You Will Meet a Tall Dark Stranger () - Rotten Tomatoes
"You Will Meet a Tall Dark Stranger" is every frame a Woody Allen film, but it isn't very much more. Perhaps the Paul Feig on A Simple Favor, Henry Golding's Deleted Dance Scene and More | Interviews It can't all signify nothing, you see, if you're important to someone. Penny Marshall Dead at You Will Meet a Tall Dark Stranger, review Allen says that the idea that his films are autobiographical remains the most . encourages improvisation and tries to shoot every scene in as few Allen will be 75 in December. News & Features. Essential Movies. Chosen by RT staff! Freshest Movies. The best-reviewed since · 30 Great Scenes. 30 great scenes in Rotten.
And although both the recent Vicky Cristina Barcelona and the crime melodrama Match Point — which Allen considers the best movie of his career so far — performed well at the box office, the themes and significance of his work seem to have shrunk with age.
My kids go to school on the Upper East Side. What was the last film you saw that you really liked?
Even the hi-tech spectacle of Avatar has passed him by. When the call is finished — it was one of the girls — he explains why he made an exception for such a new-fangled device: I hate the treadmill like rat poison. He rarely drinks alcohol, allowing himself only the occasional glass of wine with meals. For all his involvement in analysis, he has never taken any mood-altering medication: But the guilt afterward is not worth the pleasure of the meal.
Part of the secret of his productivity is simply that he works very quickly: Completing a comedy screenplay usually takes a month; a drama, three.
Flix Poster of the Week: You Will Meet a Tall, Dark, Stranger – FlixChatter Film Blog
Shooting is equally swift: They go out on location somewhere, and they live in the desert for a year, or in some godforsaken country for ages, making a film. And they shoot every angle and do everything. He hates night shoots and wants to be at home by six in the evening; towards the end of the day, if other members of the crew suggest doing more than one take, he often demurs.
You know, artistic perfection is not my top priority. You shoot and you make mistakes. You put the camera in the wrong place. And some of the scenes you wrote at home that you thought were so brilliant are not so brilliant. How can I save this from being an embarrassment? After completing the now-seminal Manhattan he was so horrified by what he saw that he told the studio he would make another film for free to make up for it.
And I knew it. I will invite some personal friends of mine, between six and 10, maximum. That gives me a kick. Once, he says, he dreamed that he would become a great film-maker, like Kurosawa or Fellini. Today, he has largely abandoned that hope. For his next — Midnight in Paris, featuring Carla Bruni, Owen Wilson and Marion Cotillard — he says he has taken a little more care than usual over the script.
Billy Wilder was knockout funny for less than 10, but he'd always had a sour side, as witness Double Indemnity and Sunset Boulevard. A lot of funny fellows nurse a dark view of life.
If a guy his age keeps making films, does it hide some failure to deliver a masterpiece? His habit of making movies is clear, but does he need it? At 75 and more, a director deserves to be judged on his best work. It's time to stop moaning that he isn't the director he once was, or that we aren't the people we once were.
This new Allen film has some broad comedy and some slightly clunky characterisation: Yet the film has an elegant lightness and detachment: Maybe if Tolstoy's every short story from his own late period had been fanatically compared to War and Peace or Anna Karenina by a despairing ex-fanbase, then that too would have been a dispiriting cultural spectacle. It has become a critical truism to wonder if the great man should stop making so many films — how about spending three or four years on one really good one?
I have, in fact, said this myself.
Flix Poster of the Week: You Will Meet a Tall, Dark, Stranger
But perhaps fluency and facility are just part of Allen's mojo — part of what preserves his creative muscle-tone. A new Allen film may not be the sensational news it was. But it is always good news. This sounds so bleak when I say it, but we need some delusions to keep us going. So it occurred to me that that was a good character for a movie: You fall apart, is what happens.
People try and put a nice varnish on it, and say, well, you mellow.
You come to understand life and accept things. But the interesting piece is the reason why each person is greedy; and the admirable thing about Allen's movies over the last few years has been his willingness to think openly about issues that are clearly his own inter-generational romance in Whatever Works and pending mortality in this latest on a public stage.
More, it's about the misguided ways in which we all deal with the fact that one day, as the writer Roy in the movie says, we're going to meet the "tall dark stranger" who is not a lover but the grim reaper.
Woody Allen interview for Whatever Works
They shoot in different trajectories like sparks from the firecracker; all are nuts but they're engaged in very human responses to mortality. If people in the movie This film was an attempt to deal with the same subject but to deal with it in a more comic way then Interiors but the subject matter is still the same thing.
In the end, even faith in anything at all is better than no faith at all and these are all the same subjects as Interiors but here the characters play them with more humor. So that was one of the main themes of this picture that someone like Gemma Jones could be diluted as I felt Billy Graham was diluted and that she would have a better life than someone like Josh who is more scientific minded and has a more realistic view of life but was going to have the more miserable life.
Joffe died inbut Rollins is still alive and working. London just happened to be the cheapest place to film at the time. Lucy Punch would later accept the role.