Who Is Woody Allen? Wiki, Bio, Age, Career, Net Worth, Many More Facts You Need To Know

Woody Allen Wiki – Biography

American film director, writer, actor, and comedian with a career spanning over sixty years and having many Academy Award winning films. He began his career as a comedy writer on Sid Caesar’s comedy variety show Your Show of Show, working with Mel Brooks, Carl Reiner, Larry Gelbart and Neil Simon. He also began writing material for television, published several books with short stories, and wrote humorous essays for The New Yorker. He worked as a stand-up comedian in Greenwich Village in the early 1960s alongside Lenny Bruce, Elaine May, Mike Nichols and Joan Rivers. There he developed a monologue style (rather than traditional jokes) and an insecure, intellectual, moody nebbish personality. [3] He released three comedy albums from the mid to late 1960s, even earning a Grammy Award nomination for his 1964 comedy album Woody Allen. In 2004, Comedy Central ranked Allen fourth on the list of the 100 greatest stand-up comedians, while a UK poll named Allen the third-greatest comedian.

In the mid-1960s, Allen was writing and directing films, first specializing in slapstick comedies such as Take the Money and Run (1969), Bananas (1971), Sleeper (1973) and Love and Death (1975). Dramatic material influenced by European art cinema in the late 1970s with Interiors (1978), Manhattan (1979) and Stardust Memories (1980), ranging from comedies and dramas to the present day. Allen is often described as part of the New Hollywood wave of filmmakers from the mid-1960s to the late 1970s, such as Martin Scorsese, Robert Altman, and Sidney Lumet. He often starred in his movies, the person he typically develops as a standup. Annie Hall (1977), the romantic comedy film starring Allen and his frequent collaborator Diane Keaton, won four Academy Awards, including Best Picture, Best Director, Best Original Screenplay, and Best Actress with Keaton. Critics have called his work from the 1980s his most advanced. His films include Zelig (1983), Broadway Danny Rose (1984), Cairo’s Purple Rose (1985), Hannah and His Sisters (1986), Radio Days (1987), Another Woman (1988), and Crimes and Misdemeanors (1989). ). Most of the 21st century movies like Match Point (2005), Vicky Cristina Barcelona (2008) and Midnight in Paris (2011) are set in Europe. Blue Jasmine (2013) and Cafe Society (2016) set in New York City and San Francisco.

Critic Roger Ebert described Allen as “a treasure of cinema”. Allen received many accolades and awards. With 16, it was nominated for the most Academy Award for Best Original Screenplay. It won four Academy Awards, one for Best Director and three for Best Original Screenplay. It also won nine British Academy Film Awards. In 1997, Allen was awarded a BAFTA Fellowship by the British Academy of Film and Television Arts. In 2014, he received the Golden Globe Cecil B. DeMille Lifetime Achievement Award and a Tony Award nomination for Best Book of the Bullets Musical on Broadway. The Writers Guild of America named the Annie Hall screenplay first on the “101 Funniest Screenplays” list. In 2011, PBS aired a documentary film biography on Woody Allen: American Masters.

Allen was married three times: Harlene Rosen (m. 1956–1959), Louise Lasser (m. 1966–1970) and Soon-Yi Previn (m. 1997 – present). She also had a 12-year relationship with actress Mia Farrow and relationships with Stacey Nelkin and Diane Keaton.

Early marriages and relationships
In 1956, Allen married Harlene Rosen. He was 20 years old and 17 years old. The marriage lasted until 1959. Rosen, whom Allen called “Horrified Miss Allen” in his stand-up act, filed a libel suit for comments he made on TV shortly after his divorce. . Allen said on his album Standup Comic in the mid-1960s that Rosen sued him for a joke he made in an interview. Rosen was sexually abused in front of her apartment. According to Allen, the newspapers reported that he was “violated.” In the interview, Allen said, “Getting to know my ex-wife was probably not a violation.” Said. In an interview with The Dick Cavett Show, Allen repeated his comments and said that “a $ 1 million lawsuit was filed”.

Allen married Louise Lasser in 1966. They divorced in 1970. Lasser starred in Allen’s three movies: Take the Money and Run, Bananas, and Sex About Everything You Always Wanted to Know * (* But We Were Afraid to Ask). She also featured briefly in Stardust Memories.

Allen featured Diane Keaton on the 1969 Broadway show Play It Again, Sam. During the run she and Allen got involved in a romantic way. Despite leaving a year later, he continued to star in movies such as Sleeper as a Futurist poet and Love and Death as a composite character based on novels by Tolstoy and Dostoevsky. Annie Hall was very important to Allen and Keaton’s careers. Since Keaton’s birth name is Diane Hall, the role is said to be written for her. He later starred in the poet Interiors, then in Manhattan. In 1987, he had a cameo as a nightclub singer on Radio Days, and was named to replace Mia Farrow in the Manhattan Murder Mystery after Allen and Farrow started having problems with their relationship. In total, Keaton starred in Allen’s eight movies. As of 2018, Keaton and Allen continue to be close friends. In a rare public appearance, Allen presented Keaton with the AFI Life Achievement Award in 2017.

According to the Los Angeles Times, Manhattan was based on Allen’s romantic relationship with actress Stacey Nelkin. Her small role in Annie Hall ended on the cutting room floor, and their relationship never made public by Allen, which she started at age 17 and was a student at Stuyvesant High School in New York. In December 2018, the Hollywood Reporter interviewed Babi Christina Engelhardt, who said she had an eight-year relationship with Allen that began at the age of 17 in 1976 (they met at the age of 16), and the character of Tracy in Manhattan is one of the other real-life young lovers Allen was supposed to be from then. not necessarily Nelkin or Engelhardt. Allen declined to comment when asked

Woody Allen Career

Allen began writing short jokes when he was 15, [31] and the following year began sending them to various Broadway writers to see if they would be interested in buying them. He also set out with the name “Woody Allen”. One of these writers was Abe Burrows, co-author of Guys and Dolls, and “Wow! His writings were stunning.” Burrows then wrote Allen’s letters to Sid Caesar, Phil Silvers, and Peter Lind Hayes, who immediately sent Allen a check only for jokes that Burrows included as examples.

As a result of Allen’s jokes to various writers, he was invited to participate in the NBC Writer’s Development Program in 1955, and then got a job at The NBC Comedy Hour in Los Angeles. He was later hired as a full-time writer for humorist Herb Shriner, initially making $ 25 a week. He began writing scripts for the Ed Sullivan Show, The Tonight Show, Sid Caesar post-Caesar Hour (1954–1957), and other television shows. s. While working for 111 Caesars, he was making $ 1,500 a week. He worked with Mel Brooks, Carl Reiner, Larry Gelbart and Neil Simon. He also worked with Danny Simon, whom Allen credited for helping to create his writing style. [29] [33] He estimated that he wrote twenty thousand jokes for various comics in 1962 alone. Allen also wrote and appeared in some episodes for the Candid Camera television show.

Buddy Hackett wrote jokes for the sitcom Stanley and The Pat Boone Chevy Showroom, and wrote several Sid Caesar specials with Larry Gelbart in 1958. Allen was gaining a reputation as a “genius” after composer Mary Rodgers wrote for several of television’s leading comedy and comedy shows, he said. According to producer Max Liebman, when he was assigned for a show, he was back “with piles of papers” the next day. Similarly, after writing for Bob Hope, Hope called him “half genius.”

His daily writing routine could take up to 15 hours and he could focus and write wherever necessary. Dick Cavett was amazed at Allen’s writing capacity: “After breakfast he can go to a typewriter and sit there until sunset and his head hits, interrupt work for just coffee and take a short walk, and then spend the whole evening working.” When Allen wrote for other comedians used eight of ten jokes. When he started performing as a stand-up, he was much more selective, typically using only one of ten jokes. He estimated that he wrote six months of intense writing to prepare for a 30-minute show. Despite his work, he enjoyed writing: “Nothing can make me happier than tearing a pile of paper. And I can’t wait to fill it in! I love to do it.”

Allen started writing short stories and cartoon titles for magazines such as The New Yorker; He was inspired by the tradition of New York humorist S. J. Perelman, George S. Kaufman, Robert Benchley and Max Shulman, whose materials he modernized. Her collections of short pieces include Equal, Hairless, Side Effects and Just Anarchy. Early comic fiction was influenced by S.J.’s wild, punished humor. Perelman. Allen published audio versions of his books, from which he read 73 selections, in 2010. Nominated for a Grammy Award for Best Spoken Word Album.

Stand up comedian
From 1960 to 1969, Allen performed as a comedian to complete his comedy writing. He has worked at various locations around Greenwich Village, including The Bitter End and Cafe Au Go Go; Other artists of the day such as Lenny Bruce, Mike Nichols and Elaine May, Joan Rivers, George Carlin, Richard Pryor, Dick Cavett, Bill Cosby and Mort Sahl (personal favorite) and Bob Dylan and Barbra Streisand. Comedy historian Gerald Nachman writes that while Allen was not the first to stand up, he had a greater influence than any of the others in the 1960s and redefined his standup comedy: tenor of the time. “: 525

After being taken under the wing of his new manager Jack Rollins, who recently discovered Nichols and May, he suggested that Rollins perform his written jokes as a stand-up. Allen was resilient at first, but after seeing Mort Sahl on stage he felt more confident to try it out: “I didn’t have the courage to talk about it before. Then Mort Sahl came up with a whole new style of humor. It opens landscapes for people like me.: 545 Allen, professional.” She made her debut in October 1960 at the Blue Angel nightclub in Manhattan, where comedian Shelley Berman introduced her as a young television writer to perform her own material.

His first stand-up shows with a different style of humor were not always well received or understood by his audience. Unlike other comedians, Allen spoke to his audience in a polite and conversational fashion, although he rehearsed well, often seeming to be looking for words. He acted “normally”, dressed casual, and made no attempt to project a scene “personality”. And he did not improvise: “I value little improvisation,” he tells Studs Terkel. Their jokes were created from life experiences and typically presented in a dead solemn demeanor that made them more funny: “I don’t think my parents love me. They put a live teddy bear in my cradle.”

The topics of his jokes were rarely current, politically or socially relevant. Unlike Bruce and Sahl, he did not discuss current events such as civil rights, women’s rights, the Cold War or Vietnam. And although he was described as a “classic nebbish,” he did not describe the standard Jewish jokes of the time. Comedy screenwriter Larry Gelbart compared Allen’s style to May’s: “He completely shaped himself after him”. Like Nichols and May, he often made fun of intellectuals.

Cavett, who was among the minorities who quickly appreciated Allen’s style, recalls that the Blue Angel audience often ignored Allen’s monologue: β€œIn the country, I immediately realized that there was no young comedian in his class because of the brilliance of the jokes, and I was angry that the audience was too stupid to understand what they were getting. “It was the subdued stage presence that eventually became one of Allen’s strongest attributes,” says Nachman: “The complete absence of show business veneer and shtick was the best thing he designed a comedian. That uneasy naturalness on stage became a brand.” When the media finally noticed. Authors such as Arthur Gelb of The New York Times described Allen’s nebbish quality as “Chaplinesque” and “refreshing.”