ROBERT GREENHUT Producer

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ROBERT GREENHUT Producer TRUST - Millennium - David Schwimmer, director PICASSO & BRAQUE GO TO THE MOVIES - Independent - Arne Glimcher, director BROOKLYN’S FINEST - Warner Bros. - Antoine Fuqua, director AUGUST RUSH - Warner Bros. - Kirsten Sheridan, director FIND ME GUILTY - Yari Film Group - Sidney Lumet, director STATESIDE - First Look Films - Reverge Anselmo, director THE BLACK KNIGHT - 20th Century Fox - Gil Junger, director WHITE RIVER KID - Independent - Arne Glimcher, director WITH FRIENDS LIKE THESE - Independent - Phillip Frank Messina, director THE PREACHER’S WIFE - Buena Vista - Penny Marshall, director EVERYONE SAYS I LOVE YOU - Miramax - Woody Allen, director MIGHTY APHRODITE - Miramax - Woody Allen, director BULLETS OVER BROADWAY - Miramax - Woody Allen, director RENAISSANCE MAN - Buena Vista - Penny Marshall, director WOLF (Executive) - Columbia - Mike Nichols, director MANHATTAN MURDER MYSTERY - TriStar - Woody Allen, director HUSBANDS AND WIVES - TriStar - Woody Allen, director SHADOWS AND FOG - Orion - Woody Allen, director A LEAGUE OF THEIR OWN - Columbia - Penny Marshall, director REGARDING HENRY (Executive) - Paramount - Mike Nichols, director ALICE - Orion - Woody Allen, director QUICK CHANGE - Warner Bros. - Howard Franklin, Bill Murray, directors POSTCARDS FROM THE EDGE (Executive) - Columbia - Mike Nichols, director CRIMES AND MISDEMEANORS - Orion - Woody Allen, director NEW YORK STORIES - Touchstone - Woody Allen, director WORKING GIRL - 20th Century Fox - Mike Nichols, director BIG - 20th Century Fox - Penny Marshall, director ANOTHER WOMAN - Orion - Woody Allen, director SEPTEMBER - Orion - Woody Allen, director RADIO DAYS - Orion - Woody Allen, director HEARTBURN - Paramount - Mike Nichols, director HANNAH AND HER SISTERS - Orion - Woody Allen, director PURPLE ROSE OF CAIRO - Orion - Woody Allen, director BROADWAY DANNY ROSE - Orion - Woody Allen, director ZELIG - Warner Bros./Orion - Woody Allen, director THE KING OF COMEDY (Executive) - 20th Century Fox - Martin Scorsese, director A MIDSUMMER NIGHT’S SEX COMEDY - Orion - Woody Allen, director ARTHUR - Warner Bros./Orion - Steve Gordon, director STARDUST MEMORIES - United Artists - Woody Allen, director MANHATTAN - United Artists - Woody Allen, director HAIR (Associate) - United Artists - Milos Forman, director INTERIORS (Executive) - United Artists - Woody Allen, director ANNIE HALL - United Artists - Woody Allen, director THE FRONT (Associate) - Columbia - Martin Ritt, director DOG DAY AFTERNOON (Associate) - Warner Bros. - Sidney Lumet, director LENNY (Associate) - United Artists - Bob Fosse, director .

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Midnight in Paris E O Conto De E. T. A. Hoffmann 'Der Goldne Topf': a Herança Romântica De Woody Allen1 Ana Maria Delgado
nº5 Agosto de 2014 pp 1 - 14 ISSN 1647-8061 Midnight in Paris e o conto de E. T. A. Hoffmann ‘Der goldne Topf’: a herança romântica de Woody Allen1 Ana Maria Delgado Universidades de Hamburgo e de Rostock/Camões I.P./CLEPUL “Gil: The past is not dead, in fact it is not even past!” 2 Woody Allen, Midnight in Paris (2011) A cena de abertura de Manhattan, o inesquecível filme que Woody Allen em 1979 dedicou a Nova Iorque, mostra-nos uma série de imagens da cidade que o realizador considera sua, a preto e branco e acompanhadas pela “Rhapsody in Blue” de George Gershwin. A personagem de Isaac Davis, alter ego de Allen no filme, liga esta descrição da cidade, vista a uma certa distância, à designação de “romantic”: “Chapter One: He adored New York City. He idolized it all out of proportion. Uh, no, make that, he-he… he romanticized it all out of proportion (…) He was too romantic about New York city, as he was about everything else.” A percepção de Isaac de Nova Iorque como “a town that existed in black and white and pulsated to the great tunes of George Gershwin” contrasta com a sua observação final nesta sequência, apresentando a cidade como “a 1 Este texto foi apresentado como comunicação ao Congresso da Sociedade de E. T. A. Hoffmann a 20 de Abril de 2013 em Bamberg. Gostaria de o dedicar a Marina Ramos Themudo, como reconhecimento do diálogo sempre inspirador que mantemos desde o período de preparação e escrita da minha dissertação sobre E.
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Café Society
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Roger Ebert's
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