Quotes of All Topics . Occasions . Authors
What I really like about Woody Allen's films is that there's a real investment in personal relationships. There is the idea that this is a serious concern worth making serious art about - how we love other people and how we can negotiate our relationships with them.
'Ernest Borgnine' is sort of my version of Woody Allen's 'Purple Rose Of Cairo' in that it's about the occasional difficulty of coming to terms with the cold hard facts and the temptation to escape into another world - like movies, for example. I'm a pro at escaping.
I love having the control over the end result and not having to go through some committee to get something approved. I feel sorry for people, like actors, because unless you're Woody Allen or Mel Gibson, they don't have much say in the decisions that affect their work.
For 'Vicky Cristina Barcelona,' for example, Woody Allen is one of the greatest American directors, and we really had a very good working relationship. We understand each other really well. He gave me one of the best opportunities somebody has ever given me in my career.
Woody Allen is really the ultimate. I love that he believed in himself enough to do what he did. And I have that same feeling - that there's nobody that looks like me in movies, nobody would cast me as a romantic lead, but I want to do it and I feel confident that I can.
I was nurtured by Ralph Farquhar and then, later, by Sara Finney-Johnson and Vida Spears, two black women. So, I actually was nurtured by my culture, in a safe environment that allowed me to build my confidence. And Debbie Allen was one of my mentors, along with Stan Lathan.
Allen Edmonds makes stylish, comfortable shoes and after getting to know some people there, they asked if I wanted to co-design a shoe. I visited the factory, met with some designers and together we came up with something that I think is a good, solid staple for any wardrobe.
In a weird way, I never wanted - I don't consider myself a very good writer. I consider myself okay; I don't consider myself great. There's Woody Allen and Aaron Sorkin. There's Quentin Tarantino. I'm not ever gonna be on that level. But I do consider myself a good filmmaker.
I struggled to kick the habit - I would make a decision to give up smoking, but it was hard. I couldn't resist the urge to steal a smoke. It was at that time that I was gifted Allen Carr's book 'The Easy Way to Stop Smoking.' After I read that book, I didn't touch a fag again.
It turned out that those years I was at the Studio were the last years that Mr. Landau was alive and teaching. They were also the last years of some of the greatest teachers that have walked the earth. I got to hear the advice of Charlie Laughton, Mark Rydell, and Penny Allen.
To have a superstar - he's Allen Iverson - he really took me under his wing and really forced me to shoot the ball and forced me to make plays, and to have him do that for me - and the way he was always in my ear telling me to shoot the ball and supporting me - it's a big deal.
Man, I'm 31 years old and a husband with four kids; I hope I'm no thug. I hear all those negative things and don't hear anything positive. I think that's all those people feel... that way that's all they hear about when you hear Allen Iverson did something negative or something.
I had the opportunity to play alongside Allen Iverson and Kevin Ollie at the same time. I kind of had the best of both worlds. I had one guy that was super talented and another guy that came with his lunch pail every day and that was a worker. I want to kind of be a mix of both.
People sometimes forget all the films that we've done. They remember the likes of 'Malcolm X' and 'Do the Right Thing.' But I've been working since 1986. From the beginning, I was determined to not just be a flash in the pan. I've got to keep up with Woody Allen. He's lapping me.
Historically, Hollywood comedy has arrived in skinny envelopes. From fence post Buster Keaton to herky-jerky Jerry Lewis to wiry nerve-bundle Woody Allen to hung-loose Richard Pryor to whippy contortionist Jim Carrey, its comics and clowns have tended to be sliced thin and bendable.
For me it's just amazing that I grew up watching Tim Duncan and KG and Kobe and Paul Pierce, Allen Iverson and all those guys and now it's like, 'Man, I can't believe they actually got old.' It's like they actually walked away. It's crazy to think about, but the game has to keep moving.
The African American's relationship to Africa has long been ambivalent, at least since the early nineteenth century, when 3,000 black men crowded into Bishop Richard Allen's African Methodist Episcopal Church in Philadelphia to protest noisily a plan to recolonize free blacks in Africa.
We grew up watching Woody Allen and Albert Brooks movies, and we see this neurotic, annoying, unlikeable male at the center of a story, and people root for him anyway. I think that's really what we have been craving as women is the hero who doesn't look perfect and doesn't act perfectly.
When you win, everything is everything. But when you lose, it's all about Allen Iverson and Larry Brown. When we win, I know that I get the praise and Larry Brown gets the praise, but when we lose, it's on me and Larry Brown. That's something that I have to learn to accept and deal with.
Steven Spielberg, Woody Allen, you name it - I'm interested. I'm free. I'm looking for acting work. At the same time, you have to find a role you're right for, and then there's a slew of other actresses. That's why I will pursue more directing. It's like, who needs a boss? I'm right here.
Woody Allen has a wonderful line: 'Today I'm a star. What will I be tomorrow? A black hole?' That's very important to know - that you have the moment, then you lose the moment. You have to see your chances, you have to take them, and you also have to see when you don't have chances to take.
You probably can't name more than a handful of comedies that would qualify for Best Picture. I can think of a lot of comedy screenplays; Woody Allen has had numerous nominations for his screenplays. But most comedies are calculated. They tend to pander. They're not about anything important.
How movies are financed, it's a world market now... I feel like, you know, the independent film way of working is something that was in my bones. It's like being a part of a punk band, but no one's singing punk rock anymore. Only a few bands are able to play, and Woody Allen is one of them.
I remember when I was very young, I had a fever - a long rheumatic fever in bed for four months. And in the days, I stayed alone with the maid. I only had my father's books with me. They were fantasy books about ghosts, and also books by Edgar Allen Poe that made a forever impression on me.
There's an assumption that my audience is all these bearded twats from Dalston. But actually, quite a lot of older people go. For them, it's like pre-alternative comedy, when there was Dave Allen or Jackie Mason or someone. Also, weirdly, because I don't really swear, they're not scared off.
First off, I love Woody Allen. His early movies, like 'Hannah and Her Sisters,' are incredible. I also love anything by Billy Wilder, Ron Howard and John Hughes. I really grew up on the Hughes films, which are the ones I go back and watch all the time, just to see how they were put together.
Once upon a time, it was hard to decipher what was more difficult to stomach: the foolish, detrimental behavior of a professional athlete or the apologists disguised as their inner circle, eager to excuse the inexcusable. And then there came Allen Iverson, who didn't make it difficult at all.
Of course my uncle was a giant, but my dad, in particular, had the house filled with these great Dixieland jazz stars, really the best of them: Henry Red Allen, Willie 'The Lion' Smith, Buster Bailey, Cutty Cutshall, Tyree Glenn, Zutty Singleton. These are all big names in the Dixieland world.
Barbra Streisand has always been an inspiration for me. I admire Jennifer Lopez because she's been against all the odds, and she's made such a name for herself, and she can put her name on anything and it sells, and I admire that about her, but Barbara Streisand and Woody Allen are my favorites.
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.
I read some Marvel, but I was more of a DC guy. Particularly the Flash, Barry Allen. I latched on to him because I felt like him. You thought to yourself, 'Well, you can't really be Superman.' You couldn't really be Batman - Batman was a really dark figure. I identified with Barry Allen's hopefulness.
I was 23, and all sorts of people were coming in and out and watching me, like Steve Allen and Bette Midler. David Brenner certainly took me under his wing. To drive home to my little dump in New Jersey often knowing that Steve Allen said, 'You got it' - that validation kept me going in a big, big way.
For a long time, I was an assistant in the NFL to George Allen, and George was paranoid that other teams were cheating on him... that they were offering bounties, that they were wiring our locker room, that they were putting food poisoning into the pregame meal of the other team's stars, stuff like that.
I started in investment banking at Allen & Company in 1991. It was the go-go days of media mergers, and we were incredibly busy with one deal after another. Unlike typical investment banking groups, even in the midst of merger mania, we didn't have a formal face-time culture - and I felt empowered by that.
I'm not a natural writer like, let's say - I'm not talking about Arthur Miller; that's a whole other thing - but let's say Woody Allen. But the more I've written, the more I've found that there is a deep well in me somewhere that wants to express things that I'm not going to find unless I write them myself.
Nobody I ever broke bread with - and I see players all the time - talked about using their head running the football. I've seen Barry Sanders and Eric Dickerson and Marcus Allen and Franco Harris, and we've all been together - we were all together at the Super Bowl - and no one talked about using their head.
A part of me looks at life from a dismal perspective, not unlike Woody Allen and Larry David. But I don't want to look at life like that. It's bad enough that I have to think it. What works for me is writing against that view. There is God, there is love, there is greatness, there is a plan, and there is beauty.
Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
The first play I did was 'Philadelphia Here I Come.' Can you imagine that? I am 37 years old I am doing my second professional play and I am on stage with John Malkovich. Joan Allen, Laurie Metcalf and Gary Sinise. One huge name after another. I was terrified and petrified, could hardly get a word out of my mouth.
I'm such a fan of actors and also enjoy watching them work so that I can help their acting in any way I can. Sometimes it walks a tricky line because you want to be entertaining to some degree. But honesty is always entertaining to me. I'm a big Woody Allen and Spike Lee fan, and I find their films to be very honest.
There is an amazing feminist writer called Lindy West; she wrote a very nice piece for The New York Times. She wrote about Woody Allen, saying if we can't go after your work or your career, we will go after your legacy. You will never be remembered the same way. I think a lot of women will have to take solace in that.
I don't understand why people make me want to make music that's a join-the-dots thing by numbers. I find it really difficult when people say, 'Aw, you should have made a really big hip hop record, that would have been really good for you' or, 'You should have made a song like Lily Allen, that would have been so great.'
I had heard all sorts of stories about Woody Allen's directing - directorial approach. And some of them turned out to be myth, but one of them was that he doesn't rehearse, and another was that he doesn't really direct. If he doesn't like it... he cuts it out of the movie or even replaces you. And he doesn't talk to you.
I love doing comedy, and that's the thing I will always go back to, really, but I'd love to have the freedom to do sort of 'meaty' roles but also have the freedom to do the sort of films I want to make, like what Woody Allen does. You forget he's funny because you're so gripped by the story, but they still make you laugh.
Horror is like comedy. Woody Allen's comedy is going to be very different from Ben Stiller's comedy which is going to be different from Adam Sandler's comedy which is going to be different from Judd Apatow's comedy. They're all comedy, but they're all very different types and you can enjoy all of them. Horror is the same way.
The only thing I really recommend, if you're starting out in stand-up is to not try to copy anybody else. You can be influenced by people. I was influenced by Steve Martin and Bob Newhart and Woody Allen, but I never tried to be someone else. I always tried to be myself. And the reason people are successful is they're unique.
When I was a kid I watched Steve Nash, Jason Kidd, Allen Iverson - all these great point guards. But then when I was 14, 15-years-old I found a similar guy who played like me - Beno Udrih. He's lefty too and he played in my hometown so I was a huge fan of his. Then after awhile I saw Manu Ginobili when he was playing in Italy.
I was an absolute idiot, wearing polo-necks, reading Kerouac, watching Woody Allen movies, and jazz fitted right into all of that. My interest in that whole world became very genuine, but perhaps started off a bit affected - a mixture of right and wrong reasons. I was always drawn to non-commercial music, perhaps pathologically so.
Woody Allen was the reason I wanted to move to New York City and one of the reasons I wanted to make films. I felt that I understood his films, and I love them so much. When you're starting out, certainly, you have this sense of wanting to talk back to people who have influenced you, and I always wanted to talk back to Woody Allen.
From the onset of the 'Live-Read' series, we wanted to hit all the major writers and Woody Allen is simply one of the greatest screenwriters of all time. He has ability to match pathos and comedy and drama and then turn it all on a dime. If you're going to make a series based on dialogue, you can't find much better than Woody Allen.