Milton Friedman’s best 10 quotes

Milton Friedman – Public Housing

Uploaded by on May 6, 2011

Professor Friedman looks at the destination of another road paved with good intentions.

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10 great quotes from Milton Friedman below:

Nov 29, 2011

10 Of The Best Economics Quotes From Milton Friedman

Milton Friedman was an extraordinary Nobel Prize-winning economist whose ideas helped underpin modern conservative economic theory. His contributions to economics and the conservative movement cannot be underestimated. Sadly, Milton Friedman passed away a little more than five years ago at the ripe old age of 94. Although Friedman is no longer with us, his words, his ideas, and his legacy live on. In honor of Friedman, here are some of his best quotations.

10) “If you put the federal government in charge of the Sahara Desert, in 5 years there’d be a shortage of sand.”

9) “I am in favor of cutting taxes under any circumstances and for any excuse, for any reason, whenever it’s possible.”

8) “The most important single central fact about a free market is that no exchange takes place unless both parties benefit.”

7) “When everybody owns something, nobody owns it, and nobody has a direct interest in maintaining or improving its condition. That is why buildings in the Soviet Union — like public housing in the United States — look decrepit within a year or two of their construction…”

6) “There is all the difference in the world, however, between two kinds of assistance through government that seem superficially similar: first, 90 percent of us agreeing to impose taxes on ourselves in order to help the bottom 10 percent, and second, 80 percent voting to impose taxes on the top 10 percent to help the bottom 10 percent — William Graham Sumner’s famous example of B and C decided what D shall do for A. The first may be wise or unwise, an effective or ineffective way to help the disadvantaged — but it is consistent with belief in both equality of opportunity and liberty. The second seeks equality of outcome and is entirely antithetical to liberty.”

5) “When the United States was formed in 1776, it took 19 people on the farm to produce enough food for 20 people. So most of the people had to spend their time and efforts on growing food. Today, it’s down to 1% or 2% to produce that food. Now just consider the vast amount of supposed unemployment that was produced by that. But there wasn’t really any unemployment produced. What happened was that people who had formerly been tied up working in agriculture were freed by technological developments and improvements to do something else. That enabled us to have a better standard of living and a more extensive range of products.”

4) “Nobody spends somebody else’s money as carefully as he spends his own. Nobody uses somebody else’s resources as carefully as he uses his own. So if you want efficiency and effectiveness, if you want knowledge to be properly utilized, you have to do it through the means of private property.”

3) “Inflation is taxation without legislation.”

2) “The great danger to the consumer is the monopoly — whether private or governmental. His most effective protection is free competition at home and free trade throughout the world. The consumer is protected from being exploited by one seller by the existence of another seller from whom he can buy and who is eager to sell to him. Alternative sources of supply protect the consumer far more effectively than all the Ralph Naders of the world.”

1) “(T)he supporters of tariffs treat it as self-evident that the creation of jobs is a desirable end, in and of itself, regardless of what the persons employed do. That is clearly wrong. If all we want are jobs, we can create any number — for example, have people dig holes and then fill them up again, or perform other useless tasks. Work is sometimes its own reward. Mostly, however, it is the price we pay to get the things we want. Our real objective is not just jobs but productive jobs — jobs that will mean more goods and services to consume.”

Woody Allen, ‘To Rome With Love’ Director, Talks ‘Midnight In Paris’ Success, Acting Career

How To Recover From a Break Up With Greta Gerwig

Published on May 16, 2012 by

Young Hollywood is hanging out in NYC during the Tribeca film festival, where we chat with rising star Greta Gerwig about her hip slice-of-life movie, ‘Lola Versus’. Greta offers up some advice on how to get over a bad break up, as her character in the film does, and talks about all the other amazing projects she has in the works, including Woody Allen’s ‘To Rome With Love’.

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Review on Woody Allen’s latest movie:

Woody Allen, ‘To Rome With Love’ Director, Talks ‘Midnight In Paris’ Success, Acting Career

The Huffington Post Posted: 06/19/2012 5:59 pm Updated: 06/19/2012 6:25 pm  |  By

Woody Allen

Woody Allen and the “To Rome With Love” cast in New York on Tuesday

Woody Allen has released a movie every year since 1982 (and 45 films total during his highly lauded career), but his latest feature, “To Rome With Love,” might have the highest pre-release expectations of them all. It follows last summer’s “Midnight in Paris,” Allen’s most financially successful offering yet. Is the director worried about living up to that success?

“To me, I try to make a good picture each time,” Allen said during a press conference in New York on Tuesday. “Either I make it or I don’t make it. [‘Midnight in Paris’] was a happy accident.”

The romantic comedy grossed just over $151 million around the globe, and earned Allen his third Best Original Screenplay Academy Award, and fourth Oscar overall. (He didn’t attend the ceremony to accept the trophy, as is his custom.)

“I have no idea why everyone embraced the picture so enthusiastically,” he said. “You make a movie and some pictures they like a little bit, some they like a lot, some they don’t like at all. It’s very capricious for the filmmaker.

“To me, it’s no more appealing than ‘Vicky Cristina Barcelona’ or ‘Match Point’ or ‘Annie Hall’ or ‘Husbands and Wives.’ To me, they all have the same appeal,” Allen said before quickly adding, “or lack of appeal.”

Regardless of the quality of Allen’s films, they continue to draw major acting talents. “To Rome With Love” stars Alec Baldwin, Jesse Eisenberg, Greta Gerwig, Penelope Cruz, Ellen Page, Judy Davis, Alison Pill, Roberto Benigni and — for the first time since 2006’s “Scoop” — Allen himself.

“I’ve always liked to act,” Allen said about his return to the screen. “When I write a script, I look at it and if there’s a part that I can play, then I play it. In the last half-dozen scripts that I’ve written, there hasn’t been anything I felt I could do. This script, I looked at it and thought I could do it.”

Allen plays a retired American music producer in “To Rome With Love,” who tries to get his daughter’s fiancee’s father (played by singer Fabio Armiliato) to use his operatic singing voice for financial gain. He’s also set to co-star in John Turturro’s “Fading Gigolo,” but — as he noted during the press conference — not as the titular gigolo.

The cast members at the press conference included Baldwin, Cruz, Gerwig, Page and Italian actress Alessandra Mastronardi, all of whom heaped praise upon the director, and not just for his acting prowess.

“With Woody Allen, you have someone who is responsible for more memorable moments, on every level — writing, producing, directing, acting — than any other person that has ever lived in film,” Baldwin told the assembled press. “Even Woody Allen’s less-successful efforts are better than most other films you see. When you see the greatest films he’s made, they’re some of the greatest films ever made. When he calls you and asks you to do this with him, you go. He’s on an island on his own in terms of filmmaking.”

While Allen runs a tight ship on set, the director said he’s often lost when the editing process begins.

“You start off with very great ambitions,” Allen said. “You want to make ‘Citizen Kane.’ Then when you get in the editing room you realize that you screwed up so irredeemably that you’ll edit the film in any configuration to avoid embarrassment. You put the beginning at the end, you take the middle out, you change things. The editing process becomes the floundering of a drowning man. That’s been it for me from the start of my career.”

Fortunately, “To Rome With Love,” with its four disconnected stories linked by the common setting of Rome, is the type of film that allowed Allen to play around with narrative structure.

“I couldn’t settle on one story. ‘It’s a funny story about a guy who could only sing in the shower. No, it’s funnier if a guy wakes up and is suddenly famous and doesn’t know why.’ Then I thought, ‘Why not just do them all in a cavalcade of stories? Just put them out there and the audience will follow.’ I was confident they would follow them,” he said. “I don’t think they’re too difficult to follow. I edited them logically, so when you left one story, you weren’t disappointed coming into a new one.”

Ultimately, that’s for audiences to decide, but it’s hard to argue with the strong work — and harsh criticism of the media — Allen offers in the section of the film devoted to the character played by Benigni (acting for the first time since 2005), an Italian businessman who unwittingly — and literally — becomes an overnight celebrity. In the film, Benigni fields questions as inane as his breakfast preferences (bread, toasted), perhaps Allen’s biting parody of press swarms such as Tuesday’s event.

Asked what were some of the dumbest questions he has ever gotten, Allen replied with a chuckle, “I don’t think we have enough time.”

“When I walk through those red-carpet things. The amount of times that I have been asked, ‘Is Scarlett Johansson your new muse? Is Penelope Cruz your new muse?’ Those questions are silly. If I make one picture with somebody they assume that I have a muse, that I want a muse, that that person wants to be my muse. That’s one of the millions of questions that are really, really stupid.”

Related posts:

Woody Allen’s movie “Midnight in Paris” wins an academy award (link to complete listing of all historical figures mentioned in “Midnight in Paris”)

Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   ___________ I have written more on […]

“Woody Wednesday” Allen new movie

Stardust Memories (1980) 1/7 Uploaded by ghostrepublic on Oct 24, 2010 Stardust Memories is a 1980 film written and directed by Woody Allen, who considers this to be one of his best films in addition to The Purple Rose of Cairo and Match Point.[1] The film is shot in black-and-white, particularly reminiscent of Federico Fellini’s […]

Review of “To Rome with Love”

Jesse Eisenberg – Press Conference “To Rome With Love” Published on Apr 21, 2012 by portugal888 Review: Allen’s ‘Rome’ delivers lackluster love Published: Tuesday, June 19 2012 11:06 a.m. MDT By David Germain View 4 photos » This film image released by Sony Pictures Classics shows, : Alec Baldwin as John, left, and Jesse Eisenberg […]

Woody Allen, ‘To Rome With Love’ Director, Talks ‘Midnight In Paris’ Success, Acting Career

How To Recover From a Break Up With Greta Gerwig Published on May 16, 2012 by younghollywood Young Hollywood is hanging out in NYC during the Tribeca film festival, where we chat with rising star Greta Gerwig about her hip slice-of-life movie, ‘Lola Versus’. Greta offers up some advice on how to get over a […]

Sam Tanenhaus on Woody Allen’s Black Magic

To Rome with Love Trailer Official 2012 [HD] – Alec Baldwin, Jesse Eisenberg To Rome with Love hits theaters on June 22nd, 2012. Cast: Woody Allen, Alec Baldwin, Penelope Cruz, Jesse Eisenberg, Greta Gerwig, Ellen Page, Judy Davis, Alison Pill, Roberto Benigni, Isabella Ferrari, Sergio Rubini, Antonio Albanese, Fabio Armiliata, Alessandra Mastronardi, Ornella Muti, Flavio […]

Review: Allen’s ‘Rome’ delivers lackluster love

Penelope Cruz at “To Rome with Love” premiere Published on Jun 15, 2012 by CBSNewsOnline The Los Angeles Film Festival kicked off with Woody Allen’s latest film starring Penelope Cruz. KCAL 9′s Suzanne Marques reports from downtown L.A. at the premiere of “To Rome With Love.” _______________ Review of “To Rome with Love.” Review: Allen’s […]

Woody Allen: “I’m Immune to Whether My Films Do Well or Not”

Voto 10 Web TV – To Rome with Love – Jesse Eisenberg Published on Apr 20, 2012 by voto10cinema Puntata speciale su To Rome with Love della Web TV di Voto 10. Direttamente dal red carpet con Sonia Serafini e Eva Carducci l’intervista a Jesse Eisenberg. ____________________________ I really like the fact that Woody Allen […]

Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie

Ellen Page with Craig Ferguson 13.06.12 (‘To Rome With Love’) 1080p HD Good review of Woody Allen’s latest movie: Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie <!– –> After “Midnight in Paris,” you’re not getting–we’re not getting –a sequel, so forget it. Woody Allen’s “To Rome with Love” opens June 22nd after […]

June 14, 2012 Wall Street Journal interview of Woody Allen and he is still talking about the meaninglessness of existence

TO ROME WITH LOVE – conferenza stampa con Allen, Benigni e Cruz http://WWW.RBCASTING.COM Published on Apr 18, 2012 by RBcasting http://www.rbcasting.com Conferenza stampa del film “To Rome With Love”, scritto e diretto da Woody Allen. Tra gli interpreti, lo stesso Allen, Alec Baldwin, Roberto Benigni, Penelope Cruz, Judy Davis, Jesse Eisenberg, Ellen Page e Greta […]

Woody Allen’s worldview as seen in his movies

  I love the movie Crimes and Misdemeanors and have written on it many times in the past. This quote below sums up Woody Allen’s worldview which I disagree with. In fact, the person who said this actually could not live with its conclusions in the movie and committed suicide.   Because Allen continues to […]

“Woody Wednesdays” Woody Allen on God and Death

Good website on Woody Allen How can I believe in God when just last week I got my tongue caught in the roller of an electric typewriter? If Jesus Christ came back today and saw what was being done in his name, he’d never stop throwing up. If only God would give me some clear […]

Woody Allen’s career in pictures “Woody Wednesday”

  Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   Bananas (1971)    en cast […]

Woody Allen on politics “Woody Wednesday”

Woody Allen on politics. Top political strategist Woody Allen thinks Obama would get much more done as dictator; No, really May 18, 2010 |  2:22 am The notorious and formerly funny movie director Woody Allen is apparently frustrated with the cumbersome operations of American democracy too. The one-time-father-now-husband-of-his-daughter tells the Spanish-language magazine La Vanguardia that the […]

 

Julia is a moocher

People need to try to better their own lives instead of asking the government to treat them like kids for the rest of their lives.

The Obama campaign’s “Life of Julia” ad is a disturbing sign. It suggests that political strategists, pollsters, and campaign advisers must think that the people living off government are getting to the point where they can out-vote the people paying for government.

If that’s true, America is doomed to become another Greece – which would be an appropriate fate since, for all intents and purposes, Julia is the fictional twin of a real-life Greek woman who thought it was government’s job to give her things.

In general, I think the best response to Julia is mockery, which is why I shared this Iowahawk parody and this Ramirez cartoon.

But we also need a serious discussion of why dependency is a bad thing, which is why I’m glad the Center for Freedom and Prosperity has produced this new “Economics 101″ video.

It’s narrated by Emily O’Neill, who contrasts the moocher mentality of Julia with how she wants her life to develop. To give away the message, she wants the kind of fulfillment that only exists when you earn things.

Emily’s view could be considered Randian libertarianism, conventional conservatism, or both. That’s because there’s a common moral belief in both philosophies that government-imposed coercion and redistribution erode the social capital of a people.

This is perhaps the key issue for America’s future, which is why I hope you’ll share this video widely. Otherwise, we my face a future where this Chuck Asay cartoon becomes reality. Speaking of Asay, this cartoon is a pretty good summary of what the Julia ad is really saying.

Sam Tanenhaus on Woody Allen’s Black Magic

To Rome with Love Trailer Official 2012 [HD] – Alec Baldwin, Jesse Eisenberg

To Rome with Love hits theaters on June 22nd, 2012.

Cast: Woody Allen, Alec Baldwin, Penelope Cruz, Jesse Eisenberg, Greta Gerwig, Ellen Page, Judy Davis, Alison Pill, Roberto Benigni, Isabella Ferrari, Sergio Rubini, Antonio Albanese, Fabio Armiliata, Alessandra Mastronardi, Ornella Muti, Flavio Parenti

“To Rome with Love” is a story about a number of people in Italy – some American, some Italian, some residents, some visitors – and the romances and adventures and predicaments they get into. The film stars Allen, Alec Baldwin, Roberto Benigni, Penelope Cruz, Judy Davis, Jesse Eisenberg, Greta Gerwig and Ellen Page.

To Rome with Love trailer courtesy Sony Pictures Classics.

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A review of Woody Allen’s “To Rome with Love:”

Sam Tanenhaus on Woody Allen’s Black Magic

Jun 18, 2012 1:00 AM EDT

 

The legendary filmmaker returns to his old obsessions-sexual avarice and megalomaniacal control.

It’s the first Monday in June, 10 days before Woody Allen’s new movie, To Rome With Love, will open the Los Angeles Film Festival, and Allen, dressed as usual in brown, is perched on a chair in the screening room in his functional office on the ground floor of an anonymous Park Avenue building.

It used to be he strictly limited publicity for his films, even banning glowing quotes from newspaper ads, which instead were as stark as his signature black-and-white title cards (“Written and Directed by Woody Allen”). But times have changed for Woody, and for moviegoers, and he now acknowledges the need to hustle his product. He flew to Rome for the world premiere in April and now patiently holds still under the umbrella strobe, genially bantering with the photographer, Platon, who confesses he is uncommonly nervous. “I’ve learned so much about life from you,” he says. Allen deadpans his reply: “I’ve learned not to believe anyone who says that.”

Everyone chuckles, though it is not at all clear he’s joking. Allen’s fabled career has had exhilarating ups, but also abysmal downs, and praise has often been followed by attack. At one low point, in 2002, when he was locked in a bitter lawsuit with his onetime producer, Jean Doumanian, The New York Times, which in better days had consistently proclaimed Allen’s genius, counted a “grand total of eight people” in the seats of the Times Square discount house that was the sole local venue of his latest flop (Hollywood Ending) and speculated that “his long moment as cultural icon may be over.”

Since then Woody has stormed back, perhaps not bigger or better, but more popular than ever, with a sequence of solid hits filmed abroad. Midnight in Paris, released last year, won Allen his third Oscar for best original screenplay, along with a nomination (his seventh) for best director. More remarkably, it is Allen’s top all-time box-office success, earning well over $110 million worldwide.

The shoot finished, we move next door to Allen’s editing room and sit on facing chairs amid unopened cartons and cluttered surfaces, the space resembling the garage of an unhandy suburbanite rather than the atelier of a celebrated filmmaker. “This has always been such a little rathole,” he says. “I’ve been here 30 years or so, and it suffices. We edit in here. We take it in there. We look at it. We hate it.”

woody-allen-fe02-main-tease
Woody Allen (Platon for Newsweek)

At 76, he has aged with unholy grace: the mussed carrot-top, now the cloud tint of jiffy-bag innards, has scarcely thinned; the oblong face remains a mobile mask of amused perplexity; the wiry physique, thanks to daily exercise, still exudes the vigor of the athlete he once was—a skilled-enough boxer, in his teens, to have trained for the Golden Gloves competition. His one obvious debility, no joke for a master of spoken idioms, is defective hearing; his phone, keyed to ear-splitting volume, trilled six times before he asked, in puzzlement, “What’s that?” Unperturbed, he continues calmly, not bothering to raise his voice.

Allen in person is nothing like the nebbishy mess of phobias and insecurities he has been impersonating, on stage and screen, for half a century, dating back to his days doing stand-up in Greenwich Village clubs like The Bitter End. He has the reputation, in fact, for almost terrifying self-assurance and will brusquely dismiss established stars (casualties include Michael Keaton, Sam Shepard, and Christopher Walken) if they fail to meet his exacting standards on the set. But monomania has made him his era’s greatest comic presence, the one true heir of Charlie Chaplin and Buster Keaton. Allen, however, measures himself against stiffer competition. “I think I’ve now made almost 45 films,” he says. “Some nice ones. No masterpieces. I don’t kid myself. It’s not false modesty. If you look at Rashomon, The Bicycle Thief, The Grand Illusion, as masterpieces, [then] no: I don’t have a film I could show in a festival with those films.”

It is unlikely To Rome With Love will be shown beside them either, though its deft intermixing of four separate story lines, each a gentle farce about innocents beguiled into wrong or risky choices, is superbly executed by its all-star ensemble, which includes Roberto Benigni, Alec Baldwin, and Penélope Cruz. All worked for minimum fees, lest they bust Allen’s roughly $17 million budget, tiny by current standards. Italian critics noted diverting moments—for instance, the scene in which a late-blooming opera singer (the great tenor Fabio Armiliato) is wheeled onto the stage in a portable shower, where he scrubs himself while singing an aria from Pagliacci. But many were disappointed. They had come to the screening expecting a major statement—about Rome, about cinema, about life—from the “most European of American directors.” And they didn’t find one.

That a Brooklyn-born comic whose résumé includes boxing a kangaroo and singing to a dog, should be solemnly lionized in the culture capitals of the continent (since 2001 he has filmed in London and Barcelona along with Paris and Rome), might seem ludicrous, the premise of an Allen “mockumentary” à la Take the Money and Run or Zelig. But for Woody it is a simple fact of life—or rather, of cinema, and its awkward mingling of art and commerce. “For the last 25 years, maybe 30 years, I’ve been doing better in Europe and around the world than in the United States,” he says. “It’s hard for me to raise money here whereas in the European countries and in fact all over the world—China, Russia, Israel—they call me and say, ‘Please come here and we’ll finance.’”

woody-allen-fe02-2nd
‘Annie Hall’ (1977) marked his evolution from funny man to major artist. (Brian Hamill / United Artists-Photofest)

It is also, to a great extent, a chosen exile, a matter not only of money but of control. Allen insists on total autonomy—over scripts, casting, editing. Even the stars he recruits see only the pages in the script that contain their own parts. This imperiousness dates back to the brief golden period in American film, lasting from the late-’60s to the mid-’80s, when audiences greeted each new movie as an installment of its director’s commanding vision.

Woody began with slapstick romps (Bananas, Sleeper) that won a cult following on college campuses. Then came Annie Hall, a vehicle for his former girlfriend, Diane Keaton. Released in the spring of 1977, it was a sensation, with its up-to-the-minute news of prosperous, cultured people who sorted through their lives against a backdrop of well-upholstered uptown apartments. Fine as the movie was, the timing was even better. New York in the mid-’70s was in crisis. There was a threatened bankruptcy in 1975, a citywide blackout in 1977 that resulted in arson, lootings, riots, and mass arrests. A serial killer, “Son of Sam,” was stalking quiet neighborhoods in Brooklyn and Queens. The cinematic touchstone was Taxi Driver ( 1976 ), Martin Scorsese’s inferno of murder and vice, set in Times Square.

Annie Hall offered a countervision, hopeful and aspirational. So did Manhattan ( 1979 ), with its exquisite black-and-white panoramas of the island’s visual splendors, and Hannah and Her Sisters ( 1986 ), much of it shot in the sprawling, cozy Upper West Side apartment of Mia Farrow, Allen’s leading lady and off-screen companion. Together these films, each a “canto in [Allen’s] ongoing poem to love and New York City,” as the critic Pauline Kael wrote at the time, helped New Yorkers recover their high sense of self. Manhattan once again was Oz, and Woody its wizard, conjuring up its long-forgotten mystery and allure. For many, inside the city and beyond, he was New York. Almost overnight, the funnyman and gag writer was being mentioned in the same breath as Stanley Kubrick and Francis Ford Coppola.

woody-allen-feo2-3rd
The director with Penelope Cruz and Alessandro Tiberi on the set of ‘To Rome With Love’. (Massimo Percossi / EPA-Landov)

It helped that Woody was steeped in sophisticated homegrown influences: the biting subversive wit of Lenny Bruce and Mort Sahl, the pacing of Broadway technicians like George S. Kaufman and Garson Kanin, the bookish smarts of Philip Roth. All of this placed Woody not so much ahead of the competition as apart from it, playing a different game, in defiance of cheap movie-land thrills. Hollywood might love Woody, but he refused to love it back. The same fans who lined up at Manhattan cinemas when the latest Allen gem opened (after reading the predictable rave from Vincent Canby in the Times) exulted when Woody, nominated year after year for Oscars, declined to attend the ceremony or even to watch it on TV, instead keeping his Sunday-night gig at Michael’s Pub, where he played the clarinet with a Dixieland combo.

Then came the abrupt descent. In 1992 he and Farrow bitterly split over Allen’s affair with Farrow’s 21-year-old adopted daughter, Soon-Yi Previn (who is now his wife). The ensuing custody battle was a tabloid festival (“Mia Has Nude Pix,” “Tell It to the Judge”). The king of the one-liner was reduced to a punchline and worse, a kind of civic embarrassment. Sparkling Allen jests—“Don’t you see the rest of the country looks upon New York like we’re left-wing, communist, Jewish, homosexual pornographers? I think of us that way sometimes, and I live here.”—sounded tinny and smug. Many recalled Joan Didion’s scathing observation in 1979 that Allen and his audience dwelled together in a privileged “subworld,” adding, “the peculiar and hermetic self-regard in Annie Hall and Interiors and Manhattan would seem nothing with which large numbers of people would want to identify.”

Most shocked of all were Allen’s legions of female fans. Many had swooned for this most unlikely of leading men—undersized, sensitive, vulnerable, “in touch with his feelings.” Now they heard him insist, in a line that might have been lifted from one of his scripts, that “the heart wants what it wants”—in this instance a woman 35 years his junior. Seduced by Woody, his admirers had missed the deeper messages in his art, its tricky blurrings of fact and illusion. Growing up in Brooklyn, dreaming of a life in showbiz, he had learned magic, particularly sleight of hand, adept enough at age 14 to audition for television programs. This early history shaped his later art. Allen himself has labeled his technique “misdirection,” and once told the critic and film historian Richard Schickel, “I lead the audience to believe something, but the movie is really going to be about something else.”

He applies the formula most ingeniously in his subtle mixing of autobiography and invention, filtered through the roles played either by himself or various stand-ins. The schlumpy, childlike “Woody” character is in fact sexed-up and calculating, just like Chaplin’s randy “little fellow.” And like Chaplin, Allen favors young actresses. “People get the impression that these films are autobiographical in an acute way,” he told an interviewer in 1986. “In Manhattan they were completely convinced I wanted to marry a 17-year-old girl”—his costar, Mariel Hemingway. In that case he seems to have fooled himself.

woody-allen-fe02-4th
An affair with Soon-Yi Previn (left), adopted daughter of Mia Farrow (center), shocked Allen’s fans. (Ann Clifford / DMI-Time Life Pictures-Getty Images)

In other cases the message is more ambiguous. Annie Hall and Manhattan, though disguised as soulful, romantic “breakup” pictures, are in reality dark, Pygmalion-like tales of sexual avarice and narcissistic control. There is similar “misdirection” in Crimes and Misdemeanors—perhaps the last of Allen’s great New York films. The character most like him isn’t the glum, moralizing documentary filmmaker played by Woody. It’s the vulgar, preening, power-mad TV mogul played by Alan Alda, who barks “ideas” into the portable tape recorder he pulls out of his pocket, much as the young Woody Allen, his motor always running, would interrupt a conversation to scribble one-liners.

So too in To Rome With Love. Beneath the sunny surface, and the pretty-postcard images of the Piazza di Spagna, lurk hints of Allen’s black magic. In the best told of the four tales, a flirtatious, self-dramatizing actress (Ellen Page) comes to visit a happy young American couple (Jesse Eisenberg and Greta Gerwig) who are living in Rome. From the beginning it’s clear where the story is headed, but as the seduction unfolds, the lines gradually blur. Who is really at the center of this story, the earnest student abroad or the casual tourist, glibly quoting snippets from Ezra Pound and W.B. Yeats? And who is the actual stand-in for Woody?

Allen himself obliquely supplies an answer, when he remarks on his public persona. “People always have the mistaken impression that I was an intellectual when in fact I’m not,” he says. “I first started to read because the women that I liked when I was a teenager were always culture vultures and bluestockings. And I tried my best, and they had no time for me. I read so I could hold my own in conversation with them and not get written off.” Those women, he adds, were of a particular type: “The look that Jules Feiffer used to draw, the black-leather bag, hair down, that Greenwich Village look. No makeup.” If the description sounds familiar, that’s because it’s nearly identical to the fantasy woman in “The Whore of Mensa,” Allen’s classic New Yorker parody from 1974, with its rapier insight that for the culturally avid middle class, the great books had become a kind of aphrodisiac.

It is not surprising that Allen is still plumbing his earliest obsessions. Major artists have always done this, particularly as they age and begin to weigh facts of life expectancy against the drive to keep creating, to find new ways to answer old, haunting questions. In Allen’s case, the numbers look uncommonly good: his father lived to 100, his mother to 95.

And Woody, for his part, is already thinking about his next film. The script is completed, and he’s assembling the cast. He’ll be “shooting four or five weeks in San Francisco, and two weeks in New York.” Two weeks isn’t much of a homecoming, but it’s a start. “I try to sneak in an American picture when I can,” he says. Good to hear. His exile has lasted long enough.

Related posts:

Woody Allen’s movie “Midnight in Paris” wins an academy award (link to complete listing of all historical figures mentioned in “Midnight in Paris”)

Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   ___________ I have written more on […]

“Woody Wednesday” Allen new movie

Stardust Memories (1980) 1/7 Uploaded by ghostrepublic on Oct 24, 2010 Stardust Memories is a 1980 film written and directed by Woody Allen, who considers this to be one of his best films in addition to The Purple Rose of Cairo and Match Point.[1] The film is shot in black-and-white, particularly reminiscent of Federico Fellini’s […]

Review of “To Rome with Love”

Jesse Eisenberg – Press Conference “To Rome With Love” Published on Apr 21, 2012 by portugal888 Review: Allen’s ‘Rome’ delivers lackluster love Published: Tuesday, June 19 2012 11:06 a.m. MDT By David Germain View 4 photos » This film image released by Sony Pictures Classics shows, : Alec Baldwin as John, left, and Jesse Eisenberg […]

Woody Allen, ‘To Rome With Love’ Director, Talks ‘Midnight In Paris’ Success, Acting Career

How To Recover From a Break Up With Greta Gerwig Published on May 16, 2012 by younghollywood Young Hollywood is hanging out in NYC during the Tribeca film festival, where we chat with rising star Greta Gerwig about her hip slice-of-life movie, ‘Lola Versus’. Greta offers up some advice on how to get over a […]

Sam Tanenhaus on Woody Allen’s Black Magic

To Rome with Love Trailer Official 2012 [HD] – Alec Baldwin, Jesse Eisenberg To Rome with Love hits theaters on June 22nd, 2012. Cast: Woody Allen, Alec Baldwin, Penelope Cruz, Jesse Eisenberg, Greta Gerwig, Ellen Page, Judy Davis, Alison Pill, Roberto Benigni, Isabella Ferrari, Sergio Rubini, Antonio Albanese, Fabio Armiliata, Alessandra Mastronardi, Ornella Muti, Flavio […]

Review: Allen’s ‘Rome’ delivers lackluster love

Penelope Cruz at “To Rome with Love” premiere Published on Jun 15, 2012 by CBSNewsOnline The Los Angeles Film Festival kicked off with Woody Allen’s latest film starring Penelope Cruz. KCAL 9′s Suzanne Marques reports from downtown L.A. at the premiere of “To Rome With Love.” _______________ Review of “To Rome with Love.” Review: Allen’s […]

Woody Allen: “I’m Immune to Whether My Films Do Well or Not”

Voto 10 Web TV – To Rome with Love – Jesse Eisenberg Published on Apr 20, 2012 by voto10cinema Puntata speciale su To Rome with Love della Web TV di Voto 10. Direttamente dal red carpet con Sonia Serafini e Eva Carducci l’intervista a Jesse Eisenberg. ____________________________ I really like the fact that Woody Allen […]

Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie

Ellen Page with Craig Ferguson 13.06.12 (‘To Rome With Love’) 1080p HD Good review of Woody Allen’s latest movie: Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie <!– –> After “Midnight in Paris,” you’re not getting–we’re not getting –a sequel, so forget it. Woody Allen’s “To Rome with Love” opens June 22nd after […]

June 14, 2012 Wall Street Journal interview of Woody Allen and he is still talking about the meaninglessness of existence

TO ROME WITH LOVE – conferenza stampa con Allen, Benigni e Cruz http://WWW.RBCASTING.COM Published on Apr 18, 2012 by RBcasting http://www.rbcasting.com Conferenza stampa del film “To Rome With Love”, scritto e diretto da Woody Allen. Tra gli interpreti, lo stesso Allen, Alec Baldwin, Roberto Benigni, Penelope Cruz, Judy Davis, Jesse Eisenberg, Ellen Page e Greta […]

Woody Allen’s worldview as seen in his movies

  I love the movie Crimes and Misdemeanors and have written on it many times in the past. This quote below sums up Woody Allen’s worldview which I disagree with. In fact, the person who said this actually could not live with its conclusions in the movie and committed suicide.   Because Allen continues to […]

“Woody Wednesdays” Woody Allen on God and Death

Good website on Woody Allen How can I believe in God when just last week I got my tongue caught in the roller of an electric typewriter? If Jesus Christ came back today and saw what was being done in his name, he’d never stop throwing up. If only God would give me some clear […]

Woody Allen’s career in pictures “Woody Wednesday”

  Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   Bananas (1971)    en cast […]

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Woody Allen on politics. Top political strategist Woody Allen thinks Obama would get much more done as dictator; No, really May 18, 2010 |  2:22 am The notorious and formerly funny movie director Woody Allen is apparently frustrated with the cumbersome operations of American democracy too. The one-time-father-now-husband-of-his-daughter tells the Spanish-language magazine La Vanguardia that the […]

 

Pro-life hero: Chen Guangcheng

Jane Roe’s prolife commercial

Uploaded by on Jun 18, 2008

“Jane Roe” or Roe v Wade is now a prolife Christian. She’s recently done a commercial about it.

___________

I sincerely hope that the world will continue to look upon Chen as the hero that he is. He has taken up for the ladies of China and their right to have their children.

Did you know that many in China when given the chance would abort unborn girls in order to have boys. This has created a huge problem.

Fox News reported, “Twenty-five million men in China currently can’t find brides because there is a shortage of women,” said Steven Mosher, president of the Population Research Institute in Washington, D.C. “The young men emigrate overseas to find brides.”

Of course, the real problem is the one child restriction that started this to begin with. I wish you would join me speak out in favor of China’s women’s rights.

Sarah Torre

May 16, 2012 at 3:00 pm

Chinese activist Chen Guangcheng called into a congressional hearing again yesterday, detailing reported abuse of his relatives and friends in the wake of his escape.

When lauded for his courage and tireless advocacy for victims of forced abortion and involuntary sterilization, Chen simply remarked, through translation: “I am not a hero. I’m just doing what my conscience asks me to do. I cannot be silent when facing these evils against women and children.”

Chen described to the committee how, shortly after his escape from house arrest last month, local government officials allegedly stormed a family member’s house, beating relatives and arresting Chen’s brother. When Chen’s nephew attempted to defend himself and his family, officials arrested him on what Chen calls “trumped up” charges of “homicide with intent.”

Reggie Littlejohn, president of Women’s Rights Without Frontiers, testified on the status of He Peirong, the woman who drove the rescue car for Chen. He, also known as “Pearl,” endured a week of confinement and interrogation in a hotel room by Chinese officials because of her involvement in Chen’s escape. Likewise, Jiang Tianyong, a human rights lawyer in China, was beaten to the point of possibly losing hearing in one ear after attempting to see Chen at the Beijing hospital, according to Littlejohn.

The actions reportedly taken against Chen’s supporters and family are just an extension of the coercive tactics used to enforce the country’s one-child policy. As panelists at yesterday’s hearing detailed, forced abortions, coerced sterilizations, and fines or physical abuse for neighbors and family members of women with unauthorized pregnancies remain a daily reality in China.

Mei Shunping, a victim of five forced abortions, described her time as a factory worker in China, where routine checkups for women were used to guard against unlawful pregnancy: “When discovered, pregnant women would be dragged to undergo forced abortions—there was no other choice. We had no dignity as potential child-bearers.”

Chai Ling, founder of All Girls Allowed, detailed just a few horrific stories of child abandonment, bride trafficking and prostitution, and forced abortions that have occurred because of the one-child policy. Just this past October, explained Ling, a woman reportedly died after a late-term, forced abortion procedure when she was discovered to be pregnant with an unauthorized child. Similar atrocities have been documented in U.S. congressional reports as well.

“I wish I could tell you that these stories were rare, but they are not,” remarked Ling. “They are mere glimpses into the dark environment that the One-Child Policy creates for women. This is the darkness into which Chen Guangcheng tried to shine a light.”

That light of respect for human dignity and individual liberty should be supported by the U.S. and other international leaders who claim to defend human rights. As Heritage’s director of domestic policy Jennifer Marshall writes in commentary this week:

U.S. policymakers have long expressed concern over China’s security and economic challenges to global stability. They ought to be equally concerned about the chilling long-term consequences of gross abuse of human dignity and the destruction of civil society. It’s time for China to end the barbarism of its One-Child Policy.

Denouncing the unjust treatment of Chen Guangcheng, his family, and fellow activists is important. But so too is condemning the coercive population control policies that strip women and men of fundamental rights and prohibit China from becoming a truly free and flourishing society.

Review: Allen’s ‘Rome’ delivers lackluster love

Penelope Cruz at “To Rome with Love” premiere

Published on Jun 15, 2012 by

The Los Angeles Film Festival kicked off with Woody Allen’s latest film starring Penelope Cruz. KCAL 9’s Suzanne Marques reports from downtown L.A. at the premiere of “To Rome With Love.”

_______________

Review of “To Rome with Love.”

Review: Allen’s ‘Rome’ delivers lackluster love
6/19/2012

 

Woody Allen’s “To Rome with Love” began with better titles. Yet despite the exquisite locations of the filmmaker’s first story of love, Italian style, this bland ensemble romance deserves the generic name rather than the clever working titles it started with.

Allen initially called it “Bop Decameron,” then changed it to “Nero Fiddled” before he and his distributor decided to slip in the name of the Eternal City.

Hey, it helped to have the City of Light mentioned in the title of last year’s Allen hit “Midnight in Paris.” So putting Rome in the name makes good marketing sense to hint that his latest continues the trend of light romance in a beautiful Old World capital.

Unfortunately, “To Rome with Love” lives up or rather, lives down to the superficial postcard sentiment of its title.

Weaving four stories of Italians and American visitors, the writer-director creates a lot of clever moments with his ensemble comedy that features Allen’s first on-screen appearance since 2006’s “Scoop.” In between the good times, the story and characters just drift about awkwardly, stuck on a walking tour of Rome that continually bumps up against dead ends, or worse, circles back so we wind up seeing the same things a few times too many.

It’s hard to even pick out a highlight among the four stories. Parts of each story work quite well, while other portions just weigh the scenarios down.

The film almost comes down to how well the actors inhabit their roles. Allen’s known for giving his cast plenty of leeway. That’s often resulted in Academy Award performances, and just as often has left Allen’s stars nervously milling around.

There are no Oscar prospects on screen in “To Rome with Love,” but Alec Baldwin conveys a sense of wistful nostalgia as an architect seemingly strolling into his own memories of Italy in his youth.

Baldwin’s a wry, omniscient commentator wafting in and out of a love triangle involving Jack (Jesse Eisenberg), Sally (Greta Gerwig) and her seductive pal Monica (Ellen Page). Gerwig’s sadly cast as a flavorless third wheel, but Eisenberg and Page are so tentative and cold in their supposedly impetuous fling that they seem like neutered pups alongside old hound Baldwin.

Roberto Benigni manages a few laughs as a dreary but contented family man hurled into notoriety after Rome’s press and paparazzi inexplicably choose him as a person of interest, shadowing him like an A-lister and hanging on his every word about what he had for breakfast. It’s a lightweight commentary on fleeting fame, and the gimmick quickly wears thin.

The weakest of the stories centers on naive newlyweds Antonio and Milly (Alessandro Tiberi and Alessandra Mastronardi), who come to Rome for a fresh start but end up separated and tossed into romantic misadventures with others. Antonio winds up with a bombshell hooker (Penelope Cruz, an Oscar winner for Allen’s “Vicky Cristina Barcelona”), Milly with an Italian movie star (Antonio Albanese).

Antonio and Milly’s meanderings are pointless and uninvolving. Cruz, however, knows how to play voluptuous in her sleep, so she makes her little corner of the scenario fun and sexy.

Allen co-stars as retired music producer Jerry, who comes to Rome with his wife, Phyllis (Allen veteran Judy Davis) to meet the Italian fiance of their daughter, Hayley (“Midnight in Paris” co-star Alison Pill).

After Jerry hears the sublime opera vocals of Hayley’s future father-in-law, Giancarlo (Italian tenor Fabio Armiliato) from the shower, he’s determined to make the humble undertaker into a star. Giancarlo insists he sings only for personal pleasure, and when he auditions at Jerry’s insistence, he discovers that his talent fails him outside the shower.

You can guess the rest. The scenes of Giancarlo performing on stage could have become as repetitious as the media’s pursuit of Benigni, but Allen shows enough restraint and gives the sequences enough diversity that they remain consistently funny.

The time away from the screen hasn’t helped Allen’s acting chops. He’s curiously listless as Jerry, and Davis, who was razor-sharp in Allen’s “Husbands and Wives,” rarely rises above dreary hen-pecking as his wife.

The ineffable magic that made “Midnight in Paris” click eludes Allen here. When in Paris, Allen’s gimmicks coalesced into a sly, engaging romantic fantasy.

When in Rome, though, it’s not Nero who’s fiddling, but Allen, bopping and dithering around the city like a tourist so desperate to cram in all the sights that he comes away only with a few crisp highlights and a lot of out-of-focus snapshots.

“To Rome with Love,” a Sony Pictures Classics release, is rated R for some sexual references. Running time: 112 minutes. Two stars out of four.

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“Woody Wednesday” Allen new movie

Stardust Memories (1980) 1/7 Uploaded by ghostrepublic on Oct 24, 2010 Stardust Memories is a 1980 film written and directed by Woody Allen, who considers this to be one of his best films in addition to The Purple Rose of Cairo and Match Point.[1] The film is shot in black-and-white, particularly reminiscent of Federico Fellini’s […]

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Penelope Cruz at “To Rome with Love” premiere Published on Jun 15, 2012 by CBSNewsOnline The Los Angeles Film Festival kicked off with Woody Allen’s latest film starring Penelope Cruz. KCAL 9′s Suzanne Marques reports from downtown L.A. at the premiere of “To Rome With Love.” _______________ Review of “To Rome with Love.” Review: Allen’s […]

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Bertrand Russell v. Frederick Copleston debate transcript (Part 3)

Fr. Frederick C. Copleston vs Bertrand Russell – Part 1

Uploaded by on Jul 15, 2009

BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of UK/BBC copyright.
Pardon the hissy audio. It was recorded 51 years ago after all. I tried to clean it up but I found that the voices were clearer without any filters. Meh.

This is an excerpt from the famous BBC Radio debate between Father Frederick C. Copleston and Bertrand Russell. In this section, they discuss Leibniz’s Argument from Contingency, which is a form of the Cosmological Argument. It differs from other Cosmological arguments (e.g. Kalam) in that it is consistent with an eternal universe, as it doesn’t appeal to first causes, but rather the principle of sufficient reason. It can be summarized in this way:

(1) Everything that exists contingently has a reason for its existence.
(2) The universe exists contingently.
Therefore:
(3) The universe has a reason for its existence.
(4) If the universe has a reason for its existence then that reason is God.
Therefore:
(5) God exists.

_________________________

There is no audio for part 3.

RELIGIOUS EXPERIENCE

    FATHER COPLESTON
Let’s. Well, perhaps I might say a word about religious experience, and then we can go on to moral experience. I don’t regard religious experience as a strict proof of the existence of God, so the character of the discussion changes somewhat, but I think it’s true to say that the best explanation of it is the existence of God. By religious experience I don’t mean simply feeling good. I mean a loving, but unclear, awareness of some object which irresistibly seems to the experiencer as something transcending the self, something transcending all the normal objects of experience, something which cannot be pictured or conceptualized, but of the reality of which doubt is impossible
— at least during the experience. I should claim that cannot be explained adequately and without residue, simply subjectively. The actual basic experience at any rate is most easily explained on the hypotheses that there is actually some objective cause of that experience.

    BERTRAND RUSSELL
I should reply to that line of argument that the whole argument from our own mental states to something outside us, is a very tricky affair. Even where we all admit its validity, we only feel justified in doing so, I think, because of the consensus of mankind. If there’s a crowd in a room and there’s a clock in a room, they can all see the clock. The face that they can all see it tends to make them think that it’s not an hallucination: whereas these religious experiences do tend to be very private.

    FATHER COPLESTON
Yes, they do. I’m speaking strictly of mystical experience proper, and I certainly don’t include, by the way, what are called visions. I mean simply the experience, and I quite admit it’s indefinable, of the transcendent object or of what seems to be a transcendent object. I remember Julian Huxley in some lecture saying that religious experience, or mystical experience, is as much a real experience as falling in love or appreciating poetry and art. Well, I believe that when we appreciate poetry and art we appreciate definite poems or a definite work of art. If we fall in love, well, we fall in love with somebody and not with nobody.

    BERTRAND RUSSELL
May I interrupt for a moment here. That is by no means always the case. Japanese novelists never consider that they have achieved a success unless large numbers of real people commit suicide for love of the imaginary heroine.

    FATHER COPLESTON
Well, I must take your word for these goings on in Japan. I haven’t committed suicide, I’m glad to say, but I have been strongly influenced in the taking of two important steps in my life by two biographies. However, I must say I see little resemblance between the real influence of those books on me and the mystic experience proper, so far, that is, as an outsider can obtain an idea of that experience.

    BERTRAND RUSSELL
Well, I mean we wouldn’t regard God as being on the same level as the characters in a work of fiction. You’ll admit there’s a distinction here?

    FATHER COPLESTON
I certainly should. But what I’d say is that the best explanation seems to be the not purely subjectivist explanation. Of course, a subjectivist explanation is possible in the case of certain people in whom there is little relation between the experience and life, in the case of deluded people and hallucinated people, and so on. But when you get what one might call the pure type, say St. Francis of Assisi, when you get an experience that results in an overflow of dynamic and creative love, the best explanation of that it seems to me is the actual existence of an objective cause of the experience.

    BERTRAND RUSSELL
Well, I’m not contending in a dogmatic way that there is not a God. What I’m contending is that we don’t know that there is. I can only take what is recorded as I should take other records and I do find that a very great many things are reported, and I am sure you would not accept things about demons and devils and what not — and they’re reported in exactly the same tone of voice and with exactly the same conviction. And the mystic, if his vision is veridical, may be said to know that there are devils. But I don’t know that there are.

    FATHER COPLESTON
But surely in the case of the devils there have been people speaking mainly of visions, appearance, angels or demons and so on. I should rule out the visual appearances, because I think they can be explained apart from the existence of the object which is supposed to be seen.

    BERTRAND RUSSELL
But don’t you think there are abundant recorded cases of people who believe that they’ve heard Satan speaking to them in their hearts, in just the same way as the mystics assert God — and I’m not talking now of an external vision, I’m talking of a purely mental experience. That seems to be an experience of the same sort as mystics’ experience of God, and I don’t seek that from what mystics tell us you can get any argument for God which is not equally an argument for Satan.

    FATHER COPLESTON
I quite agree, of course, that people have imagined or thought they have heard of seen Satan. And I have no wish in passing to deny the existence of Satan. But I do not think that people have claimed to have experienced Satan in the precise way in which mystics claim to have experienced God. Take the case of a non-Christian, Plotinus. He admits the experience is something inexpressible, the object is an object of love, and therefore, not an object that causes horror and disgust. And the effect of that experience is, I should say, borne out, or I mean the validity of th experience is borne out in the records of the life of Plotinus. At any rate it is more reasonable to suppose that he had that experience if we’re willing to accept Porphyry’s account of Plontinus’ general kindness and benevolence.

    BERTRAND RUSSELL
The fact that a belief has a good moral effect upon a man is no evidence whatsoever in favor of its truth.

    FATHER COPLESTON
No, but if it could actually be proved that the belief was actually responsible for a good effect on a man’s life, I should consider it a presumption in favor of some truth, at any rate of the positive part of the belief not of its entire validity. But in any case I am using the character of the life as evidence in favor of the mystic’s veracity and sanity rather than as a proof of the truth of his beliefs.

    BERTRAND RUSSELL
But even that I don’t think is any evidence. I’ve had experiences myself that have altered my character profoundly. And I thought at the time at any rate that it was altered for the good. Those experiences were important, but they did not involve the existence of something outside me, and I don’t think that if I’d thought they did, the fact that they had a wholesome effect would have been any evidence that I was right.

    FATHER COPLESTON
No, but I think that the good effect would attest your veracity in describing your experience. Please remember that I’m not saying that a mystic’s mediation or interpretation of his experience should be immune from discussion or criticism.

    BERTRAND RUSSELL
Obviously the character of a young man may be — and often is — immensely affected for good by reading about some great man in history, and it may happen that the great man is a myth and doesn’t exist, but they boy is just as much affected for good as if he did. There have been such people. Plutarch’s Lives take Lycurgus as an example, who certainly did not exist, but you might be very much influenced by reading Lycurgus under the impression that he had previously existed. You would then be influenced by an object that you’d loved, but it wouldn’t be an existing object.

    FATHER COPLESTON
I agree with you on that, of course, that a man may be influenced by a character in fiction. Without going into the question of what it is precisely that influences him (I should say a real value) I think that the situation of that man and of the mystic are different. After all the man who is influenced by Lycurgus hasn’t got the irresistible impression that he’s experience in some way the ultimate reality.

    BERTRAND RUSSELL
I don’t think you’ve quite got my point about these historical characters — these unhistorical characters in history. I’m not assuming what you call an effect on the reason. I’m assuming that the young man reading about this person and believing him to be real loves him — which is quite easy to happen, and yet he’s loving a phantom.

    FATHER COPLESTON
In one sense he’s loving a phantom that’s perfectly true, in the sense, I mean, that he’s loving X or Y who doesn’t exist. But at the same time, it is not, I think, the phantom as such that the young man loves; he perceives a real value, an idea which he recognizes as objectively valid, and that’s what excites his love.

    BERTRAND RUSSELL
Well, in the same sense we had before about the characters in fiction.

    FATHER COPLESTON
Yes, in one sense the man’s loving a phantom — perfectly true. But in another sense he’s loving what he perceives to be a value.

Woody Allen: “I’m Immune to Whether My Films Do Well or Not”

Voto 10 Web TV – To Rome with Love – Jesse Eisenberg

Published on Apr 20, 2012 by

Puntata speciale su To Rome with Love della Web TV di Voto 10. Direttamente dal red carpet con Sonia Serafini e Eva Carducci l’intervista a Jesse Eisenberg.

____________________________

I really like the fact that Woody Allen does not care if his films do well at the bo office or not. He is really a philosophic film maker that makes films that discuss the big questions in life. He doesn’t give the right answers all the time because he is an atheist. For instance, in “Crimes and Misdemeanors” he suggested killing the troublesome mistress because she will ruin Judah’s life. If Judah and do it smart and not get caught then there will be no punishment from a God that doesn’t exist. However, Allen does have the right questions to grapple with.

Woody Allen: “I’m Immune to Whether My Films Do Well or Not”

Woody-Allen

<!– –>06/15/12 2:37pm

Our LEAH SYDNEY caught up with the legendary Woody Allen last night at the opening of the Los Angeles Film Festival. Woody and his cast premiered “To Rome with Love,” which opens on June 22nd.

LS-How do you feel about the rough and toughness of this business?

Woody- “I’m immune to it.  I’m immune to when my films don’t do well I never really care, and when they do well I don’t care.  I’ve kept myself out of that. I don’t have highs or lows. I just like to make the films and move on to the next film.  This one is opening and I’m already deeply involved in my next film.  I’ve moved on to the next film, this film is history to me.  “Midnight in Paris” is ancient history. So when they do well that’s great and if they don’t, well there’s nothing I can do about it. That’s not why I’m in the business.

LS-How much of your next film will be shot in New York?

Woody- “A little bit, the rest in San Francisco. “

LS-You know you’re obviously loved in New York and now as much in Los Angeles.

Woody- “I like that both coasts love me. Now if we can just get the middle of the country, I’m home free.”

At the Q&A following the screening. Woody told the crowd:

“I had a wonderful time making it, living in Italy, eating pasta and working with beautiful actresses and scintillating men.    If you do like it however, pressure Sony so they don’t put it in the witness protection program. So if you like the picture I’m thrilled, if you hate it and think it was a waste of time, don’t let me know because I get depressed easily.”

LAFF Festival Director Stephanie Allain told Leah about ‘the wow factor’ in getting Woody to come to LA.

“Kicking off the festival with Woody Allen couldn’t be cooler and bringing Woody to LA is a dream. I feel like we did it. Now we have ten more days of amazing movies, conversations, and music.  I’m thrilled that the LAFF is getting the recognition that it should.”

Related posts:

Woody Allen’s movie “Midnight in Paris” wins an academy award (link to complete listing of all historical figures mentioned in “Midnight in Paris”)

Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   ___________ I have written more on […]

“Woody Wednesday” Allen new movie

Stardust Memories (1980) 1/7 Uploaded by ghostrepublic on Oct 24, 2010 Stardust Memories is a 1980 film written and directed by Woody Allen, who considers this to be one of his best films in addition to The Purple Rose of Cairo and Match Point.[1] The film is shot in black-and-white, particularly reminiscent of Federico Fellini’s […]

Review of “To Rome with Love”

Jesse Eisenberg – Press Conference “To Rome With Love” Published on Apr 21, 2012 by portugal888 Review: Allen’s ‘Rome’ delivers lackluster love Published: Tuesday, June 19 2012 11:06 a.m. MDT By David Germain View 4 photos » This film image released by Sony Pictures Classics shows, : Alec Baldwin as John, left, and Jesse Eisenberg […]

Woody Allen, ‘To Rome With Love’ Director, Talks ‘Midnight In Paris’ Success, Acting Career

How To Recover From a Break Up With Greta Gerwig Published on May 16, 2012 by younghollywood Young Hollywood is hanging out in NYC during the Tribeca film festival, where we chat with rising star Greta Gerwig about her hip slice-of-life movie, ‘Lola Versus’. Greta offers up some advice on how to get over a […]

Sam Tanenhaus on Woody Allen’s Black Magic

To Rome with Love Trailer Official 2012 [HD] – Alec Baldwin, Jesse Eisenberg To Rome with Love hits theaters on June 22nd, 2012. Cast: Woody Allen, Alec Baldwin, Penelope Cruz, Jesse Eisenberg, Greta Gerwig, Ellen Page, Judy Davis, Alison Pill, Roberto Benigni, Isabella Ferrari, Sergio Rubini, Antonio Albanese, Fabio Armiliata, Alessandra Mastronardi, Ornella Muti, Flavio […]

Review: Allen’s ‘Rome’ delivers lackluster love

Penelope Cruz at “To Rome with Love” premiere Published on Jun 15, 2012 by CBSNewsOnline The Los Angeles Film Festival kicked off with Woody Allen’s latest film starring Penelope Cruz. KCAL 9′s Suzanne Marques reports from downtown L.A. at the premiere of “To Rome With Love.” _______________ Review of “To Rome with Love.” Review: Allen’s […]

Woody Allen: “I’m Immune to Whether My Films Do Well or Not”

Voto 10 Web TV – To Rome with Love – Jesse Eisenberg Published on Apr 20, 2012 by voto10cinema Puntata speciale su To Rome with Love della Web TV di Voto 10. Direttamente dal red carpet con Sonia Serafini e Eva Carducci l’intervista a Jesse Eisenberg. ____________________________ I really like the fact that Woody Allen […]

Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie

Ellen Page with Craig Ferguson 13.06.12 (‘To Rome With Love’) 1080p HD Good review of Woody Allen’s latest movie: Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie <!– –> After “Midnight in Paris,” you’re not getting–we’re not getting –a sequel, so forget it. Woody Allen’s “To Rome with Love” opens June 22nd after […]

June 14, 2012 Wall Street Journal interview of Woody Allen and he is still talking about the meaninglessness of existence

TO ROME WITH LOVE – conferenza stampa con Allen, Benigni e Cruz http://WWW.RBCASTING.COM Published on Apr 18, 2012 by RBcasting http://www.rbcasting.com Conferenza stampa del film “To Rome With Love”, scritto e diretto da Woody Allen. Tra gli interpreti, lo stesso Allen, Alec Baldwin, Roberto Benigni, Penelope Cruz, Judy Davis, Jesse Eisenberg, Ellen Page e Greta […]

Woody Allen’s worldview as seen in his movies

  I love the movie Crimes and Misdemeanors and have written on it many times in the past. This quote below sums up Woody Allen’s worldview which I disagree with. In fact, the person who said this actually could not live with its conclusions in the movie and committed suicide.   Because Allen continues to […]

“Woody Wednesdays” Woody Allen on God and Death

Good website on Woody Allen How can I believe in God when just last week I got my tongue caught in the roller of an electric typewriter? If Jesus Christ came back today and saw what was being done in his name, he’d never stop throwing up. If only God would give me some clear […]

Woody Allen’s career in pictures “Woody Wednesday”

  Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   Bananas (1971)    en cast […]

Woody Allen on politics “Woody Wednesday”

Woody Allen on politics. Top political strategist Woody Allen thinks Obama would get much more done as dictator; No, really May 18, 2010 |  2:22 am The notorious and formerly funny movie director Woody Allen is apparently frustrated with the cumbersome operations of American democracy too. The one-time-father-now-husband-of-his-daughter tells the Spanish-language magazine La Vanguardia that the […]

 

Myth:Conservative Herbert Hoover responsible for Depression?

Myth:Conservative Herbert Hoover responsible for Depression

When I grew up I always heard that the conservative Herbert Hoover was responsible for the depression. Is that true?

The Hoover Myth Marches On

Posted by David Boaz

In the New York Times today,  columnist Joseph Nocera quotes a book published in 1940 on Herbert Hoover and the Great Depression:

Herbert Hoover was “leery of any direct governmental offensive against the Depression,” writes Allen. “So he stood aside and waited for the healing process to assert itself, as according to the hallowed principles of laissez-faire economics it should.”

OK, let’s go to the tape. In a new Cato study economist Steve Horwitz notes what Hoover really did:

  • He almost doubled federal spending from 1929 to 1933.
  • He expanded public works projects to “create jobs.”
  • He pressured businesses not to cut wages, even in the face of deflation.
  • He signed the Davis-Bacon Act and the Norris-LaGuardia acts to prop up unions.
  • He signed the Smoot-Hawley tariff.
  • He created the Reconstruction Finance Corporation.
  • He proposed and signed the largest peacetime tax increase in
    American history.

And that’s why FDR brains-trusters Rexford Guy Tugwell and Raymond Moley acknowledged later that Hoover “really invented” all the devices of the New Deal. Frederick Lewis Allen might not have recognized that in 1940, but Joseph Nocera should. And if we don’t want to relive the Great Depression, as Nocera worries, then we’d better learn what didn’t work in 1929-33 any better than it worked in 1933-39.

Milton Friedman’s Free to Choose (1980), episode 3 – Anatomy of a Crisis. part 1

FREE TO CHOOSE: Anatomy of Crisis
Friedman Delancy Street in New York’s lower east side, hardly one of the city’s best known sites, yet what happened in this street nearly 50 years ago continues to effect all of us today. Wall Street. Most of us know what happened here 50 years ago. Inside the Stock Exchange on October 29, 1929, the market collapsed. It came to be known as Black Thursday. The Wall Street crash was followed by the worst depression in American history. That depression has been blamed on the failure of capitalism. It was no such thing but the myth lives on. What really happened was very different.
Although things looked healthy on the surface, business had begun to turn down in mid 1929. The crash intensified the recession. So did continuing bank failures in the south and Midwest. But the recession only became a crisis when these failures spread to New York and in particular to this building, then the headquarters of the Bank of United States. The failure of this bank had far reaching effects and need never have happened.
It was something of a historical accident that this particular bank played the role it did. Why did it fail? It was a perfectly good bank. Banks that were in far worse financial shape had come under difficulties before it did and had, through the cooperation of other banks, been saved. The reason why it wasn’t saved has to do with its rather special character. First its name, Bank of United States, a name that made immigrants believe it was an official governmental bank although in fact it was an ordinary commercial bank. Second its ownership, Jewish, both its name and the character of its ownership which had so much to do with attracting the large number of depositors from the many Jewish businessmen in the city of New York. Both of them also had the effect of alienating other bankers who did not like the special advantage of the name and did not like the character of the ownership. As a result, other banks were all too ready to spread rumors, to help promote an atmosphere in which runs got started on the bank and which it came into difficulty. And they were less then usually willing to cooperate in the efforts that were made to save it.
Only a few blocks away is the Federal Reserve Bank of New York. It was here that the Bank of United States could have been saved. Indeed, the Federal Reserve System had been set up 17 years earlier precisely to prevent the worst consequences of bank failures.
The Federal Reserve Bank of New York, whose directors today meet in this room, devised a plan in cooperation with the superintendent of banking of the State of New York to save the Bank of United States. Their plan called for merging the Bank of United States with several other banks and also providing a guarantee fund to be subscribed to by still other bankers to assure the depositors that the assets of the Bank of United States were safe and sound. The Reserve Bank called meeting after meeting to try to put the plan into effect. It was on again, off again. But finally, after an all night meeting on December 10, 1930, the other bankers, including in particular John Pierpont Morgan, refused to subscribe to the guarantee fund and the plan was off. The next day the Bank of United States closed its doors, never again to open for business. For its depositors who saw their savings tied up and their businesses destroyed, the closing was tragic. Yet when the bank was finally liquidated, in the worst years of the depression, it paid back 92.5 cents on the dollar. Had the other banks cooperated to save it, no one would have lost a penny.
For the other New York banks, they thought closing the Bank of United States would have purely local effects. They were wrong. Partly because it had so many depositors, partly because so many of the depositors were small businessmen, partly because it was the largest bank that had ever been permitted to fail in the United States up to this time, the effects were far reaching. Depositors all over the country were frightened about the safety of their funds and rushed to withdraw them. There were runs. There were failures of banks by the droves. And all the time the Federal Reserve System stood idly by when it had the power and the duty and the responsibility to provide the cash that would have enabled the banks to meet the insistent demands of their depositors without closing their doors.
The way runs on banks can spread and can be stopped is a consequence of the way our bank system works. You may think that when you take some cash to a bank and deposit it, the bank takes that money and sticks it in a vault somewhere to wait until you need it again to turn it back over to you.
Bank teller: Okay, how would you like this? Two tens, one five and five ones. Okay.
Friedman: The bank does no such thing with it. It immediately takes a large part of what you put in and lends it out to somebody else. How do you suppose it earns interest, to pay its expenses, or pay you something for the use of your money? The result is that if all depositors in all the banks tried all at once to convert their deposits into cash, there wouldn’t be anything like enough cash in the banks of the country to meet their demands. In order to prevent such an outcome, in order to cut short a run, it is necessary to have some way either to stop people from asking for it, or to have some additional source from which cash can be obtained. That was intended to be the purpose of the Federal Reserve System. It was to provide the additional cash to meet the demands of the depositors when a run arose.
A classic example of how this system could and did work properly can be found over 2,000 miles from New York near the great Salt Lake in Utah.
In the early 30’s some banks in Salt Lake City and surrounding towns began to get into difficulties. The owners of one them were smart enough to see what had to be done to keep their banks open and courageous enough to do it. When fearful depositors began to clamor to withdraw all their money, one of George Eccles jobs was to brief his cashiers on how to handle the run.

Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie

Ellen Page with Craig Ferguson 13.06.12 (‘To Rome With Love’) 1080p HD

Good review of Woody Allen’s latest movie:

Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie

To-Rome-With-Love

<!– –>

After “Midnight in Paris,” you’re not getting–we’re not getting –a sequel, so forget it. Woody Allen’s “To Rome with Love” opens June 22nd after having already been a hit in Italy. It stars Penelope Cruz, Alec Baldwin, Jesse Eisenberg, Ellen Page, Greta Gerwig, and Roberto Benigni, as well as Woody himself and Judy Davis. Plus there are a lot of Italian actors. Much of the movie is in Italian with subtitles.

You won’t mind. “To Rome with Love” is like a throw back to old fashioned omnibus movies that tell a lot of interlocking stories with many, many characters. To his credit, Woody keeps them very distinct. Even the Italian actors–unknown to us–are so specific that you don’t miss a thing.

Mainly, though, “To Rome with Love” –besides being funny–is an interesting take on Woody’s thoughts about fame. Each member of the cast is looking, they think, to elevate themselves from the humdrum. It’s either through the heightened sense of impractical love, or — in Benigni’s case–of a regular Roman who suddenly cannot walk the streets because he’s so famous.

Penelope Cruz is a stand out, of course, as a professional call girl. Hot, sexy? Yes. But also a practical business woman with a large following among Rome’s corporate leaders. Her entire performance is spoken in Italian, which makes her even hotter.

But even with attractive young people, “To Rome with Love” is pointed at just the same audience as “Midnight in Paris.” Meaning: upscale, educated, a little older. Sony Pictures Classics would do well to remember that in the marketing. This is the antidote to a summer full of cartoon action films. More on “To Rome” next week when it’s about to open.

PS What about Woody’s character? He’s the clueless director of avant garde operas, and come to Rome to stage one with a very unusual premise: the main character performs his whole part in a stall shower while a conventional opera surrounds him. It is very funny.

Related posts:

Woody Allen’s movie “Midnight in Paris” wins an academy award (link to complete listing of all historical figures mentioned in “Midnight in Paris”)

Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   ___________ I have written more on […]

“Woody Wednesday” Allen new movie

Stardust Memories (1980) 1/7 Uploaded by ghostrepublic on Oct 24, 2010 Stardust Memories is a 1980 film written and directed by Woody Allen, who considers this to be one of his best films in addition to The Purple Rose of Cairo and Match Point.[1] The film is shot in black-and-white, particularly reminiscent of Federico Fellini’s […]

Review of “To Rome with Love”

Jesse Eisenberg – Press Conference “To Rome With Love” Published on Apr 21, 2012 by portugal888 Review: Allen’s ‘Rome’ delivers lackluster love Published: Tuesday, June 19 2012 11:06 a.m. MDT By David Germain View 4 photos » This film image released by Sony Pictures Classics shows, : Alec Baldwin as John, left, and Jesse Eisenberg […]

Woody Allen, ‘To Rome With Love’ Director, Talks ‘Midnight In Paris’ Success, Acting Career

How To Recover From a Break Up With Greta Gerwig Published on May 16, 2012 by younghollywood Young Hollywood is hanging out in NYC during the Tribeca film festival, where we chat with rising star Greta Gerwig about her hip slice-of-life movie, ‘Lola Versus’. Greta offers up some advice on how to get over a […]

Sam Tanenhaus on Woody Allen’s Black Magic

To Rome with Love Trailer Official 2012 [HD] – Alec Baldwin, Jesse Eisenberg To Rome with Love hits theaters on June 22nd, 2012. Cast: Woody Allen, Alec Baldwin, Penelope Cruz, Jesse Eisenberg, Greta Gerwig, Ellen Page, Judy Davis, Alison Pill, Roberto Benigni, Isabella Ferrari, Sergio Rubini, Antonio Albanese, Fabio Armiliata, Alessandra Mastronardi, Ornella Muti, Flavio […]

Review: Allen’s ‘Rome’ delivers lackluster love

Penelope Cruz at “To Rome with Love” premiere Published on Jun 15, 2012 by CBSNewsOnline The Los Angeles Film Festival kicked off with Woody Allen’s latest film starring Penelope Cruz. KCAL 9′s Suzanne Marques reports from downtown L.A. at the premiere of “To Rome With Love.” _______________ Review of “To Rome with Love.” Review: Allen’s […]

Woody Allen: “I’m Immune to Whether My Films Do Well or Not”

Voto 10 Web TV – To Rome with Love – Jesse Eisenberg Published on Apr 20, 2012 by voto10cinema Puntata speciale su To Rome with Love della Web TV di Voto 10. Direttamente dal red carpet con Sonia Serafini e Eva Carducci l’intervista a Jesse Eisenberg. ____________________________ I really like the fact that Woody Allen […]

Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie

Ellen Page with Craig Ferguson 13.06.12 (‘To Rome With Love’) 1080p HD Good review of Woody Allen’s latest movie: Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie <!– –> After “Midnight in Paris,” you’re not getting–we’re not getting –a sequel, so forget it. Woody Allen’s “To Rome with Love” opens June 22nd after […]

June 14, 2012 Wall Street Journal interview of Woody Allen and he is still talking about the meaninglessness of existence

TO ROME WITH LOVE – conferenza stampa con Allen, Benigni e Cruz http://WWW.RBCASTING.COM Published on Apr 18, 2012 by RBcasting http://www.rbcasting.com Conferenza stampa del film “To Rome With Love”, scritto e diretto da Woody Allen. Tra gli interpreti, lo stesso Allen, Alec Baldwin, Roberto Benigni, Penelope Cruz, Judy Davis, Jesse Eisenberg, Ellen Page e Greta […]

Woody Allen’s worldview as seen in his movies

  I love the movie Crimes and Misdemeanors and have written on it many times in the past. This quote below sums up Woody Allen’s worldview which I disagree with. In fact, the person who said this actually could not live with its conclusions in the movie and committed suicide.   Because Allen continues to […]

“Woody Wednesdays” Woody Allen on God and Death

Good website on Woody Allen How can I believe in God when just last week I got my tongue caught in the roller of an electric typewriter? If Jesus Christ came back today and saw what was being done in his name, he’d never stop throwing up. If only God would give me some clear […]

Woody Allen’s career in pictures “Woody Wednesday”

  Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   Bananas (1971)    en cast […]

Woody Allen on politics “Woody Wednesday”

Woody Allen on politics. Top political strategist Woody Allen thinks Obama would get much more done as dictator; No, really May 18, 2010 |  2:22 am The notorious and formerly funny movie director Woody Allen is apparently frustrated with the cumbersome operations of American democracy too. The one-time-father-now-husband-of-his-daughter tells the Spanish-language magazine La Vanguardia that the […]