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Woody Allen: WRITING
IS THE GREAT LIFE,
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00:00:26,726 --> 00:00:28,438
'CAUSE YOU WAKE UP
IN THE MORNING,
3
00:00:28,462 --> 00:00:31,663
YOU WRITE IN YOUR ROOM.
4
00:00:35,235 --> 00:00:36,502
YOU KNOW, IN THE ROOM,
5
00:00:36,637 --> 00:00:37,877
EVERYTHING IS GREAT, YOU KNOW,
6
00:00:37,971 --> 00:00:39,549
'CAUSE YOU DON'T
HAVE TO DELIVER.
7
00:00:39,573 --> 00:00:41,418
SO YOU WRITE IT,
AND YOU IMAGINE
8
00:00:41,442 --> 00:00:44,409
IT'S "CITIZEN KANE"
OR, YOU KNOW,
9
00:00:44,544 --> 00:00:47,012
EVERYTHING YOU WRITE IS GREAT.
10
00:00:50,584 --> 00:00:54,453
BUT WHEN YOU HAVE TO THEN
TAKE IT OUT AND DO IT,
11
00:00:54,588 --> 00:00:57,823
THEN REALITY SETS IN.
12
00:00:57,958 --> 00:01:03,795
THEN ALL YOUR SCHEMES
ABOUT MAKING A MASTERPIECE
13
00:01:03,930 --> 00:01:07,499
ARE REDUCED TO,
14
00:01:07,634 --> 00:01:12,671
"I'LL PROSTITUTE MYSELF
ANY WAY I HAVE TO,
15
00:01:12,807 --> 00:01:15,340
TO SURVIVE THIS CATASTROPHE."
16
00:01:21,582 --> 00:01:22,925
Diane Keaton:
17
00:01:22,949 --> 00:01:25,027
I DON'T THINK THERE IS
ANYBODY LIKE WOODY.
18
00:01:25,051 --> 00:01:26,829
I'VE NEVER MET
ANYBODY LIKE WOODY.
19
00:01:26,853 --> 00:01:29,921
Larry David: YOU CAN'T COMPARE
ANYBODY TO WOODY ALLEN.
20
00:01:30,056 --> 00:01:32,323
Doug McGrath:
HIS RANGE IS AMAZING.
21
00:01:32,459 --> 00:01:36,261
YOU HAVE ONLY TO LOOK AT
"BANANAS" AND "MATCH POINT."
22
00:01:36,396 --> 00:01:37,974
Scarlett Johansson:
IF YOU'D ASKED ME
23
00:01:37,998 --> 00:01:39,575
WHAT DIRECTORS
I WANTED TO WORK WITH,
24
00:01:39,599 --> 00:01:42,067
WOODY ALLEN WOULD'VE BEEN
AT THE TOP OF MY LIST.
25
00:01:42,202 --> 00:01:44,202
Naomi Watts:
HE IS, WITHOUT QUESTION,
26
00:01:44,304 --> 00:01:46,738
THE BEST ACTOR'S DIRECTOR
I'VE EVER WORKED WITH.
27
00:01:46,874 --> 00:01:48,618
Martin Scorsese: NOT EVERYBODY
HAS THE STAYING POWER,
28
00:01:48,642 --> 00:01:50,008
NOT EVERYBODY HAS THE TENACITY,
29
00:01:50,143 --> 00:01:54,179
AND NOT EVERYBODY HAS
SO MUCH TO SAY.
30
00:01:54,315 --> 00:01:57,116
Mira Sorvino: THE DAY THAT HE
FINISHES EDITING A FILM
31
00:01:57,251 --> 00:02:00,185
IS THE DAY HE STARTS
TYPING THE SCRIPT OF THE NEXT.
32
00:02:00,321 --> 00:02:02,554
HE NEVER TAKES ANY TIME OFF.
33
00:02:02,690 --> 00:02:04,568
Leonard Maltin:
FOURTEEN SCREENPLAY NOMINATIONS.
34
00:02:04,592 --> 00:02:05,924
FOURTEEN.
35
00:02:06,059 --> 00:02:07,670
Chris Rock: WHO THE HELL
IS GOOD FOR 20 YEARS?
36
00:02:07,694 --> 00:02:09,172
THIS GUY HAS BEEN GOOD
FOR 40 YEARS.
37
00:02:09,196 --> 00:02:11,130
HE'S KIND OF PEERLESS.
38
00:02:11,265 --> 00:02:12,430
Sean Penn: IT'S NOT JUST
39
00:02:12,566 --> 00:02:14,411
THAT WE'RE STILL INTERESTED
IN WOODY ALLEN.
40
00:02:14,435 --> 00:02:16,555
HE'S STILL INTERESTED
IN TELLING STORIES.
41
00:02:16,603 --> 00:02:18,481
Keaton: ON THE ONE HAND,
HE'D BE BRILLIANT,
42
00:02:18,505 --> 00:02:19,745
AND HIS INSIGHTS WERE AMAZING,
43
00:02:19,806 --> 00:02:22,040
BUT ON THE OTHER HAND,
HE'D BE AN IDIOT.
44
00:02:22,176 --> 00:02:23,687
Mariel Hemingway:
HE'S ALSO NOT NORMAL.
45
00:02:23,711 --> 00:02:27,012
YOU KNOW, HE'S NOT
OF THE NORMAL STOCK.
46
00:02:27,147 --> 00:02:28,992
Marshall Brickman:
NEUROSIS, FEARS, PHOBIAS...
47
00:02:29,016 --> 00:02:31,336
Josh Brolin: A BIT ADOLESCENT,
TO TELL YOU THE TRUTH.
48
00:02:31,451 --> 00:02:33,985
Keaton: HE IS A LITTLE BIT
OF A HYPOCHONDRIAC.
49
00:02:34,120 --> 00:02:35,687
Johansson: HE'S CRIPPLINGLY SHY.
50
00:02:35,822 --> 00:02:38,034
Tony Roberts: OH, HE'S
DEFINITELY A LITTLE NUTTY.
51
00:02:38,058 --> 00:02:40,758
Owen Wilson: HE REALLY
WEARS HIS HEART ON HIS SLEEVE.
52
00:02:40,894 --> 00:02:42,827
HE'S A BIG HUGGER.
53
00:02:42,962 --> 00:02:44,629
NO.
54
00:02:44,765 --> 00:02:46,510
Brickman: I REMEMBER WHEN WOODY
WAS THE ANTI-CHRIST.
55
00:02:46,534 --> 00:02:49,901
David: AND BY THE WAY, THE ONE
THING THAT I DIDN'T MENTION
56
00:02:50,036 --> 00:02:51,703
IS THAT HE'S ALSO VERY FUNNY.
57
00:02:51,839 --> 00:02:54,606
Allen: SO MUCH OF WHAT'S
FILTERED OUT
58
00:02:54,742 --> 00:02:58,777
ABOUT ME OVER THE YEARS HAS BEEN
COMPLETELY MYTHOLOGICAL.
59
00:02:58,912 --> 00:03:02,247
I MEAN, COMPLETELY, YOU KNOW,
EXAGGERATED
60
00:03:02,382 --> 00:03:04,983
OR DOWNRIGHT UNTRUE.
61
00:03:05,119 --> 00:03:07,152
SOME OF IT'S BEEN TRUE,
OF COURSE.
62
00:03:14,562 --> 00:03:17,695
WOULD YOU ENTER, MYSTERY
CHALLENGER, AND SIGN IN, PLEASE?
63
00:03:23,670 --> 00:03:26,149
F.X. Feeney: SPEAK OF MAKING
A DOCUMENTARY ABOUT WOODY ALLEN.
64
00:03:26,173 --> 00:03:27,505
WHICH WOODY ALLEN?
65
00:03:27,640 --> 00:03:28,974
THERE ARE ACTUALLY SO MANY.
66
00:03:29,109 --> 00:03:31,054
YOU KNOW, YOU HAVE
THE STAND-UP COMIC,
67
00:03:31,078 --> 00:03:33,611
THE AUTHOR OF CASUAL PIECES
FOR THE NEW YORKER
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00:03:33,746 --> 00:03:35,813
IN THE TRADITION
OF S.J. PERELMAN.
69
00:03:35,949 --> 00:03:37,694
ARE YOU IN
THE ENTERTAINMENT FIELD?
70
00:03:37,718 --> 00:03:39,195
YES.
71
00:03:39,219 --> 00:03:40,629
Feeney:
YOU HAVE THE CLARINETIST.
72
00:03:40,653 --> 00:03:41,931
ARE YOU A NIGHTCLUB
ENTERTAINER?
73
00:03:41,955 --> 00:03:44,822
MM, YES.
74
00:03:44,958 --> 00:03:46,891
Feeney:
YOU HAVE THE PLAYWRIGHT.
75
00:03:47,027 --> 00:03:51,195
ARE YOU PRIMARILY KNOWN
FOR YOUR WORK IN THE FILMS?
76
00:03:51,331 --> 00:03:53,865
NO.
77
00:03:54,001 --> 00:03:56,334
HE WAS MANY THINGS
BEFORE HE BECAME A FILMMAKER.
78
00:03:56,469 --> 00:03:57,902
ARE YOU FEMALE?
79
00:04:00,007 --> 00:04:01,007
NO.
80
00:04:01,108 --> 00:04:02,348
I THINK FILM BECAME INEVITABLE
81
00:04:02,376 --> 00:04:03,656
BECAUSE HE COULD BRING TOGETHER
82
00:04:03,710 --> 00:04:05,288
ALL THE THINGS
THAT HE EXCELLED AT.
83
00:04:05,312 --> 00:04:08,113
TO REALLY CONTEXTUALIZE
WOODY ALLEN
84
00:04:08,248 --> 00:04:10,315
IN THE HISTORY
OF AMERICAN CINEMA,
85
00:04:10,451 --> 00:04:13,185
ONE DOES HAVE TO GO BACK
TO CHARLIE CHAPLIN.
86
00:04:13,320 --> 00:04:18,190
THE IDEA OF AN ACTOR
WHO BECOMES THE WRITER,
87
00:04:18,325 --> 00:04:20,525
THE DIRECTOR, THE TRUE AUTEUR,
88
00:04:20,660 --> 00:04:22,594
WHO PLACES HIMSELF
89
00:04:22,729 --> 00:04:25,029
AT THE CENTER
OF THAT CINEMATIC UNIVERSE
90
00:04:25,164 --> 00:04:27,499
CONSISTENTLY
THROUGH A NUMBER OF FILMS,
91
00:04:27,634 --> 00:04:31,369
SO THAT ULTIMATELY THE PERSONA
DOES ENTER THE CULTURE.
92
00:04:31,505 --> 00:04:32,837
I MEAN, THE REALITY IS,
93
00:04:32,972 --> 00:04:36,240
WOODY ALLEN HAS MANAGED
TO DO THAT IN OUR OWN TIME.
94
00:04:36,376 --> 00:04:38,776
I USED TO THINK THAT WOODY WAS
95
00:04:38,912 --> 00:04:41,312
ESSENTIALLY A WRITERLY
SENSIBILITY.
96
00:04:41,448 --> 00:04:43,948
ON THE OTHER HAND, I'VE SEEN,
YOU KNOW,
97
00:04:44,084 --> 00:04:46,284
JUST A STEADY, STEADY GROWTH
98
00:04:46,420 --> 00:04:50,188
IN HIS SKILLS AS A FILMMAKER,
99
00:04:50,323 --> 00:04:52,424
COMPLEMENTING HIS SKILLS
AS A WRITER.
100
00:04:52,559 --> 00:04:57,595
I THINK, YOU KNOW, HE'S ALMOST
AS GOOD AS WE GET.
101
00:04:57,731 --> 00:05:03,501
MY PARENTS WERE NOT PRO-
WOODY GOING INTO SHOW BUSINESS.
102
00:05:05,872 --> 00:05:08,373
THEY WANTED HIM TO BE
A PHARMACIST.
103
00:05:08,509 --> 00:05:13,511
HE WAS THE WRONG PERSON
BORN TO THOSE PARENTS.
104
00:05:13,647 --> 00:05:14,913
THAT'S ALL I CAN SAY.
105
00:05:25,225 --> 00:05:27,225
Allen: MY MOTHER
ALWAYS USED TO SAY
106
00:05:27,361 --> 00:05:33,064
I WAS A VERY SWEET, HAPPY KID
RIGHT FROM THE START,
107
00:05:33,200 --> 00:05:37,969
AND THEN SOMEWHERE
AROUND 5 OR SO,
108
00:05:38,104 --> 00:05:41,473
I TURNED GRUMPIER OR SOUR.
109
00:05:41,608 --> 00:05:47,679
I CAN ONLY THINK, WHEN I BECAME
AWARE OF MY MORTALITY,
110
00:05:47,815 --> 00:05:51,616
I DIDN'T LIKE THAT IDEA.
111
00:05:51,751 --> 00:05:53,819
WHAT DO YOU MEAN, THIS ENDS?
112
00:05:53,954 --> 00:05:55,553
THIS, YOU KNOW, THIS IS...
113
00:05:55,689 --> 00:05:57,022
THIS DOESN'T GO ON LIKE THIS?
114
00:05:57,157 --> 00:05:59,390
NO, IT ENDS.
115
00:05:59,526 --> 00:06:04,296
YOU KNOW, YOU...
YOU VANISH FOREVER.
116
00:06:04,431 --> 00:06:09,600
ONCE I REALIZED THAT, I THOUGHT,
"HEY, YOU KNOW, DEAL ME OUT.
117
00:06:09,736 --> 00:06:12,503
I DON'T WANT TO PLAY
IN THIS GAME."
118
00:06:12,639 --> 00:06:14,739
AND I NEVER WAS THE SAME
AFTER THAT.
119
00:06:14,875 --> 00:06:16,155
HE'S BEEN DEPRESSED.
120
00:06:16,243 --> 00:06:18,354
ALL OF A SUDDEN,
HE CAN'T DO ANYTHING.
121
00:06:18,378 --> 00:06:19,522
WHY ARE YOU DEPRESSED, ALVY?
122
00:06:19,546 --> 00:06:21,813
TELL DR. FLICKER.
123
00:06:21,948 --> 00:06:23,481
IT'S SOMETHING HE READ.
124
00:06:23,617 --> 00:06:25,584
SOMETHING YOU READ, HUH?
125
00:06:25,719 --> 00:06:27,185
THE UNIVERSE IS EXPANDING.
126
00:06:27,320 --> 00:06:29,621
Dr. Flicker:
THE UNIVERSE IS EXPANDING?
127
00:06:29,757 --> 00:06:31,590
WELL,
THE UNIVERSE IS EVERYTHING,
128
00:06:31,725 --> 00:06:34,259
AND IF IT'S EXPANDING,
SOMEDAY IT WILL BREAK APART,
129
00:06:34,395 --> 00:06:36,828
AND THAT WILL BE THE END
OF EVERYTHING.
130
00:06:36,963 --> 00:06:38,908
WHAT IS THAT
YOUR BUSINESS?!
131
00:06:38,932 --> 00:06:40,943
HE'S STOPPED
DOING HIS HOMEWORK!
132
00:06:40,967 --> 00:06:42,401
WHAT'S THE POINT?
133
00:06:42,536 --> 00:06:45,803
AND THAT THOUGHT OVER THE YEARS
134
00:06:45,939 --> 00:06:49,774
TOOK DIFFERENT FORMS
AS I LATER GOT OLDER
135
00:06:49,909 --> 00:06:54,346
AND ALWAYS USED
MY CONCENTRATION CAMP EXAMPLE
136
00:06:54,481 --> 00:06:59,016
OF PEOPLE AROUND ME HAVING FUN,
ENJOYING THEMSELVES.
137
00:06:59,152 --> 00:07:01,453
AND I WANTED TO SAY,
"BUT DON'T YOU REALIZE
138
00:07:01,588 --> 00:07:03,399
"YOU'RE GOING TO GO UP
IN A SMOKESTACK,
139
00:07:03,423 --> 00:07:04,623
"YOU KNOW, IN A SHORT WHILE?
140
00:07:04,691 --> 00:07:06,791
"SO WHY ARE YOU SO HAPPY?
141
00:07:06,926 --> 00:07:09,594
I MEAN, DOESN'T THAT THOUGHT
SORT OF PUT A DAMPER ON THINGS?"
142
00:07:09,730 --> 00:07:12,230
I'M NOT SAYING
MY GRIM APPRAISAL IS RIGHT.
143
00:07:12,366 --> 00:07:13,665
OF COURSE, I THINK IT IS,
144
00:07:13,800 --> 00:07:17,769
BUT THIS IS ONLY MY PARTICULAR
TAKE ON EVERYTHING...
145
00:07:17,905 --> 00:07:20,238
THAT WE ALL KNOW
THE SAME TRUTH,
146
00:07:20,373 --> 00:07:24,308
AND OUR LIVES CONSIST
OF HOW WE CHOOSE TO DISTORT IT.
147
00:07:35,355 --> 00:07:37,956
Allen: WHEN I GREW UP, BROOKLYN
WAS A GREAT PLACE TO LIVE.
148
00:07:38,091 --> 00:07:40,225
THERE WAS VERY LITTLE TRAFFIC.
149
00:07:40,360 --> 00:07:43,895
YOU COULD STAY OUT ALL DAY LONG
PLAYING BALL ON THE STREET.
150
00:07:44,031 --> 00:07:48,500
AND YOU COULDN'T WALK TWO BLOCKS
WITHOUT COMING TO A MOVIE HOUSE.
151
00:07:48,635 --> 00:07:54,705
A 15-MINUTE TROLLEY RIDE
TO CONEY ISLAND AND THE BEACH.
152
00:07:54,841 --> 00:07:56,040
KIDS WERE SAFE.
153
00:07:56,175 --> 00:07:58,120
I'D LEAVE THE HOUSE
AT 8:00 IN THE MORNING
154
00:07:58,144 --> 00:07:59,944
AND COME BACK AT 7:00 AT NIGHT.
155
00:08:00,079 --> 00:08:03,748
AND WHEN I THINK BACK ON ALL
THOSE WONDERFUL STORES,
156
00:08:03,884 --> 00:08:06,004
YOU KNOW, BAKERY STORES
AND DELICATESSENS
157
00:08:06,053 --> 00:08:07,173
AND CHINESE RESTAURANTS
158
00:08:07,287 --> 00:08:10,655
AND MOVIE HOUSES
AND CANDY STORES...
159
00:08:10,791 --> 00:08:12,490
AND IF YOU COULD CUT BACK
160
00:08:12,626 --> 00:08:15,359
TO WHEN I WAS A BOY
IN THE EARLY '40s,
161
00:08:15,495 --> 00:08:16,761
YOU KNOW, IT WAS SENSATIONAL.
162
00:08:16,896 --> 00:08:20,865
WE ALWAYS LIVED WITH RELATIVES.
163
00:08:21,000 --> 00:08:23,201
I LIVED WITH COUSINS
AND AUNTS AND UNCLES,
164
00:08:23,336 --> 00:08:26,204
AND WE ALMOST NEVER LIVED ALONE.
165
00:08:26,339 --> 00:08:29,708
YOU KNOW, THIS WAS A CARRY-OVER
FROM THE DEPRESSION,
166
00:08:29,843 --> 00:08:32,143
WHEN FAMILIES
WERE GETTING TOGETHER.
167
00:08:32,278 --> 00:08:34,645
SO IT WAS ALWAYS VERY LIVELY.
168
00:08:34,781 --> 00:08:37,681
PEOPLE DOING THINGS
AND YELLING AT EACH OTHER,
169
00:08:37,817 --> 00:08:40,351
AND ACTIVITY.
170
00:08:40,486 --> 00:08:43,154
IT WAS A MADHOUSE ALL THE TIME.
171
00:08:47,261 --> 00:08:50,461
Letty Aronson: WOODY'S ORIGINAL
NAME, BIRTH NAME,
172
00:08:50,597 --> 00:08:53,431
WAS ALLAN STEWART KONIGSBERG.
173
00:08:53,566 --> 00:08:56,434
NOW, MY PARENTS
ALWAYS CALLED HIM ALLAN.
174
00:08:56,569 --> 00:08:59,170
THEY NEVER STOPPED
CALLING HIM ALLAN.
175
00:08:59,305 --> 00:09:01,839
WHAT WAS THE MOST MISERABLE
THING ABOUT YOUR CHILDHOOD?
176
00:09:01,975 --> 00:09:05,476
PROBABLY THE FACT
THAT I WAS YOUNG.
177
00:09:06,646 --> 00:09:07,511
OH, REALLY?
178
00:09:07,647 --> 00:09:09,013
YEAH.
179
00:09:09,149 --> 00:09:10,309
IT WAS.
180
00:09:10,383 --> 00:09:12,984
IF... IF I COULD HAVE BEEN
OLDER AT THE TIME,
181
00:09:13,120 --> 00:09:15,497
I THINK I COULD'VE
CARRIED IT OFF MORE.
182
00:09:23,963 --> 00:09:27,532
Allen: MY MOTHER USED TO LEAVE
ME WITH THESE MAIDS ALL THE TIME
183
00:09:27,667 --> 00:09:29,734
BECAUSE SHE WAS WORKING.
184
00:09:29,869 --> 00:09:33,604
AND I REMEMBER ONE OF THEM
WHEN I WAS A KID,
185
00:09:33,740 --> 00:09:36,641
AND I WAS IN MY CRIB
AT THE TIME,
186
00:09:36,776 --> 00:09:42,880
EXPLAINING TO ME THAT IF SHE
WANTED TO, SHE COULD KILL ME.
187
00:09:43,016 --> 00:09:46,017
THAT SHE COULD SMOTHER ME,
AND SHE DEMONSTRATED IT.
188
00:09:46,153 --> 00:09:47,652
SHE COULD WRAP ME IN A BLANKET,
189
00:09:47,787 --> 00:09:50,121
COMPLETELY CUTTING OFF
ALL MY AIR,
190
00:09:50,257 --> 00:09:54,659
AND SMOTHER ME AND THEN JUST
DUMP ME IN THE GARBAGE OUTSIDE.
191
00:09:54,794 --> 00:09:57,429
IT WAS JUST...
BUT SHE DID DO IT.
192
00:09:57,564 --> 00:09:59,542
I COULDN'T BREATHE
FOR A FEW SECONDS,
193
00:09:59,566 --> 00:10:01,499
AND THEN SHE LET ME OUT,
194
00:10:01,634 --> 00:10:05,636
AND, YOU KNOW,
ONE WONDERS HOW CLOSE I CAME.
195
00:10:05,772 --> 00:10:09,574
Man: SO IF THAT NANNY WERE
JUST LIKE 10% CRAZIER,
196
00:10:09,709 --> 00:10:10,875
THAT COULD HAVE BEEN...
197
00:10:11,010 --> 00:10:12,187
SURE.
SURE.
198
00:10:12,211 --> 00:10:13,645
THAT WOULD HAVE BEEN,
199
00:10:13,780 --> 00:10:15,713
YOU KNOW, THE WORLD BE POORER
200
00:10:15,849 --> 00:10:18,015
A NUMBER OF GREAT ONE-LINERS.
201
00:10:22,022 --> 00:10:24,588
MY GRANDFATHER, ON HIS DEATHBED,
202
00:10:24,724 --> 00:10:26,323
SOLD ME THIS WATCH.
203
00:10:28,094 --> 00:10:34,265
Louise Lasser: HIS FATHER WAS
THE SWEETEST MAN YOU COULD MEET.
204
00:10:34,400 --> 00:10:37,735
HE WAS JUST SO SWEET,
AND HE'D CALL US EVERY DAY.
205
00:10:37,870 --> 00:10:39,082
HE'D SAY, "IT'S GOING TO RAIN.
206
00:10:39,106 --> 00:10:41,439
DO YOU HAVE ENOUGH CANNED GOODS
IN THE HOUSE?"
207
00:10:41,575 --> 00:10:44,976
YOU KNOW, WE KNEW MY FATHER
AS MARTIN KONIGSBERG.
208
00:10:45,111 --> 00:10:46,710
BUT ACTUALLY, WHEN... ONE YEAR
209
00:10:46,846 --> 00:10:49,147
WHEN THEY HAD TO GET
BIRTH CERTIFICATES,
210
00:10:49,282 --> 00:10:51,649
MY FATHER'S NAME
WAS ACTUALLY MAX.
211
00:10:51,785 --> 00:10:53,918
BUT WE ALWAYS
KNEW HIM AS MARTIN.
212
00:10:54,053 --> 00:10:58,923
HE WAS BORN IN 1900
AND LIVED TO 100 YEARS OLD.
213
00:10:59,058 --> 00:11:01,892
MY MOTHER WAS NETTIE CHERRY.
214
00:11:02,028 --> 00:11:03,628
SHE WAS BORN IN 1906.
215
00:11:03,763 --> 00:11:06,497
AND SHE LIVED TILL 96.
216
00:11:10,370 --> 00:11:13,438
OUR FATHER'S PARENTS CAME
TO THE UNITED STATES
217
00:11:13,573 --> 00:11:16,774
FROM RUSSIA BY WAY OF ENGLAND.
218
00:11:16,909 --> 00:11:19,877
OUR MOTHER'S FAMILY
CAME FROM AUSTRIA.
219
00:11:20,012 --> 00:11:23,448
BUT OUR MOTHER AND FATHER
WERE BORN HERE.
220
00:11:23,583 --> 00:11:25,216
HIS FATHER WAS QUITE WEALTHY
221
00:11:25,352 --> 00:11:28,453
AND AT ONE TIME OWNED
THE MOVIE THEATER IN BROOKLYN,
222
00:11:28,588 --> 00:11:32,457
MIDWOOD MOVIE THEATER,
AND THEN LOST A LOT OF MONEY.
223
00:11:32,592 --> 00:11:36,261
AND HE WAS LIKE EGG CANDLING
OR SOMETHING LIKE THAT,
224
00:11:36,396 --> 00:11:39,864
AND MY MOTHER
WAS WORKING FOR HIM.
225
00:11:39,999 --> 00:11:42,800
HE THOUGHT THAT SHE WAS,
YOU KNOW, RESPONSIBLE
226
00:11:42,935 --> 00:11:44,669
AND MY FATHER WAS NOT.
227
00:11:44,804 --> 00:11:46,682
ANYWAY, HE INTRODUCED
MY FATHER TO MY MOTHER,
228
00:11:46,706 --> 00:11:49,874
AND THEY GOT MARRIED.
229
00:11:50,009 --> 00:11:52,843
THEY NEVER GOT ALONG.
230
00:11:52,979 --> 00:11:55,946
THERE WAS A PERIOD OF YEARS
WHEN THEY NEVER EVEN SPOKE
231
00:11:56,082 --> 00:11:58,416
WHEN I WAS GROWING UP.
232
00:11:58,551 --> 00:12:01,886
IT GOT BETTER
ONCE THEY WERE MUCH OLDER.
233
00:12:02,021 --> 00:12:05,390
THEY WERE MARRIED
FOR EVER AND EVER AND EVER,
234
00:12:05,525 --> 00:12:07,726
BUT FOR MY ENTIRE CHILDHOOD
THAT I REMEMBER,
235
00:12:07,861 --> 00:12:10,862
THEY ARGUED OR DIDN'T SPEAK.
236
00:12:10,997 --> 00:12:14,365
MY LITTLE ADORABLE FATHER WORKED
FOR THE SAME FIRM FOR 14 YEARS.
237
00:12:14,501 --> 00:12:15,667
THEY FIRED HIM.
238
00:12:15,802 --> 00:12:17,935
THEY REPLACED HIM
WITH A GADGET THIS BIG.
239
00:12:18,071 --> 00:12:19,882
DOES EVERYTHING
THAT MY FATHER DOES,
240
00:12:19,906 --> 00:12:22,073
ONLY IT DOES IT MUCH BETTER,
YOU KNOW.
241
00:12:22,209 --> 00:12:23,541
AND THE DEPRESSING THING IS,
242
00:12:23,677 --> 00:12:25,488
MY MOTHER RAN OUT
AND BOUGHT ONE.
243
00:12:33,286 --> 00:12:35,298
Man: WHAT DID YOUR FATHER
DO FOR A LIVING?
244
00:12:35,322 --> 00:12:37,121
THAT'S A VERY GOOD QUESTION.
245
00:12:37,257 --> 00:12:39,802
HE DID EVERYTHING
OVER THE YEARS...
246
00:12:39,826 --> 00:12:41,225
JEWELRY ENGRAVING...
247
00:12:41,361 --> 00:12:43,094
HE WAS A BOOKMAKER FOR A WHILE.
248
00:12:43,229 --> 00:12:45,730
A WAITER AT
SAMMY'S BOWERY FOLLIES.
249
00:12:45,865 --> 00:12:49,067
THEN HE WAS...
HE RAN A POOL ROOM.
250
00:12:49,202 --> 00:12:51,202
HE WAS A TAXI DRIVER.
251
00:12:51,337 --> 00:12:52,436
HE WAS A BARTENDER.
252
00:12:52,571 --> 00:12:53,571
HE WAS A WAITER.
253
00:12:53,639 --> 00:12:54,705
HE WAS A JEWELER.
254
00:12:54,840 --> 00:12:56,800
YOU KNOW,
HE WAS UNSKILLED LABOR.
255
00:12:56,910 --> 00:12:59,477
YOU KNOW, HE DID
ALL KINDS OF THINGS,
256
00:12:59,613 --> 00:13:02,113
SMALL JOBS OVER THE YEARS.
257
00:13:02,248 --> 00:13:03,248
WHAT DO YOU DO, DAD?
258
00:13:03,349 --> 00:13:04,593
IT'S NONE
OF YOUR BUSINESS.
259
00:13:04,617 --> 00:13:06,328
ALL MY FRIENDS KNOW WHAT
THEIR DADS DO FOR A LIVING.
260
00:13:06,352 --> 00:13:07,629
DON'T YOU HAVE
ANY HOMEWORK?
261
00:13:07,653 --> 00:13:09,987
HEY, CAN I HAVE 15 CENTS FOR
THE NEW MASKED AVENGER RING?
262
00:13:10,123 --> 00:13:11,566
WHAT AM I,
MADE OF MONEY?
263
00:13:11,590 --> 00:13:13,002
Woman: PAY MORE ATTENTION
TO YOUR SCHOOLWORK
264
00:13:13,026 --> 00:13:14,258
AND LESS TO THE RADIO.
265
00:13:14,394 --> 00:13:16,234
YOU ALWAYS LISTEN
TO RADIO.
266
00:13:16,262 --> 00:13:17,295
IT'S DIFFERENT.
267
00:13:17,430 --> 00:13:18,673
OUR LIVES
ARE RUINED ALREADY.
268
00:13:18,697 --> 00:13:21,432
YOU STILL HAVE A CHANCE
TO GROW UP AND BE SOMEBODY.
269
00:13:21,567 --> 00:13:23,112
YOU THINK I WANT YOU
WORKING AT THE JOB I DO?
270
00:13:23,136 --> 00:13:24,413
I DON'T EVEN KNOW
WHAT YOUR JOB IS.
271
00:13:24,437 --> 00:13:25,747
Aronson:
MY FATHER WAS NOT THE ONE
272
00:13:25,771 --> 00:13:27,783
SAYING, "YOU HAVE TO STUDY,
YOU HAVE TO GO TO SCHOOL,
273
00:13:27,807 --> 00:13:29,651
YOU HAVE TO DO THIS,
YOU HAVE TO DO THAT."
274
00:13:29,675 --> 00:13:30,541
IT WAS MY MOTHER.
275
00:13:30,676 --> 00:13:31,787
IT WAS MY MOTHER WHO...
276
00:13:31,811 --> 00:13:34,445
WHO REALLY HAD TO PUSH,
277
00:13:34,580 --> 00:13:36,714
YOU KNOW, TO GET ANYTHING
ACCOMPLISHED.
278
00:13:36,849 --> 00:13:38,549
YOU WERE A VERY BRIGHT CHILD.
279
00:13:38,684 --> 00:13:42,420
YOU SPOKE YOUNG, YOU WERE... YOU
WERE VERY YOUNG WHEN YOU SPOKE.
280
00:13:42,555 --> 00:13:44,355
YOU WERE ALWAYS RUNNING,
281
00:13:44,491 --> 00:13:47,091
WHETHER IT WAS THE STREET
OR THE HOUSE OR YOUR ROOM.
282
00:13:47,227 --> 00:13:49,205
YOU NEVER STAYED PUT
FOR FIVE MINUTES.
283
00:13:49,229 --> 00:13:52,363
I DIDN'T KNOW HOW TO HANDLE
THAT TYPE OF A CHILD.
284
00:13:52,499 --> 00:13:57,435
YOU WERE TOO... TOO ACTIVE
AND TOO MUCH OF A CHILD FOR ME.
285
00:13:57,570 --> 00:13:59,236
I WASN'T THAT GOOD TO YOU,
286
00:13:59,372 --> 00:14:01,050
BECAUSE I WAS VERY STRICT
WITH YOU,
287
00:14:01,074 --> 00:14:04,175
WHICH I REGRET, BECAUSE I THINK
IF I HADN'T BEEN THAT STRICT,
288
00:14:04,310 --> 00:14:09,680
YOU MIGHT HAVE BEEN A MORE...
NOT SO IMPATIENT.
289
00:14:09,815 --> 00:14:12,183
YOU MIGHT HAVE BEEN,
WHAT SHOULD I SAY?
290
00:14:12,318 --> 00:14:14,652
NOT "BETTER"...
291
00:14:14,787 --> 00:14:20,858
YOU'RE A GOOD PERSON...
BUT MAYBE SOFTER, MAYBE WARMER.
292
00:14:20,993 --> 00:14:23,895
AND DID YOU TAKE UP BOXING
REALLY TO ESCAPE FROM POVERTY
293
00:14:24,030 --> 00:14:25,474
OR JUST BECAUSE
YOU ENJOYED IT?
294
00:14:25,498 --> 00:14:28,532
NO, I TOOK UP BOXING SO I COULD
DEAL WITH MY MOTHER.
295
00:14:29,769 --> 00:14:31,313
YES, THERE WERE
A GREAT MANY SUBJECTS
296
00:14:31,337 --> 00:14:35,172
WE DISAGREED ON, AND FREQUENTLY
THE ONLY WAY TO SETTLE MATTERS
297
00:14:35,308 --> 00:14:37,408
WAS TO PUT ON THE GLOVES
AND GET INTO THE RING.
298
00:14:37,544 --> 00:14:39,622
AND I USED TO KNOCK HER TEETH
OUT ALL THE TIME.
299
00:14:39,646 --> 00:14:40,756
REALLY?
300
00:14:40,780 --> 00:14:42,190
YEAH, AND SHE'S
AN OLD WOMAN, YOU KNOW.
301
00:14:42,214 --> 00:14:43,325
YEAH,
SO, THAT'S WHY.
302
00:14:51,624 --> 00:14:53,424
I'LL JUST GRAB MY LID.
303
00:14:53,559 --> 00:14:57,128
GIVE ME A LITTLE PROTECTION.
304
00:15:01,600 --> 00:15:02,778
CAN I GET OUT ON THIS SIDE?
305
00:15:02,802 --> 00:15:03,802
Man: OH, NO, WAIT UP.
306
00:15:13,079 --> 00:15:15,346
Allen: THIS IS THE HOUSE
THAT I WAS BORN IN.
307
00:15:15,481 --> 00:15:20,418
AND WE WERE ON THE TOP FLOOR.
308
00:15:20,553 --> 00:15:23,621
THE LANDLORD LIVED
ON THE BOTTOM FLOOR.
309
00:15:23,756 --> 00:15:25,656
I REMEMBER AS A LITTLE BOY
310
00:15:25,791 --> 00:15:30,194
INFURIATING THE LANDLORD
BECAUSE...
311
00:15:30,330 --> 00:15:31,929
YOU SEE, THE POT THERE
312
00:15:32,065 --> 00:15:34,999
USED TO HAVE BIG RED GERANIUMS
IN THEM,
313
00:15:35,134 --> 00:15:38,502
AND I JUST RIPPED THEM ALL OUT
SO I COULD HIDE MY SOLDIERS.
314
00:15:38,637 --> 00:15:40,757
I USED TO SIT ON THIS STOOP
ALL THE TIME,
315
00:15:40,873 --> 00:15:46,778
AND THIS WAS WHERE... WHERE WE
ROOTED AGAINST THE NAZIS,
316
00:15:46,913 --> 00:15:48,658
YOU KNOW, AND I HAD
ALL MY...
317
00:15:48,682 --> 00:15:51,115
YOU KNOW, THIS IS
WHERE I FIRST WENT TO SCHOOL,
318
00:15:51,250 --> 00:15:53,228
TO KINDERGARTEN
AND THEN FROM HERE.
319
00:15:53,252 --> 00:15:56,854
IT DOESN'T LOOK LIKE MUCH,
BUT IT WASN'T.
320
00:15:56,989 --> 00:15:59,290
I'LL TAKE YOU AROUND THE CORNER
321
00:15:59,425 --> 00:16:01,725
AND SHOW YOU WHERE
THE MIDWOOD THEATER,
322
00:16:01,860 --> 00:16:06,397
THE MOVIE HOUSE, WAS.
323
00:16:06,532 --> 00:16:09,533
NOW, GOD, WHEN YOU THINK OF IT,
YOU KNOW,
324
00:16:09,668 --> 00:16:14,872
THE AMOUNT OF MOVIES
THAT I SAW RIGHT HERE,
325
00:16:15,008 --> 00:16:16,573
I MEAN, IT WAS JUST ASTONISHING.
326
00:16:16,709 --> 00:16:19,610
THIS WAS A VERY GLAMOROUS PLACE
AT THE TIME, YOU KNOW,
327
00:16:19,745 --> 00:16:23,480
A VERY PRETTY THEATER
WITH PLUSH CARPETS AND SCONCES
328
00:16:23,616 --> 00:16:26,184
AND BEAUTIFUL GLASS FIXTURES,
329
00:16:26,319 --> 00:16:30,721
LINES OF MIDDLE-CLASS PEOPLE,
YOU KNOW, ATTRACTIVE GIRLS
330
00:16:30,857 --> 00:16:33,557
AND NICE-LOOKING YOUNG GUYS,
331
00:16:33,692 --> 00:16:37,795
AND ALL GOING TO SEE, YOU KNOW,
WHAT NOW WE CONSIDER
332
00:16:37,930 --> 00:16:40,732
OUR CLASSIC MOVIE HERITAGE.
333
00:16:40,867 --> 00:16:43,167
IT WAS ALL... IT WAS ALL HERE.
334
00:16:43,302 --> 00:16:48,172
NOW, WHEN YOU LOOK AT IT,
IT'S NOT AS NICE.
335
00:16:56,949 --> 00:17:00,184
I STARTED ON THE CLARINET
AT ABOUT 15.
336
00:17:00,319 --> 00:17:03,421
ACTUALLY, I STARTED
ON THE SOPRANO SAXOPHONE,
337
00:17:03,556 --> 00:17:07,392
BECAUSE I WANTED TO PLAY
LIKE SIDNEY BECHET,
338
00:17:07,527 --> 00:17:10,928
AND THEN I REALIZED IN
THE FIRST TWO OR THREE MINUTES
339
00:17:11,064 --> 00:17:14,031
THAT IT WASN'T GOING TO HAPPEN.
340
00:17:14,167 --> 00:17:17,134
AND THEN I STARTED PLAYING
THE CLARINET.
341
00:17:17,269 --> 00:17:19,214
I LIKE TO PLAY.
IT'S JUST A HOBBY, YOU KNOW.
342
00:17:19,238 --> 00:17:21,038
I ALWAYS LIKED JAZZ.
343
00:17:21,173 --> 00:17:23,407
I LIKED TO LISTEN
WHEN I WAS YOUNGER.
344
00:17:23,543 --> 00:17:24,853
I STILL LIKE TO LISTEN,
OF COURSE.
345
00:17:24,877 --> 00:17:29,914
BUT THE CLARINET, I MOSTLY
PLAYED BY MYSELF.
346
00:17:30,049 --> 00:17:33,350
I CALLED UP A JAZZ MUSICIAN,
QUITE A WELL-KNOWN JAZZ MUSICIAN
347
00:17:33,486 --> 00:17:35,297
NAMED GENE SEDRICK,
AND ASKED HIM
348
00:17:35,321 --> 00:17:37,133
IF HE WOULD GIVE ME
SOME LESSONS,
349
00:17:37,157 --> 00:17:38,722
AND HE USED TO COME TO MY HOUSE,
350
00:17:38,858 --> 00:17:41,725
AND HE WOULD JUST SIT
IN MY LIVING ROOM WITH ME
351
00:17:41,861 --> 00:17:44,962
AND PLAY SOMETHING AND SAY,
"YOU DO IT NOW."
352
00:17:45,098 --> 00:17:49,833
AND GRADUALLY,
I LEARNED HOW TO PLAY.
353
00:17:49,969 --> 00:17:52,636
YOU KNOW, WHEN WE'RE ON LOCATION
DOING A FILM,
354
00:17:52,772 --> 00:17:55,506
THERE ARE TIMES HE BRINGS
HIS INSTRUMENT WITH HIM
355
00:17:55,642 --> 00:17:59,310
AND PRACTICES IN THE CAR
ON A BREAK.
356
00:17:59,446 --> 00:18:01,612
BUT HE PRACTICES ALL THE TIME.
357
00:18:01,748 --> 00:18:04,449
Allen: IT'S A PLEASURABLE THING
TO PLAY.
358
00:18:04,584 --> 00:18:07,785
IF YOU PLAY AN INSTRUMENT,
IT'S FUN TO PLAY IT,
359
00:18:07,921 --> 00:18:10,988
AND IT'S FUN TO PLAY IT
WITH OTHER PEOPLE.
360
00:18:11,123 --> 00:18:13,223
AND AS IT TURNS OUT,
361
00:18:13,359 --> 00:18:16,427
PEOPLE COME AND LISTEN TO US.
362
00:18:16,563 --> 00:18:17,803
HE LOVES GOING TO THE CARLYLE
363
00:18:17,864 --> 00:18:19,541
EVERY WEEK
AND PLAYING MUSIC THERE.
364
00:18:19,565 --> 00:18:22,233
HE DOESN'T SEE IT AS, "OH, I
HAVE TO GO, IT'S MONDAY NIGHT."
365
00:18:22,368 --> 00:18:24,635
HE LOVES DOING IT.
366
00:18:24,770 --> 00:18:28,605
AND HE'LL NEVER DO ANYTHING THAT
HE DOESN'T FEEL HE CAN DO WELL,
367
00:18:28,741 --> 00:18:31,342
AND SO THE PRACTICE IS
NECESSARY, AND THAT'S IT.
368
00:18:31,477 --> 00:18:34,845
IT'S, YOU KNOW, IT'S A FOREGONE
CONCLUSION THAT HE'LL DO IT.
369
00:18:34,980 --> 00:18:36,125
Juliet Taylor: HE SAID TO ME
370
00:18:36,149 --> 00:18:37,792
THAT IF HE COULD DO ANYTHING
IN THE WORLD,
371
00:18:37,816 --> 00:18:40,150
HE WOULD HAVE LOVED TO HAVE BEEN
A CLARINET PLAYER
372
00:18:40,286 --> 00:18:42,019
MORE THAN A FILMMAKER.
373
00:18:54,567 --> 00:18:56,244
Feeney: HIS SENSITIVITY
TO MUSIC
374
00:18:56,268 --> 00:18:58,636
IS KEY TO HIS SUCCESS
AS A FILMMAKER,
375
00:18:58,771 --> 00:19:02,039
BECAUSE VERY EARLY ON,
RIGHT FROM THE VERY FIRST FILMS,
376
00:19:02,175 --> 00:19:04,909
HE'S GOT A SENSE OF RHYTHM,
A SENSE OF TIMING.
377
00:19:05,044 --> 00:19:08,445
RHYTHM AND TIMING ARE KEY
TO SUCCESS IN COMEDY.
378
00:19:08,581 --> 00:19:11,916
BUT BECAUSE HE HAS THIS OTHER,
SORT OF MELODIC SENSITIVITY,
379
00:19:12,051 --> 00:19:14,418
I THINK IT REALLY MAKES IT
POSSIBLE FOR HIM
380
00:19:14,553 --> 00:19:16,587
TO NOT ONLY DO
EXCELLENT COMEDY,
381
00:19:16,723 --> 00:19:19,556
BUT IT MAKES IT POSSIBLE FOR HIM
TO BE EMOTIONAL AS WELL.
382
00:19:24,597 --> 00:19:28,532
Lasser: IT'S MORE DIRECT
EXPRESSION OF EVERYTHING,
383
00:19:28,667 --> 00:19:30,101
DON'T YOU THINK, MUSIC?
384
00:19:30,236 --> 00:19:33,037
YOU KNOW, HE ALWAYS WOULD TALK
ABOUT SIDNEY BECHET,
385
00:19:33,172 --> 00:19:38,509
AND HE HAS THAT SWEET,
WINSOME SOUND.
386
00:19:38,644 --> 00:19:41,312
WOODY HAS THAT SOUND.
387
00:19:41,447 --> 00:19:44,882
IT'S IN HIS PERSONA,
HIS PUBLIC PERSONA,
388
00:19:45,017 --> 00:19:47,551
BUT IT'S ALSO IN HIM.
389
00:19:47,686 --> 00:19:50,321
IT'S JUST IN HIM.
390
00:20:04,436 --> 00:20:07,204
Allen: OUR LAST YEARS
OF HIGH SCHOOL IN MIDWOOD,
391
00:20:07,339 --> 00:20:08,773
YOU KNOW, ALL MY FRIENDS WERE
392
00:20:08,908 --> 00:20:11,220
DECIDING WHAT THEY WERE
GOING TO DO WITH THEIR LIVES.
393
00:20:11,244 --> 00:20:13,155
THEY WERE GOING TO BECOME
DOCTORS AND LAWYERS.
394
00:20:13,179 --> 00:20:17,948
AND SOMEONE SUGGESTED
THAT I TRY WRITING GAGS.
395
00:20:18,084 --> 00:20:21,485
AND I DID TRY IT AFTER SCHOOL.
396
00:20:21,620 --> 00:20:23,465
SO HE STARTS SENDING JOKES IN
TO THE NEWSPAPER,
397
00:20:23,489 --> 00:20:25,122
AND THEY STARTED PRINTING THEM.
398
00:20:28,795 --> 00:20:30,460
Allen: I WAS SHOCKED.
399
00:20:30,596 --> 00:20:32,574
MY NAME WOULD SUDDENLY APPEAR
IN WALTER WINCHELL'S COLUMN
400
00:20:32,598 --> 00:20:35,832
AND EARL WILSON, AND THERE WERE
MANY COLUMNISTS AT THE TIME,
401
00:20:35,968 --> 00:20:39,470
FRANK FARRELL, HY GARDNER,
LEONARD LYONS.
402
00:20:39,605 --> 00:20:43,039
I DID NOT WANT TO APPEAR
IN BROADWAY COLUMNS
403
00:20:43,175 --> 00:20:47,478
AND IN THE NEWSPAPERS
WITH MY OWN NAME,
404
00:20:47,613 --> 00:20:49,946
BECAUSE I DIDN'T WANT TO GO
TO SCHOOL THE NEXT DAY
405
00:20:50,082 --> 00:20:52,242
AND SIT IN MY MATH CLASS
OR MY HISTORY CLASS
406
00:20:52,318 --> 00:20:55,219
AND HAVE SOME GUY OR GIRL
TURN TO ME AND SAY,
407
00:20:55,355 --> 00:20:58,122
"HEY, I SAW YOUR NAME
IN WALTER WINCHELL'S COLUMN."
408
00:20:58,257 --> 00:21:00,324
AND, YOU KNOW, I WAS SHY.
409
00:21:00,460 --> 00:21:03,060
I WANTED TO KEEP
MY FIRST NAME, ALLAN,
410
00:21:03,196 --> 00:21:06,830
AND I JUST THREW ON THE FIRST
THING THAT CAME TO MIND WITH IT.
411
00:21:06,966 --> 00:21:09,366
"WOODY ALLEN" KIND OF HAD A NICE
COMEDIC RING TO IT,
412
00:21:09,502 --> 00:21:10,782
AND IT SEEMED THAT THAT WOULD BE
413
00:21:10,903 --> 00:21:12,581
A BETTER GUY
TO BE SIGNING GAG LINES
414
00:21:12,605 --> 00:21:13,871
THAN ALLAN KONIGSBERG.
415
00:21:14,007 --> 00:21:15,239
THERE WAS A PRESS AGENT,
416
00:21:15,374 --> 00:21:17,574
A PUBLIC RELATIONS MAN
NAMED DAVID ALBER.
417
00:21:17,710 --> 00:21:20,011
AND HIS JOB WAS TO COME UP WITH
FUNNY LINES
418
00:21:20,146 --> 00:21:22,847
TO PUT IN THE MOUTHS
OF HIS CLIENTS.
419
00:21:22,982 --> 00:21:25,382
AND HE CALLED UP AND SAID,
"WHO IS THIS GUY, WOODY ALLEN,
420
00:21:25,417 --> 00:21:28,318
WHOSE NAME I READ ALL THE TIME
IN THE COLUMNS?"
421
00:21:28,454 --> 00:21:31,055
AND I THINK IT WAS EARL WILSON
422
00:21:31,190 --> 00:21:32,500
AT THE POST AT THAT TIME
THAT SAID,
423
00:21:32,524 --> 00:21:34,024
"HE'S SOME KID IN BROOKLYN
424
00:21:34,160 --> 00:21:36,593
WHO SENDS ME THESE JOKES
AFTER SCHOOL."
425
00:21:36,729 --> 00:21:39,263
AND HE HIRED WOODY TO COME IN
AT $25 A WEEK AFTER SCHOOL
426
00:21:39,398 --> 00:21:40,731
TO WRITE JOKES.
427
00:21:40,867 --> 00:21:44,168
AND I WAS DOING ABOUT 50 JOKES
A DAY FOR A LONG TIME.
428
00:21:44,303 --> 00:21:45,303
IT WAS NOT HARD.
429
00:21:45,405 --> 00:21:46,581
Eric Lax: WELL,
HE THOUGHT HE WAS
430
00:21:46,605 --> 00:21:47,749
IN THE HEART OF SHOW BUSINESS.
431
00:21:47,773 --> 00:21:49,284
AND ONE OF THE PEOPLE
HE WAS WORKING WITH
432
00:21:49,308 --> 00:21:50,352
WAS A GUY NAMED MIKE MERRICK,
433
00:21:50,376 --> 00:21:51,675
WHO WAS IN HIS EARLY 20s.
434
00:21:51,810 --> 00:21:54,578
AND MERRICK HAD THESE
ROUND, BLACK GLASSES.
435
00:21:54,713 --> 00:21:55,946
Allen: AND I THOUGHT, "HEY,
436
00:21:56,082 --> 00:21:57,782
I WOULD LOOK GOOD IN THOSE."
437
00:21:57,917 --> 00:22:00,718
SO I BOUGHT THESE
BLACK-RIMMED GLASSES
438
00:22:00,853 --> 00:22:05,589
AND PUT THEM ON AND WORE THEM,
AND NEVER GAVE MY GLASSES
439
00:22:05,725 --> 00:22:08,092
A SECOND THOUGHT
FOR THE REST OF MY LIFE.
440
00:22:08,227 --> 00:22:12,897
FROM THERE, I WAS ASKED IN
TO WRITE SOME JOKES
441
00:22:13,032 --> 00:22:15,565
FOR THE ARTHUR GODFREY PROGRAM,
442
00:22:15,701 --> 00:22:18,035
FOR PETER LIND HAYES
AND MARY HEALY...
443
00:22:18,171 --> 00:22:20,070
THEY DID A RADIO PROGRAM.
444
00:22:20,206 --> 00:22:23,274
AND THAT EVENTUALLY
GOT TO HERB SHRINER,
445
00:22:23,409 --> 00:22:27,377
WHO WAS A WONDERFUL COMEDIAN,
AND I WROTE FOR HIM.
446
00:22:27,513 --> 00:22:28,913
AND I NEVER REALLY STOPPED.
447
00:22:29,048 --> 00:22:30,915
I WAS NEVER OUT OF WORK.
448
00:22:31,050 --> 00:22:32,783
BY THE TIME HE WAS 16 OR 17,
449
00:22:32,919 --> 00:22:34,696
HE WAS MAKING MORE
THAN HIS PARENTS,
450
00:22:34,720 --> 00:22:38,522
AND HAS BEEN REGULARLY EMPLOYED
EVERY DAY OF HIS LIFE SINCE.
451
00:22:41,527 --> 00:22:45,696
THIS IS WHERE I WORK.
452
00:22:45,832 --> 00:22:50,033
MY HOUSE IS ALWAYS FULL OF
CLARINET REEDS EVERYPLACE.
453
00:22:50,168 --> 00:22:51,969
I BOUGHT THIS WHEN I WAS 16.
454
00:22:52,104 --> 00:22:55,005
IT STILL WORKS LIKE A TANK.
455
00:22:55,141 --> 00:22:58,709
AND IT'S A GERMAN TYPEWRITER,
AND IT'S AN OLYMPIA PORTABLE.
456
00:22:58,845 --> 00:23:02,112
I'VE HAD IT MY WHOLE LIFE.
457
00:23:02,248 --> 00:23:05,049
IT COST ME $40, I THINK.
458
00:23:05,184 --> 00:23:08,752
THE GUY TOLD ME IT WOULD BE
AROUND LONG AFTER MY DEATH.
459
00:23:08,887 --> 00:23:13,090
AND I'VE TYPED EVERYTHING
THAT I'VE EVER WRITTEN...
460
00:23:13,225 --> 00:23:15,392
EVERY SCRIPT,
EVERY NEW YORKER PIECE,
461
00:23:15,528 --> 00:23:18,128
EVERYTHING I'VE EVER DONE,
ON THIS TYPEWRITER.
462
00:23:18,264 --> 00:23:20,864
IT USED TO HAVE A METAL PIECE
ON TOP, COVERING THIS,
463
00:23:20,999 --> 00:23:24,401
WHICH I LOST 30 YEARS AGO.
464
00:23:24,537 --> 00:23:27,470
Man: ONE ADVANTAGE, OBVIOUSLY,
TO A WORD PROCESSOR IS,
465
00:23:27,606 --> 00:23:29,740
YOU CAN ELECTRONICALLY
CUT AND PASTE.
466
00:23:29,875 --> 00:23:31,452
WHAT DO YOU DO WHEN
YOU HAVE TO CUT AND PASTE?
467
00:23:31,476 --> 00:23:35,346
Allen: IF I'M TYPING SOMETHING,
I HAVE MY SCISSORS HERE,
468
00:23:35,481 --> 00:23:38,516
AND I HAVE A LOT
OF THESE THINGS,
469
00:23:38,651 --> 00:23:41,252
THESE LITTLE STAPLING MACHINES.
470
00:23:41,387 --> 00:23:44,454
SO IF I'M TYPING SOMETHING,
471
00:23:44,590 --> 00:23:48,525
I TYPE THE PART
THAT LOOKS LIKE THIS.
472
00:23:48,661 --> 00:23:51,362
YOU KNOW, NOBODY CAN REALLY TYPE
MY STUFF.
473
00:23:51,497 --> 00:23:54,165
IT LOOKS TERRIBLE ON THE PAGE,
474
00:23:54,300 --> 00:23:56,500
SO I HAVE TO TYPE IT,
BECAUSE I HAVE ARROWS
475
00:23:56,636 --> 00:23:57,801
AND ALL KINDS OF THINGS.
476
00:23:57,936 --> 00:23:59,370
BUT WHEN I COME TO A NICE PART,
477
00:23:59,505 --> 00:24:03,006
THEN I CUT THAT PART OFF
478
00:24:03,142 --> 00:24:06,310
AND STAPLE IT ON
TO SOMETHING ELSE WITH THIS.
479
00:24:06,445 --> 00:24:09,146
IT'S VERY PRIMITIVE, I KNOW.
480
00:24:09,282 --> 00:24:12,216
BUT IT WORKS VERY WELL FOR ME,
AND I CAN TYPE.
481
00:24:12,351 --> 00:24:14,685
YOU KNOW, I MEAN,
I CAN TOUCH-TYPE.
482
00:24:14,820 --> 00:24:17,721
SO THERE'S NO PROBLEM.
483
00:24:20,292 --> 00:24:21,859
Aronson: WOODY DATED A LOT,
484
00:24:21,994 --> 00:24:25,129
BUT DIDN'T REALLY BRING,
THAT I RECALL,
485
00:24:25,264 --> 00:24:30,100
DIDN'T REALLY BRING GIRLS HOME
UNTIL HE WAS DATING HARLENE,
486
00:24:30,235 --> 00:24:32,136
WHOM HE EVENTUALLY MARRIED.
487
00:24:32,271 --> 00:24:33,537
AND HE WAS VERY YOUNG.
488
00:24:33,672 --> 00:24:35,072
HE WAS I THINK ABOUT 17,
489
00:24:35,207 --> 00:24:36,740
AND THEN 18 WHEN HE MARRIED HER.
490
00:24:36,875 --> 00:24:38,486
Allen: IT'S FUNNY...
WHEN YOU'RE REALLY YOUNG,
491
00:24:38,510 --> 00:24:43,613
YOU KNOW, YOU GO OUT AND YOU GO
TO THE MOVIES AND YOU GO BOWLING
492
00:24:43,749 --> 00:24:45,149
AND YOU GO TO THE DRIVE-INS,
493
00:24:45,284 --> 00:24:48,786
AND THEN THERE'S NOWHERE TO GO
BUT TO GET MARRIED.
494
00:24:48,921 --> 00:24:50,201
YOU DON'T KNOW WHAT ELSE TO DO.
495
00:24:50,322 --> 00:24:51,366
WE'VE DONE EVERYTHING.
496
00:24:51,390 --> 00:24:52,634
WE'VE EATEN
AT ALL THE RESTAURANTS,
497
00:24:52,658 --> 00:24:55,826
AND WE'VE, YOU KNOW,
WE'VE SEEN THE MOVIES
498
00:24:55,961 --> 00:24:58,628
AND BEEN TO THE THEATER,
THE BALL GAMES,
499
00:24:58,764 --> 00:25:01,799
SO WHAT ELSE IS THERE TO DO?
500
00:25:01,934 --> 00:25:04,568
IT'S 8:00, LET'S GET MARRIED.
501
00:25:04,704 --> 00:25:07,604
SO WE GOT, YOU KNOW,
WE GOT MARRIED.
502
00:25:07,740 --> 00:25:09,173
AND WE WERE BOTH KIDS.
503
00:25:09,308 --> 00:25:12,342
AND IT SERVED A VERY GOOD
FUNCTION FOR BOTH OF US.
504
00:25:12,477 --> 00:25:15,478
IT GOT US OUT
OF OUR PARENTS' HOMES.
505
00:25:15,614 --> 00:25:17,447
IT GOT US UP ON OUR FEET.
506
00:25:17,583 --> 00:25:20,417
AND I SUDDENLY FOUND
THAT I WAS 20 YEARS OLD.
507
00:25:20,552 --> 00:25:23,187
I WAS MARRIED AND HAD
RESPONSIBILITIES,
508
00:25:23,322 --> 00:25:25,455
BUT WE JUST, YOU KNOW,
509
00:25:25,591 --> 00:25:27,958
WERE TOO YOUNG TO HAVE
A LIFETIME TOGETHER.
510
00:25:28,094 --> 00:25:34,898
I MARRIED A VERY IMMATURE WOMAN,
AND IT DIDN'T WORK OUT.
511
00:25:35,034 --> 00:25:36,778
SEE IF THIS
IS NOT IMMATURE TO YOU.
512
00:25:36,802 --> 00:25:41,038
I WOULD BE HOME,
IN THE BATHROOM, TAKING A BATH,
513
00:25:41,173 --> 00:25:44,608
AND MY WIFE WOULD WALK RIGHT IN
WHENEVER SHE FELT LIKE,
514
00:25:44,744 --> 00:25:46,610
AND SINK MY BOATS.
515
00:25:50,883 --> 00:25:54,150
IN 1956, AFTER WRITING
FOR A NUMBER OF COMICS,
516
00:25:54,286 --> 00:25:56,587
WOODY GETS AN OPPORTUNITY
TO GO TO TAMIMENT.
517
00:25:56,722 --> 00:26:00,724
IT'S A RESORT IN THE POCONOS
THAT SPECIALIZES IN THEATER.
518
00:26:00,860 --> 00:26:03,627
Allen: PEOPLE WOULD FLOOD
UP THERE FRIDAY NIGHTS
519
00:26:03,763 --> 00:26:05,596
AND STAY FOR THE WEEKENDS.
520
00:26:05,731 --> 00:26:09,700
AND THEY HAD A STAFF OF WRITERS,
521
00:26:09,835 --> 00:26:12,202
DANCERS, DIRECTORS,
CHOREOGRAPHERS,
522
00:26:12,338 --> 00:26:16,473
WHO WOULD PUT ON AN ORIGINAL
LIVE REVUE SHOW
523
00:26:16,609 --> 00:26:18,342
EVERY SINGLE WEEK.
524
00:26:18,477 --> 00:26:20,744
I WAS ADVISED TO GO THERE,
525
00:26:20,879 --> 00:26:23,980
BECAUSE YOU REALLY
GET EXPERIENCE
526
00:26:24,116 --> 00:26:25,783
WRITING FOR A LIVE AUDIENCE.
527
00:26:25,918 --> 00:26:29,186
HOW TO WRITE NOT JUST INDIVIDUAL
JOKES BUT, YOU KNOW,
528
00:26:29,321 --> 00:26:32,789
5-MINUTE SKETCHES, 3-MINUTE
SKETCHES, 8-MINUTE SKETCHES.
529
00:26:32,924 --> 00:26:36,393
SO, I WENT AND I DID
THREE SUMMERS THERE.
530
00:26:36,529 --> 00:26:38,206
THE FIRST SUMMER,
I WROTE SKETCHES.
531
00:26:38,230 --> 00:26:40,375
THE SECOND SUMMER, I WROTE
SKETCHES AND DIRECTED THEM.
532
00:26:40,399 --> 00:26:43,400
AND THE THIRD SUMMER, I WROTE
SKETCHES AND DIRECTED THEM.
533
00:26:43,536 --> 00:26:46,036
YOU KNOW, YOU COULDN'T SIT
IN A ROOM
534
00:26:46,172 --> 00:26:49,406
WAITING FOR YOUR MUSE
TO COME AND TICKLE YOU.
535
00:26:49,541 --> 00:26:54,177
MONDAY MORNING CAME, THERE WAS
A DRESS REHEARSAL THURSDAY.
536
00:26:54,313 --> 00:26:57,013
YOU HAD TO GET THAT THING
WRITTEN.
537
00:26:57,149 --> 00:27:01,218
AND IT WAS GRUELING,
BUT YOU LEARNED TO WRITE.
538
00:27:01,353 --> 00:27:04,121
AND FROM THERE, I MANAGED TO GO
539
00:27:04,256 --> 00:27:07,624
DIRECTLY TO
THE SID CAESAR SHOW.
540
00:27:07,759 --> 00:27:11,728
SID WAS AN ACKNOWLEDGED
COMIC GENIUS,
541
00:27:11,863 --> 00:27:15,065
AND EVERYBODY WANTED
TO WRITE FOR HIM.
542
00:27:15,200 --> 00:27:20,037
AND SUDDENLY, I GOT HIRED,
AND I WAS JUST, YOU KNOW,
543
00:27:20,172 --> 00:27:21,971
20, 21 YEARS OLD.
544
00:27:22,107 --> 00:27:25,208
AND I FOUND MYSELF WRITING WITH
MEL BROOKS
545
00:27:25,344 --> 00:27:28,711
AND WRITING WITH LARRY GELBART
AND MEL TOLKIN.
546
00:27:28,847 --> 00:27:30,058
WHY DON'T YOU
TRY TO GO UPSTAIRS
547
00:27:30,082 --> 00:27:31,281
AND GET SOME REST, HUH?
548
00:27:31,417 --> 00:27:33,728
Allen: I SAID, "MY GOD,
I'M WRITING FOR SID CAESAR."
549
00:27:33,752 --> 00:27:35,986
AND IT WAS A GREAT EXPERIENCE
IN MY LIFE.
550
00:27:36,122 --> 00:27:38,755
BEST NOT TO TAKE ANY
OF THE ROOMS UPSTAIRS,
551
00:27:38,891 --> 00:27:42,292
BECAUSE THEY ALL HAVE
MEMORIES OF CECILY.
552
00:27:42,428 --> 00:27:44,772
JOHN, PLEASE, WE HAVE TO
TALK ABOUT THIS.
553
00:27:44,796 --> 00:27:46,041
YOU CAN'T LIVE
IN A MANSION...
554
00:27:46,065 --> 00:27:47,105
DON'T SIT
IN THAT CHAIR!
555
00:27:47,166 --> 00:27:48,977
CECILY USED TO SIT
IN THAT CHAIR.
556
00:27:49,001 --> 00:27:50,612
IT'S LIKE SITTING
ON A MEMORY.
557
00:27:50,636 --> 00:27:51,701
JOHN, PLEASE, THIS IS...
558
00:27:51,837 --> 00:27:53,537
DON'T SIT ON THAT CHAIR!
559
00:27:53,672 --> 00:27:55,250
SHE USED TO PUT HER FEET
ON THAT CHAIR
560
00:27:55,274 --> 00:27:57,607
WHEN SHE SAT IN THAT CHAIR.
561
00:27:57,743 --> 00:27:59,023
SHE WAS A VERY LONG GIRL.
562
00:28:05,751 --> 00:28:09,786
Allen: AT THAT TIME,
JACK ROLLINS AND CHARLES JOFFE
563
00:28:09,922 --> 00:28:11,655
HAD A MANAGEMENT BUSINESS,
564
00:28:11,790 --> 00:28:15,292
AND THEY WERE THE ROLLS-ROYCE
OF MANAGEMENT.
565
00:28:15,428 --> 00:28:17,961
THEY WERE THE ONES THAT
EVERYBODY WANTED TO GO WITH.
566
00:28:18,096 --> 00:28:21,898
Rollins: AND WOODY SAID,
WOULD CHARLIE AND I
567
00:28:22,033 --> 00:28:25,001
BE INTERESTED IN HIM
AS A WRITER?
568
00:28:25,137 --> 00:28:26,803
AND I EXPLAINED TO HIM
569
00:28:26,938 --> 00:28:29,706
THAT WE HAD NEVER HANDLED
WRITERS AS SUCH.
570
00:28:29,841 --> 00:28:33,510
WE HANDLED ACTORS
AND PERSONALITIES.
571
00:28:33,645 --> 00:28:37,613
WELL, WE ASKED HIM TO READ
SOMETHING THAT HE DID.
572
00:28:37,749 --> 00:28:41,351
AND JACK AND I
THOUGHT HE WAS HILARIOUS.
573
00:28:41,486 --> 00:28:43,331
HE HAD NEVER PERFORMED
IN HIS LIFE.
574
00:28:43,355 --> 00:28:48,124
AND BOTH OF US JUST JUMPED
AND SAID,
575
00:28:48,260 --> 00:28:51,294
"DON'T LET THIS GUY
OUT OF THE OFFICE."
576
00:28:51,429 --> 00:28:53,708
THE WRITING WAS FINE,
BUT HE WANTED ME TO BE A COMIC.
577
00:28:53,732 --> 00:28:55,532
HE JUST FELT I COULD BE A COMIC.
578
00:28:55,667 --> 00:28:59,602
WOODY NEVER DREAMED
OF BEING A COMIC.
579
00:28:59,738 --> 00:29:01,104
HE WAS A WRITER.
580
00:29:01,240 --> 00:29:04,474
AND IT WAS NOT EASY.
581
00:29:04,609 --> 00:29:06,755
AND HE SAID TO ME,
AND I REMEMBER THIS SO CLEARLY,
582
00:29:06,779 --> 00:29:11,014
HE SAID, "DO ME A FAVOR,
JUST TRUST ME.
583
00:29:11,150 --> 00:29:15,351
"YOU JUST WORK
AND DON'T THINK ABOUT IT,
584
00:29:15,487 --> 00:29:17,988
"AND LET ME THINK ABOUT IT.
585
00:29:18,123 --> 00:29:19,856
"DO WHAT I TELL YOU.
586
00:29:19,992 --> 00:29:23,660
AND LET'S LOOK UP IN A YEAR
AND SEE WHERE YOU ARE."
587
00:29:23,795 --> 00:29:26,130
IF YOU TAKE MY ADVICE, I THINK
YOU'RE GOING TO BECOME
588
00:29:26,265 --> 00:29:28,546
ONE OF THE GREAT BALLOON-FOLDING
ACTS OF ALL TIME,
589
00:29:28,634 --> 00:29:29,899
REALLY, 'CAUSE I DON'T SEE YOU
590
00:29:30,035 --> 00:29:31,346
JUST FOLDING THESE BALLOONS
IN JOINTS.
591
00:29:31,370 --> 00:29:32,880
YOU KNOW, YOU'RE GOING TO...
YOU LISTEN TO ME,
592
00:29:32,904 --> 00:29:34,116
YOU'RE GOING TO FOLD
THESE BALLOONS
593
00:29:34,140 --> 00:29:35,872
AT UNIVERSITIES AND COLLEGES.
594
00:29:36,008 --> 00:29:38,048
YOU'RE GOING TO...
YOU'RE GOING TO MAKE
595
00:29:38,144 --> 00:29:40,444
YOUR SNAIL AND YOUR ELEPHANT
ON BROADWAY.
596
00:29:40,579 --> 00:29:41,623
YOU KNOW WHAT I MEAN?
597
00:29:41,647 --> 00:29:42,690
BUT THE THING TO REMEMBER IS
598
00:29:42,714 --> 00:29:43,759
BEFORE YOU GO OUT ON STAGE,
599
00:29:43,783 --> 00:29:45,114
YOU GOT TO LOOK IN THE MIRROR,
600
00:29:45,250 --> 00:29:47,210
YOU GOT TO SAY
YOUR THREE "S's"...
601
00:29:47,252 --> 00:29:49,786
STAR, SMILE, STRONG.
602
00:29:49,922 --> 00:29:52,389
STAR, SMILE, STRONG.
603
00:29:52,524 --> 00:29:54,844
WHEN YOU LOOKED AT THE POPULAR
COMEDIANS OF THE TIME,
604
00:29:54,893 --> 00:29:57,994
MORT SAHL WAS COMPLETELY
INFLUENTIAL FOR WOODY.
605
00:29:58,130 --> 00:30:01,598
Allen: HE WAS JUST AMAZING.
606
00:30:01,733 --> 00:30:04,767
EVERYTHING ABOUT HIM
WAS DIFFERENT.
607
00:30:04,903 --> 00:30:10,440
THE WAY HE DRESSED, THE WAY HE
SPOKE, HIS VOCABULARY,
608
00:30:10,576 --> 00:30:13,409
AND THE REFERENCES
WERE ALL THE THINGS
609
00:30:13,545 --> 00:30:16,913
THAT EVERYBODY WAS TRULY
INTERESTED IN...
610
00:30:17,049 --> 00:30:19,115
ARTISTIC THINGS AND POLITICS
611
00:30:19,251 --> 00:30:22,819
AND THE FLOURISHING
OF PSYCHOTHERAPY AT THE TIME,
612
00:30:22,954 --> 00:30:26,056
AND EVERYTHING WAS SO FRESH
AND BRILLIANT.
613
00:30:26,191 --> 00:30:28,203
Sahl: OH, RICHARD NIXON'S TRIP
TO RUSSIA.
614
00:30:28,227 --> 00:30:30,227
HE'S GOING TO RUSSIA,
AND HE SAID
615
00:30:30,362 --> 00:30:32,863
HE HOPES HE GETS ALONG
WITH THEM, AND SO...
616
00:30:32,998 --> 00:30:35,498
ACTUALLY, YOU KNOW, IF HE
DOESN'T GET ALONG WITH THEM,
617
00:30:35,633 --> 00:30:37,846
HE'LL KIND OF BE IN TROUBLE,
BECAUSE, YOU KNOW, YOU CAN'T...
618
00:30:37,870 --> 00:30:39,080
HE CAN'T CALL ANYBODY
A COMMUNIST
619
00:30:39,104 --> 00:30:40,784
AND HURT THEIR CAREER
OVER THERE, YOU KNOW.
620
00:30:45,577 --> 00:30:47,622
SAHL WAS THE LIGHT THAT GOES OFF
WITH AN IDEA FOR WOODY.
621
00:30:47,646 --> 00:30:49,379
HE'D SAY, "OH, YOU KNOW, GEE.
622
00:30:49,514 --> 00:30:51,192
"THIS MIGHT BE SOMETHING
THAT I CAN DO.
623
00:30:51,216 --> 00:30:53,950
"I CAN'T BE MORT SAHL, BUT I CAN
DO WHAT MORT SAHL DOES.
624
00:30:54,085 --> 00:30:56,786
"I CAN ENGAGE THE AUDIENCE
IN A DIFFERENT WAY THAN I'VE...
625
00:30:56,921 --> 00:30:58,154
THAN I'VE SEEN IT BEFORE."
626
00:30:58,290 --> 00:31:00,690
THE FIRST NIGHT
I EVER WORKED AS A COMIC
627
00:31:00,825 --> 00:31:02,625
WAS AT THE BLUE ANGEL.
628
00:31:02,760 --> 00:31:06,029
ONE DAY SOMEBODY SAID,
"THERE'S A KID APPEARING...
629
00:31:06,164 --> 00:31:07,409
"THERE'S A LOT OF TALK
ABOUT HIM,
630
00:31:07,433 --> 00:31:08,910
AT THE BLUE ANGEL
IN NEW YORK."
631
00:31:08,934 --> 00:31:11,345
IT'S ONE OF THE GREAT CHIC OLD
NIGHT CLUBS OF NEW YORK FAME...
632
00:31:11,369 --> 00:31:14,104
"AND WHY DON'T YOU GO
CHECK HIM OUT?"
633
00:31:14,239 --> 00:31:16,317
I DIDN'T KNOW WHAT TO EXPECT,
AND I WENT TO THE BLUE ANGEL,
634
00:31:16,341 --> 00:31:20,743
AND THIS SOMEWHAT GNOMISH MAN
CAME OUT, AND HE BEGAN TO TALK.
635
00:31:20,879 --> 00:31:25,048
AND I REALIZED AS LINE AFTER
LINE AFTER LINE WENT BY,
636
00:31:25,184 --> 00:31:26,316
"EACH OF THESE IS BETTER
637
00:31:26,451 --> 00:31:29,987
THAN ANY LINE ANY COMIC
IN THE BUSINESS HAS."
638
00:31:30,122 --> 00:31:34,557
AND THE AUDIENCE BEGAN TO TALK
AMONG THEMSELVES.
639
00:31:34,693 --> 00:31:37,060
THAT'S HOW IT WAS, AND THERE WAS
A COMEDIAN ON STAGE.
640
00:31:37,196 --> 00:31:38,295
I WANTED TO KILL THEM.
641
00:31:38,430 --> 00:31:39,897
HE WAS SO SHY.
642
00:31:40,032 --> 00:31:43,700
HE WAS SO UNUSED TO BEING
IN FRONT OF AN AUDIENCE
643
00:31:43,835 --> 00:31:47,503
THAT HE WOULD TIE THE MIC CORD
AROUND HIS NECK.
644
00:31:47,639 --> 00:31:49,305
HE WOULD FRIGHTEN PEOPLE.
645
00:31:49,441 --> 00:31:51,541
THEY THOUGHT
HE WOULD CHOKE HIMSELF.
646
00:31:51,677 --> 00:31:54,244
HE WAS A NON-PERFORMER.
647
00:31:54,380 --> 00:31:56,420
Joffe: HE COULD HARDLY TALK
TO PEOPLE,
648
00:31:56,481 --> 00:31:57,847
NEVER MIND PERFORM FOR THEM.
649
00:31:57,982 --> 00:32:01,151
AND SOME NIGHTS
HE WAS GOD-AWFUL,
650
00:32:01,286 --> 00:32:04,720
BUT OTHER NIGHTS HE WAS
ABSOLUTELY BRILLIANT.
651
00:32:04,856 --> 00:32:06,634
Allen: I MUST PAUSE
FOR ONE FAST SECOND
652
00:32:06,658 --> 00:32:09,292
AND SAY A FAST WORD
ABOUT ORAL CONTRACEPTION.
653
00:32:11,396 --> 00:32:14,831
I WAS INVOLVED
IN AN EXTREMELY GOOD EXAMPLE
654
00:32:14,967 --> 00:32:17,900
OF ORAL CONTRACEPTION
TWO WEEKS AGO.
655
00:32:18,036 --> 00:32:21,571
I ASKED A GIRL TO GO BED
WITH ME, AND SHE SAID, "NO."
656
00:32:31,916 --> 00:32:35,819
IF YOU'RE A JOKE MAKER,
IT'S HARD NOT TO MAKE JOKES.
657
00:32:35,954 --> 00:32:37,253
DO YOU KNOW WHAT I MEAN?
658
00:32:37,388 --> 00:32:39,789
LIKE, I'M ALWAYS AMAZED
WHEN I SEE SOMEBODY
659
00:32:39,925 --> 00:32:41,524
THAT CAN DRAW A HORSE.
660
00:32:41,660 --> 00:32:44,360
I CAN'T FIGURE OUT HOW THEY CAN
POSSIBLY DO IT,
661
00:32:44,496 --> 00:32:46,507
BECAUSE, YOU KNOW, THEY ACTUALLY
REPRODUCE THE HORSE
662
00:32:46,531 --> 00:32:48,442
WITH A PENCIL AND PAPER,
AND IT'S TERRIFIC.
663
00:32:48,466 --> 00:32:51,534
NOW, I CAN'T DRAW A HORSE
OR ANYTHING ELSE,
664
00:32:51,670 --> 00:32:54,370
BUT I CAN WRITE JOKES,
665
00:32:54,506 --> 00:32:56,305
AND IT'S HARD NOT TO WRITE THEM.
666
00:32:56,441 --> 00:32:58,908
I MEAN, IF I WALK DOWN
THE STREET, IT'S ALMOST...
667
00:32:59,044 --> 00:33:01,077
IT'S LIKE MY NORMAL
CONVERSATION.
668
00:33:01,212 --> 00:33:04,180
YOU KNOW, IT JUST COMES OUT
THAT WAY.
669
00:33:04,316 --> 00:33:06,249
DO YOU KNOW WHAT I MEAN?
670
00:33:06,385 --> 00:33:08,785
I PLAYED THE BLUE ANGEL
AND PLAYED SOME PLACES,
671
00:33:08,921 --> 00:33:11,521
AND THEN SOMEONE TOLD ME
ABOUT THIS PLACE
672
00:33:11,656 --> 00:33:13,776
CALLED THE BITTER END
ON BLEECKER STREET.
673
00:33:13,892 --> 00:33:16,993
I OPENED THE BITTER END
IN 1961.
674
00:33:17,128 --> 00:33:19,040
IT WAS LOCATED
ON BLEECKER STREET
675
00:33:19,064 --> 00:33:21,497
NEAR WEST BROADWAY.
676
00:33:21,633 --> 00:33:23,577
THE UPTOWN CLUBS WERE
COMPLETELY DIFFERENT.
677
00:33:23,601 --> 00:33:26,503
IN THE VILLAGE, THERE WAS JUST
COFFEE SHOP KINDS OF PLACES,
678
00:33:26,638 --> 00:33:29,506
AND THE ACTS THAT WERE STARTING
TO HAPPEN WERE THE FOLK ACTS.
679
00:33:29,641 --> 00:33:32,108
PETER, PAUL AND MARY, OF COURSE,
BROKE IT WIDE OPEN.
680
00:33:32,243 --> 00:33:34,744
THE VILLAGE IN THE '60s
WAS THE TIME
681
00:33:34,879 --> 00:33:36,724
WHEN SORT OF EVERYTHING
WAS HAPPENING.
682
00:33:36,748 --> 00:33:41,450
IT WAS A TIME WHEN THE BEATS
WERE VERY POPLAR.
683
00:33:41,586 --> 00:33:43,519
THE PILL CAME ALONG.
684
00:33:43,655 --> 00:33:46,289
THE MIXING OF THE RACES
WAS STARTING THERE,
685
00:33:46,424 --> 00:33:47,891
AND KENNEDY WAS ELECTED.
686
00:33:48,026 --> 00:33:52,696
AND THE VILLAGE WAS SPARKED LIKE
IT HADN'T BEEN SINCE THE 1920s.
687
00:33:52,831 --> 00:33:55,132
AND SOME NIGHTS
THEY'D PLAY MY CLUB
688
00:33:55,267 --> 00:33:57,434
AND RUN DOWN OVER
TO ANOTHER CLUB.
689
00:33:57,569 --> 00:33:59,869
THERE WERE FOUR OR FIVE
DIFFERENT ONES.
690
00:34:00,004 --> 00:34:03,339
YOU DIDN'T GET PAID,
BUT YOU HAD A PLACE TO WORK.
691
00:34:03,474 --> 00:34:07,977
AND I WOULD GO DOWN THERE EVERY
NIGHT WITH JACK AND DO MY ACT.
692
00:34:08,113 --> 00:34:10,073
JACK SAYS,
"WAIT TILL YOU SEE HIM,"
693
00:34:10,148 --> 00:34:14,483
AND HE WENT ON, AND HE DIDN'T
MAKE IT AT ALL.
694
00:34:14,619 --> 00:34:17,721
NOBODY UNDERSTOOD.
THEY DIDN'T GET IT.
695
00:34:17,856 --> 00:34:19,067
AND THEN JACK CAME OVER,
AND HE SAID,
696
00:34:19,091 --> 00:34:20,857
"SEE?
HE'S AN INDUSTRY!"
697
00:34:20,992 --> 00:34:23,660
THAT WAS THE FIRST THREE WORDS
JACK SAID
698
00:34:23,795 --> 00:34:25,495
WHEN HE CAME OFF THE STAGE.
699
00:34:25,630 --> 00:34:27,330
"HE'S AN INDUSTRY."
700
00:34:27,465 --> 00:34:29,933
Rollins: PRETTY SOON,
IT BECAME APPARENT
701
00:34:30,068 --> 00:34:33,303
THAT HE WAS A COMPLETELY UNIQUE
702
00:34:33,438 --> 00:34:37,807
NEW FACE AND A VOICE
ON THE SCENE.
703
00:34:37,942 --> 00:34:41,043
FOR THE FIRST YEAR OF MARRIAGE,
I HAD WHAT YOU WOULD CALL
704
00:34:41,179 --> 00:34:43,546
A BAD BASIC ATTITUDE
TOWARD MY WIFE.
705
00:34:43,681 --> 00:34:46,782
I TENDED TO PLACE MY WIFE
UNDERNEATH A PEDESTAL
706
00:34:46,918 --> 00:34:48,218
ALL THE TIME.
707
00:34:48,353 --> 00:34:51,421
AND WE USED TO ARGUE AND FIGHT,
708
00:34:51,556 --> 00:34:53,689
AND WE FINALLY DECIDED
THAT WE WOULD EITHER
709
00:34:53,825 --> 00:34:55,992
TAKE A VACATION IN BERMUDA
OR GET A DIVORCE,
710
00:34:56,128 --> 00:34:57,208
ONE OF THE TWO THINGS.
711
00:34:57,295 --> 00:34:59,629
AND WE DISCUSSED IT
VERY MATURELY,
712
00:34:59,764 --> 00:35:01,804
AND WE DECIDED FINALLY
ON THE DIVORCE,
713
00:35:01,833 --> 00:35:04,900
'CAUSE WE FELT THAT WE HAD
A LIMITED AMOUNT OF MONEY
714
00:35:05,036 --> 00:35:08,138
TO SPEND ON SOMETHING,
AND THAT A VACATION IN BERMUDA
715
00:35:08,273 --> 00:35:10,006
IS OVER IN TWO WEEKS, YOU KNOW,
716
00:35:10,142 --> 00:35:15,145
BUT A DIVORCE IS SOMETHING THAT
YOU ALWAYS HAVE, YOU KNOW, SO...
717
00:35:15,280 --> 00:35:17,125
BUT IT TURNS OUT,
IN NEW YORK STATE,
718
00:35:17,149 --> 00:35:18,314
THEY HAVE A VERY FUNNY LAW
719
00:35:18,450 --> 00:35:20,650
THAT SAYS YOU CAN'T GET
A DIVORCE
720
00:35:20,785 --> 00:35:23,052
UNLESS YOU CAN
PROVE ADULTERY.
721
00:35:23,188 --> 00:35:26,055
AND THAT'S VERY STRANGE, BECAUSE
THE TEN COMMANDMENTS SAY,
722
00:35:26,191 --> 00:35:28,035
"THOU SHALT NOT COMMIT
ADULTERY."
723
00:35:28,059 --> 00:35:31,594
BUT NEW YORK STATE
SAYS YOU HAVE TO.
724
00:35:39,938 --> 00:35:42,105
I SAID, "IT IS HARD FOR YOU?"
725
00:35:42,240 --> 00:35:45,108
HE SAID HE WAS SUFFERING
DOING THIS ACT.
726
00:35:45,243 --> 00:35:47,176
HE WAS NOT A PERFORMER, REALLY.
727
00:35:47,312 --> 00:35:49,779
HE VOMITED A FEW TIMES, HE SAID,
728
00:35:49,915 --> 00:35:53,349
WITHOUT ANY TRACE OF HUMOR
IN DELIVERING THAT LINE,
729
00:35:53,485 --> 00:35:54,984
THAT IT REALLY WAS HARD.
730
00:35:55,120 --> 00:35:59,622
Rollins: CHARLIE AND I
WOULD HAVE TO LITERALLY
731
00:35:59,757 --> 00:36:02,091
SHOVE HIM ONTO THE STAGE
732
00:36:02,227 --> 00:36:04,794
TO DO HIS LITTLE ACT.
733
00:36:04,930 --> 00:36:06,429
I KEPT SAYING, "I'M NOT FUNNY.
734
00:36:06,564 --> 00:36:07,564
"I'M NOT A COMIC.
735
00:36:07,633 --> 00:36:09,132
"I, YOU KNOW, I CAN'T DO THIS.
736
00:36:09,267 --> 00:36:11,334
"I HATE IT.
I DON'T LIKE THE HOURS.
737
00:36:11,469 --> 00:36:13,247
"I'M SHY,
AND, YOU KNOW, I DON'T LIKE
738
00:36:13,271 --> 00:36:14,916
STANDING
IN FRONT OF AN AUDIENCE."
739
00:36:14,940 --> 00:36:17,100
I MEAN, THERE WAS NOTHING
ABOUT IT I LIKED.
740
00:36:17,175 --> 00:36:18,219
I MEAN, I KEPT SAYING,
741
00:36:18,243 --> 00:36:19,854
"I WANT TO QUIT.
I WANT TO QUIT."
742
00:36:19,878 --> 00:36:22,679
AND JACK SAID, "GIVE IT A LITTLE
TIME, A LITTLE TIME."
743
00:36:22,814 --> 00:36:27,183
I THINK HIS COMMON SENSE TOLD
HIM THAT IF HE BREAKS THROUGH
744
00:36:27,319 --> 00:36:30,453
ON THE LEVEL OF THE PERFORMER,
745
00:36:30,588 --> 00:36:35,191
IT WILL BE A USEFUL
THING FOR HIM.
746
00:36:35,327 --> 00:36:38,495
AND THEN ONE NIGHT, HE JUST
BOUNDED UP ON THE STAGE,
747
00:36:38,630 --> 00:36:40,430
AND IT WAS WOODY.
748
00:36:40,565 --> 00:36:43,132
HE TOLD THE SAME JOKES,
AND THEY WORKED.
749
00:36:43,268 --> 00:36:46,969
AND THE AUDIENCE
REALLY LIKED IT.
750
00:36:47,105 --> 00:36:48,949
THE TELEPHONE COMPANY
HAS THIS SERVICE
751
00:36:48,973 --> 00:36:51,333
FOR EMOTIONALLY DISTURBED TYPES
CALLED DIAL-A-PRAYER.
752
00:36:53,478 --> 00:36:55,656
THEY HAVE A NUMBER THAT YOU DIAL
IF YOU ARE AN ATHEIST,
753
00:36:55,680 --> 00:36:58,814
AND YOU DON'T HEAR ANYTHING
ON THE OTHER END OF THE PHONE.
754
00:37:04,555 --> 00:37:07,023
WHEN WOODY WAS THERE
ABOUT FOUR OR SIX WEEKS,
755
00:37:07,158 --> 00:37:10,660
THERE WAS AN ARTICLE
IN THE TIMES SAYING,
756
00:37:10,795 --> 00:37:12,407
"YOU GOTTA COME DOWN
TO THE BITTER END.
757
00:37:12,431 --> 00:37:14,664
"YOU GOTTA SEE
THIS NEW PERFORMER.
758
00:37:14,799 --> 00:37:16,165
HE'S GREAT."
759
00:37:16,301 --> 00:37:17,667
AND HE RAVED ABOUT HIM.
760
00:37:17,803 --> 00:37:19,736
IT WAS THE FIRST GREAT REVIEW
761
00:37:19,871 --> 00:37:21,911
THAT WOODY GOT
FROM THE NEW YORK TIMES.
762
00:37:22,040 --> 00:37:23,740
I WAS REAL EXCITED ABOUT IT.
763
00:37:23,875 --> 00:37:25,586
THERE WERE LINES
OUTSIDE THE BLOCK
764
00:37:25,610 --> 00:37:27,788
THAT WENT ALL THE WAY DOWN
TO McDOUGAL STREET.
765
00:37:27,812 --> 00:37:30,713
NEWSPAPERS STARTED TO BECOME
INTERESTED IN ME
766
00:37:30,849 --> 00:37:33,349
AND SEND REPORTERS DOWN
TO DO STORIES,
767
00:37:33,485 --> 00:37:37,053
AND OTHER NIGHTCLUB OWNERS
WOULD COME AND WATCH
768
00:37:37,189 --> 00:37:39,389
AND BOOK ME FOR PLACES,
769
00:37:39,524 --> 00:37:41,369
AND TELEVISION PEOPLE
WOULD COME DOWN
770
00:37:41,393 --> 00:37:42,625
AND BOOK ME ON THE TV SHOWS.
771
00:37:42,760 --> 00:37:44,193
I WAS KIDNAPPED ONCE.
772
00:37:44,329 --> 00:37:45,761
LISTEN TO THIS STORY.
773
00:37:45,897 --> 00:37:49,299
I WAS STANDING BY MY SCHOOLYARD,
774
00:37:49,434 --> 00:37:54,137
AND A BLACK SEDAN PULLED UP,
AND TWO GUYS GOT OUT,
775
00:37:54,272 --> 00:37:56,317
AND THEY ASKED ME IF I WANTED TO
GO AWAY WITH THEM
776
00:37:56,341 --> 00:37:58,552
TO A LAND WHERE EVERYBODY WAS
FAIRIES AND ELVES AND...
777
00:37:58,576 --> 00:38:01,044
I COULD HAVE ALL THE COMIC BOOKS
I WANTED
778
00:38:01,179 --> 00:38:03,512
AND TOOTSIE ROLLS
AND CHOCOLATE BUTTONS
779
00:38:03,648 --> 00:38:06,916
AND WAX LIPS,
YOU KNOW AND...
780
00:38:07,052 --> 00:38:09,118
I SAID YES.
781
00:38:09,254 --> 00:38:10,431
I GOT INTO THEIR CAR WITH THEM,
782
00:38:10,455 --> 00:38:12,066
YOU KNOW, BECAUSE... I FIGURED,
"WHAT THE HECK?"
783
00:38:12,090 --> 00:38:14,824
YOU KNOW, I WAS HOME THAT
WEEKEND FROM COLLEGE ANYHOW.
784
00:38:19,464 --> 00:38:22,065
Rollins: HE HAD A HEAVY
TELEVISION EXPOSURE,
785
00:38:22,200 --> 00:38:27,837
AND THAT, OF COURSE, IS WHAT
BUILDS NATIONAL FIGURES.
786
00:38:33,444 --> 00:38:37,680
Allen: IN TERMS OF THOSE JOBS,
NOTHING WAS BENEATH ME.
787
00:38:37,815 --> 00:38:43,486
I BOXED A KANGAROO.
788
00:38:43,621 --> 00:38:47,323
I SANG "LITTLE SIR ECHO"
WITH A TALKING DOG.
789
00:38:47,458 --> 00:38:50,326
♪ LITTLE SIR ECHO,
HOW DO YOU DO? ♪
790
00:38:50,462 --> 00:38:51,494
♪ HELLO ♪
791
00:38:53,030 --> 00:38:54,730
♪ HELL... HELLO ♪
792
00:38:56,568 --> 00:38:59,335
HE SANG IN REHEARSAL.
793
00:38:59,471 --> 00:39:01,382
Allen: THIS WAS PART
OF JACK ROLLINS' GAME PLAN,
794
00:39:01,406 --> 00:39:03,406
'CAUSE JACK'S THEORY WAS
795
00:39:03,541 --> 00:39:06,175
TO SATURATE THE COUNTRY WITH ME
AS MUCH AS HE COULD
796
00:39:06,311 --> 00:39:09,078
SO... SO I WOULD BE
A HOUSEHOLD NAME.
797
00:39:09,214 --> 00:39:12,882
ONCE HE WAS ON A PRIME TIME SHOW
STARING PERRY COMO,
798
00:39:13,017 --> 00:39:15,718
AND IT WAS
A BIG PRODUCTION NUMBER,
799
00:39:15,854 --> 00:39:22,125
AND AS THE SCENE OPENED, "WOODY"
WAS SPELLED IN 15-FOOT LETTERS
800
00:39:22,260 --> 00:39:24,193
IN THE BACKGROUND, BACKLIGHTED,
801
00:39:24,329 --> 00:39:28,030
AND HE CAME ON IN TAILS
AND TWIRLING A CANE AND TOP HAT.
802
00:39:28,166 --> 00:39:29,632
AND I REMEMBER HIS SAYING,
803
00:39:29,767 --> 00:39:32,602
"I THOUGHT I WOULD HAVE
A HEART ATTACK BACKSTAGE
804
00:39:32,737 --> 00:39:34,370
BEFORE GOING ON."
805
00:39:34,506 --> 00:39:37,840
♪ NOW HERE YOU CERTAINLY ARE ♪
806
00:39:37,975 --> 00:39:40,976
♪ YES, NOW WHEN I DASH
ALONG THE BOULEVARD ♪
807
00:39:41,112 --> 00:39:44,214
Allen: AND I REMEMBER
THE COLUMNIST JACK O'BRIAN,
808
00:39:44,349 --> 00:39:47,650
WHO WAS A HUGE, HUGE SUPPORTER
OF MINE,
809
00:39:47,785 --> 00:39:51,321
HE SAID, "YOU KNOW, WE
ALWAYS USE SUPERLATIVES
810
00:39:51,456 --> 00:39:52,956
"WHEN WE WRITE ABOUT WOODY.
811
00:39:53,091 --> 00:39:55,591
"AND I'VE GOT TO SAY
HE IS THE WORST SINGER
812
00:39:55,726 --> 00:39:57,693
THAT I'VE EVER HEARD
IN MY LIFE."
813
00:39:57,829 --> 00:40:03,766
AND I'M SURE I WAS, BECAUSE...
BUT IT DIDN'T MATTER.
814
00:40:03,901 --> 00:40:08,537
THIS WAS ALL PART
OF WHAT JACK WANTED.
815
00:40:08,673 --> 00:40:15,011
HE WANTED ME TO SEEP
INTO THE PORES OF THE MULTITUDE.
816
00:40:15,146 --> 00:40:16,745
AND HE DID THAT FOR A FEW YEARS
817
00:40:16,881 --> 00:40:18,848
AND WAS MAKING GOOD SUCCESS
AT IT,
818
00:40:18,983 --> 00:40:20,728
AND HE BECAME VERY POPULAR
ON "THE TONIGHT SHOW."
819
00:40:20,752 --> 00:40:21,862
JOHNNY CARSON LOVED HIM.
820
00:40:21,886 --> 00:40:23,564
HE PERFORMED ON THERE
MANY TIMES,
821
00:40:23,588 --> 00:40:26,055
WAS THE GUEST HOST
ON A NUMBER OF OCCASIONS,
822
00:40:26,191 --> 00:40:28,168
AND THEN ALSO BEGAN APPEARING
WITH DICK CAVETT
823
00:40:28,192 --> 00:40:29,559
ON HIS SHOW ON ABC.
824
00:40:29,694 --> 00:40:32,094
AND WHAT'S WONDERFUL ABOUT THOSE
SHOWS WAS
825
00:40:32,230 --> 00:40:35,698
YOU COULD SEE THAT THE TWO OF
THEM KNEW AND LIKED EACH OTHER
826
00:40:35,834 --> 00:40:38,234
AND REALLY ENJOYED PLAYING OFF
THE OTHER.
827
00:40:38,370 --> 00:40:39,602
Cavett: I WOULD ALWAYS GRIN
828
00:40:39,738 --> 00:40:41,858
WHEN I COULD LOOK
AND SEE HIM IN THE WINGS
829
00:40:41,906 --> 00:40:43,050
ABOUT TO COME OUT,
'CAUSE I KNEW
830
00:40:43,074 --> 00:40:44,118
WE WERE
GOING TO HAVE FUN.
831
00:40:44,142 --> 00:40:46,809
AND HE DID SEEM TO ENJOY DOING
THE SHOW.
832
00:40:56,154 --> 00:40:57,887
ALL RIGHT.
833
00:40:58,023 --> 00:41:02,125
Cavett: WOODY'S IMPROV SKILL
DESERVES TO BE LEGENDARY.
834
00:41:02,260 --> 00:41:05,195
AND ON THE AIR I WOULD THROW
SOMETHING AT WOODY
835
00:41:05,330 --> 00:41:08,531
AND DARE HIM TO GIVE EXAMPLES
OF SOMETHING,
836
00:41:08,666 --> 00:41:11,267
AND HE WOULD INSTANTLY GO INTO
SOMETHING THAT RANKED
837
00:41:11,402 --> 00:41:12,836
WITH THE VERY BEST OF
838
00:41:12,971 --> 00:41:15,438
SECOND CITY'S VAUNTED
IMPROVISERS.
839
00:41:15,573 --> 00:41:16,884
THE IN...
THE BRITISH IN INDIA
840
00:41:16,908 --> 00:41:18,285
INVENTED THE GAME
CALLED POONA.
841
00:41:18,309 --> 00:41:20,509
AH, I'VE PLAYED IT.
842
00:41:20,645 --> 00:41:22,356
Cavett: WELL, THEN GOOD,
BECAUSE THE QUESTION IS,
843
00:41:22,380 --> 00:41:25,715
IS THE GAME STILL PLAYED?
AND IF SO, HOW?
844
00:41:25,850 --> 00:41:30,119
UM, IT REQUIRES TWO CONSENTING
ADULTS TO PLAY THE GAME.
845
00:41:31,456 --> 00:41:35,291
AND ONE IS THE POONER,
AND ONE IS THE POONEE.
846
00:41:40,932 --> 00:41:42,076
Cavett:
I DON'T KNOW
847
00:41:42,100 --> 00:41:43,410
IF WE NEED TO GO ON
WITH THIS OR NOT.
848
00:41:43,434 --> 00:41:44,700
YOU SPIN A DIAL,
849
00:41:44,836 --> 00:41:48,204
AND YOU CAN ADVANCE
TWO SQUARES IF YOU LIKE,
850
00:41:48,339 --> 00:41:50,773
AND YOU HAVE TO YELL OUT,
"POONEE! POONEE!"
851
00:41:50,909 --> 00:41:52,775
AND THEN THEY GIVE YOU
PAPER MONEY,
852
00:41:52,911 --> 00:41:54,277
OR "SCRIPT," AS IT'S CALLED.
853
00:41:54,412 --> 00:41:57,613
AND THEN YOU SMEAR BUTTER ON
THE PERSON YOU'RE PLAYING WITH
854
00:41:57,748 --> 00:42:00,349
AND RECITE THE WORD "NUTMEG"
SEVEN TIMES.
855
00:42:00,484 --> 00:42:02,830
Cavett:
THAT'S UNCANNY.
856
00:42:02,854 --> 00:42:07,656
YES. FIRST ONE TO REACH THE...
THE POONATORIUM IS THE WINNER.
857
00:42:10,394 --> 00:42:11,872
Cavett:
IT WAS JUST BRILLIANT,
858
00:42:11,896 --> 00:42:14,663
AND HE COULD DO THAT
ANYWHERE, ANYTIME.
859
00:42:14,799 --> 00:42:17,166
Man: WHO WAS THE FIRST
MOVIE STAR THAT YOU MET?
860
00:42:17,302 --> 00:42:18,434
CAN YOU REMEMBER?
861
00:42:18,569 --> 00:42:20,103
UH, YES.
862
00:42:20,238 --> 00:42:22,505
I MET TRIGGER,
863
00:42:22,640 --> 00:42:26,575
WHO WAS ROY ROGERS' HORSE,
AT A PARTY.
864
00:42:26,711 --> 00:42:28,722
ACTUALLY, I PICKED HIM UP
AT A PARTY,
865
00:42:28,746 --> 00:42:31,214
AND WE HAD AN ONGOING
RELATIONSHIP
866
00:42:31,349 --> 00:42:32,882
FOR TWO YEARS AFTER THAT,
867
00:42:33,018 --> 00:42:35,451
WHICH I'M VERY PROUD OF.
868
00:42:35,586 --> 00:42:37,098
Man: DID YOU EVER MEET
ROY ROGERS AT THAT TIME?
869
00:42:37,122 --> 00:42:39,133
NO, I HAD NO INTEREST
IN MEETING ROY ROGERS.
870
00:42:39,157 --> 00:42:44,693
BUT I LOVED LIVING
WITH HIS HORSE.
871
00:42:44,829 --> 00:42:46,662
Man:
BUT WHAT ABOUT THE SMELL?
872
00:42:46,798 --> 00:42:50,699
HE DIDN'T MIND
THAT SO MUCH.
873
00:42:50,835 --> 00:42:52,068
THERE WAS ONE TIME
874
00:42:52,203 --> 00:42:54,304
I HAD A SHOW
THAT WAS MOSTLY WOODY,
875
00:42:54,439 --> 00:42:57,640
AND THEN THE GREAT RUTH GORDON
CAME OUT, IN HER 70s.
876
00:42:57,776 --> 00:43:01,477
AND AS A SURPRISE,
GINA LOLLOBRIGIDA APPEARED,
877
00:43:01,613 --> 00:43:03,212
LOOKING GLAMOROUS.
878
00:43:03,347 --> 00:43:04,992
DO YOU KNOW
MR. ALLEN?
HE'S VERY FUNNY.
879
00:43:05,016 --> 00:43:06,456
THANK YOU.
I WAS JUST FIGURING OUT...
880
00:43:08,819 --> 00:43:10,920
I WAS JUST SITTING HERE
TRYING TO FIGURE WHICH...
881
00:43:11,055 --> 00:43:12,099
HOW WE GOING TO
SPLIT 'EM UP,
882
00:43:12,123 --> 00:43:13,483
YOU KNOW...
WHO GETS WHICH ONE?
883
00:43:16,795 --> 00:43:20,529
HOW WOODY GOT INTO THE MOVIES
WAS, WHEN HE WAS PLAYING
884
00:43:20,665 --> 00:43:25,701
THE BLUE ANGEL, WE HAD A LOT
STARS COME IN TO SEE HIM.
885
00:43:25,836 --> 00:43:30,473
SHIRLEY MacLAINE BROUGHT IN
A FRIEND OF HERS,
886
00:43:30,608 --> 00:43:32,074
CHARLES K. FELDMAN,
887
00:43:32,209 --> 00:43:34,310
WHO WAS ONE OF THE ALL-TIME
888
00:43:34,445 --> 00:43:37,346
HOLLYWOOD MOTION PICTURE
PRODUCERS.
889
00:43:37,481 --> 00:43:39,515
SO THE GREAT CHARLES K. FELDMAN
890
00:43:39,650 --> 00:43:42,051
WAS VERY TAKEN
WITH WOODY'S WORK,
891
00:43:42,187 --> 00:43:43,419
YOU KNOW, WISELY.
892
00:43:43,555 --> 00:43:47,290
AND THE NEXT THING I KNEW,
MONDAY MORNING,
893
00:43:47,425 --> 00:43:52,794
THEY OFFERED ME $20,000 TO WRITE
894
00:43:52,930 --> 00:43:55,564
THE SCRIPT
OF "WHAT'S NEW PUSSYCAT?"
895
00:43:55,700 --> 00:43:59,168
I WROTE IT AND WROTE A SMALL
PART FOR MYSELF IN IT.
896
00:43:59,303 --> 00:44:01,537
Rollins: THAT WAS
HIS FIRST ENTRANCE
897
00:44:01,673 --> 00:44:03,706
INTO MOTION PICTURE WORLD.
898
00:44:07,111 --> 00:44:08,244
YEAH.
899
00:44:08,380 --> 00:44:09,500
ABSINTHE.
COFFEE.
900
00:44:09,614 --> 00:44:12,114
MINERAL WATER.
901
00:44:12,250 --> 00:44:13,415
DID YOU FIND A JOB?
902
00:44:13,551 --> 00:44:15,930
YEAH, I GOT SOMETHING
AT THE STRIPTEASE.
903
00:44:15,954 --> 00:44:17,765
I HELP THE GIRLS DRESS
AND UNDRESS.
904
00:44:17,789 --> 00:44:19,054
NICE JOB.
905
00:44:19,190 --> 00:44:20,433
20 FRANCS A WEEK.
906
00:44:20,457 --> 00:44:21,757
NOT VERY MUCH.
907
00:44:21,892 --> 00:44:24,393
IT'S ALL I CAN AFFORD.
908
00:44:24,529 --> 00:44:29,765
THEY HIRED A VERY LOVELY
DIRECTOR, CLIVE DONNER,
909
00:44:29,900 --> 00:44:33,035
A VERY NICE MAN
AND GOOD DIRECTOR, TO DO IT,
910
00:44:33,171 --> 00:44:35,704
BUT THE STUDIO
WOULD NOT LEAVE HIM ALONE.
911
00:44:35,840 --> 00:44:38,407
THEY HAD THEIR HAND
IN EVERY PIE,
912
00:44:38,542 --> 00:44:44,680
AND SO THEY WERE TAKING
MY SCRIPT AND MANGLING IT.
913
00:44:44,815 --> 00:44:46,626
THERE ARE PLACES WHERE WOODY
SHINES THROUGH,
914
00:44:46,650 --> 00:44:49,952
BUT HIS WORK, WHICH HAD ALWAYS
BEEN SUCCESSFUL,
915
00:44:50,087 --> 00:44:52,165
WAS SUDDENLY IN THE HANDS
OF SOMEONE ELSE.
916
00:44:52,189 --> 00:44:56,793
HE HAD NO LEVERAGE WHATSOEVER
IN WHAT WENT ON.
917
00:44:56,928 --> 00:45:00,395
AND HE FOUND THAT THE SCRIPT
THAT HE HAD PRESENTED
918
00:45:00,531 --> 00:45:02,899
HAD TURNED INTO THIS ANTIC FARCE
THAT WAS JUST REALLY
919
00:45:03,034 --> 00:45:05,634
THE ANTITHESIS
OF WOODY'S COMEDY.
920
00:45:05,770 --> 00:45:10,072
I HAVE OFTEN SAID THAT
IF I COULD'VE DIRECTED THAT,
921
00:45:10,207 --> 00:45:12,408
YOU KNOW, IT WOULD'VE BEEN
922
00:45:12,544 --> 00:45:15,645
A MUCH, MUCH, MUCH FUNNIER
PICTURE
923
00:45:15,780 --> 00:45:18,314
BUT MADE MUCH LESS MONEY.
924
00:45:18,450 --> 00:45:20,026
THE FILM WAS SO FINANCIALLY
SUCCESSFUL
925
00:45:20,050 --> 00:45:21,228
THAT I THINK IT WAS
THE GREATEST,
926
00:45:21,252 --> 00:45:24,420
BIGGEST-GROSSING COMEDY
TO THAT DATE.
927
00:45:24,555 --> 00:45:26,834
IT WAS A BORING PICTURE,
AS I RECALL.
928
00:45:26,858 --> 00:45:28,157
Man:
I RATHER ENJOYED IT.
929
00:45:28,292 --> 00:45:29,572
YES, BUT YOU'RE MISTAKEN.
930
00:45:29,694 --> 00:45:31,127
CHARLIE JOFFE KEPT SAYING,
931
00:45:31,262 --> 00:45:32,506
"YOU KNOW, SETTLE DOWN,
SETTLE DOWN.
932
00:45:32,530 --> 00:45:33,607
"YOU'RE ACTING IN A MOVIE,
933
00:45:33,631 --> 00:45:34,841
"YOU'RE GETTING YOUR CREDIT
ON THIS,
934
00:45:34,865 --> 00:45:36,476
YOU'RE GOING TO BE ABLE
TO GO FORWARD FROM THIS."
935
00:45:36,500 --> 00:45:38,012
Joffe: I KNEW WOODY
WAS GOING TO CONTINUE
936
00:45:38,036 --> 00:45:41,437
TO MAKE FILMS
AFTER THAT EXPERIENCE.
937
00:45:41,573 --> 00:45:45,107
AND I KNEW IT WAS NOT
GOING TO BE FOR CHARLES FELDMAN.
938
00:45:45,243 --> 00:45:47,053
I MEAN, I DIDN'T EVEN GO
SEE IT.
939
00:45:47,077 --> 00:45:49,746
I JUST WAS SO ANGRY
AT THE WHOLE THING,
940
00:45:49,881 --> 00:45:52,314
VOWED NEVER TO WORK
IN MOVIES AGAIN
941
00:45:52,450 --> 00:45:53,730
UNLESS I COULD BE THE DIRECTOR.
942
00:45:53,818 --> 00:45:56,018
AND HAVE CONTROL,
NOT JUST THE DIRECTOR.
943
00:45:56,153 --> 00:45:58,421
AND THE GREAT LESSON THAT CAME
OUT OF THAT
944
00:45:58,556 --> 00:46:00,367
WAS THE SENSE OF,
NOBODY WAS EVER
945
00:46:00,391 --> 00:46:02,303
GOING TO MESS WITH HIS STUFF
AGAIN.
946
00:46:02,327 --> 00:46:03,960
THE NEXT THING I DID WAS,
947
00:46:04,095 --> 00:46:07,130
I WROTE A SCRIPT WITH
MY SCHOOL FRIEND, MICKEY ROSE.
948
00:46:07,265 --> 00:46:08,597
FOR "TAKE THE MONEY AND RUN."
949
00:46:08,733 --> 00:46:13,936
THE ONLY WAY I WANTED TO GET IT
ON WAS ME DIRECTING THAT.
950
00:46:14,072 --> 00:46:15,983
AT THAT TIME, I KNEW NOTHING
ABOUT PRODUCING,
951
00:46:16,007 --> 00:46:20,676
SO I WANTED TO LEARN TO DO IT
SO WE COULD CONTROL IT.
952
00:46:20,811 --> 00:46:24,846
KEEP THE CONTROL AS CLOSE TO US
AS WE COULD.
953
00:46:24,982 --> 00:46:28,351
AND JACK WAS INSTRUMENTAL
IN MAKING A DEAL FOR HIM
954
00:46:28,486 --> 00:46:31,821
AFTER THAT, WHERE HE DIDN'T
SPEND A LOT OF MONEY,
955
00:46:31,956 --> 00:46:33,689
BUT HE HAD CONTROL OF THE FILM.
956
00:46:33,825 --> 00:46:37,360
Rollins: WE SOLD 'EM THE IDEA
THAT IF YOU WANT WOODY,
957
00:46:37,495 --> 00:46:40,062
YOU MUST UNDERSTAND HOW TO WORK
WITH HIM,
958
00:46:40,198 --> 00:46:43,399
WHICH IS, LEAVE HIM ALONE.
959
00:46:43,535 --> 00:46:46,769
HE'S DOING THE MOVIE,
AND HE'S DOING IT HIS WAY,
960
00:46:46,904 --> 00:46:49,639
AND NOBODY IS
GOING TO ASK QUESTIONS,
961
00:46:49,774 --> 00:46:51,385
AND NOBODY IS GOING TO INTERFERE
WITH HIM
962
00:46:51,409 --> 00:46:54,276
AND GET HIM TRIPPED UP
IN ANY WAY.
963
00:46:54,412 --> 00:46:57,012
HE WANTS NO CONTACT
WITH ANYBODY.
964
00:46:57,148 --> 00:47:00,183
THAT'S WHAT WE GOT
IN OUR CONTRACT.
965
00:47:05,857 --> 00:47:10,026
HE WAS GOING THE NEXT DAY
TO DIRECT HIS VERY FIRST THING,
966
00:47:10,161 --> 00:47:11,693
AND HE WAS NERVOUS ABOUT IT.
967
00:47:11,829 --> 00:47:14,296
AND I WALK INTO THE BEDROOM,
AND HE'S SITTING ON THE BED,
968
00:47:14,432 --> 00:47:16,965
YOU KNOW, WITH LEGS UP,
HOW YOU SIT ON THE BED AND READ?
969
00:47:17,101 --> 00:47:22,438
AND ON THE FRONT OF THE BOOK
IT SAYS, "HOW TO DIRECT."
970
00:47:22,573 --> 00:47:25,441
I DIDN'T KNOW THE FIRST THING
ABOUT FILMMAKING OR...
971
00:47:25,576 --> 00:47:26,587
NOT THE FIRST THING.
972
00:47:26,611 --> 00:47:27,476
I KNEW THIS, THOUGH,
973
00:47:27,612 --> 00:47:28,977
THAT IT WAS GOING TO BE
974
00:47:29,113 --> 00:47:30,879
A PSEUDO-DOCUMENTARY IN STYLE.
975
00:47:31,014 --> 00:47:34,283
SO I HAD A STRUCTURE TO HANG ON
TO RIGHT FROM THE START.
976
00:47:34,418 --> 00:47:37,019
Narrator: VIRGIL STEALS
TO PAY FOR CELLO LESSONS.
977
00:47:37,154 --> 00:47:39,955
AND ALTHOUGH HE DOES NOT ACHIEVE
GREATNESS ON THE INSTRUMENT,
978
00:47:40,091 --> 00:47:43,125
HE IS SOON GOOD ENOUGH
TO PLAY IN A LOCAL BAND.
979
00:47:54,505 --> 00:47:56,004
David: "TAKE THE MONEY AND RUN,"
980
00:47:56,140 --> 00:47:58,373
I SAW WHEN I WAS IN THE ARMY.
981
00:47:58,509 --> 00:48:00,276
IT WAS PLAYING ON THE BASE.
982
00:48:00,411 --> 00:48:02,978
AND, OF COURSE, I HAD JUST BEEN
THROUGH LIKE THE WORST HELL
983
00:48:03,114 --> 00:48:04,658
I'D EVER BEEN THROUGH
IN MY LIFE.
984
00:48:04,682 --> 00:48:05,948
LIKE SIX, I CAN'T EVEN...
985
00:48:06,084 --> 00:48:07,594
LIKE, THEY WERE FIRING BULLETS
OVER MY HEAD,
986
00:48:07,618 --> 00:48:09,930
I WAS CRAWLING ON THE GROUND,
I WAS IN BASIC TRAINING.
987
00:48:09,954 --> 00:48:12,588
SO, ALL OF A SUDDEN,
WE GET THIS BREAK
988
00:48:12,723 --> 00:48:13,989
THAT WE CAN GO TO THE MOVIES.
989
00:48:14,125 --> 00:48:17,293
YOU KNOW, AFTER BEING
IN THE ARMY
990
00:48:17,428 --> 00:48:18,628
AND GOING TO SEE THAT MOVIE,
991
00:48:18,729 --> 00:48:20,829
IT WAS THE MOST EXHILARATING,
992
00:48:20,965 --> 00:48:23,665
AMAZING EXPERIENCE
TO JUST BE ABLE
993
00:48:23,801 --> 00:48:25,379
TO SIT THERE
AND LAUGH LIKE THAT
994
00:48:25,403 --> 00:48:27,347
AFTER THE HELL
THAT I'D BEEN THROUGH.
995
00:48:27,371 --> 00:48:30,406
AND I ALWAYS THOUGHT THAT,
"OH, BOY."
996
00:48:30,541 --> 00:48:33,075
AND I THOUGHT, "BOY, I GOT
A CONNECTION TO THIS GUY."
997
00:48:38,949 --> 00:48:40,949
WHAT DOES THIS SAY?
998
00:48:41,084 --> 00:48:44,152
AHEM...
CAN'T YOU READ THAT?
999
00:48:44,288 --> 00:48:45,787
I CAN'T READ THIS.
1000
00:48:45,923 --> 00:48:47,022
WHAT'S THIS?
1001
00:48:47,158 --> 00:48:48,158
"ACT NATURAL"?
1002
00:48:48,259 --> 00:48:50,559
NO, IT SAYS,
1003
00:48:50,694 --> 00:48:52,172
"PLEASE PUT $50,000
INTO THIS BAG
1004
00:48:52,196 --> 00:48:53,595
AND ACT NATURAL."
1005
00:48:53,731 --> 00:48:55,276
Man:
IT DOES SAY "ACT NATURAL."
1006
00:48:55,300 --> 00:48:59,635
"I AM POINTING A GUN AT YOU."
1007
00:48:59,770 --> 00:49:01,437
THAT LOOKS LIKE "GUB."
1008
00:49:01,572 --> 00:49:03,705
THAT DOESN'T LOOK LIKE "GUN."
1009
00:49:03,841 --> 00:49:05,052
NO, IT'S "GUN."
1010
00:49:05,076 --> 00:49:06,275
NO, THAT'S "GUB."
1011
00:49:06,411 --> 00:49:07,276
THAT'S A "B."
1012
00:49:07,412 --> 00:49:08,555
NO.
SEE, THAT'S AN "N."
1013
00:49:08,579 --> 00:49:09,790
IT'S G-U-N.
1014
00:49:09,814 --> 00:49:10,857
IT'S "GUN."
1015
00:49:10,881 --> 00:49:13,049
GEORGE, WOULD YOU
1016
00:49:13,184 --> 00:49:14,817
STEP OVER HERE A MOMENT,
PLEASE?
1017
00:49:14,952 --> 00:49:18,387
WHAT DOES THIS SAY?
1018
00:49:18,522 --> 00:49:21,890
"PLEASE PUT $50,000
1019
00:49:22,025 --> 00:49:24,037
INTO THIS BAG
AND 'ABT' NATURAL."
1020
00:49:24,061 --> 00:49:25,238
WHAT'S "ABT"?
1021
00:49:25,262 --> 00:49:26,729
IT'S "ACT."
1022
00:49:26,864 --> 00:49:29,765
DOES THIS... DOES THIS LOOK
LIKE "GUB" OR "GUN"?
1023
00:49:29,900 --> 00:49:31,299
"GUN."
1024
00:49:31,435 --> 00:49:32,501
SEE?
1025
00:49:32,636 --> 00:49:33,647
BUT WHAT'S "ABT" MEAN?
1026
00:49:33,671 --> 00:49:34,915
IT'S "ACT," A-C-T.
1027
00:49:34,939 --> 00:49:35,982
"ACT NATURAL."
1028
00:49:36,006 --> 00:49:38,319
PLEASE PUT $50,000
INTO THIS BAG.
1029
00:49:38,343 --> 00:49:39,453
ACT NATURAL.
1030
00:49:39,477 --> 00:49:41,677
OH, I SEE.
1031
00:49:41,813 --> 00:49:43,624
THIS IS A HOLDUP?
YES.
1032
00:49:43,648 --> 00:49:45,347
MAY I SEE YOUR GUN?
1033
00:49:45,482 --> 00:49:47,449
OH.
1034
00:49:50,287 --> 00:49:51,598
WELL, YOU'LL HAVE TO HAVE
THIS NOTE
1035
00:49:51,622 --> 00:49:53,789
INITIALED BY
ONE OF OUR VICE PRESIDENTS
1036
00:49:53,924 --> 00:49:55,624
BEFORE I CAN GIVE YOU ANY MONEY.
1037
00:49:57,528 --> 00:49:58,838
Maltin:
"TAKE THE MONEY AND RUN"
1038
00:49:58,862 --> 00:50:00,206
WAS FINANCED
BY PALOMAR PICTURES,
1039
00:50:00,230 --> 00:50:02,831
WHICH WAS A DIVISION
OF THE ABC TELEVISION NETWORK.
1040
00:50:02,966 --> 00:50:05,534
AND WHEN IT WAS FINISHED,
THE EXECUTIVES LOOKED AT IT
1041
00:50:05,670 --> 00:50:07,936
AND DIDN'T KNOW WHAT TO MAKE
OF THE FILM.
1042
00:50:08,071 --> 00:50:10,339
AND WOODY SAID
THAT WHEN HE WAS SCREENING
1043
00:50:10,474 --> 00:50:12,808
"TAKE THE MONEY AND RUN"
FOR THE EXECUTIVES
1044
00:50:12,944 --> 00:50:15,845
THAT AFTER 10 MINUTES
OF THE FIRST REEL,
1045
00:50:15,980 --> 00:50:17,791
ONE OF THE EXECUTIVES
LEANED TO HIM
1046
00:50:17,815 --> 00:50:20,182
AND SAID,
"IS THE REST LIKE THIS?"
1047
00:50:20,317 --> 00:50:23,151
WHEN WE SHOWED IT TO PALOMAR,
1048
00:50:23,287 --> 00:50:28,056
THEY SUGGESTED BRINGING IN
RALPH ROSENBLUM TO HELP ME.
1049
00:50:28,192 --> 00:50:30,693
RALPH WAS A WONDERFUL EDITOR.
1050
00:50:30,828 --> 00:50:32,027
AND HE CAME IN AND SAW IT
1051
00:50:32,162 --> 00:50:35,097
AND LOOKED AT ALL THE STUFF
I HAD TAKEN OUT
1052
00:50:35,232 --> 00:50:38,434
AND SAID, "YOU GOTTA PUT
ALL THAT STUFF BACK.
1053
00:50:38,569 --> 00:50:41,336
ALL THAT STUFF IS FUNNY.
WHY DID YOU TAKE IT OUT?"
1054
00:50:41,472 --> 00:50:42,737
AND I SAID, "WELL, YOU KNOW."
1055
00:50:42,873 --> 00:50:45,474
HE SAID, "YOU CAN'T GO, YOU
GOTTA GIVE IT A FIGHTING CHANCE.
1056
00:50:45,609 --> 00:50:48,243
"PUT IT IN, PUT A PIECE OF MUSIC
BEHIND IT.
1057
00:50:48,379 --> 00:50:51,613
SHOW IT TO AN AUDIENCE
OF PEOPLE."
1058
00:50:51,748 --> 00:50:54,749
SO WE DID, AND RALPH WAS RIGHT.
1059
00:50:54,885 --> 00:50:57,986
AND THE PICTURE
PLAYED VERY WELL.
1060
00:50:58,122 --> 00:51:04,059
AND IT OPENED AND WAS VERY
SUCCESSFUL, RIGHT OFF THE BAT.
1061
00:51:04,195 --> 00:51:06,295
AND THE FILM LAUNCHED MY CAREER.
1062
00:51:06,430 --> 00:51:09,965
SO FROM MY FIRST MOVIE ON,
"TAKE THE MONEY AND RUN,"
1063
00:51:10,101 --> 00:51:13,235
WHEN I CERTAINLY
HAD DONE NOTHING
1064
00:51:13,370 --> 00:51:15,604
TO EARN COMPLETE CONTROL,
NOTHING,
1065
00:51:15,740 --> 00:51:17,673
I HAD COMPLETE CONTROL,
1066
00:51:17,808 --> 00:51:19,586
AND HAVE NEVER DONE A MOVIE
IN MY LIFE
1067
00:51:19,610 --> 00:51:22,277
WHERE I DIDN'T HAVE
COMPLETE CONTROL OF IT.
1068
00:51:22,413 --> 00:51:25,581
WHEN WOODY SET HIS SIGHTS
ON PLAY WRITING,
1069
00:51:25,716 --> 00:51:27,794
HE ENJOYED GREAT SUCCESS WITH
HIS VERY FIRST STAGE COMEDY,
1070
00:51:27,818 --> 00:51:29,985
CALLED "DON'T DRINK THE WATER,"
ON BROADWAY,
1071
00:51:30,120 --> 00:51:32,488
STARRING LOU JACOBI,
WHO LATER TURNED UP
1072
00:51:32,623 --> 00:51:34,290
IN SOME OF HIS FILMS.
1073
00:51:34,425 --> 00:51:36,125
IT HAD A GOOD RUN.
1074
00:51:36,260 --> 00:51:38,338
AND IN IT, PLAYING
THE YOUNG ROMANTIC LEAD,
1075
00:51:38,362 --> 00:51:42,031
WAS AN ACTOR NAMED TONY ROBERTS
WHOM WOODY BEFRIENDED
1076
00:51:42,166 --> 00:51:44,900
AND ALSO CAST IN HIS NEXT PLAY,
1077
00:51:45,036 --> 00:51:47,903
WHICH WAS "PLAY IT AGAIN, SAM,"
IN WHICH WOODY STARRED.
1078
00:51:48,038 --> 00:51:50,372
♪ YOU MUST REMEMBER THIS ♪
1079
00:51:50,508 --> 00:51:52,675
Allen: IT WAS A LITTLE
1080
00:51:52,810 --> 00:51:56,512
STAGE PLAY THAT...
THAT I WROTE MANY YEARS AGO,
1081
00:51:56,647 --> 00:51:59,381
MOSTLY TO GIVE MYSELF
AN OPPORTUNITY
1082
00:51:59,517 --> 00:52:00,916
TO APPEAR ON STAGE.
1083
00:52:01,051 --> 00:52:02,228
THE FACT THAT THEY ASKED ME
1084
00:52:02,252 --> 00:52:03,997
TO PLAY THE MOVIE
A COUPLE YEARS LATER,
1085
00:52:04,021 --> 00:52:06,181
THAT WAS FINE AND A NICE
OPPORTUNITY FOR ME.
1086
00:52:06,223 --> 00:52:07,263
I WAS VERY FORTUNATE
1087
00:52:07,357 --> 00:52:09,525
THAT HERB ROSS DIRECTED IT
1088
00:52:09,660 --> 00:52:11,059
AND DID A VERY GOOD JOB ON IT.
1089
00:52:11,194 --> 00:52:12,861
I'M 29.
1090
00:52:12,997 --> 00:52:15,731
THE HEIGHT OF MY SEXUAL POTENCY
WAS TEN YEARS AGO.
1091
00:52:15,866 --> 00:52:17,365
OH, ALLEN,
1092
00:52:17,501 --> 00:52:18,745
LOOK AT THE BRIGHT SIDE.
1093
00:52:18,769 --> 00:52:19,979
YOU'RE FREE.
1094
00:52:20,003 --> 00:52:21,615
YOU'LL GO OUT.
THERE'LL BE GIRLS.
1095
00:52:21,639 --> 00:52:24,840
YOU'LL GO TO PARTIES AND HAVE
AFFAIRS WITH MARRIED WOMEN,
1096
00:52:24,975 --> 00:52:28,110
SEXUAL RELATIONS WITH GIRLS
OF EVERY RACE, CREED AND COLOR.
1097
00:52:30,013 --> 00:52:32,314
OH, YOU GET TIRED OF THAT.
1098
00:52:32,450 --> 00:52:34,610
BECAUSE WE WERE ACTING TOGETHER
IN THE PLAY,
1099
00:52:34,719 --> 00:52:39,355
WE BONDED, AND WE GOT TO BE
FRIENDS AND BECAME CLOSE.
1100
00:52:39,490 --> 00:52:42,991
AND OF COURSE, KEATON
WAS A LARGE PART OF THAT.
1101
00:52:43,127 --> 00:52:45,960
♪ THIS IS THE DAWNING
OF THE AGE OF AQUARIUS ♪
1102
00:52:46,096 --> 00:52:47,574
Roberts: DIANE HAD BEEN
IN "HAIR"
1103
00:52:47,598 --> 00:52:49,558
RIGHT BEFORE WE STARTED
REHEARSALS
1104
00:52:49,600 --> 00:52:51,032
FOR "PLAY IT AGAIN, SAM."
1105
00:52:51,168 --> 00:52:53,568
AND I WAS VERY IMPRESSED
WITH THAT.
1106
00:52:53,704 --> 00:52:57,306
I REMEMBER THAT DIANE
WAS THE ONLY ONE
1107
00:52:57,441 --> 00:53:00,041
WHO WOULDN'T TAKE OFF
HER CLOTHES.
1108
00:53:01,679 --> 00:53:03,590
I WAS SENT UP FOR
"PLAY IT AGAIN, SAM,"
1109
00:53:03,614 --> 00:53:06,682
AND I AUDITIONED, ALONG WITH A
LOT OF YOUNG NEW YORK ACTRESSES.
1110
00:53:06,817 --> 00:53:09,017
AND THAT'S WHAT I DID, I READ.
1111
00:53:09,152 --> 00:53:10,952
AND I GOT THE PART.
1112
00:53:11,087 --> 00:53:12,887
AT THE TIME, THEY WERE CONCERNED
1113
00:53:13,023 --> 00:53:16,758
BECAUSE I MIGHT BE TOO TALL
FOR WOODY.
1114
00:53:16,893 --> 00:53:19,428
SO I GOT UP ON STAGE AND WE DID
THAT BACK-TO-BACK THING
1115
00:53:19,564 --> 00:53:21,008
THAT KIDS DO AT BIRTHDAY
PARTIES,
1116
00:53:21,032 --> 00:53:24,132
AND WE WERE
JUST ABOUT THE SAME HEIGHT.
1117
00:53:24,268 --> 00:53:26,646
AND WE LOOKED AT A NUMBER
OF OTHER WOMEN DURING THE WEEK,
1118
00:53:26,670 --> 00:53:30,139
BUT KEATON WAS IN A CLASS
BY HERSELF.
1119
00:53:30,274 --> 00:53:31,985
Keaton: WHAT I REMEMBER
ABOUT WOODY
1120
00:53:32,009 --> 00:53:36,378
WAS THAT HE WAS SHORT,
AND HE WAS CUTE.
1121
00:53:36,514 --> 00:53:39,381
AND THAT'S WHAT I REMEMBERED
ABOUT WOODY ON THAT DAY,
1122
00:53:39,517 --> 00:53:42,651
WAS JUST THAT,
"OH, MY GOD, HE IS..."
1123
00:53:42,786 --> 00:53:46,622
I... YOU KNOW, I JUST HAD
A BIG CRUSH, INSTANTLY.
1124
00:53:46,757 --> 00:53:48,757
Roberts: THE THREE OF US
1125
00:53:48,893 --> 00:53:51,226
HAD A GOOD TIME TOGETHER.
1126
00:53:51,361 --> 00:53:52,481
WE GOT ALONG VERY WELL.
1127
00:53:52,596 --> 00:53:53,829
WE HAD A LOT OF FUN.
1128
00:53:53,964 --> 00:53:55,742
ONE OF THE THINGS
THAT I ALWAYS REMEMBER
1129
00:53:55,766 --> 00:53:57,243
IS THAT, YOU KNOW,
WOODY SEEMED TO HAVE
1130
00:53:57,267 --> 00:53:59,067
NO DISCIPLINE ONSTAGE.
1131
00:53:59,202 --> 00:54:02,771
AND HE WOULD SOMETIMES DO HIS
IMPRESSION OF JAMES EARL JONES
1132
00:54:02,906 --> 00:54:04,917
WHILE WE WERE SUPPOSED TO BE
DOING IT DURING A MATINEE,
1133
00:54:04,941 --> 00:54:07,843
AND I WOULD CRACK UP
AND DESTROY THE SCENE.
1134
00:54:07,978 --> 00:54:09,244
THAT WAS ALWAYS A LOT OF FUN,
1135
00:54:09,379 --> 00:54:11,579
AND WE WOULD HANG OUT
AND EAT DINNER TOGETHER,
1136
00:54:11,615 --> 00:54:13,359
AND THAT'S HOW I REALLY
GOT TO KNOW HIM.
1137
00:54:13,383 --> 00:54:17,553
MY GAME PLAN WAS REALLY
TO FORCE WOODY TO LIKE ME.
1138
00:54:17,688 --> 00:54:20,488
SO I WAS ALWAYS PLOTTING AND
SCHEMING ABOUT HOW HE COULD GROW
1139
00:54:20,624 --> 00:54:22,824
TO SEE ME
AS AN ATTRACTIVE WOMAN.
1140
00:54:22,959 --> 00:54:24,805
I WAS ALWAYS DIRECTING
MY ATTENTIONS
1141
00:54:24,829 --> 00:54:26,807
TO, "HOW CAN I MAKE HIM
LIKE ME MORE?"
1142
00:54:26,831 --> 00:54:30,032
NOW, TELL HER SHE HAS
THE MOST IRRESISTIBLE EYES
1143
00:54:30,167 --> 00:54:33,301
YOU'VE EVER SEEN.
1144
00:54:33,437 --> 00:54:36,805
YOU HAVE THE MOST EYES
1145
00:54:36,940 --> 00:54:38,440
I'VE EVER SEEN ON ANY PERSON.
1146
00:54:38,576 --> 00:54:41,409
ALLEN, YOUR HAND
IS TREMBLING.
1147
00:54:41,545 --> 00:54:42,956
"THAT'S BECAUSE
YOU'RE NEAR."
1148
00:54:42,980 --> 00:54:43,980
PARDON ME?
1149
00:54:44,081 --> 00:54:47,482
TELL HER THAT.
1150
00:54:47,617 --> 00:54:48,817
THAT'S BECAUSE YOU'RE NEAR.
1151
00:54:50,120 --> 00:54:52,721
OH, YOU REALLY KNOW
WHAT TO SAY, DON'T YOU?
1152
00:54:52,856 --> 00:54:55,724
NOW, TELL HER THAT YOU'VE
MET A LOT OF DAMES,
1153
00:54:55,859 --> 00:54:58,727
BUT SHE IS REALLY
SOMETHING SPECIAL.
1154
00:54:58,862 --> 00:55:00,702
OH, THAT,
SHE WON'T BELIEVE.
1155
00:55:00,764 --> 00:55:02,697
OH, NO?
1156
00:55:02,833 --> 00:55:06,201
I HAVE MET A LOT OF DAMES,
1157
00:55:06,336 --> 00:55:10,839
BUT YOU ARE REALLY
SOMETHING SPECIAL.
1158
00:55:10,975 --> 00:55:12,140
REALLY?
1159
00:55:12,275 --> 00:55:13,976
SHE BOUGHT IT.
1160
00:55:14,111 --> 00:55:18,379
IT WAS OBVIOUS THAT HE WAS CRAZY
ABOUT HER, ON ALL LEVELS.
1161
00:55:18,515 --> 00:55:22,017
YOU COULD SEE THAT HAPPENING,
ABSOLUTELY,
1162
00:55:22,152 --> 00:55:25,487
ESPECIALLY WHEN I STOPPED
BEING ASKED TO DINNER.
1163
00:55:25,623 --> 00:55:29,457
SHE WAS ALWAYS BEAUTIFUL
AND INCREDIBLY GIFTED.
1164
00:55:29,593 --> 00:55:32,761
WE WENT OUT TOGETHER, AND WE
LIVED TOGETHER FOR A WHILE.
1165
00:55:32,896 --> 00:55:35,730
SHE'S REMAINED A VERY CLOSE
FRIEND OF MINE TO THIS DAY.
1166
00:55:35,866 --> 00:55:37,165
I WORKED IT, YOU KNOW.
1167
00:55:37,300 --> 00:55:39,445
I REALLY WORKED TRYING TO GET
HIM TO FALL IN LOVE WITH ME.
1168
00:55:39,469 --> 00:55:41,509
HE DIDN'T QUITE
FALL IN LOVE WITH ME,
1169
00:55:41,539 --> 00:55:42,771
BUT I WAS AROUND A LOT.
1170
00:55:42,907 --> 00:55:44,706
AND WE MADE A GOOD TEAM.
1171
00:55:44,842 --> 00:55:47,342
WE WERE A GOOD TEAM.
1172
00:55:47,477 --> 00:55:49,244
DAVID PICKER WAS PRESIDENT,
1173
00:55:49,379 --> 00:55:53,248
ARTHUR KRIM, CHAIRMAN OF
THE BOARD OF UNITED ARTISTS.
1174
00:55:53,383 --> 00:55:55,503
AND THIS MAN CAME
AND INTRODUCED HIMSELF.
1175
00:55:55,586 --> 00:55:57,352
IT WAS DAVID PICKER.
1176
00:55:57,487 --> 00:56:02,424
AND HE SAID, "I WANT WOODY TO
MAKE PICTURES FOR MY COMPANY."
1177
00:56:02,560 --> 00:56:03,759
I SAID, "GREAT."
1178
00:56:03,894 --> 00:56:05,260
HE SAID, "WHAT WILL IT TAKE?"
1179
00:56:05,395 --> 00:56:08,363
I SAID, "PUT $2 MILLION
IN A PAPER BAG,
1180
00:56:08,498 --> 00:56:13,936
GIVE IT TO US AND GO AWAY,
AND WE'LL BRING YOU A PICTURE."
1181
00:56:14,071 --> 00:56:16,404
AND I SAID,
"AND DO THAT THREE TIMES."
1182
00:56:16,540 --> 00:56:19,274
AND HE SAID, "YOU GOT A DEAL."
1183
00:56:19,410 --> 00:56:22,444
AND IT WAS THAT SIMPLE.
1184
00:56:22,580 --> 00:56:23,645
COME BACK, BACK, BACK.
1185
00:56:23,780 --> 00:56:25,947
MORE, MORE, MORE.
BACK, BACK.
1186
00:56:28,285 --> 00:56:29,829
I PLAY A CHARACTER WHO LIVES
IN NEW YORK
1187
00:56:29,853 --> 00:56:32,287
WHO WORKS AS A TESTER
OF PRODUCTS.
1188
00:56:32,423 --> 00:56:35,557
I TEST NEW PRODUCTS TO SEE
IF THEY'RE SAFE FOR THE PUBLIC.
1189
00:56:35,692 --> 00:56:37,704
Man: WE CAN SHOW YOU
HOW YOU TURN IT OUT.
1190
00:56:37,728 --> 00:56:39,840
WE CAN SHOW YOU HOW YOU
CAN SAVE MONEY...
1191
00:56:39,864 --> 00:56:42,330
OH, BOY, I'D LIKE
TO DO THAT OVER.
1192
00:56:42,465 --> 00:56:44,110
I GO TO A LATIN AMERICAN
COUNTRY,
1193
00:56:44,134 --> 00:56:46,254
AND THROUGH A CIRCUITOUS
SERIES OF EVENTS,
1194
00:56:46,303 --> 00:56:49,137
I BECOME THE LEADER OF THAT
COUNTRY DURING A REVOLUTION.
1195
00:56:50,607 --> 00:56:52,119
Allen: AND COME BACK
TO THE UNITED STATES,
1196
00:56:52,143 --> 00:56:56,678
BEARDED AND WELL-TANNED
AND EBULLIENT,
1197
00:56:56,814 --> 00:56:57,924
AND I GET INTO A LOT OF TROUBLE
1198
00:56:57,948 --> 00:56:59,359
WITH THE AMERICAN GOVERNMENT
AS A RESULT.
1199
00:56:59,383 --> 00:57:03,118
I AM MR. HERNANDEZ,
THE OFFICIAL INTERPRETER.
1200
00:57:03,253 --> 00:57:05,153
WELCOME TO
THE UNITED STATES.
1201
00:57:05,289 --> 00:57:06,921
WELCOME TO UNITED STATES.
1202
00:57:07,057 --> 00:57:08,168
THANK YOU.
1203
00:57:08,192 --> 00:57:09,424
THANK YOU.
1204
00:57:09,559 --> 00:57:10,570
DID YOU HAVE
A GOOD FLIGHT?
1205
00:57:10,594 --> 00:57:11,737
DID YOU HAVE A GOOD FLIGHT?
1206
00:57:11,761 --> 00:57:13,161
YES, I DID.
1207
00:57:13,297 --> 00:57:14,696
YES, I DID.
1208
00:57:14,831 --> 00:57:16,742
WOODY'S LOVE INTEREST
IN "BANANAS"
1209
00:57:16,766 --> 00:57:19,468
WAS HIS SECOND EX-WIFE,
LOUISE LASSER...
1210
00:57:19,603 --> 00:57:21,437
A VERY FUNNY WOMAN.
1211
00:57:21,572 --> 00:57:24,706
THEY WERE MARRIED
ON GROUNDHOG'S DAY IN 1966,
1212
00:57:24,841 --> 00:57:27,709
BUT BY THE TIME THEY GOT
TO MAKING THE MOVIE,
1213
00:57:27,844 --> 00:57:29,378
THEY WERE STILL FRIENDS,
1214
00:57:29,513 --> 00:57:31,090
BUT THEY HAD BEEN DIVORCED
FOR SOME TIME.
1215
00:57:31,114 --> 00:57:36,651
FOR ME, LOUISE WAS SOMETHING
THAT STEPPED OUT OF A FANTASY.
1216
00:57:36,786 --> 00:57:37,886
HI.
1217
00:57:38,021 --> 00:57:40,955
Allen: SHE WAS A BEAUTIFUL
YOUNG GIRL, VERY GIFTED.
1218
00:57:41,091 --> 00:57:43,158
IT WAS JUST OVERWHELMING TO ME.
1219
00:57:43,294 --> 00:57:45,794
SHE WAS SUCH
A CAPTIVATING FIGURE.
1220
00:57:45,930 --> 00:57:46,970
SHE WAS VERY FUNNY.
1221
00:57:47,030 --> 00:57:48,129
SHE HAD A NICE LAUGH.
1222
00:57:48,264 --> 00:57:49,344
SHE WAS PRETTY, SEXY,
1223
00:57:49,466 --> 00:57:52,233
AND SHE, YOU KNOW, WAS PERFECT.
1224
00:57:52,368 --> 00:57:54,448
YOU KNOW, I WAS JUST SAYING
TO SOMEONE THE OTHER DAY
1225
00:57:54,505 --> 00:57:56,016
THAT THE SCANDINAVIANS
SEEM TO HAVE
1226
00:57:56,040 --> 00:57:57,960
SUCH AN INSTINCTIVE FEEL
FOR THE HUMAN CONDITION.
1227
00:57:58,075 --> 00:58:00,342
IT'S VERY WISE, YOU KNOW.
1228
00:58:00,477 --> 00:58:02,744
THAT'S... I THINK, PITHY.
1229
00:58:02,879 --> 00:58:06,081
OH, WELL, IT WAS PITHY.
1230
00:58:06,216 --> 00:58:09,584
IT HAD GREAT PITH.
1231
00:58:09,719 --> 00:58:10,919
YETH.
1232
00:58:11,054 --> 00:58:12,254
PITH.
1233
00:58:12,389 --> 00:58:13,422
PITH.
1234
00:58:13,557 --> 00:58:14,722
Lasser: I REMEMBER
1235
00:58:14,858 --> 00:58:17,003
I HAD PERIODS OF TIME
WHERE I COULDN'T SLEEP.
1236
00:58:17,027 --> 00:58:19,961
AND I WOULD GET, LIKE,
REALLY BORED.
1237
00:58:20,096 --> 00:58:22,731
I WOULD GO CRAZY,
AND HE WOULD JUST SLEEP.
1238
00:58:22,866 --> 00:58:25,567
AND I WOULD THINK,
"I CAN'T BELIEVE THIS.
1239
00:58:25,702 --> 00:58:31,640
"HERE, I'M WITH AMERICA'S
FOREMOST HUMORIST,
1240
00:58:31,775 --> 00:58:35,176
AND I CAN'T SLEEP,
AND I'M BORED," LIKE THAT.
1241
00:58:35,311 --> 00:58:37,746
AND I WOULD JUST NUDGE HIM
AND GO, YOU KNOW,
1242
00:58:37,881 --> 00:58:40,582
"WOODY, WOODY, WAKE UP,
I'M BORED.
1243
00:58:40,717 --> 00:58:42,083
SAY SOMETHING FUNNY."
1244
00:58:42,218 --> 00:58:44,753
WE NEVER WORKED TOGETHER
WHILE WE WERE MARRIED,
1245
00:58:44,889 --> 00:58:50,092
BECAUSE WE FELT THAT IT WOULD
RUIN THE MARRIAGE.
1246
00:58:51,695 --> 00:58:55,129
SO, NOW THAT WE'VE BEEN
DIVORCED FOR A YEAR,
1247
00:58:55,265 --> 00:58:57,009
WE FELT THAT WE
COULD WORK TOGETHER,
1248
00:58:57,033 --> 00:58:58,878
AND, OF COURSE,
I GOT HER MUCH CHEAPER.
1249
00:59:00,103 --> 00:59:01,514
I LOVE YOU.
I LOVE YOU.
1250
00:59:01,538 --> 00:59:02,671
OH, SAY IT IN FRENCH.
1251
00:59:02,806 --> 00:59:04,338
OH, PLEASE, SAY IT IN FRENCH.
1252
00:59:04,474 --> 00:59:05,585
I DON'T KNOW FRENCH.
1253
00:59:05,609 --> 00:59:07,576
OH, PLEASE?
PLEASE?
1254
00:59:07,711 --> 00:59:08,855
WHAT ABOUT HEBREW?
1255
00:59:08,879 --> 00:59:09,945
OH.
1256
00:59:10,080 --> 00:59:14,549
IF I HAD TO PICK, PERSONALLY,
THE FUNNIEST ONE,
1257
00:59:14,684 --> 00:59:16,284
I WOULD PICK "BANANAS."
1258
00:59:17,788 --> 00:59:21,222
Man: READY, AIM, FIRE.
1259
00:59:24,027 --> 00:59:25,027
OH, LET'S SEE.
1260
00:59:25,095 --> 00:59:28,530
21.
WHO HAS 21?
1261
00:59:31,334 --> 00:59:35,237
Man: READY, AIM, FIRE.
1262
00:59:35,372 --> 00:59:36,983
IN DECEMBER, I'M GOING TO GO
INTO PRODUCTION
1263
00:59:37,007 --> 00:59:38,407
WITH A FILM THAT I WROTE
1264
00:59:38,542 --> 00:59:40,108
BASED ON DR. REUBEN'S BOOK,
1265
00:59:40,243 --> 00:59:42,055
"EVERYTHING YOU ALWAYS WANTED TO
KNOW ABOUT SEX,
1266
00:59:42,079 --> 00:59:43,778
BUT WE'RE AFRAID TO ASK."
1267
00:59:43,914 --> 00:59:45,792
I'VE WRITTEN A SCRIPT
THAT CAN ONLY BE DESCRIBED
1268
00:59:45,816 --> 00:59:49,017
AS RABELAISIAN AND...
1269
00:59:49,152 --> 00:59:50,530
Cavett: WHAT WOULD BE
ANOTHER WORD FOR IT?
1270
00:59:50,554 --> 00:59:51,720
UH, TRASHY.
1271
00:59:53,057 --> 00:59:54,923
IT'S AN EXPLORATION
OF THE INS
1272
00:59:55,058 --> 00:59:56,925
AND OUTS,
EVERY LITTLE NOOK
1273
00:59:57,060 --> 01:00:00,862
AND CRANNY OF OUR
SEXUAL MOTIVATIONS
1274
01:00:00,997 --> 01:00:03,365
AND INTERESTS,
AND GRAPHICALLY ILLUSTRATED.
1275
01:00:03,500 --> 01:00:04,932
IT WOULD BE SEXUAL RELATIONS
1276
01:00:05,068 --> 01:00:07,169
IF THE MARX BROTHERS
WERE DOING THEM.
1277
01:00:07,304 --> 01:00:11,840
HEY! WE'RE GOING TO
MAKE BABIES!
1278
01:00:14,911 --> 01:00:15,777
HERE WE GO AGAIN!
1279
01:00:15,912 --> 01:00:17,045
I'M NOT GOING OUT THERE!
1280
01:00:17,181 --> 01:00:19,292
I'M NOT GONNA GET
SHOT OUT OF THAT THING.
1281
01:00:19,316 --> 01:00:20,515
WHAT IF HE'S MASTURBATING?
1282
01:00:20,650 --> 01:00:22,628
I'M LIABLE TO WIND UP
ON THE CEILING.
1283
01:00:22,652 --> 01:00:23,518
NO.
1284
01:00:23,653 --> 01:00:25,287
Allen: BUT IN RETROSPECT,
1285
01:00:25,422 --> 01:00:27,100
I DON'T THINK
IT WAS A VERY GOOD IDEA,
1286
01:00:27,124 --> 01:00:28,284
AND WOULD NOT DO IT AGAIN.
1287
01:00:28,358 --> 01:00:30,236
IF I HAD IT TO DO OVER,
WOULD NOT DO IT AGAIN.
1288
01:00:30,260 --> 01:00:32,794
WOODY ALLEN WAS BUILDING
A FAN BASE AT THIS TIME
1289
01:00:32,930 --> 01:00:34,996
IN THE '70s,
BUT HE NEVER BECAME,
1290
01:00:35,132 --> 01:00:37,499
YOU KNOW, A HUGE
BOX OFFICE ATTRACTION.
1291
01:00:37,634 --> 01:00:38,667
BUT HE WAS CLEVER.
1292
01:00:38,802 --> 01:00:40,722
HE MADE HIS FILMS
ECONOMICALLY,
1293
01:00:40,837 --> 01:00:43,137
HE DIDN'T PAY HIMSELF
VERY MUCH AT ALL,
1294
01:00:43,273 --> 01:00:45,740
IF ANYTHING,
AND HE ADOPTED THE PHILOSOPHY
1295
01:00:45,875 --> 01:00:48,142
THAT IF HE MADE
THE FILMS ECONOMICALLY
1296
01:00:48,278 --> 01:00:49,844
AND THEY MADE EVEN ONE DOLLAR,
1297
01:00:49,979 --> 01:00:52,580
HE'D BE GIVEN THE GO-AHEAD
TO MAKE ANOTHER FILM.
1298
01:00:52,716 --> 01:00:54,661
YOU KNOW, HE'S NOT
EVERYONE'S TASTE,
1299
01:00:54,685 --> 01:00:55,817
AND NEVER WAS.
1300
01:00:55,952 --> 01:00:58,272
IT'S ONE THING TO BE APPRECIATED
DOWN IN THE VILLAGE
1301
01:00:58,355 --> 01:01:00,633
AT THE BITTER END
AND ANOTHER ACROSS THE COUNTRY.
1302
01:01:00,657 --> 01:01:02,857
MY WORKING WITH HIM
PROFESSIONALLY
1303
01:01:02,993 --> 01:01:06,261
IN BEING A PRODUCER,
IT STILL AMAZES ME LOTS OF TIMES
1304
01:01:06,396 --> 01:01:08,930
WHEN PEOPLE RECOGNIZE HIM
OR KNOW HIS NAME,
1305
01:01:09,066 --> 01:01:11,366
BECAUSE TO ME HE WAS
ALWAYS MY BROTHER.
1306
01:01:11,501 --> 01:01:13,212
NO, I THINK SHE LOOKS GOOD
IN THE CLOTHES.
1307
01:01:13,236 --> 01:01:14,847
I THINK THIS IS...
THIS IS REALLY GOOD.
1308
01:01:14,871 --> 01:01:15,970
IT LOOKS NICE.
1309
01:01:16,106 --> 01:01:19,341
WHEN I WAS BORN,
WOODY WAS EIGHT YEARS OLD.
1310
01:01:19,476 --> 01:01:21,454
YOU KNOW, HE WAS
A VERY DEVOTED BROTHER.
1311
01:01:21,478 --> 01:01:23,189
VERY... WE WERE
ALWAYS VERY CLOSE,
1312
01:01:23,213 --> 01:01:24,645
YOU KNOW, AND I IDOLIZED HIM.
1313
01:01:24,781 --> 01:01:27,115
Allen: SHE WAS JUST
A CUTE LITTLE BABY GIRL.
1314
01:01:27,251 --> 01:01:29,684
THERE WAS NO SENSE OF
COMPETITION OR ANYTHING.
1315
01:01:29,819 --> 01:01:32,087
SHE BECAME A VERY GOOD
FRIEND OF MINE
1316
01:01:32,222 --> 01:01:36,758
RIGHT AWAY AND I GOT ALONG
WITH HER SWIMMINGLY.
1317
01:01:36,894 --> 01:01:38,427
YOU WERE VERY GOOD TO LETTY.
1318
01:01:38,562 --> 01:01:40,073
YOU... WHEN SHE
WENT TO SCHOOL,
1319
01:01:40,097 --> 01:01:42,497
YOU USED TO TAKE HER TO
KINDERGARTEN AND BRING HER HOME.
1320
01:01:42,632 --> 01:01:44,933
THAT WAS YOUR BABY SISTER,
YOU ADORED HER.
1321
01:01:45,068 --> 01:01:46,979
Lasser: HE WOULD DO
A MAGIC ACT,
1322
01:01:47,003 --> 01:01:50,572
AND HE PUT HER IN
THE AUDIENCE AS HIS SHILL.
1323
01:01:50,707 --> 01:01:52,974
SHE WAS LIKE THREE YEARS OLD.
1324
01:01:53,109 --> 01:01:55,343
SO HE WOULD DO SOMETHING
AND SHE HAD TO SAY,
1325
01:01:55,479 --> 01:01:57,945
"LOOK AT HIS RIGHT HAND.
LOOK AT HIS RIGHT HAND."
1326
01:01:58,081 --> 01:02:00,415
'CAUSE IT WOULD BE THE LEFT,
RIGHT? LIKE THAT.
1327
01:02:00,551 --> 01:02:01,631
HE FELT THAT HE WANTED
1328
01:02:01,751 --> 01:02:04,319
TO EXPOSE HER TO GOOD THINGS
1329
01:02:04,454 --> 01:02:08,156
AND HE WOULD JUST
TAKE HER ALL AROUND.
1330
01:02:08,292 --> 01:02:10,292
I ALWAYS FOUND THAT
VERY TOUCHING.
1331
01:02:10,427 --> 01:02:11,960
THERE'S SOMETHING ABOUT THAT.
1332
01:02:12,095 --> 01:02:14,095
WE WERE IN THE SAME...
AT P.S. 99...
1333
01:02:14,164 --> 01:02:15,529
THE SAME SCHOOL A SHORT TIME
1334
01:02:15,665 --> 01:02:17,799
BECAUSE HE WAS EIGHT YEARS
OLDER THAN ME.
1335
01:02:17,934 --> 01:02:20,012
I USED TO... WE'D SNEAK OFF
AND PLAY HOOKY
1336
01:02:20,036 --> 01:02:21,196
WITH ANY NUMBER OF PEOPLE.
1337
01:02:21,305 --> 01:02:24,539
WE USED GO TO THE MOVIES
IN MANHATTAN.
1338
01:02:24,675 --> 01:02:28,409
THAT WAS ONE OF MY
GREAT JOYS IN LIFE.
1339
01:02:28,545 --> 01:02:30,623
Aronson: I WAS AWARE OF
SOME OF HIS TRUANCY.
1340
01:02:30,647 --> 01:02:33,448
I KNEW BECAUSE I HAD BEEN
WARNED BY WOODY
1341
01:02:33,583 --> 01:02:36,118
THAT WHEN MRS. FLETCHER,
THE PRINCIPAL,
1342
01:02:36,253 --> 01:02:38,153
CAME TO THE CLASS AND WOULD SAY,
1343
01:02:38,288 --> 01:02:41,022
"LETTY KONIGSBERG,
IS YOUR MOTHER AT HOME?"
1344
01:02:41,158 --> 01:02:44,359
I WOULD KNOW TO SAY, "NO,
I'M SORRY, SHE'S NOT AT HOME."
1345
01:02:48,164 --> 01:02:51,766
Allen: I DON'T HAVE GOOD THINGS
TO SAY ABOUT SCHOOL.
1346
01:02:51,901 --> 01:02:54,702
YOU KNOW, I WAS
THE WORLD'S WORST STUDENT.
1347
01:02:54,838 --> 01:02:57,672
I HATED SCHOOL WITH A PASSION,
TO THIS DAY.
1348
01:02:57,807 --> 01:03:00,708
AND WHEN I THINK BACK ON IT,
IT WAS A CURSE.
1349
01:03:00,844 --> 01:03:03,945
WHEN I GOT OLDER,
THE NEIGHBORHOOD GOT TOUGHER.
1350
01:03:04,080 --> 01:03:06,447
A KID TRIED TO
RUN ME OVER IN HERE,
1351
01:03:06,583 --> 01:03:09,450
AND I WAS PLAYING BALL
AND HE DROVE HIS CAR
1352
01:03:09,586 --> 01:03:12,387
FAST RIGHT IN
AND TRIED TO HIT ME WITH IT.
1353
01:03:12,523 --> 01:03:14,856
AND THAT IRON THING WAS
NOT OVER THERE,
1354
01:03:14,992 --> 01:03:17,692
AND I WAS ABLE TO GET INTO
THAT LITTLE POCKET.
1355
01:03:17,828 --> 01:03:21,029
SO HE COULDN'T GET ME
WITH THE CAR,
1356
01:03:21,164 --> 01:03:22,596
BUT HE CAME REAL CLOSE.
1357
01:03:22,732 --> 01:03:25,233
Aronson: WOODY HAD
DISDAIN FOR SCHOOL.
1358
01:03:25,368 --> 01:03:27,669
THE TEACHERS WERE
NOT NICE IN THOSE DAYS.
1359
01:03:27,804 --> 01:03:29,403
THEY WERE VERY ANTI-SEMITIC.
1360
01:03:29,539 --> 01:03:33,207
THEY WERE ALMOST ALL GENTILES,
AND HE WASN'T YOUR BEST STUDENT.
1361
01:03:33,343 --> 01:03:36,344
SO, YOU KNOW, HE WAS
NOT TREATED NICELY
1362
01:03:36,480 --> 01:03:39,514
AND HE HAD NO REGARD FOR IT,
HE DIDN'T CARE.
1363
01:03:39,649 --> 01:03:41,349
SO FROM THEIR POINT OF VIEW,
1364
01:03:41,485 --> 01:03:44,853
HE WASN'T INTERESTED IN
WHAT THEY WERE INTERESTED IN.
1365
01:03:44,988 --> 01:03:47,789
Allen: WE USED TO WRITE
COMPOSITIONS IN CLASS,
1366
01:03:47,924 --> 01:03:50,725
AND I ALWAYS WROTE WHAT I
THOUGHT AT THE TIME
1367
01:03:50,861 --> 01:03:51,960
WERE AMUSING ONES.
1368
01:03:52,095 --> 01:03:54,495
I WAS WRITING ABOUT THIS GIRL
1369
01:03:54,631 --> 01:03:57,365
AND I MADE ONE
STANDARD JOKE ABOUT HER.
1370
01:03:57,501 --> 01:04:00,134
YOU KNOW, SHE HAD
AN HOURGLASS FIGURE
1371
01:04:00,270 --> 01:04:02,671
AND I WANTED TO
PLAY IN THE SAND,
1372
01:04:02,806 --> 01:04:05,639
AND YOU CAN'T BELIEVE
THE FUSS THAT THEY MADE.
1373
01:04:05,775 --> 01:04:09,344
UGH! HE KISSED ME!
HE KISSED ME! YECCH!
1374
01:04:09,479 --> 01:04:11,190
THAT'S THE SECOND TIME
THIS MONTH.
1375
01:04:11,214 --> 01:04:12,079
STEP UP HERE.
1376
01:04:12,215 --> 01:04:13,526
WHAT DID I DO?
STEP UP HERE!
1377
01:04:13,550 --> 01:04:15,861
WHAT DID I DO?
YOU SHOULD BE
ASHAMED OF YOURSELF!
1378
01:04:15,885 --> 01:04:17,730
Alvy: WHY?
I WAS JUST EXPRESSING
1379
01:04:17,754 --> 01:04:19,587
A HEALTHY SEXUAL CURIOSITY.
1380
01:04:19,723 --> 01:04:23,124
SIX-YEAR-OLD BOYS DON'T HAVE
GIRLS ON THEIR MINDS.
1381
01:04:23,260 --> 01:04:25,226
I DID.
FOR GOD SAKES, ALVY,
1382
01:04:25,362 --> 01:04:27,996
EVEN FREUD SPEAKS OF
A LATENCY PERIOD.
1383
01:04:28,131 --> 01:04:30,509
WELL, I NEVER HAD
A LATENCY PERIOD.
1384
01:04:30,533 --> 01:04:31,677
I CAN'T HELP IT.
1385
01:04:31,701 --> 01:04:34,435
THIS WAS THE FRONT
OF THE SCHOOL,
1386
01:04:34,571 --> 01:04:35,704
PUBLIC SCHOOL 99,
1387
01:04:35,839 --> 01:04:37,684
ISAAC ASIMOV SCHOOL FOR
SCIENCE AND LITERATURE.
1388
01:04:37,708 --> 01:04:40,942
AND IT'S IRONIC,
'CAUSE YEARS LATER,
1389
01:04:41,078 --> 01:04:43,245
ASIMOV WAS A WONDERFUL GUY
1390
01:04:43,380 --> 01:04:46,781
AND MARSHALL BRICKMAN AND I SENT
HIM THE SCRIPT OF "SLEEPER"
1391
01:04:46,917 --> 01:04:48,917
BEFORE WE DID
THE MOVIE AND SAID,
1392
01:04:49,052 --> 01:04:51,452
"IS THERE ANYTHING IN HERE
THAT WE SHOULD BE ALERTED TO
1393
01:04:51,588 --> 01:04:54,455
THAT DOESN'T STRIKE YOU
AS REAL, OR..."
1394
01:04:54,591 --> 01:04:55,835
AND HE READ IT
FOR US AND SAID,
1395
01:04:55,859 --> 01:04:58,292
"NO, NO, IT'S VERY GOOD,"
AND IT WAS VERY HELPFUL.
1396
01:04:58,428 --> 01:05:00,461
HELLO. I'M RAGS. WOOF. WOOF.
1397
01:05:00,596 --> 01:05:02,208
IS HE HOUSEBROKEN,
OR WILL HE BE LEAVING
1398
01:05:02,232 --> 01:05:03,710
LITTLE BATTERIES
ALL OVER THE FLOOR?
1399
01:05:03,734 --> 01:05:05,511
Man: BY THE WAY,
"SLEEPER" IS
1400
01:05:05,535 --> 01:05:07,813
THE FIRST REFERENCE
I EVER REMEMBER TO CLONING.
1401
01:05:07,837 --> 01:05:10,004
RIGHT. AT THAT TIME...
THAT'S WHY I EXPLAINED IT
1402
01:05:10,139 --> 01:05:11,972
IN THE MOVIE,
'CAUSE PEOPLE DIDN'T KNOW
1403
01:05:12,108 --> 01:05:13,974
WHAT CLONING WAS THEN.
THEY HAD NO IDEA.
1404
01:05:14,110 --> 01:05:16,477
NOW, IT'S, YOU KNOW,
EVERYBODY CLONES.
1405
01:05:18,081 --> 01:05:19,180
ONE DAY, I... I WAS
1406
01:05:19,316 --> 01:05:21,193
WALKING DOWN THE STREET
AND THOUGHT, "GOSH,
1407
01:05:21,217 --> 01:05:22,895
IT WOULD BE REALLY FUNNY
TO DO A MOVIE
1408
01:05:22,919 --> 01:05:25,453
WHERE I GET FROZEN
AND WAKE UP IN THE FUTURE."
1409
01:05:25,588 --> 01:05:27,655
Miles: I'M A CLARINET PLAYER
IN 1973,
1410
01:05:27,791 --> 01:05:29,690
I GO INTO THE HOSPITAL
FOR A LOUSY OPERATION,
1411
01:05:29,826 --> 01:05:31,670
I WAKE UP 200 YEARS LATER,
AND I'M FLASH GORDON.
1412
01:05:31,694 --> 01:05:32,827
Allen: MY FIRST THOUGHT
1413
01:05:32,963 --> 01:05:36,364
WAS THAT IT WOULD BE
A THREE-HOUR FILM, A TWO-PARTER.
1414
01:05:36,500 --> 01:05:38,933
THE FIRST HALF
BEFORE THE INTERMISSION
1415
01:05:39,068 --> 01:05:42,537
WAS GOING TO BE THIS GUY'S LIFE
IN NEW YORK, CONTEMPORARY.
1416
01:05:42,672 --> 01:05:45,406
AND AT THE END OF THE HOUR,
THE HOUR AND A HALF,
1417
01:05:45,542 --> 01:05:47,742
I WOULD FALL INTO A VAT OF,
YOU KNOW,
1418
01:05:47,877 --> 01:05:49,877
THE CRYOGENIC VAT
AND GET FROZEN.
1419
01:05:50,012 --> 01:05:52,091
AND THEN THERE WAS GOING TO BE
AN INTERMISSION
1420
01:05:52,115 --> 01:05:53,793
WHERE PEOPLE GO OUT
AND BUY POPCORN.
1421
01:05:53,817 --> 01:05:56,250
Allen: AND WHEN THEY'D
COME IN FOR THE SECOND HALF,
1422
01:05:56,386 --> 01:05:57,751
WE'D BE TOTALLY IN THE FUTURE.
1423
01:05:57,887 --> 01:05:59,598
WE'D BE 200 YEARS
IN THE FUTURE.
1424
01:05:59,622 --> 01:06:01,300
AND WE VERY SOON
WERE DISABUSED OF THAT
1425
01:06:01,324 --> 01:06:02,656
FOR A LOT OF REASONS.
1426
01:06:02,792 --> 01:06:05,460
Allen: IT WAS SUCH
A MASSIVE UNDERTAKING
1427
01:06:05,595 --> 01:06:07,228
THAT I SAID,
1428
01:06:07,364 --> 01:06:08,496
YOU KNOW, FORGET IT.
1429
01:06:08,632 --> 01:06:11,265
WE'LL JUST DO
THE FUTURISTIC PART OF IT.
1430
01:06:14,170 --> 01:06:15,450
CAN I HELP YOU?
1431
01:06:15,539 --> 01:06:17,672
WOULD YOU CHANGE HIS HEAD
FOR ME PLEASE?
1432
01:06:17,808 --> 01:06:19,640
SOMETHING A LITTLE
MORE AESTHETIC.
1433
01:06:19,775 --> 01:06:21,821
Man: YOU GOT ROOM IN THERE
FOR ANOTHER HEAD CHANGE?
1434
01:06:21,845 --> 01:06:24,913
YEAH. SURE.
1435
01:06:26,449 --> 01:06:28,649
Allen: ANOTHER PLOY THAT...
1436
01:06:28,784 --> 01:06:30,944
THAT INTERESTED ME IN THAT
WAS I WANTED TO DO
1437
01:06:30,987 --> 01:06:32,665
SOMETHING WHERE I
WOKE UP IN A SOCIETY
1438
01:06:32,689 --> 01:06:35,757
WHERE NOBODY SPOKE
AND I WOULD HAVE HAD TO
1439
01:06:35,892 --> 01:06:39,661
HAVE PLAYED THE WHOLE FILM
AS A FUGITIVE, BUT SILENT.
1440
01:06:39,796 --> 01:06:42,664
AND IT WOULD'VE GIVEN ME
AN EXCUSE TO MAKE
1441
01:06:42,799 --> 01:06:45,266
A SILENT COMEDY
WITHOUT ACTUALLY GOING
1442
01:06:45,402 --> 01:06:46,735
AND DOING A THROWBACK.
1443
01:06:46,870 --> 01:06:50,271
Brickman: WE WANTED TO DO
A MOVIE WITHOUT ANY DIALOGUE.
1444
01:06:50,407 --> 01:06:53,675
A VERY, VERY STUPID IDEA.
1445
01:06:53,810 --> 01:06:56,778
AND THEN WE REALIZED
THAT OUR STRONG SUIT
1446
01:06:56,913 --> 01:06:58,446
WAS ACTUALLY DIALOGUE.
1447
01:06:58,582 --> 01:07:02,450
WHAT'S IT FEEL LIKE
TO BE DEAD FOR 200 YEARS?
1448
01:07:02,585 --> 01:07:06,354
IT'S LIKE SPENDING
A WEEKEND IN BEVERLY HILLS.
1449
01:07:06,489 --> 01:07:08,889
SOME OF THE IDEA OF
DOING PHYSICAL COMEDY
1450
01:07:09,025 --> 01:07:11,125
DID REMAIN.
1451
01:07:11,261 --> 01:07:13,205
THERE ARE THREE OR FOUR
SEQUENCES THAT ARE...
1452
01:07:13,229 --> 01:07:16,330
YOU KNOW, THERE'S ONE WITH
THE LITTLE HELICOPTER BACKPACK.
1453
01:07:20,836 --> 01:07:25,106
OF COURSE, THERE'S THAT ONE
SEQUENCE WITH THE GIANT BANANA.
1454
01:07:37,721 --> 01:07:39,087
OH, MY GOD.
1455
01:07:39,222 --> 01:07:41,822
I BEAT A MAN INSENSIBLE
WITH A STRAWBERRY.
1456
01:07:41,958 --> 01:07:44,403
Man: IS HE USUALLY...
IS HE EASY TO BREAK UP?
1457
01:07:44,427 --> 01:07:46,761
NO. NOT, NOT...
BUT WHEN HE DOES, THAT'S IT.
1458
01:07:46,896 --> 01:07:49,097
I MEAN, YOU KNOW,
ONCE HE STARTS LAUGHING,
1459
01:07:49,232 --> 01:07:50,798
THEN HE JUST
KEEPS LAUGHING.
1460
01:07:50,934 --> 01:07:52,500
OKAY. LET'S GO.
1461
01:07:52,635 --> 01:07:54,080
Man: ALL RIGHT,
HERE WE GO.
1462
01:07:54,104 --> 01:07:55,948
Allen: KEATON
MAKES ME LAUGH PROBABLY
1463
01:07:55,972 --> 01:08:01,008
MORE THAN ANY OTHER PERSON,
BECAUSE SHE'S SO FUNNY.
1464
01:08:01,144 --> 01:08:02,910
Man: AND ACTION.
1465
01:08:03,045 --> 01:08:07,315
WHEN WE WERE DOING "SLEEPER,"
THEY WERE REVIVING ME
1466
01:08:07,450 --> 01:08:10,684
BY TRYING TO
RECREATE MY HOME LIFE.
1467
01:08:10,820 --> 01:08:12,197
THIS WAS SOME
PSYCHOLOGICAL PLOY.
1468
01:08:12,221 --> 01:08:15,256
BUT KEATON,
PLAYING MY MOTHER,
1469
01:08:15,391 --> 01:08:18,259
WAS JUST SO FUNNY TO ME
THAT I COULDN'T...
1470
01:08:18,394 --> 01:08:20,794
I COULDN'T ACT
THE SCENE WITH HER.
1471
01:08:20,930 --> 01:08:22,863
Keaton: NU, WHAT ARE YOU
STANDING THERE?
1472
01:08:22,999 --> 01:08:24,732
COME IN!
YOUR FOOD IS GETTING COLD!
1473
01:08:24,867 --> 01:08:26,011
I CAN'T.
1474
01:08:29,339 --> 01:08:31,772
MILES,
I COOKED YOUR FAVORITE,
1475
01:08:31,908 --> 01:08:34,509
A NICE BOWL OF
HOT SELTZER WATER.
1476
01:08:42,385 --> 01:08:43,929
Allen: I MEAN,
I JUST COULDN'T DO IT.
1477
01:08:43,953 --> 01:08:45,297
I TRIED AND I TRIED
AND I TRIED.
1478
01:08:45,321 --> 01:08:46,321
SORRY.
1479
01:08:47,857 --> 01:08:50,224
Allen: I'D SUDDENLY
BE LOOKING AT HER
1480
01:08:50,359 --> 01:08:53,895
AND SHE'D BE LOOKING UP AT ME
AND I COULDN'T STOP LAUGHING.
1481
01:08:54,030 --> 01:08:57,765
I WOULD JUST
NOT BE ABLE TO STOP.
1482
01:08:57,901 --> 01:08:59,433
NU, WHAT ARE YOU
STANDING THERE?
1483
01:08:59,569 --> 01:09:01,302
COME IN!
1484
01:09:01,437 --> 01:09:02,982
ALL RIGHT,
LET'S GO ONTO ELSE.
1485
01:09:03,006 --> 01:09:04,050
I OBVIOUSLY
CAN'T DO THIS.
1486
01:09:05,508 --> 01:09:07,948
Allen: I RECALL, VERY EARLY,
BEING TAKEN TO A DISNEY FILM.
1487
01:09:08,011 --> 01:09:09,410
I THINK IT WAS "SNOW WHITE."
1488
01:09:09,545 --> 01:09:11,846
I REMEMBER BOLTING
OUT OF MY SEAT
1489
01:09:11,981 --> 01:09:15,183
TO TRY AND RUN UP THE AISLE
AND TOUCH THE SCREEN
1490
01:09:15,318 --> 01:09:18,285
'CAUSE I WAS SO FASCINATED
WITH WHAT IT WAS.
1491
01:09:18,421 --> 01:09:20,888
BECAUSE, YOU KNOW,
WHEN I WAS A KID,
1492
01:09:21,024 --> 01:09:22,990
WE DIDN'T...
WE HAD NO IDEA
1493
01:09:23,126 --> 01:09:24,592
WHAT THAT PROCESS WAS.
1494
01:09:24,728 --> 01:09:28,596
AND SO I WOULD SIT AND A KID
NEXT TO ME IN CLASS WOULD SAY,
1495
01:09:28,732 --> 01:09:32,200
"I WAS AT THE MOVIE THEATER,
YOU KNOW, ON SATURDAY,
1496
01:09:32,335 --> 01:09:35,703
AND I FINISHED MY RAISINETS
AND I MADE A SPITBALL
1497
01:09:35,839 --> 01:09:38,039
OUT OF MY CARDBOARD BOX,
YOU KNOW,
1498
01:09:38,174 --> 01:09:40,307
WITH A PIECE OF
MY CARDBOARD BOX,
1499
01:09:40,443 --> 01:09:42,654
AND I THREW THE SPITBALL UP
AND HIT THE SCREEN,
1500
01:09:42,678 --> 01:09:44,957
AND WHEN IT HIT THE SCREEN,
IT BURST INTO FLAME."
1501
01:09:44,981 --> 01:09:47,215
SO I SAID,
"NO KIDDING, REALLY?"
1502
01:09:47,350 --> 01:09:49,650
AND, YOU KNOW,
AND I WANTED TO...
1503
01:09:49,786 --> 01:09:51,719
I WANTED TO FIND OUT
WHAT WAS...
1504
01:09:51,855 --> 01:09:53,487
WHAT THAT PROCESS WAS.
1505
01:09:57,560 --> 01:10:00,828
AND THERE WAS
A MOVIE THEATER HERE
1506
01:10:00,963 --> 01:10:04,798
AND I USED THE NAME OF IT
IN "PURPLE ROSE."
1507
01:10:04,934 --> 01:10:06,200
IT WAS CALLED THE JEWEL.
1508
01:10:06,335 --> 01:10:09,070
AND THE JEWEL WAS ONE OF
THE FIRST MOVIE HOUSES
1509
01:10:09,205 --> 01:10:11,672
IN THE NEIGHBORHOOD
TO SHOW FOREIGN FILMS.
1510
01:10:11,808 --> 01:10:14,108
I SAW MY FIRST
INGMAR BERGMAN FILM THERE.
1511
01:10:14,243 --> 01:10:16,043
AND IT WAS RIGHT AROUND HERE...
1512
01:10:16,178 --> 01:10:18,279
I THINK IT WAS ON
THE NEXT BLOCK.
1513
01:10:18,415 --> 01:10:20,515
COULD THIS HAVE BEEN IT?
1514
01:10:20,650 --> 01:10:22,316
MAYBE THIS WAS IT.
1515
01:10:22,452 --> 01:10:24,218
MAYBE THIS WAS IT.
1516
01:10:27,290 --> 01:10:29,657
THAT WOULD HAVE BEEN THE JEWEL.
1517
01:10:29,793 --> 01:10:32,794
I LIVED IN BROOKLYN
IN THIS REPRESSED ERA.
1518
01:10:32,929 --> 01:10:35,041
THERE WAS A BERGMAN FILM
PLAYING IN THE NEIGHBORHOOD
1519
01:10:35,065 --> 01:10:36,497
WITH HARRIET ANDERSSON.
1520
01:10:36,633 --> 01:10:38,333
IT WAS "SUMMER WITH MONIKA."
1521
01:10:38,468 --> 01:10:41,068
AND SHE WAS ALLEGEDLY
NAKED IN THE FILM.
1522
01:10:41,204 --> 01:10:42,670
SO I BEAT A QUICK PATH
1523
01:10:42,805 --> 01:10:45,806
TO THE DOOR
AND I WENT TO SEE THAT FILM
1524
01:10:45,942 --> 01:10:49,276
JUST SO I COULD SEE A WOMAN
WITHOUT HER CLOTHES ON.
1525
01:10:49,412 --> 01:10:51,946
AND IT WAS A FABULOUS MOVIE
APART FROM THE NUDITY.
1526
01:10:52,082 --> 01:10:54,415
THEN A FEW YEARS LATER,
1527
01:10:54,551 --> 01:10:56,517
THEY SHOWED
"THE SEVENTH SEAL"
1528
01:10:56,652 --> 01:11:00,221
AND "WILD STRAWBERRIES"
AND "THE MAGICIAN."
1529
01:11:10,767 --> 01:11:12,927
Allen: I THOUGHT THAT
IT'S POINTLESS FOR ME
1530
01:11:13,002 --> 01:11:15,269
TO WORK ANYMORE BECAUSE
NO ONE WILL EVER
1531
01:11:15,404 --> 01:11:17,484
BE ABLE TO DO ANYTHING
BETTER THAN THIS.
1532
01:11:17,607 --> 01:11:21,442
BERGMAN, YOU KNOW,
HAD JUST REACHED THE LIMITS
1533
01:11:21,578 --> 01:11:23,111
OF WHAT YOU COULD DO IN FILM,
1534
01:11:23,246 --> 01:11:25,206
AND THERE WAS
NOWHERE ELSE TO GO.
1535
01:11:25,314 --> 01:11:26,347
SO I FOUND MYSELF
1536
01:11:26,482 --> 01:11:28,883
IN AN ODD POSITION
WHERE I WAS
1537
01:11:29,019 --> 01:11:30,952
INFLUENCED BY GROUCHO MAX
1538
01:11:31,087 --> 01:11:33,755
AND BOB HOPE
AND INGMAR BERGMAN.
1539
01:11:33,890 --> 01:11:35,389
I MEAN, THERE WAS NO
1540
01:11:35,525 --> 01:11:36,891
RATIONALITY TO IT.
1541
01:11:37,027 --> 01:11:40,061
AND SO YOU WOULD GET A FILM
LIKE "LOVE AND DEATH,"
1542
01:11:40,196 --> 01:11:42,664
FOR EXAMPLE,
WHICH WAS A FILM THAT HAS
1543
01:11:42,799 --> 01:11:43,965
A BERGMAN INFLUENCE
1544
01:11:44,100 --> 01:11:47,001
BUT IS SO CLEARLY
A COMIC FILM.
1545
01:11:47,137 --> 01:11:49,837
BORIS!
BORIS, WHAT HAPPENED?
1546
01:11:49,973 --> 01:11:51,439
I GOT SCREWED.
1547
01:11:51,574 --> 01:11:52,784
HOW?
I DON'T KNOW.
1548
01:11:52,808 --> 01:11:54,587
SOME VISION CAME
AND SAID THAT
1549
01:11:54,611 --> 01:11:56,989
I WAS GONNA GET PARDONED,
AND THEY SHOT ME.
1550
01:11:57,013 --> 01:11:59,680
YOU WERE MY ONE
GREAT LOVE!
1551
01:11:59,815 --> 01:12:02,127
OH, THANK YOU VERY MUCH.
I APPRECIATE THAT.
1552
01:12:02,151 --> 01:12:04,096
NOW, IF YOU'LL EXCUSE ME,
I'M DEAD.
1553
01:12:04,120 --> 01:12:06,280
Allen: AND SO I WAS
KICKING AROUND MY HOUSE
1554
01:12:06,389 --> 01:12:07,688
LOOKING FOR SOMETHING TO DO,
1555
01:12:07,824 --> 01:12:09,190
AND I JUST HAPPENED TO SEE
1556
01:12:09,325 --> 01:12:11,325
A RUSSIAN HISTORY BOOK
ON MY SHELF.
1557
01:12:11,461 --> 01:12:14,561
I THOUGHT, "GEE,
IT WOULD BE FUNNY TO DO A FILM
1558
01:12:14,697 --> 01:12:16,731
BASED ON ALL THAT
RUSSIAN LITERATURE
1559
01:12:16,866 --> 01:12:18,466
AND ALL THOSE RUSSIAN CLICHES."
1560
01:12:18,601 --> 01:12:19,967
♪
1561
01:12:21,537 --> 01:12:23,482
YOU KNOW, I'VE ALWAYS
HAD A GREAT LOVE
1562
01:12:23,506 --> 01:12:26,240
OF HEAVY LITERATURE
AND HEAVY THEMES IN GENERAL.
1563
01:12:30,513 --> 01:12:32,580
I'M INTERESTED
AND ATTRACTED TO THEM
1564
01:12:32,715 --> 01:12:34,047
AND ALSO FIND THEM VERY FUNNY.
1565
01:12:34,183 --> 01:12:37,318
NON-EXISTENCE,
1566
01:12:37,454 --> 01:12:39,821
BLACK EMPTINESS.
1567
01:12:39,956 --> 01:12:41,922
Sonja: WHAT'D YOU SAY?
1568
01:12:42,058 --> 01:12:44,759
OH, I WAS... I WAS JUST
PLANNING MY FUTURE.
1569
01:12:44,894 --> 01:12:47,194
AND I THOUGHT IT WAS
AN AREA WHERE I COULD THEN
1570
01:12:47,329 --> 01:12:50,064
GET IN A LOT OF SUBJECT MATTER
THAT I LIKE TO TALK ABOUT,
1571
01:12:50,199 --> 01:12:52,633
PHILOSOPHICAL THEMES
AND DEATH AND LONGING,
1572
01:12:52,769 --> 01:12:55,870
AND THEN I THOUGHT IT'D BE
FUN TO DO THAT AND, YOU KNOW,
1573
01:12:56,005 --> 01:12:58,205
I THOUGHT I'D DO
A BIG CARTOON FILM ABOUT IT
1574
01:12:58,340 --> 01:13:01,175
AND TRY TO MAKE IT AS FUNNY
AS I COULD MAKE IT AT THE TIME.
1575
01:13:03,513 --> 01:13:06,747
BOY, THIS... THIS ARMY COOKING
WILL GET YOU EVERY TIME.
1576
01:13:06,883 --> 01:13:09,883
OH, GOD IS TESTING US.
1577
01:13:10,019 --> 01:13:11,818
IF HE'S GOING TO TEST US,
1578
01:13:11,954 --> 01:13:13,732
WHY DOESN'T HE GIVE US
A WRITTEN?
1579
01:13:13,756 --> 01:13:15,589
THOUGH I DO I FEEL THAT
1580
01:13:15,725 --> 01:13:17,825
THE FIRST GROUP
OF FOUR OR FIVE FILMS
1581
01:13:17,960 --> 01:13:20,628
THAT I MADE WERE FUNNY
FOR THE MOST PART,
1582
01:13:20,763 --> 01:13:22,430
THAT ONE COULD SAY
1583
01:13:22,565 --> 01:13:25,766
THAT THEY WERE ESSENTIALLY
TRIVIAL AND BE RIGHT.
1584
01:13:28,971 --> 01:13:30,011
IN "LOVE AND DEATH,"
1585
01:13:30,106 --> 01:13:31,917
YOU COULD SEE
THE INFLUENCE OF BOB HOPE,
1586
01:13:31,941 --> 01:13:33,685
BECAUSE YOU SEE
PHYSICAL COWARDICE
1587
01:13:33,709 --> 01:13:34,829
IN THE TEETH OF WARFARE.
1588
01:13:34,877 --> 01:13:36,655
THAT'S A STRONG SUIT
OF BOB HOPE'S,
1589
01:13:36,679 --> 01:13:37,839
AND WOODY IS ALL OVER THAT
1590
01:13:37,947 --> 01:13:38,987
IN "LOVE AND DEATH."
1591
01:13:39,082 --> 01:13:41,248
IF YOU SO MUCH AS
COME NEAR THE COUNTESS,
1592
01:13:41,384 --> 01:13:43,784
I'LL SEE THAT YOU NEVER SEE
THE LIGHT OF DAY AGAIN.
1593
01:13:43,920 --> 01:13:46,921
IF A MAN SAID THAT TO ME,
I'D BREAK HIS NECK.
1594
01:13:47,056 --> 01:13:48,288
I AM A MAN.
1595
01:13:48,424 --> 01:13:51,258
WELL, I MEAN
A MUCH SHORTER MAN.
1596
01:13:52,628 --> 01:13:53,494
Allen: BOB HOPE
1597
01:13:53,629 --> 01:13:57,498
WAS A BIG INFLUENCE ON ME.
1598
01:13:57,633 --> 01:13:59,600
I CAN SEE IT
ALL OVER ME IN FILMS.
1599
01:13:59,735 --> 01:14:03,237
THIS MAN IS MONSIEUR BEAUCAIRE,
A COMMON BARBER.
1600
01:14:03,372 --> 01:14:05,517
ARE YOU GOING TO
ACCEPT THAT?
1601
01:14:05,541 --> 01:14:07,541
WELL, A MAN'S ENTITLED
TO AN OPINION.
1602
01:14:07,677 --> 01:14:09,343
SLAP HIM BACK.
1603
01:14:11,013 --> 01:14:12,980
YOU'RE LUCKY I
HAVEN'T GOT A SWORD.
1604
01:14:13,115 --> 01:14:15,115
HMM.
1605
01:14:15,250 --> 01:14:16,327
YOU KEEP OUT OF THIS.
1606
01:14:16,351 --> 01:14:18,096
Allen: I WOULD GET
INTO HIS SUIT,
1607
01:14:18,120 --> 01:14:18,986
SO TO SPEAK.
1608
01:14:19,121 --> 01:14:21,088
BUT WHEN I DO HIM
AND HE DOES HIM,
1609
01:14:21,223 --> 01:14:23,143
THERE IS THE WORLD
OF DIFFERENCE.
1610
01:14:23,192 --> 01:14:26,526
I DO, YOU KNOW,
A CLUMSY VERSION.
1611
01:14:26,662 --> 01:14:28,495
HOW DO YOU LIKE IT?
1612
01:14:29,632 --> 01:14:30,776
IT'S ALL RIGHT.
1613
01:14:30,800 --> 01:14:33,301
I'D PREFER SOMETHING SEXY,
BUT...
1614
01:14:33,436 --> 01:14:35,402
WOULD YOU LIKE SOME WINE,
1615
01:14:35,537 --> 01:14:38,371
SOMETHING TO PUT YOU
IN THE MOOD?
1616
01:14:38,507 --> 01:14:42,676
OH, I'VE BEEN IN THE MOOD
SINCE THE LATE 1700s.
1617
01:14:42,812 --> 01:14:44,846
Allen: IT WAS
A TOUGH MOVIE TO MAKE.
1618
01:14:44,981 --> 01:14:46,941
I MEAN, IT WAS COLD
AND LABORIOUS
1619
01:14:46,983 --> 01:14:51,218
AND, YOU KNOW,
VERY HARD WORK, I FOUND,
1620
01:14:51,354 --> 01:14:52,998
NOT EASY,
BUT FUN TO WRITE.
1621
01:14:53,022 --> 01:14:55,856
BUT IF THERE IS NO GOD, WELL,
THEN LIFE HAS NO MEANING.
1622
01:14:55,992 --> 01:14:58,425
WHY GO ON LIVING?
WHY NOT JUST COMMIT SUICIDE?
1623
01:14:58,561 --> 01:14:59,971
WELL, LET'S NOT
GET HYSTERICAL.
1624
01:14:59,995 --> 01:15:01,006
I COULD BE WRONG.
1625
01:15:01,030 --> 01:15:02,474
I'D HATE TO
BLOW MY BRAINS OUT
1626
01:15:02,498 --> 01:15:04,710
AND THEN READ IN THE PAPERS
THEY FOUND SOMETHING.
1627
01:15:04,734 --> 01:15:09,736
IT'S REALLY EXCITING
TO SEE THE DEVELOPMENT
1628
01:15:09,872 --> 01:15:12,439
OF WOODY ALLEN FROM
WRITING STAND UP,
1629
01:15:12,575 --> 01:15:13,974
MONOLOGUE, TALK SHOW,
1630
01:15:14,109 --> 01:15:16,777
"BANANAS," "SLEEPER,"
TO THE FILMMAKER.
1631
01:15:16,913 --> 01:15:20,848
I'M NOT SURE I QUICKLY PERCEIVED
THE IMPORTANCE OF "ANNIE HALL"
1632
01:15:20,983 --> 01:15:23,283
IN TERMS OF BEING
A DEPARTURE FROM
1633
01:15:23,419 --> 01:15:25,659
STUFF HE'D DONE BEFORE,
BUT I KNEW THAT WE WERE
1634
01:15:25,721 --> 01:15:27,766
ON TO SOMETHING SPECIAL
SEEING THAT FILM.
1635
01:15:27,790 --> 01:15:30,490
YEAH, EVERYBODY DID.
1636
01:15:30,626 --> 01:15:32,470
David: I REMEMBER WHEN
"ANNIE HALL" CAME OUT,
1637
01:15:32,494 --> 01:15:35,930
THERE WAS THIS KIND OF
BUZZ IN NEW YORK
1638
01:15:36,065 --> 01:15:37,364
THAT WAS ELECTRIFYING.
1639
01:15:37,499 --> 01:15:40,634
I HADN'T SEEN THE MOVIE,
BUT IT ALMOST FRIGHTENED ME,
1640
01:15:40,770 --> 01:15:42,102
THE WAY MY UNCLE TOLD ME,
1641
01:15:42,237 --> 01:15:44,337
"DON'T GO SEE
'HOUSE OF WAX' IN 3D."
1642
01:15:44,473 --> 01:15:46,353
YOU KNOW,
IT WAS LIKE, "WHAT?"
1643
01:15:46,408 --> 01:15:48,375
YOU KNOW,
IT WAS LIKE SOME KIND OF
1644
01:15:48,510 --> 01:15:50,711
EARTH-CHANGING EVENT
WAS TAKING PLACE.
1645
01:15:50,846 --> 01:15:53,114
Allen: UNTIL "ANNIE HALL,"
1646
01:15:53,249 --> 01:15:58,119
I HAD BEEN INTERESTED ONLY IN
MAKING THE AUDIENCE LAUGH.
1647
01:15:58,254 --> 01:16:00,165
AND THERE WERE MANY
PEOPLE AROUND ME
1648
01:16:00,189 --> 01:16:01,967
THAT SAID,
"WHY DO YOU WANT TO DO
1649
01:16:01,991 --> 01:16:03,735
A PICTURE LIKE
'ANNIE HALL' FOR?
1650
01:16:03,759 --> 01:16:05,771
YOU KNOW, YOU CAN
MAKE AUDIENCES LAUGH
1651
01:16:05,795 --> 01:16:08,429
AND BE FUNNY,
AND MY FRIENDS AND I,
1652
01:16:08,564 --> 01:16:11,565
WE ALL MUCH WOULD RATHER SEE
A 'BANANAS'
1653
01:16:11,700 --> 01:16:13,301
OR 'LOVE AND DEATH.'"
1654
01:16:13,436 --> 01:16:16,269
AND I FELT, "I'LL SACRIFICE
1655
01:16:16,405 --> 01:16:18,906
SOME OF THE LAUGHS
1656
01:16:19,042 --> 01:16:21,441
FOR A STORY
1657
01:16:21,577 --> 01:16:24,078
ABOUT HUMAN BEINGS,
AND THEY WILL
1658
01:16:24,213 --> 01:16:26,313
GET INVOLVED IN THE STORY
1659
01:16:26,448 --> 01:16:29,116
IN A WAY THAT
THEY HAD NOT EVER
1660
01:16:29,251 --> 01:16:31,519
BEEN INVOLVED BEFORE,
1661
01:16:31,654 --> 01:16:32,734
AND IT WOULD BE RICHER
1662
01:16:32,789 --> 01:16:34,949
AND IT WOULD BE A BETTER
EXPERIENCE FOR THEM
1663
01:16:35,057 --> 01:16:37,458
AND FUN FOR ME TO TRY,
AND THE WORST THAT CAN HAPPEN
1664
01:16:37,593 --> 01:16:38,959
IS I'LL MAKE A FOOL OF MYSELF."
1665
01:16:39,094 --> 01:16:40,127
YEAH, 'CAUSE, YOU KNOW,
1666
01:16:40,263 --> 01:16:41,863
I'M OBSESSED WITH DEATH,
I THINK.
1667
01:16:41,997 --> 01:16:43,709
IT'S A BIG SUBJECT WITH ME,
YEAH.
1668
01:16:43,733 --> 01:16:45,599
I HAVE A VERY PESSIMISTIC
VIEW OF LIFE.
1669
01:16:45,735 --> 01:16:47,846
YOU SHOULD KNOW THIS ABOUT ME
IF WE'RE GONNA GO OUT.
1670
01:16:47,870 --> 01:16:49,748
YOU KNOW, I JUST FEEL THAT
LIFE IS DIVIDED UP
1671
01:16:49,772 --> 01:16:51,212
INTO THE HORRIBLE
AND THE MISERABLE.
1672
01:16:51,340 --> 01:16:52,984
THOSE ARE THE TWO CATEGORIES,
YOU KNOW?
1673
01:16:53,008 --> 01:16:55,309
THE HORRIBLE
WOULD BE LIKE, UM,
1674
01:16:55,444 --> 01:16:57,155
I DON'T KNOW,
TERMINAL CASES, YOU KNOW,
1675
01:16:57,179 --> 01:16:58,379
AND BLIND PEOPLE,
CRIPPLES.
1676
01:16:58,514 --> 01:17:00,154
I DON'T KNOW HOW
THEY GET THROUGH LIFE.
1677
01:17:00,249 --> 01:17:01,569
IT'S AMAZING TO ME,
YOU KNOW,
1678
01:17:01,617 --> 01:17:03,457
AND THE MISERABLE IS
EVERYONE ELSE, THAT'S...
1679
01:17:03,586 --> 01:17:05,706
SO WHEN YOU GO THROUGH LIFE,
YOU SHOULD BE THANKFUL
1680
01:17:05,788 --> 01:17:07,468
THAT YOU'RE MISERABLE,
BECAUSE THAT'S...
1681
01:17:07,590 --> 01:17:09,022
YOU'RE VERY LUCKY
TO BE MISERABLE.
1682
01:17:09,158 --> 01:17:11,258
IT WAS THE FIRST TIME
THAT I'D READ
1683
01:17:11,394 --> 01:17:13,314
ANYTHING OF WOODY'S
THAT WAS SO
1684
01:17:13,429 --> 01:17:14,962
PERSONALLY TOUCHING.
1685
01:17:15,098 --> 01:17:16,630
IT WAS A LOVE STORY,
1686
01:17:16,765 --> 01:17:18,966
AND IT WAS A SHOCK TO READ IT,
1687
01:17:19,102 --> 01:17:20,568
AND I JUST THOUGHT,
1688
01:17:20,703 --> 01:17:22,035
"THIS IS WONDERFUL."
1689
01:17:22,171 --> 01:17:24,572
AND IT WAS...
IT WAS AN EXPRESSION
1690
01:17:24,707 --> 01:17:27,975
OF SUCH TREMENDOUS GROWTH
FOR WOODY, THAT SCRIPT.
1691
01:17:28,110 --> 01:17:30,878
U.A. HAD ALWAYS PRIDED ITSELF
ON BEING VERY DIRECTOR-
1692
01:17:31,013 --> 01:17:33,480
AND WRITER-FRIENDLY
RATHER THAN STAR-FRIENDLY.
1693
01:17:33,615 --> 01:17:36,049
ARTHUR KRIM WAS
COSIMO DE' MEDICI.
1694
01:17:36,185 --> 01:17:39,486
HE HAD KNIGHTED WOODY
AS A KNIGHT OF THE CHURCH,
1695
01:17:39,621 --> 01:17:42,522
AND ARTHUR KRIM WOULD
SIT DOWN AT A TABLE,
1696
01:17:42,658 --> 01:17:45,893
LOOK YOU IN THE EYE,
DECIDE HOW CRAZY YOU WERE.
1697
01:17:46,028 --> 01:17:49,262
HE WOULD ASK YOU HOW MUCH MONEY
YOU NEEDED TO MAKE THE MOVIE.
1698
01:17:49,398 --> 01:17:51,464
YOU WOULD TELL HIM,
HE WOULD GIVE YOU
1699
01:17:51,600 --> 01:17:53,520
A LITTLE BIT LESS,
BECAUSE IT...
1700
01:17:53,602 --> 01:17:55,446
YOU KNOW,
IT BUILDS CHARACTER.
1701
01:17:55,470 --> 01:17:58,806
THEY WATCHED THE BUDGETS
VERY CAREFULLY
1702
01:17:58,941 --> 01:18:01,975
AND THEY WERE VERY SUPPORTIVE
AND THEY HAD AN AMAZING RUN,
1703
01:18:02,111 --> 01:18:03,410
YOU KNOW, BECAUSE OF THAT.
1704
01:18:03,545 --> 01:18:06,013
THERE MIGHT HAVE BEEN SOMETHING
THAT OCCURRED TO WOODY
1705
01:18:06,148 --> 01:18:07,514
WHILE WE WERE MAKING THAT FILM,
1706
01:18:07,649 --> 01:18:10,184
THAT, "NOW I SHOULD
START MAKING FILMS
1707
01:18:10,319 --> 01:18:13,120
A LITTLE MORE MATURE,
THAT AREN'T JUST GAGS
1708
01:18:13,255 --> 01:18:15,122
AND VIGNETTES THROWN TOGETHER.
1709
01:18:15,257 --> 01:18:17,458
LET'S START MAKING THEM,
YOU KNOW,
1710
01:18:17,593 --> 01:18:19,059
A LITTLE MORE COHESIVE."
1711
01:18:19,194 --> 01:18:20,628
AND SO I THINK THERE WAS
1712
01:18:20,763 --> 01:18:23,196
A CONSCIOUS EFFORT TO PUT SOME
1713
01:18:23,332 --> 01:18:27,200
REAL FILMMAKERS TOGETHER
TO HELP ACHIEVE THIS.
1714
01:18:27,336 --> 01:18:28,602
AT THAT TIME,
1715
01:18:28,738 --> 01:18:32,406
THE MOST CELEBRATED NEW YORK
CAMERAMAN WAS GORDON WILLIS.
1716
01:18:32,541 --> 01:18:34,575
AND GORDY,
WHO THEY USED TO CALL
1717
01:18:34,711 --> 01:18:36,243
"THE PRINCE OF DARKNESS"...
1718
01:18:36,378 --> 01:18:40,080
ALWAYS WENT FOR
GREAT DARKNESS...
1719
01:18:40,215 --> 01:18:42,616
HE DID "THE GODFATHER."
1720
01:18:42,752 --> 01:18:44,752
EVERYONE HAD ALWAYS
TALKED ABOUT HIM
1721
01:18:44,887 --> 01:18:46,486
AS SUCH A GREAT CINEMATOGRAPHER.
1722
01:18:46,622 --> 01:18:49,590
Lauder: PUTTING GORDON WILLIS
AND WOODY TOGETHER WAS LIKE
1723
01:18:49,725 --> 01:18:53,193
A VERY ODD PAIRING BECAUSE,
YOU KNOW, WOODY WAS THIS SORT OF
1724
01:18:53,328 --> 01:18:55,829
LOOSEY-GOOSEY COMEDIAN
AND GORDON WAS THIS
1725
01:18:55,964 --> 01:18:58,465
VERY STRICT,
DISCIPLINED PHOTOGRAPHER
1726
01:18:58,601 --> 01:19:00,900
WHO HAD A CONTROVERSIAL
REPUTATION
1727
01:19:01,036 --> 01:19:03,703
FOR CRANKINESS,
AND IT JUST LOOKED LIKE,
1728
01:19:03,839 --> 01:19:06,106
YOU KNOW,
"THIS WILL NEVER WORK."
1729
01:19:06,242 --> 01:19:08,809
I PROBABLY DIDN'T HAVE
A GOOD REPUTATION
1730
01:19:08,944 --> 01:19:11,378
AS MR. SMILE,
YOU KNOW, SO HE THOUGHT,
1731
01:19:11,514 --> 01:19:14,347
"GEE, I'M GETTING INVOLVED
WITH A MONSTER HERE."
1732
01:19:14,483 --> 01:19:16,683
WE HIT IT OFF RIGHT AWAY.
1733
01:19:16,818 --> 01:19:17,951
WE CHATTED
1734
01:19:18,086 --> 01:19:21,555
AND HE WAS VERY SMART
AND I LIKED HIM VERY MUCH.
1735
01:19:21,690 --> 01:19:23,257
YOU KNOW, IT WAS CLEAR
1736
01:19:23,392 --> 01:19:27,794
RIGHT AWAY THAT I HAD
A LOT TO LEARN FROM HIM
1737
01:19:27,930 --> 01:19:29,463
AND THAT HE WAS
1738
01:19:29,598 --> 01:19:33,200
A GREAT CINEMATOGRAPHER
IN EVERY WAY.
1739
01:19:33,335 --> 01:19:36,137
Keaton: WOODY DID
CHOOSE GORDON WILLIS
1740
01:19:36,272 --> 01:19:37,504
TO BE THE CINEMATOGRAPHER,
1741
01:19:37,640 --> 01:19:39,651
AND FOR A COMEDY,
THAT WAS UNHEARD OF.
1742
01:19:39,675 --> 01:19:42,075
YOU DIDN'T HAVE
THE PRINCE OF DARKNESS
1743
01:19:42,211 --> 01:19:44,511
BE THE CINEMATOGRAPHER
FOR A COMEDY.
1744
01:19:44,647 --> 01:19:46,079
NOBODY COULD BELIEVE IT,
1745
01:19:46,215 --> 01:19:48,515
AND SO IT WAS
A TERRIFYING PROSPECT,
1746
01:19:48,650 --> 01:19:53,454
BUT WOODY TOOK IT ON,
AND HE MADE A GREAT CHOICE.
1747
01:19:53,589 --> 01:19:56,056
THE FIRST SHOT I EVER DID WITH
1748
01:19:56,191 --> 01:19:58,311
GORDON WILLIS IN MY LIFE,
THE FIRST SCENE
1749
01:19:58,427 --> 01:20:00,305
THAT WE EVER SHOT
IN "ANNIE HALL,"
1750
01:20:00,329 --> 01:20:01,528
WAS THE LOBSTER SCENE.
1751
01:20:01,663 --> 01:20:03,341
HOLD IT, THAT ONE. THERE.
YOU KNOW WHAT,
1752
01:20:03,365 --> 01:20:04,885
MAYBE WE SHOULD JUST
CALL THE POLICE,
1753
01:20:04,967 --> 01:20:06,377
DIAL 911.
IT'S THE LOBSTER SQUAD.
1754
01:20:06,401 --> 01:20:08,546
COME ON, ALVY, THEY'RE ONLY
BABY ONES, FOR GOD SAKES.
1755
01:20:08,570 --> 01:20:10,370
IF THEY'RE ONLY BABIES,
THEN YOU PICK THEM UP.
1756
01:20:10,472 --> 01:20:12,250
OH, ALL RIGHT.
ALL RIGHT. ALL RIGHT.
1757
01:20:12,274 --> 01:20:13,484
HERE. HERE YOU GO.
1758
01:20:13,508 --> 01:20:15,575
DON'T GIVE IT TO ME.
DON'T! LOOK! ONE...
1759
01:20:15,711 --> 01:20:17,711
ONE CRAWLED BEHIND
THE REFRIGERATOR.
1760
01:20:17,746 --> 01:20:19,746
IT WILL TURN UP IN
OUR BED AT NIGHT.
1761
01:20:19,781 --> 01:20:21,648
WILL YOU GET OUT OF HERE
WITH THAT THING?
1762
01:20:21,783 --> 01:20:23,984
JESUS!
1763
01:20:24,119 --> 01:20:26,253
TALK TO THEM.
YOU SPEAK SHELLFISH.
1764
01:20:26,388 --> 01:20:28,922
Willis: ONE OF THE NICE THINGS
ABOUT WORKING WITH WOODY
1765
01:20:29,058 --> 01:20:31,298
OVER THE TIME THAT WE
WORKED TOGETHER WAS IT...
1766
01:20:31,327 --> 01:20:33,927
MORE OR LESS LIKE WORKING WITH
YOUR HANDS IN YOUR POCKETS.
1767
01:20:34,062 --> 01:20:35,222
IT'S VERY EASY, PLEASANT.
1768
01:20:35,297 --> 01:20:38,031
GORDIE WAS THE ONE
WHO SAID TO ME,
1769
01:20:38,167 --> 01:20:41,835
"WHEN WE DO THE SPLIT SCREEN
WITH THE SHRINK"...
1770
01:20:41,971 --> 01:20:44,638
I'M WITH ONE SHRINK
AND SHE'S WITH ANOTHER ONE...
1771
01:20:44,773 --> 01:20:46,740
HE SAID, "DON'T DO
A SPLIT SCREEN.
1772
01:20:46,875 --> 01:20:49,776
BUILD IT. BUILD A SET WITH A...
WITH A DIVIDER IN THE MIDDLE,
1773
01:20:49,912 --> 01:20:51,011
SO YOU'RE BOTH LIVE.
1774
01:20:51,147 --> 01:20:53,747
IT'LL LOOK LIKE A SPLIT SCREEN,
BUT IT WON'T BE."
1775
01:20:53,882 --> 01:20:55,949
Willis: THAT WAS
A REVELATION FOR HIM
1776
01:20:56,085 --> 01:20:57,896
AT THAT POINT
'CAUSE IT MEANT
1777
01:20:57,920 --> 01:21:00,487
BOTH ACTORS COULD
DO THE SCENE, YOU KNOW,
1778
01:21:00,622 --> 01:21:02,889
WITHOUT BEING
INTERRUPTED WITH DOING
1779
01:21:03,025 --> 01:21:05,325
HALF THE SCENE
AND THEN HALF A SCENE
1780
01:21:05,461 --> 01:21:07,627
AND PUTTING IT
TOGETHER OPTICALLY.
1781
01:21:07,763 --> 01:21:09,463
AND THAT'S WHAT WE DID.
1782
01:21:09,598 --> 01:21:11,008
HOW OFTEN DO YOU
SLEEP TOGETHER?
1783
01:21:11,032 --> 01:21:12,198
Woman: DO YOU
HAVE SEX OFTEN?
1784
01:21:12,334 --> 01:21:14,868
HARDLY EVER.
MAYBE THREE TIMES A WEEK.
1785
01:21:15,003 --> 01:21:17,604
CONSTANTLY.
I'D SAY THREE TIMES A WEEK.
1786
01:21:17,740 --> 01:21:20,874
IT WAS A SOMEWHAT
PRECOCIOUS FILM, I THINK,
1787
01:21:21,010 --> 01:21:22,890
BECAUSE IT WAS...
AS I RECALL,
1788
01:21:22,978 --> 01:21:25,879
THERE WAS A ROUGH CUT
THAT WAS WELL OVER TWO HOURS.
1789
01:21:26,015 --> 01:21:28,448
I THOUGHT OF IT ONLY AS...
REALLY AS A COMEDY,
1790
01:21:28,584 --> 01:21:30,551
YOU KNOW,
AND I THOUGHT WHEN I WAS
1791
01:21:30,686 --> 01:21:33,487
PUTTING IT TOGETHER ORIGINALLY
THAT IT WOULD BE FUN
1792
01:21:33,622 --> 01:21:35,955
FOR PEOPLE TO SEE
WHAT WENT ON IN MY MIND.
1793
01:21:36,091 --> 01:21:37,902
THAT WAS GOING TO
BE THE MOVIE.
1794
01:21:37,926 --> 01:21:40,294
YOU WERE GOING TO SEE
WHAT GOES ON IN HIS MIND,
1795
01:21:40,429 --> 01:21:42,563
GOING FROM BIT TO BIT
WITHOUT MUCH PLOT.
1796
01:21:42,698 --> 01:21:45,699
IT BECAME APPARENT
IN THE EDITING ROOM
1797
01:21:45,835 --> 01:21:49,135
THAT THE PICTURE WAS
ABOUT SOMETHING ELSE.
1798
01:21:49,271 --> 01:21:51,438
THE RELATIONSHIP WAS
SO STRONG THAT NOBODY
1799
01:21:51,574 --> 01:21:53,614
WANTED TO SEE
WHAT WENT ON IN MY MIND.
1800
01:21:53,676 --> 01:21:56,443
THEY WANTED TO GET BACK TO
THIS STORY OF THE TWO PEOPLE.
1801
01:21:56,579 --> 01:21:58,645
HI. HI.
1802
01:21:58,781 --> 01:22:00,780
OH, HI. HI.
1803
01:22:03,919 --> 01:22:05,753
WELL,
1804
01:22:05,888 --> 01:22:06,888
BYE.
1805
01:22:09,925 --> 01:22:11,524
YOU PLAY VERY WELL.
1806
01:22:11,660 --> 01:22:14,260
OH, YEAH?
SO DO YOU.
1807
01:22:14,396 --> 01:22:17,197
OH, GOD. WHAT A DUMB
THING TO SAY, RIGHT?
1808
01:22:17,333 --> 01:22:19,299
I MEAN, YOU SAID,
"YOU PLAY WELL,"
1809
01:22:19,435 --> 01:22:22,168
THEN RIGHT AWAY,
I HAVE TO SAY, "YOU PLAY WELL."
1810
01:22:22,304 --> 01:22:24,471
OH. OH, GOD, ANNIE.
1811
01:22:24,606 --> 01:22:26,740
WELL... OH, WELL.
1812
01:22:27,876 --> 01:22:31,177
LA-DI-DAH, LA-DI-DAH,
LA-LA. YEAH.
1813
01:22:31,313 --> 01:22:34,247
KEATON WAS SO COMPELLING,
YOU KNOW,
1814
01:22:34,383 --> 01:22:36,416
THAT WHEN SHE
WASN'T ON-SCREEN
1815
01:22:36,551 --> 01:22:39,286
OR THE STORY WASN'T
ABOUT THE RELATIONSHIP,
1816
01:22:39,421 --> 01:22:42,155
EVEN IF SHE WAS ON-SCREEN,
YOU DIDN'T CARE.
1817
01:22:42,291 --> 01:22:43,491
THE WHOLE WORLD FELL IN LOVE
1818
01:22:43,625 --> 01:22:45,570
WITH DIANE KEATON,
BUT WOODY ALLEN FELL
1819
01:22:45,594 --> 01:22:47,672
IN LOVE WITH HER FIRST,
AND HE MADE THAT CONTAGIOUS.
1820
01:22:47,696 --> 01:22:48,562
HEY, LISTEN. LISTEN.
1821
01:22:48,697 --> 01:22:49,807
WHAT?
GIVE ME A KISS.
1822
01:22:49,831 --> 01:22:51,576
REALLY?
YEAH. WHY NOT?
BECAUSE WE'RE JUST
1823
01:22:51,600 --> 01:22:52,844
GOING TO GO HOME LATER,
RIGHT?
1824
01:22:52,868 --> 01:22:54,479
AND THERE'S GOING TO BE
ALL THAT TENSION,
1825
01:22:54,503 --> 01:22:55,847
YOU KNOW,
WE NEVER KISSED BEFORE
1826
01:22:55,871 --> 01:22:57,682
AND I'LL NEVER KNOW WHEN
TO MAKE THE RIGHT MOVE
1827
01:22:57,706 --> 01:22:58,983
OR ANYTHING,
SO WE'LL KISS NOW,
1828
01:22:59,007 --> 01:23:00,852
WE'LL GET IT OVER WITH,
THEN WE'LL GO EAT, OKAY?
1829
01:23:00,876 --> 01:23:02,754
OH. ALL RIGHT.
AND WE'LL DIGEST
OUR FOOD BETTER.
1830
01:23:02,778 --> 01:23:05,479
OKAY.
1831
01:23:05,614 --> 01:23:08,482
OKAY? SO NOW WE CAN DIGEST
OUR FOOD, OKAY? YEAH.
1832
01:23:08,617 --> 01:23:11,885
HE WAS JUST UNFATHOMABLE,
I THINK, MAINLY TO MY PARENTS
1833
01:23:12,020 --> 01:23:14,087
AND PARTICULARLY
MY GRANDMOTHER.
1834
01:23:14,222 --> 01:23:17,190
YOU'RE WHAT GRAMMY HALL
WOULD CALL A REAL JEW.
1835
01:23:19,528 --> 01:23:20,394
THANK YOU.
1836
01:23:20,529 --> 01:23:22,029
Allen: THERE IS A GRAMMY HALL.
1837
01:23:22,164 --> 01:23:24,464
THAT WAS...
THAT'S KEATON'S GRANDMOTHER,
1838
01:23:24,599 --> 01:23:25,699
AS A MATTER OF FACT,
1839
01:23:25,835 --> 01:23:30,237
JUST AN ELDERLY LADY WHO
LIVES IN CALIFORNIA.
1840
01:23:30,373 --> 01:23:32,739
Keaton: SHE WOULD CALL HIM
THIS ODD JEW,
1841
01:23:32,875 --> 01:23:34,835
BUT SHE WAS A TOTAL RACIST,
AND SO
1842
01:23:34,877 --> 01:23:37,878
I WASN'T REALLY
VERY PROUD OF HER
1843
01:23:38,014 --> 01:23:40,380
WITH REGARD TO THAT AND HER
ATTITUDE ABOUT WOODY,
1844
01:23:40,515 --> 01:23:42,493
AND, YOU KNOW,
SHE'D SAY THINGS LIKE,
1845
01:23:42,517 --> 01:23:44,295
"OH, YEAH,
HE'S JUST LIKE A JEW."
1846
01:23:44,319 --> 01:23:46,720
YOU KNOW, I MEAN, THAT'S...
THAT'S WHY HE CAPTURED
1847
01:23:46,855 --> 01:23:48,021
THE ESSENCE OF MY FAMILY.
1848
01:23:48,157 --> 01:23:50,757
YEAH, NOT...
NOT VERY PRETTY.
1849
01:23:50,893 --> 01:23:53,527
"ANNIE HALL" IS THE FILM WHERE
1850
01:23:53,662 --> 01:23:58,698
HE MAKES THE DECISION NOT
TO LEAD ALWAYS WITH JOKES,
1851
01:23:58,833 --> 01:24:01,734
THOUGH IT'S PACKED,
PACKED WITH GREAT JOKES.
1852
01:24:01,870 --> 01:24:04,349
YOU'RE HAVING AN AFFAIR WITH
YOUR COLLEGE PROFESSOR,
1853
01:24:04,373 --> 01:24:06,818
THAT JERK THAT TEACHES THAT
INCREDIBLE CRAP COURSE,
1854
01:24:06,842 --> 01:24:08,620
CONTEMPORARY CRISIS
IN WESTERN MAN.
1855
01:24:08,644 --> 01:24:10,324
EXISTENTIAL MOTIFS
IN RUSSIAN LITERATURE.
1856
01:24:10,379 --> 01:24:11,578
YOU'RE REALLY CLOSE.
1857
01:24:11,713 --> 01:24:13,725
WHAT'S THE DIFFERENCE?
IT'S ALL MENTAL MASTURBATION.
1858
01:24:13,749 --> 01:24:15,189
OH, WELL, NOW WE'RE
FINALLY GETTING
1859
01:24:15,217 --> 01:24:16,761
TO A SUBJECT
YOU KNOW SOMETHING ABOUT.
1860
01:24:16,785 --> 01:24:18,230
HEY, DON'T KNOCK
MASTURBATION.
1861
01:24:18,254 --> 01:24:19,464
IT'S SEX WITH
SOMEONE I LOVE.
1862
01:24:19,488 --> 01:24:20,598
McGrath: IT'S THE FIRST FILM
1863
01:24:20,622 --> 01:24:24,491
WHERE IT'S TRULY GROUNDED
IN ADULT FEELING.
1864
01:24:24,626 --> 01:24:26,593
THIS IS THE ONE
WHERE HE THINKS,
1865
01:24:26,728 --> 01:24:28,862
"I'M GOING TO GO WITH
FEELING FIRST
1866
01:24:28,998 --> 01:24:31,298
AND PEOPLE FIRST,
AND THE JOKES HAVE TO
1867
01:24:31,433 --> 01:24:32,900
COME OUT OF THOSE PEOPLE."
1868
01:24:33,035 --> 01:24:35,316
AND SO, YOU KNOW, IT FEELS
LIKE A LANDMARK CHANGE.
1869
01:24:35,437 --> 01:24:37,437
LET'S FACE IT.
1870
01:24:37,573 --> 01:24:40,974
YOU KNOW, I DON'T THINK OUR
RELATIONSHIP IS WORKING.
1871
01:24:41,110 --> 01:24:43,977
I KNOW. A RELATIONSHIP,
I THINK, IS LIKE A SHARK.
1872
01:24:44,113 --> 01:24:47,280
YOU KNOW, IT HAS TO CONSTANTLY
MOVE FORWARD OR IT DIES.
1873
01:24:47,416 --> 01:24:51,951
AND I THINK WHAT WE'VE GOT ON
OUR HANDS IS A DEAD SHARK.
1874
01:24:52,087 --> 01:24:55,288
THE STORY HE TELLS IS THE STORY
OF EVERYBODY WHO FALLS IN LOVE
1875
01:24:55,423 --> 01:24:59,326
AND THEN FALLS OUT OF LOVE
AND GOES ON,
1876
01:24:59,462 --> 01:25:02,129
AND THAT'S WHAT MAKES IT
SO UNIVERSAL
1877
01:25:02,264 --> 01:25:04,864
AND SO MEANINGFUL
TO SO MANY PEOPLE.
1878
01:25:05,000 --> 01:25:08,635
THE BUILD-UP WAS SUCH THAT...
THAT IT FELT LIKE
1879
01:25:08,770 --> 01:25:13,006
A BOMB WAS ABOUT TO GO OFF IN
NEW YORK THAT WAS GOING TO
1880
01:25:13,142 --> 01:25:16,443
CHANGE THE WAY COMEDIES
WERE MADE FOREVER,
1881
01:25:16,579 --> 01:25:19,480
AND I GUESS PERHAPS
IN A WAY IT DID.
1882
01:25:19,615 --> 01:25:23,049
IT WAS... IT WAS
THAT KIND OF MOVIE.
1883
01:25:23,185 --> 01:25:25,305
WE SPEAK OF "ANNIE HALL"
AS A GAME CHANGER.
1884
01:25:25,387 --> 01:25:27,632
IT MAY NOT HAVE BEEN
A GAME CHANGER FOR WOODY ALLEN,
1885
01:25:27,656 --> 01:25:29,734
BECAUSE HE SEEMS TO GO
WHERE WANTS TO GO,
1886
01:25:29,758 --> 01:25:31,918
BUT IT WAS A GAME CHANGER
FOR THE INDUSTRY.
1887
01:25:31,961 --> 01:25:34,895
I THINK COMEDY ITSELF
BEGAN TO BE REEVALUATED.
1888
01:25:35,030 --> 01:25:39,132
DID WE GET A SENSE THAT THIS WAS
SOME SORT OF CULTURAL AVALANCHE?
1889
01:25:39,267 --> 01:25:40,667
NO. NO.
1890
01:25:40,803 --> 01:25:43,303
THERE ARE SUBCULTURES
THAT EXIST,
1891
01:25:43,439 --> 01:25:45,238
AND SOMETIMES YOU HIT ONTO
1892
01:25:45,374 --> 01:25:46,684
ONE OF THEM
AND YOU REALIZE
1893
01:25:46,708 --> 01:25:48,619
THAT THERE'S SOMETHING THERE
THAT WASN'T THERE,
1894
01:25:48,643 --> 01:25:50,221
AND I GUESS THERE
WAS AN AUDIENCE
1895
01:25:50,245 --> 01:25:53,246
READY FOR THIS MOVIE.
1896
01:25:53,381 --> 01:25:55,126
HEY, HOW MUCH IS THIS STUFF,
INCIDENTALLY?
1897
01:25:55,150 --> 01:25:57,784
THAT'S ABOUT
$2,000 AN OUNCE.
1898
01:25:57,920 --> 01:26:01,254
GOD.
REALLY? AND WHAT IS
THE KICK OF IT?
1899
01:26:01,389 --> 01:26:02,622
WHICH I NEVER...
1900
01:26:12,701 --> 01:26:14,779
Lauder: I DIDN'T GO
TO THE EVENT BECAUSE
1901
01:26:14,803 --> 01:26:16,102
IN THE OFFICE POOLS,
1902
01:26:16,237 --> 01:26:18,839
"STAR WARS" WAS
THE HANDS-DOWN WINNER.
1903
01:26:18,974 --> 01:26:21,975
WOODY SAID, "I'M NOT GOING TO
GO OUT TO THE AWARDS
1904
01:26:22,111 --> 01:26:23,510
BECAUSE I HAVE THE BAND.
1905
01:26:23,646 --> 01:26:25,456
I HAVE OUR JAZZ BAND
ON MONDAY NIGHTS."
1906
01:26:25,480 --> 01:26:27,659
AND I THOUGHT, "OKAY,
THAT'S A KIND OF GENIUS.
1907
01:26:27,683 --> 01:26:29,883
HE'S REALLY MAKING
A VERY SIGNIFICANT STATEMENT
1908
01:26:29,918 --> 01:26:32,352
THAT'S GOING TO
CARRY HIM A LONG WAY."
1909
01:26:32,487 --> 01:26:34,687
I SAID, "BUT I DON'T
HAVE TO MAKE A STATEMENT.
1910
01:26:34,723 --> 01:26:35,822
I WANT TO GO."
1911
01:26:35,957 --> 01:26:38,892
MUCH TO OUR SURPRISE,
WE PICKED UP FOUR AWARDS,
1912
01:26:39,027 --> 01:26:41,094
WHICH WAS ORIGINAL SCREENPLAY,
1913
01:26:41,230 --> 01:26:43,897
BEST DIRECTOR FOR WOODY,
BEST FILM,
1914
01:26:44,032 --> 01:26:45,332
AND BEST ACTRESS FOR DIANE.
1915
01:26:45,467 --> 01:26:47,734
Allen: THE NEXT MORNING,
I GOT UP, YOU KNOW,
1916
01:26:47,869 --> 01:26:50,081
I GOT THE NEW YORK TIMES
DELIVERED TO MY APARTMENT,
1917
01:26:50,105 --> 01:26:53,140
AND I NOTICED ON
THE FRONT PAGE ON THE BOTTOM,
1918
01:26:53,275 --> 01:26:56,676
IT SAID THAT "'ANNIE HALL'
WINS FOUR ACADEMY AWARDS,"
1919
01:26:56,812 --> 01:26:58,578
SO I GO, "OH, THAT'S GREAT."
1920
01:26:58,713 --> 01:27:03,083
Cavett: SOMEBODY AT
THE JACK ROLLINS OFFICE HEARD
1921
01:27:03,218 --> 01:27:06,253
JACK SAY TO WOODY,
"WOODY, ARE YOU ADAMANT
1922
01:27:06,388 --> 01:27:08,989
ABOUT THIS IDEA
THAT YOU DON'T WANT
1923
01:27:09,124 --> 01:27:13,126
'ACADEMY AWARD-WINNING FILM, '
YOU DON'T WANT THAT PHRASE
1924
01:27:13,262 --> 01:27:17,264
IN THE ADS ANYWHERE WITHIN
A HUNDRED MILES OF NEW YORK?"
1925
01:27:17,399 --> 01:27:19,599
AND HE SAID,
"THAT'S RIGHT."
1926
01:27:19,734 --> 01:27:22,135
AND JACK SAID, "COULD WE
MAKE IT 50, WOODY?"
1927
01:27:23,605 --> 01:27:26,673
I THINK WHAT YOU GET
IN AWARDS IS FAVORITISM.
1928
01:27:26,808 --> 01:27:28,341
I MEAN, PEOPLE CAN SAY,
1929
01:27:28,477 --> 01:27:31,278
"OH, MY FAVORITE MOVIE
WAS 'ANNIE HALL, '"
1930
01:27:31,413 --> 01:27:34,681
BUT THE IMPLICATION IS THAT
IT'S THE BEST MOVIE,
1931
01:27:34,816 --> 01:27:37,216
AND I DON'T THINK
THAT'S POSSIBLE.
1932
01:27:37,352 --> 01:27:39,196
I DON'T THINK YOU CAN
MAKE THAT JUDGMENT.
1933
01:27:39,220 --> 01:27:42,221
EXCEPT FOR TRACK,
TRACK AND FIELD, YOU KNOW,
1934
01:27:42,357 --> 01:27:45,358
WHERE ONE GUY RUNS
AND YOU SEE THAT HE WINS,
1935
01:27:45,494 --> 01:27:46,526
THEN IT'S OKAY.
1936
01:27:46,662 --> 01:27:49,195
I WON THOSE WHEN
I WAS YOUNGER,
1937
01:27:49,331 --> 01:27:53,199
AND THOSE WERE NICE,
'CAUSE I KNEW I DESERVED THEM.
1938
01:27:53,335 --> 01:27:56,870
I WOULD LIKE TO,
FOR INSTANCE, IN FILMS,
1939
01:27:57,006 --> 01:27:58,905
DO MORE SERIOUS FILMS.
1940
01:27:59,041 --> 01:28:00,107
I'D LIKE TO
1941
01:28:00,242 --> 01:28:02,909
NOT ACT IN THEM
BUT TO WRITE AND DIRECT
1942
01:28:03,044 --> 01:28:04,343
MORE SERIOUS THINGS.
1943
01:28:04,479 --> 01:28:07,280
HE HAD THEN THE OPPORTUNITY
TO EXPLORE THAT
1944
01:28:07,415 --> 01:28:09,850
IN HIMSELF AS AN ARTIST,
RIGHT? OKAY.
1945
01:28:09,985 --> 01:28:12,285
HE TOOK IT.
OTHER PEOPLE WOULDN'T.
1946
01:28:12,420 --> 01:28:14,340
OTHER PEOPLE WOULD
STAY WITH WHAT
1947
01:28:14,389 --> 01:28:16,234
THEY FEEL IS SAFER,
IN A SENSE.
1948
01:28:16,258 --> 01:28:18,169
NOT THAT ANYTHING'S
REALLY SAFE,
1949
01:28:18,193 --> 01:28:20,460
BUT, I MEAN,
IT'S TERRITORY THEY FEEL THAT
1950
01:28:20,595 --> 01:28:21,595
THEY CAN EXCEL.
1951
01:28:21,730 --> 01:28:23,396
BUT TO PUSH AND GO FURTHER,
1952
01:28:23,532 --> 01:28:25,932
THAT'S WHY HE HAD TO
DO "INTERIORS,"
1953
01:28:26,068 --> 01:28:27,400
TO GET TO THAT POINT.
1954
01:28:27,536 --> 01:28:30,737
I FEEL I HAVE BEEN
A DEDICATED HUSBAND,
1955
01:28:30,873 --> 01:28:35,142
A RESPONSIBLE FATHER,
AND I HAVEN'T REGRETTED ANYTHING
1956
01:28:35,277 --> 01:28:37,443
I'VE BEEN CALLED UPON TO DO.
1957
01:28:37,579 --> 01:28:42,849
NOW I FEEL I WANT TO BE
BY MYSELF FOR A WHILE.
1958
01:28:42,985 --> 01:28:47,454
CONSEQUENTLY, I'VE DECIDED TO
MOVE OUT OF THE HOUSE,
1959
01:28:47,589 --> 01:28:51,158
BUT I FEEL IT'S SOMETHING
I HAVE TO TRY.
1960
01:28:51,293 --> 01:28:53,225
IT'S A SEPARATION,
1961
01:28:53,361 --> 01:28:55,428
AND I WANTED TO
LAY IT ON THE TABLE
1962
01:28:55,564 --> 01:28:58,698
IN FRONT OF EVERYONE
SO THAT EVERYTHING IS OPEN
1963
01:28:58,834 --> 01:29:00,499
AND AS DIRECT AS POSSIBLE.
1964
01:29:00,635 --> 01:29:02,969
Scorsese: AND HE HAD
A VERY GOOD RELATIONSHIP
1965
01:29:03,105 --> 01:29:04,145
WITH UNITED ARTISTS,
1966
01:29:04,239 --> 01:29:05,372
WHICH, BY THE WAY,
1967
01:29:05,507 --> 01:29:07,707
WAS THE HOME OF
INDEPENDENT FILMS.
1968
01:29:07,842 --> 01:29:11,411
I WAS, YOU KNOW,
INDULGED BY THEM.
1969
01:29:11,546 --> 01:29:14,847
THEY SAID, "WELL, YOU KNOW,
YOU'VE EARNED THE RIGHT
1970
01:29:14,983 --> 01:29:17,550
TO MAKE ANY FILM
YOU WANT TO MAKE, SO,
1971
01:29:17,685 --> 01:29:23,223
YOU KNOW, IF YOU WANT TO MAKE
A VERY SERIOUS DRAMA, GO AHEAD
1972
01:29:23,358 --> 01:29:24,824
AND MAKE ONE."
1973
01:29:24,960 --> 01:29:26,271
I TALKED WITH
YOUR DOCTOR.
1974
01:29:26,295 --> 01:29:27,738
HE FEELS YOU
CAN HANDLE THIS.
1975
01:29:27,762 --> 01:29:29,862
YOU TALKED TO DR. LOBEL
ABOUT THIS BEHIND MY BACK?
1976
01:29:29,998 --> 01:29:32,277
NOT BEHIND YOUR BACK.
DISCREETLY.
1977
01:29:32,301 --> 01:29:35,135
YOU DISCUSSED THIS WITH
DR. LOBEL BEHIND MY BACK.
1978
01:29:35,270 --> 01:29:36,436
IT'S SO HUMILIATING.
1979
01:29:36,571 --> 01:29:38,682
EVE, IT'S YOUR DOCTOR
AND MYSELF.
1980
01:29:38,706 --> 01:29:40,584
NOW, HOW PRIVATE
CAN ONE BE?
1981
01:29:41,743 --> 01:29:42,608
AND HE ASSURED YOU
1982
01:29:42,744 --> 01:29:44,444
THAT I CAN HANDLE IT,
IS THAT RIGHT?
1983
01:29:44,579 --> 01:29:46,313
OH, HOW HUMILIATING!
1984
01:29:46,448 --> 01:29:48,815
YOU'RE NOT HUMILIATED.
1985
01:29:48,951 --> 01:29:51,051
OH, I JUST WANT TO DIE.
1986
01:29:51,186 --> 01:29:52,552
OH, STOP THAT.
1987
01:29:54,056 --> 01:29:55,355
I JUST HATE MY LIFE!
1988
01:30:02,764 --> 01:30:08,167
Lasser: BUT HIS DESIRE
ALWAYS HAD BEEN AND HAS BEEN
1989
01:30:08,303 --> 01:30:11,237
TO BE TAKEN VERY SERIOUSLY.
1990
01:30:11,372 --> 01:30:16,108
AND THE DARK SIDE OF HIM IS
A VERY IMPORTANT PART OF HIM,
1991
01:30:16,244 --> 01:30:18,177
IN HIS WORK AND IN HIM.
1992
01:30:18,312 --> 01:30:21,280
AND IT'S HIS...
1993
01:30:21,416 --> 01:30:23,293
IT'S A GREAT THING
AND IT'S A TORTURE.
1994
01:30:23,317 --> 01:30:28,921
I PUT A HIGHER VALUE ON
THE TRAGIC MUSE
1995
01:30:29,057 --> 01:30:30,457
THAN THE COMIC MUSE.
1996
01:30:30,592 --> 01:30:33,960
I'VE ALWAYS FELT THAT
TRAGIC WRITING,
1997
01:30:34,095 --> 01:30:35,462
TRAGIC THEATER,
1998
01:30:35,597 --> 01:30:40,634
TRAGIC FILM CONFRONTS
REALITY HEAD-ON AND DOESN'T
1999
01:30:40,769 --> 01:30:43,269
SATIRIZE IT, TEASE IT,
KID IT, DEFLECT IT,
2000
01:30:43,405 --> 01:30:46,372
OPT OUT WITH SOME KIND OF
A GAG AT THE LAST MINUTE.
2001
01:30:46,508 --> 01:30:48,708
IT'S HARDER FOR ME,
2002
01:30:48,843 --> 01:30:52,312
I EMBARRASS MYSELF
MORE READILY,
2003
01:30:52,447 --> 01:30:56,616
BUT I GET MORE PLEASURE
OUT OF FAILING IN A PROJECT
2004
01:30:56,751 --> 01:31:00,286
THAT I AM ENTHUSED OVER
THAN IN SUCCEEDING
2005
01:31:00,422 --> 01:31:03,022
IN A PROJECT THAT
I KNOW I CAN DO WELL.
2006
01:31:03,157 --> 01:31:06,459
Maltin: AFTER TAKING
A LOT OF FLACK FOR "INTERIORS"
2007
01:31:06,595 --> 01:31:09,829
BEING SO HEAVY AND DRAMATIC,
2008
01:31:09,965 --> 01:31:11,575
HE RESPONDED,
AND SOME PEOPLE
2009
01:31:11,599 --> 01:31:13,677
WOULD SAY REBOUNDED,
WITH HIS NEXT FILM.
2010
01:31:13,701 --> 01:31:14,746
HAVING DONE "ANNIE HALL,"
2011
01:31:14,770 --> 01:31:16,347
WHICH HAD A PARTICULAR
KIND OF LOOK,
2012
01:31:16,371 --> 01:31:20,040
WE THOUGHT, "OKAY, NOW,
HOW DO WE MAKE 'MANHATTAN'
2013
01:31:20,175 --> 01:31:22,509
BE A LITTLE MORE
DISTINCTIVE VISUALLY?"
2014
01:31:22,644 --> 01:31:25,545
♪
2015
01:31:28,283 --> 01:31:29,649
THE DECISION TO SHOOT
2016
01:31:29,784 --> 01:31:32,385
"MANHATTAN" IN
BLACK AND WHITE REALLY WAS
2017
01:31:32,520 --> 01:31:35,088
WOODY'S IDEA,
BECAUSE I THINK BOTH OF US
2018
01:31:35,223 --> 01:31:38,324
PERCEIVE MANHATTAN AS LIKE
A BLACK AND WHITE CITY.
2019
01:31:38,459 --> 01:31:40,860
IT'S STONE AND CONCRETE
AND BLACKTOP.
2020
01:31:40,996 --> 01:31:42,840
WOODY ALLEN UNDERSTOOD
SOMETHING ABOUT
2021
01:31:42,864 --> 01:31:45,009
BLACK AND WHITE THAT
HOLLYWOOD HAD FORGOTTEN,
2022
01:31:45,033 --> 01:31:47,145
WHICH IS THAT IT ADDS GLAMOUR,
AND SO ONE OF
2023
01:31:47,169 --> 01:31:49,289
THE CHARACTERISTICS
OF "MANHATTAN" IS THAT
2024
01:31:49,338 --> 01:31:51,378
IT CREATES A NOSTALGIA
FOR THE PRESENT.
2025
01:31:51,406 --> 01:31:53,139
HE LOVES NEW YORK SO MUCH.
2026
01:31:53,275 --> 01:31:54,740
I MEAN, IT'S HIS CITY.
2027
01:31:54,876 --> 01:31:56,742
AND IN THIS FILM, WHICH IS
2028
01:31:56,878 --> 01:32:01,714
JUST SUCH A LOVE LETTER
TO NEW YORK, IT'S...
2029
01:32:01,849 --> 01:32:03,889
NOTHING'S DONE SO
EXTRAORDINARILY WELL
2030
01:32:03,918 --> 01:32:04,998
THAT'S SAYS NEW YORK.
2031
01:32:05,053 --> 01:32:06,720
IT'S CONSTANTLY ALIVE.
2032
01:32:06,855 --> 01:32:10,256
IT'S LIKE A CITY THAT'S
CONTINUALLY EVOLVING
2033
01:32:10,392 --> 01:32:12,526
AND EXTRAORDINARILY CREATIVE.
2034
01:32:12,661 --> 01:32:17,898
AND THE RHYTHM OF THE CITY
FEEDS DIFFERENT SENSIBILITIES.
2035
01:32:18,033 --> 01:32:20,567
I WANTED TO SHOW NEW YORK
2036
01:32:20,702 --> 01:32:23,770
IN A VERY BEAUTIFUL WAY,
THE WAY I SEE IT.
2037
01:32:23,905 --> 01:32:25,605
I NEVER HAD ANY INTEREST
2038
01:32:25,741 --> 01:32:30,910
IN SHOWING IT EXCEPT THROUGH
MY ROSE-COLORED GLASSES,
2039
01:32:31,045 --> 01:32:32,978
MY ROMANTICIZED VIEW OF IT.
2040
01:32:33,114 --> 01:32:35,248
IT'S ONE OF THE REASONS
I LOVE HIS WORK.
2041
01:32:35,383 --> 01:32:37,817
BUT THEY ARE EXTREMELY
FOREIGN TO ME.
2042
01:32:37,952 --> 01:32:39,763
IT'S ANOTHER...
NOT ANOTHER WORLD,
2043
01:32:39,787 --> 01:32:40,787
ANOTHER PLANET.
2044
01:32:40,855 --> 01:32:42,166
THE NEW YORK I KNOW
IS REALLY...
2045
01:32:42,190 --> 01:32:44,457
YOU LOOK AT "MEAN STREETS,"
THAT'S MY...
2046
01:32:44,592 --> 01:32:45,592
WHERE I GREW UP,
2047
01:32:45,626 --> 01:32:47,994
AND "TAXI DRIVER"
IS MY STATE OF MIND.
2048
01:32:48,129 --> 01:32:50,496
MANHATTAN IS SO BEAUTIFUL,
SO YOU'RE SEEING...
2049
01:32:50,631 --> 01:32:54,634
EACH SHOT BECAME... YOU KNOW,
IT BECAME A PAINTING.
2050
01:32:54,770 --> 01:32:56,936
YEARS FROM NOW,
PEOPLE WILL BE ABLE TO
2051
01:32:57,072 --> 01:33:00,006
LOOK BACK AT MY FILMS,
AND THE ONLY REAL VALUE OF THEM
2052
01:33:00,141 --> 01:33:03,309
IS GOING TO BE
THE BACKGROUND SCENERY.
2053
01:33:03,444 --> 01:33:07,580
Isaac: NEW YORK WAS HIS TOWN,
AND IT ALWAYS WOULD BE.
2054
01:33:07,716 --> 01:33:11,017
♪
2055
01:33:16,391 --> 01:33:18,391
Allen: "MANHATTAN"
WE WANTED TO SHOOT
2056
01:33:18,426 --> 01:33:21,327
WIDE SCREEN JUST BECAUSE
IT WAS NOT
2057
01:33:21,463 --> 01:33:23,797
A WAR PICTURE
OR A BIG-SCOPE PICTURE.
2058
01:33:23,932 --> 01:33:26,032
IT WAS AN INTIMATE LOVE STORY.
2059
01:33:26,167 --> 01:33:28,100
JUST BECAUSE OF THAT,
2060
01:33:28,236 --> 01:33:30,236
WE THOUGHT IT
WOULD BE INTERESTING.
2061
01:33:31,606 --> 01:33:33,373
THE GERSHWIN MUSIC IN MANHATTAN
2062
01:33:33,508 --> 01:33:35,153
IS REALLY A SECOND
PART OF THE MOVIE.
2063
01:33:35,177 --> 01:33:38,277
YOU HAVE THE STORY GOING ON
OF ALL THESE CHARACTERS,
2064
01:33:38,413 --> 01:33:40,324
AND THEN THIS MUSIC
WAS JUST ABLE TO
2065
01:33:40,348 --> 01:33:42,782
INFORM THE AUDIENCE EMOTIONALLY
ABOUT WHAT'S HAPPENING.
2066
01:33:42,917 --> 01:33:45,029
IT REALLY MAKES THE MUSIC
ANOTHER CHARACTER,
2067
01:33:45,053 --> 01:33:46,564
ANOTHER PART
OF THE ENSEMBLE.
2068
01:33:46,588 --> 01:33:48,354
♪
2069
01:34:04,772 --> 01:34:09,142
THERE ARE THINGS THAT ARE
REGARDED AS COMEDIES
2070
01:34:09,277 --> 01:34:11,544
THAT ALWAYS BEWILDER ME.
2071
01:34:11,679 --> 01:34:14,080
"MANHATTAN" WAS A ROMANCE,
2072
01:34:14,215 --> 01:34:17,016
AND I GUESS IT'S
THOUGHT OF AS A COMEDY
2073
01:34:17,152 --> 01:34:21,521
BECAUSE THE GENERAL STORY,
YOU KNOW, WAS LIGHT.
2074
01:34:21,656 --> 01:34:22,733
I MEAN, IT WAS AMUSING.
2075
01:34:22,757 --> 01:34:24,335
I WAS IN LOVE
WITH A YOUNG GIRL
2076
01:34:24,359 --> 01:34:26,359
AND THE GUY WAS
2077
01:34:26,494 --> 01:34:28,506
CHEATING ON HIS WIFE,
AND IT'S MORE OF
2078
01:34:28,530 --> 01:34:30,363
A FOREIGN FILM INFLUENCE.
2079
01:34:30,498 --> 01:34:33,566
IN FOREIGN COMEDIES,
YOU DON'T GET THOSE
2080
01:34:33,702 --> 01:34:36,435
KIND OF "JOKE COMEDIES"
VERY OFTEN.
2081
01:34:36,571 --> 01:34:39,605
WHAT YOU GET MORE IS
REGULAR DRAMATIC STORIES
2082
01:34:39,741 --> 01:34:43,276
BUT WITH A LITTLE LIGHT TOUCH
TO THEM HERE AND THERE.
2083
01:34:43,411 --> 01:34:44,689
WELL, I'M OLD-FASHIONED.
2084
01:34:44,713 --> 01:34:47,080
I DON'T BELIEVE IN
EXTRAMARITAL RELATIONSHIPS.
2085
01:34:47,215 --> 01:34:49,226
I THINK PEOPLE SHOULD
MATE FOR LIFE,
2086
01:34:49,250 --> 01:34:50,862
LIKE PIGEONS
OR CATHOLICS.
2087
01:34:50,886 --> 01:34:53,167
Maltin: THERE WAS CERTAINLY
POTENTIAL AWKWARDNESS
2088
01:34:53,221 --> 01:34:55,688
IN THE CASTING OF
WOODY OPPOSITE
2089
01:34:55,823 --> 01:34:57,857
A TEENAGE GIRL IN "MANHATTAN,"
2090
01:34:57,993 --> 01:35:01,194
BUT I THINK THAT WAS
DEFUSED IN A LOT OF WAYS
2091
01:35:01,329 --> 01:35:03,529
BY HIM FINDING THIS
WONDERFUL YOUNG ACTRESS,
2092
01:35:03,664 --> 01:35:04,931
MARIEL HEMINGWAY,
2093
01:35:05,066 --> 01:35:09,135
WHO WAS JUST 18 AND WHO GAVE
SUCH A WONDERFUL PERFORMANCE
2094
01:35:09,270 --> 01:35:11,604
AND BROUGHT SUCH
FEELING TO IT
2095
01:35:11,740 --> 01:35:14,607
THAT SHE EVEN GOT
AN OSCAR NOMINATION.
2096
01:35:14,743 --> 01:35:16,486
Hemingway: WOODY
MADE ME FEEL
2097
01:35:16,510 --> 01:35:18,944
AS THOUGH I WAS
PART OF THE PROCESS.
2098
01:35:19,080 --> 01:35:21,514
HE KNEW THAT I WAS SCARED,
HE KNEW I WAS SHY,
2099
01:35:21,650 --> 01:35:24,450
HE KNEW I WAS THESE THINGS,
SO HE SPENT TIME WITH ME
2100
01:35:24,586 --> 01:35:27,187
OFF THE SET,
TAKING ME TO MUSEUMS
2101
01:35:27,322 --> 01:35:28,954
AND MAKING ME AWARE OF
2102
01:35:29,090 --> 01:35:31,558
WHAT I PROBABLY
WOULD'VE BEEN AWARE OF
2103
01:35:31,693 --> 01:35:33,926
AS THAT YOUNG GIRL
LIVING IN MANHATTAN.
2104
01:35:34,062 --> 01:35:36,596
NOW, IT DOESN'T ALWAYS HAPPEN
IN A WOODY ALLEN FILM.
2105
01:35:36,731 --> 01:35:38,709
YOU KNOW, HE'S LIKE,
YOU SHOW UP, YOU'RE THE ACTOR
2106
01:35:38,733 --> 01:35:40,177
AND HE FIGURES YOU
KNOW WHAT TO DO
2107
01:35:40,201 --> 01:35:42,468
AND HE LEAVES YOU ALONE,
BASICALLY.
2108
01:35:42,603 --> 01:35:45,238
SO I THINK HE KNEW
UNLESS HE BEFRIENDED ME
2109
01:35:45,373 --> 01:35:48,474
OR WE BECAME CLOSE THAT
I WOULDN'T UNDERSTAND,
2110
01:35:48,609 --> 01:35:50,410
YOU KNOW, I WOULDN'T GET IT.
2111
01:35:50,545 --> 01:35:52,645
SO WHEN IT CAME TO
THAT SCENE
2112
01:35:52,780 --> 01:35:53,820
AT THE SODA FOUNTAIN
2113
01:35:53,915 --> 01:35:55,748
AND HE'S BREAKING UP WITH ME,
2114
01:35:55,884 --> 01:35:59,619
THERE WAS THIS NATURAL FEELING
OF BREAKING APART A FAMILY.
2115
01:35:59,754 --> 01:36:02,354
THERE WAS A BREAKING
APART OF SOMETHING
2116
01:36:02,490 --> 01:36:04,490
THAT HAD BECOME
VERY FAMILIAR TO ME,
2117
01:36:04,593 --> 01:36:07,560
BECAUSE I REALLY CARED
ABOUT HIM AS A FRIEND.
2118
01:36:07,696 --> 01:36:09,506
I REMEMBER LOOKING HIM
IN THE EYE
2119
01:36:09,530 --> 01:36:11,208
AND LISTENING TO
WHAT HE SAID,
2120
01:36:11,232 --> 01:36:13,143
AND LISTENING VERY,
VERY CAREFULLY.
2121
01:36:13,167 --> 01:36:16,369
THE TRUTH IS THAT I LOVE
SOMEBODY ELSE.
2122
01:36:19,608 --> 01:36:22,775
YOU DO?
2123
01:36:22,911 --> 01:36:25,044
HEY, COME ON,
YOU... WE... WE...
2124
01:36:25,179 --> 01:36:27,279
THIS WAS SUPPOSED TO BE
A TEMPORARY FLING.
2125
01:36:27,415 --> 01:36:29,415
YOU KNOW THAT.
2126
01:36:29,550 --> 01:36:32,085
YOU MET SOMEONE?
2127
01:36:34,989 --> 01:36:37,156
WHY SHOULD I FEEL
GUILTY ABOUT THIS?
2128
01:36:37,292 --> 01:36:38,390
THIS IS RIDICULOUS.
2129
01:36:38,526 --> 01:36:40,759
I'VE ALWAYS ENCOURAGED YOU
TO GO OUT WITH GUYS
2130
01:36:40,895 --> 01:36:43,129
MORE YOUR OWN AGE, GUYS...
KIDS FROM YOUR CLASS.
2131
01:36:43,264 --> 01:36:47,766
BILLY AND BIFF AND SCOOTER,
YOU KNOW,
2132
01:36:47,902 --> 01:36:50,469
LITTLE TOMMY OR TERRY.
I DON'T...
2133
01:36:50,604 --> 01:36:54,206
HEY, COME ON,
DON'T CRY.
2134
01:36:54,342 --> 01:36:57,577
DON'T CRY.
2135
01:36:57,712 --> 01:37:00,580
COME ON, DON'T...
TRACY.
2136
01:37:00,715 --> 01:37:03,483
TRACY, DON'T...
COME ON, DON'T CRY, TRACY.
2137
01:37:03,618 --> 01:37:05,918
Hemingway: SO WHEN I CRIED,
IT WAS REAL.
2138
01:37:06,053 --> 01:37:07,620
JUST LEAVE ME ALONE.
2139
01:37:07,756 --> 01:37:09,199
Hemingway: 'CAUSE
I THOUGHT ABOUT,
2140
01:37:09,223 --> 01:37:10,668
"OH, THIS TOO WILL END,"
YOU KNOW.
2141
01:37:10,692 --> 01:37:13,826
"THIS FAMILY WILL BE GONE
AND I WILL MISS YOU."
2142
01:37:19,367 --> 01:37:22,201
Feeney: I DON'T KNOW IF
THE ACT OF FALLING IN LOVE
2143
01:37:22,337 --> 01:37:26,005
HAS EVER BEEN DONE WITH
MORE POWER OR MORE ECONOMY
2144
01:37:26,140 --> 01:37:28,286
THAN IN THAT MOMENT BY
THE 59th STREET BRIDGE
2145
01:37:28,310 --> 01:37:30,843
WHERE WOODY AND DIANE KEATON
ARE SITTING ON THE PARK BENCH
2146
01:37:30,978 --> 01:37:32,378
WATCHING THE DAY COME UP.
2147
01:37:32,514 --> 01:37:34,158
IT WAS A PAIN
IN THE NECK TO DO
2148
01:37:34,182 --> 01:37:36,916
BECAUSE I LIKE TO LIVE
A REGULAR SCHEDULE.
2149
01:37:37,052 --> 01:37:39,953
I WENT TO SLEEP AT NIGHT
AND I HAD TO WAKE UP
2150
01:37:40,088 --> 01:37:41,520
AT 3:00 IN THE MORNING.
2151
01:37:41,656 --> 01:37:44,290
PLUS, WE HAD TO BRING
OUR OWN BENCH, YOU KNOW,
2152
01:37:44,425 --> 01:37:46,059
'CAUSE THERE'S NO BENCH THERE,
2153
01:37:46,194 --> 01:37:50,196
AND THEN WE STARTED SHOOTING
AS THE LIGHT CAME UP.
2154
01:37:50,332 --> 01:37:51,931
♪
2155
01:37:52,067 --> 01:37:54,267
Mary: ISN'T IT
BEAUTIFUL OUT?
2156
01:37:54,402 --> 01:37:55,913
Isaac: YEAH,
IT'S REALLY...
2157
01:37:55,937 --> 01:37:58,249
REALLY SO PRETTY WHEN
THE LIGHT STARTS TO COME UP.
2158
01:37:58,273 --> 01:38:00,340
OH, I KNOW.
I LOVE IT.
2159
01:38:03,245 --> 01:38:04,722
THIS IS REALLY
A GREAT CITY.
2160
01:38:04,746 --> 01:38:06,324
I DON'T CARE
WHAT ANYBODY SAYS.
2161
01:38:06,348 --> 01:38:10,449
IT'S JUST REALLY A KNOCK OUT,
YOU KNOW?
2162
01:38:10,585 --> 01:38:14,787
WELL, I THINK I'D
BETTER HEAD BACK.
2163
01:38:14,923 --> 01:38:17,101
Allen: WELL, I DIDN'T KNOW
IT WOULD BE ICONIC,
2164
01:38:17,125 --> 01:38:19,406
BUT WE KNEW IT WOULD BE PRETTY,
BUT NEVER THINKING
2165
01:38:19,527 --> 01:38:21,505
THAT ANYTHING WOULD
COME OF IT OTHER THAN
2166
01:38:21,529 --> 01:38:23,474
IT WOULD BE A NICE SCENE
IN THE PICTURE.
2167
01:38:23,498 --> 01:38:25,564
♪
2168
01:38:25,700 --> 01:38:27,178
Feeney: MOST PEOPLE
TAKE IT AWAY
2169
01:38:27,202 --> 01:38:28,980
BECAUSE THAT'S HOW
THEY WANT TO FALL IN LOVE
2170
01:38:29,004 --> 01:38:30,204
OR THEY HAVE FALLEN IN LOVE.
2171
01:38:30,338 --> 01:38:33,472
IT EITHER PLAYS TO YOUR MEMORY
OR IT PLAYS TO YOUR HOPE.
2172
01:38:33,608 --> 01:38:35,541
THAT'S THE SORT OF
REAL TWILIGHT
2173
01:38:35,676 --> 01:38:37,676
THAT'S OPERATING
UNDER THAT SHOT.
2174
01:38:37,812 --> 01:38:40,179
AND BECAUSE YOU
TAKE IT AWAY WITH YOU,
2175
01:38:40,315 --> 01:38:41,614
IT BECOMES, IN SOME WAYS,
2176
01:38:41,749 --> 01:38:43,749
THE MOST POWERFUL
SHOT IN THE FILM.
2177
01:38:43,818 --> 01:38:45,729
ALL RIGHT,
WHY IS LIFE WORTH LIVING?
2178
01:38:45,753 --> 01:38:47,053
THAT'S A VERY GOOD QUESTION.
2179
01:38:47,188 --> 01:38:49,422
Hemingway: YOU KNOW,
THE FINAL SCENE WHEN HE'S
2180
01:38:49,557 --> 01:38:51,768
LYING ON THE COUCH
AND REMEMBERING ALL THE THINGS
2181
01:38:51,792 --> 01:38:52,658
THAT MAKE HIM HAPPY.
2182
01:38:52,793 --> 01:38:54,193
TRACY'S FACE.
2183
01:38:57,598 --> 01:38:59,865
Hemingway: AND THEN STOPPING
AND RUNNING
2184
01:39:00,001 --> 01:39:01,433
DOWN THE STREET TO THAT MUSIC
2185
01:39:01,569 --> 01:39:03,670
AND THEN FINALLY
COMING UP TO THAT DOOR
2186
01:39:03,805 --> 01:39:05,771
AND SEEING ME ABOUT TO LEAVE.
2187
01:39:05,906 --> 01:39:09,008
I MEAN, IT DOESN'T GET
ANY BETTER THAN THAT.
2188
01:39:09,143 --> 01:39:10,876
♪
2189
01:39:14,081 --> 01:39:16,115
AND I'M NOT SAYING,
LIKE, "OH, ME!"
2190
01:39:16,250 --> 01:39:18,551
THAT WAS A FILM MOMENT
WHERE YOU JUST GO,
2191
01:39:18,687 --> 01:39:20,564
"WOW. HOW INCREDIBLE
IS THAT?"
2192
01:39:20,588 --> 01:39:23,989
AND THAT'S WHAT'S
INSIDE OF HIM, YOU KNOW.
2193
01:39:24,125 --> 01:39:26,626
HE'S A ROMANTIC,
HE'S A MUSH.
2194
01:39:26,761 --> 01:39:28,773
WHAT'S BEAUTIFUL
ABOUT THE FINAL SCENE
2195
01:39:28,797 --> 01:39:30,329
IS THAT IT'S SO VULNERABLE.
2196
01:39:30,465 --> 01:39:33,299
I MEAN, HE WAS SO HONEST
AND PURE IN THAT SCENE,
2197
01:39:33,435 --> 01:39:36,602
AND I DO BELIEVE
THAT IT SHOWS HOW TALENTED
2198
01:39:36,737 --> 01:39:38,337
HE CAN BE AS AN ACTOR.
2199
01:39:38,473 --> 01:39:40,539
ALL THE STUFF GOES AWAY,
YOU KNOW,
2200
01:39:40,674 --> 01:39:43,476
ALL THE "I'M A COMEDIC ACTOR"
OR WHATEVER IS GONE
2201
01:39:43,611 --> 01:39:45,422
AND HE'S JUST
RIGHT THERE WITH YOU,
2202
01:39:45,446 --> 01:39:47,157
AND IT WAS SO...
IT WAS SO SWEET
2203
01:39:47,181 --> 01:39:48,301
AND IT WAS SO TOUCHING.
2204
01:39:53,121 --> 01:39:56,088
DO YOU STILL LOVE ME,
OR WHAT?
2205
01:39:56,224 --> 01:39:59,492
DO YOU LOVE ME?
2206
01:39:59,627 --> 01:40:02,495
WELL, YEAH, THAT'S WHY...
YEAH, OF COURSE.
2207
01:40:02,630 --> 01:40:05,564
THAT'S WHAT THIS IS ALL ABOUT,
YOU KNOW?
2208
01:40:09,937 --> 01:40:12,538
I'VE GOT TO MAKE A PLANE.
2209
01:40:12,674 --> 01:40:15,408
COME ON, YOU...
COME ON.
2210
01:40:15,543 --> 01:40:17,843
YOU DON'T...
YOU DON'T HAVE TO... GO.
2211
01:40:17,978 --> 01:40:21,580
WHY COULDN'T YOU HAVE
BROUGHT THIS UP LAST WEEK?
2212
01:40:23,484 --> 01:40:24,716
TRACY...
2213
01:40:24,852 --> 01:40:27,253
SIX MONTHS ISN'T SO LONG.
2214
01:40:27,388 --> 01:40:32,591
NOT EVERYBODY
GETS CORRUPTED.
2215
01:40:32,726 --> 01:40:37,096
YOU HAVE TO HAVE
A LITTLE FAITH IN PEOPLE.
2216
01:40:37,231 --> 01:40:39,031
♪
2217
01:40:41,603 --> 01:40:43,481
Hemingway: IT'S SUCH
A SIMPLE LINE,
2218
01:40:43,505 --> 01:40:45,282
"HAVE A LITTLE
FAITH IN PEOPLE."
2219
01:40:45,306 --> 01:40:48,608
AND IT'S SUCH A BEAUTIFUL THING
THAT HE KNEW.
2220
01:40:48,743 --> 01:40:50,042
♪
2221
01:40:50,177 --> 01:40:53,813
THAT'S A HUGE
STATEMENT FOR HIM.
2222
01:40:53,948 --> 01:40:56,415
I MEAN, HE WROTE THE LINE,
YOU KNOW?
2223
01:40:56,550 --> 01:40:57,883
I DIDN'T MAKE THAT UP.
2224
01:40:58,019 --> 01:41:01,220
♪
2225
01:41:06,193 --> 01:41:09,328
Man: TELL ME ABOUT
THE CRITICAL
2226
01:41:09,464 --> 01:41:13,866
AND PUBLIC RECEPTION TO
"MANHATTAN," GENERALLY.
2227
01:41:14,001 --> 01:41:16,081
YOU KNOW, I DON'T
REMEMBER WHAT IT WAS.
2228
01:41:16,136 --> 01:41:17,681
WAS IT GOOD?
THEY LIKED IT?
2229
01:41:17,705 --> 01:41:19,785
OH, WELL, WE GOT SOME
VERY GOOD REVIEWS.
2230
01:41:19,874 --> 01:41:21,106
EVERYBODY LOVED "MANHATTAN."
2231
01:41:21,242 --> 01:41:23,322
JUST AS "ANNIE HALL"
HAD BEEN A DEEPENING
2232
01:41:23,411 --> 01:41:25,778
OF WHAT HE'D BEEN DOING,
I THINK PEOPLE THOUGHT,
2233
01:41:25,914 --> 01:41:27,758
"WOW, 'MANHATTAN'S'
AN EVEN DEEPER
2234
01:41:27,782 --> 01:41:29,982
DEEPENING OF WHAT
HE'D BEEN DOING."
2235
01:41:30,118 --> 01:41:32,251
THIS FILM WAS BIG.
2236
01:41:32,387 --> 01:41:35,988
THERE WAS A GROUND SWELL
THAT HAPPENED AFTER CANNES
2237
01:41:36,124 --> 01:41:37,623
THAT JUST WENT CRAZY.
2238
01:41:37,758 --> 01:41:39,603
EVERYBODY WENT CRAZY
FOR THIS FILM.
2239
01:41:39,627 --> 01:41:41,105
I REMEMBER ITS
OPENING IN NEW YORK.
2240
01:41:41,129 --> 01:41:41,994
I MEAN, YOU JUST...
2241
01:41:42,130 --> 01:41:44,930
THERE WERE LINES
AROUND THE BLOCK
2242
01:41:45,066 --> 01:41:47,699
AND THE REVIEWS
WERE FANTASTIC.
2243
01:41:47,835 --> 01:41:52,571
WHEN I WAS FINISHED WITH IT,
I DIDN'T LIKE THE FILM AT ALL.
2244
01:41:52,707 --> 01:41:57,810
AND I SAW IT AND...
2245
01:41:57,945 --> 01:42:01,847
AND I SPOKE TO UNITED ARTISTS
AT THAT TIME
2246
01:42:01,983 --> 01:42:05,951
AND OFFERED TO MAKE A FILM
FOR THEM FOR NOTHING
2247
01:42:06,086 --> 01:42:08,654
IF THEY WOULD NOT PUT IT OUT.
2248
01:42:08,789 --> 01:42:12,224
I JUST THOUGHT TO MYSELF,
"AT THIS POINT IN MY LIFE,
2249
01:42:12,360 --> 01:42:14,460
IF THIS IS THE BEST I CAN DO,
2250
01:42:14,595 --> 01:42:17,996
THEY SHOULDN'T GIVE ME
MONEY TO MAKE MOVIES."
2251
01:42:18,132 --> 01:42:21,400
WOODY'S NOTION FOR THE FILM
WAS SO MUCH MORE AMBITIOUS,
2252
01:42:21,535 --> 01:42:23,869
I THINK, THAN WHAT HE
GOT IN THE END,
2253
01:42:24,004 --> 01:42:25,337
OR WAS SO DIFFERENT FROM IT,
2254
01:42:25,473 --> 01:42:27,593
THAT HE WAS
EXTRAORDINARILY DISAPPOINTED.
2255
01:42:27,675 --> 01:42:30,476
AND IT'S INTERESTING HOW
AUDIENCES HAVE RESPONDED,
2256
01:42:30,611 --> 01:42:33,979
'CAUSE THEY HAVE NO IDEA WHAT
HIS HOPE OR DREAM WAS FOR THIS.
2257
01:42:34,114 --> 01:42:35,759
THEY JUST TOOK THIS
AND JUST COMPLETELY
2258
01:42:35,783 --> 01:42:37,327
LATCHED ONTO IT
IN A WAY THAT I THINK
2259
01:42:37,351 --> 01:42:38,484
STILL MYSTIFIES HIM.
2260
01:42:38,620 --> 01:42:41,253
AFTER "MANHATTAN,"
THE AUDIENCE WAS READY
2261
01:42:41,389 --> 01:42:43,255
TO FOLLOW WOODY ALLEN ANYWHERE.
2262
01:42:43,391 --> 01:42:45,101
ANYWHERE EXCEPT
"STARDUST MEMORIES."
2263
01:42:46,294 --> 01:42:47,494
WHAT DO YOU WANT ME TO SAY?
2264
01:42:47,628 --> 01:42:49,706
I DON'T WANT TO MAKE
FUNNY MOVIES ANYMORE.
2265
01:42:49,730 --> 01:42:50,850
THEY CAN'T FORCE ME TO.
2266
01:42:50,898 --> 01:42:52,443
YOU KNOW,
I DON'T FEEL FUNNY.
2267
01:42:52,467 --> 01:42:55,233
I LOOK AROUND THE WORLD AND ALL
I SEE IS HUMAN SUFFERING.
2268
01:42:55,369 --> 01:42:57,213
I WAS SO DISAPPOINTED
IN "STARDUST MEMORIES,"
2269
01:42:57,237 --> 01:42:59,182
I SAW IT THREE TIMES
THE WEEK IT OPENED, RIGHT?
2270
01:42:59,206 --> 01:43:01,206
'CAUSE I KEPT FEELING
IT'S MY FAULT,
2271
01:43:01,242 --> 01:43:03,442
BECAUSE HE WAS UP TO
SOMETHING INTERESTING
2272
01:43:03,578 --> 01:43:05,422
EVEN IF I COULDN'T
QUITE BUY IN.
2273
01:43:05,446 --> 01:43:09,214
I WANTED TO.
I WANTED TO FIND A WAY PAST.
2274
01:43:09,350 --> 01:43:11,228
AND THERE WAS SOMETHING
IN THAT FILM
2275
01:43:11,252 --> 01:43:12,363
THAT IS UNIQUE AND ORIGINAL.
2276
01:43:12,387 --> 01:43:16,355
THAT WAS MY FAVORITE
FILM FOR A WHILE.
2277
01:43:16,490 --> 01:43:18,290
IT WAS MY LEAST POPULAR FILM,
2278
01:43:18,426 --> 01:43:22,828
BUT IT'S CERTAINLY MY OWN
PERSONAL FAVORITE.
2279
01:43:22,964 --> 01:43:24,164
Feeney: I WOULD BET YOU THAT
2280
01:43:24,198 --> 01:43:25,910
WOODY'S FAVORITE MOVIES
WERE THE ONES
2281
01:43:25,934 --> 01:43:28,145
WHERE HE FELT HE PULLED OFF
SOMETHING STYLISTIC,
2282
01:43:28,169 --> 01:43:30,080
WHERE WE PULLED OFF
AN AMBITIOUS MAGIC TRICK.
2283
01:43:30,104 --> 01:43:32,704
"STARDUST MEMORIES,"
I THINK, IS A BIG MAGIC ACT.
2284
01:43:32,840 --> 01:43:35,574
YOU KNOW, QUITE APART FROM
ITS INFLUENCE BY FELLINI,
2285
01:43:35,709 --> 01:43:38,811
IT'S ESSENTIALLY,
HE'S JUST WORKING HIS MAGIC
2286
01:43:38,946 --> 01:43:40,591
AND IN A SENSE MAKING
A STATEMENT ABOUT
2287
01:43:40,615 --> 01:43:42,882
BEING A MAGICIAN,
SO TO SPEAK.
2288
01:43:43,017 --> 01:43:44,416
AND BECAUSE OF THAT,
2289
01:43:44,551 --> 01:43:47,653
THE AUDIENCE DIDN'T FEEL
THAT THEY COULD RELATE TO IT
2290
01:43:47,788 --> 01:43:50,489
AS PERSONALLY AS THEY DID
TO THE OTHER FILMS.
2291
01:43:50,625 --> 01:43:52,958
YOU KNOW, I WANTED TO
TRY AND MAKE A FILM
2292
01:43:53,094 --> 01:43:54,159
ABOUT A MAN WHO HAD
2293
01:43:54,295 --> 01:43:56,662
PRESUMABLY TO THE OUTSIDE EYE,
EVERYTHING.
2294
01:43:56,797 --> 01:44:00,099
HE HAD MONEY AND HE
WAS FAMOUS,
2295
01:44:00,234 --> 01:44:02,379
AND YET, HE HAD COME TO
A POINT IN LIFE WHERE
2296
01:44:02,403 --> 01:44:05,637
HE REALIZED STILL THAT HE WAS
STILL GOING TO WIND UP
2297
01:44:05,773 --> 01:44:08,507
ON THE JUNK HEAP
WITH EVERYBODY ELSE
2298
01:44:08,643 --> 01:44:11,444
AND HIM COMING TO TERMS
WITH THAT IDEA
2299
01:44:11,579 --> 01:44:14,280
OVER THE COURSE OF
THIS WEEKEND WHICH REALLY
2300
01:44:14,415 --> 01:44:16,815
HAPPENS IN HIS MIND
FOR THE MOST PART.
2301
01:44:16,951 --> 01:44:19,585
A YEAR OR TWO BEFORE HE MADE IT,
HE HAD GONE WITH JUDITH CRIST,
2302
01:44:19,721 --> 01:44:22,521
WHO WAS THE FILM CRITIC FOR
NEW YORK MAGAZINE AT THE TIME,
2303
01:44:22,656 --> 01:44:24,736
TO A WEEKEND SEMINAR
THAT SHE DID ON FILM
2304
01:44:24,825 --> 01:44:27,092
AT AN ESTATE TURNED INTO
A HOTEL UP THE HUDSON
2305
01:44:27,227 --> 01:44:29,305
ABOUT AN HOUR FROM NEW YORK,
AND HE CAME
2306
01:44:29,329 --> 01:44:31,463
AND HE WAS THE GUEST
FOR THE WEEKEND THERE.
2307
01:44:31,599 --> 01:44:33,866
AND OUT OF THAT
CAME THIS WHOLE NOTION
2308
01:44:34,001 --> 01:44:36,501
THAT HE DID OF THE GUY
HAVING THE CRACK-UP.
2309
01:44:36,637 --> 01:44:37,637
WE LOVE YOUR WORK.
2310
01:44:37,739 --> 01:44:39,571
MY WIFE HAS SEEN
ALL YOUR FILMS.
2311
01:44:39,707 --> 01:44:41,941
I ESPECIALLY LIKE YOUR EARLY,
FUNNY ONES.
2312
01:44:42,076 --> 01:44:44,977
MANY PEOPLE SAW THAT FILM AS
2313
01:44:45,113 --> 01:44:49,749
ME ATTACKING MY FANS
AND SAYING THE PEOPLE OUT THERE
2314
01:44:49,884 --> 01:44:54,253
THAT ARE ENJOYING MY FILMS
ARE CLAWING AND PAWING
2315
01:44:54,388 --> 01:44:58,457
AND SILLY LOOKING,
BUT THAT HAD NOTHING TO DO
2316
01:44:58,592 --> 01:45:00,492
WITH THE FILM AT ALL.
2317
01:45:00,628 --> 01:45:03,829
Lax: THE FILM IS REALLY
ABOUT PROBLEMS OF
2318
01:45:03,965 --> 01:45:05,197
AN ARTISTIC SENSIBILITY
2319
01:45:05,333 --> 01:45:07,966
AND HOW YOU'RE IN YOUR MIND
OR OUT OF YOUR MIND.
2320
01:45:08,102 --> 01:45:10,702
WHAT WERE YOU TRYING TO
SAY IN THIS PICTURE?
2321
01:45:10,838 --> 01:45:12,349
Sandy: I WAS JUST
TRYING TO BE FUNNY.
2322
01:45:15,275 --> 01:45:16,942
HAD YOU STUDIED
FILM MAKING IN SCHOOL?
2323
01:45:17,077 --> 01:45:18,077
Sandy: NO, NO, NO.
2324
01:45:18,111 --> 01:45:19,623
I DIDN'T STUDY
ANYTHING IN SCHOOL.
2325
01:45:19,647 --> 01:45:20,647
THEY STUDIED ME.
2326
01:45:22,016 --> 01:45:24,416
Kavner: I KEPT A FILE
OF PHOTOGRAPHS
2327
01:45:24,551 --> 01:45:26,351
OF WOODY ALLEN FACES.
2328
01:45:26,486 --> 01:45:29,188
THERE WAS SOMETHING HUMOROUS
ABOUT THEM THAT WAS DISTINCTIVE.
2329
01:45:29,323 --> 01:45:33,025
SO I WOULD HAVE DRAWERS
OF PICTURES THAT I SAVED
2330
01:45:33,160 --> 01:45:34,926
SPECIFICALLY FOR WOODY.
2331
01:45:35,062 --> 01:45:36,862
WE REALLY, YOU KNOW,
2332
01:45:36,997 --> 01:45:39,431
LOOKED FOR VERY ECCENTRIC,
2333
01:45:39,567 --> 01:45:43,168
STRANGE,
HUMOROUS PEOPLE.
2334
01:45:43,304 --> 01:45:46,071
THAT WAS PROBABLY
OUR MOST AMBITIOUS
2335
01:45:46,206 --> 01:45:48,006
STYLE PIECE TO THAT DATE.
2336
01:45:48,141 --> 01:45:50,910
IT WAS A LITTLE MORE EXOTIC
AND FLAMBOYANT
2337
01:45:51,045 --> 01:45:52,878
BECAUSE HE WAS
2338
01:45:53,014 --> 01:45:55,581
MORE IMPRESSED BY
DIRECTORS WHOSE STYLE
2339
01:45:55,716 --> 01:45:57,916
WAS MORE VISUALLY STIMULATING
AND INTERESTING,
2340
01:45:57,985 --> 01:45:59,563
YOU KNOW, BERGMAN
AND FELLINI.
2341
01:45:59,587 --> 01:46:02,020
Willis: HE HAS GREAT ADMIRATION
2342
01:46:02,156 --> 01:46:07,092
FOR A LOT OF FOREIGN DIRECTORS
AND A LOT OF FOREIGN MOVIES.
2343
01:46:07,228 --> 01:46:08,705
HE'S NEVER MADE
A SECRET OUT OF THAT.
2344
01:46:08,729 --> 01:46:11,296
YOU GET BLAMED FOR
2345
01:46:11,432 --> 01:46:14,967
COPYING OTHER MATERIAL,
OR, YOU KNOW,
2346
01:46:15,103 --> 01:46:17,369
YOU'RE DOING BERGMAN
AND YOU'RE DOING FELLINI
2347
01:46:17,504 --> 01:46:18,703
AND YOU'RE DOING "8 1/2."
2348
01:46:18,839 --> 01:46:22,641
BUT WE NEVER DISCUSSED
ANYTHING AT THAT LEVEL EVER,
2349
01:46:22,776 --> 01:46:24,443
ANYBODY ELSE'S MOVIES.
2350
01:46:24,578 --> 01:46:27,312
THERE'S NO QUESTION OF
FELLINI'S INFLUENCE ON WOODY.
2351
01:46:27,448 --> 01:46:30,716
NO QUESTION ABOUT IT.
2352
01:46:30,851 --> 01:46:32,662
Feeney: CRITICS WERE
OVEREDUCATED 'CAUSE
2353
01:46:32,686 --> 01:46:34,498
THEY'D ALL SEEN "8 1/2"
AND THEY THOUGHT,
2354
01:46:34,522 --> 01:46:36,065
"OH, HE'S JUST
REMAKING '8 1/2.'"
2355
01:46:36,089 --> 01:46:38,724
I THINK AUDIENCE MEMBERS
WHO DIDN'T KNOW ANYTHING
2356
01:46:38,860 --> 01:46:41,026
ABOUT "8 1/2"
WERE JUST SORT OF PUT OFF
2357
01:46:41,162 --> 01:46:43,006
BY THE STRANGE
BUSYNESS OF IT.
2358
01:46:43,030 --> 01:46:45,197
YOU KNOW, THE WHOLE
POINT OF THE MOVIE
2359
01:46:45,332 --> 01:46:46,631
IS THAT NOBODY IS SAVED.
2360
01:46:46,767 --> 01:46:48,007
SANDY, THIS IS AN EASTER FILM.
2361
01:46:48,068 --> 01:46:49,713
WE DON'T NEED A MOVIE
BY AN ATHEIST.
2362
01:46:49,737 --> 01:46:51,448
ONE MORE, SIR.
TO YOU I'M AN ATHEIST.
2363
01:46:51,472 --> 01:46:53,049
TO GOD,
I'M THE LOYAL OPPOSITION.
2364
01:46:53,073 --> 01:46:54,284
JESUS.
2365
01:46:54,308 --> 01:46:56,386
I'M YOUR BIGGEST FAN.
I THINK YOU'RE TERRIFIC.
2366
01:46:56,410 --> 01:46:57,276
THANK YOU.
2367
01:46:57,411 --> 01:46:58,743
HIS PUBLIC ADORES HIM.
2368
01:46:58,879 --> 01:47:00,199
YEAH.
TODAY THEY ADORE YOU
2369
01:47:00,281 --> 01:47:01,713
AND TOMORROW IT'S
ONE OF THESE.
2370
01:47:01,849 --> 01:47:04,350
Allen: "STARDUST MEMORIES"
IS A COMPLETELY MADE-UP STORY,
2371
01:47:04,485 --> 01:47:08,521
AND I WAS SURPRISED THAT,
YOU KNOW,
2372
01:47:08,656 --> 01:47:13,259
THAT PEOPLE WOULD THINK
THAT THAT WAS ME.
2373
01:47:13,394 --> 01:47:14,793
THE PRESS HATED IT.
2374
01:47:14,929 --> 01:47:18,163
HE GOT TERRIBLE
REVIEWS FOR IT.
2375
01:47:18,298 --> 01:47:21,700
THE TRUTH IS WOODY
DIDN'T READ REVIEWS.
2376
01:47:23,871 --> 01:47:27,773
SO HE WASN'T TERRIBLY
AFFECTED BY REVIEWS.
2377
01:47:27,909 --> 01:47:29,107
I READ ALL OF THEM.
2378
01:47:31,078 --> 01:47:32,244
YOU GUYS GOT TO TELL ME.
2379
01:47:32,379 --> 01:47:34,379
WHY IS THERE SO MUCH
HUMAN SUFFERING?
2380
01:47:34,414 --> 01:47:36,381
THIS IS UNANSWERABLE.
2381
01:47:36,516 --> 01:47:37,950
IS THERE A GOD?
2382
01:47:38,085 --> 01:47:40,518
THESE ARE
THE WRONG QUESTIONS.
2383
01:47:40,654 --> 01:47:41,734
LOOK, HERE'S MY POINT.
2384
01:47:41,823 --> 01:47:43,733
IF NOTHING LASTS,
WHY AM I BOTHERING
2385
01:47:43,757 --> 01:47:45,958
TO MAKE FILMS OR DO ANYTHING
FOR THAT MATTER?
2386
01:47:46,093 --> 01:47:47,492
WE ENJOY YOUR FILMS,
2387
01:47:47,628 --> 01:47:50,229
PARTICULARLY THE EARLY,
FUNNY ONES.
2388
01:47:50,364 --> 01:47:52,697
THE PUBLIC WAS VERY,
VERY GENEROUS WITH ME
2389
01:47:52,833 --> 01:47:55,534
AND THE CRITICS WERE VERY
GENEROUS WHEN I STARTED.
2390
01:47:55,669 --> 01:47:57,589
THEY OVERLOOKED
ALL MY MISTAKES,
2391
01:47:57,638 --> 01:48:00,272
THEY ONLY WROTE
THE NICE THINGS,
2392
01:48:00,408 --> 01:48:03,542
AND NOW I THINK
I'M AT THAT STAGE WHERE
2393
01:48:03,677 --> 01:48:06,978
I MUST PAY MY DUES
AND BE HELD ACCOUNTABLE
2394
01:48:07,114 --> 01:48:09,781
FOR THE MANY TERRIBLE
THINGS THAT I DO.
2395
01:48:09,917 --> 01:48:12,584
AND I THINK THAT IN
FUTURE YEARS,
2396
01:48:12,719 --> 01:48:15,921
I HAVE A CHANCE TO...
TO COME BACK AGAIN.
2397
01:48:16,057 --> 01:48:18,557
AFTER "STARDUST MEMORIES,"
I THINK MANY IN HIS AUDIENCE
2398
01:48:18,693 --> 01:48:20,992
WERE SAYING, YOU KNOW,
"HAS HE PLAYED HIMSELF OUT?
2399
01:48:21,128 --> 01:48:22,138
WHAT CAN HAPPEN NOW?
2400
01:48:22,162 --> 01:48:23,362
IS THIS THE END OF HIM?"
2401
01:48:23,497 --> 01:48:26,465
WHEN ARGUABLY, HIS BEST WORK
IS YET TO COME.
2402
01:48:26,601 --> 01:48:28,934
♪
185195
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