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LOS ANGELES – How do you give a lifetime achievement award to a director still very much in motion, to an artist who refuses to settle down, to someone who actively does not want one?

Woody Allen is in the midst of a run of box-office successes and critical acclaim.

His current film, “Blue Jasmine,” has firmly implanted itself into this year’s awards-season conversation. Having turned 78 years old last month, Allen seems as busy as ever.

Which is only part of the reason Allen will not be accepting his Cecil B. DeMille Award in person at the Golden Globes this weekend. He’ll be in New York, likely watching basketball on TV. Diane Keaton, who won a Golden Globe and an Oscar for her role in Allen’s “Annie Hall,” will accept the prize on his behalf.

But on the day after Christmas, in an emptied-out conference room at an upscale Beverly Hills hotel, Allen agreed to talk about his movies, especially “Blue Jasmine,” which feels, as Allen’s pictures so often do, both different and the same. His work is at once voraciously diverse and wholly singular.

“I see them as distinct,” he said, “but if you looked at them you would see recurring themes all the time. The same questions are asked in one form or another.

“There are 100 different dishes that the Chinese eat, but in the end it’s all Chinese food,” he added. “And that’s the way you could think of my films.”

Allen was in Los Angeles to play clarinet with his jazz band to a rapturous crowd at UCLA’s Royce Hall. It seemed pointed, though maybe not on purpose, that he had found his way to LA just a few weeks before the Golden Globes ceremony that he never intended to attend.

“I’m not an awards person,” the four-time Oscar-winner said. Allen noted that his initial reaction was to turn down the DeMille award outright but, once persuaded that it would be good for the movie, he acquiesced.

“I said if I don’t have to watch it and I don’t have to come to it, they can do anything they want,” he noted.

“Blue Jasmine” traces the downfall of a high-society woman who discovers her husband’s fortune is based on financial fraud. Cate Blanchett gives a powerful performance in the lead role, which includes scenes of the woman in emotional and psychological free-fall, along with flashbacks to her earlier life as she searches for clues and cracks in her past. A hit for Allen, “Blue Jasmine” has garnered Blanchett critics’ prizes and awards nominations, including a Globe nomination along with her supporting co-star, Sally Hawkins.

It is the torn-from-the-headlines quality that perhaps makes “Blue Jasmine” stand out. It calls to mind the story of disgraced financier Bernard Madoff and his wife, Ruth, and is framed in a way many found reminiscent of Tennessee Williams’ “A Streetcar Named Desire.” The film feels like Allen’s most socially connected work in ages, one that exists in our world, not exclusively in his.

“It’s accidental. I was not in any way thinking of that,” he said. “The two things that come up all the time that I was never thinking of were anything of Tennessee Williams, and I was never thinking of Madoff. It’s purely accidental.”

The New York Times recently published a rather complicated chart attempting to map the ways in which Allen’s influence has crossed generations and genders. His influence seems inescapable and obvious. To anyone but Woody Allen.

“I feel I’m unique, but not necessarily in a good way,” he said. “And I think I’ve been making films for years and I’ve influenced nobody. I don’t say this in a self-deprecating way, it’s just an objective fact, from what I see.”