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Woody Allen |
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Director / Screenwriter /
Actor |
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1935 - |
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Born December 1,
Brooklyn, New York, USA |
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Key Production Countries: USA,
UK, Spain |
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Key Genres:
Comedy, Urban Comedy,
Ensemble Film, Comedy Drama,
Romantic Comedy, Satire,
Comedy of Manners,
Sophisticated Comedy, Drama,
Comedy of Errors, Psychological Drama, Fantasy Comedy, Showbiz Comedy, Sex Comedy, Parody/Spoof,
Mockumentary, Romance |
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Key
Collaborators: Susan E. Morse (Editor), Santo Loquasto (Production
Designer), Robert Greenhut (Producer), Alisa Lepselter (Editor), Mia
Farrow (Leading Player), Letty Aronson (Producer), Carlo Di Palma (Cinematographer), Gordon Willis (Cinematographer), Diane Keaton (Leading
Character Player), Mel Bourne (Production Designer) |
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Highly
Recommended: Annie
Hall (1977)*, Manhattan
(1979)*, Hannah and Her Sisters (1986)*, Crimes and Misdemeanors
(1989)*, Bullets Over Broadway (1994) |
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Recommended:
Bananas (1971), Sleeper (1973)*,
Love and Death (1975), Stardust Memories (1980), Zelig (1983)*, Broadway Danny
Rose (1984)*, Radio Days (1987), Husbands and Wives (1992), Mighty Aphrodite (1995), Everyone Says I
Love You (1996), Deconstructing Harry (1997), Sweet and Lowdown (1999),
Small Time Crooks (2000), The Curse of the Jade Scorpion (2001), Match
Point (2005) |
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Worth a Look:
What's Up, Tiger Lily? (1966) [original footage directed by Senkichi
Taniguchi], Take the Money and Run (1969), Everything You Always
Wanted to Know About Sex (But Were Afraid to Ask) (1972), A Midsummer
Night's Sex Comedy (1982), The Purple Rose of Cairo (1985)*, Another
Woman (1988), Shadows and Fog (1991), Celebrity (1998), Melinda and
Melinda (2004), Whatever Works (2009) |
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Approach with Caution:
Interiors (1978), September (1987), New York Stories (1989)
[co-directed by
Francis Ford Coppola &
Martin Scorsese], Alice (1990),
Manhattan Murder Mystery (1993), Hollywood Ending (2002), Scoop (2006),
Midnight in Paris (2011) |
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Duds: Anything Else
(2003), Cassandra's Dream (2007), Vicky Cristina Barcelona (2008), You
Will Meet a Tall Dark Stranger (2010) |
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* Listed in TSPDT's
1,000 Greatest Films
section. |
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Links:
[
Amazon
] [
IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Senses
of Cinema: Great Directors ]
[
Film Reference ] [
Woody Allen.Com ] [
Wikipedia ] [
Another
Woody Page ] [
Woody Allen Movies ]
[
The Australian (2010) ] [
New York Sun
Article (2006) ] [
Guardian Articles ] [
Cineaste Interview (2008)
] [
Google Books: Woody Allen Interviews ]
[
Film Comment Interview (2011) ]
[
LA Weekly
Interview (2012) ] |
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Books: [
Woody Allen and Philosophy: You Mean My Whole Fallacy is Wrong? ] [
Conversations with Woody Allen: His Films, the Movies, and Moviemaking
] [
Woody
Allen on Woody Allen ] [
Woody
Allen: A Biography (Eric Lax) ] [
Love,
Sex, Death and the Meaning of Life ] [
Woody
Allen: A Life in Film ] [
The
Films of Woody Allen ] [
Woody
from Antz to Zelig: A Reference Guide to Woody Allen's Creative Work, 1964-1998
] [
Woody
Allen: A Biography (John Baxter) ] [
Woody:
Movies from Manhattan ] [
Woody
Allen at Work ] [
Everything
You Always Wanted to Know About Woody Allen: The Ultimate Quiz Book ]
[
Woody Allen: Interviews ]
[
Dread & Superficiality: Woody Allen as Comic Strip
] |
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"While
most other recent screen comics have aimed their lamebrain,
slapdash spoofery at teenage audiences, Allen Stewart Konigsberg,
as he was born, has alone been consistent in catering to more
adult tastes. His is a comedy increasingly defined by character:
notably, his own."
-
Geoff
Andrew (The Film Handbook, 1989) |
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"Allen's
genuinely original voice in the cinema recalls writer-directors
like
Buster Keaton,
Charlie
Chaplin, and
Preston Sturges,
who dissect their portions of the American landscape primarily
through comedy. In his creative virtuosity, Allen also resembles
Orson Welles, whose visual and
verbal wit, though contained in seemingly non-comic genres, in
fact exposes the American character to satirical scrutiny." -
Mark
W. Estrin (International Dictionary of Films and Filmmakers,
1991) |
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"Great
comedians almost always portray little men attempting to cope
with the trappings of a civilization that is a bit too much for
them, and Woody Allen is no exception. His insecurities -
physical, sexual and emotional - are truly of monumental
proportions." -
(The
Movie Makers, 1974) |
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"Blends
nightclub jokes, visual humor, and literary references into a
wild sense of comedy. Has a good pictorial sense." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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"If
my films don't show a profit, I know I'm doing something right." - Woody Allen |
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"If my
films make one more person miserable, I'll feel I have done my
job." - Woody
Allen |
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8+ |
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"After
Charlie
Chaplin, Woody Allen is the most significant
comedy
auteur
in
American film history. For more than thirty years Allen,
like
Chaplin, has written, directed, and starred in
groundbreaking comedies at the rate of nearly a film a year
since his first movie,
What’s
New, Pussycat?
(1965).
Allen also has demonstrated a gift for literary humor, and
his writing for
The New
Yorker
magazine resulted in three well-received
books:
Getting Even
(1971),
Without Feathers
(1975),
and
Side Effects
(1980)." -
Wes D. Gehring, Schirmer Encyclopedia
of Film |
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●
Top 250 Directors |
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●
100 Essential Directors (Pop
Matters) |
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The
23rd Most Influential Director of All Time (2002 MovieMaker
Poll) |
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●
501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
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See Also |
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Noah Baumbach |
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Ingmar
Bergman |
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Albert
Brooks |
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Charles
Chaplin |
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Federico
Fellini |
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Buster
Keaton |
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Neil
LaBute |
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Paul
Mazursky |
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Leo
McCarey |
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Rob Reiner |
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Herbert
Ross |
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Whit
Stillman |
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Woody Allen's Favourites |
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Bicycle Thieves (1948)
Vittorio De Sica,
Citizen Kane (1941)
Orson Welles,
Double Indemnity (1944)
Billy Wilder,
The 400 Blows (1959)
François Truffaut, La Grande
illusion (1937)
Jean Renoir,
The Hill (1965)
Sidney Lumet,
The Informer (1935)
John Ford,
Los Olvidados (1950)
Luis Buñuel,
Rashomon (1950)
Akira Kurosawa,
The Seventh Seal (1957)
Ingmar Bergman,
Shane (1953)
George Stevens,
Throne of Blood (1957)
Akira Kurosawa,
The Treasure of the Sierra Madre (1948)
John Huston,
White Heat (1949)
Raoul Walsh,
Wild Strawberries (1957)
Ingmar
Bergman.
Source: New York Times (2001) |
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