Early years

Allen was born and raised in New York City, the son of Nettie (née Cherrie; November 8, 1906 — January 27, 2002), a bookkeeper at her family’s delicatessen, and Martin Konigsberg (December 25, 1900 — January 13, 2001), a jewelry engraver and waiter. His family was Jewish and his grandparents were immigrants who spoke Yiddish and German; both of his parents were born and raised on the Lower East Side of Manhattan. Allen has a sister, Letty, who was born in 1943 and raised in Midwood, Brooklyn. His childhood was not particularly happy: his parents did not get along, and he had a rocky relationship with his stern, temperamental mother. Allen spoke Yiddish during his early years and, after attending Hebrew school for eight years, went to Public School 99 (now The Isaac Asimov School for Science and Literature) and to Midwood High School. During that time, he lived in an apartment at 1402 Avenue K, between East 14th and 15th Streets. He impressed students with his extraordinary talent at card and magic tricks.

To raise money he began writing gags for the agent David O. Alber, who sold them to newspaper columnists. According to Allen, his first published joke read: “Woody Allen says he ate at a restaurant that had O.P.S. prices — over people’s salaries.”

He began to call himself Woody Allen. He was an extremely talented young comedian and would later joke that when he was young he was often sent to inter-faith summer camps, where he “was savagely beaten by children of all races and creeds.” At the age of 17, he legally changed his name to Heywood Allen.

After high school, he attended New York University (NYU), where he studied communication and film. He was never a committed student: he failed a film course and was eventually expelled. He later briefly attended City College of New York and eventually taught at The New School. He also studied with writing teacher Lajos Egri.

Comedy writer

After his false starts at NYU and City College, he became a full-time writer for Herb Shriner, earning $75 a week at first. At the age of 19, he started writing scripts for The Ed Sullivan Show, The Tonight Show, specials for Sid Caesar post-Caesar's Hour (1954—1957), and other television shows. By the time he was working for Caesar, he was making $1500 a week; with Caesar he worked alongside Danny Simon, whom Allen credits for helping him to form his writing style.

In 1961, he started a new career as a stand-up comedian, debuting in a Greenwich Village club called the Duplex. Examples of Allen’s standup act can be heard on the albums Standup Comic and Nightclub Years 1964—1968 (including his classic routine entitled “The Moose”).

Allen wrote for the popular Candid Camera television show, and appeared in some episodes. Together with his managers, Allen developed a neurotic, nervous, and intellectual persona for his stand-up routine, a successful move which secured regular gigs for him in nightclubs and on television.

Allen started writing short stories and cartoon captions for magazines such as The New Yorker; he was particularly inspired by the tradition of four prominent New Yorker’s humorists, S. J. Perelman, George S. Kaufman, Robert Benchley and Max Shulman, whose material he modernized.Allen is also an accomplished author having published four collections of his short pieces and plays. These are Getting Even, Without Feathers, Side Effects and Mere Anarchy. His early comic fiction was heavily influenced by the zany, pun-ridden humour of S.J. Perelman. Allen brought significant innovation to the comedy monologue genre and his stand-up comedy is considered highly influential.

Playwright

He also became a successful Broadway playwright and wrote Don't Drink the Water in 1966. It starred Lou Jacobi, Kay Medford, Anita Gillette and Allen’s future movie co-star Anthony Roberts. A film adaptation of the play, directed by Howard Morris, was released in 1969 starring Jackie Gleason. Because he was not particularly happy with the (1969) film version of his play, in 1994 Allen directed and starred in a third version for television with Michael J. Fox and Mayim Bialik.

The next play Allen wrote that was produced on Broadway was Play It Again, Sam, which he also starred in. The play opened on February 12, 1969, and ran for 453 performances. It also featured Diane Keaton and Anthony Roberts. Allen, Keaton and Roberts would reprise their roles in the film version of the play, directed by Herbert Ross. For its March 21 issue, Life featured Allen on its cover.

He has written several one-act plays,including 'Riverside Drive' and 'Old Saybrook' which both explore well-known Allen themes. They have been produced in England for the first time by The Nuffield Theatre, a south-coast art house theatre, Southampton (September 2010) and directed by Patrick Sandord.

Early films: formless comedy

All of Allen’s early films were formless comedies like those of the Marx Brothers. As all pure comedies, they needed only a thin plot, and were constituted entirely of comic inventions, a non-stop sequence of sight gags, one-liners and slapstick.

His first movie production was What's New, Pussycat? in 1965, for which he wrote the initial screenplay. Warren Beatty hired him to re-write a script and to appear in a small part in the movie. Over the course of the re-write, Beatty’s role was lessened and Allen’s increased. Beatty was upset and quit the production. Peter O'Toole was hired for the Beatty role, and Peter Sellers was brought in as well; Sellers was a big enough star to demand many of Woody Allen’s best lines/scenes, prompting hasty re-writes. Because of this experience, Allen realized the importance of having control of his own writing. Despite that fact that most of his movies do not gross well and the fact that due to the small amounts of money his producers are able to raise he asks his actors to work for far less than what they would normally be paid, Allen remains one of a handful of writers and directors who has been able to maintain complete control over his own work.

Allen’s first directorial effort was What's Up, Tiger Lily? (1966, co-written with Mickey Rose), in which an existing Japanese spy movie (Kokusai himitsu keisatsu: Kagi no kagi [1965] — “International Secret Police: Key of Keys”) was redubbed in English by Allen and his friends with entirely new, comic dialogue.

He acted in the James Bond spoof, Casino Royale.

Allen directed Take the Money and Run in 1969. That same year he starred in his own TV special, The Woody Allen Special. On the show he performed standup comedy routines before a live audience and acted in a sketch with Candace Bergen in which they appeared nude but their bodies were kept hidden from view by the camera. The special also had guest appearances by the pop vocal group The 5th Dimension singing their hit singles “Workin’ On A Groovy Thing” and “Wedding Bell Blues”. The show’s sponsor, Libby's, broadcast comical commercials starring Tony Randall as a detective.

From 1971 to 1975 Allen directed Bananas, Everything You Always Wanted to Know About Sex* , Sleeper, and Love and Death. Take the Money and Run and Bananas were co-written by his childhood friend, Mickey Rose.

Sophisticated Lubitsch-like comedies

After his initial pure comedies in the tradition of the Marx Brothers, Allen switched to sophisticated Lubitsch-like comedies, adding a plot and reducing the comic inventions. Allen settled on this genre for his subsequent career. In 1972, he wrote and starred in the film version of Play It Again, Sam, which was directed by Herbert Ross. In 1976, he starred in The Front (directed by Martin Ritt) a humorous and poignant account of Hollywood blacklisting during the 1950s.

Annie Hall won four Academy Awards in 1977, including Best Picture and Best Actress in a Leading Role for Diane Keaton. Annie Hall set the standard for modern romantic comedy and also started a minor fashion trend with the unique clothes worn by Diane Keaton in the film (the masculine clothing, such as ties with cardigans, was actually Keaton’s own). While in production, its working title was “Anhedonia”, a term that means the inability to feel pleasure and its plot revolved around a murder mystery. Apparently the murder mystery plot did not work (and was later used in his 1993 Manhattan Murder Mystery), so Allen re-cut the movie after production ended to focus on the romantic comedy between Allen’s character, Alvy Singer, and Keaton’s character, Annie Hall. The new version, retitled Annie Hall (named after Keaton, Hall being her given last name and Annie a nickname), still deals with the theme of the inability to feel pleasure. The film is ranked at No. 35 on the American Film Institute’s “100 Best Movies” and at No. 4 on the AFI list of “100 Best Comedies”.

Manhattan, released in 1979, is a black-and-white film that can be viewed as an homage to New York City. As in many other Allen films, the protagonists are upper-class academics. Even though it makes fun of pretentious intellectuals, the story is packed with obscure references which makes it less accessible to a general audience. The love-hate opinion of cerebral persons found in Manhattan is characteristic of many of Allen’s movies including Crimes and Misdemeanors and Annie Hall. Manhattan focuses on the complicated relationship between a middle-aged Isaac Davis (Allen) and a 17-year-old Tracy (Mariel Hemingway).

Between Annie Hall and Manhattan, Allen wrote and directed the gloomy drama Interiors (1978), in the style of the late Swedish director Ingmar Bergman, one of Allen's chief influences. Interiors represented a significant departure from Allen’s “earlier, funnier comedies” (a line from 1980’s Stardust Memories).

1980s

Allen’s 1980s films, even the comedies, have somber and philosophical undertones. Some, like September and Stardust Memories, are influenced by the works of European directors, notably Ingmar Bergman and Federico Fellini.

Stardust Memories features Sandy Bates, a successful filmmaker played by Allen, who expresses resentment and scorn for his fans. Overcome by the recent death of a friend from illness, the character states, “I don’t want to make funny movies any more” and a running gag has various people (including a group of visiting space aliens) telling Bates that they appreciate his films, “especially the early, funny ones.” Allen believes this to be one of his best films.

By the mid-1980s, Allen had begun to combine tragic and comic elements with the release of such films as Hannah and Her Sisters and Crimes and Misdemeanors, in which he tells two stories that connect at the end. He also produced a vividly idiosyncratic tragi-comical parody of documentary, titled Zelig.

He made three films about show business; Broadway Danny Rose, in which he plays a New York show business agent, The Purple Rose of Cairo, a movie that shows the importance of the cinema during the Depression through the character of the naive Cecilia, and Radio Days, which is a film about his childhood in Brooklyn and the importance of the radio. Purple Rose was named by Time Magazine as one of the 100 best films of all time and Allen has described it as one of his three best films, along with Stardust Memories and Match Point. (Allen defines them as “best” not in terms of quality but because they came out the closest to his original vision.)

Before the end of the ‘80s, he made other movies that were inspired by Ingmar Bergman’s films. September resembles Autumn Sonata and Allen uses many elements from Wild Strawberries in Another Woman. Similarly, the Federico Fellini classic Amarcord strongly inspired Radio Days.

1990s

His 1992 film Shadows and Fog is a black-and-white homage to the German expressionists and features the music of Kurt Weill. Allen then made his critically acclaimed drama Husbands and Wives (1992), which received two Oscar nominations: Best Supporting Actress for Judy Davis and Best Original Screenplay for Allen. His film Manhattan Murder Mystery (1993) combined suspense with dark comedy and marked the return of Diane Keaton, Alan Alda and Anjelica Huston.

He returned to lighter movies like Bullets Over Broadway (1994), which earned him an Academy Award nomination for Best Director, followed by a musical, Everyone Says I Love You (1996). The singing and dancing scenes in Everyone Says I Love You are similar to many musicals starring Fred Astaire and Ginger Rogers. The comedy Mighty Aphrodite (1995), in which Greek drama plays a large role, won an Academy Award for Mira Sorvino. Allen’s 1999 jazz-based comedy-drama Sweet and Lowdown was also nominated for two Academy Awards for Sean Penn (Best Actor) and Samantha Morton (Best Supporting Actress). In contrast to these lighter movies, Allen veered into darker satire towards the end of the decade with Deconstructing Harry (1997) and Celebrity (1998).Allen made his only sitcom “appearance” to date (2009) via telephone on the show Just Shoot Me! in a 1997 episode, “My Dinner with Woody” which paid tribute to several of his films. Allen also provided the lead voice in the 1998 animated film Antz, which featured many actors he had worked with and had Allen play a character that was similar to his earlier neurotic roles.

2000s

Small Time Crooks (2000) was his first film with the DreamWorks studio and represented a change in direction: Allen began giving more interviews and made an attempt to return to his slapstick roots. Small Time Crooks was a relative financial success, grossing over $17 million domestically but Allen’s next four films floundered at the box office, including Allen’s most expensive film, The Curse of the Jade Scorpion (with a budget of $26 million). Hollywood Ending, Anything Else, and Melinda and Melinda were given “rotten” ratings from film-review website Rotten Tomatoes and each earned less than $5 million domestically. Some critics claimed that Allen’s films since 1999’s Sweet and Lowdown were subpar and expressed concern that Allen’s best years were now behind him. Others have been less harsh; reviewing the little-liked Melinda and Melinda, Roger Ebert wrote, “I cannot escape the suspicion that if Woody had never made a previous film, if each new one was Woody’s Sundance debut, it would get a better reception. His reputation is not a dead shark but an albatross, which with admirable economy Allen has arranged for the critics to carry around their own necks.” Woody gave his godson Quincy Rose a small part in Melinda and Melinda.Match Point (2005) was one of Allen’s most successful films in the past 10 years and generally received very positive reviews. Set in London, it starred Jonathan Rhys-Meyers and Scarlett Johansson. It is also markedly darker than Allen’s first four films with DreamWorks SKG. In Match Point, Allen shifts his focus from the intellectual upper class of New York to the moneyed upper class of London. It earned more than $23 million domestically (more than any of his films in nearly 20 years) and over $62 million in international box office sales. Match Point earned Allen his first Academy Award nomination since 1998 for Best Writing — Original Screenplay and also earned directing and writing nominations at the Golden Globes, his first Globe nominations since 1987. In an interview with Premiere Magazine, Allen stated this was the best film he has ever made.

Allen returned to London to film Scoop, which also starred Johansson, Hugh Jackman, Ian McShane, Kevin McNally and Allen himself (which remains to be the last film Allen has acted in). The film was released on July 28, 2006 and received mixed reviews. He has also filmed Cassandra's Dream in London. Cassandra’s Dream was released in November 2007 and stars Colin Farrell, Ewan McGregor and Tom Wilkinson.

After finishing his third London film, Allen headed to Spain. He reached an agreement to film Vicky Cristina Barcelona in Avilés, Barcelona and Oviedo, where shooting started on July 9, 2007. The movie stars Scarlett Johansson, Javier Bardem, Rebecca Hall and Penélope Cruz. Speaking of his experience there, Allen said: “I’m delighted at being able to work with Mediapro and make a film in Spain, a country which has become so special to me.” Vicky Cristina Barcelona was well received, winning “Best Musical or Comedy” at the Golden Globe awards. Penélope Cruz received the Academy Award for Best Supporting Actress for her role in the film.

Allen has said that he “survives” on the European market. Audiences there have tended to be more receptive to Allen’s films, particularly in Spain, France and Italy; countries where he has a large audience (something joked about in Hollywood Ending). “In the United States things have changed a lot, and it’s hard to make good small films now”, Allen said in a 2004 interview. “The avaricious studios couldn’t care less about good films — if they get a good film they’re twice as happy but money-making films are their goal. They only want these $100 million pictures that make $500million.”

In April 2008, he began filming for a movie focused more towards older audiences starring Larry David, Patricia Clarkson and Evan Rachel Wood. He revealed in July 2008 the title of this film, to be released in 2009: Whatever Works,described as a dark comedy, follows the story of a botched suicide attempt turned messy love triangle. Whatever Works was written by Allen in the 1970s and the character now played by Larry David was originally written for Zero Mostel, who died the year Annie Hall came out.

2010s

Allen’s current project, You Will Meet a Tall Dark Stranger, filmed in London, stars Antonio Banderas, Josh Brolin, Anthony Hopkins, Anupam Kher, Freida Pinto and Naomi Watts. Filming started in July 2009. It was released theatrically in the US on September 23, 2010 following a Cannes debut in May 2010 and a screening at the Toronto International Film Festival on September 12, 2010. Allen has announced that his next film will be titled Midnight in Paris, which will star Owen Wilson, Marion Cotillard, Rachel McAdams, Kathy Bates, Michael Sheen and French First Lady Carla Bruni. The plot will follow a family travelling to Paris for a business trip, including a young engaged couple who see their lives transformed. Shooting took place in Paris in the summer of 2010.

Over the course of his career, Allen has received a considerable number of awards and distinctions in film festivals and yearly national film awards ceremonies, saluting his work as a director, screenwriter, and actor. When premiering his films at festivals, Allen does not screen his motion pictures in competition, thus deliberately taking them out of consideration for potential awards.

• Allen’s film Annie Hall won four Academy Awards in 1977, including Best Picture.
• Allen won the 1978 O. Henry Award for his short story The Kugelmass Episode, published in The New Yorker on May 2, 1977.
• Allen twice won the César Award for Best Foreign Film, the first in 1980 for Manhattan and the second in 1986 for The Purple Rose of Cairo. Seven other of his movies were nominated for the prize.
• In 1986, Allen won the Golden Globe for Best Screenplay for The Purple Rose of Cairo, and in 2009 he won the same award for Best Motion Picture — Comedy or Musical for Vicky Cristina Barcelona. He was also nominated four times as Best Director, four times for Best Screenplay and twice for Best Actor (Comedy/musical).
• At the 1995 Venice Film Festival, Allen received a Career Golden Lion for lifetime achievement.
• In 1996, Allen received a lifetime achievement award from the Directors Guild of America.
• In 2002, Allen won the Prince of Asturias Award. Subsequently, the city of Oviedo, Spain, erected a life-size statue of Allen.
• In 2002, Allen received the Palme des Palmes, a special lifetime achievement award granted by the Cannes Festival and whose sole other recipient is Ingmar Bergman.
• In a 2005 UK poll The Comedian’s Comedian, Allen was voted the third greatest comedy act ever by fellow comedians and comedy insiders.
• In June 2007, Allen received a Ph.D. degree Honoris Causa from Pompeu Fabra University in Barcelona, Spain.

Academy Awards

Woody Allen has won three Academy Awards and been nominated a total of 21 times: 14 as a screenwriter, six as a director, and one as an actor. He has more screenwriting Academy Award nominations than any other writer; all are in the “Best Original Screenplay” category. He is tied for fifth all-time with six Best Director nominations. His actors have regularly received both nominations and Academy Awards for their work in Allen films, particularly in the Best Supporting categories.

Annie Hall won four Academy Awards (Best Picture, Best Screenplay, Best Director and Best Actress). The film received a fifth nomination, for Allen as Best Actor. Hannah and Her Sisters won three, for Best Screenplay, Best Supporting Actor and Best Supporting Actress categories; it was nominated in four other categories, including Best Picture and Best Director.

Despite friendly recognition from the Academy, Allen has consistently refused to attend the ceremony or acknowledge his Oscar wins. He broke this pattern only once. At the Academy Awards ceremony in 2002, Allen made an unannounced appearance, making a plea for producers to continue filming their movies in New York City after the 9-11 attacks, where he stated, “I didn’t have to present anything. I didn’t have to accept anything. I just had to talk about New York City.” He was given a standing ovation before introducing a montage of movie clips featuring New York.

• Five actors have won six Academy Awards for their work in Allen films: Diane Keaton (Best Actress, Annie Hall), Michael Caine (Best Supporting Actor, Hannah and Her Sisters), Dianne Wiest (Best Supporting Actress, Hannah and Her Sisters and Bullets Over Broadway), Mira Sorvino (Best Supporting Actress, Mighty Aphrodite), and Penélope Cruz (Best Supporting Actress, Vicky Cristina Barcelona).
• Ten actors have received Academy Award nominations for their work in Allen films: Allen himself (Best Actor, Annie Hall), Geraldine Page (Best Actress, Interiors), Martin Landau (Best Supporting Actor, Crimes and Misdemeanors), Chazz Palminteri (Best Supporting Actor, Bullets Over Broadway), Maureen Stapleton (Best Supporting Actress, Interiors), Mariel Hemingway (Best Supporting Actress, Manhattan), Judy Davis (Best Supporting Actress, Husbands and Wives), Jennifer Tilly (Best Supporting Actress, Bullets Over Broadway), Sean Penn (Best Actor, Sweet and Lowdown), and Samantha Morton (Best Supporting Actress, Sweet and Lowdown).
• He is the only person to have directed a single performer to win two separate Academy Awards for acting: Dianne Wiest for her performances in Hannah and Her Sisters and Bullets Over Broadway.

BAFTA

Allen has won a number of British Academy of Film and Television Arts awards and nominations for best picture, best director, best actor, and best screenplay. In 1997, he received the honorary BAFTA Fellowship for his work.

• 1978 ... Won ... Best Film ... Annie Hall
• 1978 ... Won ... Best Screenplay ... Annie Hall (with Marshall Brickman)
• 1978 ... Won ... Best Direction ... Annie Hall
• 1980 ... Won ... Best Film ... Manhattan
• 1980 ... Won ... Best Screenplay ... Manhattan (with Marshall Brickman)
• 1985 ... Won ... Best Screenplay ... Broadway Danny Rose
• 1986 ... Won ... Best Film ... The Purple Rose of Cairo
• 1986 ... Won ... Best Screenplay ... The Purple Rose of Cairo
• 1987 ... Won ... Best Screenplay ... Hannah and Her Sisters
• 1987 ... Won ... Best Direction ... Hannah and Her Sisters
• 1993 ... Won ... Best Screenplay ... Husbands and Wives
• Nominated for best film for Hannah and Her Sisters, Radio Days, Crimes and Misdemeanors.
• Nominated for best actor for Annie Hall, Manhattan, Hannah and Her Sisters.
• Nominated for best director for Manhattan, Crimes and Misdemeanors.
• Nominated for best screenplay for Zelig, Radio Days, Crimes and Misdemeanors, Bullets Over Broadway (with Douglas McGrath).

Title sequences

Most of Allen’s films since Annie Hall begin with the same style of title sequence, incorporating a series of black-and-white title cards in a vintage typeface (most often Windsor Light Condensed) reminiscent of Japanese director Yasujir? Ozu, set to a selection of jazz music occasionally heard later in the film (e.g., Radio Days). The cast is placed on one title card and listed in alphabetical order. There is a minor variation in Deconstructing Harry, where the titles are weaved in with a looped shot. Another exception is Manhattan, which opens with a series of black-and-white shots of the city set to Gershwin’s “Rhapsody In Blue”; the film’s title comes after the opening narration.

Although best known for his films, Allen has also enjoyed a very successful career in theater, starting as early as 1960 when Allen was writing sketches for the revue From A to Z. His first great success was Don't Drink the Water, which opened in 1968 and ran for 598 performances for almost two years on Broadway. His success continued with Play it Again, Sam, which opened in 1969, starring Allen and Diane Keaton. The show played for 453 performances and was nominated for three Tony Awards, although none of the nominations were for Allen’s writing or acting.

In the ‘70s, Allen wrote a number of one-act plays, most notably God and Death, which were published in his 1975 collection Without Feathers.

In 1981, Allen’s play The Floating Light Bulb opened on Broadway. The play was a critical success but a commercial flop. Despite two Tony Award nominations, a Tony win for the acting of Brian Backer (who also won the 1981 Theatre World Award and a Drama Desk Award for his work), the play only ran for 62 performances. As of January 2008, it is the last Allen work that ran on Broadway.

After a long hiatus from the stage, Allen returned to the theater in 1995 with the one-act Central Park West, an installment in an evening of theater known as Death Defying Acts that was also made up of new work by David Mamet and Elaine May.

For the next couple of years, Allen had no direct involvement with the stage, yet notable productions of his work were being staged. A production of God was staged at The Bank of Brazil Cultural Center in Rio de Janeiro, and theatrical adaptations of Allen’s films Bullets over Broadway and September were produced in Italy and France, respectively, without Allen’s involvement. In 1997, rumors of Allen returning to the theater to write a starring role for his wife Soon-Yi Previn turned out to be false.

In 2003, Allen finally returned to the stage with Writer’s Block, an evening of two one-acts — Old Saybrook and Riverside Drive — that played off-Broadway. The production marked the stage-directing debut for Allen. The production sold out its entire run.

Also that year, reports of Allen writing the book for a musical based on Bullets over Broadway surfaced, but no show ever formulated. In 2004, Allen’s first full-length play since 1981, A Second Hand Memory, was directed by Allen and enjoyed an extended run off-Broadway.

In June 2007, it was announced that Allen would make two more creative debuts in the theater, directing a work that he didn’t write and directing an opera — a re-interpretation of Puccini's Gianni Schicchi for the Los Angeles Opera — which debuted at the Dorothy Chandler Pavilion on September 6, 2008. Commenting on his direction of the opera, Allen said, “I have no idea what I’m doing.” His production of the opera opened the Festival of Two Worlds in Spoleto, Italy, in June 2009.

Harlene Rosen

At age 19, Allen married 16-year-old Harlene Rosen. The marriage lasted from 1954 to 1959. TIME stated that the years were "nettling" and "unsettling."

Rosen, whom Allen referred to in his standup act as “the Dread Mrs. Allen,” later sued Allen for defamation due to comments at a TV appearance shortly after their divorce. Allen tells a different story on his mid-1960s standup album Standup Comic. In his act, Allen said that Rosen sued him because of a joke he made in an interview. Rosen had been sexually assaulted outside her apartment and according to Allen, the newspapers reported that she “had been violated”. In the interview, Allen said, “Knowing my ex-wife, it probably wasn’t a moving violation”. In a later interview on The Dick Cavett Show, Allen brought the incident up again where he repeated his comments and stated that the amount that he was being sued for was “$1 million”.

Louise Lasser

Allen married Louise Lasser in 1966. They divorced in 1969 and Allen did not marry again until 1997. Lasser starred in three Allen films after the divorce — Take the Money and Run, Bananas, and Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) — and made a brief appearance in Stardust Memories.

Diane Keaton

In 1970, Allen cast Diane Keaton in his Broadway play Play It Again, Sam, which had a successful run. During it she became romantically involved and although Allen and Keaton broke up after a year, she continued to star in a number of his films, including Sleeper as a futuristic poet and Love and Death as a composite character based on the novels of Tolstoy and Dostoevsky. Annie Hall was very important in Allen and Keaton’s careers. It is said that the role was written especially for her as Diane Keaton’s given name is Diane Hall. She then starred in Interiors as a poet, followed by Manhattan. In 1987, she had a cameo as a night-club singer in Radio Days and was chosen to replace Mia Farrow in the co-starring role for Manhattan Murder Mystery after Allen and Farrow began having troubles with their personal and working relationship while making this film. Keaton has not worked with Allen since Manhattan Murder Mystery. Since the end of their romantic relationship, Keaton and Allen have remained close friends.

Stacey Nelkin

The film Manhattan is said to have been based on his romantic relationship with the actress Stacey Nelkin. Her bit part in Annie Hall ended up on the cutting room floor, and their relationship, though never publicly acknowledged by Allen, reportedly began when she was 17 years old and a student at New York’s Stuyvesant High School.

Mia Farrow

Around 1980, Allen began a 12-year relationship with actress Mia Farrow, who had leading roles in several of his movies from 1982 to 1992. Farrow and Allen never married but they adopted two children, Dylan Farrow (who changed her name to Eliza and is now known as Malone) and Moshe Farrow (now known as Moses); they also had one biological child, Satchel Farrow (now known as Ronan Seamus Farrow). Allen did not adopt any of Farrow’s other family, including Soon-Yi Farrow Previn (the adopted daughter of Farrow and André Previn, now known as Soon-Yi Previn). Allen and Farrow separated in 1992 after Farrow discovered nude photographs that Allen had taken of Soon-Yi. In her autobiography, What Falls Away (New York: Doubleday, 1997), Farrow says that Allen admitted to a relationship with Soon-Yi.

After Allen and Farrow separated, a long public legal battle for the custody of their three children began. During the proceedings, Farrow alleged that Allen had sexually molested their adopted daughter Dylan, who was then seven years old. The judge eventually concluded that the sex abuse charges were inconclusive but called Allen’s conduct with Soon-Yi “grossly inappropriate”. She called the report of the team that investigated the issue “sanitized and therefore, less credible” and added that she had “reservations about the reliability of the report”. Farrow won custody of their children. Allen was denied visitation rights with Malone and could see Ronan only under supervision. Moses, who was then 14, chose not to see Allen.

In a 2005 Vanity Fair interview, Allen estimated that, despite the scandal’s damage to his reputation, Farrow’s discovery of Allen’s attraction to Soon-Yi Previn by finding nude photographs of her was “just one of the fortuitous events, one of the great pieces of luck in my life. [...] It was a turning point for the better.” Of his relationship with Farrow, he said, “I’m sure there are things that I might have done differently. [...] Probably in retrospect I should have bowed out of that relationship much earlier than I did.”

Soon-Yi Previn

After ending his relationship from Farrow in 1992, Allen continued his relationship with Soon-Yi Previn. Even though Allen never married or lived with Farrow and was never Previn’s legal stepfather, the relationship between Allen and Previn has often been referred to as a father involved romantically with his stepdaughter since he had been perceived as being in Soon-Yi’s life in a father-like capacity. For example, in 1991, The New York Times described Allen’s family life by reporting, “Few married couples seem more married. They are constantly in touch with each other, and not many fathers spend as much time with their children as Allen does.” Despite assertions from Previn that Allen was never a father figure to her, the relationship became a scandal. At the time, Allen was 56 and Previn was 22. Asked whether their age difference was conducive to “a healthy, equal relationship,” Allen said equality is not necessarily a requirement in a relationship and said, “The heart wants what it wants. There’s no logic to those things. You meet someone and you fall in love and that’s that.”

Allen and Previn married on December 24, 1997, in the Palazzo Cavalli in Venice. The couple has adopted two daughters, naming them Bechet and Manzie after jazz musicians Sidney Bechet and Manzie Johnson.

Allen and Farrow’s biological son, Ronan Seamus Farrow, said of Allen: "He's my father married to my sister. That makes me his son and his brother-in-law. That is such a moral transgression. I cannot see him. I cannot have a relationship with my father and be morally consistent... I lived with all these adopted children, so they are my family. To say Soon-Yi was not my sister is an insult to all adopted children."

Allen is a passionate fan of jazz, which is often featured prominently in the soundtracks to his films. He began playing as a child and took his stage name from clarinetist Woody Herman. He has performed publicly at least since the late 1960s, notably with the Preservation Hall Jazz Band on the soundtrack of Sleeper. One of his earliest televised performances was on The Dick Cavett Show on October 20, 1971.

Woody Allen and his New Orleans Jazz Band play every Monday evening at Manhattan’s Carlyle Hotel, specializing in classic New Orleans jazz from the early twentieth century. The documentary film Wild Man Blues (directed by Barbara Kopple) documents a 1996 European tour by Allen and his band, as well as his relationship with Previn. The band has released two CDs: The Bunk Project (1993) and the soundtrack of Wild Man Blues (1997).

Allen and his band played the Montreal Jazz Festival on two consecutive nights in June 2008.

Apart from Wild Man Blues directed by Barbara Kopple, there are a number of other documentaries featuring Woody Allen, including the 2002 cable-television documentary Woody Allen: a Life in Film, directed by Time Magazine film critic Richard Schickel, which interlaces interviews of Allen with clips of his films, and Meetin' WA, a short interview of Allen by French director Jean-Luc Godard.

Waiting for Woody Allen is a 2004 short film, starring Modi Rosenfeld, parodying Samuel Beckett’s Waiting for Godot. From 1976 to 1984, Stuart Hample wrote and drew Inside Woody Allen, a comic strip based on Allen’s film persona. Central Park West Stories (Baldini Castoldi Dalai publisher, 2005) by Glauco Della Sciucca (Italian contributor to Columbia Journalism Review, The New Yorker, and The Jewish Week, since September 2003) are inspired by Allen. “Death of an Interior Decorator” is a song on Death Cab for Cutie’s album Transatlanticism that was inspired by Woody Allen’s Interiors. Andy Hull, singer and songwriter for Manchester Orchestra, cites Allen as his top musical inspiration, and has written several songs in observance including: “Alice and Interiors”, “Play it Again Sam! You Don’t Have Any Feathers”, “Golden Ticket”, and “Sleeper 1972”. In Love Creeps, a novel by Amanda Filipacchi, a group of birders in Central Park spot Woody Allen and Soon-Yi stepping out onto their balcony and get very excited, which torments a nearby group of recovering stalkers from Stalkaholics Anonymous, causing one of them to suddenly lose his sobriety by grabbing the binoculars from around the neck of a birder to stare at Woody Allen and Soon-Yi.

In 1998, the Spanish novel Yo-Yo Boing! by Giannina Braschi features a party scene in which Woody Allen fidgets and stammers while explaining literary classics and the films of Federico Fellini.

In 2003, Keith Black wrote, directed and starred in the award-winning film Get the Script to Woody Allen. The feature was about a neurotic young man who is obsessed with getting his script to Woody.

In 2010 the independent British romantic comedy Mancattan was released. The plot features directors Phil Drinkwater and Colin Warhurst playing fictional versions of themselves having travelled to New York from their native Manchester in order to make a documentary about Woody Allen and how his cinema has influenced them from the other side of the world.

While not making a case for direct influence or affinity while reviewing American Splendor inspired by/about graphic artist Harvey Pekar, columnist Jaime Wolf drew attention to formal parallels between the film and subject, on one hand, and Allen, Annie Hall, and other Allen films, on the other.

Allen spent at least 30 years undergoing psychoanalysis. Many of his films contain references to psychoanalysis. Even the film Antz, an animated feature in which Allen contributes the voice of lead character Z, opens with a classic piece of Allen analysis shtick.

Moment Magazine says, “It drove his self-absorbed work.” John Baxter, author of Woody Allen — A Biography, wrote, “Allen obviously found analysis stimulating, even exciting.”

Allen says he ended his psychoanalysis visits around the time he began his relationship with Previn. He says he still is claustrophobic and agoraphobic.

Allen frequently works with the same actors.

In addition to directing, writing, and acting in films, Allen has written and performed in a number of Broadway theater productions.

Published plays

• Don’t Drink the Water: A comedy in two acts (1967), ASIN B0006BSWBW
• Play It Again, Sam (1969), ISBN 0-394-40663-X
• A comedy in one act (1975), ISBN 0-573-62201-9
• The Floating Light Bulb (1981)
• Three One-Act Plays: Riverside Drive / Old Saybrook / Central Park West (2003), ISBN 0-8129-7244-9
• Writer’s Block: Two One-Act Plays (2005), ISBN 0-573-62630-8 (includes Riverside Drive and Old Saybrook)
• A Second Hand Memory: A drama in two acts (2005)
• The one-act plays God and Death are both included in Allen’s 1975 collection Without Feathers (see below).

Short stories

• Getting Even (1971), ISBN 0-394-47348-5
• Without Feathers (1975), ISBN 0-394-49743-0
• Side Effects (1980), ISBN 0-394-51104-2
• Mere Anarchy (2007), ISBN 978-1-4000-6641-4

Anthologies

• Complete Prose of Woody Allen (1992), ISBN 0-517-07229-7. (Collection of Allen’s short stories first published in Getting Even, Without Feathers and Side Effects.)
• The Insanity Defense: The Complete Prose. New York: Random House Trade Paperbacks, 2007, ISBN 978-0812978117.

Chapbook

• Lunatic’s Tale (1986), ISBN 1-55628-001-7 (Short story previously included in Side Effects.)