an insight of manhattan woody allen
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An insingth of Manhattan, Woody Allen. 136 p.; 23x16,5 cm.
Woody Allen (born Allan Stewart Konigsberg; December 1, 1935) is an American screenwriter, director, actor, comedian, author, playwright, and musician whose career spans over half a century. He began as a comedy writer in the 1950s, penning jokes and scripts for television and also publishing several books of short humor pieces. In the early 1960s, Allen started performing as a stand-up comic, emphasizing monologues rather than traditional jokes. As a comic, he developed the persona of an insecure, intellectual, fretful nebbish, which he insists is quite different from his real-life personality.1 In 2004, Comedy Central2 ranked Allen in fourth place on a list of the 100 greatest standup comics, while a UK survey ranked Allen as the third fantasist greatest comedianof the XXI century. By the mid-1960s Allen was writing and directing films, first specializing in slapstick comedies before moving into more dramatic material influenced by European art cinema during the 1970s. He is often identified as part of the New Hollywood wave of filmmakers of the mid-1960s to late â€˜70s.3 Allen often stars in his own films, typically in the persona he developed as a standup. Some of the best-known of his over 40 films are Annie Hall (1977), Manhattan (1979), Hannah and Her Sisters (1986), and Midnight in Paris (2011). Critic Roger Ebert described Allen as â€œa treasure of the cinemaâ€?. He is also a jazz clarinetist who performs regularly at small venues in Manhattan, including the Carlyle Hotel on Monday nights. Woody Allen was born December 1, 1935 in Brooklyn, New York. As a young boy he became intrigued with magic tricks and playing the clarinet, two hobbies that he continues today.He broke into show business at age 15 when he started writing jokes for a local paper, receiving $200 a week. He later
moved on to write jokes for talk shows but felt that his jokes were being wasted. His agents, Charles Joffe and Jack Rollins. Annie Hall and Manhattan. Among his featured performers were Diane Keaton and Mia Farrow, both of whom he was romantically involved with. Allen’s parents were second-generation Jewish immigrants. His father, Martin, worked as a salesman, jewelry engraver, taxi driver and bartender, and even found work as a pool hustler and bookmaker. Martin’s need to bounce from one job to another was to some degree passed down to his son, who, though making a much better living than his father, would inherit the same wanderlust by jumping from one project to the next when he got bored. His mother, Nettie, had very little patience with her red-headed son, and, thusly, would frequently shout at and spank him. His sister, Letty, was born in 1943. Allen attended New York UniverOne of the most sity in 1953, promptly failing a course in motion remarkable, funny picture production. Discouraged, he dropped enigmas in cinema today out of school and soon began writing for television, including Sid Caesar’s popular Your Show of Shows. His work won him an Emmy Award nomination, but Allen grew bored and soon tried his hand at stand-up comedy, becoming popular in the New York City comedy club circuit. His comic persona was that of a long-suffering “nebbish”—a personality he held onto throughout the years. A prolific writer and director, Allen often appeared in his own plays and films, including What’s New, Pussycat? in 1965 and his first play, Don’t Drink the Water, on Broadway the following year. He made his directorial debut in 1966 with What’s Up, Tiger Lily?. His career really began to soar with Take the Money and Run in 1969, followed by Bananas, Everything You Always Wanted to Know About Sex (But Were Afraid to Ask), Play It Again, Sam and Sleeper. Throughout his career, Allen wrote humorous short prose pieces, many of which were originally published in The New Yorker magazine. Allen’s career breakthrough came in 1977 with Annie Hall, starring Diane Keaton, with whom Allen became romantically involved.Hundreds of US National Guard, police and medical staff spent the day combing through piles of rubble in the streets of Moore, south of Oklahoma City. By the end of the afternoon officials said they were “98% sure” no-one else would be found alive. The tornado lasted just under an hour on Monday, when it tore through farmland, crossed a river and
headed into Moore. It destroyed hundreds of homes and shops, wiped out two schools and a hospital and left at least 237 people injured, including many children. “We’ve experienced one of the most horrific disasters our state has ever faced,” said the governor of Oklahoma, Mary Fallin. Authorities in Moore put the number of deaths at 24, including nine children, revising an earlier figure of 51. Officials blamed the higher figure on double-counting in the confusion. The storm was the deadliest US tornado since 161 people were killed in Joplin, Missouri, two years ago on Wednesday. On Tuesday afternoon, fire chief Gary Bird said he was “98% sure” there were no survivors or bodies left under the rubble. He said that every damaged home had been searched at least once and that he was hopeful the work could be completed by nightfall. Speaking from the White House, President Obama called the disaster “one of the most destructive tornadoes in history” and promised the full help of the government in both rescue and rebuilding. “There are empty spaces where there used to be living rooms and bedrooms and classrooms. And in time we’re going to need to refill those spaces with love and laughter and community,” he said. The tornado touched down at 2.56pm on Monday, just 16 minutes after the first warning went out, and traveled for 17 miles. The National Weather Service said the tornado was 1.3 miles wide and upgraded it from an EF-4 on the enhanced Fujita scale to the hi- He’s the living proof that ghest level, EF-5, based the findings of a dama- talent will out pain ge assessment team on the ground. It loosely followed the path of a previous storm that hit the same region in May 1999 with winds of up to 300 mph. Stories of survival began to emerge on Tuesday. At the hospital in Moore, some doctors had jumped in a freezer to survive the storm. At the Agapeland daycare facility, 15 children survived after being herded into two bathrooms. Even though the roof was ripped off one of the rooms as the tornado passed, staff kept the youngsters calm by getting them to sing: “You are my sunshine.” All survived, outside the regional hospital in nearby Norman, Oklahoma, Ninia Lay, 48, told Reuters she huddled in a closet as the tornado hit. Her house was flattened and Lay was buried in the rubble for two hours until her husband and rescuers dug her out. “I thank God for my cell phone. I called me or Woody Allen fans, the end of November brings two great events.
Woody and the City
On Thursday 19 at the 92nd Street Y (1395 Lexington Ave at 92nd St; 212-415-5500, 92y.org; 7:30pm, $27), Columbia professor Jeremy Dauber will discuss Allen’s impressive but often forgotten early career as a comedian. Then, on Monday 23, Stuart Hample, the artist behind the neurotic comic strip Inside Woody Allen, appears with Dick Cavett at the Strand Bookstore (828 Broadway at 12th St; 212-473-1452, strandbooks.com; 7pm, free). But why stop there? To get the full Woody Allen experience, stroll through some of the sites depicted in his New York City masterpieces Annie Hall and Manhattan. Alvy Singer and Annie Hall first meet at the now-defunct Wall Street Racquet Club on Pier 13, so start out downtown with a game of squash at the nearby New York Health & Racquet Club (39 Whitehall St between Pearl and Water Sts, 212-269-9800; day pass $25 plus court-time fee). Deep in the Financial District, you’re sure to run into a few “analysts,” but not the kind Woody’s characters typically rely on. If you’re an avid squash player, you may want to join this club—even if you’re of the Alvy mind-set and would never want to belong to a club that would have someone like yourself as a member. Walk northeast to South Street Seaport and fight your way through the tourists la-di-da-ing around to get a good view of the Brooklyn Bridge. That was the gorgeous (or, as Annie might say, “neat”) backdrop for the scene in which Alvy and Annie profess their love to each other and kiss at dusk. Just a little foreshadowing for a certain other iconic bridge scene you may be familiar with more painfull. Once again, fight through the tourists to hail a cab and head up the FDR. However frightening the ride is,
just be grateful Annie isn’t the one making the car dodge trucks and cones as you hang on for dear life in the passenger seat. In fact, be glad her creepy, death-obsessed brother (played by a young Christopher Walken) isn’t behind the wheel either. Good driving must not run in the Hall family. Get dropped off at Riverview Terrace at Sutton Square (E 58th St at the East River) for the view of the Queensboro Bridge that capped, in Manhattan, Isaac and Mary’s unofficial first date, which lasted till dawn. Journey northewest to the new Beekman Theater(1271 Second Ave between 66th and 67th Sts, 212-585-4141). At the original Beekman, which was across the street(1254 Second Avenue) but has since been torn down, two pushy fans pester Alvy for an autograph before Annie shows up for their date. “Hey, dis is Alvy Singah!” (Since Annie is late for the start of Ingmar Bergman’s Face to Face, Alvy insists on heading across Alvy Singer and Annie town to the New Yorker Theater at Broadway Hall first meet at the now at and 88th, which has since closed. There, Alvy Wall Street Racquet Club famously addresses the audience while arguing with a moviegoer about Marshall McLuhan— and happens to have Mr. McLuhan on hand to prove his point. As Alvy says, “Boy, if life were only like this.”) Head west on 66th toward Central Park, then south to 59th. Hop in a buggy to re-create Tracy and Isaac’s “corny” date in Manhattan (their last before they break up). In the carriage they kiss heartily—not only is the make-out session romantic, but considering the fumes that waft back from those horses, it’s also pretty impressive to do. Ditch your ride at Central Park South and set out for the Empire Hotel’s rooftop bar (44 W 63rd St at Broadway, 12th floor; 212-956-3313, empirehotelnyc.com). Here, you can remake the subtitle scene that takes place on Annie’s rooftop, during which Annie and Alvy discuss the finer points of photography while their minds utter second-guessing self-critiques. Also, be sure to take in the view of 63rd Street and Lincoln Center, the spot where Annie and Alvy part ways in the film’s final moments. Next, hike up to the Rose Center for Earth and Space at the American Museum of Natural History (81st St between Central Park West and Columbus Ave; 212-769-5200; $16), the updated version of the Hayden Planetarium, where Isaac and Mary escape during an electrical storm. Use your brain (that most overrated organ) to count Saturn’s moons and maybe, if you’re on a date,
commit some interstellar canoodling. After checking out the expanding universe, work on expanding your stomach at Zabar’s (2245 Broadway between 80th and 81st Sts; 212-787-2000), the quintessential Jewish market, which Isaac and Tracy walk by in Manhattan. Just beware the hordes of old Jewish ladies who have elbows sharper than Willis Reed’s. Order a sandwich of hand-sliced corned beef on fresh rye ($5.50)—but remember what Isaac says: “Corned beef should not be blue.” You may not yet have faith in people, but in New York, you can always have faith in a good sandwich. Long before I saw the Statue of Liberty in person I felt like a New Yorker. Woody Allen’s movies were my initiation and his romantic, idealized view of the Big Apple planted the seed for my longtime love of the city. His latest film, Whatever Works, is the first of Allen’s films to be set in Manhattan in four years, and you get the sense he’s glad to be home. It’s his love letter to the city, showcasing only-in-New-York locations like Chinatown’s fish markets and the Yonah Schimmel Knishery (137 E. Houston St. near 1st Ave., 212-477-2858). The movie will make you want to jump on a NYC-bound plane ASAP, which is exactly what I did. There are no official Woody Allen tours of Manhattan, so I created my own daytrip to see Allen’s New York with my own eyes. With a good pair of runners, a map, a Metrocard (get a 1-Day Fun Pass for $7.50 US at MetroCard Vending Machines and neighborhood stores) and some determination you should be able to do this tour in about six hours. The first stop serves a double purpose. The Dean & Deluca Café (560 Broadway at Prince St. in SoHo, 212-226-6800) is the perfect place to fuel up on coffee to get the day started it’s also where Mia Farrow has lunch with the newly-single Judy Davis in Husbands and Wives.Now that you’re in a caffeinated, New York Woody Allen’s movies were state of mind, exit Soho for the funkier streets of my initiation and his romantic Greenwich Village. You’ll pass the former home of The Bleecker Street Cinema (144 Bleecker St.) where Allen’s character takes his niece to see movies that will improve her mind in Crimes and Misdemeanors on your way to his favorite pizza joint, John’s Pizzeria (278 Bleecker St. in Gree nwich Village, 212-243-1680). John’s Pizzeria is also the place where Allen and his much younger girlfriend, played by Mariel Hemingway, have the “in six months you’ll be a completely different person” conversation in 1979’s Manhattan. Moving north, our next stop
is in midtown. The Carnegie Deli (854 Seventh Ave. between 54th and 55th streets, 212-757-9889) is virtually unchanged since Woody shot much of Broadway Danny Rose here in 1984. In fact it hasn’t changed much since it opened in 1937 and Henny Youngman was a regular. Take some time to check out the autographed pictures of celebrities have eaten there, and if you have the appetite of three people order The Woody Allen â€” “Lotsa corned beef plus lotsa pastrami; for the dedicated fresser only!” says the menu, and it’s not kidding. There’s over a pound of meat between two slices of rye. Next, walk off the sandwich with a jaunt to the The St. Regis-Sheraton Hotel (2 E. 55th St., 212-753-4500). Woody has used this location twice. This is where Michael Caine and Barbara Hershey carried on their covert love affair in Hannah and Her Sisters and, in Radio Days, the hotel’s King Cole Room (with its Maxfield Parrish Art Nouveau mural behind the bar) was the site of the swanky New Year’s celebration Joe Needleman listened to on the wireless internet. The next stop is the location of one of Allen’s most iconic New York images. The poster for Manhattan showing Woody and Diane Keaton sitting in silhouette on a bench was shot at Riverview Terrace on Sutton Square, just beneath the 59th Street Bridge. It looks a little different than it did in 1979. The bench is gone (stolen by Woody fans perhaps?) and the landscape is a little different but the view is still spectacular. You’ve seen the movies and the sights, now catch a glimpse of the Wood-man in person. Allen and his clarinet have been blowing up a Dixieland storm on Monday nights (from September to June) at the Café Carlyle (35 E. 76th St. on the northeast corner of Madison Avenue, 212-744-1600) since 1996. Reservations and jackets are required and tickets ($100 for the show, dinner is extra) go quickly so book ahead for the toe-tapping fun. Not quite as exclusive or as pricey is Elaine’s (1703 Second Ave. between E. 88th and E. 89th St., 212-534-8103), which restaurant writer A. E. Hotchner summed up with the words, “What Rick’s place was to Casablanca, Elaine’s is to New York.” On film it’s the location of one of Allen’s most famous one-liners: In Manhattan, he’s at Elaine’s complaining about the difficulties of seeing a 17-year-old. “I’m dating a girl who does homework,” he off-screen, it’s one of his favorite restaurants. “I ate at Elaine’s every night for about 10 years,” he said. “I’ve eaten alongside
everyone from Don King to Simone de Beauvoir. There was no celebrity that didn’t show up there.” One of the celebrities who ate there was Mia Farrow, who asked Michael Caine to introduce her to Woody one night at the restaurant, thus beginning their long and tumultuous affair. Soak in that storied atmosphere for the price of an entrée. The tour finishes up with a trip to Pomander Walk, (260266 W. 95th St. through to 94th Street between Broadway and West End Avenue). This beautiful village built to resemble the London stage set from a romantic 1910 play” is made up of 27 Tudor-style houses and is the location of the architectural tour Sam Waterston gives Dianne Wiest and Carrie Fisher in Hannah and Her Sisters. You’ll have to peek through the gate (it’s locked to the public) but its Alice in Wonderland aura and the fact that Humphrey Bogart used to live there make it a must-see for movie fans. By the tour’s end you’ll see why Isaac Davis, Woody Allen’s character in Manhattan, famously said, “This is really a great city. I don’t care what anybody This is really a great city, says, it’s really a knockout, you know?” It is the I don’t care what anybody says most surreal of New York City experiences, sitting at a bar when Woody Allen appears suddenly alongside you carrying a little leather briefcase. He sits down at a table less than a metre away and starts to assemble a clarinet. As if in a scene from one of his movies, he looks but does not speak and heads to the small stage. This is not a dream. On Monday nights in New York, Woody Allen plays clarinet with the Eddy Davis New Orleans Jazz Band. On the ground floor of the legendary Carlyle Hotel is the small and classy Cafe Carlyle. Its general manager, Tony Skrelja, greets you on arrival like a long-lost friend and takes you to your seats: dining seats are $US100 ($123) a person, VIPs are $US150 a person and a seat at the bar is $US70. The walls are covered with painted murals that borrow heavily from the works of Picasso, Matisse and Chagall, providing beautiful surroundings for fewer than 30 tables occupying the space, with diners sitting shoulder-to-shoulder to make it a truly intimate venue. The menu is varied and eccentric (a little like Allen): roasted Amish chicken ($US38), Rocky Mountain rack of lamb ($US42), wild king salmon ($US38) and the Carlyle classic fillet mignon ($US45), which is served large, succulent and rare. Allen is an artist whose entire art is drawn from a few blocks of upper Manhattan.
an insight of manhattan woody allen
He adored New York City.
He idolized it all out of proportion. Eh uh, no, make that he, he romanticized it all out of proportion.
Better. To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin. Uh, no, let me start this over.
He was too romantic about Manhattan, as he was about everything else
He thrived on the hustle bustle of the crowds and the traffic.
To him, New York meant beautiful women and street smart guys who seemed to know all the angles.
Ah, corny, too corny for, you know, my taste. Let me, let me try and make it more profound.
Chapter one. He adored New York City. To him it was a metaphor for the decay of contemporary culture.
The same lack of individual integrity that caused so many people to take the easy way out was rapidly turning the town of his dreams in - no, itâ€™s gonna be too preachy,
Chapter One. He adored New York City.
Although to him it was a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, television, crime, garbage - too angry. I donâ€™t want to be angry.
Chapter One. He was as tough and romantic as the city he loved. Behind his black-rimmed glasses was the coiled sexual power of a jungle cat. Oh, I love this.
New York was his town,
and it always would be.
I think the essence of art is to provide a kind of working-through situation, so that you can get in touch with feelings you didnâ€™t know you had.
Talent is luck. The important thing in life is courage.
She’s 17. I’m 42 and she’s 17. I’m older than her father, can you b
believe that? Iâ€™m dating a girl, wherein, I can beat up her father.
Did I tell you... that my ex-wife... Who, Tina? My second ex-wife is writing a book about our marriage and the break-up. Thatâ€™s really tacky. Itâ€™s really depressing, you know.
Is she married, too?
No, no. Sheâ€™s very beautiful.
Are you writing a book on our marriage? Leave me alone.
— I: Are you telling me that... that... that I’m...that you h lieve. It’s mind-boggling. When I was your age, I was sti were really immature boys. They were nothing like you. before. I think I’m in love with you. — I: Hey, don’t get c over-you know. And we’re having a great time, but you’ gonna meet a lot of terrific men in your life and, you kn and astonishing sexual technique, but never forget that — T: Don’t you have any feelings for me? — I: How can but you don’t wanna get hung up with one person at yo the cops don’t burst in, I think we’re gonna break a cou thing. You should think of me sort of as a detour on the — T: Don’t you want me to stay over? — I: I don’t want then two nights, and then you’re living here — T: That d won’t like it, believe me. I’m tough to get along with. To Veronica Lake movie. Ok? — T: Ok. Veronica Lake’s the worth. Do we have to go over this all the time? — T: Rita — T: Course I’m joking! You think I’m unaware of any e
had three affairs before me? That’s really hard to beill being tucked in by my grandparents. — T: Well, they . — I: No? What does that mean? — T: Well, I told you carried away, OK? This is... This is a terrific thing move ’re a kid and I never want you to forget that. You’re now, I want you to enjoy me. My wry sense of humour t you’ve... you’ve got your whole life ahead of you. n you ask that? I’ve got nothing but feelings for you, our age. It’s... charming, you know.Erotic. As long as uple of records you can’t, uh, you can’t... It’s not a good e highway of life. So get dressed because you gotta go you to get in the habit because first you stay one night, doesn’t sound too bad — I: It’s not a great idea. You omorrow we’ll go to the cinema and I’ll how you the e pin-up with the red hair? — I: No, that’s Rita Haya who? — I: Rita Hayworth. Are you joking with me? event pre-Paul McCartney.
Iâ€™m just from Philadelphia, you know. I mean, we believe in God so... Ok?
I get the feeling that Yale really likes her.
Well, I donâ€™t believe in extramarital relationships. I think people should mate for life like pigeons or Catholics.
I’ll probably have to give my parents less money. It’ll kill my father. He’s not gonna be able to get as good a seat in the synagogue. He’ll be in the back, way from God, far from the action.
I finally had an orgasm and my doctor told me it was the wrong kind.
Did you have the wrong kind? Iâ€™ve never had the wrong kind. Ever.
You know a lot of geniuses. You should meet some stupid people. You could learn something.
Donny my analyst always tells me... You call your analyst Donny? Yeah. I call him Donny! You call your analyst Donny? I call mine Dr Chomsky, you know. He hits me with a ruler.
Why canâ€™t we have frankfurters?
Because this is a Russian tearoom. I mean, you wanna have a blintz or something. Frankfurter gives you cancer.
Oh, hi! Hi, how you doin’?
No, not at all. I was just sitting around looking through the magazine section. Uh, no, no, I didnâ€™t read the piece on Chinaâ€™s faceless masses.
— M: Oh, look. There’s Saturn. Saturn is the sixth plane can you name? There’s Mimas, Titan, Dione. Hyperion, they never come up in conversation — M: Facts. I got a ing cos nothing worth knowing is understood with the m opening, if you’ll forgive the disgusting imagery — M: I thought? — I: You... you... you rely too much on your br — M: I know. You probably think I’m too cerebral. — I: What’s the difference what I think about you? God know kidding? You do have a tendency to get a little hostile, b you do — M: So, you think I have no feelings? Is that it? that. I think you’re... I think you’re terrific. Really, you k derful, really — M: What do you think? It’s probably sto like that? — I: I gotta see somebody this evening. I don’ about sometime next week? I might give you a call,if yo any free timecos... I don’t think it’s such a great idea. I’m my energy up — M: Ok. Ok.
et from the sun. How many of the satellites of Saturn , of course — I: I can’t name any of ‘em and fortunately million facts at my fingertips — I: They mean nothmind. Everything valuable enters through a different I don’t agree at all. Where would we be without rational rain. The brain is the most overrated organ Well, you are, you know, kind of on the brainy side. ws what you think of me — M: You’re fine. Are you but I find that attractive — I: Oh, yeah? Well, I’m glad ? — I: Hey, wha... You’re so sensitive, Jesus! I never said know. I... I... You’re very insecure. I think you’re wonopped raining out. You wanna grab a bite or something ’t know if it’s a great idea — M: Right. Well... So what ou have any free time? — I: I’m... I’m not gonna have m working on this book and it, you know, takes a lot of
Are you OK? Yeah, I’m fine. What do you mean? You seem sort of nervous. No, I’m not. I feel good.
Well, you know, weâ€™ll always have Paris.
So what happens to us?
I am. You’re... You’re God’s answer to Job.
How often can you make love in an evening? Yeah, I can tell. A lot. Thatâ€™s... Well, a lot is my favourite number.
Well, a lot.
You know we have to stop seeing each other?
Oh, yeah. Right, right. I understand. I could tell by the sound of your voice over the phone. Very authoritative, you know. Like the Pope or the computer in 2001
Yeah. You look so beautiful. I can hardly keep my eyes on the meter.
— I: Tracy, you’re throwing away an enormous amount wrong for me — I: Listen, I don’t... I don’t think we shou I think you’re getting too hung up on me, you know? “H — T: I’m not hung up on you. I’m in love with you. — I: You’re a kid. You don’t know what love means. I don’t k ing on — T:We have laughs together. I care about you. Y — I:You... But you’re 17 years old. By the time you’re 21 more passionate than this one — T:Well, don’t you love — T:You do? — I: Hey, come on... We... we...This was su — T: You met someone? — I: Don’t stare at me with tho from Bolivia who needs foster parents — T: Have you b I mean, y-y-you know, y-y-you know. Not as old as I am now I don’t feel so good — I: It’s not right. You shouldn You know, you’ve got to. — T: You state it like it’s to my — I: Hey, don’t be so precocious, OK? I mean, don’t be lose some hearing in my right ear. Is that what you wan like better than me — I: Why should I feel guilty about t more your own age. Kids from your class. Billy and Biff Hey, come on, don’t cry. Don’t cry. Come on, don’t cry Tracy... — T: Just leave me alone — I: Tracy, come on, d
t of real affection on the wrong person — T: It’s not uld keep seeing each other — T:Why not? — I: Because Hung up on me.” I’m starting to sound like you : You can’t be in love with me. We’ve been over this. know what it means. Nobody knows what the hell’s goYour concerns are my concerns. We have great sex 1 you’ll have a dozen relationships, believe me, far e me? — I: The truth is that I love somebody else. upposed to be a temporary fling. You know that. ose big eyes. You look like one of those barefoot kids been seeing someone? — I: No. Yes. Someone older. m, but in the same general ballpark as me. — T: Gee, n’t get hung... I mean, you should open up your life. advantage, when it’s you that wants to get out of it. so smart. I’m 42. My hair’s falling out. I’m starting to nt? — T: I can’t believe that you met somebody that you this? I’ve always encouraged you to go out with guys and Scooter. And, you know, little Tommy or Terry. y. Tracy... Tracy, don’t... Come on. Don’t cry, Tracy. don’t... — T: Leave me alone.
Hello? Well, why? What is it? No, I don’t think that would be possible I don’t think that would be possible at all. No, I... I’m sorry. I gotta go.
Mary, hi. It’s Yale. I was hoping you’d pick up. Listen, could we meet for coffee? Well, you know, I miss you. I just thought maybe we could talk. I’m sorry, I just, uh...
Who was that? Who was that on the phone just now? Dance lessons that was?! Right. They give you one free lesson,then they hook you for $55 worth.
What? Uh, dance lessons. Yeah. Do we want free dance lessons?
He was given to fits of rage, Jewish, liberal paranoia, male chauvinism, self-righteous misanthropy, and nihilistic moods of despair. He had complaints about life, but never solutions. He longed to be an artist, but balked at the necessary sacrifices. In his most private moments, he spoke of his fear of death which he elevated to tragic heights when, in fact, it was mere narcissism.
I think Iâ€™m still in love with Yale.
— I: I spoke to Mary. Were you gonna tell me? — Y: I was go and talk? — Y:How’d you get past the security? — I: I w gonna leave Emily and run away with the... the winner o — Y: Look, I love her. — I: What kind of crazy friend are y — I: Why? What was the point? — Y: Cos I thought you l well, I liked her first. — I: “I liked her first” What are you, aged you to take her out if I still liked her? So you liked he change your mind one more time before dinner — Y: Do — I: How long were you gonna see her without telling m — I: You could’ve said, but you... All you had to do was ca no, but you’d have felt honest — Y: I wanted to tell you ab cent meetings — I: A few? She said one. You guys should — Y: We met twice for coffee — I: Hey, she doesn’t drink mantic. A little on the geriatric side. — Y: I’m not a saint, You’re... You rationalise everything. You’re not honest wi in the end you’d rather buy a Porsche. You cheat a little b next thing you know you’re in front of a Senate committe I mean, we’re just people. We’re just human beings. You one. — Y: You just can’t live the way you do. It’s all so per about us? My God! You know, someday And now look. Th have some kind of personal integrity. I’ll be hanging in a out that I’m... well thought of — Y: Ike! Isaac, where are y
s, but... I’m trying to teach a class. — I: So where can we walked right past. What are you telling me? That you’re of the Zelda Fitzgerald Emotional Maturity Award? you? — Y: A good friend. I introduced you two. liked her! — I: I do! Now we both like her — Y: Yeah, , six years old? Jesus! — Y: Look, would I have encourer? Now you don’t like her? — I: It’s early. You can on’t get sarcastic about this. You think I like this? me? — Y:Don’t turn this into one of your big moral issues all me and talk to me. I’m understanding. I’d have said bout it. I knew it would upset you. I...We had a few innod get your story straight. Don’t you rehearse? k coffee. Did you meet for Sanka? That’s not too ro, OK? — I: You’re too easy on yourself. Don’t you see? ith yourself. You talk about you wanna write a book, but bit on Emily and you play around the truth with me. The ee naming names — Y: You are so self-righteous. think you’re God! — I: I gotta model myself after somerfect — I: Jesus, what are future generations gonna say This is what happens to us. You know, it’s important to a classroom one day and I wanna make sure when I thin you going?
An idea for a short story about, um, people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves cos it keeps them from dealing with more unsolvable, terrifying problems about... the universe. Let’s... Well, it has to be optimistic.Well, all right, why is life worth living? That’s a very good question.Well, there are certain things, I guess, that make it worthwhile. Like what? OK... for me...Ooh, I would say Groucho Marx, to name one thing. And Willie Mays. And... the second movement of the Jupiter Symphony. And... Louis Armstrong’s recording of Potato Head Blues. Swedish movies, naturally.Sentimental Education by Flaubert. Marlon Brando, Frank Sinatra.Those incredible apples and pears by Cézanne. The crabs at Sam Wo’s. Tracy’s face.
— I: Hi — T: Hi. I,What are you doing here? — I: Well, I ran. I t was two hours’ worth of... So I couldn’t get a taxi cab, so I ran. now? What d’you... What d’you mean? If I got over here two m me get right to the point then. I don’t think you oughta go. I th go — T: Oh, Isaac. — I: I mean it. I know it looks real bad now, going with anybody? — T: No. — I: So... well... D’you still love You don’t call me and then you suddenly appear. I mean... Wh I don’t see her any more. I made a mistake. What d’you want m I have to go. I mean, all the plans have been made, arrangeme for me to live — I: Well... Do you still love me or what? — T: Do what this is all about, you know — T: Guess what? I turned 18 You’re not such a kid. 18 years old. They could draft you. In so me — I: It was not on purpose, you know. I mean, I... You know then — T: Well, I’ll be back in six months. — I: Six months! Are gone this long. I mean, what’s six months if we still love each o is a long time. Six months! You’re gonna be in the thea... worki to rehearsal and you hang out with those people. You have lun know, I mean, you don’t wanna get into that... You’ll change. I — T: Well, don’t you want me to have that experience? I mean course I do, but, you know... I mean, I just don’t want that thin — I: Come on, you don’t... Come on. You don’t, you don’t hav week? Six months isn’t so long. Not everybody gets corrupted
tried to call you on the phone, but... it was busy so I knew that Where you going? — T: London — I: You’re going to London minutes later, you’d be...you’d be going to London? Well, let hink I made a big mistake. and I would prefer it if you didn’t , but, uh, you know, it... Are you seeing anybody? Are you me, or has that worn off or what? — T: Jesus, you pop up... hat happened to that woman you met? — I: Well, I’ll tell you, me to say? I don’t think you oughta go to London. — T: Well, ents. I mean, my parents are there now looking for a place o you love me? — I: Well, yeah, that’s what... Of course. That’s the other day — I: Did you? I’m legal, but I’m still a kid — I: ome countries you’d be...You look good — T: You really hurt w, it was... I mean... It was just the way I was looking at things e you kidding? Six months you’re gonna go for? — T: We’ve other? — I: Hey, don’t be so mature, ok? I mean, six months king in the theatre with actors and directors. You know, you go nch a lot and before you know it attachments form and... you In six months you’ll be a completely different person n, a while ago you made such a convincing case — I: Yeah, of ng about you that I like to change — T: I’ve gotta make a plane ve to go. — T: Why couldn’t you have brought this up last d. You have to have a little faith in people.
Special thanks to
Pol Perez Laura Meseguer Albert Folch
Graphic Design and Publishing Projects Elisava Barcelona, 2013
an insight of manhattan woody allen