A | B | C | D | E | F | G | H | CH | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9
Woody Allen | |
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 Allen in 2016 | |
| Born | Allan Stewart Konigsberg November 30, 1935[a] New York City, U.S. |
| Occupations |
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| Years active | 1956–present |
| Works | Full list |
| Spouses |
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| Partners |
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| Children | 5, including Ronan Farrow and Moses Farrow |
| Relatives | Letty Aronson (sister) |
| Awards | Full list |
| Website | www |
Heywood Allen (born Allan Stewart Konigsberg; November 30, 1935)[a] is an American filmmaker, actor, and comedian whose career spans more than six decades. Allen has received many accolades, including the most nominations (16) for the Academy Award for Best Original Screenplay. He has won four Academy Awards, ten BAFTA Awards, two Golden Globe Awards and a Grammy Award, as well as nominations for a Emmy Award and a Tony Award.[14] Allen was awarded an Honorary Golden Lion in 1995, the BAFTA Fellowship in 1997, an Honorary Palme d'Or in 2002, and the Golden Globe Cecil B. DeMille Award in 2014. Two of his films have been inducted into the National Film Registry by the Library of Congress.
Allen began his career writing material for television in the 1950s, alongside Mel Brooks, Carl Reiner, Larry Gelbart, and Neil Simon. He also published several books of short stories and wrote humor pieces for The New Yorker. In the early 1960s, he performed as a stand-up comedian in Greenwich Village, where he developed a monologue style (rather than traditional jokes) and the persona of an insecure, intellectual, fretful nebbish.[15] During this time, he released three comedy albums, earning a Grammy Award for Best Comedy Album nomination for the self-titled Woody Allen (1964).[16]
After writing, directing, and starring in a string of slapstick comedies, such as Take the Money and Run (1969), Bananas (1971), Sleeper (1973), and Love and Death (1975), he directed his most successful film, Annie Hall (1977), a romantic comedy-drama featuring Allen and his frequent collaborator Diane Keaton. The film won four Academy Awards, for Best Picture, Best Director, Best Original Screenplay, and Best Actress for Keaton.[17] Allen has directed many films set in New York City, including Manhattan (1979), Hannah and Her Sisters (1986), and Crimes and Misdemeanors (1989).
Allen continued to garner acclaim, making a film almost every year, and is often identified as part of the New Hollywood wave of auteur filmmakers whose work has been influenced by European art cinema.[18] His films include Interiors (1978), Stardust Memories (1980), Zelig (1983), Broadway Danny Rose (1984), The Purple Rose of Cairo (1985), Radio Days (1987), Husbands and Wives (1992), Bullets Over Broadway (1994), Deconstructing Harry (1997), Match Point (2005), Vicky Cristina Barcelona (2008), Midnight in Paris (2011), and Blue Jasmine (2013).[19]
In 1979, Allen began a professional and personal relationship with actress Mia Farrow. Over a decade-long period, they collaborated on 13 films. The couple separated after Allen began a relationship in 1991 with Mia's and Andre Previn's adopted daughter Soon-Yi Previn. Allen married Previn in 1997. They have two adopted daughters.[20] In 1992, Farrow publicly accused Allen of sexually abusing their adopted daughter, Dylan Farrow.[21][22] The allegation gained substantial media attention, but Allen was never charged or prosecuted, and vehemently denied the allegation.
Early life and education
Allen was born Allan Stewart Konigsberg[23] at Mount Eden Hospital in Bronx, New York City, on November 30, 1935,[a][24][25] to Nettie (née Cherry; 1906–2002), a bookkeeper at her family's delicatessen, and Martin Konigsberg (1900–2001),[26] a jewelry engraver and waiter.[27] His grandparents were immigrants to the U.S. from Austria and Panevėžys, Lithuania. They spoke German, Hebrew, and Yiddish.[28][29] He and his younger sister, film producer Letty, were raised in the Midwood neighborhood of Brooklyn. He is Jewish.[30] Both their parents were born and raised on the Lower East Side of Manhattan.[31]
Allen's parents did not get along, and he had an estranged relationship with his authoritarian, ill-tempered mother.[32] He spoke German in his early years.[citation needed] He later joked that he was often sent to interfaith summer camps when he was young. While attending Hebrew school for eight years, he attended Public School 99, now the Isaac Asimov School for Science and Literature,[33] and then Midwood High School, from which he graduated in 1953. Unlike his comic persona, he was more interested in baseball than school and his strong arm ensured he was picked first for teams.[34][23] He impressed students with his talent for cards and magic tricks.[35]
Allen wrote jokes (or "gags") for agent David O. Alber to make money, and Alber sold them to newspaper columnists. At age 17, he legally changed his name to Heywood Allen[36] and later began to call himself Woody.[37] According to Allen, his first published joke read: "Woody Allen says he ate at a restaurant that had O.P.S. prices—over people's salaries."[38] He was soon earning more than both of his parents combined.[34] After high school, he attended New York University, studying communication and film in 1953, before dropping out after failing the course "Motion Picture Production". He briefly attended City College of New York in 1954, dropping out during his first semester.[39] He taught himself rather than studying in the classroom.[23] He later taught at The New School and studied with writing teacher Lajos Egri.[40]
Career
1955–1959: Comedy writer and television work
Allen began writing short jokes when he was 15,[41] and the next year began offering them to various Broadway writers for sale.: 539 One of them, Abe Burrows, co-author of Guys and Dolls, wrote, "Wow! His stuff was dazzling." Burrows wrote Allen letters of introduction to Sid Caesar, Phil Silvers, and Peter Lind Hayes, who immediately sent Allen a check for just the jokes Burrows included as samples.[42]
As a result of the jokes Allen mailed to various writers, he was invited, then age 19, to join the NBC Writer's Development Program in 1955, followed by a job on The NBC Comedy Hour in Los Angeles. He was later hired as a full-time writer for humorist Herb Shriner, initially earning $25 a week.[38] He began writing scripts for The Ed Sullivan Show, The Tonight Show, specials for Sid Caesar post-Caesar's Hour (1954–1957), and other television shows.[43] By the time he was working for Caesar, he was earning $1,500 a week. He worked alongside Mel Brooks, Carl Reiner, Larry Gelbart, and Neil Simon. He also worked with Danny Simon, whom Allen credits for helping form his writing style.[38][44] In 1962 alone, he estimated that he wrote twenty thousand jokes for various comics.[45] Allen also wrote for Candid Camera and appeared in several episodes.[46]
He wrote jokes for the Buddy Hackett sitcom Stanley and The Pat Boone Chevy Showroom, and in 1958 he co-wrote a few Sid Caesar specials with Larry Gelbart.[47] After writing for many of television's leading comedians and comedy shows, Allen was gaining a reputation as a "genius", composer Mary Rodgers said. When given an assignment for a show he would leave and come back the next day with "reams of paper", according to producer Max Liebman.[47] Similarly, after he wrote for Bob Hope, Hope called him "half a genius".[47] His daily writing routine could last as long as 15 hours, and he could focus and write anywhere necessary. Dick Cavett was amazed at Allen's capacity to write: "He can go to a typewriter after breakfast and sit there until the sun sets and his head is pounding, interrupting work only for coffee and a brief walk, and then spend the whole evening working."[48] When Allen wrote for other comedians, they would use eight out of ten of his jokes. When he began performing as a stand-up, he was much more selective, typically using only one out of ten jokes. He estimated that to prepare for a 30-minute show, he spent six months of intensive writing.[48] He enjoyed writing, despite the work: "Nothing makes me happier than to tear open a ream of paper. And I can't wait to fill it! I love to do it."[48]
Allen started writing short stories and cartoon captions for magazines such as The New Yorker; he was inspired by the tradition of New Yorker humorists S. J. Perelman, George S. Kaufman, Robert Benchley, and Max Shulman, whose material he modernized.[49][50][51][52][53][54] His collections of short pieces include Getting Even, Without Feathers, Side Effects, and Mere Anarchy. His early comic fiction was influenced by the zany, pun-ridden humor of S.J. Perelman. In 2010 Allen released audio versions of his books in which he read 73 selections entitled, The Woody Allen Collection. He was nominated for a Grammy Award for Best Spoken Word Album.[55]
1960–1969: Stand-up comedian
From 1960 to 1969 Allen performed as a comedian to supplement his comedy writing. He worked in various places around Greenwich Village, including The Bitter End and Cafe Au Go Go, alongside such contemporaries as Lenny Bruce, the team of Mike Nichols and Elaine May, Joan Rivers, George Carlin, Richard Pryor, Dick Cavett, Bill Cosby and Mort Sahl (his personal favorite), as well as such other artists of the day as Bob Dylan and Barbra Streisand.[56] Comedian Milton Berle claims to have suggested to Allen to go into standup comedy and even introduced him at the Village Vanguard.[57] Comedy historian Gerald Nachman writes that Allen, while not the first to do standup, eventually had greater impact than all the others in the 1960s, and redefined standup comedy: "He helped turn it into biting, brutally honest satirical commentary on the cultural and psychological tenor of the times."[37]
After Allen was taken under the wing of his new manager, Jack Rollins, who had recently discovered Nichols and May, Rollins suggested he perform his written jokes as a stand-up. Allen was resistant at first, but after seeing Mort Sahl on stage, he felt safer to give it a try: "I'd never had the nerve to talk about it before. Then Mort Sahl came along with a whole new style of humor, opening up vistas for people like me."[58] Allen made his professional stage debut at the Blue Angel nightclub in Manhattan in October 1960, where comedian Shelley Berman introduced him as a young television writer who would perform his own material.[58]
His early stand-up shows with his different style of humor were not always well received or understood by his audiences. Unlike other comedians, Allen spoke to his audiences in a gentle and conversational style, often appearing to be searching for words, although he was well rehearsed. He acted "normal", dressed casually, and made no attempt to project a stage "personality". And he did not improvise: "I put very little premium on improvisation," he told Studs Terkel.[59] His jokes were created from life experiences, and typically presented with a dead serious demeanor that made them funnier: "I don't think my family liked me. They put a live teddy bear in my crib."[45] The subjects of his jokes were rarely topical, political or socially relevant. Unlike Bruce and Sahl, he did not discuss current events such as civil rights, women's rights, the Cold War, or Vietnam. And although he was described as a "classic nebbish", he did not tell the standard Jewish jokes of the period.[60] Comedy screenwriter Larry Gelbart compared Allen's style to Elaine May's: "He just styled himself completely after her".[61] Like Nichols and May, he often made fun of intellectuals.
Cavett, who was among the minority to quickly appreciate Allen's style, recalls seeing the Blue Angel audience mostly ignore Allen's monologue: "I recognized immediately that there was no young comedian in the country in the same class with him for sheer brilliance of jokes, and I resented the fact that the audience was too dumb to realize what they were getting."[62] It was his subdued stage presence that eventually became one of Allen's strongest traits, Nachman argues: "The utter absence of showbiz veneer and shtick was the best shtick any comedian had ever devised. This uneasy onstage naturalness became a trademark."[63] When the media finally noticed, writers like The New York Times's Arthur Gelb described Allen's nebbish quality as "Chaplinesque" and "refreshing". Allen developed an anxious, nervous, and intellectual persona for his stand-up act, a move that secured regular gigs for him in nightclubs and on television. He brought innovation to the comedy monologue, genre and his stand-up comedy is considered influential.[64]
Allen first appeared on The Tonight Show Starring Johnny Carson on November 1, 1963, and over nine years his guest appearances included 17 in the host's chair. He subsequently released three LP albums of live nightclub recordings: the self-titled Woody Allen (1964), Volume 2 (1965), and The Third Woody Allen Album (1968), recorded at a fund-raiser for Senator Eugene McCarthy's presidential run.[65] In 1965, Allen filmed a half-hour standup special in England for Granada Television, titled The Woody Allen Show in the U.K. and Woody Allen: Standup Comic in the U.S.[66] It is the only complete standup show of Allen's on film.[66] The same year, Allen, along with Nichols and May, Barbra Streisand, Carol Channing, Harry Belafonte, Julie Andrews, Carol Burnett, and Alfred Hitchcock, took part in Lyndon B. Johnson's inaugural gala in Washington, D.C., on January 18, 1965. First Lady Lady Bird Johnson described Allen and the event in her published diary, A White House Diary, writing in part, "Woody Allen, that forlorn, undernourished little comedian, stopped shooting a movie in Paris and flew across the Atlantic for about five minutes of jokes".[67]
In 1966, Allen wrote an hourlong musical comedy television special for CBS, Gene Kelly in New York City.[68] It focused on Gene Kelly in a musical tour around Manhattan, dancing along such landmarks as Rockefeller Center, the Plaza Hotel and the Museum of Modern Art, which serve as backdrops for the show's production numbers.[69] Allen appeared in the special alongside Kelly. Guest stars included choreographer Gower Champion, British musical comedy star Tommy Steele, and singer Damita Jo DeBlanc.[70] In 1967, Allen hosted a TV special for NBC, Woody Allen Looks at 1967. It featured Liza Minnelli, who acted alongside Allen in some skits; Aretha Franklin, the musical guest; and conservative writer William F. Buckley, the featured guest.[71] In 1969, Allen hosted his first American special for CBS television, The Woody Allen Special, which included skits with Candice Bergen, a musical performance by the 5th Dimension, and an interview between Allen and Billy Graham.[72][73]
Allen also performed standup comedy on other series, including The Andy Williams Show and The Perry Como Show, where he interacted with other guests and occasionally sang.[citation needed] In 1971, he hosted one of his final Tonight Shows, with guests Bob Hope and James Coco.[74] Hope praised Allen on the show, calling him "one of the finest young talents in show business and a great delight".[75] Life magazine put Allen on the cover of its March 21, 1969, issue.[76]
1965–1976: Broadway debut and early films
Allen's first movie was the Charles K. Feldman production What's New Pussycat? (1965), for which he wrote the screenplay. He was disappointed with the final product, which led him to direct every film he wrote thereafter except Play It Again, Sam.[77] Allen's first directorial effort was What's Up, Tiger Lily? (1966, co-written with Mickey Rose), in which an existing Japanese spy movie—Kokusai himitsu keisatsu: Kagi no kagi (International Secret Police: Key of Keys, 1965)—was redubbed in English by Allen and friends with fresh new, comic dialogue. In 1967, Allen played Jimmy Bond in the James Bond spoof Casino Royale.
In 1966, Allen wrote the play Don't Drink the Water. The play starred Lou Jacobi, Kay Medford, Anita Gillette, and Allen's future movie co-star Tony Roberts.[78] A film adaptation of the play, directed by Howard Morris, was released in 1969, starring Jackie Gleason. Because he was not particularly happy with that version, in 1994 Allen directed and starred in a second version for television, with Michael J. Fox and Mayim Bialik.[79]
The next play Allen wrote for Broadway was Play It Again, Sam, in which he also starred. The play opened on February 12, 1969, and ran for 453 performances. It featured Diane Keaton and Roberts.[80] The play was significant to Keaton's budding career, and she has said she was in "awe" of Allen even before auditioning for her role, which was the first time she met him.[81] In a 2013 interview Keaton said that she "fell in love with him right away", adding, "I wanted to be his girlfriend so I did something about it."[82] After co-starring alongside Allen in the subsequent film version of Play It Again, Sam, she later co-starred in Sleeper, Love and Death, Annie Hall, Interiors and Manhattan. "He showed me the ropes and I followed his lead. He is the most disciplined person I know. He works very hard," Keaton has said.[82]
In 1969, Allen directed, starred in, and co-wrote with Mickey Rose Take the Money and Run, which he considers his true film directorial debut. The film is directed as a "mockumentary spoof" about a inept bank robber played by Allen. The film received positive reviews; critic Vincent Canby of The New York Times wrote, "Allen has made a movie that is, in effect, a feature-length, two-reel comedy—something very special and eccentric and funny."[83] Allen received a Writers Guild of America Award nomination and later signed a deal with United Artists to produce several films.
During the 1970s, Allen wrote, directed and starred in films later known as his "early, funny" work. In 1971, he made Bananas, in which he plays Fielding Mellish, a bumbling New Yorker who travels to Latin America, where he unwittingly becomes a leader of a nation amid a rebellion. The film co-stars Allen's then girlfriend, Louise Lasser, and Carlos Montalbán. It also features a brief appearance by Sylvester Stallone as a train thief and Howard Cosell as himself. In an interview with Roger Ebert, Allen said of making the movie, "The big, broad laugh comedy is a form that's rarely made these days and sometimes I think it's the hardest kind of movie to make...with a comedy like 'Bananas,' if they're not laughing, you're dead, because laughs are all you have."[84]
The next year, he made the anthology comedy film Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask), loosely based on the 1969 book of the same name. It stars Allen, Gene Wilder, Lou Jacobi, Anthony Quayle, Tony Randall, and Burt Reynolds. The film received mixed reviews, with Time writing, "the jokes are well-worn, and good, manic ideas are congealing into formulas".[85] The same year, Allen wrote and starred in the film Play It Again, Sam, based on his 1969 play of the same name. It was directed by Herbert Ross and co-stars Diane Keaton (their first film collaboration). He reunited with Keaton in Sleeper (1973), about a man who is cryogenically frozen and later defrosted in a science fiction dystopia. Allen has said the film is a tribute to Groucho Marx and Bob Hope. Sleeper was the first of four screenplays co-written by Allen and Marshall Brickman.[86][87]
Allen collaborated again with Keaton in the comedy Love and Death (1975), set during the Napoleonic era and a satire of Russian literature and film.[77] Vincent Canby of The New York Times called it Allen's "finest work" to date. In 1976, he starred as cashier Howard Prince in The Front, directed by Martin Ritt. The Front was a humorous and poignant account of Hollywood blacklisting during the 1950s; Ritt, screenwriter Walter Bernstein, and three cast members—Zero Mostel, Herschel Bernardi, and Lloyd Gough—had been blacklisted.
I don't like meeting heroes. There's nobody I want to meet and nobody I want to work with—I'd rather work with Diane Keaton than anyone—she's absolutely great, a natural.
—Woody Allen in July 1976[41]
1977–1989: Established career
Then came two of Allen's most popular films: Annie Hall and Manhattan. Annie Hall (1977) won four Academy Awards, including Best Picture, Best Actress in a Leading Role for Diane Keaton, Best Original Screenplay and Best Director for Allen. It set the standard for modern romantic comedy and ignited a fashion trend with the clothes Keaton wore in the film. In an interview with journalist Katie Couric, Keaton did not deny that Allen wrote the part for and about her.[88] The film is ranked 35th on the American Film Institute's "100 Best Movies" and fourth on the AFI list of the "100 Best Comedies".
In 1979, Allen paid tribute to one of his comedy idols, Bob Hope, at the Film Society at Lincoln Center, creating a special for the event titled "My Favorite Comedian" that included clips from Hope's films, selected and narrated by Allen. Hope said of the honor, "It's great to have your past spring up in front of your eyes, especially when it's done by Woody Allen, because he's a near genius. Not a whole genius, but a near genius".[89] Dick Cavett hosted the event, but Allen was absent, editing Manhattan. Guests included Keaton, Kurt Vonnegut, and Andy Warhol.
Manhattan (1979) is a black-and-white romantic comedy often viewed as an homage to New York City. It has iconic scenes filmed in the city, including an opening montage of scenes around the city, and Allen and Keaton's silhouette on a bench by the Queensboro Bridge. As in many Allen films, the main protagonists are upper-middle-class writers and academics. Manhattan focuses on the complicated relationship between middle-aged Isaac Davis (Allen) and 17-year-old Tracy (Mariel Hemingway), and co-stars Keaton and Meryl Streep. It was a box-office and critical hit, and received two Academy Award nominations, for Hemingway for Best Supporting Actress and for Allen's screenplay. Keaton, who has made eight movies with Allen, has said, "He just has a mind like nobody else. He's bold. He's got a lot of strength, a lot of courage in terms of his work. And that is what it takes to do something really unique. Along with a genius imagination."[88]
Allen's films in the 1980s, even the comedies, became somber with philosophical undertones, influenced by European directors, especially Ingmar Bergman and Federico Fellini. Stardust Memories was based on 8½, which it parodies, and Wild Strawberries. A Midsummer Night's Sex Comedy was adapted from Smiles of a Summer Night. In Hannah and Her Sisters, part of the film's structure and background is borrowed from Fanny and Alexander. Fellini's Amarcord inspired Radio Days. September resembles Bergman's Autumn Sonata. Another Woman and Crimes and Misdemeanors have elements reminiscent of Wild Strawberries.[90]
Stardust Memories (1980) features Sandy Bates, a successful filmmaker played by Allen, who expresses resentment and scorn for his fans. Overcome by the recent death of a friend from illness, Bates says, "I don't want to make funny movies anymore" and a running gag has various people (including visiting space aliens) telling him that they appreciate his films, "especially the early, funny ones."[91] Allen considers this one of his best films.[92]
Mia's a good actress who can play many different roles. She has a very good range, and can play serious to comic roles. She's also very photogenic, very beautiful on screen. She's just a good realistic actress ... and no matter how strange and daring it is, she does it well.
—Woody Allen (1993)[93]
In 1981, Allen's play The Floating Light Bulb, starring Danny Aiello and Bea Arthur, premiered on Broadway and ran for 65 performances.[94] While receiving mixed reviews, it gave autobiographical insight into Allen's childhood, specifically his fascination with magic tricks. The play, set in 1945, is a semi-autobiographical tale of a lower-middle-class Brooklyn family. New York Times critic Frank Rich gave the play a mild review, writing, "there are a few laughs, a few well-wrought characters, and, in Act II, a beautifully written scene that leads to a moving final curtain".[95] Rich compared it to Tennessee Williams's work.[95] Allen has written several off-Broadway one-act plays, including Riverside Drive, Old Saybrook (at the Atlantic Theater Company), and A Second Hand Memory (at the Variety Arts Theatre).[95][96]
A Midsummer Night's Sex Comedy (1982) was the first movie Allen made starring Mia Farrow, who stepped into Diane Keaton's role when Keaton was shooting Reds.[97] He next directed Zelig, in which he starred as a man who has the ability to transform his appearance to match the people around him.[98]
Allen has combined tragic and comic elements in such films as Hannah and Her Sisters (1986) and Crimes and Misdemeanors (1989), in which he tells two stories that connect at the end. He has also made three films about show business: Broadway Danny Rose, in which he plays a down-on-his-luck New York show business agent; The Purple Rose of Cairo, set during the Great Depression, in which a movie character comes to life to romance an unhappy housewife; and Radio Days, a film about his childhood in Brooklyn and the importance of the radio. The film co-starred Farrow in a part Allen wrote for her.[93] Time magazine called The Purple Rose of Cairo one of the 100 best films of all time.[99] Allen has called it one of his three best films, with Stardust Memories and Match Point.[100] By "best", he said he meant they came closest to his vision. In 1989, Allen and directors Francis Ford Coppola and Martin Scorsese made New York Stories, an anthology film about New Yorkers. Allen's short, Oedipus Wrecks, is about a neurotic lawyer and his critical mother. Film critic Vincent Canby of The New York Times praised the segment as a "priceless contribution" to the film.[101]
1990–2004: Continued work
Allen's 1991 film Shadows and Fog is a black-and-white homage to the German expressionists and features the music of Kurt Weill.[102] Allen then made his critically acclaimed comedy-drama Husbands and Wives (1992), which received two Oscar nominations: Best Supporting Actress for Judy Davis and Best Original Screenplay for Allen. Manhattan Murder Mystery (1993) combined suspense with dark comedy and marked the return of Diane Keaton, Alan Alda and Anjelica Huston.
He returned to lighter fare such as the showbiz comedy involving mobsters Bullets Over Broadway (1994), which earned an Academy Award nomination for Best Director, followed by a musical, Everyone Says I Love You (1996). The singing and dancing scenes in Everyone Says I Love You are similar to musicals starring Fred Astaire and Ginger Rogers. The comedy Mighty Aphrodite (1995), in which Greek drama plays a large role, won an Academy Award for Best Supporting Actress for Mira Sorvino. Allen's 1999 jazz-based comedy-drama Sweet and Lowdown was nominated for two Academy Awards, for Sean Penn (Best Actor) and Samantha Morton (Best Supporting Actress). In contrast to these lighter movies, Allen veered into darker satire toward the end of the decade with Deconstructing Harry (1997) and Celebrity (1998).
On March 8, 1995, Allen's one-act play Central Park West[103] opened[104] off-Broadway as a part of a larger piece titled Death Defying Acts,[105] with two other one-act plays, one by David Mamet and one by Elaine May. Critics described Allen's contribution as "the longest and most substantial of the evening".[106] During this decade Allen also starred in the television film The Sunshine Boys (1995), based on the Neil Simon play of the same name,[107] and made a sitcom "appearance" via telephone in a 1997 episode, "My Dinner with Woody", of Just Shoot Me! that paid tribute to several of his films. He provided the voice of Z in DreamWorks' first animated film, Antz (1998), which featured many actors he had worked with; Allen's character was similar to his earlier roles.[108]
Small Time Crooks (2000) was Allen's first film with the DreamWorks studio and represented a change in direction: he began giving more interviews and made an attempt to return to his slapstick roots. The film is similar to the 1942 film Larceny, Inc. (from a play by S. J. Perelman).[109] Allen never commented on whether this was deliberate or if his film was in any way inspired by it. Small Time Crooks was a relative financial success, grossing over $17 million domestically, but Allen's next four films foundered at the box office, including Allen's most costly film, The Curse of the Jade Scorpion (with a budget of $26 million). Hollywood Ending, Anything Else, and Melinda and Melinda have "rotten" ratings on film-review website Rotten Tomatoes and each earned less than $4 million domestically.[110] Some critics claimed that Allen's early 2000s films were subpar and expressed concern that his best years were behind him.[111] Others were less harsh; reviewing the little-liked Melinda and Melinda, Roger Ebert wrote, "I cannot escape the suspicion that if Woody had never made a previous film, if each new one was Woody's Sundance debut, it would get a better reception. His reputation is not a dead shark but an albatross, which with admirable economy Allen has arranged for the critics to carry around their own necks."[112]
2005–2014: Career resurgence
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"In the United States things have changed a lot, and it's hard to make good small films now", Allen said in a 2004 interview. "The avaricious studios couldn't care less about good films—if they get a good film they're twice as happy but money-making films are their goal. They only want these $100 million pictures that make $500 million."[113] Allen traveled to London, where he made Match Point (2005), one of his most successful films of the decade, garnering positive reviews.[114] Set in London, it starred Jonathan Rhys Meyers and Scarlett Johansson. It is markedly darker than Allen's first four films with DreamWorks SKG. In Match Point Allen shifts focus from the intellectual upper class of New York to the moneyed upper class of London. The film earned more than $23 million domestically (more than any of his films in nearly 20 years) and over $62 million in international box office sales.[115] It earned Allen his first Academy Award nomination since 1998, for Best Writing – Original Screenplay, with directing and writing nominations at the Golden Globes, his first Globe nominations since 1987. In a 2006 interview with Premiere Magazine he said it was the best film he had ever made.[116]
Allen reached an agreement to film Vicky Cristina Barcelona in Avilés, Barcelona, and Oviedo, Spain, where shooting started on July 9, 2007. The movie featured Scarlett Johansson, Javier Bardem, Rebecca Hall and Penélope Cruz.[117][118] The film premiered at the 2008 Cannes Film Festival to rapturous reviews, and became a box office success. Vicky Cristina Barcelona won Best Motion Picture – Musical or Comedy at the Golden Globe awards. Cruz received the Academy Award for Best Supporting Actress.
In April 2008 he began filming Whatever Works,[119] a film aimed more toward older audiences, starring Larry David, Patricia Clarkson, and Evan Rachel Wood.[120] Released in 2009 and described as a dark comedy, it follows the story of a botched suicide attempt turned messy love triangle. Allen wrote Whatever Works in the 1970s, and David's character was written for Zero Mostel, who died the year Annie Hall came out. Allen was elected a Fellow of the American Academy of Arts and Sciences in 2001.[121] You Will Meet a Tall Dark Stranger, filmed in London, stars Antonio Banderas, Josh Brolin, Anthony Hopkins, Anupam Kher, Freida Pinto and Naomi Watts. Filming started in July 2009. It was released theatrically in the U.S. on September 23, 2010, following a Cannes debut in May 2010, and a screening at the Toronto International Film Festival on September 12, 2010.
Allen announced that his next film would be titled Midnight in Paris,[122] starring Owen Wilson, Marion Cotillard, Rachel McAdams, Michael Sheen, Corey Stoll, Allison Pill, Tom Hiddleston, Adrien Brody, Kathy Bates, and Carla Bruni, the First Lady of France at the time of production. The film follows a young engaged couple in Paris who see their lives transformed. It debuted at the 2011 Cannes Film Festival on May 12, 2011. Allen said he wanted to "show the city emotionally" during the press conference. "I just wanted it to be the way I saw Paris—Paris through my eyes", he said.[123] The film was almost universally praised, receiving a 93% on Rotten Tomatoes.[124] Midnight in Paris won the Academy Award for Best Original Screenplay and became his highest-grossing film, making $151 million worldwide on a $17 million budget.[125]
On October 20, 2011, Allen's one-act play Honeymoon Motel opened on Broadway as part of a larger piece titled Relatively Speaking, with two other one-act plays by Ethan Coen and Elaine May.[126] In February 2012, Allen appeared on a panel at the 92nd Street Y in New York City with moderators Dick Cavett and Annette Insdorf, discussing his films and career.[127]
His next film, To Rome with Love (2012), was a Rome-set comedy that starred Jesse Eisenberg, Elliot Page, Alec Baldwin, Penelope Cruz, Greta Gerwig, and Judy Davis. The film was structured in four vignettes featuring dialogue in both Italian and English. It marked Allen's return to acting since his last role in Scoop.[128] Bob Mondello gave it a mixed review, writing, "To Rome with Love is just froth—a romantic sampler with some decent jokes and gorgeous Roman backdrops. It goes down easily, but I have to say it's interesting less for what it is than for how it is."[129]
Allen's next film, Blue Jasmine, debuted in July 2013.[130] The film is set in San Francisco and New York, and stars Alec Baldwin, Cate Blanchett, Louis C.K., Andrew Dice Clay, Sally Hawkins, and Peter Sarsgaard.[131] It opened to critical acclaim, with Eric Kohn of IndieWire calling it "his most significant movie in years".[132] The film earned Allen another Academy Award nomination for Best Original Screenplay,[133] and Blanchett received the Academy Award for Best Actress.[134] Allen co-starred with John Turturro in Fading Gigolo, written and directed by Turturro, which premiered in September 2013.[135] Also in 2013, Allen shot the romantic comedy Magic in the Moonlight with Emma Stone, and Colin Firth in Nice, France. The film is set in the 1920s on the French Riviera.[136] The film was a modest financial success, earning $51 million on a budget of $16 million.[137] For the BBC, Owen Gleiberman wrote, "Magic in the Moonlight is Allen's most gratifyingly airy concoction in a while, but it's also a comedy that insists, in the end, on making an overly rational case for the power of the irrational."[138]
It's really cool to work with a director who's done so much, because he knows exactly what he wants. The fact that he does one shot for an entire scene—and this could be a scene with eight people and one to two takes—it gives you a level of confidence... he's very empowering.
—Blake Lively, on acting in Café Society, June 2016[139]
On March 11, 2014, Allen's musical Bullets over Broadway opened on Broadway at the St. James Theatre.[140] It was directed and choreographed by Susan Stroman and starred Zach Braff, Nick Cordero, and Betsy Wolfe. The production received mixed reviews, with The Hollywood Reporter writing, "this frothy show does provide dazzling art direction and performances, as well as effervescent ensemble numbers." Allen received a Tony Award nomination for Best Book of a Musical. The show received six Tony nominations.[141]
In July and August 2014, Allen filmed the mystery drama Irrational Man in Newport, Rhode Island, with Joaquin Phoenix, Emma Stone, Parker Posey and Jamie Blackley.[142] Allen said that this film, as well as the next three he had planned, had the financing and full support of Sony Pictures Classics.[143] Jonathan Romney of Film Comment gave the film a mixed review, praising Stone's performance but calling the film "disconcertingly impersonal—all the more so as it overtly carries certain traditional marks of his patented brand, being a light-highbrow comedy of manners, peppered with bookish in-jokes."[144]
2015–2019
On January 14, 2015, Amazon Studios announced a full-season order for a half-hour Amazon Prime Instant Video series that Allen would write and direct, marking the first time he has developed a television show. Allen said of the series, "I don't know how I got into this. I have no ideas and I'm not sure where to begin. My guess is that Roy Price the head of Amazon Studios will regret this."[145][146][147] At the 2015 Cannes Film Festival, Allen said of his upcoming Amazon show: "It was a catastrophic mistake. I don't know what I'm doing. I'm floundering. I expect this to be a cosmic embarrassment."[148] On September 30, 2016, Amazon Video debuted Allen's first television series production, Crisis in Six Scenes. The series is a comedy set during the 1960s. It focuses on the life of a suburban family after a surprise visitor creates chaos among them. It stars Allen, Elaine May, and Miley Cyrus, with the latter playing a radical hippie fugitive who sells marijuana.[149][150]
Allen's next film, Café Society, starred an ensemble cast, including Jesse Eisenberg, Kristen Stewart, and Blake Lively.[151] Bruce Willis was set to co-star, but was replaced by Steve Carell during filming.[152] The film is distributed by Amazon Studios, and opened the 2016 Cannes Film Festival on May 11, 2016, the third time Allen has opened the festival.[153] Peter Bradshaw of The Guardian gave the film a positive review, writing, "The film looks ravishing, with shots of New York which recall images in Allen's great work, Manhattan, but however wonderfully composed, there is something almost touristy in both them, and in his evocation of golden age Tinseltown, like his homages to Paris and Rome. Allen brings it all together in his closing moments which conjure something unexpectedly melancholy and shrewdly judged. It has entertainment and charm."[154]
In September 2016 Allen started filming the drama film Wonder Wheel, set in the 1950s in Coney Island, and starring Kate Winslet, Justin Timberlake, Juno Temple, and Jim Belushi.[155] The film served as the closing night selection at the 55th New York Film Festival on October 15, 2017,[156] and was theatrically released on December 1, 2017,[157] as the first movie self-distributed to theaters by Amazon Studios.[158] The film received mixed reviews, with critics praising Winslet's leading performance. Owen Gleiberman of Variety wrote, "Wonder Wheel isn't a comedy—on the contrary, it often feels like the most earnest kitchen-sink drama that Clifford Odets never wrote. It may or may not turn out to be an awards picture, but it's a good night out, and that's not nothing."[159] In 2017, Allen received a standing ovation when he made a rare public appearance at the 45th Annual Life Achievement Tribute award ceremony for Diane Keaton. Before presenting her with the award he spoke about their longtime collaboration and friendship, saying, "From the minute I met her, she was a great, great inspiration to me. Much of what I have accomplished in my life I owe for sure to her".[160]
Allen returned to filming in New York City with the romantic film A Rainy Day in New York, starring Timothée Chalamet, Selena Gomez, Elle Fanning, Jude Law, Diego Luna, Liev Schreiber and Rebecca Hall. The production in New York began in September 2017.[161] During the film's release, Chalamet, Gomez, and Hall announced, in the light of the Me Too movement, that they would donate their salaries to various charities.[162] The film received mixed reviews but earned praise for its performances. In February 2019 it was announced that Amazon Studios had dropped A Rainy Day in New York and would no longer finance, produce, or distribute films with Allen. He filed a lawsuit for $68 million, alleging Amazon gave "vague reasons" to terminate the contract, dropped the film over "a 25-year old, baseless allegation", and did not make payments.[163][164] The case was later settled and dismissed.[165][166] It was released throughout Europe beginning in July 2019,[167][168] receiving mixed reviews and grossing $20 million.[169][170][171] After over a year's delay, the film was released in the U.S. on October 9, 2020, by MPI Media Group and Signature Entertainment.[172]
In May 2019, it was announced that Allen's next film would be titled Rifkin's Festival, and Variety magazine confirmed that its cast would include Christoph Waltz, Elena Anaya, Louis Garrel, Gina Gershon, Sergi López, and Wallace Shawn, and that it would be produced by Gravier Productions.[173] The film was produced with Mediapro, an independent Spanish TV-film company.[174] Rifkin's Festival completed filming in October 2019.[175][176] On September 18, 2020, it premiered at the San Sebastián International Film Festival. It received mixed reviews, though Jessica Kiang of The New York Times called it "to the ravenous captive, like finding an unexpected stash of dessert".[177]
2020 to present
On March 2, 2020, it was announced that after shopping the book from publishers it was decided that Grand Central Publishing would release Allen's autobiography, Apropos of Nothing, on April 7, 2020.[178][179][180] According to the publisher, the book is a "comprehensive account of Allen's life, both personal and professional, and describes his work in films, theater, television, nightclubs, and print...Allen also writes of his relationships with family, friends, and the loves of his life."[181][182] The decision to publish the book was criticized by Dylan and Ronan Farrow, the latter of whom cut ties with the publisher.[183][184] The announcement also incited criticism from employees of the publishers.[185][186] On March 6, the publisher announced that it had canceled the book's release, saying in part, "The decision to cancel Mr. Allen's book was a difficult one."[187] Hachette's decision also drew criticism from novelist Stephen King, Executive director of PEN America Suzanne Nossel, and others.[188][189] On March 6, 2020, Manuel Carcassonne of Hachette's French branch, the publishing company Stock, announced it would publish the book if Allen permitted it.[188] On March 23, 2020, Arcade published the memoir.[190][191][192]
In June 2020, Allen appeared on Alec Baldwin's podcast Here's the Thing and talked about his career as a standup comedian, comedy writer, and filmmaker, and his life during the COVID-19 pandemic.[193] In September 2022, Allen suggested that he might retire from filmmaking after the release of his next film.[194] In an interview with La Vanguardia, Allen said, "My idea, in principle, is not to make more movies and focus on writing."[195] Allen's publicist later said, "Woody Allen never said he was retiring, nor did he say he was writing another novel. He said he was thinking about not making films, as making films that go straight or very quickly to streaming platforms is not so enjoyable for him, as he is a great lover of the cinema experience. Currently, he has no intention of retiring and is very excited to be in Paris shooting his new movie, which will be the 50th."[196]
Allen has made 50 feature films to date, with his latest film, Coup de chance (2023), a domestic thriller set in Paris. The film is Allen's first French-language film.[197] It premiered at the 80th Venice International Film Festival to positive reviews.[198] Chris Vognar of Rolling Stone called it "a pretty slight and minor film, but for an 87-year-old American working in a second language, it can't help but seem impressive".[199] Owen Gleiberman of Variety called it "his best since Blue Jasmine".[200]
In February 2024, it was reported that Allen had expressed interest in starting a new film as soon as summer 2024: "In a new interview with Spanish filmmaker David Trueba, the 88-year-old Allen confirms that he is currently trying to launch a new film, which could start shooting as early as this summer in Italy."[201]
Theater
While best known for his films, Allen has also had a successful theater career, starting as early as 1960, when he wrote sketches for the revue From A to Z. His first great success was Don't Drink the Water, which opened in 1968 and ran for 598 performances on Broadway. His success continued with Play It Again, Sam, which opened in 1969, starring Allen and Diane Keaton. The show played for 453 performances and was nominated for three Tony Awards, although none of the nominations were for Allen's writing or acting.[202]
In the 1970s, Allen wrote a number of one-act plays, such as God and Death, which were published in his 1975 collection Without Feathers. In 1981, Allen's play The Floating Light Bulb opened on Broadway. It was a critical success and a commercial flop. Despite two Tony Award nominations, a Tony win for the acting of Brian Backer (who won the 1981 Theater World Award and a Drama Desk Award for his work), the play only ran for 62 performances.[203]
In 1995, after a long hiatus from the stage, Allen returned to theater with the one-act Central Park West,[204] an installment in an evening of theater, Death Defying Acts, that also included new work by David Mamet and Elaine May.[205]
For the next few years, Allen had no direct involvement with the stage, but productions of his work were staged. God was staged at The Bank of Brazil Cultural Center in Rio de Janeiro,[206] and theatrical adaptations of Allen's films Bullets Over Broadway[207] and September[208] were produced in Italy and France, respectively, without Allen's involvement.
In 2003, Allen returned to the stage with Writer's Block, an evening of two one-acts, Old Saybrook[209] and Riverside Drive,[210][204] that played Off-Broadway's Atlantic Theatre.[211] The production marked his stage-directing debut[212] and sold out the entire run.[213]
In 2004, Allen's first full-length play since 1981, A Second Hand Memory,[214] was directed by Allen and enjoyed an extended run Off-Broadway.[213] In June 2007 it was announced that Allen would make two more creative debuts in the theater, directing a work he did not write and an opera—a reinterpretation of Puccini's Gianni Schicchi for the Los Angeles Opera[215]—which debuted at the Dorothy Chandler Pavilion on September 6, 2008.[216] Of his direction of the opera, Allen said, "I have no idea what I'm doing." His production of the opera opened the Festival of Two Worlds in Spoleto, Italy, in June 2009.[217]
In October 2011, Allen's one-act play Honeymoon Motel premiered as one in a series of one-act plays on Broadway titled Relatively Speaking.[218] Also contributing to the series were Elaine May and Ethan Coen; John Turturro directed.[219]
It was announced in February 2012 that Allen would adapt Bullets over Broadway into a Broadway musical. It ran from April 10 to August 24, 2014.[220] The cast included Zach Braff, Nick Cordero and Betsy Wolfe. The show was directed and choreographed by Susan Stroman, known for directing the stage and film productions of Mel Brooks's The Producers. The show drew mixed reviews from critics but received six Tony Award nominations, including one for Allen for Best Book of a Musical.[221]
Jazz band
Allen is a passionate fan of jazz, which appears often in the soundtracks to his films. He began playing clarinet as a child and took his stage name from clarinetist Woody Herman.[222] He has performed publicly at least since the late 1960s, including with the Preservation Hall Jazz Band on the soundtrack of Sleeper.[223]
Woody Allen and his New Orleans Jazz Band have been playing each Monday evening at the Carlyle Hotel in Manhattan for many years[224] specializing in New Orleans jazz from the early 20th century.[225] He plays songs by Sidney Bechet, George Lewis, Johnny Dodds, Jimmie Noone, and Louis Armstrong.[226] The documentary film Wild Man Blues (directed by Barbara Kopple) chronicles a 1996 European tour by Allen and his band, as well as his relationship with Previn. The band released the albums The Bunk Project (1993) and the soundtrack of Wild Man Blues (1997). In 2005, Allen, Eddy Davis and Conal Fowkes released the trio album Woody With Strings.[227] In a 2011 review of a concert by Allen's jazz band, critic Kirk Silsbee of the Los Angeles Times suggested that Allen should be regarded a competent musical hobbyist with a sincere appreciation for early jazz: "Allen's clarinet won't make anyone forget Sidney Bechet, Barney Bigard or Evan Christopher. His piping tone and strings of staccato notes can't approximate melodic or lyrical phrasing. Still his earnestness and the obvious regard he has for traditional jazz counts for something."[228]
Allen and his band played at the Montreal International Jazz Festival on two consecutive nights in June 2008.[229] For many years he wanted to make a film about the origins of jazz in New Orleans. Tentatively titled American Blues, the film would follow the different careers of Louis Armstrong and Sidney Bechet. Allen stated that the film would cost between $80 and $100 million and is therefore unlikely to be made.[230]
Influence
Allen has said that he was enormously influenced by comedians Bob Hope, Groucho Marx, Mort Sahl, Charlie Chaplin, W.C. Fields,[231] playwright George S. Kaufman and filmmakers Ernst Lubitsch and Ingmar Bergman.[232]
Many comedians have cited Allen as an influence, including Louis C.K.,[233] Larry David,[234] Jon Stewart,[235] Chris Rock,[236] Steve Martin,[237] John Mulaney,[238] Bill Hader,[239] Aziz Ansari,[240] Sarah Silverman,[241] Conan O'Brien,[242] Seth MacFarlane,[243] Seth Meyers,[244] Richard Ayoade,[245] Bill Maher,[246] Albert Brooks,[247] John Cleese,[240] Garry Shandling,[248] Bob Odenkirk,[249] Richard Kind,[250] Rob McElhenney,[251] and Mike Schur.[252]
Many filmmakers have also cited Allen as an influence, including Wes Anderson,[253] Greta Gerwig,[254] Noah Baumbach,[255] Luca Guadagnino,[256] Nora Ephron,[257] Whit Stillman,[258] Mike Mills,[259] Ira Sachs,[260] Richard Linklater,[261] Charlie Kaufman,[262] Nicole Holofcener,[263] Rebecca Miller,[264] Tamara Jenkins,[265] Alex Ross Perry,[266] Greg Mottola,[267] Lynn Shelton,[268] Lena Dunham,[269] Lawrence Michael Levine,[270] Olivier Assayas,[271] the Safdie brothers,[272] and Amy Sherman-Palladino.[273]
Directors who admire Allen's work include Quentin Tarantino, who called him "one of the greatest screenwriters of all time",[274] as well as Martin Scorsese, who said in Woody Allen: A Documentary, "Woody's sensibilities of New York City is one of the reasons why I love his work, but they are extremely foreign to me. It's not another world; it's another planet". Stanley Donen stated he liked Allen's films, Spike Lee has called Allen a "great, great filmmaker" and Pedro Almodóvar has said he admires Allen's work.[275][276][277] In 2012, directors Mike Leigh, Asghar Farhadi, and Martin McDonagh respectively included Radio Days (1987), Take the Money and Run (1969), and Manhattan among their Top 10 films for Sight & Sound.[278][279][280] Other admirers of his work include Olivia Wilde and Jason Reitman, who staged live readings of Hannah and Her Sisters and Manhattan respectively.[281][282] Filmmaker Edgar Wright listed five of Allen's films (Take the Money and Run, Bananas, Play It Again, Sam, Sleeper, Annie Hall) in his list of 100 Favorite Comedy films.[283]
Bill Hader cited Allen's mockumentary films Take the Money and Run and Zelig as the biggest inspirations of the IFC series Documentary Now![284]
Film critics including Roger Ebert and Barry Norman have highly praised Allen's work.[285][286] In 1980, on Sneak Previews, Siskel and Ebert called Allen and Mel Brooks "the two most successful comedy directors in the world today ... America's two funniest filmmakers."[287] Pauline Kael wrote of Allen that "his comic character is enormously appealing to people partly because he's the smart, urban guy who at the same time is intelligent, is vulnerable, and somehow by his intelligence, he triumphs".[citation needed]
Favorite films
In 2012, Allen participated in the Sight & Sound film polls.[288] Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice. Allen's choices, in alphabetical order, were:[289][290]
- The 400 Blows (France, 1959)
- 8½ (Italy, 1963)
- Amarcord (Italy, 1972)
- Bicycle Thieves (Italy, 1948)
- Citizen Kane (USA, 1941)
- The Discreet Charm of the Bourgeoisie (France, 1972)
- La Grande Illusion (France, 1937)
- Paths of Glory (USA, 1957)
- Rashomon (Japan, 1950)
- The Seventh Seal (Sweden, 1957)
In his 2020 autobiography Apropos of Nothing Allen praised Elia Kazan's A Streetcar Named Desire (1951):
the movie of Streetcar is for me total artistic perfection... It's the most perfect confluence of script, performance, and direction I've ever seen. I agree with Richard Schickel, who calls the play perfect. The characters are so perfectly written, every nuance, every instinct, every line of dialogue is the best choice of all those available in the known universe. All the performances are sensational. Vivien Leigh is incomparable, more real and vivid than real people I know. And Marlon Brando was a living poem. He was an actor who came on the scene and changed the history of acting. The magic, the setting, New Orleans, the French Quarter, the rainy humid afternoons, the poker night. Artistic genius, no holds barred.
Film activism and preservation
In 1987, Allen joined Ginger Rogers, Sydney Pollack, and Miloš Forman at a Senate Judiciary committee hearing in Washington, D.C., where they each gave testimony against Ted Turner's and other companies' colorizing films without the artists' consent.[291][292] Only one senator, Patrick Leahy, was present for the testimony. Allen testified:
If directors had their way, we would not let our films be tampered with in any way—broken up for commercial or shortened or colorized. But we've fought the other things without much success, and now colorization—because it's so horrible and preposterous and more acutely noticeable by audiences—is the straw that broke the camel's back...The presumption that colorizers are doing him the director a favor and bettering his movie is a transparent attempt to justify the mutilation of art for a few extra dollars.[293]
Allen also spoke about his decisions to make films in black and white, such as Manhattan, Stardust Memories, Broadway Danny Rose, and Zelig. Film director John Huston appeared in a pretaped video, and Rogers read a statement by Jimmy Stewart criticizing the colorization of his film It's a Wonderful Life.[291]
In 1990, The Film Foundation was founded as a nonprofit film preservation organization that collaborates with film studios to restore prints of old or damaged films to meet the vision of the original filmmaker. Allen was part of the founding and sat on the foundation's original board of directors alongside Martin Scorsese, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford, and Steven Spielberg.[294]
Works
Filmography
Theatrical works
In addition to directing, writing, and acting in films, Allen has written and performed in a number of Broadway theater productions.