Brickman, who co-wrote Annie Hall, and they developed the story further. The role of Carol was originally written for Mia Farrow, but the part was recast when she and Allen ended their relationship and became embroiled in a custody battle over their three children. Allegations in the media claimed that changes were made to the film in what was "definitely a reaction" to Allen's relationship problems, including the casting of Anjelica Huston as "a much younger first time novelist" with whom Allen's character became romantically involved (Huston was 41 during production). In the fall of 1992, Allen called Diane Keaton and asked her to fill in for Farrow, and she immediately accepted. When asked if he had re-written the script to fit Keaton's talents, Allen said: Making the film was a form of escape for Allen because the "past year was so exhausting that I wanted to just indulge myself in something I could relax and enjoy". He also found it very therapeutic working with Keaton again. After getting over her initial panic in her first scene with Alan Alda, Keaton and Allen slipped back into their old rhythm. After she had trouble with that scene, Allen decided to re-shoot it. In the meantime, she worked with her acting coach and did other scenes that went well. According to Allen, Keaton changed the dynamic of the film because he "always look(s) sober and normal compared to Keaton. I turn into the straight man". Huston said that the set was "oddly free of anxiety, introspection and pain", and this was due to Keaton's presence. The film was shot in the fall of 1992 on the streets of Greenwich Village, the Upper East Side and the Upper West Side. Allen had cinematographer Carlo Di Palma rely on hand-held cameras, "swiveling restlessly from one room to another, or zooming in abruptly for a close look." Larry and Carol Lipton's apartment is at 200 East 78th Street, between 2nd and 3rd Avenue and between two groups of New York City Designated Landmarks, east of one group of rowhouses and west of another group. Allen staged a climactic shoot-out in a roomful of mirrors that, according to Allen, referenced a similar shoot-out in Orson Welles' film The Lady from Shanghai. The film marked Allen's second and final film with TriStar Pictures, and it was speculated in the press that this deal was not extended because