Atlantic City (1980 film)
Atlantic City is a 1980 French-Canadian romantic crime film directed by Louis Malle. Filmed in late 1979, it was released in France and Germany in 1980 and in the United States in 1981; the script was written by John Guare. It stars Burt Lancaster, Susan Sarandon, Kate Reid, Robert Joy, Hollis McLaren, Michel Piccoli, Al Waxman. Atlantic City was released on December 1980 by Paramount Pictures, it received critical acclaim and was nominated for the Big FiveAcademy Awards: Best Picture, Best Director, Best Actor, Best Actress, Best Original Screenplay, but didn't win in any category. Despite this it was a box office disappointment, grossing 12.7 million against its $7.2 million budget. Sally is a young waitress in an Atlantic City casino who has dreams of becoming a blackjack dealer in Monte Carlo. Sally's estranged husband Dave returns to her one day with the intention of selling a large amount of cocaine that he had stolen in Philadelphia and meets Lou, an aging former gangster who lives in Sally's apartment building and runs a numbers game in poor areas of the city.
Dave convinces Lou to sell the cocaine for him, but as Lou sells the first batch, Dave is attacked and killed by the mobsters from whom he had stolen the drugs. Lou is left with the remaining cocaine and continues to sell to impress Sally, whom he has long pined for, with money. Sally and Lou make love one day, they leave. Sally is fired from the casino. Lou sells most of the remainder of the cocaine, while both Sally and the mobsters discover Lou's affiliation with Dave; the mobsters are killed when Lou produces a gun and shoots them. He and Sally steal their car and leave the city; that night, from a motel outside Atlantic City, they watch the TV news reporting on the killing. A police sketch of the suspect is shown, it looks nothing like Lou. Lou is overjoyed with pride, he confesses to Sally that this was the first time he had killed anyone. At the motel the next morning, Lou takes the phone to the bathroom to call Grace and brag about the killings. Sally wakes and takes half of the money with the intention of sneaking off.
Lou returns to Atlantic City to be with Grace. Working together, they sell the remaining portion of the cocaine, walk off arm in arm with renewed respect for each other; the film features a cameo by Wallace Shawn as a waiter in a restaurant. Atlantic City was filmed on location in and around Atlantic City and South Jersey and New York. Although filmed in the United States, the film was a co-production between companies based in France and Canada. Aside from Burt Lancaster, Susan Sarandon, local extras, most of the cast originated from Canada or France; the film allowed Canadian actors such as Kate Reid and Al Waxman to transition into American film and television roles. The production companies allotted Louis Malle the money to make a film with the stipulation that it be made before the year 1979 ended. Malle had a difficult time finding the right script to direct and with time running out his girlfriend Susan Sarandon suggested using a story written by her friend John Guare, a playwright most notable for his plays House of Blue Leaves and Six Degrees of Separation.
Guare suggested that the story take place in Atlantic City, still for the most part suffering from the urban deterioration that prompted the legalization of gambling as a solution to save the city. The three met over dinner in early 1979 to work out quirks in the script and began shooting within a few months. Principal photography commenced on October 31, 1979 and moved swiftly along finishing by December 30, 1979 just in time for the end of the year. Malle filmed at an opportune time in that he was able to capture old Atlantic City: gambling was still in its early stages there, with only two casino hotels open. Most of the city's old resorts and entertainment piers were still standing, albeit in a severe state of disrepair. Within a couple of years of the filming, most of these old hotels would fall victim to the wrecking ball as they were replaced with new casinos. To frame the picture, Malle foreshadows the great transition of the famous resort town in the opening credits by featuring footage of the implosion of the once-grand and historic Traymore Hotel on the Atlantic City Boardwalk.
Louis Malle hired composer Michel Legrand to write a score for the film. In the end, Malle decided against using a score for the film, opted for all the music in the film to be diegetic: the only music used is that which exists in the world of the characters; the music that Susan Sarandon's character plays from her tape player is the aria "Casta Diva" from Vincenzo Bellini's opera Norma. The opening shot of the old Traymore Hotel being demolished is shown to convey the notion that the city's old hotels were being demolished to make way for the new casinos. However, the Traymore was in fact demolished in 1972, years before the ga
Tootsie is a 1982 American comedy film directed by Sydney Pollack and starring Dustin Hoffman, with a supporting cast that includes Jessica Lange, Teri Garr, Dabney Coleman, Bill Murray, Charles Durning, George Gaynes, Geena Davis, Doris Belack and Pollack. The film tells the story of a talented but volatile actor whose reputation for being difficult forces him to adopt a new identity as a woman in order to land a job; the film was adapted by Larry Gelbart, Barry Levinson, Elaine May, Murray Schisgal from a story by Gelbart and Don McGuire. The film was a major critical and financial success, the second most profitable film of 1982, was nominated for ten Academy Awards including Best Picture. Lange was the only winner, for Best Supporting Actress. In 1998, the Library of Congress deemed the film "culturally or aesthetically significant" and selected it for preservation in the National Film Registry; the theme song, "It Might Be You", was performed by Stephen Bishop, with music by Dave Grusin and lyrics by Alan and Marilyn Bergman.
It hit No. 1 on the adult contemporary chart. Michael Dorsey is a respected actor, but nobody in New York wants to hire him because he is a perfectionist and difficult to work with. After many months without a job, Michael hears of an opening on the popular daytime soap opera Southwest General from his friend and acting student Sandy Lester, who tries out for the role of hospital administrator Emily Kimberly. In desperation, he impersonates a woman, auditioning as "Dorothy Michaels", gets the part. Michael takes the job as a way to raise $8,000 to produce a play, written by his roommate Jeff Slater, which will star himself and Sandy. Michael plays his character as a feisty feminist, which surprises the other actors and the crew, who expected Emily to be another swooning female, his character becomes a national sensation. When Sandy catches Michael in her bedroom half undressed because he wants to try on her clothes in order to get more ideas for Dorothy's wardrobe, he covers up by claiming he wants to have sex with her.
Exacerbating matters further, he is attracted to one of his co-stars, Julie Nichols, a single mother in an unhealthy relationship with the show's amoral, sexist director, Ron Carlisle. At a party, when Michael approaches Julie with a pick-up line that she had told Dorothy she would be receptive to, she throws a drink in his face; as Dorothy, when he makes tentative advances, Julie—having just ended her relationship with Ron per Dorothy's advice—makes it known that she is not a lesbian. Meanwhile, Dorothy has her own admirers to contend with: older cast member John Van Horn and Julie's widowed father Les. Les proposes marriage; when Michael returns home, he finds John, who forces himself on Dorothy until Jeff walks in on them. Sandy visits Michael, asking why he hasn't answered her calls. Michael admits he's in love with another woman, Sandy screams and breaks up with him; the tipping point comes when, due to Dorothy's popularity, the show's producers want to extend her contract for another year.
Michael finds a clever way to extricate himself. When the cast is forced by a technical problem to perform an episode live, he improvises a grand speech on camera, pulls off his wig and reveals that he is Edward, the character's twin brother who took her place to avenge her; the revelation allows everybody a more-or-less graceful way out. Julie, however, is so outraged that she punches him in the stomach once the cameras have stopped rolling, before storming off; some weeks Michael is moving forward with producing Jeff's play. He gives Les back his ring, Les tells Michael: "The only reason you're still living is because I never kissed you." Michael waits for Julie outside the studio. She is reluctant to talk to him, but admits she misses Dorothy. Michael tells her, "I was a better man with you as a woman than I was with a woman as a man." She forgives they walk down the street. Dustin Hoffman as Michael Dorsey/Dorothy Michaels Jessica Lange as Julie Nichols Teri Garr as Sandra "Sandy" Lester Dabney Coleman as Ron Carlisle Charles Durning as Leslie "Les" Nichols Bill Murray as Jeff Slater Sydney Pollack as George Fields, Michael's agent George Gaynes as John Van Horn Geena Davis as April Page Doris Belack as Rita Marshall Ellen Foley as Jacqui Ronald L. Schwary as Phil Weintraub Lynne Thigpen as Jo Debra Mooney as Actress Anne Shropshire as Mrs. Crawley Amy Lawrence as Amy Kenny Sinclair as Boy Estelle Getty as Middle-Aged Woman Christine Ebersole as Linda Willy Switkes as The Man at the Taxi-Cab Tony Craig as Joel Spector Tobin Bell as The Waiter Gene Shalit and Andy Warhol appeared in uncredited cameos as themselves In the 1970s, fashion company executive Charles Evans decided to get into movie-making.
It was an industry which his brother, Robert Evans, was successful in as an actor and studio executive. Evans told the Los Angeles Times in 1995 that he got into producing "because I enjoy movies much. I have the time to do it, and I believe if done wisely, it can be a profitable business." His first foray into film production was a massive success. Playwright Don McGuire had written a play in the early 1970s about an unemployed male actor who cross-dresses in order to get jobs. Titled Would I Lie to You?, the play was shopped around Hollywood for several years until it came to the attention of comedian and actor Buddy Hackett in 1978. Hackett, interested in playing the role of the talent agent, showed the script to Evans. Evans purchased an option on th
Gus Van Sant
Gus Green Van Sant Jr. is an American film director, painter, photographer and author who has earned acclaim as both an independent and mainstream filmmaker. His films deal with themes of marginalized subcultures, in particular homosexuality. Van Sant's early career was devoted to directing television commercials in the Pacific Northwest, he made his feature-length cinematic directorial debut with Mala Noche. His second feature Drugstore Cowboy was acclaimed, earned Van Sant screenwriting awards from the Los Angeles Film Critics Association and New York Film Critics Circle and the award for Best Director from the National Society of Film Critics, his following film, My Own Private Idaho, was praised, as was the black comedy To Die For, the drama Good Will Hunting, the biographical film Milk. In 2003, Van Sant's film about the Columbine High School massacre, won the Palme d'Or at the Cannes Film Festival. Van Sant received the festival's Best Director Award that same year, making him one of only two filmmakers—the other being Joel Coen—to win both accolades at the festival in the same year.
Though most of Van Sant's other films received favourable reviews, such as Finding Forrester and Paranoid Park, some of his efforts, such as the art house production Last Days and the environmental drama Promised Land, have received more mixed reviews from critics, while his adaptation of Tom Robbins's Even Cowgirls Get the Blues, his 1998 remake of Alfred Hitchcock's Psycho, The Sea of Trees, were critical and commercial failures. In addition to directing, Van Sant has written the screenplays for several of his earlier works, is the author of a novel entitled Pink. A book of his photography, called 108 Portraits, has been published, he has released two musical albums, he is gay and lives in Los Feliz, California. Van Sant was born and raised in Louisville, the son of Betty and Gus Green Van Sant Sr; as a result of his father's job, the family moved continually during Van Sant's childhood. His paternal family is of partial Dutch origin; the earliest Van Zandt arrived in the New Netherland area in the early 17th century, around what is now New York City.
Van Sant is an alumnus of Darien High School in Darien and The Catlin Gabel School in Portland, Oregon. One constant in the director's early years was his interest in visual arts. Van Sant's artistic leanings took him to the Rhode Island School of Design in 1970, where his introduction to various avant-garde directors inspired him to change his major from painting to cinema. After spending time in Europe, Van Sant went to Los Angeles in 1976, he secured a job as a production assistant to filmmaker Ken Shapiro, with whom he developed a few ideas, none of which came to fruition. In 1981, Van Sant made Alice in Hollywood, a film about a naïve young actress who goes to Hollywood and abandons her ideals, it was never released. During this period, Van Sant began to spend time observing the denizens of the more down-and-out sections of Hollywood Boulevard, he became fascinated by the existence of this marginalized section of L. A.'s population in context with the more ordinary, prosperous world that surrounded them.
Van Sant would focus his work on those existing on society's fringes, making his feature film directorial debut Mala Noche. It was made, he saved $20,000 during his tenure there, enabling him to finance the majority of his tale of doomed love between a gay liquor store clerk and a Mexican immigrant. The film, taken from Portland street writer Walt Curtis' semi-autobiographical novella, featured some of the director's hallmarks, notably an unfulfilled romanticism, a dry sense of the absurd, the refusal to treat homosexuality as something deserving of judgment. Unlike many gay filmmakers, Van Sant—who had long been gay—declined to use same-sex relationships as fodder for overtly political statements, although such relationships would appear in his films. Shot in black-and-white, the film earned Van Sant overnight acclaim on the festival circuit, with the Los Angeles Times naming it the year's best independent film; the film's success attracted Hollywood interest, Van Sant was courted by Universal.
Van Sant moved back to Portland, where he set up house and began giving life to the ideas rejected by Universal. He directed Drugstore Cowboy about four drug addicts; the film revived the career of Matt Dillon. Drugstore Cowboy's exploration of the lives of those living on society's outer fringes, as well as its Portland setting, were mirrored in Van Sant's next effort, the acclaimed My Own Private Idaho (1
Network (1976 film)
Network is a 1976 American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, about a fictional television network, UBS, its struggle with poor ratings. The film stars Faye Dunaway, William Holden, Peter Finch, Robert Duvall and features Wesley Addy, Ned Beatty, Beatrice Straight; the film won four Academy Awards, in the categories of Best Actor, Best Actress, Best Supporting Actress, Best Original Screenplay. In 2000, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant". In 2002, it was inducted into the Producers Guild of America Hall of Fame as a film that has "set an enduring standard for American entertainment". In 2005, the two Writers Guilds of America voted Chayefsky's script one of the 10 greatest screenplays in the history of cinema. In 2007, the film was 64th among the 100 greatest American films as chosen by the American Film Institute, a ranking higher than the one AFI had given it ten years earlier.
Howard Beale, the longtime anchor of the Union Broadcasting System's UBS Evening News, learns from friend and news division president Max Schumacher that he has just two more weeks on the air because of declining ratings. The two get lament the state of their industry; the following night, Beale announces on live television that he will commit suicide on next Tuesday's broadcast. UBS fires him after this incident, but Schumacher intervenes so that Beale can have a dignified farewell. Beale promises he will apologize for his outburst, but once on the air, he launches back into a rant claiming that life is "bullshit." Beale's outburst causes the newscast's ratings to spike, much to Schumacher's dismay, the upper echelons of UBS decide to exploit Beale's antics rather than pull him off the air. When Beale's ratings seem to have topped out, Diana Christensen, who heads the network's programming department, approaches Schumacher and offers to help him "develop" the news show, he says no to the professional offer, but she makes a personal offer and the two begin an affair.
Christensen, seeking just one hit show, cuts a deal with a band of terrorists called the Ecumenical Liberation Army for a new docudrama series called The Mao Tse-Tung Hour for the upcoming fall season. When Schumacher decides to end Beale's "angry man" format, Christensen convinces her boss, Frank Hackett, to slot the evening news show under the entertainment programming division so she can develop it. Hackett agrees, bullying the UBS executives to fire Schumacher. In one impassioned diatribe, Beale galvanizes the nation, persuading his viewers to shout out of their windows "I'm as mad as hell, I'm not going to take this anymore!" Soon afterward, Beale is hosting a new program called The Howard Beale Show, top-billed as "the mad prophet of the airwaves". The show becomes the most rated program on television, Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants Beale's signature catchphrase en masse: "We're as mad as hell, we're not going to take this anymore."
At first and Diana's romance withers as the show flourishes, but in the flush of high ratings, the two find their way back together, Schumacher leaves his wife of over 25 years for Christensen. When Beale discovers that Communications Corporation of America, the conglomerate that owns UBS, will be bought out by an larger Saudi Arabian conglomerate, he launches an on-screen tirade against the deal, encouraging viewers to send telegrams to the White House telling them, "I want the CCA deal stopped now!" This throws the top network brass into a state of panic because the company's debt load has made the merger essential for its survival. Hackett takes Beale to meet with CCA chairman Arthur Jensen, who explicates his own "corporate cosmology" to Beale, describing the interrelatedness of the participants in the international economy and the illusory nature of nationality distinctions. Christensen's fanatical devotion to her job and emotional emptiness drive Max back to try returning to his wife though he doesn't think she'll agree, he warns his former lover that she will self-destruct at the pace she is running with her career.
"You are television incarnate, Diana," he tells her, "insensitive to joy. All of life is reduced to the common rubble of banality." Jensen persuades Beale to abandon the populist messages and preach his new "evangel". However, television audiences find his new sermons on the dehumanization of society depressing, ratings begin to slide, yet Jensen will not allow UBS executives to fire Beale. Seeing its two-for-the-price-of-one value—solving the Beale problem plus sparking a boost in season-opener ratings—Christensen and the other executives decide to hire the ELA to assassinate Beale on the air; the assassination succeeds, putting an end to The Howard Beale Show and kicking off a second season of The Mao Tse-Tung Hour. As various news reports cover Beale's death, a voiceover proclaims the film "the story of Howard Beale, the first known instance of a man, killed because he had lousy ratings." Part of the inspiration for Chayefsky's script came from the on-air suicide of television news reporter Christine Chubbuck in Sarasota, Florida two years earlier.
The anchorwoman was suffering from depression and battles with her editors, unable to keep going, she shot herself on camera as stunned viewers watched on July 15, 1974. Chayefsky used the incident to set up his film's focal point; as he would say in an interview, "Television will do anything for a rating... anything!" However, Dave Itzkoff's book Mad
James Toback is an American screenwriter and film director. He was nominated for the Academy Award for Best Original Screenplay in 1991 for Bugsy, he has directed films including Two Girls and a Guy and Black and White. On October 22, 2017, the Los Angeles Times reported that 38 women have accused Toback of sexual harassment or assault. Since the article was published, 357 additional women contacted Los Angeles Times and said that Toback had sexually harassed them; the accounts stretch over a 40-year period. Toback has denied all the allegations. Toback was born to a Jewish family in New York City, his mother, Selma Judith, was a president of the League of Women Voters and a moderator of political debates on NBC. His father, Irwin Lionel Toback, was a stockbroker and former vice president of Company, he graduated from The Fieldston School in 1963 and from Harvard College, magna cum laude, in 1966. While attending Harvard College, Toback took what he claims to be the largest single dose of LSD in history.
He remained under the influence of the drug for eight days before being administered an "antidote" by neuropsychiatrist Max Rinkel. According to Toback, he lost all fear of death due to this experience. After graduating from Harvard, Toback worked as a journalist. An assignment from Esquire on football player Jim Brown led to him living in Brown's house for a period of a couple years, where both Toback and Brown claim to have engaged in orgies with several women, it was after Toback grew tired of his hedonistic lifestyle in Brown's house that he came to the decision to make movies for a living. Toback wrote a book about his experiences with Brown entitled Jim: The Author's Self-Centered Memoir of the Great Jim Brown. In the early 1970s Toback taught creative writing at the City College of New York, he drew on this experience. In 1974, Toback's screenplay The Gambler was produced. Much of the film was shot at City College, his directorial début was the 1978 film Fingers, remade 28 years by Jacques Audiard as The Beat That My Heart Skipped.
Toback followed Fingers with Love and Money in 1982. Toback wrote and directed Exposed in 1983. Toback wrote the original screenplay for Bugsy, which won the Golden Globe for Best Picture and was nominated for ten Academy Awards including Best Original Screenplay. Toback won the Los Angeles Film Critics' Award for Best Original Screenplay and a similar award from the readers of Premiere Magazine. In 1997, Toback wrote and directed the comedy Two Girls and a Guy, in 1999, he wrote and directed Black and White in collaboration with members of Wu-Tang Clan, he wrote and directed Harvard Man starring Adrian Grenier in 2001. In 2004, Toback wrote and directed When Will I Be Loved and in 2008, Toback directed Tyson, a documentary about boxer Mike Tyson. In an August 2011 interview, Toback gave the story of the autobiographical background and development of The Gambler, criticized the idea of the film being remade. Toback teamed with Alec Baldwin in 2013 to create and release a full-length movie called Seduced and Abandoned, which features a look into how movies are financed.
Toback referred to the documentary style film as a cinematic romp. The HBO film shows Toback and Baldwin at the 2012 Cannes Film Festival searching for funding for a movie. Toback's The Private Life of a Modern Woman, starring Sienna Miller, premiered at the 2017 Venice Film Festival. Toback has been accused of sexually harassing young women. An article in a 1989 issue of Spy magazine detailed how Toback would "hang out on the streets of the Upper West Side in New York City, approach women. According to the story, he would in rapid-fire fashion tell them that he was a Hollywood director and offer to show them his Directors Guild of America card; the pitch invariably ended up with an invite to meet privately—sometimes at an outlandishly late hour—to talk about appearing in one of his films". In 2008 and 2015 Gawker articles described Toback as a "pick-up artist". On October 22, 2017, the Los Angeles Times reported that 38 women have accused Toback of sexual harassment or assault. Toback denied these allegations, saying he had not met the women, or that if he had, it "was for five minutes" about which he had "no recollection".
The alleged harassment occurred at meetings framed as interviews or casting auditions in places such as hotel rooms, movie trailers, or a public park where Toback asked questions pertaining to the women's sex lives and rubbed his crotch on them or masturbated. Accusers include actresses Rachel McAdams, Selma Blair, Terri Conn, Caterina Scorsone, Julianne Moore, musician Louise Post. Toback claimed he was taking medication at the time of the alleged assaults that made it "biologically impossible" for the alleged actions to occur. In January 2018, Los Angeles Times journalist Glenn Whipp reported that since the Times published its article in October 2017, 395 women contacted the newspaper and said that Toback had sexually harassed them; the accounts stretch over a 40-year period. Toback has denied all these allegations as well; as of January 2018 Toback has been accused by at least 38 women. In April, 2018, Los Angeles County prosecutors declared they would not be pressing any charges against Toback.
In one case the victim did not turn up for an interview, the rest were beyond the statute of limitations. Two of the declined cases involved three involved felonies. Toback was married for one year to Consuelo Sarah Churchill Vanderbilt Russell, the granddaughter of John Spencer-Churchill, 10th Duke of Marlborough, he is married to Stephanie Kempf, with whom he has one son. The Gambler –
James L. Brooks
James Lawrence Brooks is an American director and screenwriter. While growing up in North Bergen, New Jersey, Brooks endured a fractured family life and passed the time by reading and writing. After dropping out of New York University, he got a job as an usher at CBS, going on to write for the CBS News broadcasts, he moved to Los Angeles in 1965 to work on David L. Wolper's documentaries. After being laid off he met producer Allan Burns who secured him a job as a writer on the series My Mother the Car. Brooks wrote for several shows before being hired as a story editor on My Friend Tony and created the series Room 222. Grant Tinker hired Brooks and Burns at MTM Productions to create The Mary Tyler Moore Show in 1970; the show, one of the first to feature an independent working woman as its lead character, was critically acclaimed and won Brooks several Primetime Emmy Awards. Brooks and Burns created two successful spin-offs from Mary Tyler Moore: Rhoda and Lou Grant. Brooks left MTM Productions in 1978 to co-create the sitcom Taxi which, despite winning multiple Emmys, suffered from low ratings and was canceled twice.
Brooks moved into feature film work when he co-produced the 1979 film Starting Over. His next project was the critically acclaimed film Terms of Endearment, which he produced and wrote, winning an Academy Award for all three roles. Basing his next film, Broadcast News, on his journalistic experiences, the film earned him a further two Academy Award nominations. Although his 1994 work I'll Do Anything was hampered by negative press attention due to the cutting of all of its recorded musical numbers, As Good as It Gets earned further praise, it was seven years until 2004's Spanglish. His sixth film, How Do You Know, was released in 2010. Brooks produced and mentored Cameron Crowe on Say Anything... and Wes Anderson and Owen Wilson on Bottle Rocket. In 1984, Brooks founded Gracie Films. Although he did not intend to do so, Brooks returned to television in 1987 as the producer of The Tracey Ullman Show, he hired cartoonist Matt Groening to create a series of shorts for the show, which led to The Simpsons in 1989.
The Simpsons is still running. Brooks co-produced and co-wrote the 2007 film adaptation of the show, The Simpsons Movie. In total, Brooks has received 47 Emmy nominations. James Lawrence Brooks was born on May 9, 1940 in Brooklyn, New York, United States, raised in North Bergen, New Jersey, his parents, Dorothy Helen and Edward M. Brooks, were both salespeople; the Brooks family was Jewish. Brooks' father abandoned his mother when he found out she was pregnant with him, lost contact with his son when Brooks was twelve. During the pregnancy, Brooks' father sent his wife a postcard stating that "If it's a boy, name him Jim." His mother died when he was 22. He has described his early life as "tough" with a "broken home and sort of lonely, that sort of stuff" adding: "My father was sort of in-and-out and my mother worked long hours, so there was no choice but for me to be alone in the apartment a lot." He has an older sister, who helped look after him as a child and to whom he dedicated As Good as It Gets.
Brooks spent much of his childhood "surviving" and reading numerous comedic and scripted works, as well as writing. Brooks was not a high achiever, he was on his high school newspaper team and secured interviews with celebrities, including Louis Armstrong. He lists some of his influences as Sid Caesar, Jack Benny, Lenny Bruce, Mike Nichols and Elaine May, as well as writers Paddy Chayefsky and F. Scott Fitzgerald. In 1987, the Chicago Sun-Times described Brooks' career as "a non-stop crescendo." Although he dropped out of a New York University public relations course, Brooks' sister got him a job as a host at CBS in New York City, a job requiring a college education, as she was friends with a secretary there. He held it for two and a half years. For two weeks he filled in as a copywriter for CBS News and was given the job permanently when the original employee never returned. Brooks went on to become a writer for the news broadcasts, joining the Writers Guild of America and writing reports on events such as the assassination of President Kennedy.
He moved to Los Angeles in 1965, to write for documentaries being produced by David L. Wolper, something he "still quite figured out how got the guts to do," as his job at CBS was secure and well-paid, he worked as an associate producer on series such as Men in Crisis, but after six months he was laid off as the company was trying to cut back on expenses. Brooks did work for Wolper's company again, including on a National Geographic insect special. Failing to find another job at a news agency, he met producer Allan Burns at a party. Burns got him a job on My Mother the Car where he was hired to rewrite a script after pitching some story ideas. Brooks went on to write episodes of That Girl, The Andy Griffith Show and My Three Sons before Sheldon Leonard hired him as a story editor on My Friend Tony. In 1969 he created for ABC the series Room 222, which lasted until 1974. Room 222 was the second series in American history to feature a black lead character, in this case high school teacher Pete Dixon played by Lloyd Haynes.
The network felt the show
Heywood "Woody" Allen is an American director, writer and comedian whose career spans more than six decades. He began his career as a comedy writer in the 1950s, writing jokes and scripts for television and publishing several books of short humor pieces. In the early 1960s, Allen began performing as a stand-up comedian, emphasizing monologues rather than traditional jokes; as a comedian, he developed the persona of an insecure, fretful nebbish, which he maintains is quite different from his real-life personality. In 2004, Comedy Central ranked Allen fourth on a list of the 100 greatest stand-up comedians, while a UK survey ranked Allen as the third-greatest comedian. By the mid-1960s, Allen was writing and directing films, first specializing in slapstick comedies before moving into dramatic material influenced by European art cinema during the 1970s, alternating between comedies and dramas to the present, he is identified as part of the New Hollywood wave of filmmakers of the mid-1960s to late 1970s.
Allen stars in his films in the persona he developed as a standup. Some of the best-known of his over 50 films are Annie Hall, Manhattan and Her Sisters, Crimes and Misdemeanors. In 2007 he said Stardust Memories, The Purple Rose of Cairo, Match Point were his best films. Critic Roger Ebert described Allen as "a treasure of the cinema". Allen has received many honors throughout his career, he has won four Academy Awards: three for one for Best Director. He garnered nine British Academy Film Awards, his screenplay for Annie Hall was named the funniest screenplay by the Writers Guild of America in its list of the "101 Funniest Screenplays". In 2011, PBS televised the film biography Woody Allen: A Documentary on the American Masters TV series. In 1992 Dylan Farrow accused Allen of molesting her, an accusation he has denied; the accusation gained new life with the rise of the Me Too movement. In 2019 Amazon canceled the release of his film A Rainy Day in New York, filmed in 2017. Allen is suing Amazon for breach of contract for $68 million.
He is shooting a film in Spain. Allen was born Allan Stewart Konigsberg in the Brooklyn borough of New York City, he and his sister, were raised in Midwood, Brooklyn. He is the son of Nettie, a bookkeeper at her family's delicatessen, Martin Konigsberg, a jewelry engraver and waiter, his family was Jewish, his grandparents immigrated to the US from Russia and Austria and spoke Yiddish and German. Both of Allen's parents were raised on the Lower East Side of Manhattan, his childhood was not happy. Allen spoke German quite a bit in his early years, he would joke that when he was young he was sent to inter-faith summer camps. While attending Hebrew school for eight years, he went to Public School 99 and to Midwood High School, where he graduated in 1953. Unlike his comic persona, he was more interested in baseball than school and his strong arms ensured he was first to be picked for a team, he impressed students with his extraordinary talent with magic tricks. For pay, he wrote jokes for agent David O. Alber.
At the age of 17, he changed his name to Heywood Allen and began to call himself Woody Allen. 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 was earning more. After high school, he attended New York University, studying communication and film in 1953, before dropping out after failing the course "Motion Picture Production", he left before the end of the first semester. He taught himself rather than studying in the classroom, he taught at The New School and studied with writing teacher Lajos Egri.p.74 Allen began writing short jokes when he was 15, the following year began sending them to various Broadway writers to see if they'd be interested in buying any. He began going by the name "Woody Allen". One of those writers was Abe Burrows, coauthor of Guys and Dolls, who wrote, "Wow! His stuff was dazzling." Burrows wrote Allen letters of introduction to Sid Caesar, Phil Silvers, Peter Lind Hayes, who sent Allen a check for just the jokes Burrows included as samples.
As a result of the jokes Allen mailed to various writers, he was invited age 19, to join the NBC Writer's Development Program in 1955, followed by a job on The NBC Comedy Hour in Los Angeles. He was hired as a full-time writer for humorist Herb Shriner earning $25 a week, he began writing scripts for The Ed Sullivan Show, The Tonight Show, specials for Sid Caesar post-Caesar's Hour, other television shows.p.111 By the time he was working for Caesar, he was earning $1,500 a week. He worked alongside Mel Brooks, Carl Reiner, Larry Gelbart, Neil Simon, he worked with Danny Simon, whom Allen credits for helping form his writing style. In 1962 alone he estimated. Allen wrote for the Candid Camera television show, appeared in some episodes, he wrote jokes for the Buddy Hackett sitcom Stanley and for The Pat Boone Chevy Showroom, in 1958 he co-wrote a few Sid Caesar specials with Larry Gelbart. After writing for many of television's leading comedians and comedy shows, All