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 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))
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).
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 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".
Fifth Woody Allen - Diane Keaton picture. This Allen-Keaton movie is the only one where Allen does not have an acting role. In Radio Days (1987), Keaton has a small role and Allen voiced the narration uncredited.
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 .