1 00:00:02,560 --> 00:00:05,920 Speaker 1: I'm Alec Baldwin and you're listening to hear is the thing. 2 00:00:06,840 --> 00:00:09,479 Speaker 1: I've admired Woody Allen's work for as long as I've 3 00:00:09,520 --> 00:00:13,360 Speaker 1: loved movies. I've hosted parties where the only activity is 4 00:00:13,400 --> 00:00:17,439 Speaker 1: just watching Broadway Danny Rose Together. He's been making movies 5 00:00:17,440 --> 00:00:21,080 Speaker 1: for fifty years now. Annie Hall, Manhattan, Hannah and her 6 00:00:21,120 --> 00:00:25,160 Speaker 1: Sister's Radio Days. There's some of the best movies ever made. 7 00:00:25,560 --> 00:00:28,440 Speaker 1: They've got the funniest lines in modern cinema, and though 8 00:00:28,480 --> 00:00:33,040 Speaker 1: he denies it, profound insights into psychology and the human condition. 9 00:00:33,720 --> 00:00:36,920 Speaker 1: I've acted in three Woody Allen movies, and each one 10 00:00:37,000 --> 00:00:40,600 Speaker 1: was a highlight of my career, and like just about everyone, 11 00:00:40,720 --> 00:00:44,960 Speaker 1: I've followed his story. One part of the very private 12 00:00:44,960 --> 00:00:50,400 Speaker 1: Woody Allen's story is very public. Woody and his ex wife, 13 00:00:50,520 --> 00:00:54,360 Speaker 1: Mia Farrow, were in the midst of a bruising custody dispute. 14 00:00:54,840 --> 00:00:57,480 Speaker 1: Mia discovered that Woody had been having an affair with 15 00:00:57,560 --> 00:01:00,960 Speaker 1: her twenty one year old daughter. While the spute was raging, 16 00:01:01,120 --> 00:01:04,839 Speaker 1: Mia told a psychologist that Dylan Faraoh, her and Woody's 17 00:01:04,959 --> 00:01:08,240 Speaker 1: seven year old daughter, accused her father of an incident 18 00:01:08,360 --> 00:01:12,080 Speaker 1: of sexual abuse that was an investigation in New York 19 00:01:12,200 --> 00:01:16,280 Speaker 1: State and Connecticut, and no charges were filed. Woody Allen 20 00:01:16,360 --> 00:01:20,480 Speaker 1: has always maintained his innocence. I've formed an opinion, and 21 00:01:20,520 --> 00:01:24,120 Speaker 1: I've been public about that. My inclination is to trust 22 00:01:24,280 --> 00:01:28,000 Speaker 1: those investigations. I've never claimed to be a journalist in 23 00:01:28,080 --> 00:01:30,880 Speaker 1: my role as host of Here's the Thing, But now 24 00:01:30,880 --> 00:01:34,080 Speaker 1: you know where I stand, regardless of where you stand. 25 00:01:34,400 --> 00:01:36,360 Speaker 1: I don't want to make the mistake of cutting the 26 00:01:36,400 --> 00:01:41,039 Speaker 1: accuser or the accused out of the conversation. Woody Allen 27 00:01:41,120 --> 00:01:45,360 Speaker 1: has a new autobiography, out, Apropos of Nothing. It's a 28 00:01:45,360 --> 00:01:48,120 Speaker 1: book that starts at the beginning. Allen was a Brooklyn 29 00:01:48,200 --> 00:01:51,680 Speaker 1: High schooler who took the subway into Manhattan after school 30 00:01:51,720 --> 00:01:55,000 Speaker 1: to write jokes for forty dollars a week. His jokes 31 00:01:55,040 --> 00:01:58,120 Speaker 1: were a hit, and he met his comedy writing mentors 32 00:01:58,160 --> 00:02:00,760 Speaker 1: like a Burrows and Danny si And when he was 33 00:02:00,800 --> 00:02:03,720 Speaker 1: still in his teens. The book shows that he hasn't 34 00:02:03,800 --> 00:02:08,280 Speaker 1: lost his touch. I've turned eighty four and people for years, 35 00:02:08,520 --> 00:02:11,640 Speaker 1: you know, said to me, you should write down your life. 36 00:02:11,639 --> 00:02:15,560 Speaker 1: You've been a nightclub comedian, a television writer, a radio writer. 37 00:02:16,120 --> 00:02:19,280 Speaker 1: I've directed on stage, I've written for the theater. I've 38 00:02:20,040 --> 00:02:25,040 Speaker 1: you know, done films. I've played jazz, and they said, 39 00:02:25,040 --> 00:02:28,960 Speaker 1: you must have a lot of stories that are interesting 40 00:02:29,080 --> 00:02:33,800 Speaker 1: or amusing or worthwhile or informative, and uh and so 41 00:02:33,919 --> 00:02:36,000 Speaker 1: I had nothing to do for a while, I had 42 00:02:36,040 --> 00:02:38,720 Speaker 1: time off, so I wrote them out in the hopes 43 00:02:38,760 --> 00:02:43,360 Speaker 1: that maybe people would enjoy reading them or learn something. 44 00:02:43,840 --> 00:02:47,239 Speaker 1: It's much more accurate than the things you see in 45 00:02:47,280 --> 00:02:50,640 Speaker 1: the movies. When you see Radio Days or movies that 46 00:02:50,680 --> 00:02:57,160 Speaker 1: are presumably autobiographical, all those little bits that are gathered 47 00:02:57,160 --> 00:03:01,840 Speaker 1: from my life are greatly exaggerated and hopefully made funny. 48 00:03:02,240 --> 00:03:08,360 Speaker 1: You're seeing enormous distortion for theatrical reasons and for entertainment reasons. 49 00:03:08,680 --> 00:03:14,120 Speaker 1: And in your films you don't name names. Everything is anonymous. 50 00:03:14,120 --> 00:03:16,480 Speaker 1: In any hall, there's a wonderful moment when you go 51 00:03:16,520 --> 00:03:20,160 Speaker 1: to the meeting with the entertainer. Johnny Hamer played the entertainment. 52 00:03:20,919 --> 00:03:23,959 Speaker 1: Great to see you all out there. It's swelled and 53 00:03:24,000 --> 00:03:26,359 Speaker 1: he's singing the song and you're sitting there glazed over. 54 00:03:27,040 --> 00:03:29,240 Speaker 1: And not that you disparage people in the book, but 55 00:03:29,280 --> 00:03:33,800 Speaker 1: you're much more direct. You say, I loved Hope and Hopes. 56 00:03:33,880 --> 00:03:37,440 Speaker 1: Movies were funnier than Jerry Lewis. Yes, in a movie, 57 00:03:37,720 --> 00:03:40,280 Speaker 1: you just want to entertain. That's all you want to 58 00:03:40,280 --> 00:03:42,920 Speaker 1: really do. That's all I wanted to really do. In 59 00:03:42,960 --> 00:03:46,000 Speaker 1: the book, you you want to you know, tell the truth. 60 00:03:46,040 --> 00:03:47,839 Speaker 1: Do I think this guy is funny? Do I think 61 00:03:47,880 --> 00:03:50,400 Speaker 1: this movie is funny? Do I love this? And I 62 00:03:50,400 --> 00:03:53,000 Speaker 1: can understand they're interests because I work in the field. 63 00:03:53,440 --> 00:03:55,840 Speaker 1: Just like if I speak to an athlete, I want 64 00:03:55,840 --> 00:03:57,560 Speaker 1: to know, what do you think of this hit? Or 65 00:03:57,600 --> 00:04:00,200 Speaker 1: what do you think of this basketball player? What you know? 66 00:04:00,240 --> 00:04:02,800 Speaker 1: I want to hear it from someone who's in the field, 67 00:04:03,160 --> 00:04:06,880 Speaker 1: And so to a certain degree, I've I've included my 68 00:04:06,960 --> 00:04:10,640 Speaker 1: feelings about these things in the book so people might 69 00:04:10,680 --> 00:04:14,360 Speaker 1: find it interesting. The you left out, by the way, 70 00:04:14,360 --> 00:04:16,880 Speaker 1: in your list of jobs you've had, you left out 71 00:04:16,920 --> 00:04:21,680 Speaker 1: degenerate gambler. Yeah. I was someone who, for no fund 72 00:04:21,839 --> 00:04:27,400 Speaker 1: would work hard at polka and studied it and practiced, 73 00:04:27,680 --> 00:04:31,000 Speaker 1: and I got in to win. Everyone else was playing 74 00:04:31,040 --> 00:04:33,360 Speaker 1: for pleasure. They were having a good time and enjoying 75 00:04:33,400 --> 00:04:37,160 Speaker 1: their lives. I was sitting there, you know, like sweating 76 00:04:37,200 --> 00:04:40,320 Speaker 1: like a mole. God forbid I should make a mistake 77 00:04:40,480 --> 00:04:43,400 Speaker 1: or make a wrong bet or do something, and I 78 00:04:43,480 --> 00:04:48,120 Speaker 1: did win money consistently over the years. Now, when you 79 00:04:48,320 --> 00:04:50,960 Speaker 1: go back, I mean the beginning of the book, because 80 00:04:51,480 --> 00:04:54,400 Speaker 1: there's a volume of people who are familiar with your filmmaking, 81 00:04:54,400 --> 00:04:57,080 Speaker 1: with your stand up routines and so forth, going back 82 00:04:57,080 --> 00:04:59,960 Speaker 1: to the earliest days of your career, but your child 83 00:05:00,080 --> 00:05:03,719 Speaker 1: hood itself for people who don't know that part of 84 00:05:03,760 --> 00:05:07,000 Speaker 1: your life. You said, listen, I'm wearing the glasses, and 85 00:05:07,040 --> 00:05:09,440 Speaker 1: you think I'm an intellectual, and I'm not an intellectual. 86 00:05:09,920 --> 00:05:12,120 Speaker 1: And I could throw a football, I can catch a football, 87 00:05:12,160 --> 00:05:14,159 Speaker 1: I could play baseball. You know you. Yeah, I would 88 00:05:14,200 --> 00:05:17,719 Speaker 1: have rather been a baseball player. And I have fantasies 89 00:05:17,800 --> 00:05:20,039 Speaker 1: that we would have had much better life. It would 90 00:05:20,040 --> 00:05:23,880 Speaker 1: have been more fun. But I am perceived because of 91 00:05:23,880 --> 00:05:27,760 Speaker 1: what I look like as a bookworm or or a shrink, 92 00:05:27,839 --> 00:05:31,120 Speaker 1: or an accountant, or an intellectual because I have the glasses. 93 00:05:31,360 --> 00:05:34,279 Speaker 1: But I was the opposite of an intellectual. I was 94 00:05:34,400 --> 00:05:38,120 Speaker 1: strictly hung up on sports and comic books and movies 95 00:05:38,160 --> 00:05:40,520 Speaker 1: and never read a book till I was much older, 96 00:05:41,200 --> 00:05:44,760 Speaker 1: you know. Uh, And and I was very athletic when 97 00:05:44,760 --> 00:05:48,280 Speaker 1: I was younger. Um, so I would have I would 98 00:05:48,320 --> 00:05:51,200 Speaker 1: have preferred. I don't think I would have been good 99 00:05:51,320 --> 00:05:55,279 Speaker 1: enough to be a major league baseball player, but it 100 00:05:55,360 --> 00:05:57,640 Speaker 1: was quite good. I was always, you know, one of 101 00:05:57,680 --> 00:06:00,040 Speaker 1: the for if not the first one shows, and I 102 00:06:00,160 --> 00:06:04,080 Speaker 1: was quite good. When you get into the big leagues, 103 00:06:04,160 --> 00:06:06,520 Speaker 1: it's a different story. But it would have made my 104 00:06:06,640 --> 00:06:11,839 Speaker 1: father happy to spend his afternoons at the ballpark and 105 00:06:12,080 --> 00:06:17,040 Speaker 1: me playing. And you know, that's a fantasy I've always had, 106 00:06:18,279 --> 00:06:22,560 Speaker 1: but it's a fantasy. Well, I want to talk about musicians. 107 00:06:22,600 --> 00:06:25,599 Speaker 1: I mean I spent an hour last night trying to 108 00:06:25,640 --> 00:06:29,640 Speaker 1: get any CD recordings, not vinyl recordings. I surrendered to 109 00:06:29,680 --> 00:06:31,600 Speaker 1: the fact that I have to go get some vinyl. Now. 110 00:06:32,320 --> 00:06:36,760 Speaker 1: Of Jean Cedric h you talk about him coming to 111 00:06:36,880 --> 00:06:42,039 Speaker 1: teach you. He was the clarinet player with Fat Swaller. 112 00:06:42,240 --> 00:06:45,360 Speaker 1: I used to go and see him play jazz at 113 00:06:45,400 --> 00:06:49,440 Speaker 1: the Child's Paramount, and Manhattan would be a jazz concert 114 00:06:49,480 --> 00:06:52,400 Speaker 1: every week, and he played and I'd sit under. I 115 00:06:52,520 --> 00:06:55,000 Speaker 1: never exchanged the word with him. I just watched him. 116 00:06:55,400 --> 00:06:57,960 Speaker 1: And one day I called him up and asked him 117 00:06:58,000 --> 00:07:00,920 Speaker 1: if he said I'm that guy that it's it's in 118 00:07:00,960 --> 00:07:04,600 Speaker 1: front of you every Sunday afternoon, and he recognized me, 119 00:07:04,760 --> 00:07:08,320 Speaker 1: and I asked if could he help me, and he said, well, 120 00:07:08,360 --> 00:07:12,400 Speaker 1: I would have to get two dollars. Now, even then, 121 00:07:12,600 --> 00:07:14,960 Speaker 1: that was a bargain, you know, because this guy was 122 00:07:15,000 --> 00:07:18,000 Speaker 1: a great musician, and he'd come in on the train 123 00:07:18,240 --> 00:07:21,680 Speaker 1: from Harlem and come over the house and sit in 124 00:07:21,720 --> 00:07:25,000 Speaker 1: my living room and try as hard as he could. 125 00:07:25,040 --> 00:07:29,440 Speaker 1: There was a low ceiling that I had of capability, 126 00:07:29,960 --> 00:07:32,800 Speaker 1: and he brought me a little closer to that low ceiling, 127 00:07:34,040 --> 00:07:37,400 Speaker 1: and you know, I just it's it's not one of 128 00:07:37,440 --> 00:07:41,640 Speaker 1: my my real talents. I think I don't really have 129 00:07:42,160 --> 00:07:46,440 Speaker 1: any real talents except as a comedy writer. That's really 130 00:07:46,520 --> 00:07:49,520 Speaker 1: the only talent I've had, you know. To be amusing 131 00:07:50,080 --> 00:07:54,400 Speaker 1: has been my only gift. Uh. We were together in 132 00:07:54,600 --> 00:07:58,360 Speaker 1: Italy for the premier of to Rome with Love and 133 00:07:58,440 --> 00:08:01,160 Speaker 1: we were sitting on a dais. I remember this vividly, 134 00:08:02,000 --> 00:08:04,560 Speaker 1: and everyone would say up and say, Woody, I have 135 00:08:04,640 --> 00:08:06,600 Speaker 1: a question for a Woody, you know, and they and 136 00:08:06,640 --> 00:08:09,080 Speaker 1: they wanted to direct all their questions to you, obviously, 137 00:08:09,800 --> 00:08:11,960 Speaker 1: And when they did ask me a question, I talked 138 00:08:12,880 --> 00:08:16,800 Speaker 1: about how your greatest gift is as a writer, and 139 00:08:16,840 --> 00:08:19,520 Speaker 1: I saw you nod your head. There was a slight 140 00:08:19,680 --> 00:08:22,960 Speaker 1: nod of your head, as if the recognition of your 141 00:08:23,000 --> 00:08:26,440 Speaker 1: writing is more important to you than anything. Yeah. I 142 00:08:26,480 --> 00:08:29,280 Speaker 1: only make the films because I write them. I've never 143 00:08:29,920 --> 00:08:35,760 Speaker 1: filmed anybody else's script or had any inclination to adapt something. 144 00:08:36,600 --> 00:08:39,719 Speaker 1: I make the film because I write the film, and 145 00:08:40,200 --> 00:08:42,920 Speaker 1: I just feel I'm the only one who's really going 146 00:08:43,000 --> 00:08:46,240 Speaker 1: to know how to mount it, so it's congruent with 147 00:08:46,360 --> 00:08:50,679 Speaker 1: what I wrote. I see myself fundamentally as a writer. 148 00:08:51,240 --> 00:08:54,680 Speaker 1: I direct out of necessity, and I try and do 149 00:08:54,760 --> 00:08:58,360 Speaker 1: the best job that I can. Um. I think I've 150 00:08:58,400 --> 00:09:01,720 Speaker 1: improved over the years if you look at Take the 151 00:09:01,720 --> 00:09:05,240 Speaker 1: Money and Run or Bananas when I first started, forgetting 152 00:09:05,240 --> 00:09:09,640 Speaker 1: about whether you enjoyed the films or not, the technique 153 00:09:10,520 --> 00:09:15,400 Speaker 1: has improved. I think I'm much better filmmaker now. But 154 00:09:16,440 --> 00:09:22,480 Speaker 1: you know that's just technical, uh, you know, development that 155 00:09:22,559 --> 00:09:26,920 Speaker 1: comes with years of working. I'm doing it only to 156 00:09:27,440 --> 00:09:31,160 Speaker 1: get my story mounted in such a way that the 157 00:09:31,240 --> 00:09:35,520 Speaker 1: audience can appreciate what I've written. You tell the story 158 00:09:35,559 --> 00:09:38,719 Speaker 1: about gene Cedric and the lessons than him coming to you. 159 00:09:39,240 --> 00:09:42,520 Speaker 1: There's a parallel there with a burrows and you camping 160 00:09:42,520 --> 00:09:44,800 Speaker 1: out briefly in front of the barras Ford to see 161 00:09:44,800 --> 00:09:48,200 Speaker 1: a Burrows. Is that a component you think of your 162 00:09:48,600 --> 00:09:52,080 Speaker 1: success is that you're ready to just show up and 163 00:09:52,120 --> 00:09:55,960 Speaker 1: say hey. I wasn't ready. My mother was a pushy lady. 164 00:09:56,559 --> 00:09:58,960 Speaker 1: I didn't know him from a hole in the wall, 165 00:09:59,360 --> 00:10:01,680 Speaker 1: and she said just go over to his house and 166 00:10:01,760 --> 00:10:06,360 Speaker 1: ring his bell. And I was such a naive kid. 167 00:10:06,800 --> 00:10:09,600 Speaker 1: I thought, gee, I guess that's what I should do. 168 00:10:10,040 --> 00:10:14,400 Speaker 1: And and it turned out that he was a lovely guy. 169 00:10:14,480 --> 00:10:17,400 Speaker 1: He had no connection with me, what sort of except 170 00:10:17,480 --> 00:10:22,440 Speaker 1: some vague tenuous connection with some relative by marriage. I 171 00:10:22,480 --> 00:10:25,720 Speaker 1: mean there was really like ten degrees of separation. But 172 00:10:25,840 --> 00:10:29,320 Speaker 1: he could not have been warmer or nicer. And it 173 00:10:29,400 --> 00:10:32,800 Speaker 1: was just one of many good breaks which I've had 174 00:10:32,960 --> 00:10:36,320 Speaker 1: all my life. Relating to my career, I've had nothing 175 00:10:36,360 --> 00:10:39,839 Speaker 1: but luck and good breaks and people helping me and 176 00:10:39,880 --> 00:10:43,600 Speaker 1: people kind to me. And when I referred to my 177 00:10:43,760 --> 00:10:48,080 Speaker 1: career as tremendous amount of luck, people said, oh, yeah, 178 00:10:48,080 --> 00:10:50,760 Speaker 1: I can't just be luck. A huge amount of it 179 00:10:50,840 --> 00:10:53,640 Speaker 1: is luck. But one thing that was revealed in this 180 00:10:53,679 --> 00:10:56,360 Speaker 1: book is this engine of a memory. I mean, you 181 00:10:56,480 --> 00:11:00,800 Speaker 1: remember everything everybody. If I wanted to or the reader 182 00:11:00,840 --> 00:11:04,760 Speaker 1: of the book, I could pour out many more details 183 00:11:05,120 --> 00:11:08,000 Speaker 1: about all that stuff, but that's no achievement. You you 184 00:11:08,040 --> 00:11:11,880 Speaker 1: either remember you don't. I mean I didn't research the book. 185 00:11:11,920 --> 00:11:14,200 Speaker 1: I just sat down and started writing it from scratch 186 00:11:14,280 --> 00:11:18,160 Speaker 1: and wrote it. You just remember things or you don't 187 00:11:18,200 --> 00:11:22,400 Speaker 1: remember them, and and I do. But what I don't 188 00:11:22,440 --> 00:11:26,240 Speaker 1: remember is when guys come up to me now and 189 00:11:26,240 --> 00:11:30,680 Speaker 1: and they'll bark a line at me, and I don't 190 00:11:30,679 --> 00:11:32,800 Speaker 1: know what they're talking about, and they'll say it's it's 191 00:11:32,840 --> 00:11:35,960 Speaker 1: from your movie, or referring to some film I did 192 00:11:36,360 --> 00:11:40,400 Speaker 1: thirty forty years ago that I haven't seen since I made. 193 00:11:40,760 --> 00:11:44,120 Speaker 1: I guess when you're a kid, your brain is so 194 00:11:44,120 --> 00:11:48,280 Speaker 1: soft and absorbent, and and you know you remember those things. 195 00:11:48,960 --> 00:11:52,080 Speaker 1: Tiger Lily is the first film you direct, correct, And 196 00:11:52,520 --> 00:11:56,160 Speaker 1: that was an odd little Labyrinth project. Some guy called 197 00:11:56,200 --> 00:11:59,200 Speaker 1: me and said he bought a Japanese film that I 198 00:11:59,360 --> 00:12:02,840 Speaker 1: dubbed it with comic American. I don't. I don't count 199 00:12:02,880 --> 00:12:06,560 Speaker 1: that as anything. I I was even gonna sue to 200 00:12:06,880 --> 00:12:09,840 Speaker 1: keep that from coming out because I was I thought 201 00:12:09,840 --> 00:12:13,880 Speaker 1: it was such junk, and uh, you know, it was successful. 202 00:12:13,920 --> 00:12:16,120 Speaker 1: So my manager at the time said, shut up and 203 00:12:16,160 --> 00:12:19,120 Speaker 1: go with the flow. And don't make a fuss, and 204 00:12:19,240 --> 00:12:21,520 Speaker 1: I didn't take the money and run is the first 205 00:12:21,520 --> 00:12:23,800 Speaker 1: one you direct? Yeah, that's the first time I really 206 00:12:24,240 --> 00:12:27,240 Speaker 1: wrote the picture and then directed it and got the 207 00:12:27,320 --> 00:12:30,520 Speaker 1: picture that I was capable of doing to the best 208 00:12:30,520 --> 00:12:33,120 Speaker 1: of my ability at that point in my life. And 209 00:12:33,160 --> 00:12:36,520 Speaker 1: who made the suggestion at that point that you direct? 210 00:12:36,559 --> 00:12:39,439 Speaker 1: Whose idea was it that you direct? That was my idea. 211 00:12:39,880 --> 00:12:43,920 Speaker 1: I came up with the idea. I thought, if I 212 00:12:43,920 --> 00:12:48,199 Speaker 1: could direct this, then uh, then I'm going to get 213 00:12:48,240 --> 00:12:50,760 Speaker 1: what I want. I don't have to and if I'm 214 00:12:50,840 --> 00:12:53,400 Speaker 1: in it, I don't even have to deal with an actor. 215 00:12:53,480 --> 00:12:55,880 Speaker 1: I can. I know what I want. I set the 216 00:12:55,920 --> 00:12:58,240 Speaker 1: shot up and then I walk around in front of 217 00:12:58,240 --> 00:12:59,800 Speaker 1: the camera and do it. I do it the way 218 00:12:59,840 --> 00:13:02,240 Speaker 1: I hear it, the way I wanted to express to 219 00:13:02,320 --> 00:13:06,480 Speaker 1: the audience. And people used to say, isn't it hard 220 00:13:06,520 --> 00:13:10,400 Speaker 1: to write and direct? But it wasn't. Doubly hard. It 221 00:13:10,520 --> 00:13:13,559 Speaker 1: was half as hard. Take the money. Everyone who was 222 00:13:13,559 --> 00:13:16,520 Speaker 1: the cinematographer do you recall on that film, Leicester Shure 223 00:13:17,040 --> 00:13:21,440 Speaker 1: Lester Shaw In the one experience I had directing, what 224 00:13:21,640 --> 00:13:24,320 Speaker 1: was revealed very quickly was something I knew from the 225 00:13:24,360 --> 00:13:28,640 Speaker 1: other films I made, which I wasn't that fascinated with cinematics. 226 00:13:28,640 --> 00:13:32,120 Speaker 1: It wasn't that keen on lenses and which side of 227 00:13:32,120 --> 00:13:34,440 Speaker 1: the line and where do we put the camera? And 228 00:13:34,800 --> 00:13:38,560 Speaker 1: I almost fantasized, I fantasized almost that I would have 229 00:13:38,640 --> 00:13:41,680 Speaker 1: a job I'd create. Roberts, the director of Just the Acting, 230 00:13:42,160 --> 00:13:44,920 Speaker 1: did you find you had an affinity for the camera. 231 00:13:45,200 --> 00:13:48,600 Speaker 1: It wasn't an affinity. There was a common sense way 232 00:13:49,080 --> 00:13:52,280 Speaker 1: my joke would look good, and I did it. Comedy 233 00:13:52,679 --> 00:13:57,320 Speaker 1: doesn't require a lot of fancy angles and a lot 234 00:13:57,360 --> 00:14:01,560 Speaker 1: of lamboyant cinematography. You want it nice and simple. You 235 00:14:01,600 --> 00:14:03,760 Speaker 1: want the owners to see it. You want it lit 236 00:14:04,160 --> 00:14:07,000 Speaker 1: so they can see it and clear. So it was 237 00:14:07,240 --> 00:14:09,640 Speaker 1: easy for me. I mean, there was no Some guy 238 00:14:09,720 --> 00:14:13,000 Speaker 1: said to me at the time, one of the studio heads, 239 00:14:13,480 --> 00:14:16,440 Speaker 1: you know, how do you feel being responsible from million 240 00:14:16,520 --> 00:14:19,200 Speaker 1: dollars that was the budget to take the money and run? 241 00:14:19,720 --> 00:14:22,960 Speaker 1: And and I thought to myself, what do you mean, 242 00:14:23,000 --> 00:14:25,880 Speaker 1: how do I feel? I feel fine? This is a 243 00:14:25,920 --> 00:14:29,240 Speaker 1: piece of cake. You have to see the person put 244 00:14:29,280 --> 00:14:31,880 Speaker 1: the gun down on the table if you want the 245 00:14:32,000 --> 00:14:35,920 Speaker 1: joke to work. It does not rocket science. Later on 246 00:14:36,400 --> 00:14:41,680 Speaker 1: I became more and more interested in cinematography and making 247 00:14:41,680 --> 00:14:45,840 Speaker 1: the film work for you as well. But but always, 248 00:14:45,880 --> 00:14:48,960 Speaker 1: if you don't have a story to tell, a good story, 249 00:14:49,080 --> 00:14:52,280 Speaker 1: you're dead. And if you have a good story, you're 250 00:14:52,440 --> 00:14:54,400 Speaker 1: way ahead of the game. Even if you don't know 251 00:14:54,440 --> 00:14:57,960 Speaker 1: what you're doing when you're writing, do you show anybody? 252 00:14:57,960 --> 00:14:59,920 Speaker 1: Are there people that you trust who you want to 253 00:15:00,760 --> 00:15:03,120 Speaker 1: even if it's one person? Is there anybody that you 254 00:15:03,200 --> 00:15:06,720 Speaker 1: bounce your material off of and you want their opinion? No? 255 00:15:06,880 --> 00:15:09,720 Speaker 1: Not really. I finished the script and I would always 256 00:15:09,760 --> 00:15:14,080 Speaker 1: give it to Juliet Taylor to uh, give me some 257 00:15:14,120 --> 00:15:17,640 Speaker 1: suggestions for casting, and go No, I did it all. 258 00:15:19,400 --> 00:15:21,920 Speaker 1: I found that to be not a good thing to do, 259 00:15:21,960 --> 00:15:24,760 Speaker 1: because you get a million opinions and some of them 260 00:15:24,760 --> 00:15:27,240 Speaker 1: are good and you should probably take them, but you 261 00:15:27,280 --> 00:15:30,320 Speaker 1: don't know which ones the good ones are, and you 262 00:15:30,520 --> 00:15:34,720 Speaker 1: get some that are meaningless and people don't understand. So 263 00:15:34,760 --> 00:15:37,960 Speaker 1: you wouldn't bounce it off of Rollins, who would tell 264 00:15:37,960 --> 00:15:40,240 Speaker 1: you whether the thing could get made and base the money. 265 00:15:40,280 --> 00:15:42,960 Speaker 1: Would you ever bounce the script off of Rollins? I 266 00:15:42,960 --> 00:15:45,680 Speaker 1: wouldn't bounce the script of him, but I would ask him, 267 00:15:45,760 --> 00:15:47,680 Speaker 1: you know, you think it's worth it for me? To 268 00:15:47,760 --> 00:15:51,080 Speaker 1: do this project. Never do you think this is funny 269 00:15:51,200 --> 00:15:54,960 Speaker 1: or do you think what times? I remember, Jack Rollins 270 00:15:55,000 --> 00:15:58,280 Speaker 1: didn't think it was a worthwhile project. Where did you 271 00:15:58,320 --> 00:16:00,600 Speaker 1: first come in contact with him? Well, he was a 272 00:16:00,680 --> 00:16:04,200 Speaker 1: manager around town that was a legend. He had discovered 273 00:16:04,240 --> 00:16:08,800 Speaker 1: Harry Belafante when no one thought a black calypso singer 274 00:16:09,400 --> 00:16:12,800 Speaker 1: would be anything. And Jack was already saying he's going 275 00:16:12,840 --> 00:16:15,920 Speaker 1: to be a movie star, not just the calypso singer, 276 00:16:16,240 --> 00:16:21,400 Speaker 1: He's gonna be everything. And then suddenly two years after that, 277 00:16:21,800 --> 00:16:24,280 Speaker 1: he went and brought Nichols and Made to New York 278 00:16:24,400 --> 00:16:28,160 Speaker 1: and people said, oh, these two kids are intellectual, they're 279 00:16:28,480 --> 00:16:32,920 Speaker 1: improvisational people from Chicago. They'll never make it. And one 280 00:16:32,960 --> 00:16:35,680 Speaker 1: of them was Mike Nichols, the other was Elaine May 281 00:16:35,840 --> 00:16:40,520 Speaker 1: and Jack just had a was a legend for having 282 00:16:40,600 --> 00:16:45,400 Speaker 1: foresight into major talent. And people were saying, you should 283 00:16:45,440 --> 00:16:50,360 Speaker 1: really be handled by Jack and and and so I 284 00:16:50,400 --> 00:16:52,920 Speaker 1: gave him my writing and said I'd be interested. He'd 285 00:16:52,920 --> 00:16:56,160 Speaker 1: never handle a writer before, and he said he would 286 00:16:56,160 --> 00:17:01,120 Speaker 1: handle me. And then I made the accidental mistake of saying, 287 00:17:01,680 --> 00:17:03,840 Speaker 1: you know, sometimes I think of being a stand up 288 00:17:03,840 --> 00:17:09,240 Speaker 1: comic myself and for that moment on he wouldn't let go. 289 00:17:09,920 --> 00:17:13,159 Speaker 1: He said, absolutely, I think it's a great idea. We 290 00:17:13,200 --> 00:17:17,240 Speaker 1: should pursue that, and just wouldn't let me. I couldn't 291 00:17:17,240 --> 00:17:20,560 Speaker 1: disabuse him of that notion. I was nervous, I was scared. 292 00:17:20,640 --> 00:17:23,800 Speaker 1: I was only half serious when I said it. But 293 00:17:23,920 --> 00:17:27,320 Speaker 1: he wouldn't let it go, and so I listened to him, 294 00:17:27,520 --> 00:17:30,800 Speaker 1: and he pushed me, and I became a stand up 295 00:17:30,840 --> 00:17:35,960 Speaker 1: comedian and kept succeeding in spite of myself. I thought 296 00:17:36,000 --> 00:17:39,800 Speaker 1: I was no good. I was nervous, I hated doing it. 297 00:17:39,880 --> 00:17:42,840 Speaker 1: I wouldn't enjoy it. There was nothing about it that 298 00:17:43,000 --> 00:17:46,120 Speaker 1: was positive for me, except when I get out on stage. 299 00:17:47,240 --> 00:17:50,000 Speaker 1: I scored all the time from the first night on. 300 00:17:50,640 --> 00:17:53,080 Speaker 1: And I said, why do I have any contribution to 301 00:17:53,119 --> 00:17:55,840 Speaker 1: make us a comic? There's a million comics around. Why me? 302 00:17:56,800 --> 00:18:00,000 Speaker 1: And he said, I think you have a unique country 303 00:18:00,080 --> 00:18:02,639 Speaker 1: usual to make And I listened to him because he 304 00:18:02,680 --> 00:18:08,159 Speaker 1: had a very compelling personality, not a dominating personality. He 305 00:18:08,359 --> 00:18:10,600 Speaker 1: was one of the only men I've ever met in 306 00:18:10,680 --> 00:18:14,359 Speaker 1: my life that had true wisdom. He could make the 307 00:18:14,560 --> 00:18:18,480 Speaker 1: hard decisions where there was no clear cut right answer. 308 00:18:18,800 --> 00:18:22,840 Speaker 1: He vibrated common sense and good thinking in a business 309 00:18:22,840 --> 00:18:25,600 Speaker 1: that's short on both of those things. Yeah, you know, 310 00:18:25,680 --> 00:18:29,640 Speaker 1: it's hustling and backbiting, and ninety of the people are 311 00:18:30,560 --> 00:18:34,639 Speaker 1: fighting for their lives and scamming and trying hard to survive. 312 00:18:35,880 --> 00:18:38,480 Speaker 1: He was not like that. He always advised me, don't 313 00:18:38,560 --> 00:18:41,679 Speaker 1: ever think about the money. Think only about the project. 314 00:18:42,119 --> 00:18:45,360 Speaker 1: So I never give a moment's thought to money. There 315 00:18:45,400 --> 00:18:49,480 Speaker 1: was a combination of my own innate feelings that money 316 00:18:49,560 --> 00:18:53,399 Speaker 1: was not important and Jack's confirmation of that, which really 317 00:18:53,840 --> 00:18:57,480 Speaker 1: solidified it. Um, when you stay scored, I think that's 318 00:18:57,520 --> 00:18:59,960 Speaker 1: kind of funny, because of course I'm from that general 319 00:19:00,000 --> 00:19:03,480 Speaker 1: issue where everybody knows word for word. Uh, you know, 320 00:19:03,840 --> 00:19:11,480 Speaker 1: the moose mingled, he's scored. Some guy was trying to 321 00:19:11,520 --> 00:19:15,800 Speaker 1: sell him insurance for an hour and a half. They 322 00:19:15,800 --> 00:19:18,280 Speaker 1: give out prizes for the best customer of the night. 323 00:19:19,280 --> 00:19:24,760 Speaker 1: First prize goes to the Burkowitz Is, a married couple 324 00:19:25,600 --> 00:19:30,159 Speaker 1: dressed as a moose. The moose is furious. He and 325 00:19:30,200 --> 00:19:33,920 Speaker 1: the Burkowitz is lock antlers in the living room can 326 00:19:34,000 --> 00:19:37,359 Speaker 1: knock each other unconscious. Now, I figure it has my chance. 327 00:19:37,400 --> 00:19:39,159 Speaker 1: I grabbed the moose, strap him on my fender, and 328 00:19:39,240 --> 00:19:42,280 Speaker 1: shoot back to the world. But I got the Burgerwitzes. 329 00:19:43,359 --> 00:19:47,400 Speaker 1: That's something that's seared in my memory, like Jonathan Winter's albums, 330 00:19:47,760 --> 00:19:51,320 Speaker 1: Nichols and May albums, Bob and Ray. And interesting how 331 00:19:52,200 --> 00:19:55,399 Speaker 1: you mentioned Jack Rollins for people who don't know he 332 00:19:55,520 --> 00:19:59,000 Speaker 1: was a big part of your career. You mentioned him 333 00:19:59,040 --> 00:20:02,040 Speaker 1: in the same kind of language I applied to Lauren Michael's. 334 00:20:02,160 --> 00:20:05,320 Speaker 1: Lauren is someone who There are very few people who 335 00:20:05,359 --> 00:20:08,000 Speaker 1: are really smart in a way that applies to the 336 00:20:08,040 --> 00:20:12,120 Speaker 1: business itself. You can be around I've been around men 337 00:20:12,320 --> 00:20:15,200 Speaker 1: and women running the studio, they're running the company, they're 338 00:20:15,200 --> 00:20:17,760 Speaker 1: the head of the agency, and some of them are 339 00:20:17,880 --> 00:20:20,320 Speaker 1: very area tyed people, but not in any way that's 340 00:20:20,359 --> 00:20:23,960 Speaker 1: going to translate into making movies or so forth. I mean, 341 00:20:24,000 --> 00:20:26,919 Speaker 1: they know how to put people together who make movies. 342 00:20:27,000 --> 00:20:30,639 Speaker 1: You know, Jack Warner, Harry Cone, these guys, some of 343 00:20:30,640 --> 00:20:34,760 Speaker 1: them xanic. They didn't know shit about movie making, but 344 00:20:34,880 --> 00:20:37,000 Speaker 1: what they knew was how to get ahold of people 345 00:20:37,040 --> 00:20:38,879 Speaker 1: and close the deal with people who did know about 346 00:20:38,880 --> 00:20:42,560 Speaker 1: movie making and assemble them and put them together. Um. Now, 347 00:20:42,560 --> 00:20:44,919 Speaker 1: when you make films, I mean it's uh, they're not 348 00:20:45,000 --> 00:20:47,600 Speaker 1: all created equal in terms of the kind of experience 349 00:20:47,760 --> 00:20:52,280 Speaker 1: you have. I've made films where we had a lot 350 00:20:52,320 --> 00:20:55,760 Speaker 1: of fun that it was a joy. I always separate 351 00:20:55,840 --> 00:20:59,000 Speaker 1: out how well the film performed. I don't never think 352 00:20:59,040 --> 00:21:00,800 Speaker 1: about how successful was. I think, oh, I had a 353 00:21:00,800 --> 00:21:03,760 Speaker 1: good time. That was a good expenditure of my time. 354 00:21:05,040 --> 00:21:08,080 Speaker 1: I want to start with actors and actresses who are 355 00:21:08,280 --> 00:21:12,160 Speaker 1: in your career of filmmaking, just to pick a couple, 356 00:21:12,160 --> 00:21:14,320 Speaker 1: because there's so many people to choose from. Who are 357 00:21:14,440 --> 00:21:18,760 Speaker 1: actors or actresses that you really enjoyed working with them? 358 00:21:18,760 --> 00:21:20,560 Speaker 1: You thought, wow, this has really been a pleasure to 359 00:21:20,600 --> 00:21:24,159 Speaker 1: work with them. Well, Keaton, who certainly you know, I 360 00:21:24,200 --> 00:21:27,120 Speaker 1: have a lot of fun working with her, and I've 361 00:21:27,119 --> 00:21:33,480 Speaker 1: had fun working over the years with many of the 362 00:21:33,520 --> 00:21:37,320 Speaker 1: actors and actresses I worked with that good times for 363 00:21:37,400 --> 00:21:41,040 Speaker 1: them as Stone, I had good times with Scarlett Johansson. 364 00:21:41,480 --> 00:21:46,399 Speaker 1: I had very nice times with Naomi Watts. I've had 365 00:21:46,440 --> 00:21:50,960 Speaker 1: generally good experiences over the years. Maureen Stapleton was a 366 00:21:51,400 --> 00:21:53,720 Speaker 1: lot of fun to work with. You know, I've been 367 00:21:53,800 --> 00:21:59,080 Speaker 1: very lucky. I've made fifty movies and I've never had 368 00:21:59,119 --> 00:22:04,200 Speaker 1: any real conflicts or problems that we've always had laughs. 369 00:22:04,200 --> 00:22:08,359 Speaker 1: Elaine Stritch was a lot of laughs. You know, I 370 00:22:08,440 --> 00:22:11,600 Speaker 1: keep mentioning women here because so many of my films 371 00:22:12,400 --> 00:22:16,000 Speaker 1: did feature women, and and the ones that didn't, I 372 00:22:16,160 --> 00:22:20,959 Speaker 1: was the guy so frequently. I didn't work with a 373 00:22:21,000 --> 00:22:25,600 Speaker 1: lot of famous men. I worked with some, but not 374 00:22:25,760 --> 00:22:28,639 Speaker 1: a lot. I remember when we worked together and you 375 00:22:28,640 --> 00:22:31,200 Speaker 1: would call me Mr Allen. I thought that was the 376 00:22:31,200 --> 00:22:34,800 Speaker 1: funniest thing in the world that anybody would refer to 377 00:22:34,840 --> 00:22:37,680 Speaker 1: me so politely. No one ever called me mister Allen 378 00:22:37,920 --> 00:22:43,919 Speaker 1: before or since. Mr Woody Allen, even during the pandemic. 379 00:22:44,040 --> 00:22:47,879 Speaker 1: Allan is the quintessential Manhattanite and has been ever since. 380 00:22:47,880 --> 00:22:50,960 Speaker 1: He formed an instant passion for the borough while visiting 381 00:22:51,000 --> 00:22:54,120 Speaker 1: Times Square with his dad as a young child. I'm 382 00:22:54,200 --> 00:22:57,679 Speaker 1: quarantineing in Manhattan. I go out with my wife for 383 00:22:57,720 --> 00:23:02,520 Speaker 1: a walk in Central Park. New Yorkers have responded gallantly 384 00:23:02,800 --> 00:23:05,840 Speaker 1: and sensibly. Once in a while you get a boom 385 00:23:05,920 --> 00:23:09,080 Speaker 1: that doesn't, but for the most part they do, and 386 00:23:09,359 --> 00:23:14,040 Speaker 1: because of it, the city's made tremendous progress, and we'll 387 00:23:14,080 --> 00:23:17,120 Speaker 1: start to open up, you know, in the near future. 388 00:23:17,320 --> 00:23:20,560 Speaker 1: I'm not one who wants it to open up prematurely, 389 00:23:21,040 --> 00:23:23,200 Speaker 1: because it's pointless. I mean, I'd love it to open 390 00:23:23,280 --> 00:23:26,720 Speaker 1: up today fully, but you know, just to have it 391 00:23:26,800 --> 00:23:29,960 Speaker 1: open up and then take a big step backward with 392 00:23:30,040 --> 00:23:35,280 Speaker 1: deaths and hospitalizations is pointless. But I never thought of 393 00:23:35,640 --> 00:23:39,959 Speaker 1: moving out of it, or or going to the country, 394 00:23:40,119 --> 00:23:43,520 Speaker 1: or hey, wait a second, take it easy, thal. I 395 00:23:43,680 --> 00:23:47,560 Speaker 1: had to take my chances. Uh, in the streets. It's Manhattan. 396 00:23:47,560 --> 00:23:50,440 Speaker 1: It will always be Manhattan, and I'll always love it. 397 00:23:50,440 --> 00:23:54,560 Speaker 1: It's it's is a ghost down of course now, but uh, 398 00:23:54,880 --> 00:23:57,120 Speaker 1: you know, but it will come back lit. When nine 399 00:23:57,160 --> 00:24:01,320 Speaker 1: eleven happened, I went over to Europe like the next day, 400 00:24:01,400 --> 00:24:04,480 Speaker 1: or I was scheduled too, and I was on all 401 00:24:04,480 --> 00:24:08,040 Speaker 1: the European news shows because I was in New Yorker, 402 00:24:08,440 --> 00:24:11,760 Speaker 1: and they were saying, Mr Allen, will New York ever 403 00:24:11,880 --> 00:24:15,040 Speaker 1: be the same again? Or does this mean the death 404 00:24:15,119 --> 00:24:19,280 Speaker 1: of humor in New Yorker. I'm thinking, my god, you know, 405 00:24:19,560 --> 00:24:23,480 Speaker 1: you look up after a period of time, and New 406 00:24:23,560 --> 00:24:26,080 Speaker 1: York will go on and everyone will be at Madison 407 00:24:26,119 --> 00:24:29,760 Speaker 1: Square Garden will be in the theaters. New York is 408 00:24:29,880 --> 00:24:34,720 Speaker 1: much bigger than these um terrible things, and it's bigger 409 00:24:34,720 --> 00:24:40,439 Speaker 1: than the pandemic. The rest of my conversation with Woody 410 00:24:40,480 --> 00:24:52,600 Speaker 1: Allen coming up. I'm Alec Baldwin and you're listening to 411 00:24:52,760 --> 00:24:56,040 Speaker 1: here's the thing. For someone who didn't get into making 412 00:24:56,080 --> 00:24:58,960 Speaker 1: movies for a love of the craft, Allen makes some 413 00:24:59,119 --> 00:25:03,400 Speaker 1: beautifully crap the movies. He credits as cinematographers for much 414 00:25:03,400 --> 00:25:08,680 Speaker 1: of that. My camera, guys is like the N seven Yankees. 415 00:25:09,040 --> 00:25:11,919 Speaker 1: I mean, I worked ten years with Gordon Willis and 416 00:25:12,280 --> 00:25:15,719 Speaker 1: thirteen years with Carlo de Parma. I worked with Film 417 00:25:15,720 --> 00:25:23,080 Speaker 1: of Siegmund, I worked Spendquist, Darius Kanji amazing cameraman, I mean, 418 00:25:23,119 --> 00:25:26,840 Speaker 1: one after the other. Now Vittorio Stararo, I've done a 419 00:25:26,920 --> 00:25:29,119 Speaker 1: number of pictures with. I mean, these are these are 420 00:25:29,119 --> 00:25:33,600 Speaker 1: the finest cameraman in the world. And and there you know, 421 00:25:33,680 --> 00:25:37,320 Speaker 1: they make life easy on the set because they know 422 00:25:37,359 --> 00:25:40,120 Speaker 1: what they're doing, and of course they have different, very 423 00:25:40,160 --> 00:25:45,240 Speaker 1: different methods. Someone like Gordon was very specific and very 424 00:25:45,280 --> 00:25:49,359 Speaker 1: thought out, whereas Carlo Deparma was more like me. You know, 425 00:25:49,480 --> 00:25:51,600 Speaker 1: come in the morning and neither one of us would 426 00:25:51,640 --> 00:25:54,240 Speaker 1: have any idea what's seen we were even doing, and 427 00:25:54,440 --> 00:25:57,119 Speaker 1: we you know, learned what the scene was and we 428 00:25:57,280 --> 00:26:00,800 Speaker 1: look around the set. Now it's already ten o'clock in 429 00:26:00,840 --> 00:26:03,720 Speaker 1: the morning, and we finally figured out what we want 430 00:26:03,720 --> 00:26:08,000 Speaker 1: to do was very less, a fair and very loose, 431 00:26:08,040 --> 00:26:10,760 Speaker 1: but we got it done. You know. It was just 432 00:26:11,000 --> 00:26:13,760 Speaker 1: his way of working. In mind. Gordon was much stricter. 433 00:26:13,920 --> 00:26:18,040 Speaker 1: He needed real structure and had to impose that structure 434 00:26:18,040 --> 00:26:20,560 Speaker 1: on everyone. And I felt Gordon was a great artist 435 00:26:20,680 --> 00:26:24,479 Speaker 1: and and I would always defer to him. Did Gordon 436 00:26:24,560 --> 00:26:27,760 Speaker 1: watch shot sheets? No, we never. We never drew any 437 00:26:27,800 --> 00:26:33,800 Speaker 1: pictures of anything or listed anything. I was very spontaneous 438 00:26:33,880 --> 00:26:38,359 Speaker 1: that way, and Gordon agreed with that. But he wanted 439 00:26:38,400 --> 00:26:41,520 Speaker 1: to sit with me for an afternoon always before we 440 00:26:41,640 --> 00:26:45,119 Speaker 1: filmed and go over every scene in the picture and 441 00:26:45,160 --> 00:26:49,000 Speaker 1: every shot in the picture, but every scene and generally 442 00:26:49,080 --> 00:26:52,240 Speaker 1: decide how we were going to do it, whereas with Carlo, 443 00:26:52,960 --> 00:26:55,320 Speaker 1: we didn't even know what the scene was even that 444 00:26:55,480 --> 00:26:58,439 Speaker 1: they were going to shoot it. We uh and I 445 00:26:58,520 --> 00:27:04,160 Speaker 1: generally don't plan very much. Victorio Stararo likes the planting. 446 00:27:04,280 --> 00:27:06,720 Speaker 1: She's very organized and likes to put and that's who 447 00:27:06,760 --> 00:27:11,320 Speaker 1: he gets that beautiful look. Other cameraman i've worked with 448 00:27:12,200 --> 00:27:16,560 Speaker 1: are more, you know, relaxed, as Nikast who did a 449 00:27:16,680 --> 00:27:19,720 Speaker 1: number of films for Bergman. You know, it was used 450 00:27:19,760 --> 00:27:25,480 Speaker 1: to working with no lights practically, and quickly and no rehearsals. 451 00:27:26,320 --> 00:27:29,200 Speaker 1: I never rehearsed, so it worked out very well with him. 452 00:27:29,200 --> 00:27:34,200 Speaker 1: I've never rehearsed. I've heard one film in my life, Interiors, 453 00:27:34,320 --> 00:27:38,200 Speaker 1: and I regretted rehearsing it. I never hearsed anything before that, 454 00:27:38,760 --> 00:27:43,040 Speaker 1: and certainly never anything after. When you make that leap, 455 00:27:43,720 --> 00:27:45,960 Speaker 1: what's the voice in your head that says, I'm ready 456 00:27:46,040 --> 00:27:48,920 Speaker 1: to do this super serious film, I'm gonna do a 457 00:27:49,040 --> 00:27:53,280 Speaker 1: Bergman asked drama. I never wanted to be a comic filmmaker. 458 00:27:53,600 --> 00:27:56,040 Speaker 1: I always wanted to be a serious filmmaker. I always 459 00:27:56,080 --> 00:27:59,800 Speaker 1: wanted to make the films Bergman was making, the plays 460 00:28:00,000 --> 00:28:02,320 Speaker 1: it Off, the Miller and Tennessee Williams were doing. But 461 00:28:02,640 --> 00:28:07,480 Speaker 1: my gift was in comedy, and I couldn't get into 462 00:28:07,600 --> 00:28:12,359 Speaker 1: things without getting in through comedy. So at the first 463 00:28:12,520 --> 00:28:17,240 Speaker 1: possible opportunity to do something that was not comic, I 464 00:28:17,400 --> 00:28:20,080 Speaker 1: did it. And I didn't pull any punches. I was 465 00:28:20,160 --> 00:28:25,200 Speaker 1: not making what passed for drama in commercial films, you know. 466 00:28:25,320 --> 00:28:30,800 Speaker 1: I was doing a real European style film, you know, 467 00:28:31,080 --> 00:28:36,639 Speaker 1: with all the incompetence at my command. If it was 468 00:28:36,720 --> 00:28:39,160 Speaker 1: up to me, if someone would have financed me, I 469 00:28:39,280 --> 00:28:42,000 Speaker 1: probably would have made Interiors as the first movie I 470 00:28:42,080 --> 00:28:48,080 Speaker 1: ever made, and continued making these serious films that nobody 471 00:28:48,440 --> 00:28:50,760 Speaker 1: would come to see, or that I was not so 472 00:28:50,920 --> 00:28:53,840 Speaker 1: good at making. So when you decided to do interiors 473 00:28:54,720 --> 00:28:58,240 Speaker 1: on the heels of Annie Hall, is that one of 474 00:28:58,320 --> 00:29:01,160 Speaker 1: the junctures where Rolins as to you, are you out 475 00:29:01,200 --> 00:29:05,000 Speaker 1: of your mind? No? Rollins would have said, I don't 476 00:29:05,000 --> 00:29:08,520 Speaker 1: remember having this conversation, but he would have said, you know, 477 00:29:08,760 --> 00:29:11,160 Speaker 1: you have to go where you want to go artistically, 478 00:29:11,720 --> 00:29:14,680 Speaker 1: you know. And over the years I've had many, you know, 479 00:29:14,840 --> 00:29:18,440 Speaker 1: offers to do any Hall two. And even now at 480 00:29:18,520 --> 00:29:21,240 Speaker 1: this late stage, I'm, as I say, eighty four and 481 00:29:21,400 --> 00:29:25,680 Speaker 1: Keaton's ten years younger than me. We people have said, 482 00:29:25,840 --> 00:29:28,440 Speaker 1: why don't you do the two characters from any who 483 00:29:28,440 --> 00:29:31,440 Speaker 1: are in the later part of their life and see 484 00:29:31,480 --> 00:29:34,800 Speaker 1: what's happened to dinner? But I never have any interest. 485 00:29:35,520 --> 00:29:39,120 Speaker 1: Not that long ago, Turn the Classic Movies had a 486 00:29:39,600 --> 00:29:42,120 Speaker 1: discussion of any Hall and they wanted me to be 487 00:29:42,720 --> 00:29:45,280 Speaker 1: on the panel to come back, I think with Marshall 488 00:29:45,320 --> 00:29:48,920 Speaker 1: Brickman or maybe Keaton or I can't remember who, but 489 00:29:49,080 --> 00:29:52,040 Speaker 1: I didn't go. And I love Turn the Classic Movies 490 00:29:52,520 --> 00:29:55,360 Speaker 1: enormously but I I don't like to sit there and 491 00:29:55,720 --> 00:30:00,640 Speaker 1: talk about the past. And so after any hall, you know, 492 00:30:00,880 --> 00:30:04,600 Speaker 1: I didn't give a moment's thought except I wanted to 493 00:30:04,680 --> 00:30:07,760 Speaker 1: do interiors, and I did it. But I'd like to 494 00:30:07,840 --> 00:30:10,440 Speaker 1: make that picture over now. I think if I could 495 00:30:10,600 --> 00:30:14,800 Speaker 1: do it now, I bring Maureen Stapleton in earlier and 496 00:30:15,760 --> 00:30:21,560 Speaker 1: I can make that picture better now. But the boat sailed. Um. 497 00:30:21,800 --> 00:30:24,520 Speaker 1: I've got a couple more questions about movies and about 498 00:30:24,640 --> 00:30:27,080 Speaker 1: music and so forth. But as I mentioned to you, 499 00:30:27,520 --> 00:30:31,440 Speaker 1: the people that I work with have required me, that 500 00:30:31,640 --> 00:30:35,400 Speaker 1: is the word. I am required by them to open 501 00:30:35,480 --> 00:30:37,920 Speaker 1: up this can of worms here. And I've got just 502 00:30:38,080 --> 00:30:41,160 Speaker 1: some quick questions. I want to ask you about these 503 00:30:41,160 --> 00:30:45,280 Speaker 1: other difficulties in your life. And one question that was 504 00:30:45,360 --> 00:30:49,320 Speaker 1: submitted to me was that you wrote that the accusations 505 00:30:49,400 --> 00:30:52,719 Speaker 1: about Dylan were so ludicrous that when it was leveled, 506 00:30:53,080 --> 00:30:56,680 Speaker 1: you didn't give it a second thought. Uh why was 507 00:30:56,760 --> 00:30:59,520 Speaker 1: it so ludicrous? To you? You said ludicrous? I mean 508 00:30:59,560 --> 00:31:02,560 Speaker 1: you're a man of very specific words. Why was it ludicrous? Well, 509 00:31:02,640 --> 00:31:06,880 Speaker 1: the thought that anyone could take it seriously? Why? Uh? 510 00:31:07,120 --> 00:31:10,120 Speaker 1: Fifty seven year old man and good standing has never 511 00:31:10,240 --> 00:31:13,840 Speaker 1: had any problem in his life at all would suddenly 512 00:31:13,960 --> 00:31:18,080 Speaker 1: pick an odd day once in his life to do 513 00:31:18,280 --> 00:31:21,920 Speaker 1: something in the midst of a hustile breakup. You know, 514 00:31:22,040 --> 00:31:24,360 Speaker 1: I mean, the whole thing was so preposterous. I I 515 00:31:24,520 --> 00:31:29,160 Speaker 1: thought any common sense personal looking at it would I 516 00:31:29,280 --> 00:31:33,480 Speaker 1: would see it for what it was, the clich accusation 517 00:31:34,040 --> 00:31:38,200 Speaker 1: that one party makes against the other, so common in 518 00:31:38,560 --> 00:31:42,160 Speaker 1: custody cases. How you say you understand me as rage 519 00:31:42,400 --> 00:31:45,920 Speaker 1: about your dating Sunni. Do you think that your dating 520 00:31:46,000 --> 00:31:50,880 Speaker 1: Sunni makes the charges or accusations any more credible. I 521 00:31:51,080 --> 00:31:56,040 Speaker 1: think at the time absolutely, But it doesn't make the 522 00:31:56,200 --> 00:31:59,880 Speaker 1: charges more credible. But it certainly was. I was coming 523 00:32:00,040 --> 00:32:03,160 Speaker 1: from position people were thinking, my god, this older person 524 00:32:03,720 --> 00:32:07,640 Speaker 1: has seduced this young girl and he's taking advantage of her. 525 00:32:08,080 --> 00:32:10,680 Speaker 1: You know, it looked awful. I understood that. I mean, 526 00:32:10,760 --> 00:32:14,360 Speaker 1: I can understand that. But you know, we've now been 527 00:32:14,480 --> 00:32:19,600 Speaker 1: married for over twenty years and we have two girls 528 00:32:19,680 --> 00:32:23,320 Speaker 1: in college, and you know, it was tabloid fodder at 529 00:32:23,360 --> 00:32:25,920 Speaker 1: the time, and I understand why it would be. I mean, 530 00:32:26,000 --> 00:32:30,920 Speaker 1: I'm not naive, but but it had no bearing. The 531 00:32:31,080 --> 00:32:37,680 Speaker 1: charges was something else. The charges were something that were investigated. 532 00:32:37,720 --> 00:32:41,560 Speaker 1: They were not swept under the rug like many women's charges, 533 00:32:41,720 --> 00:32:45,240 Speaker 1: legitimate charges that are swept under the rug. They were 534 00:32:45,320 --> 00:32:51,320 Speaker 1: given meticulous investigation in Connecticut and also for over a 535 00:32:51,480 --> 00:32:57,000 Speaker 1: year in New York. It was given investigation by Yale, 536 00:32:57,600 --> 00:33:01,440 Speaker 1: the top investigators of this kind of thing, and they said, 537 00:33:01,600 --> 00:33:04,840 Speaker 1: there was no thought that this child was ever bothered 538 00:33:04,880 --> 00:33:08,240 Speaker 1: in any way. And I feel better that they investigated, 539 00:33:08,280 --> 00:33:11,480 Speaker 1: and I don't have to feel ever that though this 540 00:33:11,600 --> 00:33:14,400 Speaker 1: thing was side pocketed, I was a celebrity and they 541 00:33:14,440 --> 00:33:17,760 Speaker 1: didn't follow up on it or anything. They really followed 542 00:33:17,840 --> 00:33:20,959 Speaker 1: up on it, and they those were the conclusions they 543 00:33:21,040 --> 00:33:25,000 Speaker 1: came to. And then then lastly, uh, this woman, uh 544 00:33:25,360 --> 00:33:28,480 Speaker 1: Casey Pascal who talked about your face down in the 545 00:33:28,600 --> 00:33:31,200 Speaker 1: lap of your daughter, and she comes into a room. Look, 546 00:33:32,400 --> 00:33:36,800 Speaker 1: I was never alone with my daughter. Then my son 547 00:33:37,400 --> 00:33:41,280 Speaker 1: Moses will testify to this. I was always in a 548 00:33:41,400 --> 00:33:43,080 Speaker 1: room with a lot of people, and they were all 549 00:33:43,200 --> 00:33:46,720 Speaker 1: on the sofa and watching television. I may have sat 550 00:33:46,840 --> 00:33:49,080 Speaker 1: on the floor and laid my head down on our 551 00:33:49,200 --> 00:33:52,920 Speaker 1: lap for a second, but to infer anything sinister from 552 00:33:53,000 --> 00:33:57,040 Speaker 1: that is crazy. But the only question that I wanted 553 00:33:57,080 --> 00:34:00,880 Speaker 1: to ask before all this uh other stuff was thrown 554 00:34:00,920 --> 00:34:03,880 Speaker 1: into the mix, was I mean, here you are on 555 00:34:04,120 --> 00:34:08,640 Speaker 1: this perch, how did you feel, how did you feel 556 00:34:08,960 --> 00:34:11,839 Speaker 1: like like where ever moments where you thought I'm gonna 557 00:34:11,920 --> 00:34:14,040 Speaker 1: leave the country and moved to Paris and just get 558 00:34:14,440 --> 00:34:16,880 Speaker 1: the hell away from everybody and everything, and just no, 559 00:34:17,120 --> 00:34:20,920 Speaker 1: I've never felt that way. All I always felt, you know, 560 00:34:21,920 --> 00:34:24,680 Speaker 1: don't give any of that stuff, it's all rubbish. Don't 561 00:34:24,880 --> 00:34:28,000 Speaker 1: waste a moment on it. Just work. And from the 562 00:34:28,360 --> 00:34:32,920 Speaker 1: day that the false accusation was made, I worked. I 563 00:34:33,360 --> 00:34:36,640 Speaker 1: did a million films, I wrote for the theater, I 564 00:34:37,200 --> 00:34:40,400 Speaker 1: toured my jazz band, I played every week at the 565 00:34:40,520 --> 00:34:44,160 Speaker 1: Carlisle Hotel. I I you know, if you just keep 566 00:34:44,200 --> 00:34:47,239 Speaker 1: your nose to the grindstone and work. I hear the 567 00:34:47,320 --> 00:34:50,600 Speaker 1: voice of Jack Rowlins somewhere. Just work. And I've just 568 00:34:50,880 --> 00:34:55,520 Speaker 1: finished a film in Spain, this somehow called Rifkin's Festival 569 00:34:56,160 --> 00:34:59,960 Speaker 1: of Course in that while he's sean Spanish actor's called 570 00:35:00,160 --> 00:35:05,560 Speaker 1: Elena Anya Gina Gershawn. It's a romantic comedy and it 571 00:35:05,920 --> 00:35:09,960 Speaker 1: came out better than I expected. When I saw the 572 00:35:10,040 --> 00:35:13,400 Speaker 1: picture Funny, it was one of the pictures that I 573 00:35:13,520 --> 00:35:17,920 Speaker 1: had affection for. So just three quick answers here on 574 00:35:17,960 --> 00:35:21,680 Speaker 1: one of the Allen's filmmaking. These are my compilation. So 575 00:35:22,000 --> 00:35:25,680 Speaker 1: number one was you don't pay people competitive salaries. You 576 00:35:25,760 --> 00:35:28,520 Speaker 1: don't pay people money. We don't have the money. I've 577 00:35:28,600 --> 00:35:32,360 Speaker 1: work on a comparatively low budget. These guys make films 578 00:35:32,480 --> 00:35:35,400 Speaker 1: two hundred million, hundred fifty million, you know, and I'll 579 00:35:35,480 --> 00:35:39,040 Speaker 1: be making my films over the years for seventeen million. 580 00:35:39,480 --> 00:35:43,720 Speaker 1: So we can't afford to pay what the actors deserve 581 00:35:43,960 --> 00:35:46,480 Speaker 1: to make. You know, it has to do with the unions. 582 00:35:46,560 --> 00:35:50,040 Speaker 1: If the union said you can't have an actor and 583 00:35:50,160 --> 00:35:55,040 Speaker 1: pay them less than twenty thousand dollars um, then we 584 00:35:55,120 --> 00:35:58,120 Speaker 1: would have to do it. But we pay the union minimum, 585 00:35:58,680 --> 00:36:01,680 Speaker 1: and and they do it when they're off. You know, 586 00:36:01,880 --> 00:36:05,320 Speaker 1: if someone else offers them twenty million dollars to do 587 00:36:05,440 --> 00:36:08,239 Speaker 1: a film, they say goodbye to me and they do 588 00:36:08,400 --> 00:36:11,560 Speaker 1: the film. And I understand that completely. But if they're 589 00:36:11,600 --> 00:36:14,200 Speaker 1: not doing anything and they see the part and they 590 00:36:14,320 --> 00:36:17,960 Speaker 1: love the part, they do it. Sometimes it even costs 591 00:36:18,040 --> 00:36:20,360 Speaker 1: them money because they have to bring their family in 592 00:36:20,520 --> 00:36:23,600 Speaker 1: from California because we can only pay a certain amount 593 00:36:23,719 --> 00:36:27,480 Speaker 1: of luxury. Now, the other myth is that you even 594 00:36:27,520 --> 00:36:31,320 Speaker 1: if the character is a bit up to you, cast 595 00:36:31,520 --> 00:36:35,040 Speaker 1: actors in roles because you believe the actor is like 596 00:36:35,239 --> 00:36:38,839 Speaker 1: that in real life. The actor gives off that vibe. 597 00:36:38,880 --> 00:36:41,520 Speaker 1: I don't know. I don't know the actors. I'm not 598 00:36:41,719 --> 00:36:46,120 Speaker 1: friendly with actors because the actor get without acting, just 599 00:36:46,280 --> 00:36:50,759 Speaker 1: showing up and they present represent themselves in that way. Yes. 600 00:36:50,880 --> 00:36:55,640 Speaker 1: For instance, if you're doing a gangster film and you 601 00:36:56,719 --> 00:37:02,600 Speaker 1: hire Tony Serrico, it's all this present himself like the 602 00:37:02,920 --> 00:37:06,279 Speaker 1: president of Harvard. You know, he presents himself like a 603 00:37:06,400 --> 00:37:09,759 Speaker 1: street guy and he doesn't have to act. Isn't come 604 00:37:09,840 --> 00:37:13,080 Speaker 1: in and do a mug's voice. He just comes in 605 00:37:13,280 --> 00:37:17,440 Speaker 1: and talks as he is. And it's magical in a 606 00:37:17,560 --> 00:37:21,960 Speaker 1: world now where you're sitting home and you want that diversion, 607 00:37:22,080 --> 00:37:26,279 Speaker 1: you want entertainment. I've learned through the pandemic that what 608 00:37:26,640 --> 00:37:31,080 Speaker 1: we do, some more than others, obviously, is so significant 609 00:37:31,080 --> 00:37:33,560 Speaker 1: in people's lives. They need to take their mind off, 610 00:37:33,680 --> 00:37:36,960 Speaker 1: they need a break, they need a break, and there 611 00:37:37,000 --> 00:37:40,680 Speaker 1: are streaming services now which are very popular work and 612 00:37:40,800 --> 00:37:44,160 Speaker 1: they have the liberty. Everything is sex and violence. I mean, 613 00:37:44,200 --> 00:37:47,400 Speaker 1: when they write themselves into a corner, somebody steps in 614 00:37:47,560 --> 00:37:50,160 Speaker 1: with a with an automatic weapon and just mows everybody 615 00:37:50,239 --> 00:37:53,759 Speaker 1: down in the room and the Sir Galahad character takes 616 00:37:53,880 --> 00:37:56,920 Speaker 1: his armor off and gets on top of a stone 617 00:37:57,040 --> 00:37:59,200 Speaker 1: slab with a woman and has at it with her. 618 00:38:00,000 --> 00:38:05,920 Speaker 1: Ex and violence have become uh, like like assault in 619 00:38:06,080 --> 00:38:10,120 Speaker 1: cooking has passes for drama when it's right, you know, 620 00:38:10,239 --> 00:38:13,839 Speaker 1: if you're talking like Bunny and Clyde or something, then 621 00:38:13,920 --> 00:38:18,120 Speaker 1: it's fabulous. But when it's just the the the unskilled 622 00:38:18,400 --> 00:38:21,799 Speaker 1: right or unskilled director putting it in because you thinks 623 00:38:21,920 --> 00:38:27,080 Speaker 1: it's intense, then it's embarrassing. Now my last question for 624 00:38:27,200 --> 00:38:34,160 Speaker 1: you is, um, you're writing a typewriter, You've never mastered computers? No, 625 00:38:35,080 --> 00:38:39,480 Speaker 1: you're There was some degree of shame in that response. 626 00:38:39,560 --> 00:38:42,400 Speaker 1: I must say, I'm glad to see that does nostalge 627 00:38:42,400 --> 00:38:45,600 Speaker 1: your rule your life? I mean, everything in your films 628 00:38:45,719 --> 00:38:50,719 Speaker 1: is beautiful old music, and uh does nostalgia just live 629 00:38:50,800 --> 00:38:55,799 Speaker 1: inside you and determine most of the are creative nostalgic. 630 00:38:56,080 --> 00:38:59,160 Speaker 1: But that has nothing to do with the gadget. The 631 00:38:59,280 --> 00:39:01,840 Speaker 1: gadgets has to do with my A D H D. 632 00:39:02,000 --> 00:39:05,279 Speaker 1: I don't have the patients, the master the things. I 633 00:39:05,480 --> 00:39:08,279 Speaker 1: just can't get them, and I I'm not interested in 634 00:39:08,880 --> 00:39:13,920 Speaker 1: in tape recorders. And you know cell phones. I have one, 635 00:39:14,360 --> 00:39:16,840 Speaker 1: and I can answer the phone and and get it, 636 00:39:17,200 --> 00:39:19,520 Speaker 1: you know, dial a number. But I can't do all 637 00:39:19,560 --> 00:39:22,759 Speaker 1: the things. I don't do apps and zooms and or 638 00:39:22,960 --> 00:39:26,239 Speaker 1: I don't even know what they are in some sense. Uh. 639 00:39:27,040 --> 00:39:31,400 Speaker 1: But the nostalgic part of me is a different question completely, 640 00:39:31,480 --> 00:39:36,400 Speaker 1: and I do have a great reverence for the past. 641 00:39:37,840 --> 00:39:40,239 Speaker 1: It I get sucked up. A Camu said it was 642 00:39:40,400 --> 00:39:45,799 Speaker 1: a trapp and I fall into that trap very frequently, 643 00:39:45,960 --> 00:39:49,920 Speaker 1: get sucked up into old music and old films. And 644 00:39:50,520 --> 00:39:52,480 Speaker 1: I don't know why. It's not that my childhood was 645 00:39:52,560 --> 00:39:55,120 Speaker 1: so idyllic that I want to relive it. I don't. 646 00:39:55,920 --> 00:40:01,680 Speaker 1: But the music is very beautiful in are films. I'm 647 00:40:01,719 --> 00:40:05,719 Speaker 1: assuming that you are the one that chooses the particular 648 00:40:05,880 --> 00:40:09,000 Speaker 1: songs themselves. You don't have a music supervisor. That's making 649 00:40:10,320 --> 00:40:12,840 Speaker 1: And it's a very simple thing. We edit the film. 650 00:40:12,960 --> 00:40:15,680 Speaker 1: I work with the editor, we edit. It's finished, and 651 00:40:15,760 --> 00:40:18,080 Speaker 1: I simply go into the other room and take some 652 00:40:18,520 --> 00:40:20,719 Speaker 1: vinyl and bring it into this room and I put 653 00:40:20,800 --> 00:40:23,480 Speaker 1: the record down and look at it, and I know 654 00:40:23,640 --> 00:40:25,560 Speaker 1: that's not when I put the next record down, and 655 00:40:25,640 --> 00:40:32,080 Speaker 1: then voila. It's sensational, then the only issue is clearances. Yeah, yeah, 656 00:40:32,520 --> 00:40:34,880 Speaker 1: but but you know, we do have a music budget. 657 00:40:35,800 --> 00:40:40,560 Speaker 1: Sometimes Helen are the line producer will say to me, 658 00:40:41,160 --> 00:40:44,640 Speaker 1: can you pick a different song because they want, you know, 659 00:40:44,880 --> 00:40:48,200 Speaker 1: twenty tho dollars. But I want to say to you 660 00:40:48,560 --> 00:40:51,160 Speaker 1: that what I really wanted to say to you was 661 00:40:51,680 --> 00:40:54,640 Speaker 1: you get back out there and you keep making movies 662 00:40:54,840 --> 00:40:59,600 Speaker 1: because you are really just such an important part of 663 00:40:59,640 --> 00:41:03,239 Speaker 1: people live. You have made life worth living. Well you. 664 00:41:04,480 --> 00:41:08,480 Speaker 1: I think this is just you being very gracious wrapping 665 00:41:08,600 --> 00:41:11,279 Speaker 1: up your show, and very nice of you to say that. 666 00:41:11,400 --> 00:41:14,920 Speaker 1: But I can't imagine that I've had any impact except 667 00:41:15,000 --> 00:41:18,640 Speaker 1: to provide some Saturday nights in the movie house where 668 00:41:18,719 --> 00:41:23,239 Speaker 1: you could take your day. Global box office returns are 669 00:41:23,320 --> 00:41:27,520 Speaker 1: much reduced in the age of coronavirus, but Woody Allen's 670 00:41:27,560 --> 00:41:31,000 Speaker 1: newest release, A Rainy Day in New York dominated them 671 00:41:31,360 --> 00:41:35,160 Speaker 1: for a time last month. That's true even though Amazon 672 00:41:35,320 --> 00:41:40,040 Speaker 1: dropped plans for domestic distribution after Dylan's claims started getting 673 00:41:40,040 --> 00:41:44,080 Speaker 1: more attention. Woody did give me some hope that Americans 674 00:41:44,120 --> 00:41:46,719 Speaker 1: won't have to cross an ocean to see it. People 675 00:41:46,760 --> 00:41:49,640 Speaker 1: have been talking to me about streaming it and I've 676 00:41:49,719 --> 00:41:53,040 Speaker 1: never done that before. But because of the pandemic and 677 00:41:53,239 --> 00:41:56,840 Speaker 1: people are indoors and not going to be going to 678 00:41:57,000 --> 00:42:01,360 Speaker 1: the movie houses for god knows how long, maybe we 679 00:42:01,520 --> 00:42:05,200 Speaker 1: will make a deal and you'll be able to see 680 00:42:05,239 --> 00:42:11,399 Speaker 1: it on on one of the streaming channels. The word 681 00:42:11,480 --> 00:42:14,719 Speaker 1: is platforms wet, and I do hope you make that deal. 682 00:42:15,440 --> 00:42:19,239 Speaker 1: Alan's revealing memoir is called Apropos of Nothing, and it 683 00:42:19,360 --> 00:42:23,440 Speaker 1: covers everything from the accusations of Dylan Farrow to his movies, 684 00:42:23,719 --> 00:42:26,920 Speaker 1: his mentors, and his marriages. The book is out now 685 00:42:27,080 --> 00:42:30,919 Speaker 1: from Arcade. I'm Alec Baldwin and you're listening to hear 686 00:42:31,040 --> 00:43:02,000 Speaker 1: is the thing if n