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Carson Cistulli

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Woody Allen says at the end of Annie Hall that we’re always trying to get things to come out perfect in art because it’s so difficult in real life [...] if we can accept Allen’s as a definition of art, then sabermetrics is absolutely an art. And, just as Kalkman notes, it’s an art whose practitioners are bent on seeing justice done — in baseball, if nowhere else.
--
The Long Hello: Some Notes on Luck (2009)

 
Carson Cistulli

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With the possible exception of What's Up, Tiger Lily (1966), the schlocky Japanese spy movie to which he attached his own, sidesplitting English soundtrack, no Woody Allen movie has ever been more or less serious than another of his works. He's always been serious. It's the audiences who have been frivolous.
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Allen: That's quite a lovely Jackson Pollock, isn't it?
Woman: Yes, it is.
Allen: What does it say to you?
Woman: It restates the negativeness of the universe. The hideous lonely emptiness of existence. Nothingness. The predicament of man forced to live in a barren, godless eternity like a tiny flame flickering in an immense void with nothing but waste, horror, and degradation, forming a useless, bleak straitjacket in a black, absurd cosmos.
Allen: What are you doing Saturday night?
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Allen: What about Friday night?

 
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I liked [Chavez]. He's very warm and very gracious. And he's a bear. I've always said that if he looked like Woody Allen he'd play a lot better with the world press. I think men are threatened by his physicality.

 
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Historian (showing Miles a tape of Howard Cosell): At first we didn't know exactly what this was, but we've developed a theory. We feel that when citizens in your society were guilty of a crime against the state, they were forced to watch this.
Miles Monroe (Woody Allen): Yes. That's exactly what that was.

 
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