Marshall Brickman, Oscar-Winning Screenwriter on ‘Annie Hall,’ Dies at 85

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In contemplating the rich and multi-faceted life of Marshall Brickman, it becomes evident that his journey was not merely a career progression but a grand adventure through the realms of comedy, music, television, and film. From his early days as a joke writer for the likes of Johnny Carson and Dick Cavett to his groundbreaking collaboration with Woody Allen in the world of cinema, Brickman’s story is one of persistence, creativity, and camaraderie.

The well-known banjo player, scriptwriter, and director Marshall Brickman, often working alongside Woody Allen, has been reported dead at the age of 85. This follows their joint win of an Academy Award for the outstanding Annie Hall screenplay they co-authored together.

Brickman died Friday in Manhattan, his daughter Sophie Brickman told The New York Times.

By himself, Brickman penned and orchestrated the following movies:

In the year 2001, he directed a television adaptation of the play “Sister Mary Explains It All” by Christopher Durang. This production featured the renowned actress Diane Keaton in the lead role. The show was broadcast on Showtime.

Besides collaborating with Rick Elice on the Tony-nominated script for the Broadway show Jersey Boys, they also penned the screenplay for its 2014 film version. The duo reunited in 2010 to create the stage musical called The Addams Family.

During the early 1960s, Allen was rising as a renowned stand-up comedian, while Brickman was strumming banjo for The Tarriers, a folk band that had previously achieved success with “Day-O (The Banana Boat Song)” and included Arkin among its members.

During a 2016 interview for the Classic Television Showbiz blog, Brickman stated that “The Tarriers were the main attraction and Woody was the opening act. Woody was gaining popularity rapidly and creating content just as fast.” The idea was to provide him with extensive television exposure as soon as possible, so producer Charlie Joffe encouraged us to work together.

We spent time crafting jokes. After a few hours, his housekeeper would deliver a platter of tuna fish sandwiches, and we’d pause for a while. I can’t recall what we discussed during that break. Collaboratively, we penned much of his initial stand-up material, which he later recorded. When he secured a couple of TV specials, one was for Monsanto, another for Libby’s – these were one-time variety shows. We wrote those in tandem. Then, we began writing movies together.

Previously established in television after departing from the music industry, Brickman found himself working with Allen on a comedic sci-fi project titled “Sleeper” (1973), which was an unexpected opportunity. Coincidentally, an album that Brickman had recorded years prior with his college roommate Eric Weissberg was selected as the soundtrack for the 1972 film “Deliverance,” starring Burt Reynolds. This album included the popular track “Dueling Banjos.

Previously, I was undergoing therapy, and my therapist told me, ‘Things don’t magically appear; you need to put in effort to improve your situation and find happiness.’ Not long after, I received a call from my accountant who had a check for $170,000 from Warner Bros. on his desk. I was puzzled because I hadn’t done anything. It turned out that Warner Bros. had rebranded an old banjo album of ours, New Dimensions, as the soundtrack for Deliverance – a title it didn’t truly deserve. However, it went on to sell over a million copies.

Initially, “Sleeper” was created as a tribute to silent comedy, with Woody Allen intending for it to be dialogue-free. However, as they progressed in conceptualizing the story of a jazz musician who had been frozen unwillingly and then thawed 200 years later, it became clear that dialogue was crucial to fully explore and showcase the nuances of the neurotic character Allen had meticulously developed over time.

In a 2011 interview for the Writers Guild Foundation, Brickman expressed that he and Woody Allen didn’t write scenes together. He believed this could be detrimental to collaboration. Brickman argued that true collaboration is rare, suggesting that in any partnership, one individual’s perspective must lead. Though Brickman acknowledged his contributions, he noted that Allen was the primary writer, as he was writing for himself. Furthermore, Brickman pointed out that it’s essential for one person to guide the process because there are often personal aspects involved in writing, and having two people pulling in opposite directions can be problematic.

As per Brickman, he and Allen envisioned their upcoming script to have a flexible storyline with a literary touch. The initial draft for the 1977 film “Annie Hall” started as a tale about a man reaching 40 who was grappling with his life’s direction. At first, the character of Annie wasn’t even included. Brickman claims that to generate tension, they decided to develop a character who would contrast Allen. With Diane Keaton in mind, they crafted one of cinema’s most beloved characters.

The film “Annie Hall” premiered in April 1977 to widespread critical praise and ultimately won four Academy Awards: best picture, actress (Keaton), director (Allen) and original screenplay. Known for his aversion towards award ceremonies, Allen chose not to attend, so it was Brickman who accepted the Oscars on their behalf.

During his acceptance speech, Brickman stated that nearly all, if not the majority, of this small piece of tin is likely owed to Woody. Woody, an exceptional collaborator, is someone you’d be fortunate to work with. He transforms our scripts into what you see on screen. For approximately five months, he has covered my lunch expenses, and today, he prefers to stay in his apartment.

I teamed up with Allen in penning the screenplays for “Manhattan” (1979) and “Manhattan Murder Mystery” (1993), as an ardent admirer of our creative collaboration.

Marshall Michael Brickman, a native of Rio de Janeiro, Brazil, was born on August 25, 1939. His father, Abram, was a Jewish businessman involved in international trade who had escaped Poland as Nazi Germany gained momentum. His mother, Pauline, hailed from New York.

In the year 1943, the family relocated to Brooklyn, and throughout his upbringing, his parents placed great importance on music. Every Sunday, the Brickmans would visit folk festivals in Washington Square Park, where he honed his skills in playing the banjo, guitar, and mandolin.

Following his graduation from Brooklyn Technical High School, Brickman decided to attend the University of Wisconsin with an ambition to become a medical doctor. However, during a brief period working as an assistant to a pathologist at Wisconsin General Hospital, he altered his academic focus, eventually choosing music as his major instead.

Additionally, Brickman’s choice was influenced by his close bond with his college roommate. The Tarriers planned to have Weissberg succeed Arkin, who was departing to chase a career in improvisational comedy and acting. Weissberg managed to persuade Brickman to join him in this venture.

Brickman mentioned that he was invited to join the group as they required someone who could act as the face of the band, speak while everyone was preparing their instruments. This led him to create humorous anecdotes and routines.

Back in 1960, Brickman managed to secure a job on CBS’s ‘Candid Camera’ because its creator-producer, Allen Funt, was known for his demanding nature, which many found hard to handle. As it turned out, this was accurate; Brickman joined the team and even worked alongside Fannie Flagg and Joan Rivers in the same office (Allen also contributed writing to the show and made appearances in various segments).

As a devotee, I find myself tracing the career path of the iconic figure, Brickman – managed by the legendary Jack Rollins. I dipped my toes into stand-up comedy initially, but soon discovered that my knack was more for crafting jokes rather than performing them. Among the many I penned were Rivers and Allen, two comedic giants. Maintaining a connection to the world of music, I even played alongside John and Michelle Phillips in The New Journeymen – a group that served as a precursor to The Mamas and the Papas.

Via Rollins, Brickman developed a friendly relationship with an emerging comedian named Dick Cavett. Cavett helped Brickman gain access to “The Tonight Show.” Later, when head writer Walter Kempley left due to a wage disagreement, Brickman stepped into his role.

Brickman explained that he quickly understood nobody was eager to take on the role of the chief scriptwriter. The monologue writers seemed to have it easy; they could show up whenever they wanted and if their jokes were used by Johnny, everything was fine. However, the head writer had a multitude of responsibilities. They needed to create what we called five spots – Aunt Blabbys, Carnacs, and Tea Time Movies, among others. It was demanding work, but it was also rewarding. Despite not knowing any better, Brickman couldn’t resist the allure of the job.

In his time as a satirical writer, Brickman claimed to have developed an invention he referred to as the “Carnac Saver.” This was during times when certain jokes by Carnac the Magnificent didn’t elicit laughter. To provide Johnny Carson with another opportunity for humor, he created additional quips as backup options. For instance, some of these were, “May your sparkling water secretly come from Tijuana” and “May a fruit fly deprived of affection bother your sister’s peaches.

In a 2009 interview for Mike Sacks’ book, “And Here’s the Kicker“, Brickman expressed regret over one invention he would have to apologize for till his last breath – the Carnac Saver.

In 1971, Brickman departed from “The Tonight Show” to work as a producer on “The Dick Cavett Show.” Later in 1975, he wrote the ABC special titled “The Muppets Show: Sex and Violence,” a comedic critique of deteriorating TV content. He also collaborated on the film screenplays for “For the Boys” (1991) and “Intersection” (1994), both of which were directed by Mark Rydell.

Throughout their lives, he and Allen maintained a close friendship. Frequently, they’d arrange meetings primarily for leisurely walks, conversations, and confiding in one another regarding the ups and downs of the entertainment industry.

Brickman mentioned that Woody and he attended school together, with Woody being slightly senior. He often found himself looking up to Woody as he observed him handle not only the academic work but also the challenges of dealing with studios and safeguarding what makes one unique.

Beyond his daughter Sophie, there are also other survivors: his daughter Jessica, his wife Nina Feinberg, and five grandchildren. Nina Feinberg, whom he wed in 1973, is a TV producer who has also edited the three films that her husband directed.

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2024-12-01 18:55