She lights up the set when she comes on the crew loves her. There are certain people I’ve worked with over the years – Diane Keaton was one – who were just hit with the talent stick and had it all. She’s got range dramatically powerful, and funny when you need her to be funny. She just lucked out in life she’s beautiful, sexy, very bright, funny, nice, quick-minded, easy to work with. It’s like I hit the lottery or something. Whether an audience will get pleasure out of seeing it, I can only hope." It’s a type of film that I myself get pleasure out of watching, and pleasure out of doing. But there’s nothing I could do about that this was a comic film, and I wanted to keep it light – even broad, in spots. You know, when you’re making one that’s comic, you can’t really be as effective as when you’re doing it seriously. I liked the Thin Man films when I used to see them as a younger person, and certain Bob Hope murder mysteries that I would see when I was younger, and of course the many non-comic suspense pictures…from Hitchcock all the way down to other good ones that were made over the years. One of my own favorite films of mine is Manhattan Murder Mystery – and I like that kind of a film. Woody Allen: "Well, I was thinking of those murder mystery stories that gave me pleasure when I was younger, whether they were comic or – more usually – serious. While, hopefully, people find it amusing I found while I was working on it that I was not enjoying myself as much as I enjoyed doing Match Point. I made a film right after Match Point called Scoop, which is a very light comedy. Possibly for the remaining films that I do I will concentrate more (on that). Woody Allen: "If it was up to me I would do many more dramatic films. A jerrybuilt stage for a vintage performance, Scoop relies in no small part on Allen's timeless schlemiel, a love-him-or-hate-him icon that, at his funniest, can still salvage a blown scene or a ragged movie. At the center of it all is Woody himself, doing shtick we’ve seen so many times that it should be stale but isn’t. Not huge ones, but plenty enough, and sustained throughout a breezy 90 minutes. Has the reservoir of goodwill, left empty after a half-decade drought, been replenished by Match Point? Or have the accumulated disappointments of a faltering legend bred an enduring skepticism? Sad to say, Scoop is as limp, lazy, and inconsequential as any of Allen's trifles from the last dozen or so years. The pleasure you take in Scoop depends entirely on how much slack you're willing to cut Woody Allen.
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