Fielding wrote:
Actually, his new 3 picture deal with Mediapro starts next year - after Whatever Works - with a project that will probably be Paris-based. So as things stand now, we're guaranteed at least 4 more films from Woody.
You're right - my mistake.
Something I've thought about is what Allen has done with his time between WW final cut and now. His Mediapro shoot will probably not begin until next summer....
Even when you figure in the time devoted to the opera, you're still looking at a long layoff because of WW unusually early production. He likes to stay busy, as everyone here knows. I was reminded earlier that after Match Point was released he wrote 3 screenplays in 12 weeks, Scoop being the last of the three and the only one of which we know for sure has made its way to the screen. Cassandra's Dream and VCB were not those films. I haven't seen any New Yorker shorts recently, rumors of one-acts in the offing, etc...what's Allen up to these days?
For starters, he's playing every Monday at the Cafe Carlyle with his jazz band. Likely writing / finishing a couple scripts, if not another play.
I think the opera pretty much filled up the time gap - he's usually done any kind of production by the end of the summer so the opera likely filled up that time, and he's now back to his ever-so-comfortable working schedule.
my review of the endearing, lightly entertaining Sweet and Lowdown, which is really bolstered by a pair of amazing performances, especially Samantha Morton's totally silent mime routine.
Actually, the script Woody refers to there is quite likley the Paris project he was going to do after Match Point but fell through due to taxes making the film go over budget before production began. He had locations scouted, a crew and cast assembled (Michelle Williams and David Krumholtz in the leads) and shooting was about to begin. As a result of having to cancel the project, Woody ended up doing "Scoop" as part of his deal with the BBC, which was written in two weeks' time to suit. This is covered in the "Conversations..." Eric Lax book.
Considering he's stating that now that the lead is for a young french woman (Audrey Tautou? Julie Delpy?), it makes one wonder if this script hasn't seen some revisions that has changed the lead role from that of the Michelle Williams' character into a French one to possibly adhere to to the new Paris tax credits Woody refers to.
Better still, he says that if this isn't shot in 2009, it will be shot in 2011 and he will instead shoot a film he has ready in NYC in 2009. These are, of course, the MediaPro films with the $23 million budget (which is substantial for Woody), so there is great reason to be excited for Woody fans - "Whatever Works" later this year, one more NYC film ready after that and a potential Paris project in the next year or two.
AWA wrote:Actually, the script Woody refers to there is quite likley the Paris project he was going to do after Match Point but fell through due to taxes making the film go over budget before production began. He had locations scouted, a crew and cast assembled (Michelle Williams and David Krumholtz in the leads) and shooting was about to begin. As a result of having to cancel the project, Woody ended up doing "Scoop" as part of his deal with the BBC, which was written in two weeks' time to suit. This is covered in the "Conversations..." Eric Lax book.
You've got the chronology a little mixed up. He made Scoop right after Match Point to complete his 2 picture deal with BBC Films, then went over to Paris. When the Paris film fell through he returned to London to make Cassandra's Dream.
This interview takes place inside Woody's Manhattan screening room, part of his editing suite that he also uses as his private film theatre. The decor remains unchanged since the 70's, furniture included. Woody also looks like he just woke up.
This interview takes place inside Woody's Manhattan screening room, part of his editing suite that he also uses as his private film theatre. The decor remains unchanged since the 70's, furniture included. Woody also looks like he just woke up.
WA wrote:Here, I'm what you'd call an arthouse filmmaker. You know, these small, special, university towns and small cinemas.
Come on Woody, who do you think you're kidding? His movies have always been, and always will be, mainstream. Sure they may (sometimes) be more intelligent or artful than most studio fare, but there has never been a time where he was relegated to the ghetto of the arthouse cinema. VCB was in the multiplexes for months, as was Match Point, just like many others before it. He's just flattering the "enlightened" Argentinean interviewer and propagating the myth of WA the great artist.
Well, maybe in Paris his films aren't relegated to the arthouse 'ghetto'. But here in the UK they certainly are. Or at least Match Point was and VCB will be. Several others never even secured distribution, nevermind even arthouse distribution!
I can safely say that his films have never had trouble finding fairly widespread distribution or large audiences in the USA, perhaps excepting the few instances where his films were almost unwatchably bad.
