,1>
  31. New York Stories (1989) (written by) (segment "Oedipus Wrecks") <2,1,1>
  32. Crimes and Misdemeanors (1989) (written by) <1,1,1>
  33. Somebody or The Rise and Fall of Philosophy (1989) (story "Mr Big") <1,1,1>
  34. Another Woman (1988) (written by) <1,1,1>
  35. Radio Days (1987) (written by) <1,1,1>
  36. September (1987) (written by) <1,1,1>
  37. Hannah and Her Sisters (1986) (written by) <1,1,1>
  38. Meetin' WA (1986)
  39. The Purple Rose of Cairo (1985) (written by) <1,1,1>
  40. Broadway Danny Rose (1984) (written by) <1,1,1>
  41. Zelig (1983) (written by) <1,1,1>
  42. A Midsummer Night's Sex Comedy (1982) (written by) <1,1,1>
  43. Le concept subtil (1981) (story "Mr Big")
  44. Stardust Memories (1980) (written by) <1,1,1>
  45. Manhattan (1979) (written by) <1,1,1>
  46. Interiors (1978) (written by) <1,1,1>
  47. Annie Hall (1977) (written by) <1,1,1>
  48. Love and Death (1975) (written by) <1,1,1>
  49. Sleeper (1973) (written by) <1,1,1>
  50. Play It Again, Sam (1972) (based on the play by) <1,1,1>
  51. Play It Again, Sam (1972) (screenplay) <2,1,1>
  52. Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972) (written for the screen by) <2,1,1>
  53. Bananas (1971) (written by) <1,1,1>
  54. Men of Crisis: The Harvey Wallinger Story (1971) (TV)
  55. Pussycat, Pussycat, I Love You (1970) (screenplay "What's New, Pussycat?")
  56. Don't Drink the Water (1969) (play)
  57. "The Kraft Music Hall" (1967) {The Woody Allen Special} (writer)
  58. Don't Drink the Water (1969) (screenplay)
  59. Take the Money and Run (1969) (original screenplay) <1,1,1>
  60. The World: Color It Happy (1967) (TV) (written by) <1,1,1>
  61. Casino Royale (1967) (uncredited)
  62. "The Kraft Music Hall" (1967) {Woody Allen Looks at 1967 (#1.12)} (Woody Allen's material)
  63. Gene Kelly in New York, New York (1966) (TV)
  64. What's New Pussycat (1965) (original screenplay) <1,1,1>
  65. "The Sid Caesar Show" (1963) (uncredited)
  66. The Laughmakers (1962) (TV)
  67. "Candid Camera" (1960/I)
  68. Hooray for Love (1960) (TV)
  69. At the Movies (1959) (TV)
  70. "The Garry Moore Show" (1958) (uncredited)
  71. The Sid Caesar Show (1958) (TV) (writer)
  72. "Stanley" (1956)
  73. "The Colgate Comedy Hour" (1950) (uncredited)


  1. Le chagrin et la pitié (1969) (presenter) (2000 version)