I've never, ever in my life had any interference.
I've always had final cut, no-one saw scripts,
no-one saw casting. So since Take the Money and
Run (1969), I've been spoiled. But recently, at
about the time of Match Point (2005), the studios
began to behave differently. They started to say,
Look, we like to make films with you and we'll
give you the money, but we don't want to be
treated as if we're just a bank, putting money
in a bag and then just going away. You'll still
have final cut and all of that, but we would like
to see a script, know who you're casting and be
involved in some way. I feel that this is a
completely reasonable request, but I just wasn't
used to working that way, so I went over to
Europe. There's no studio system, so they don't
care about any of that stuff. They're bankers.
And they're happy to be bankers. They put up the
money, you give them the film, and that's what
they care about. That worked very well for me
on Match Point (2005). So I did it again with
Scoop (2006) and Cassandra's Dream (2007).
And I made Vicky Cristina Barcelona (2008)
in Spain under the same circumstances.
Woody Allen •