How much will the success of "Midnight in Paris" change the filmmaker’s career? Not one bit, says Allen.
In nearly 45 years of alternating between toast of the town and yesterday’s news, Allen has barely deviated from a simple formula: make a movie a year on an economical budget and avoid the show business baubles — counting box-office grosses, obsessing over reviews, glad-handing for awards — that would distract from his routine.
"I’ve managed to avoid over decades the hit-flop syndrome," Allen said in an interview during a recent trip to Los Angeles, where he and his Dixieland jazz band wrapped up a six-city tour. "Most filmmakers work in that spectrum, and they have the pluses and minuses. They get the delight and pleasure out of a great hit, and they love the awards, they love the parties, the opening-night parties, the premieres. The box-office returns are heady for them, and they love it. But when something doesn’t work, very often, they have trouble getting money for their next picture.