گفت و گو با وودی آلن

by Woody Allen, Eric Lax, گلی امامی (Translator)

کتاب حاضر، آلبوم عکسي است که بيش از نيمي از زندگي «وودي آلن»، از سال 1971 را دربر مي‌گيرد و گذر او از يک کارگردان بي‌تجربه به يکي از مطرح‌ترين فيلم‌سازان دنيا و چيزهايي را که در اين مدت فراگرفته، به‌خوبي نشان مي‌دهد. «وودي آلن» اول دسامبر 1935 در نيويورک به دنيا آمد. بعد پايان دبيرستان به دانشگاه نيويورک رفت، اما هرگز نتوانست در رشته فيلم و ارتباطات موفق باشد و سرانجام ازآنجا اخراج شد. در 19 سالگي شروع به نگارش سناريو براي مجموعه‌هاي تلويزيوني کرد و تبحرش در اين زمينه، درآمد وي را از هفته‌اي 75 دلار به هفته‌اي 1500 دلار رساند. او سال 1965 اولين بار وارد دنياي سينما شد و فيلم‌نامه «تازه چه خبر، پيشي؟» را نوشت، اما به‌عنوان کارگردان در سال 1966 بود که فيلم «چه خبر، سوسن ببري» را ساخت و يک سال بعد در فيلم «کازينو رويال» از سري فيلم‌هاي جاسوسي «جيمز باند» ايفاي نقش داشت.

Genres: Nonfiction, Film, Biography, Memoir, Media Tie In, Collections, Pop Culture

568 pages, Hardcover

First published January 1, 2007

About the author

Noted American actor, screenwriter, and filmmaker Woody Allen, originally Allen Stewart Konigsberg explored the neuroses of the urban middle class in comedies of manners, such as Annie Hall (1977) and Deconstructing Harry (1997).

This director, jazz musician, and playwright thrice won Academy Award. His large body of work mixes satire, wit and humor in the most respected and prolific cerebral style in the modern era. Allen directs also in the majority of his movies. For inspiration, Allen draws heavily on literature, philosophy, psychology, Judaism, European cinema, and city of New York, where he lives.

https://en.wikipedia.org/wiki/Woody_A...

Reviews

[Amir · Rating 4 out of 5]

همه چیز فراهمه که کتاب رو با پیش‌زمینه ذهنی خوبی شروع نکنی. انتخاب جلد سخت. طراحی جلد سردستی. تصور این‌که مصاحبه‌گر به جای شکل مرسوم کرونولوژیک و «فیلم به فیلم»، اومده و فصل‌هایی مثل «فکر اولیه»، «نوشتن»، «انتخاب بازیگر...»، «فیلم‌برداری»، «کارگردانی» و ... ظرف کرده و بعد تو دل هر فصل ترتیب تاریخی رو وارد بازی کرده و فیلم به فیلم پیش رفته... فکر اینکه چطور میشه انسجام اون فصل رو نگه داشت؟ چطور میشه یه مصاحبه تو یه تاریخ زمانی خاص رو تیکه تیکه و پخش کرد تو فصلا. انگار آماده‌ای که بگی نشدنیه و البته میگی. اما دو فصل که پیش میری متوجه اتفاقای دیگه میشی
.

فکرش رو که می‌کنی می‌بینی شاید بی‌تاثیر نبوده یه مراوده‌ی 38 ساله‌. شاید 38 سال فرصت مناسبی بوده برای اینکه طمع مصاحبه‌گری رو نداشته باشی که مثلا فقط برای دو سه سال فرصت جمع کردن این گفت و گوها رو داشته. شاید 38 سال فرصت خوبی بوده که دورریختنی‌ها رو دور بریزی و سرسبدها رو بیاری جلوی چشم. ببری و بدوزی و نگاه کنی و تصمیم بگیری. شاید فرصت بوده که لم بدی و لا-لوی معاشرت‌ها، با مردی هم‌صحبت بشی که کلمه‌هارو دوست داره. هرچی که بوده و هر اتفاقی که افتاده، می‌تونی بعد بیست سی صفحه اعتماد کنی. می‌بینی می‌تونی بشینی برای خودت و هر روز چند صفحه‌ای پیش بری و حالت خوب باشه. فیلم‌ها انگار که بهانه‌‌ باشن؛ می‌بینی نشستی پای حرف‌های مردی که چنان داره زندگی می‌کنه که وقت مردن نداره. آدمی که نه لوس هست و نه گنده‌دماغ. نه مغرور هست و نه شکسته‌نفس‌بند. نه متوهم و نه ته پیاله‌ی واقعیت در بیار. آدمی که بلده با واقعیت‌های زندگیش بازی کنه و روشون سر بخوره و بعد زمین خوردن نه از لیزی بهونه بگیره و نه از خودش. یه ترکیب ویژه از اعتماد به نفس و داشتن حساب دو دو تا چهار تای قابلیت‌ها و محدودیت‌های زندگی. ترکیبی از خودمحوری تو کار حرفه‌ای و پذیرش منطقی و بی‌جاروجنجال نظرهای مخالف. به همه‌ی این‌ها اضافه کنید موهبت نمک داشتن و مزه پروندن رو بی‌اینکه متوسل شد به شوخی‌های جنسی یا نژادی یا همه‌ی شوخی‌های دم‌دستی که خنده خریدن‌شون تضمینیه
.

میشه فیلم‌های وودی الن رو ندید. میشه فیلم‌های وودی الن رو دوست نداشت. اما با این کتاب نمیشه کاری کرد

[Jeremy · Rating 4 out of 5]

Despite and no doubt because of the incessant prodding and passion of moviewise peers, I've never really been able to drudge up much enthusiasm for the films of Woody Allen. With a handful of exceptions ("Deconstructing Harry" and "Crimes and Misdemeanors" come to mind), I don't feel that I derive much of anything from them. This is partly due to the fact that I have little in common with the target audience, that being Woody and the people who enjoy and have things in common with him. I hate cities, New York or what have you, I'm not Jewish, and while I do often take it upon myself to haltingly verbalize my own vast array of worries and inadequacies, I invariably disgust myself in the process, and listening to other people in the act of same, however wittily, is only slightly less irritating. But even without taking into account who his movies are "for", too many of his characters are privileged, self-important, and unlikable, and too many of his celebrated one-liners are just plain corny. Should you make the mistake of telling any of this to a Woody Allen fan, they, perhaps weary of defending his non-boringness to their forever unimpressed older relatives, may simply inform you that you're wrong and an idiot, unheeding dismissals that can make it instantly apparent how they might be able to relate to a stock Allen socialite.

It turns out, however, that I could listen to the man talk about his creative process all day. These interviews are candid, inspiring, and, above all, entertaining. I was disarmed to find that Allen has many of the same problems with his work that I do. He's mystified that people are so taken with "Manhattan", has almost nothing good to say about his earlier comedies, and feels that "Manhattan Murder Mystery" is among his best work. Throughout, despite plenty of questions gently directed toward specific films, Woody is far more inclined and excited to talk about the writing process, and the habits and thought processes involved in squeezing ideas out of your head onto a legal pad and then cramming that legal pad down the throats of a group of strangers and trying to get millions of other strangers interested in the filmed results. I like that when he feels strapped for ideas, he takes a shower. I bet that totally works.

I couldn't say what led me to give this book a shot, given my blase stand on its subject, but I'm awfully glad I did, because it not only made me want to reconsider Allen's output (several of his comments have made me particularly eager to give "Zelig" another chance), it actually gave me that little "hey, I actually feel like writing something now, what the hell?" feeling that never seems to come around too often these days. Simply put, you'll be spending a few hours with a smart, funny guy. His movies may be divisive, but judging by his conversation here the man is good company for just about anyone.

[Eliana Rivero · Rating 4 out of 5]

De hecho, hay mucha gente que se gana la vida sin ser realmente gracioso. En toda profesión solo unos pocos son buenos de verdad. No es que me incluya dentro de esa categoría, lo que digo es que en cualquier profesión, ya sea la de neurocirujano, policía o humorista, solo hay unas cuantas personas realmente buenas; el resto son más que nada trabajadores que pueden dedicarse a lo que hacen pero que nunca llegarán ser brillantes (p.229)

Creo que este libro es un gran ejemplo de la entrevista como género periodístico y como forma de comunicación. Woody Allen siempre me ha parecido un tipo inteligente y con chispa; con un sentido del humor poco común. Eric Lax, supongo, es partícipe de este genio y retrata la vida artística del cineasta, desde la idea primigenia de una película y la escritura de un guión, hasta la forma en que concibe el cine. Creo que Allen se considera mayormente escritor, pues las ideas siempre están rondándole la cabeza. Para él, los actores siempre se acoplan bien y hacen el trabajo por sí solos, exceptuando algunas ocasiones en que él les hace observaciones. Lo curioso es que dice que su película favorita y que más le gusta es Match Point: le gusta más el drama, aunque se siente incapacitado para hacer dramas.

Sin haber visto toda la filmografía de Allen (sólo unas seis películas) entiendo que él es muy a la vieja escuela, especialmente en la música. En sus películas trata de plasmar la vida realista y sus complicaciones, las tragedias y las relaciones personales. Creo que es de esos que siempre tiene presente los problemas existenciales y los transmite a través de lo que sabe hacer: comedia.

[Ed · Rating 4 out of 5]

Eric Lax has had almost unfettered access to Woody Allen for over 35 years. He gets candid and insightful views into every aspect of filmmaking from writing to directing to scoring. Allen is, as one would expect, self deprecating but not to the point where you think he's putting you on. It's refreshing that both Allen and I agree The Curse Of The Jade Scorpion is probably his worst movie. And he does think Husbands And Wives and Match Point came off well (along with a very few others). If the book has a flaw it's repetition. Since interviews were splintered into different topics, Allen says some things three to five times. I think Eric Lax could have abridged things a tiny bit but some good stuff would probably get lost then too. Obviously, if you don't like Woody Allen or you are still hung up on the whole Soon Yi thing (1992 called by the way--Zing!) then this book won't be for you. But if you admire the man's work, which is what this book is about, or just want to delve into the mind of the world's most prolific filmmaker (no one else makes a movie every year) then I highly recommend it.

[Elisa · Rating 5 out of 5]

Reading this book was a delightful experience. I appreciated especially the way it is divided, in topics such as Directing, Acting, Scoring, Career, etc. You can read it in any order you wish, depending on your interest in learning about a specific part of Woody’s work. I’m not a huge fan of Woody, but I admire his work a lot. This book made me admire him even more and anxious to watch all of his work. I recommend it to anyone that’s interested in moviemaking, be the person a Woody fan or not. It gives you an inside view on what the industry is like, and how the process of making a film works. Also, learning a little bit about how the mind of a comic talent like Woody thinks is revealing – for example, he doesn´t watch his movies after he´s finished making them, and is very judgmental about his films, and not at all interested in what the critics say about his work, good or bad – and quite amusing, since the jokes, predictably, are guaranteed.

[KnownAsLavinia · Rating 2 out of 5]

Il libro in se è un interessante raccolta di aneddoti e pensieri di Allen, personaggio straordinario. Il problema del libro è che editato malissimo. È suddiviso per temi, ma all'interno dei temi la suddivisione è fatta per anni, e Woody anche giustamente si ripete spesso negli anni dicendo le stesse cose, un bravo editor avrebbe tagliato quelle parti accorciando il libro e rendendolo più fluido e armonioso. Invece, questo lavoro è palesemente mancante o volutamente non so ma rende il libro noiosissimo. Sembra di sentire un anziano signore ripetere sempre le stesse cose. Peccato, perché l'idea è originale e il personaggio si prestava.

[Richard · Rating 3 out of 5]

If you are a big Woody Allen fan, this is the book to read. It's very comprehensive...I actually had to skip through about half the book because I wasn't interested in learning about how Woody works on the set as a director...It was interesting to read about how he writes, where ideas come from and how they'll develop over time. I also liked learning about the actors he works with and his opinion of his own work and his "legacy." He never watches his movies after he's done making them...and MATCH POINT seems to be his favorite and considers it his best.

Here's some of my favorite quotes from him:
"...The work exists independent of all the talk about it. If the thing is good, it remains good despite the pro or con palaver about it. And if it's not good, it drifts away no matter how popular it may seem at the moment...Most work by most people, my own included, is bad because it's hard to do good work. So you have to assume going in that most of the work by filmmakers, authors, playwrights, painters is not first rate. Once in a while you come across an authentic talent or even a genius but it's rare. We're all saved because the public is not very demanding and a thing needn't be very good to succeed..."

[Joel · Rating 3 out of 5]

I have to say I skimmed this book, stopping to read some sections closely. I'm fascinated by the creative process, and this book provides a window into Allen's work from a variety of angles - coming up with ideas, writing, directing, editing, etc. By the way, Woody doesn't think his own movies are all that special. By the end of the book, my overall impression was that I would very much like to watch movies with this man: he's funny, opinionated, and passionate about film. And yet he doesn't take movie-making too seriously. He sees it as work, good work - and he thinks of himself as very lucky.

[Pablo Monlezun · Rating 3 out of 5]

I used to like Allen´s films very much in some part of my life, specially the 80´s, when I was attending a film making university. But, U know, life is full of changes. So, reading about Woody now and discovering his thoughts about the film industry and the process of film making is interesting in some aspects but not vital for me anymore, so, If you like Woody´s films and want to know what he says about them, this is your book. Otherwise, you just skip it.

[Paolo Ventura · Rating 3 out of 5]

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La gente si rovina la vita per l'incapacità di gestire i propri sentimenti, nonostante sia estremamente produttiva nel lavoro intellettuale, impegnata nelle iniziative sociali e caritatevoli. Forse in questo nessuno ha più sensi di colpa di me.
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…e Alvy ancora una volta si rivolge al pubblico: "Mi resi conto che donna fantastica era e di quanto fosse stato divertente solo conoscerla. Pensai a quella vecchia barzelletta, sapete, quella dove uno va da uno psichiatra e dice: 'Dottore, mio fratello è pazzo. Crede di essere una gallina.' E il dottore gli dice: 'Perché non lo interna?' E quello risponde: 'E poi a me le uova chi me le fa?' Be', credo che corrisponda molto a quello che penso io dei rapporti uomo-donna. E cioè che sono assolutamente irrazionali, e pazzi, e assurdi, ma credo che continuino perché la maggior parte di noi ha bisogno di uova."
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Per come la vedo io, sei obbligato a scegliere la realtà al posto della fantasia. E la realtà alla fine ti ferisce, mentre i sogni sono solo follia.
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Il mio essere defilato o il mio atteggiamento sono spesso visti come espressione di distacco, di superiorità. E invece è depressione. [Ride.] La mia incapacità di essere partecipativo, la mia mancanza di interesse per quello che scrivono di me o per come vengono recensiti i miei film, l'indifferenza per gli incassi o per le reazioni del pubblico... spesso do l'impressione di essere superiore ma non è affatto così.
Quando me lo chiedono, rispondo, ovviamente dal punto di vista razionale: "Be', certo, preferirei che il mio film incassasse un sacco di soldi, che fosse amato da tutti." Il mio comportamento, però, dimostra che non faccio nulla affinché questo si verifichi. Io faccio i film.
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Ecco perché poi la gente viene indotta a ritenere che non mi importi niente, che sia troppo distaccato, o arrogante, o abbia la puzza sotto il naso. Come dicevo, tuttavia, non è così. Non è tanto arroganza quanto assenza di gioia. Non mi entusiasma, non significa nulla. [Sorride.] Parigi invece mi entusiasmò.
Sto cercando di spiegare quello che provo perché l'equivoco non mi stupisce: nessun riconoscimento assegnatomi da un essere umano potrebbe rivestire reale importanza ai miei occhi. Potrei ricevere qualcosa di davvero significativo soltanto in un altro universo. [Risatina.] So che questa viene vista come eccentricità, o distacco, e che può dare adito a commenti del tipo: "Pensa di essere al di sopra di tutto". Ma io non sono al di sopra. Magari al di sotto o, eventualmente, a fianco…
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Questo spinge immediatamente una persona religiosa ad attribuirmi la conclusione: "Be', se oggi mi va di ammazzare qualcuno non ci penso due volte, tanto posso sempre sperare di cavarmela." Si tratta però di una conclusione falsa. Io sto in realtà dicendo un'altra cosa, e non è un messaggio subliminale o esoterico, ma chiaro come il sole: dobbiamo prendere atto del fatto che l'universo è privo di Dio, che la vita è priva di significato, è spesso un'esperienza terribile, orrenda, senza alcuna speranza, che i rapporti d'amore sono molto, molto ardui eppure, malgrado tutto, dobbiamo trovare un modo non solo per tirare a campare ma per condurre una vita retta e dignitosa.
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Mi rendo conto del perché io possa essere percepito come bambinesco più che infantile. È anche vero che mi trovo più a mio agio con i piccoli perché non ripongo grande fiducia negli adulti. [Ride.] Non che mi fidi di molti bambini, del resto. E poi non sopporto gli animali da compagnia... di nessun genere. Ma questo non risponde alla tua domanda. Forse è il mio impaccio nei rapporti sociali a farmi sembrare immaturo. Ho le mie fobie e un'ansia generale su molte cose... cene di gala, incontri, viaggi, [ride] la doccia, ho sempre incontrato difficoltà nelle cose più insignificanti della vita.
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Il rovescio della medaglia di quella che i miei amici chiamano "immunità alle critiche" è l'incapacità di godersi appieno i frutti del successo. Non sto dicendo che detesto il denaro ma, in estrema sintesi, malgrado tutte le adulazioni del mondo si rimane, ahimè, mortali. [Fa spallucce, poi ride.] Come ti dicevo, la mia timidezza e l'incapacità di scrollarmi di dosso la nuvola nera che deriva dalla comprensione della realtà delle cose mi fanno apparire lontano e inavvicinabile, malgrado io non sia affatto distaccato né solitario... È solo l'ennesimo ritratto fallace che danno di me. Tra parentesi, questo non significa che non possa condividere anche le critiche più severe su qualche mio film, nel caso giungano alle mie orecchie. Ho un occhio molto critico nei confronti dei miei lavori e di quelli altrui. Un tempo leggevo le recensioni che mi riguardavano. Oggi non lo faccio più, perché le ritengo distrazioni del tutto inutili... trovo assurdo leggere che oggi sei un genio comico o che domani sei in malafede. Qual è il beneficio di riflettere su sciocchezze tanto stravaganti?
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Per quanto riguarda i rapporti di coppia, ho sempre creduto che puoi provare, provare e riprovare ma in fin dei conti è una questione di fortuna; e io l'ho avuta.
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Non che mi ritenga un autore completamente privo di talento, ma non ne ho di certo a sufficienza per mantenere attiva la circolazione sanguigna una volta che sarà intervenuto il rigor mortis. Questo è il motivo per cui l'eredità non conta nulla. Ho espresso il concetto in modo migliore in una mia battuta: "Anziché continuare ad abitare nel cuore e nella mente delle persone, preferirei continuare ad abitare nel mio appartamento."
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Il vero divertimento è stato nel farlo... l'ideazione, la realizzazione, l'impegno profuso. Dopo, non voglio più saperne nulla. Non posseggo DVD dei miei film, non ci penso nemmeno. Ormai li ho fatti.
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Dopo i primi due o tre film. Mi resi conto che mi divertivo a farli ma che, una volta usciti nelle sale, il gradimento o meno da parte del pubblico non significava nulla per me. Certo, meglio quello che avere dietro la porta quattro delinquenti, con una corda. Comunque, il sabato sera mi ritrovavo lo stesso da solo a casa, alle prese con il dilemma se ordinare dal ristorante cinese o prepararmi due uova. E continuavo a non capire come mai la biondona della palestra, con il suo stacco di coscia e la pelle abbronzata, non perdesse la testa per questo "nuovo brillante comico cinematografico". Non mi cambiava affatto la vita. Poi, con l'arrivo delle prime critiche negative, gli insuccessi di pubblico dei miei film, anziché piombare nello sconforto come avrei immaginato, scoprii che la cosa non mi feriva più di tanto. Tra parentesi [ride], la bionda continuava a non cagarmi di striscio. Non so se è una fortuna o una maledizione. Non ho reazioni estreme, né in positivo né in negativo, mi concentro soltanto sul fare... come se fossi alle prese con un bel puzzle. Nei manicomi è il lavoro che tiene occupati e tranquilli i ricoverati.
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[Ricardo · Rating 4 out of 5]

Un libro muy interesante para entender al personaje y clarificar mitos. Woody Allen es un genio creativo con un estilo muy particular de dirección. El libro expone con transparencia y consistencia su propia visión sobre su talento, carrera y producción a lo largo de más de 30 años.

A very interesting book to understand the character and clarifying myths. W.A. Is a creative genius with particular direction and writing style. This book offer a transparency and consistent view of his own vision about his talent, career and production across more than 30 years.

[Cobertizo · Rating 4 out of 5]

"Poniéndonos en lo peor, ¿cómo podemos seguir adelante o incluso, qué razón habría para que decidiéramos seguir adelante? Naturalmente, no somos nosotros quienes decidimos; la decisión la llevamos interiorizada. Es la sangre la que decide vivir. Fíjese en cómo pontifico; está entrevistando a un tipo con deficiente mecanismo de negación. En fin, que la gente religiosa no quiere reconocer la realidad que contradice sus cuentos de hadas. Y si vivimos en universo sin Dios, ellos se quedan fuera del negocio por falta de liquidez"

[Teresa Torres · Rating 4 out of 5]

Todo el anecdotario lo hace un libro sumamente interesante. Solo le encuentro un problema, las notas con reseñas de películas se sienten un poco forzadas dentro del texto y, a veces, revelan el final y como no las he visto todas, resulta molesto.

[SASKIA · Rating 4 out of 5]

UNRAVELING..!

[00Sherry · Rating 4 out of 5]

You can really enjoy reading this book

[Barbara Stegani · Rating 4 out of 5]

Una lunga intervista che parla di cinema, musica, arte e vita. Interessante, certo non una lettura da spiaggia.

[PM · Rating 1 out of 5]

The hagiography is off the charts. Not a believable source, in my view.

[Guoxin · Rating 3 out of 5]

Very boring (.

[Isaac Alvarez · Rating 3 out of 5]

Un gran libro para entender la filmografía de Woody Allen, Eric Lax demuestra ser un gran entrevistador y logra sacar un poco más de detalles sobre los personajes e historias de un cineasta que ya de por sí es bastante abierto en sus películas

Woody Allen es uno de esos directores que escriben sobre si mismos, así que me pareció un acierto que el autor buscara más que nada información en lo técnico en sus entrevistas.

Si quieren leer este libro para conocer a Woody Allen como persona entonces creo que esta es la lectura equivocada, pero es una gran lectura si eres alguien que aprecia sus películas muy a pesar de la persona

[China · Rating 4 out of 5]

This book sat on my shelf since it had come out, and my timing of it was strangely relevant given the renewal of Dylan Farrow's accusations; it's hard not to consider this angle when reading a book full of his interviews. That said, this is a fantastic and comprehensive collection of interviews by Eric Lax, a perfect complement to his earlier biography of Woody Allen, spanning the early 70s through the mid-2000s.

It touches on the making of essentially every movie he's done through Scoop, and Allen speaks with great candor about his insecurities and his strengths, and surprisingly highly of the people he's worked with. I am very much a fan of his films, and that this book shows him as someone with a sense of humor, a constant need to work, and an appreciation of other people. The only potential flaw here is that Eric Lax comes off as a fanboy at times, but it's also apparent that he's extremely knowledgable about the work he's discussing.

[Annalisa · Rating 4 out of 5]

I've always been curious how Woody Allen manages to assemble such an interesting collection of actors in combinations no one else would ever dream of, and also, how he manages to make a movie a year. The guy is amazing. Not all the movies are, but some are such gems. What I liked was finding out that he has a drawer into which he puts scraps of paper with ideas and jokes on them. His method of choosing actors is simple. He's looking for a person who fits an image in his mind for a character and he's looking for people who can do natural, as opposed to ACTING. He says that can be especially hard to find in American actors, as they are all so unnaturally good looking. I like books like this where you're reading a conversation between two people. Another good one is Michael Ondaatje's The Conversations book in which he interviews a Walter Murch on sound editing for film.

[Arun Jawarlal · Rating 5 out of 5]

Conceptually humorous and Psychologically complex - that's Woody Allen! Using terms like Chaplinesque and Hitchcockian or labelling a murder mystery - A plane read are typically Allen. His exposure to Art, Literature and Cinema in his own sort of observant way is enthralling. It is surprising to know that Allen liked the concept of having children and children in particular. A deeply thoughtful person who always likes to think ahead for not falling into emptiness. He loves comedies and especially he quotes Chaplin/Hope/Keaton most of the times ( He inclines towards Hope?). To him, his humor is never hostile and is always profound in a complex sort of way. He also talks about how he learnt writing the hard way, constantly toying with ideas, never idle. I could write more but I am lost in thought, already!
Amazing book!

[Jedidiah · Rating 4 out of 5]

This is a fascinating look at my favorite filmmaker, and it gave me a great deal of appreciation for his career, regardless of how Woody himself sees most of his films.

There are a few drawbacks that keep me from ranking it 5 stars. Lax has a propensity, especially in the first half of the book, to parenthate entirely too often; to make it worse, he uses the exact same parenthetical content for the same subjects in several chapters. It's a small complaint, but it is enormously distracting. There is also an inordinate amount of time spent on Another Woman, to the extent that several of his smaller films from the 90s on are barely mentioned.

Overall though I'd recommend it, and I'm interested in how it compares to Stig Bjorkman's book, which I have yet to read.

[Chris · Rating 3 out of 5]

A comprehensive, if sometimes scattershot, look at Woody Allen's work in a series of interviews from 1972 to 2007. Lax has organized this volume along stages of moviemaking, i.e., the idea, casting, editing, etc., which provides some unity to the discussion but also leads to some repetition. Allen, after all, is not the most loquacious discussant of his own work. But unlike some previous books on Allen - Stig Bjorkman's Woody Allen on Woody Allen especially - this structure allows the book to breathe beyond a chronological assessment of Allen's films and achieve some more penetrating insights.

[Stefano · Rating 3 out of 5]

The good thing about the book is that it is more about Allen's opinions than film analysis (not that those are bad but they are not what I was looking for) and has both very recent and very old interviews.
Some few things I didn't like were the way the book is divided by topics (I would have preferred a chronological account of the interviews), the lack of even the vary basic biographical aspect and a gap between a first interview period and a second (the movies in the gap are covered anyway but only in retrospect).
As always, this kind of book requires having seen most of the movies before reading.

[Ryan · Rating 3 out of 5]

Not exactly sure why I read this. I guess the idea of reading interviews appealed to me after reading heavy fiction. There's a lot of good comments about creativity, philosophy, work ethic, etc, and some mild humor. There were some sections that were tedious and repetitious. That's why I give it three stars. Also, the scandal is hard to overlook. I'm surprised I bought this book, I just kind of went for it. It felt like the book /author/editor lost momentum and allowed things to ramble at the end. I bet die-hard fans will love this book though.

[marco renzi · Rating 4 out of 5]

Libro di interviste a Woody Allen che copre gli anni dal 1971 al 2007.
C'è in pratica tutto Allen: il suo modo di lavorare, il suo cinema, la sua filosofia di vita, il suo rapporto con gli attori e i collaboratori.

Scorre via che è una bellezza; o quanto meno: per me avrebbe potuto essere anche mille pagine e non m'avrebbe pesato. L'unica pecca sono forse le domande che a un certo punto tendono a ripetersi, ma nulla di che.

Direi imprescindibile per i fan di Woody e una buona lettura anche per chi non lo conosce o apprezza appieno.

[Steven · Rating 2 out of 5]

Kind of a snooze, I thought. Organizing the interviews loosely by topic as done here was probably better than just printing them in chronological order but it doesn't save them from being mostly boring. Since Lax is an unabashed fan, there's no tension, no challenging questions - Woody just rambles on. The only thing I found interesting was that Woody Allen clearly isn't the best judge of his own work. Apparently, he feels Scoop and Hollywood Ending are two of his better films. Really now.

[Walter · Rating 3 out of 5]

Every movie by Woody is a conversation with him.
I thought the title was uber (sorry I spent time in Manhattan) ironic.
But still, he has good insight. Good book. Woody has skills.
He can write.

The whole “idea” of "voice" if you really want to get down to it in terms of drama came from Woody. He was that powerful a force. No one talked about “voice” in scripts before him. They talked about other things, like themes, ideas, what is this writer "saying" but "voice" is Woody.

[Kiof · Rating 4 out of 5]

I should probably give this book 5 stars, but there's something that's vaguely depressing about it. Much of it was highly interesting, but I was bummed out by the time I finished it. I'm not a Woody Allen fan (not that I dislike him, I just don't think about him much at all) and obviously somebody would like it better if they were one. I read it because I love interview books. And this is one of the better ones I've encountered.