Editing Annie Hall (section)

===Filming, editing and music===
[[File:ThunderboltConeyIsland1995.jpg|thumb|[[Woody Allen]] saw the [[Thunderbolt (1925 roller coaster)|Coney Island Thunderbolt]] when scouting locations and wrote it into the script as Alvy's childhood home.<ref name="spignesi185"/>]]
Principal photography began on May 19, 1976, on the [[South Fork (Long Island)|South Fork]] of Long Island with the scene in which Alvy and Annie boil live lobsters; filming continued periodically for the next ten months,<ref name="baxter247">{{harvnb|Baxter |1999|p=247}}</ref> and deviated frequently from the screenplay. There was nothing written about Alvy's childhood home lying under a roller coaster, but when Allen was scouting locations in Brooklyn with Willis and art director Mel Bourne, he "saw this roller-coaster, and&nbsp;... saw the house under it. And I thought, we have to use this."<ref name="Björkman78"/> Similarly, there is the incident where Alvy scatters a trove of cocaine with an accidental sneeze: although not in the script, the joke emerged from a rehearsal happenstance and stayed in the movie. In audience testing, this laugh was so sustained that a much longer pause had to be added so that the following dialogue was not lost.<ref>{{harvnb|Rosenblum|Karen |1986|p=284-284}}</ref>

Editor Ralph Rosenblum's first assembly of the film in 1976 left Brickman disappointed. "I felt that the film was running off in nine different directions," Brickman recalled.<ref>{{harvnb|Rosenblum|Karen |1986|pp=280–281}}</ref> "It was like a first draft of a novel... from which two or three films could possibly be assembled."<ref>{{harvnb|Rosenblum|Karen |1986|p=278}}</ref> Rosenblum characterized the first cut, at two hours and twenty minutes,<ref name=rose275>{{harvnb|Rosenblum|Karen |1986|p=275}}</ref> as "the surrealistic and abstract adventures of a neurotic Jewish comedian who was reliving his highly flawed life and in the process satirizing much of our culture... a visual monologue, a more sophisticated and more philosophical version of ''[[Take the Money and Run (film)|Take the Money and Run]]''".<ref name="rose275"/> Brickman found it "nondramatic and ultimately uninteresting, a kind of cerebral exercise."<ref name=rose281>{{harvnb|Rosenblum|Karen |1986|p=281}}</ref> He suggested a more linear narrative.<ref name="rose283">{{harvnb|Rosenblum|Karen |1986|p=283}}</ref>

The present-tense relationship between Alvy and Annie was not the narrative focus of this first cut, but Allen and Rosenblum recognized it as the dramatic spine, and began reworking the film "in the direction of that relationship."<ref>{{harvnb|Rosenblum|Karen |1986|pp=281–282}}</ref> Rosenblum recalled that Allen "had no hesitation about trimming away much of the first twenty minutes in order to establish Keaton more quickly."<ref name="rose281"/> According to Allen, "I didn't sit down with Marshall Brickman and say, 'We're going to write a picture about a relationship.' I mean the whole concept of the picture changed as we were cutting it."<ref name="rose283"/>

As the film was budgeted for two weeks of post-production photography,<ref name="rose262"/> late 1976 saw three separate shoots for the final segment, but only some of this material was used.<ref name="rose287">{{harvnb|Rosenblum|Karen |1986|p=287}}</ref> The narration that ends the film, featuring the joke about 'we all need the eggs', was conceived and recorded only two hours before a test screening.<ref name="rose287"/>

The credits call the film "A [[Jack Rollins (producer)|Jack Rollins]] and [[Charles H. Joffe]] Production"; the two men were Allen's managers and received this same credit on his films from 1969 to 1993. However, for this film, Joffe took producer credit and therefore received the [[Academy Award]] for [[Academy Award for Best Picture|Best Picture]]. The title sequence features a black background with white text in the [[Windsor (typeface)|Windsor Light Condensed]] typeface, a design that Allen used on his subsequent films. [[Stig Björkman]] sees some similarity to [[Ingmar Bergman]]'s simple and consistent title design, although Allen says that his own choice is a cost-saving device.<ref name="Björkman76"/>

Very little background music is heard in the film, a departure for Allen influenced by Ingmar Bergman.<ref name="Björkman76">{{harvnb|Björkman|1995|p=76}}</ref> Diane Keaton performs twice in the jazz club: "It Had to be You" and "Seems Like Old Times" (the latter reprises in voiceover on the closing scene). The other exceptions include a boy's choir "Christmas Medley" played while the characters drive through Los Angeles, the Molto allegro from [[Mozart]]'s [[Jupiter Symphony]] (heard as Annie and Alvy drive through the countryside), [[Tommy Dorsey]]'s performance of "Sleepy Lagoon",<ref>{{harvnb|Harvey|2007|p=19}}</ref> and the anodyne cover of the [[Savoy Brown]] song "A Hard Way to Go" playing at a party in the mansion of Paul Simon's character.