Word: shows
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Dates: during 1970-1979
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...Justice Thurgood Marshall said they did not understand how a journalist could be prevented from thinking. Their concern was that journalists would be reluctant to discuss stories openly and frankly among themselves in the newsroom. Brennan would allow questions about these conversations only if the plaintiff could first show that he had been harmed by a false story; Marshall would ban them altogether...
...quit his high-paying, esteem-lowering job as the writer of a trendy TV comedy show to write a true and unsparing novel about the way he and his bright, privileged New York friends live. He is visiting the second of his two former wives. She was bisexual when they met, but after living with him for a few years she has become a lesbian. It is a choice he has still not come to terms with. "You knew my history when you married me," she says in self-defense. "My analyst warned me," he admits, but then, wrapping...
Allen is not one of those show-biz creatures who embrace highly visible causes while slyly accumulating oil leases on the side. Producer-Manager Charles Joffe despairs of ever making a businessman out of Woody, and handles most of his affairs. Allen's "deal," as they say in Hollywood, is not as lucrative as it might be, partly because he seldom sells his pictures to network television (he hates the commercials) and because he would rather sacrifice money than lose the unlimited creative control he has over his work. "All Woody wants to do is make a dollar profit," Joffe...
...keep growing intellectually and spiritually. His actors unfailingly speak of his kindness and patience, his refusal to let anyone but himself take the blame for a snafu. Yet, says Joffe, he can be "extremely arrogant and extremely hostile. He has to be goddam comfortable with you before he'll show it, and it's not really related to his ego. It's related to the demands he makes on himself...
Allen has his own misery, which is sincere and lifelong. It cannot be dissipated by the success of his movies. A shy workaholic who avoids the show-biz whirl and is never "on" in private, he not only talks about death in his films but spends a great deal of time thinking about it. "My real obsessions are religious," he says. "They have to do with the meaning of life and with the futility of obtaining immortality through art. In Manhattan, the characters create problems for themselves to escape. In real life, everyone gives himself a distraction-whether...