Interiors (1978) Poster



Featuring "Three Sisters" as central characters, this film was inspired by the work of playwright Anton Chekhov.
The character of Eve (The Mother) was created by Woody Allen with 'Ingrid Bergman' in mind. He offered her the role, but she regretfully declined, as she was already committed to shoot Autumn Sonata (1978) in Norway with Ingmar Bergman. The part went to Geraldine Page instead, and then both she and Bergman were nominated for those films for Academy Awards and Golden Globes. Both lost out to Jane Fonda (who won for Coming Home (1978))
It was Diane Keaton who suggested the film's "Interiors" title to Woody Allen.
First serious dramatic film of Woody Allen and as such Allen's first film which was not a comedy. Woody Allen was known for comedy, and wanted to break the mold by having no humor at all in this picture. At one point the family is gathered around the table laughing at a joke which Arthur has just told, but we never hear the joke.
The picture was inspired by and was modeled on the films of Swedish director Ingmar Bergman, particularly Cries & Whispers (1972).
Around the time of the movie's first release, Woody Allen said: "I always wanted to see if I had any flair for serious drama. Finally, I had the nerve to try".
The picture has no music score except for brief excerpts of background music.
This is the first film directed by Woody Allen in which he does not also appear as an actor.
Final film as a costume designer for future cinema movie director Joel Schumacher.
The film was an inspiration for band Manchester Orchestra's song "Alice and Interiors". It is included on their album "I'm Like a Virgin Losing a Child". Moreover, The Death Cab for Cutie song "Death of an Interior Decorator" is based on the storyline of this film.
The film's editor Ralph Rosenblum is quoted as saying of this movie in Eric Lax's book "Woody Allen: A Biography" (1991): "Even before he made a movie, he had that Bergmanesque streak. He was going to make funny movies and pull the rug at the very end. I wasn't shocked by the original end of Take the Money and Run (1969) (where Virgil is machine-gunned), but I thought it was stupid. But that's something he has carried through all his movies and he will finish his life making serious movies. He says that comedy writers sit at the children's table and he's absolutely right about that. He wants to be remembered as a serious writer, a serious filmmaker. He managed to rescue Interiors, much to his credit. He was against the wall. I think he was afraid. He was testy, he was slightly short-tempered. He was fearful. He thought he had a real bomb. But he managed to pull it out with his own work. The day the reviews came out, he said to me, 'Well, we pulled this one out by the short hairs, didn't we?'."
According to Eric Lax's book "Woody Allen: A Biography" (1991), Woody Allen once said of this film: "Take the last speech in the Russian Uncle Vanya [by Anton Chekhov]. It's extremely poetical, and nobody talks like that, really. Yet that's how I was trying to write in those dramas. After I saw it, with Diane Keaton, it became a very important film in my life. But even among all the people I know in the film business - the directors and actors and New Yorkers - nobody saw it".
Apparently, after the success of Annie Hall (1977), which had been Woody Allen's previous movie, United Artists executives told Allen's producers, Charles H. Joffe and Jack Rollins, to give Allen a message. That was: "From now on, make whatever you want".
The film was nominated for five Academy Awards including Best Actress (Geraldine Page), Best Supporting Actress (Maureen Stapleton), Best Art Direction, and for Woody Allen, both Best Original Screenplay and Best Director, but the picture failed to win any Oscars .
Reportedly, Woody Allen was reluctant to discuss the movie's story during production of the picture.
The first film that Woody Allen directed after his Best Picture Academy Award winning film Annie Hall (1977) which won four Oscars including Best Director and Original Screenplay (both for Allen) and Best Actress - Diane Keaton. The movie was also the next film that Allen and Keaton both collaborated on after Annie Hall (1977).
The movie is considered to be inspired by and modeled on the works of writer Anton Chekhov.
This was Woody Allen's only color film after Annie Hall (1977) for about four years until A Midsummer Night's Sex Comedy (1982). All the others were in black-and-white, both of them, Manhattan (1979) and Stardust Memories (1980)), were in B&W.
This is the only Woody Allen directed film where Allen does not co-star and Diane Keaton has a major role. In Radio Days (1987), where Allen does not act either, Keaton has a minor part.
One of four cinema movie collaborations of Woody Allen and actor Sam Waterston.
One of eight cinema movie collaborations of Woody Allen and actress Diane Keaton, Allen co-starring in six of them and directing seven of them.
While watching the movie with a friend, of this film, Woody Allen apparently once said words to the effect of: "It's always been my fear. I think I'm writing Long Day's Journey into Night and it turns into Edge of Night".
The film features credits in plain typeface with white fonts on black background - something which is a trademark of Woody Allen's films.
Woody Allen, to date [June 2013], has never made a film called "Exteriors".
The later Woody Allen film September (1987) has been likened to this movie.
The eighth feature film directed by Woody Allen.

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Goofs | Crazy Credits | Quotes | Alternate Versions | Connections | Soundtracks

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