Woody Allen Quotes About Home
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I never knew what Amazon was. I've never seen any of those series, even on cable. I've never seen The Sopranos, or Mad Men. I'm out every night and when I come home, I watch the end of the baseball or basketball game, and there's Charlie Rose and I go to sleep.
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When you write the script, you're home in a room by yourself, and you're writing, and there's no connection with the real performing world. So you get a lot of things wrong and make a lot of mistakes and make a lot of bad choices.
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The key point about a demonstration is that it must be seen. Hence the term "demonstration." If a person demonstrates privately in his own home, this is not technically a demonstration but merely "acting silly" or "behaving like an ass.
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I was raised in a religious home. It was unreasonable enforced religion that turned me off it. It was a joyless, unpleasant, stupid, barbaric thing when I was a child and I've never gotten over that feeling. If you're talking about religion it's one thing; I don't hold Jewish religion with any more seriousness than I would any other.
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The movie is usually, for me, something organic that grows all the time. I sit home and write it, and I'm in an isolated, four-walled environment, and I don't know what's going on. I just write it, and it's appearing in my head in some idealized way where every single moment works, and every little thing is perfect, because it's in my head.
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I have a number of symptoms that are neurotic and are constricting in the sense that if I had a brilliant idea for a film that had to be shot in Tulsa, OK I would tear it up and throw it away. Anything outside of New York, 'cause I can't exist in a hotel outside of my own home, I have to be in my own home and my own environment. This is a neurotic symptom that is constricting to my work even.
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I should have known something was wrong with my first wife. When I brought her home to meet my parents, they approved of her.
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Basically my wife was immature. I'd be at home in the bath and she'd come in and sink my boats.
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It is clear the future holds great opportunities. It also holds pitfalls. The trick will be to avoid the pitfalls, seize the opportunities, and get back home by six o'clock.
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I came home one night, some month ago, and I went to the closet in my bedroom...and a moth ate my sports jacket. He was laying on the floor, nauseous, y'know.
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When you make the film, there's a big difference between when you're in your own home at the typewriter, and when you're standing on a mountain, or on a street corner, and buses are coming by-it's a different reality. You make a million changes that were never in the script, but that reality dictates.
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If the [actors] are working, and I have a dinner engagement, I don't do 20 takes. I do five takes and go home. I want to go to dinner.
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I think, on both sides of the camera or the novel: Distraction. I'm obsessed with: Can I get this actress or my third act to work? I'm distracted. I'm interested in that so I don't sit home and think, "Gee, life is meaningless. We're all going to die. The universe is pulling apart at breakneck speed."
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I work all the time because it's a great distraction and it keeps me from sitting home and obsessing morbidly.
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I've never been satisfied or even pleased with a film that I've done. I make them, I'm finished, I've never looked at one after. I don't like them because there's a big gap between what you conceive in your mind when you're writing and you don't have to meet the test of reality. You're home, you write and it's funny and beautiful and romantic and dramatic, and then you have to show up on a cold morning, and you don't have enough of this and this goes wrong and you make the wrong choice on something and you screwed up and you can't go back.
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New York is my home and I have a particular fondness for it. I think it's a place where you can generate any kind of story wonderfully. But I also would be very happy to make a film in Paris or Rome.
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For some reason I'm more appreciated in France than I am back home. The subtitles must be incredibly good.
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