Interiors (1978)

PG | 93 mins | Drama | 2 August 1978

Director:

Woody Allen

Writer:

Woody Allen

Producer:

Charles H. Joffe

Cinematographer:

Gordon Willis

Editor:

Ralph Rosenblum

Production Designer:

Mel Bourne
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HISTORY

The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Jeremy Carr, Visiting Research Fellow with the Arizona State University Center for Film, Media and Popular Culture.

The end credits contain a statement in which producers thank the following organizations and individuals: The City of New York, Stark Carpet Corporation, The Pace Collection, The Village of Southampton, and The Caristo Family.
       A 21 Oct 1977 NYT article by Guy Flatley described Interiors as a break from writer/director Woody Allen’s previous work, as it did not contain an abundance of humor nor would Allen make an appearance as actor. Shooting had begun just days earlier, on 17 Oct 1977 in New York City, as noted in a 28 Nov 1977 Box news item. A 9 Aug 1978 Var article reported the film’s budget as $3.1 million.
       In a 9 Nov 1978 NYT article titled “Inside Woody Allen’s ‘Interiors,’” production designer Mel Bourne discussed Allen’s vision for the locations: “Everything in the film had to be imbued with [character Eve’s] personality…Her influence had to be felt in her family’s beach house, her New York apartment, her husband’s office and in the homes of her three daughters.” A 16 Sep 1978 Cue article reported the four homes used as locations in the film: “an apartment on Central Park West, a loft on 19th street, a house in Westchester, and a beach house in the Hamptons.” For the beach house alone, Bourne saw 50 different homes before settling on the “turn-of-the-century, 30-room house” used in the ...

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The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Jeremy Carr, Visiting Research Fellow with the Arizona State University Center for Film, Media and Popular Culture.

The end credits contain a statement in which producers thank the following organizations and individuals: The City of New York, Stark Carpet Corporation, The Pace Collection, The Village of Southampton, and The Caristo Family.
       A 21 Oct 1977 NYT article by Guy Flatley described Interiors as a break from writer/director Woody Allen’s previous work, as it did not contain an abundance of humor nor would Allen make an appearance as actor. Shooting had begun just days earlier, on 17 Oct 1977 in New York City, as noted in a 28 Nov 1977 Box news item. A 9 Aug 1978 Var article reported the film’s budget as $3.1 million.
       In a 9 Nov 1978 NYT article titled “Inside Woody Allen’s ‘Interiors,’” production designer Mel Bourne discussed Allen’s vision for the locations: “Everything in the film had to be imbued with [character Eve’s] personality…Her influence had to be felt in her family’s beach house, her New York apartment, her husband’s office and in the homes of her three daughters.” A 16 Sep 1978 Cue article reported the four homes used as locations in the film: “an apartment on Central Park West, a loft on 19th street, a house in Westchester, and a beach house in the Hamptons.” For the beach house alone, Bourne saw 50 different homes before settling on the “turn-of-the-century, 30-room house” used in the film. There, eighty-one window panes facing the beach were replaced, the inside was painted, and broadloom carpet was pulled up. Work done to the house totaled $20,000. In addition, the furniture, mostly rented, cost $30,000. “At one point,” stated Bourne, “we were changing furniture in Eve’s Manhattan apartment every half hour.”
       According to the same article, complications arose for the Caristo family, who owned the Southampton beach house. Daughter Rosemary was not pleased with the work done to the home, and argued that the crew did not “put the house back the way it was.” However, CeCe Wasserman, whose home in Westchester was used as Diane Keaton’s character, Renata’s, Connecticut house, was not unhappy, stating that the “crew was excellent.”
       Critical reception for the film was mixed. A 2 Aug 1978 Var review referred to Interiors as an “American version of Ingmar Bergman” with a “limited commercial outlook,” ultimately concluding that the film was “such a somber, downbeat work … that the possibilities in the general market appear to be nonexistent.” A 28 July 1978 HR review, which also drew the Bergman comparison, deemed the film an “extraordinary – and extraordinarily demanding – movie,” and “a picture that seems destined to become a landmark of American cinema.” Vincent Canby of NYT gave a less positive review, stating it was “as if Mr. Allen had set out to make someone else’s movie…without having any grasp of the material, or first-hand, gut feelings about the characters.”
       Producer Charles H. Joffe commented on the decision to release the film in late summer in a 9 Aug 1978 Var article, explaining that there was no competition for a film like Interiors at the time of its release, only “summer fluff.” As reported in a 12 Sep 1978 HR article, the film broke box-office records on both coasts: a $323,292 “all-time high…for five weeks and five days at [New York’s] Baronet Theatre” and a record of $98,213 in 12 days at the Regent Theatre in Los Angeles. A 17 Aug 1978 HR news item noted that the middle-America run for Interiors was delayed to “allow word to seep in from both coasts that the film is a departure from the usual Allen comedies.” The film was scheduled for later runs in late Sep and mid-Oct “in a scattering of key cities.”
       A 30 Aug 1978 Var article reported that the film would not branch out into a wider-15-house New York run Sept. 6 as planned. A reason proposed for the delay was that the film was shot on an Eastman Kodak stock not available for mass prints. This was not the case, according to United Artists worldwide advertising and publicity vice president Hy Smith, who contended that the run was stopped due to a newspaper strike taking place in New York at the time. Charles H. Joffe, however, said the stock issue was a factor. A 1 Sep 1978 DV article explained that Allen had “nixed” some prints which failed to meet his standards, and that more were being produced.
       An 11 Sep 1978 HR news item reported that the film was selected as the closing night presentation at the 1978 San Sebastian Film Festival on 20 Sep, and this would be the film’s first screening outside the United States. According to an 8 Jan 1980 LAT article, the film screened as part of a Southern California Psychoanalytic Institute series on psychoanalysis and creativity.
       Interiors was nominated for five Academy Awards: Geraldine Page for Actress in a Leading Role; Maureen Stapleton for Actress in a Supporting Role; Mel Bourne and Daniel Robert for Art Direction; and Woody Allen for Directing and Screenplay.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
28 Nov 1977
---
Cue
16 Sep 1978
p. 147
Daily Variety
1 Sep 1978
---
Hollywood Reporter
28 Jul 1978
p. 3, 35
Hollywood Reporter
17 Aug 1978
---
Hollywood Reporter
11 Sep 1978
---
Hollywood Reporter
12 Sep 1978
---
Los Angeles Times
27 Aug 1978
p. 1
Los Angeles Times
8 Jan 1980
---
New York Times
21 Oct 1977
---
New York Times
2 Aug 1978
p. 15
New York Times
9 Nov 1978
---
Variety
2 Aug 1978
p. 14
Variety
9 Aug 1978
p. 5, 28
Variety
30 Aug 1978
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A Jack Rollins-Charles H. Joffe Production
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
1st asst dir
2d asst dir
PRODUCERS
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
Cam op
1st asst cam
Still photog
Gaffer
Key grip
ART DIRECTORS
Prod des
Des coord
FILM EDITORS
Asst film ed
Asst film ed
SET DECORATORS
Prop master
Set dec
Set dec
Carpenter
Scenic artist
Scenic artist
COSTUMES
Cost des
SOUND
Rerec mixer
Magno Sound
Sd editing
Magnofex
Asst sd ed
VISUAL EFFECTS
MAKEUP
Makeup
Hairstylist
PRODUCTION MISC
Prod supv
Casting
Extras casting
Loc coord
Scr supv
Prod office coord
Prod accountant
Transportation capt
D.G.A. trainee
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Unit pub
SOURCES
MUSIC
"Keepin' Out of Mischief Now," by Andy Razaf and Thomas Waller, performed by Tommy Dorsey on RCA Records; "Wolverine Blues," by Charles Mingus, performed by The World's Greatest Jazz Band on Project III Records.
DETAILS
Release Date:
2 August 1978
Premiere Information:
New York opening: 2 Aug 1978; Los Angeles opening: 30 Aug 1978
Production Date:
began 17 Oct 1977
Copyright Info
Claimant
Date
Copyright Number
United Artists Corporation
6 December 1978
PA21637
Physical Properties:
Sound
Color
Lenses/Prints
Camera and Lenses by Panavision ®; Prints by Technicolor ®
Duration(in mins):
93
MPAA Rating:
PG
Country:
United States
Language:
English
PCA No:
25289
SYNOPSIS

As Joey walks through a desolate beach house, her sister Renata peers through a window. Staring out from his office window in Manhattan, their father Arthur talks of his life, his wife Eve, and their children. Eve visits the apartment of Joey and her husband, Michael, interrupting him as he works. Michael becomes increasingly irritated with Eve, an interior designer, as she suggests expensive changes to their home decor. Eve has been unwell for some time and tells Joey about her return to interior design. She also expresses a desire to reunite with Arthur, but Joey has her doubts about this reconciliation. Elsewhere, Renata talks, presumably to a psychiatrist, about her mother’s breakdown years ago, and how she had put Arthur through law school and helped finance his practice. At dinner with Joey, Renata, and Eve, Arthur states his desire to be by himself, but assures them that his separation from Eve may only be temporary. Shocked by the announcement, Eve insists she will move out of the house. Renata later explains, again to the psychiatrist, that she has recently been unable to write. She has been obsessing about death and the purpose of her work. At their apartment, Joey shares with Michael the doubts she has about the direction of her life and, specifically, her career goals. Preparing for Eve’s birthday party, Renata shops with her husband Frederick, struggling to find an acceptable present. Eve’s third daughter, Flyn, an actress who has been filming a television movie in Colorado, joins the family at Eve’s party. Renata and Flyn comfort their mother, encouraging her that the separation from Arthur is only a trial. Meanwhile, Frederick becomes distracted by Flyn’s ...

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As Joey walks through a desolate beach house, her sister Renata peers through a window. Staring out from his office window in Manhattan, their father Arthur talks of his life, his wife Eve, and their children. Eve visits the apartment of Joey and her husband, Michael, interrupting him as he works. Michael becomes increasingly irritated with Eve, an interior designer, as she suggests expensive changes to their home decor. Eve has been unwell for some time and tells Joey about her return to interior design. She also expresses a desire to reunite with Arthur, but Joey has her doubts about this reconciliation. Elsewhere, Renata talks, presumably to a psychiatrist, about her mother’s breakdown years ago, and how she had put Arthur through law school and helped finance his practice. At dinner with Joey, Renata, and Eve, Arthur states his desire to be by himself, but assures them that his separation from Eve may only be temporary. Shocked by the announcement, Eve insists she will move out of the house. Renata later explains, again to the psychiatrist, that she has recently been unable to write. She has been obsessing about death and the purpose of her work. At their apartment, Joey shares with Michael the doubts she has about the direction of her life and, specifically, her career goals. Preparing for Eve’s birthday party, Renata shops with her husband Frederick, struggling to find an acceptable present. Eve’s third daughter, Flyn, an actress who has been filming a television movie in Colorado, joins the family at Eve’s party. Renata and Flyn comfort their mother, encouraging her that the separation from Arthur is only a trial. Meanwhile, Frederick becomes distracted by Flyn’s good looks. In the evening, Frederick and Renata argue over the critical reaction toward his latest book. He feels his wife, a celebrated poet, gives him false support when he has had no success as a writer. Joey congratulates Renata on one of her poems, which was recently published in a magazine. Later, Arthur visits Eve at her new apartment in the city, but he remains distant toward her. After he leaves, Eve seals the windows and doors with tape to block airflow, and attempts suicide by turning on the gas oven and stove. However, an ambulance delivers Eve to the hospital in time to save her life. There, Renata and Arthur discuss plans for Eve and decide the best solution is to take her back to the sanitarium. Arthur also expresses his concern about the evident antagonism between Joey and Renata. Some time later, Joey and Renata argue after a visit to their mother. Joey accuses Renata of abandoning her by staying home in Connecticut, and leaving Joey to take care of Eve. At home, Renata experiences a strange physical and mental sensation and tries to describe the feeling to Frederick, who comforts her. They look through photographs taken by Joey that, they both agree, are not very good. Again, the two argue about the quality of Frederick’s work. Joey arrives late to meet Michael and her mother one day as they pick out home furnishings. Distraught, Joey reveals to Michael that she is pregnant and does not wish to have the baby. Joey later argues with Eve about the possibility of a reconciliation with Arthur. On the way home, Joey fights with Michael about her need to find an artistic pursuit, and the possibility of having a child. One evening, Renata and Frederick host a dinner party for Arthur, Joey and Michael. Arthur arrives accompanied by Pearl, his new girlfriend, a boisterous and talkative woman who clashes with Arthur’s intellectual daughters. After an awkward dinner, Pearl shows Michael and Frederick card tricks, while Arthur informs Joey and Renata that he plans to marry Pearl as soon as possible. Renata and Joey worry about Eve’s potential reaction. They also note their concern over the brief period that Arthur and Pearl have known each other, questioning Pearl’s motivation for marrying their wealthy father. Later, Arthur and Eve visit a church together. Hoping to get back together, Eve suggests they take a trip to the Far East. Arthur responds by saying he wants to finalize their divorce, and has already discussed the news with Eve’s doctor. Infuriated by the thought of a permanent division, as well as by the fact that Arthur went to her doctor behind her back, Eve knocks over a row of candles and storms out of the building. Everyone, except for Eve, gathers at the family’s beach house for Arthur and Pearl’s wedding. Walking on the beach, Flyn and Renata discuss their lives and aging. Inside, Joey tells Arthur that she just wants him to be happy. He asks that she tell Pearl that as well, and she agrees. Alone on the beach, Renata stares worriedly at the ocean, while Frederick flirts with Flyn inside the house. After the wedding ceremony, Pearl takes turns dancing with everyone, but Joey rejects her. Dancing alone, Pearl accidentally knocks over a vase. Joey scolds her, then runs out. Later in the evening, Frederick catches Flyn taking cocaine in the garage. He kisses her. When she resists, Frederick pins her against the car. She breaks free and stumbles to the ground. He forces himself on her more aggressively, but she manages to escape. Later, sitting alone in the dark, Joey sees that her mother has arrived. Joey talks to Eve about their relationship and accuses her of being “too perfect to live in this world.” When Pearl enters the room, Eve disappears. Outside, Eve walks to the beach and straight into the sea, and Joey chases after her. Pearl and Michael follow them outside, and Michael saves Joey from the rough tide. While Eve drowns, Pearl resuscitates Joey on the beach. After their mother’s funeral, Joey writes in her diary about returning to the beach house. She recalls warm childhood memories involving her mother and her sisters. Somberly, the three girls gather and look out a window toward the beach, commenting on the peacefulness of the calm water.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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