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Woody Allen has opened up about his relationship with wife Soon-Yi Previn, saying he was "paternal" when they first got together and initially never imagined their "fling" would turn into a long-term marriage.
Previn, 44, grew up alongside Allen, who lived and worked with Previn's adopted mom, Mia Farrow, in the '80s and early '90s. Allen, whose latest film, Irrational Man, was released earlier this month, also asserts that his films are not a reflection of his personal life.
He also does not believe that the controversy involving daughter Dylan, who claims he molested her as a child, has changed the way people view his work. Liev Schreiber and Katie Holmes, Plus Benedict Cumberbatch, Sutton Foster, Neil Patrick Harris & More! You can live to be a hundred if you give up all the things that make you want to live to be a hundred. George Torok helps individuals and organization grow by showing you how to out-think and out-communicate the competition.
Directors might change most of their crew with every film, but many famous helmers have worked with the same editor for years.
And since you're going to be stuck in a room with one person for several months, you might as well get along, and if their taste is similar to yours, so much the better. Alisa Lepster has been working with Woody Allen for over a decade, and in an interview at Indiewire she discusses working on his films. He doesn’t -- edit the film until he’s shot the whole thing -- Most directors have the editor doing a rough cut as they’re shooting, because they don’t have the time to omit that step. It's partly a testament to Allen's power to make the movies he wants, and also to his low-key style of filmmaking, that he can afford to work this way. Most people, including me, picture Woody Allen hunched over a Steenbeck or Movieola, grease pencil in his mouth as he searches for the right frame.
Nobody’s ever convinced him that he’d be better off shooting digitally, because the kinds of films that he makes really wouldn’t warrant that switch just yet. This is a great interview, and it's always fascinating to hear from editors, and learn how they work.
Woody does have a good, perhaps even perfect, taste in cinematographers - Szigmond, Willis, Zhao, Carlo di Palma, et al.

I've got to say that as a "film"maker who has learned in the digital DSLR-era, I feel like there is an extremely large gap existing in my education due to lack of experience with real film.
Woody Allen may not have a choice soon as to whether or not he's shooting on film or digital? Get your FREE copy of the eBook called "astonishingly detailed and useful" by Filmmaker Magazine! It's 100+ pages on what you need to know to make beautiful, inexpensive movies using a DSLR. Allen's relationship with Farrow infamously fell apart when Farrow discovered intimate pictures of Previn in Allen's possession.
He is the host of the weekly radio show, Business in Motion, where he has interviewed hundreds of business and community leaders. Which isn't to say that the cutting in a Woody Allen film isn't excellent, it's just not something that calls attention to itself, except for rare occasions like the beautiful black and white shots that open Manhattan. And it's his unobtrusive cutting style that has helped subtly define his films, with simple switches from a single to an over the shoulder changing the emotional tone of a dialogue scene without the audience even noticing. Martin Scorsese has worked with Thelma Schoonmaker for decades, and Quentin Tarantino'slong-time editor Sally Menke died tragically just three years ago. It's also interesting to note that so many top film editors are women (Allen's previous editor, Susan E. Since Allen almost never discusses technique (or anything) publicly, this is a rare glimpse at the working methods of the legendary filmmaker.
Woody has a lot more freedom to work at his own pace -- He comes in and we review all the material, and start cutting from the beginning, from scene one, sequentially, which is also very helpful, because you understand what the tone is as you’re going along. But it’s a luxury that most people don’t have. Most of the time, marketing schedules dictate much of how a Hollywood movie is put through post, and on a blockbuster you can find teams of editors working around the clock. Some films are put together very easily and others are more problematic, and we’ll just take as much time as we need. The cinematographers he’s worked with lately really do still enjoy working with film given the chance. The Cutting Begins" by Ralph Rosenblum, who edited 6 of Woody Allen's films, on actual film. Torok consults, writes and delivers presentations to companies and associations across North America.

Morse, worked as an Associate Editor with Schoonmaker on Raging Bull), who are usually underrepresented behind the camera.
Or is editing, removed from the traditionally macho world of the set, one of the places where women were able to quietly make inroads? She was getting dailies throughout the shooting process and putting together the rough assembly while we were shooting. I went into a typewriter store (go figure, a store that only sells typewriters) a couple years ago and the owner said that two types of people buy the typewriters -- writers and artists. Do you think it would help your process, or are you the type who loves to jump around, using all the freedom NLE systems afford?
There is some wonderful footage of him working with his actors and talking about all aspects of his filmmaking process.
This was very valuable because she was able to weigh in on which scenes were working and not working and show me why. Personally, I would be extremely wary of any DP who didn't express some sort of excitement over the opportunity to shoot film. Yes we have some deadlines, we have a mix time set up, etc -- so it’s not like we have no schedule at all, but there’s never a difficulty in getting our actual cut together.
I just had to explain to him why I thought he’d really benefit from working on the AVID [digital editing system], and he said ok, we’ll give it a try. We picked up a few things (admittedly, a lot of it was b-roll type stuff) to help certain scenes along that weren't cutting quite as I'd envisioned.
It also meant that the rough assembly was ready that much quicker after we finished shooting.
I can appreciate why Allen prefers to work in the way he does, but I like getting a chance to see the whole film, even in a very rough state, before beginning to edit in earnest. It also means that we have a better chance at reaching our goals from a scheduling point of view.

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