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4713	dbpedia	3	42	https://www.franchising.com/news/20171204_pizza_73_opens_first_location_in_prince_albert_fif.html	en	Pizza 73 opens first location in Prince Albert, fifth in Saskatchewan	https://www.franchising.…anchise-news.jpg	https://www.franchising.…anchise-news.jpg	[ "https://www.facebook.com/tr?id=544643122630186&ev=PageView&noscript=1", "https://www.franchising.com/track/p_pizza73_67438_pvfr.gif", "https://img.franchising.com/da/inline-rectangle/3382_hotdish.jpg", "https://img.franchising.com/da/half-page/3620_mcalistersdeli.jpg", "https://www.franchising.com/images/logos/fum-150x113.png", "https://www.franchising.com/images/ifa.png", "https://px.ads.linkedin.com/collect/?pid=6660977&fmt=gif" ]	[]	[]	[ "Saskatchewan", "franchise", "opportunity", "business", "franchising", "pizza 73", "food", "pizza", "take n bake", "take-out", "delivery", "" ]	null	[]	null	Pizza 73 has opened its first location in Prince Albert located at 3300 - 2nd Avenue West, in the South side of town. This is the chain’s fifth location in Saskatchewan and 84th in total.		/icon-highres.png	Franchising.com	https://www.franchising.com/news/20171204_pizza_73_opens_first_location_in_prince_albert_fif.html	Home: News: Pizza 73: Pizza 73 opens first location in Prince Albert, fifth in Saskatchewan December 04, 2017 // Franchising.com // PRINCE ALBERT, Sask. - Pizza 73 has opened its first location in Prince Albert located at 3300 - 2nd Avenue West, in the South side of town. This is the chain’s fifth location in Saskatchewan and 84th in total. “We’re delighted to be expanding into the heart of Saskatchewan,” says Pat Finelli, Chief Marketing Officer for Pizza 73. “We’re looking forward to serving Prince Albertans our broad and diverse menu, especially our delicious pan pizza and golden crispy wings that we’re known for.” Pizza 73 is a proudly Canadian brand with a long history of service and value to its customers. With its leadership position in Western Canada, Pizza 73 is committed to providing the right balance of flavour, value and choice at all store locations. Consumers in and around the Prince Albert area can expect the complete Pizza 73 menu which includes famously flavourful pizzas, golden crispy chicken wings, widely acclaimed wedgies as well as side options like jalapeno poppers, onion rings and curly fries. The brand also offers gluten-free pizzas and dairy-free cheese. Like all traditional Pizza 73 locations, the new Prince Albert restaurant prepares its dough in-house, made fresh daily, and offers delivery and pick up and a wide range of specials. As a community-driven brand, Pizza 73 maintains strong ties with the local events scene, amateur and professional sports, charitable groups, schools and other community organizations. The brand is the official pizza of the Edmonton Oilers, Calgary Flames, WHL Saskatoon Blades, NLL Saskatoon Rush and Saskatoon Exhibition and has become a regular contributor to the local children’s hospital, Jim Pattison Children’s Hospital Foundation in Saskatoon, through the Pizza 73 Slices for Smiles program. About Pizza 73 Established in 1985, Pizza 73 aims to satisfy every customer by providing excellent quality food and true value in a fast and friendly manner. The brand is a leader in the communities it serves and offers a broad range of menu items with 20 varieties of specialty pizzas, over 20 different toppings and three styles of crust (traditional pan, super pan and gluten-free), and an assortment of side dishes including chicken wings, boneless wings, wedgies, dipping sauces and salads. Visit www.pizza73.com for more information. SOURCE Pizza 73 ###
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"https://www.ngif.ca/wp-content/uploads/2021/12/logo-positive.png", "https://www.ngif.ca/wp-content/plugins/convertplug/modules/modal/functions/config/img/cross.png" ]	[ "https://player.vimeo.com/video/840113743?dnt=1&app_id=122963" ]	[]	[ "" ]	null	[]	null	HARvEST Systems has successfully demonstrated its innovative waste heat recovery systems within the Greater Toronto and Hamilton Area.	en	https://www.ngif.ca/wp-c…aviocn-32x32.png	NGIF Capital	https://www.ngif.ca/harvest-systems-successfully-demonstrates-waste-heat-recovery-from-pizza-pizza-ovens/	HAMILTON, ON (June 22, 2023): HARvEST Systems has successfully demonstrated its innovative waste heat recovery systems within the Greater Toronto and Hamilton Area. HARvEST’s clean technology system, installed and commissioned at three Pizza Pizza locations, enables the restaurants to efficiently manage their energy usage, cut down on operating costs, and reduce emissions. Developed through a five-year research program at McMaster University, in partnership with Pizza Pizza Limited, the POWER (Pizza Oven Waste Energy Recovery) system is designed to repurpose waste heat from pizza ovens to offset heating needs within a restaurant and provide autonomous operations and resilience with the ability to generate electricity. HARvEST’s POWER system repurposes waste heat from Pizza ovens to offset heating needs within a restaurant. In parallel, the integrated performance measurement and data analytics provides unmatched insight into the subtle energy interactions within a commercial kitchen, thus allowing the ability to monitor system health and measure energy savings with the integration of the POWER system. The POWER system is not just a waste heat recovery system; it is backed with the expertise and tools within HARvEST to understand energy utilization and provide high-efficiency gains within restaurants. With support from NGIF and its Industry Grants program, HARvEST has been able to successfully build the first prototypes of the POWER system. “We are delighted to have the opportunity to move beyond the research lab and showcase the POWER system within three Pizza Pizza restaurants, each representing exhaust venting arrangements found throughout the food service industry. Being a fuel-less, carbon-free water heating system, the POWER system harvests waste heat from cooking appliances, such as ovens and fryers, resulting in lower operating costs and reduced emissions,” said James Cotton, CEO, HARvEST Systems. “The continued support from programs such as the NGIF Industry Grants is instrumental in supporting the transition of Canadian university research to commercial services, systems, and products.” NGIF Industry Grants supported this project, and I am pleased to see its successful deployment at the Pizza Pizza restaurants. HARvEST’s cleantech solution is poised to significantly reduce emissions and improve economics through direct cost savings,” said John Adams, President and CEO of NGIF Capital Corporation and Managing Partner of NGIF Cleantech Ventures. “Our Industry Grants program and its focus on de-risking clean technologies through field trials and pilots are part of NGIF’s integrated model of industry validation, customer creation, and market commercialization.” “Harvest’s POWER system can increase pizza oven’s energy efficiency and reduce operating costs for restaurants. It is exactly the type of low-carbon solution that can help our customers make a positive impact on the environment while keeping affordability in mind. Enbridge is pleased to be able to support this project through NGIF Industry Grants and its industry partners,” said Scott Dodd, Director of Business Development, Enbridge Gas. “As the initial commercial partner of McMaster and HARvEST, Pizza Pizza is proud to have played a key role in demonstrating successful proof-of-concept of this revolutionary technological innovation, which has the potential to provide ongoing environmental benefits and economic benefits for our restaurant operators across the country, a true win-win for all,” said Paul Goddard, President, and CEO, Pizza Pizza Limited. “Canadians want and need the affordable, reliable, clean energy service offering they have come to expect from the natural gas industry. Through investments in technology companies like HARvEST, this industry is laying the groundwork to make that service offering even better, said Timothy M. Egan, President and CEO, Canadian Gas Association and Chair, NGIF Capital Corporation. Industry Grants Participants and Project Partners About NGIF Industry Grants NGIF Industry Grants is a first-of-kind, industry-led grant organization to fund early-stage startups developing solutions to environmental and other challenges facing Canada’s natural gas sector. NGIF Industry Grants develops, demonstrates, and de-risks these technology solutions through field trials and pilot projects to drive innovation and support environmental goals in Canada. NGIF Industry Grants’ investment focus is on existing natural gas production, transmission, distribution, storage, and end-use applications, as well as projects that will lead to the expanded production of emerging gaseous fuels like renewable natural gas and hydrogen. The organization has built a portfolio of startups, trusted partnerships with the government for co-funding opportunities, and a robust technical evaluation investment model. NGIF Industry Grants is operated by NGIF Capital Corporation. About NGIF Capital Corporation NGIF Capital Corporation is a Canadian venture capital (VC) firm offering grant and equity financing for startups that deliver solutions to the environmental and other challenges facing the natural gas sector. NGIF Capital Corporation is unique in how it brings Canada’s energy industry leadership to every investment. Like other VCs, it takes new companies and their ideas from concept to commercialization. Unlike other VCs, NGIF Capital Corporation has strong connections to every part of the gas value chain, from production through to end-use, offering it a means to test, develop, and accelerate the commercial implementation of innovative gas technology wherever it fits in the sector. The model benefits consumers, investors, and Canadian society as a whole. NGIF Capital Corporation operates NGIF Industry Grants (the original Natural Gas Innovation Fund), the NGIF Emissions Testing Centre, and NGIF Cleantech Ventures. NGIF Capital Corporation is wholly owned by CGA Enterprises, a venture of the Canadian Gas Association. About HARvEST Systems HARvEST Systems is a Greater Toronto and Hamilton Area (GTHA)-based company dedicated to making waste heat an everyday commodity. HARvEST specializes in the seamless integration of a unique waste heat recovery system into restaurants to reduce utility costs and minimize greenhouse gas emissions. For more details, visit https://harvestsystems.ca/ About Pizza Pizza Limited Pizza Pizza Limited was founded in 1967 in Toronto, Ontario and has grown to become Canada’s leading national Quick Service pizza brand with over 730 restaurants across the country. In 2007, Pizza Pizza acquired the Pizza 73 brand and operates over 100 locations, primarily in Alberta. Pizza Pizza is guided by its vision of “Always the best food, made especially for you,” with a focus on quality ingredients, customer service, continuous innovation, and community involvement. For more information, visit www.pizzapizza.ca and www.pizza73.com or follow Pizza Pizza on Facebook, Instagram, LinkedIn and Twitter @PizzaPizzaLtd. About Canadian Gas Association The Canadian Gas Association (CGA) is the voice of Canada’s gaseous energy delivery industry, including natural gas, renewable natural gas (RNG), and hydrogen. CGA membership includes energy distribution and transmission companies, equipment manufacturers, and suppliers of goods and services to the industry. CGA’s utility members are Canadian-owned and active in eight provinces and one territory. CGA members meet 38 percent of Canada’s energy needs through a network of over 577,000 kilometers of underground infrastructure. The versatility and resiliency of this infrastructure allow it to deliver an ever-changing gas supply mix to over 7.4 million customer locations representing approximately two-thirds of Canadians. CGA members ensure Canadians get the affordable, reliable, clean gaseous energy they want and need. CGA is also working to constantly improve that gaseous energy offering, by driving forward innovation through the Natural Gas Innovation Fund (NGIF). Fund Information:
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Services", "Restaurants & Bars", "Stock", "PZA", "CA72585V1031", "Toronto S.E." ]	null	[]	null	Pizza Pizza Royalty Corp.: Company profile, business summary, shareholders, managers, financial ratings, industry, sector and market information \| Toronto S.E.: PZA \| Toronto S.E.	en		MarketScreener	https://www.marketscreener.com/quote/stock/PIZZA-PIZZA-ROYALTY-CORP-1411380/company/	Delayed Toronto S.E. Other stock markets 02:50:37 2024-08-14 pm EDT 5-day change 1st Jan Change 12.88 CAD 0.00% -3.45% -12.50% Business description: Pizza Pizza Royalty Corp. Pizza Pizza Royalty Corp., through Pizza Pizza Royalty Limited Partnership (the Partnership), owns the trademarks, trade names and other intellectual property used by Pizza Pizza Limited (PPL) in its Pizza Pizza and Pizza 73 restaurants and in its international franchising business. PPL is a privately held company that provides service and operational support to restaurant operators. Pizza Pizza is a franchise-oriented restaurant business operating primarily in the province of Ontario, in which it leads the pizza quick service restaurant (QSR) segment. Of the 652 Pizza Pizza restaurants, 646 are franchised or licensed, and six are owned and/or managed as corporate restaurants. Of the 652 restaurants, 197 are non-traditional locations which have limited operating hours and a limited menu. There are about 100 Pizza 73 locations operating in the QSR segment, principally in the province of Alberta. The Pizza 73 business also includes a central food distribution center in Edmonton. Sales by Activity: Pizza Pizza Royalty Corp. Fiscal Period: December20192020202120222023 Restaurants 35.95M 31.79M 31.92M 36.43M 40.22M See all business segments Geographical breakdown of sales: Pizza Pizza Royalty Corp. Fiscal Period: December20192020202120222023 Canada 35.95M 31.79M 31.92M 36.43M 40.22M See all geographic segments Managers: Pizza Pizza Royalty Corp. Director TitleAgeSince Paul Goddard CEO Chief Executive Officer - 10-03-30 Christine D’Sylva DFI Director of Finance/CFO - 06-12-31 Chuck Farrell HRO Human Resources Officer - 16-12-31 See PIZZA PIZZA ROYALTY CORP. governance Members of the board: Pizza Pizza Royalty Corp. Manager TitleAgeSince Paul Goddard CEO Chief Executive Officer - 10-03-30 Jay Swartz CHM Chairman 75 14-05-27 Michelle Savoy BRD Director/Board Member 64 15-11-01 Composition of the Board of Directors Shareholders: Pizza Pizza Royalty Corp. NameEquities%Valuation Pizza Pizza Ltd. 33.67 % 8,290,239 33.67 % 80 M $ Sionna Investment Managers, Inc. 0.1782 % 43,879 0.1782 % 425 144 $ Northwest & Ethical Investments LP 0.1275 % 31,400 0.1275 % 304 235 $ Paul Goddard 0.0674 % 16,600 0.0674 % 160 837 $ MD Financial Management, Inc. 0.0650 % 16,000 0.0650 % 155 024 $ List of PIZZA PIZZA ROYALTY CORP. shareholders Company details: Pizza Pizza Royalty Corp. Pizza Pizza Royalty Corp. 500 Kipling Avenue M8Z 5E5, Toronto + http://www.pizzapizza.ca Other Restaurants & Bars Add to a list Add to a list 0 selected To use this feature you must be a member Log inSign up Change 5d. change 1-year change 3-years change Capi. ($) 0.00%-3.45%-15.32%+16.14% 309M-1.32%+26.58%-5.65%-18.92% 109B+0.98%+1.37%+17.72%+59.30% 51.17B-2.13%-0.39%-12.38%+0.77% 17.14B+0.75%+0.75%-8.39%+22.09% 13.88B+1.08%+15.47%+99.46% - 10.77B-0.99%-1.64%-49.28%-61.78% 8.69B+1.81%+13.04%-1.42%+131.67% 6.82B-1.05%+6.64%+27.96%-15.71% 5.05B+2.98%+6.90%-2.50%+32.75% 4.61B Average +0.20%+6.39%+5.02%+18.48% 22.71B Weighted average by Cap. -0.45%+14.51%+3.18%+8.02% See all sector performances Sell Buy Mean consensus HOLD Number of Analysts 1 Last Close Price 12.88CAD Average target price 13.00CAD Spread / Average Target +0.93% Consensus Quarterly revenue - Rate of surprise Stock Market Equities PZA Stock Company Pizza Pizza Royalty Corp. Best financial portal +951% of historical performance More than 20 years at your side + 1,000,000 members Quick & easy cancellation Our Experts are here for you OUR EXPERTS ARE HERE FOR YOU Monday - Friday 9am-12pm / 2pm-6pm GMT + 1
4713	dbpedia	1	36	https://www.instagram.com/pizza_73/%3Fhl%3Den	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
4713	dbpedia	1	61	https://www.betheboss.ca/resources/franchise-news/pizza-pizza-super-bowl	en	Pizza Pizza goes for a touchdown among sports fans	https://cdn.mfvexpo.com/…/7-site-logo.png	https://cdn.mfvexpo.com/…/7-site-logo.png	[ "https://cdn.mfvexpo.com/pad-h100-w350/7/7-site-logo.png", "https://cdn.mfvexpo.com/cpad-h150-w150/7/system/franchise_images/images/000/000/561/original/lb557987.gif", "https://cdn.mfvexpo.com/pad-h90-w200/7/7-site-logo.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://cdn.mfvexpo.com/…rome-512x512.png		https://www.betheboss.ca/resources/franchise-news/pizza-pizza-super-bowl	Pizza Pizza is game ready for one of its busiest days of the year. The company, Canada’s leader in the pizza segment of the quick service restaurant industry, is optimistic that sports fans will continue to gather around a pizza or wings order to enjoy the biggest football game of the year. In addition to logistical preparations at call centres, national promotions and advertising, Pizza Pizza introduces Buffalo-style menu items that include a new Buffalo Chicken Pizza and new sauced and tossed Buffalo chicken wings, available at all traditional Pizza Pizza locations in Ontario, Quebec, Manitoba and Saskatchewan. The Buffalo-style additions join Pizza Pizza’s other new menu items just launched: a new chili dish prepared with seasoned ground beef, kidney beans, green peppers and simmered with tomatoes; and a classic poutine dish with fresh-cut fries, beef gravy and real cheese curds. Both menu items available for walk-in only, at $3.99 each. “Wherever people gather, there’s a pretty good chance someone is considering ordering a pizza and wings,” said Pat Finelli, Chief Marketing Officer for Pizza Pizza. “The Super Bowl may be about sports, but the parties are about friendship and camaraderie, and that’s where our product comes into play. Pizza and party favourites like chicken wings bring people together and can lighten up the mood at any gathering.” The Super Bowl, which will be played in Indianapolis, Indiana on February 5, is traditionally the second busiest day of the year for the national pizza chain. The company expects to see over 28,000 orders processed during the peak hours of 4 p.m. and 6 p.m. To beat the rush, Pizza Pizza recommends that customers place their orders online in advance of game day. Last year, the company’s restaurants across Canada sold over 40,000 pizzas and 200,000 chicken wings, which are the chain’s most popular menu items for the big game. Buffalo Chicken Pizza - $11.99 (Medium) Buffalo grilled chicken, red onions, roasted red peppers, mozzarella cheese with Pizza Pizza’s Buffalo and Blue Cheese sauce Buffalo Chicken Wings – 50 cents each (limited time offer with purchase of any pizza) Sauced and tossed in Pizza Pizza’s new Buffalo sauce and seasoned with blue cheese About Pizza Pizza Limited Founded in 1967, Pizza Pizza Limited is Canada's pizza pioneer and one of the country’s most successful quick service restaurant chains. With its Pizza Pizza and Pizza 73 banners, the company offers a broad range of menu items that include hot and fresh pizza, gluten-free pizza, chicken wings, chicken bites, family-sized pasta, shrimp and salads. The company is guided by a mission to provide the “best food, made especially for you” with a focus on quality ingredients, customer service and continual innovation.
4713	dbpedia	1	77	https://www.pentictonwesternnews.com/news/popular-pizza-chain-from-ontario-to-open-location-in-penticton-3630734	en	Popular pizza chain from Ontario to open location in Penticton	https://www.bpmcdn.com/f/files/penticton/import/2022-08/30212540_web1_220831-PWN-PizzaPizza-PizzaPizzaPen_1.jpg;w=1200;h=794;mode=crop	https://www.bpmcdn.com/f/files/penticton/import/2022-08/30212540_web1_220831-PWN-PizzaPizza-PizzaPizzaPen_1.jpg;w=1200;h=794;mode=crop	[ "https://www.bpmcdn.com/files/ui/bpm/PWN.svg", "https://www.bpmcdn.com/f/files/keremeos/photo2-photoroom.jpg;w=120;h=120;mode=crop", "https://www.bpmcdn.com/f/files/penticton/import/2022-08/30212540_web1_220831-PWN-PizzaPizza-PizzaPizzaPen_1.jpg;w=960", "https://www.bpmcdn.com/f/files/penticton/import/2022-08/30212540_web1_220831-PWN-PizzaPizza-PizzaPizzapenticton2_1.jpg", "https://www.bpmcdn.com/f/files/keremeos/photo2-photoroom.jpg;w=120;h=120;mode=crop", "https://www.pentictonwesternnews.com/images/bpm/logo.svg", "https://zephr-component-library.s3.ca-central-1.amazonaws.com/component-library/assets/2-DontMissOut-FlyerPromo.png" ]	[]	[]	[ "Business\|Food\|News\|Penticton" ]	null	[ "Logan Lockhart" ]	2022-08-27T22:27:00+00:00	Pizza Pizza has more than 500 stores across the country, most of which are in Ontario	en	https://www.bpmcdn.com/f…icon-180x180.png	Penticton Western News	https://www.pentictonwesternnews.com/news/popular-pizza-chain-from-ontario-to-open-location-in-penticton-3630734	One of the country’s most popular pizza chains is opening a location in Penticton. Pizza Pizza, an Ontario-based company with more than 500 locations predominantly in central and eastern Canada, recently announced its intentions to come to the South Okanagan. The store would be located in a Main Street plaza, neighbouring fellow restaurants Mucho Burrito and Subway. Posted signs on the building — adjacent to a Starbucks coffee shop — call for potential employees to apply by emailing ketancpatadia@gmail.com. Penticton appears to be included in Pizza Pizza’s opening spree throughout Western Canada, with Burnaby and Port Alberni also recently getting locations. Founded in 1967, the franchise has operated in parts of B.C., Alberta, Saskatchewan and the Yukon under the name Pizza 73 for more than a decade. READ MORE: Mucho Burrito opens in Penticton, becomes 16th location in B.C. READ MORE: Young triathletes shine in Penticton ahead of Ironman Canada
4713	dbpedia	2	22	https://toronto.citynews.ca/2021/12/01/popular-canadian-pizza-chain-expanding-into-mexico/	en	Popular Canadian pizza chain expanding into Mexico	https://toronto.citynews…1/pizzapizza.jpg	https://toronto.citynews…1/pizzapizza.jpg	[ "https://toronto.citynews.ca/wp-content/themes/citynews-2023/src/images/CityNews_Everywhere_White.svg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2021/12/01/pizzapizza-1024x1024.jpg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2024/08/14/ford.jpg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2024/07/79ae0682642bb76fa1cb9ca866bd8428cd1916cf5d23bf3c798b0307a2146738-e1723657965903-1024x576.jpg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2024/08/14/CP215335375-scaled-e1723656878140-1024x576.jpg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2024/08/14/food12-1024x768.jpeg", "https://toronto.citynews.ca/wp-content/themes/citynews-2023/src/images/radio_station_logos/toronto-colored.svg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2024/08/14/ford.jpg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2024/07/79ae0682642bb76fa1cb9ca866bd8428cd1916cf5d23bf3c798b0307a2146738-e1723657965903-1024x576.jpg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2024/08/14/CP215335375-scaled-e1723656878140-1024x576.jpg", "https://toronto.citynews.ca/wp-content/blogs.dir/sites/10/2024/08/14/food12-1024x768.jpeg", "https://cf-images.us-east-1.prod.boltdns.net/v1/static/593482582001/596822da-bb05-436a-9bdb-11897f7e8e67/1bdd727d-fd11-443a-823a-19a9d90c3112/1920x1080/match/image.jpg", "https://cf-images.us-east-1.prod.boltdns.net/v1/static/593482582001/c49526a3-3f40-4734-82ea-b5335b654662/5ab1feb9-1ea3-43f3-a150-f59fa1de2570/1920x1080/match/image.jpg", "https://cf-images.us-east-1.prod.boltdns.net/v1/static/593482582001/c0cad166-507d-4f85-863c-edd01de34783/bf43ed5f-5d50-43c1-b988-45ca37072d9c/1920x1080/match/image.jpg", "https://cf-images.us-east-1.prod.boltdns.net/v1/static/593482582001/e4993054-7ad2-49e9-9533-53a35b21be2f/a99b5395-fea6-4d1f-ace6-3c69a26eb11f/1920x1080/match/image.jpg", "https://cf-images.us-east-1.prod.boltdns.net/v1/static/593482582001/11b37284-2d18-46ab-b4c4-a2b0fed6bd0a/3f896b84-32b8-4a97-b095-7f6ae1d54b9a/1920x1080/match/image.jpg", "https://static.rogersdigitalmedia.com/web_footers/images/common_footers/comscore_logos/white_BG/comscoreRogersMediaRadioToronto.png", "https://toronto.citynews.ca/wp-content/plugins/rsm-consent-management/public/images/necessary.svg", "https://toronto.citynews.ca/wp-content/plugins/rsm-consent-management/public/images/more.svg", "https://toronto.citynews.ca/wp-content/plugins/rsm-consent-management/public/images/functional.svg", "https://toronto.citynews.ca/wp-content/plugins/rsm-consent-management/public/images/more.svg", "https://toronto.citynews.ca/wp-content/plugins/rsm-consent-management/public/images/performance.svg", "https://toronto.citynews.ca/wp-content/plugins/rsm-consent-management/public/images/more.svg", "https://toronto.citynews.ca/wp-content/plugins/rsm-consent-management/public/images/targeting.svg", "https://toronto.citynews.ca/wp-content/plugins/rsm-consent-management/public/images/more.svg" ]	[]	[]	[ "" ]	null	[ "Neetu Seupersadsingh" ]	2021-12-01T00:00:00	A well-known Canadian pizza chain is heading down south to Mexico. Pizza Pizza has inked a deal with Guadalajara-based KSG/GrunCorp. to expand the restaurant chain internationally to the land of sandy beaches and palm trees in 2022. The chain’s chief executive Paul Goddard says KSG/GrunCorp. is a long-standing business leader in Mexico, with expertise in […]		/apple-touch-icon.png?v=2	CityNews Toronto	https://toronto.citynews.ca/2021/12/01/popular-canadian-pizza-chain-expanding-into-mexico/	A well-known Canadian pizza chain is heading down south to Mexico. Pizza Pizza has inked a deal with Guadalajara-based KSG/GrunCorp. to expand the restaurant chain internationally to the land of sandy beaches and palm trees in 2022. The chain’s chief executive Paul Goddard says KSG/GrunCorp. is a long-standing business leader in Mexico, with expertise in restaurants and real estate. “Appeal for pizza continues to grow in Mexico and we believe our delicious food and great value will connect well with Mexican consumers,” adds Goddard. KSG, which already operates Arby’s in Mexico, will be responsible for developing and growing the restaurants in the country. Pizza Pizza was founded in Toronto, back in 1967. Since it opened its first location more than 50 years ago, Pizza Pizza has grown tremendously and now operates more than 730 locations across Canada. In 2007, Pizza Pizza acquired the Pizza 73 brand and now runs more than 100 locations — primarily in Alberta.
4713	dbpedia	1	20	https://www.cbc.ca/news/business/pizza-pizza-buys-slice-of-western-canada-1.681971	en	Pizza Pizza buys slice of Western Canada	https://i.cbc.ca/1.47005…e-image-news.jpg	https://i.cbc.ca/1.47005…e-image-news.jpg	[ "https://www.cbc.ca/a/images/nojsimg.gif" ]	[]	[]	[ "" ]	null	[ "CBC News" ]	2007-06-14T14:01:00+00:00	The Pizza Pizza chain said Thursday it is taking a piece of the Western Canadian market with a deal to buy the Edmonton-based Flying Pizza 73 Inc. chain.	en	/a/apple-touch-icon.png	CBC	https://www.cbc.ca/news/business/pizza-pizza-buys-slice-of-western-canada-1.681971	The Pizza Pizza chain said Thursday it is taking a piece of the Western Canadian market with a deal to buy the Edmonton-based Flying Pizza 73 Inc. chain. Pizza Pizza Royalty Income Fund said it will pay about $70.3 million for the chain, including $54 million for trademarks and intellectual property, plus over $16 million for the operating business. Another $3 million may be paid out to Pizza 73 vendors in July 2008 if they meet revenue and profit targets. Pizza 73 has 48 outlets in its system. The company produced $65 million in revenues for the 12 months that ended April 21. Pizza Pizza operates 532 restaurant locations, predominantly in Ontario and Quebec. "Pizza Pizza has been working on a Western Canadian expansion plan, as announced at the time of the fund's initial public offering in 2005," said company chairman Michael Overs. "This represents an ideal acquisition for Pizza Pizza, as Pizza 73 has achieved impressive growth and is a market leader in the Alberta [quick service restaurant] pizza sector, and the Pizza 73 brand is well recognized throughout Alberta," Overs said in a release. Units of Pizza Pizza slipped 12 cents on the TSX to close at $9.32.
915	yago	2	7	https://thedrunkenodyssey.com/2016/06/12/the-rogues-guide-to-shakespeare-on-film-29-richard-iii-1995/	en	The Rogue’s Guide to Shakespeare on Film #29: Richard III (1995)	https://thedrunkenodysse…akes-on-film.png	https://thedrunkenodysse…akes-on-film.png	[ "https://thedrunkenodyssey.files.wordpress.com/2023/03/cropped-header4.png?w=960", "https://thedrunkenodyssey.com/wp-content/uploads/2015/07/rogues-guide-to-shakes-on-film.png?w=800&h=400", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/richard-3-poster.jpg?w=1016&h=1500", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-5.jpg?w=1024&h=674", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-2.jpg?w=1200&h=786", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-12.png?w=1024&h=449", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-10.png?w=1024&h=451", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-9.png?w=1024&h=453", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-7.jpg?w=1024&h=528", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-3.jpg?w=1200&h=792", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-8.jpg?w=1396&h=900", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-13.png?w=1024&h=449", "https://thedrunkenodyssey.com/wp-content/uploads/2012/05/1flip1.jpg?w=1704&h=2272", "https://1.gravatar.com/avatar/17378489a32f3c6fed9287d72c4a0ba8d4a035a1d0bcb34eeb130ebb6d4c69de?s=48&d=identicon&r=G", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=40", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=50", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2016-06-12T00:00:00	#29. Richard Loncraine's Richard III (1995) In Looking for Richard, Al Pacino seemed flummoxed by the possibility of coming to a basic understanding of Shakespeare, using the relatively obscure Richard III as his point of entry into the bard’s oeuvre. In a conspiracy of timing, Pacino must have been working on Looking for Richard around…	en	https://thedrunkenodysse…itled-5.png?w=32	The Drunken Odyssey	https://thedrunkenodyssey.com/2016/06/12/the-rogues-guide-to-shakespeare-on-film-29-richard-iii-1995/comment-page-1/#comments	#29. Richard Loncraine’s Richard III (1995) In Looking for Richard, Al Pacino seemed flummoxed by the possibility of coming to a basic understanding of Shakespeare, using the relatively obscure Richard III as his point of entry into the bard’s oeuvre. In a conspiracy of timing, Pacino must have been working on Looking for Richard around the same time, or just before, Richard Loncraine’s film of Richard III—starring Ian McKellen—was released. Ian McKellen found Richard easily. Besides having decades of experience acting Shakespeare, McKellen had more than a normal amount of rehearsal for the part, considering that the film production was adapted from a Royal National Theatre production that he had starred in. Unlike the relatively historically-accurate setting of Olivier’s film of R3, Loncraine’s film is a mid-twentieth century version that imagines Richard’s reign along the lines of fascism and World War II. At times, this seems hyperbolic, imagining the play as a brutal action film. (This predates a similar approach to Coriolanus and Macbeth.) The fulcrum for this vision, though, is Richard’s soliloquies, often delivered as confidential asides to himself, then when he notices us, delivered to us, the audience, bragging about the mischief he is accomplishing. Richard may be evil and a little crazy as he lies and murders his way to the crown, but he is charming, and the nuances of McKellen’s performance is glorious As the hunchbacked war veteran who fate in peacetime is to rot, ignored, as fourth in the line of succession, Richard’s motivations can be understood: And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. But to understand his motivations is to pedantically miss the point. One he tries his hand at villainy, Richard likes being a villain. He is showing mastery over something he is good at. He is good at being a villain despite how everyone, based upon how he looks, expects him to be a villain. This spectacle can take the edge off of a brutal election season, I find. The cast of this R3 is a bit uneven. You have amazing Shakespearean talent such as Maggie Smith, Jim Broadbent, Jim Carter, and Nigel Hawthorne. Yet there are Hollywood actors like Annette Bening and Robert Downey, Jr. being not entirely persuasive next to them, along the lines of the heterogenous casting logic of Branagh. Bening plays Queen Elizabeth, Richard’s sister-in-law, and Downey plays Rivers, her brother. (Thus the Americans play in-laws.) Downey has almost no lines, and is not memorable when he has lines, and Bening’s performance is not quite strong, either. One gets the idea that for them the dialogue is a large mouthful, and Bening seems to be affecting an exaggerated enunciation that suggests a plebeian sense of pomp, although in fairness this may be her interpretation of the part. These two performances, despite my throat-clearing on the subject, are never outright bad. Into the mixture is Kristin Scott Thomas, of Four Weddings and a Funeral and The English Patient fame, as Lady Anne, one of the most confoundingly difficult parts in Shakespeare. While quite English, Thomas does not have a Shakespearean background, but manages the emotional acrobatics of the grieving widow wooed by Richard rather well. Unlike Olivier’s film, this Richard III dramatizes Lady Anne’s remorse at having been wooed by him. Of all of films made of Shakespeare’s work, Loncraine’s Richard III is a wonderfully cinematic vision, and the adaptation from stage to cinema was not rushed, but done with a remarkable sense of composition, cinematography, and editing. Despite a few flaws, too few to mention, this is among the very best film adaptations of Shakespeare. For newcomers who don’t mind a modern setting, this is a wonderful place to start. _______
915	yago	3	41	https://behindtherabbitproductions.wordpress.com/2017/11/21/btrp-recommends-looking-for-richard/	en	BTRP Recommends-Looking for Richard	http://www.pastposters.com/cw3/assets/product_expanded/JamieF-BX/looking-for-richard-cinema-quad-movie-poster-%281%29.jpg	http://www.pastposters.com/cw3/assets/product_expanded/JamieF-BX/looking-for-richard-cinema-quad-movie-poster-%281%29.jpg	[ "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/06/cropped-jen-and-spike.jpg", "https://i0.wp.com/www.pastposters.com/cw3/assets/product_expanded/JamieF-BX/looking-for-richard-cinema-quad-movie-poster-%281%29.jpg?resize=529%2C393", "https://i0.wp.com/www.pastposters.com/cw3/assets/product_expanded/JamieF-BX/looking-for-richard-cinema-quad-movie-poster-%281%29.jpg", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2016/05/4749584.jpg?w=98&h=65", "https://0.gravatar.com/avatar/fdc6e81964b1a84be5244c42b3e4afa94cc4046c82721792e90b0689a32a8b7b?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/6e6713df880da7ff9d58eb1e52fdcc8bc99a770a89a7f2d969ff30992b00ce68?s=48&d=identicon&r=G", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=50", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Behind the Rabbit Productions" ]	2017-11-21T00:00:00	by Jason Godbey, Creative Director of Behind the Rabbit Productions How do you make a movie about a 15th Century King of England in 1990s Manhattan? Ask Al Pacino. He made Looking for Richard, a docu-drama adaptation William Shakespeare’s The Tragedy of Richard III. Looking for Richard is Al Pacino’s interpretation of Richard III with…	en	https://behindtherabbitp…-banner.jpg?w=32	No Rest for the Weekend	https://behindtherabbitproductions.wordpress.com/2017/11/21/btrp-recommends-looking-for-richard/	by Jason Godbey, Creative Director of Behind the Rabbit Productions How do you make a movie about a 15th Century King of England in 1990s Manhattan? Ask Al Pacino. He made Looking for Richard, a docu-drama adaptation William Shakespeare’s The Tragedy of Richard III. Looking for Richard is Al Pacino’s interpretation of Richard III with Pacino directing and starring in the title role. The film handles the complicated task of interpreting Shakespeare’s play by telling us historical context in which Richard III Gloucester came to power. It covers The War of the Roses, the victory of the Yorks, and the relationships between various royals, and relatives. The film does this so well that the movie serves as a live-action Cliff Notes. Pacino travels to England and visits Stratford-upon-Avon where Shakespeare was born, but the much of the movie was filmed in New York City. He made the film on a small budget and couldn’t possibly fly his cast across an ocean, so he filmed of the scenes from the play in rehearsal, the actors reading the script around a table, or sometimes in full costume on a stage. For a few key scenes, he managed to find a Medieval setting in Manhattan. Imagine that. This is truly resource filmmaking at its best. Pacino filmed his exteriors at The Cloisters, a museum in Manhattan built to resemble a medieval castle, and his interiors at St. John the Divine, one oldest and largest churches in the US. Combined with period costumes and the acting chops of Alec Baldwin, Kevin Spacey, Winona Ryder, and many others, the movie makes us believe we’re in the world of Shakespeare’s play. In addition to showing us the inner workings of the play, we also see Pacino’s struggle in making his film which took four years to complete. We see him attempt to conquer the challenge of performing Shakespeare as an American actor, grappling with the language, and the challenge of filming the film’s climax, The Battle of Bosworth Field on a small budget. This film is an extraordinary achievement considering Pacino essentially made the film in his spare time in between movies. He didn’t have money to buy himself out of trouble, so he employed old fashion movie tricks, creative editing techniques. It’s a lesson to any filmmaker you don’t need a ton of money in order to make an audience understand a 400 year old play about a 500 year old English king.
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Looking for Richard presents itself as an exercise in taking Shakespeare, specifically Richard III, to "the people in the street." Many people met there see the language as too difficult and the plays as unrelated to everyday life. Hence the popularity of Shakespeare being translated into "everyday English" and discussions about his continuing "relevance."…	en	https://s1.wp.com/i/favicon.ico	Alex on Film	https://alexonfilm.com/2022/01/11/looking-for-richard-1996/	. Looking for Richard presents itself as an exercise in taking Shakespeare, specifically Richard III, to “the people in the street.” Many people met there see the language as too difficult and the plays as unrelated to everyday life. Hence the popularity of Shakespeare being translated into “everyday English” and discussions about his continuing “relevance.” . I think Looking for Richard addresses these issues in a responsible way, though it ironically does so in the form of a movie that I don’t think anyone outside of Shakespeare’s usual audience will find all that interesting. Put another way, I found it fascinating, but I’m not sure the man or woman on the street would feel the same way about it. . Basically what we have here is a documentary look behind-the-scenes at a fictional production of Richard III. It was Al Pacino’s first turn at directing and he shot it over a four-year period, ending up with over 80 hours of footage. A remarkable job of editing then, if nothing else, as it flows seamlessly, as though shot in a couple of months. . The politics behind the play Richard III are notoriously complicated, so some of the background material consists of interviews with historians and the like explaining what’s going on in the scenes we see being performed. Just what was “the winter of our discontent”? Now you know. It’s sort of like Coles Notes on video. . What I found more interesting though is the discussion behind how the play was going to be presented. For example there’s the letter Edward gets warning him that G of Edward’s heirs the murderer shall be. Should the G be changed to C so as not to confuse people who don’t know that the Duke of Clarence’s name is George? Or would that be taking too big a liberty? . If there’s a disappointment in this approach it’s in the fact that this sort of discussion only revolves around issues relating to a stage production of the play. There is little to no talk of how to make Richard III into a more engaging or popular sort of movie. I missed that. For example, I really liked the angle of the shot of the soldiers coming downhill to finish Richard off after sticking him with arrows. But to what extent was that a conscious decision, for whatever reason, and how much of it was dictated by the location? . Pacino’s brand of Method acting can run very hot or cold, but in his favour I think he managed to pull Shakespeare off very well, both her and playing Shylock in The Merchant of Venice (2004). He does give a good sense of Richard enjoying himself, or Pacino enjoying himself being Richard. This led me to wonder whether this was really Pacino behind the scenes, or if he was still hamming it up for the camera, or if there is a difference. I have a hard time imagining Pacino not being “on.” . The cast runs hot and cold too. Winona Ryder, who specialized in being miscast in her career, is hopeless here as Anne. And I say that as a Ryder fan (she should have won an Oscar for her turn in The Age of Innocence). Alec Baldwin is also hopeless as Clarence. Some people should probably avoid Shakespeare. . Meanwhile, I know that he’s a fallen star now but I would have liked to have seen more of Kevin Spacey as Buckingham. A good choice for the part, especially as he would go on to play Richard on stage in a Sam Mendes production that ran from 2011 to 2012, and reprised the role in House of Cards. You’d think he’d have some real insights into the part. . Another interesting angle I wish they’d developed a bit further has to do with the different attitudes toward Shakespeare taken by British and American actors and producers, informed by snippets of interviews with the likes of Derek Jacobi, John Gielgud, Vanessa Redgrave, and Kenneth Branagh. At one point it’s suggested that Brits are less deferential to the Bard, and I think this may be right. Perhaps it’s a comfort thing. I’d note that Pacino originally wanted to just make a film of Richard III but then didn’t think he could compete with Olivier’s 1955 version. But Olivier took some pretty big liberties with the text, as he did with all of his Shakespeare adaptations (especially Hamlet). Ian McKellen would too. *. All of which underlines the point I began with. I find Looking for Richard to be a real treat, but I doubt it does much to bring Shakespeare to the people. For all its jokiness and backward ball-cap style points, I think it plays better as a master class.
915	yago	1	19	https://www.onthisday.com/people/al-pacino	en	Al Pacino (Actor)	https://www.onthisday.co…pacino.jpg?w=360	https://www.onthisday.co…pacino.jpg?w=360	[ "https://www.onthisday.com/images/people/al-pacino.jpg?w=360", "https://www.onthisday.com/images/flags/united-states.svg", "https://www.onthisday.com/images/people/amitabh-bachchan.jpg", "https://www.onthisday.com/images/people/freddie-highmore.jpg", "https://www.onthisday.com/images/people/kevin-hart.jpg", "https://www.onthisday.com/images/people/michael-palin.jpg", "https://www.onthisday.com/images/people/peter-dinklage.jpg", "https://www.onthisday.com/images/people/richard-pryor.jpg", "https://www.onthisday.com/images/facebook.svg", "https://www.onthisday.com/images/instagram.svg", "https://www.onthisday.com/images/twitter.svg" ]	[]	[]	[ "" ]	null	[]	null	Al Pacino is an American actor who has won an Academy Award, two Tony Awards, and two Primetime Emmy Awards—taken together, having earned the Triple Crown...	en	/apple-touch-icon.png	On This Day	https://www.onthisday.com/people/al-pacino	Profession: Actor Biography: Al Pacino is an American actor who has won an Academy Award, two Tony Awards, and two Primetime Emmy Awards—taken together, having earned the Triple Crown of Acting. He has also been honored with the Cecil B. DeMille Award, the AFI Life Achievement Award, the National Medal of Arts, and the Kennedy Center Honors Pacino's notable performances include lead roles in Scent of a Woman (1992), which garnered him an Academy Award for Best Actor, as well as landmark films like The Godfather (1972) and The Irishman (2019). He has also maintained a significant theater presence and has served as the joint president of the Actors Studio since 1994. Al Pacino was born in New York City in 1940. His early life was marked by his parents' divorce when he was two years old, leading him to move with his mother and grandparents to the South Bronx. Initially dreaming of a career in baseball, Pacino eventually discovered his passion for acting. After dropping out of school, Pacino was accepted to the High School of Performing Arts. He faced challenges, including financial struggles and homelessness, as well as mourning the loss of his mother and grandfather. This did not deter him, however, and his persistence paid off when he earned a place at the Actors Studio. Pacino made his mark on the stage in the late 1960s, earning critical acclaim and his first Tony Award for Does a Tiger Wear a Necktie? (1969). His theater success continued, and he won another Tony for The Basic Training of Pavlo Hummel in 1977. His film career began in earnest after his performance in The Panic in Needle Park (1971), which led to his iconic role as Michael Corleone in The Godfather (1972). This role cemented Pacino's place in the history of American cinema. His career trajectory suffered a downturn in the early 1980s, but he returned with performances such as the lead in Scarface (1983). He went on demonstrate his diversity with roles such as Scent of a Woman (1992), which earned him the Academy Award. He also directed and starred in the documentary Looking for Richard (1996). Pacino also entered into television with roles in Angels in America (2003) and You Don't Know Jack (2010) earning him Primetime Emmy Awards. He has also returned to Broadway in later years, including in The Merchant of Venice (2010). Most recently, Pacino graced the small screen in the Amazon Prime Video series Hunters (2020–23) and appeared in the film House of Gucci (2021). He also began producing Modì in 2022, a biopic about the painter Amedeo Modigliani. On the personal front, Pacino is a father to four children: a daughter with acting coach Jan Tarrant, twins with actress Beverly D'Angelo, and in 2023, he welcomed a new child with girlfriend Noor Alfallah. While he has never married, he has had relationships with figures such as Diane Keaton and Lucila Polak. Born: April 25, 1940 Birthplace: New York City, New York, USA Age: 84 years old
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"https://mainstreetmediatn.demo.our-hometown.com/wp-content/uploads/images/2022-12-05/b27b0170bddc22abe31eeef5eaca997e-300x214.jpg", "https://mainstreetmediatn.demo.our-hometown.com/wp-content/uploads/images/2022-12-05/d0e4ca816ba7fc579df8c8c6d31678a1-300x214.jpg", "https://mainstreetmediatn.com/wp-content/uploads/2024/08/IMG_0579-scaled-960x720.jpg", "https://mainstreetmediatn.com/wp-content/uploads/2024/08/IMG_0574-960x720.jpg", "https://mainstreetmediatn.com/wp-content/uploads/2024/07/RobCo_ChanceryCt_DividingRidgeAuction_300X250.png", "https://mainstreetmediatn.com/wp-content/uploads/2023/08/PublicNotice_fornoticespage_state.gif", "https://mainstreetmediatn.com/wp-content/uploads/2024/06/RCC-Vote-MSA24-Vote-Now-300x250R.jpg" ]	[]	[]	[ "" ]	null	[ "ohtadmin", "https://mainstreetmediatn.com/author/ohtadmin/#author", "Rachel Cavanaugh" ]	2022-12-05T10:00:00-06:00	Al Pacino has been lighting up the big screen since the late 1960s, gaining a devoted fan base with his good looks, great acting, and rough-and-tumble charm. His film debut was a small role as a character named Tony in the 1969 drama "Me, Natalie" starring Patty Duke.However, his big break would		https://mainstreetmediat…-defaults-25.png	Main Street Media of Tennessee -	https://mainstreetmediatn.com/articles/lifestyles-robertsoncountyconnection/best-and-worst-al-pacino-movies-6/	From Michael in “The Godfather” to Aldo in “House of Gucci,” Stacker ranked all 53 Al Pacino films from worst to best via IMDb user ratings.
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"https://www.usmagazine.com/wp-content/themes/us-weekly/assets/img/svg-icons/logo-tag-registered.svg", "https://www.usmagazine.com/wp-content/themes/us-weekly/assets/img/svg-icons/logo-tag-registered-green.svg" ]	[]	[]	[ "" ]	null	[ "Braylee Parry" ]	2024-05-29T14:26:45+00:00	Al Pacino went from a theater actor to a film star with his iconic role as Michael Corleone in 1972’s The Godfather	en	/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all	Us Weekly	https://www.usmagazine.com/entertainment/pictures/al-pacino-through-the-years-the-godfather-scarface-more/	Al Pacino will make you an offer you can’t refuse. The actor had just made his film debut in 1971’s The Panic in Needle Park when he caught the eye of director Francis Ford Coppola. The following year, Coppola cast him as Michael Corleone, one of his most iconic roles to date, in The Godfather. “Before The Godfather, the first Godfather, nobody else wanted me,” Pacino revealed to The Talks in August 2015. “But Francis wanted me! He just wanted me, and I didn’t understand it . . . The studios didn’t want me, nobody wanted me — nobody knew me. I think when a director is interested, I have a tendency to lean forward instead of backing off.” Pacino’s performance earned him an Oscar nomination and boosted him to stardom. He reprised the role in the sequels The Godfather Part II (1974) and The Godfather Part III (1990), the latter earning him another Oscar nomination. When the Oscars ceremony came around, Pacino didn’t attend. Despite his success with the trilogy, Pacino had a hard time coping with his newfound fame and told The New York Times in March 2022 that “The Godfather gave me a new identity that was hard for me to cope with.” “I just was afraid to go. I was young, younger than even my years,” Pacino said at the time. “I was young in terms of the newness of all this. It was the old shot-out-of-a-cannon syndrome.” After The Godfather, Pacino was happy to star in Serpico (1973) and Dog Day Afternoon (1975), telling Vulture in March 2018 he “didn’t have to see Michael Corleone. I was flying.” He went on to star in Scarface (1983), Scent of a Woman (1992), Ocean’s Thirteen (2007), Once Upon a Time in Hollywood (2019) and House of Gucci (2021). Keep scrolling to see Pacino’s career in photos:
915	yago	2	21	https://medium.com/%40marilynstanton/all-al-pacino-movies-in-order-a2a88458a5cc	en	All 94 Al Pacino Movies (in Order)	https://miro.medium.com/v2/da:true/resize:fit:1200/0*qNK9_pdg0J4K5ZtL	https://miro.medium.com/v2/da:true/resize:fit:1200/0*qNK9_pdg0J4K5ZtL	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/da:true/resize:fill:88:88/0ByazN4UbeOyBNfTK", "https://miro.medium.com/v2/da:true/resize:fill:144:144/0*ByazN4UbeOyBNfTK" ]	[]	[]	[ "" ]	null	[ "Marilyn Stanton", "medium.com" ]	2024-03-17T03:10:27.855000+00:00	Get ready to dive into the world of legendary actor Al Pacino as we take a look at some of his most memorable movies throughout his illustrious career. From his early roles to his more recent…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://medium.com/@marilynstanton/all-al-pacino-movies-in-order-a2a88458a5cc	Marilyn Stanton · Follow 36 min read · Mar 17, 2024 -- Get ready to dive into the world of legendary actor Al Pacino as we take a look at some of his most memorable movies throughout his illustrious career. From his early roles to his more recent performances, we’ll highlight the films that have made Pacino a household name and a true icon in the industry. 1. Me, Natalie (1969) Me, Natalie” is a delightful 1969 comedy-drama that follows the story of a young woman named Natalie, portrayed by Patty Duke, as she strives for her own unique sense of independence and individuality. Despite her physical likeness to one of the ugliest ducklings, it becomes clear that Natalie is anything but ordinary. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 2. The Panic in Needle Park (1971) The Panic in Needle Park, “ directed by Jerry Schatzberg and written by James Mills, Joan Didion, and John Gregory Dunne, is a gripping drama set in New York City that follows the lives of heroin addicts who frequent the infamous “Needle Park. “ The movie stars a young Al Pacino and Kitty Winn, highlighting the harrowing realities of addiction and its impact on individuals and those around them. As the story unfolds, viewers are taken on an emotional journey through the struggles and desperation of these characters, ultimately leading them to confront the harsh realities of their choices. With a stellar ensemble cast and a powerful storyline, “The Panic in Needle Park” provides a raw and unforgettable look at the dark underbelly of heroin addiction. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 3. The Godfather (1972) The Godfather” is a gripping tale of power, loyalty, and family. Directed by Francis Ford Coppola, this masterpiece stars an all-star cast including Marlon Brando, Al Pacino, and James Caan. Set in the world of organized crime, Don Vito Corleone, played by Brando, is the head of a mafia family. As he prepares to pass up his empire to his youngest son Michael, unforeseen danger lurks around his loved ones’ lives. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 4. Scarecrow (1973) Scarecrow” is a 1973 drama movie that follows an ex-convict with a penchant for brawling as he teams up with a homeless ex-sailor to travel east together. Starring Al Pacino and Gene Hackman, the film navigates the challenges they face throughout the journey and tests the boundaries of their friendship. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 5. Serpico (1973) Serpico” is a riveting film set in 1970s New York that exposes the complex and corrupt world of law enforcement. The title character, Frank Serpico, is a dedicated and honest cop who dares to go against the system and expose the rampant corruption within his force. However, instead of being hailed as a hero, Serpico finds himself under attack from his own comrades who do not want their illicit dealings to be revealed. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 6. The Godfather Part II (1974) The Godfather Part II” is a riveting crime drama that delves deep into the complexities of the Corleone family, as well as exploring the dark, untamed world of organized crime. Set in 1920s New York City, the film tells the enthralling tale of Vito Corleone and his son Michael, as they navigate through a precarious web of power, loyalty, and deceit. As Vito tries to maintain his influence in the criminal underworld, the younger Michael unleashes a relentless campaign to take control of the family’s business and exert his iron grip on a sprawling empire. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 7. Dog Day Afternoon (1975) In the captivating 1975 film “Dog Day Afternoon, “ directed by the talented Sidney Lumet, audiences are drawn into a tale of crime, desperation, and human error. The plot revolves around three inexperienced bank robbers who try to pull off a seemingly straightforward heist: walk in, take the money, and run. However, their well-intentioned plan quickly spirals into a chaotic hostage situation, leaving them in a precarious predicament that defies all odds. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 8. America at the Movies (1976) America at the Movies” is a 1976 documentary film that showcases a fascinating compilation of scenes from 83 American films, divided into five intriguing segments. The cinematic voyage delves into the heart of America, highlighting its diverse landscapes, bustling cities, loving families, significant conflicts, and profound spirit. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 9. Bobby Deerfield (1977) Bobby Deerfield, a riveting 1977 drama romance, stars Al Pacino as the eponymous character, a renowned American race car driver competing in Europe. After a life-changing encounter, Bobby falls in love with enigmatic, terminally-ill Lillian Morelli, played by Marthe Keller. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 10. And Justice for All (1979) And Justice for All” is a gripping, thrilling drama that delves into the heart of the American judicial system. Directed by Norman Jewison and written by Valerie Curtin and Barry Levinson, the movie stars Al Pacino as Arthur Kirkland, a dedicated but morally conflicted lawyer who faces the ultimate test of justice and righteousness. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 11. Cruising (1980) In 1980, acclaimed director William Friedkin delved into the dark and uncharted territories of the underground S&M gay subculture of New York City with “Cruising. “ A chilling tale of a serial killer on a terrifying rampage, the film centers around a determined police detective, Al Pacino, who goes undercover to catch the predator responsible for the gruesome murders. As he navigates the dangerous world of forbidden desires and covert identities, Pacino finds himself drawn into a twisted game of cat and mouse. The film’s intense plot, coupled with its daring depiction of raw human sexuality, pushes the boundaries and leaves viewers on the edge of their seats. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 12. Author! Author! (1982) Author! . Author! “ is a heartwarming 1982 comedy-drama film, telling the story of a playwright who navigates the hustle and bustle of raising a family while his Broadway play is underway. The protagonist’s marital separation adds to the complexity of his life, making it a compelling exploration of parenthood and the pressures of success. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 13. Night of 100 Stars (1982) Night of 100 Stars” is a star-studded comical variety special celebrating the centennial of the Actors’ Fund of America in 1982. The event is packed with famous faces and talented performers, making it a delightful family-friendly experience. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 14. Scarface (1983) Scarface, directed by Brian De Palma and written by Oliver Stone, is an intense crime drama that explores the dark underworld of Miami’s drug cartels in the 1980s. Led by the charismatic and ruthless Cuban immigrant, Tony Montana, played by Al Pacino, the film dives deep into the world of organized crime, as Tony ascends from a lowly worker to a powerful drug lord. However, the journey tests not only Tony’s leadership skills but also his loyalty and morality. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 15. Revolution (1985) Revolution, “ directed by Hugh Hudson, takes us on an incredible journey through the tumultuous times of colonial America. Al Pacino stars as a young trapper, unexpectedly caught up in the whirlwind of the American Revolution, alongside his son, played by Donald Sutherland. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 16. Sea of Love (1989) Sea of Love” is a gripping crime thriller with a chilling twist. Set in New York City, the movie follows a police detective, Frank Keller, played by legendary actor Al Pacino, as he becomes increasingly obsessed with a serial murder case. His obsession leads him to an alluring woman named Helen, portrayed by Ellen Barkin, whose presence complicates his investigation. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 17. Dick Tracy (1990) Dick Tracy, a classic comic strip detective, finds himself in the middle of an intricate web of crime, love, and danger when the captivating Breathless Mahoney makes her seductive moves towards him. Amidst it all, Tracy must face the united might of the mob led by crime boss Big Boy Caprice. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 18. The Godfather Family: A Look Inside (1990) Get an exclusive, behind-the-scenes look at the making of all three films in the iconic Godfather trilogy with “The Godfather Family: A Look Inside. “ This captivating documentary delves into the intricate process of creating one of the most revered film series in history. Follow the cast and crew, including director Francis Ford Coppola, as they share candid interviews, screen tests, and stories from the set. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 19. The Godfather Part III (1990) In “The Godfather Part III, “ Michael Corleone, played by Al Pacino, is now in his 60s and striving to bring his family out of the criminal world and find the perfect successor to his empire. The film delves into the realms of opera, gangster life, the Catholic Church, and the intense violence and guilt that come with leading a mafia family. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 20. Madonna: Truth or Dare (1991) Experience the raw and unapologetic world of pop icon Madonna like never before with “Madonna: Truth or Dare, “ a groundbreaking documentary that offers an unprecedented glimpse into her life during the Blond Ambition tour in 1990. Filmmaker Alek Keshishian immerses viewers in the controversy, theatrics, and electrifying energy of Madonna’s notorious performances. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 21. Frankie and Johnny (1991) Frankie and Johnny, “ directed by Garry Marshall, stars Al Pacino and Michelle Pfeiffer, delivering a compelling tale of new beginnings and unexpected romance. Based on Terrence McNally’s play, the 1991 film is set in a quaint New York City restaurant where Frankie, a reclusive waitress, crosses paths with Johnny, an ex-convict eager to start anew. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 22. The Godfather Trilogy: 1901–1980 (1992) The Godfather Trilogy: 1901–1980 is a gripping and intense saga that explores the rise and fall of the powerful Corleone crime family. Directed by Francis Ford Coppola and written by both Coppola and Mario Puzo, this trilogy brings to life the tumultuous world of organized crime in the United States. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 23. Glengarry Glen Ross (1992) In the 1992 film “Glengarry Glen Ross, “ an examination of the cutthroat world of sales in a real estate office takes center stage. Under the watchful eye of a ruthless boss, the stakes are higher than ever as the salesmen struggle to make their quotas. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 24. Scent of a Woman (1992) Scent of a Woman” is a powerful and captivating drama that challenges our perceptions of life, love, and the human spirit. Set in the world of a prestigious prep school and private wealth, the film follows a young student as he takes on a seemingly simple task — to “babysit” a blind man in need of money. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 25. The 65th Annual Academy Awards (1993) Celebrate the magic of cinema in The 65th Annual Academy Awards, an unforgettable awards ceremony held in 1993. This prestigious event, traditionally known as the “Oscars”, honors the greatest achievements in filmmaking throughout the prior year, bringing Hollywood’s elite together to celebrate their success. Led by the charming emcee, Billy Crystal, this televised spectacle showcases glamour, talent, and heartwarming moments that continue to captivate audiences today. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 26. Carlito’s Way (1993) In the gritty streets of 1970s New York, Carlito (Al Pacino) has just served five years in prison, and he’s determined to avoid the temptation of returning to life as a gangster and drug user. But, with his former associates and the Mafia breathing down his neck, Carlito struggles to stay on the straight and narrow. He finds solace and support in Pachanga (John Leguizamo), his loyal sidekick and bodyguard, and Gail (Penelope Ann Miller), an aspiring journalist who genuinely loves him. As pressure mounts and allegiances shift, Carlito soon finds that choosing the path of righteousness may not be enough to save him from the fate of those who betrayed him. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 27. In the Name of the Father (1993) In the Name of the Father” (1993) is a gripping, crime-drama film that tells the harrowing true story of a family torn apart by the political tensions of Ireland during the 1970s. Directed by Jim Sheridan, the film is based on the life of Gerry Conlon and stars Academy Award winner, Daniel Day-Lewis, as an English lawyer fighting for the freedom of both the man wrongly condemned for an I. R. A. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 28. Jonas in the Desert (1994) Experience the captivating world of artist Jonas Mekas in “Jonas in the Desert” (1994). This thought-provoking documentary offers a unique journey through the life and work of the influential founder and director of the New York Anthology Film Archive. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 29. Two Bits (1995) Two Bits” is a heartfelt comedy-drama film released in 1995, starring Al Pacino, Mary Elizabeth Mastrantonio, and Jerry Barone. Directed by James Foley, the movie follows the story of Gennaro (played by Pacino), living with his ailing grandfather who holds on tight to his last quarter. Despite his deteriorating health, the grandfather is not ready to die. He enlists Gennaro to serve as his emissary, seeking closure for unfinished business with a woman from his past. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 30. The 67th Annual Academy Awards (1995) Bring the glamour and excitement of Hollywood to your living room with “The 67th Annual Academy Awards”! . This three-hour-long event showcases the brightest and best moments from the world of cinema. Join hosts David Letterman, Ken Adam, and others as they present awards, introduce spectacular performances, and let you in on some exclusive behind-the-scenes footage. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 31. Heat (1995) Heat” is a gripping action-packed movie set in the heart of Los Angeles. A group of highly skilled professional thieves, led by the unforgettable Al Pacino and Robert De Niro, find themselves under intense scrutiny from the city’s elite police force, the LAPD. In true Hollywood fashion, the gang’s latest score goes awry, leaving a trail of clues that the detectives begin to follow, leading to an explosive standoff. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 32. Looking for Richard (1996) In “Looking for Richard, “ Al Pacino takes a deep dive into the world of Shakespeare, specifically “Richard III. “ The film features interviews with notable actors, including Alec Baldwin and Kevin Spacey, as they discuss the significance and relevance of the play to modern society. This documentary-style drama also delves into the rehearsal process, giving viewers a unique backstage perspective on the creation of a theatrical production. With a strong emphasis on the importance of literature, “Looking for Richard” provides a thought-provoking and engaging exploration into the power of storytelling. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 33. City Hall (1996) In the bustling city of New York, a seemingly innocent accident spirals into an unexpected investigation led by the Deputy Mayor, played by the renowned Al Pacino. As the layers of deception are unraveled, the lives of those involved are forever changed in ways they never imagined. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 34. The Devil’s Advocate (1997) The Devil’s Advocate” is a gripping drama that explores the consequences of making a deal with the devil. Set in the high-stakes world of New York City law, the film follows an exceptionally skilled Florida lawyer as he is offered the chance of a lifetime to join a prestigious law firm. Despite the warning signs, he accepts the position, soon discovering that his boss, played by Al Pacino, is the embodiment of evil. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 35. Donnie Brasco (1997) Donnie Brasco” is a riveting crime drama that tells the story of an undercover FBI agent, Joe Pistone, who infiltrates the mob with incredible precision. Directed by Mike Newell, the movie takes us on a thrilling journey as the real-life story unfolds on screen. The film boasts an impressive ensemble cast, including Al Pacino and Johnny Depp, delivering compelling performances that add depth to this gritty, raw storyline. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 36. Pitch (1997) Pitch” is a lively and humorous documentary that delves into the lives of two young aspiring writers in Hollywood. The film follows Kenny Hotz and Spencer Rice as they embark on a mission to pitch their script to the big leagues. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 37. The Best of Hollywood (1998) Join Tab Hunter on a nostalgic journey through the history of Hollywood’s most iconic cinematic achievements from the 1950s to the end of the 20th century. “The Best of Hollywood” (1998) is a thought-provoking documentary that takes viewers on an exploration of the golden age of Hollywood. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 38. Tough Guise: Violence, Media & the Crisis in Masculinity (1999) Tough Guise: Violence, Media & the Crisis in Masculinity” is a groundbreaking documentary that delves into the complex relationship between pop culture and the construction of masculine identities. Directed by Sut Jhally and written by Jeremy Earp and Jackson Katz, this riveting film explores the disturbing influence of media on shaping the behaviors and attitudes of white men, particularly teenagers. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 39. The Insider (1999) In the gripping 1999 drama “The Insider, “ research chemist Jeffrey Wigand finds himself thrust into the spotlight when he chooses to go public about his knowledge of Big Tobacco’s unethical practices. As he prepares to appear on 60 Minutes, Wigand faces personal and professional attacks from the powerful tobacco industry, pushing him to the brink and putting his life in danger. Al Pacino, Russell Crowe, and Christopher Plummer deliver powerful performances in this intense courtroom thriller that explores the high stakes of whistleblowing in the 1990s. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 40. Any Given Sunday (1999) Directed by Oliver Stone, “Any Given Sunday” is a gripping drama that delves into the world of modern-day gladiators and those who lead them. Starring an all-star cast, including Al Pacino, Dennis Quaid, and Cameron Diaz, the film presents an intense and unapologetic look into the high-stakes, life-and-death struggles that pervade the realm of American football. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 41. Chinese Coffee (2000) Chinese Coffee (2000) is a gripping drama that delves into the lives of two struggling artists. As Harry and Jake passionately debate over money and aesthetics, their friendship is put to the test. This thought-provoking film explores the complexities of poverty in the creative world and raises questions about the true essence of art. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 42. America: A Tribute to Heroes (2001) America: A Tribute to Heroes” is a powerful and heartfelt documentary film that pays tribute to the tragic events of September 11, 2001. This poignant production features an impressive lineup of celebrities and musicians, ranging from legendary boxer Muhammad Ali to Golden Globe-winning actress Halle Berry, as well as Jon Bon Jovi. United in their quest to honor and remember those who perished, the stars come together for a moving musical concert that leaves a lasting impact on viewers. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 43. People I Know (2002) In “People I Know” (2002), a tale of crime, drama, and mystery unfolds in New York City. Al Pacino stars as a beleaguered press agent who finds himself entangled in a web of scandal involving his high-profile client. As the client’s reputation crumbles, the press agent is forced to use all his cunning and wits to keep his own career afloat amidst the chaos. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 44. Insomnia (2002) Experience the gripping tension of “Insomnia, “ a mystery-thriller film directed by Christopher Nolan, featuring a star-studded cast of Al Pacino, Robin Williams, and Hilary Swank. Two Los Angeles homicide detectives find themselves in a small northern town where the sun never sets, where they must investigate a local teen’s brutal murder. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 45. The Kid Stays in the Picture (2002) Delve into the life of legendary Hollywood producer Robert Evans in the gripping documentary, The Kid Stays in the Picture. In a film that shares its title with Evans’s acclaimed 1994 autobiography, the documentary takes viewers on a journey through Evans’s tumultuous life, marked by love, drug busts, and various escapades. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 46. S1m0ne (2002) S1m0ne” is a 2002 film that tells the story of a frantic producer named Vic Mansfield, portrayed by Al Pacino. Faced with the dilemma of having his star walk off the set, he resorts to an unconventional solution — digitally creating a star to replace her. The resulting holographic image, played by Rachel Roberts, becomes an overnight sensation and captivates the media frenzy. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 47. The 100 Greatest Movie Stars (2003) Dive into the world of cinema as the British public takes center stage in the documentary “The 100 Greatest Movie Stars” (2003). Spanning 6 hours, this captivating film presents an exclusive survey showcasing the top 100 film actors of all time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 48. Sex at 24 Frames Per Second (2003) Sex at 24 Frames Per Second is a 2003 feature-length documentary that delves into the sensational history of sex in Hollywood cinema, offering viewers a tantalizing journey through the evolution of this provocative subject. The film, directed by Kevin Burns and Steven C. Smith, is a gripping exploration of how sex has been portrayed in the world’s most influential movies and how filmmakers have successfully captivated audiences worldwide. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 49. Gigli (2003) Gigli, “ featuring big-name stars Ben Affleck and Jennifer Lopez, is a high-octane crime comedy that takes the audience on a wild and hilarious ride. When crime boss Leonardo “Gigli” DiCaprio assigns hitman Larry Gigli to kidnap a prominent district attorney’s brother, he enlists the help of beautiful woman Ricki. As they navigate their way through the web of crime, they must also deal with their personal lives and unexpected twists and turns. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 50. The Recruit (2003) The Recruit, “ a high-stakes action thriller released in 2003, sees talented young CIA operative Walter Burke face his most challenging mission yet. As a skilled rookie, he is tapped by his mentor, veteran CIA analyst Tom Clayton, to help uncover a dangerous mole within the agency itself. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 51. Based on a True Story (2004) Based on a True Story” (2006) is a gripping documentary that delves into the extraordinary events of John Wojtowicz and Salvatore Naturile’s bank robbery attempt in Flatbush, NY, an event that later inspired the 1975 film of the same name. The movie not only captures the tense atmosphere of the robbery but also explores the complexities of the characters involved. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 52. The Merchant of Venice (2004) Discover the timeless tale of “The Merchant of Venice, “ a Renaissance drama written by none other than William Shakespeare. Directed by Michael Radford and starring the remarkable ensemble of Joseph Fiennes, Al Pacino, and Lynn Collins, this poignant portrayal of 16th-century Venice will captivate your senses. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 53. The 77th Annual Academy Awards (2005) Witness the glamour, excitement, and prestige of The 77th Annual Academy Awards, where the best of the film industry comes together to celebrate excellence in cinema. Hosted by the charismatic Chris Rock, the ceremony nominates critically acclaimed films such as The Aviator, Finding Neverland, Million Dollar Baby, Ray, and Sideways for prestigious awards. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 54. Bullets Over Hollywood (2005) Bullets Over Hollywood” is a riveting documentary that delves into the captivating world of American gangster movies. From their roots in the silent film era to modern times, the film explores the blood-soaked landscape and enduring allure of this iconic genre. Featuring interviews and stories from industry professionals, as well as glimpses into the lives of legendary figures like Warren Beatty, Humphrey Bogart, and Marlon Brando, this documentary offers an unprecedented look at the history and impact of gangster films on Hollywood and beyond. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 55. Two for the Money (2005) Two for the Money” is a gripping crime drama that follows the life of a former college football star who faces a devastating career-ending knee injury. Desperate and seeking a way to support himself, he turns to the dangerous world of sports gambling with the help of a notorious tout in the business. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 56. Midnight Movies: From the Margin to the Mainstream (2005) Midnight Movies: From the Margin to the Mainstream” is a riveting documentary that takes viewers on a captivating journey through the world of low budget cinema from 1970–1977. Director Stuart Samuels expertly uncovers the transformative power of six midnight films and how they revolutionized the film industry. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 57. Boffo! Tinseltown’s Bombs and Blockbusters (2006) Dive into the heart of Tinseltown with “Boffo! . Tinseltown’s Bombs and Blockbusters” (2006), a compelling documentary that puts Hollywood’s leading lights under the microscope to unravel the secrets behind blockbusters, flops and movie magic. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 58. Brando (2007) Brando” is a riveting, heartfelt documentary that delves into the life and legacy of the iconic Marlon Brando, renowned for revolutionizing the art of acting. As the first biography made during his lifetime, the film masterfully captures Brando’s essence off-screen, revealing the man behind the enigmatic persona. The movie explores Brando’s professional journey, his complex relationship with the entertainment industry, and his indelible impact on film history. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 59. 88 Minutes (2007) 88 Minutes is a suspenseful crime thriller that follows the harrowing journey of Dr. Jack Gramm, a dedicated forensic psychologist and professor. As Dr. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 60. Ocean’s Thirteen (2007) In “Ocean’s Thirteen” (2007), Danny Ocean (George Clooney) and his gang, including Rusty Ryan (Brad Pitt), reassemble for a third heist. This time, their target is casino owner Willy Bank (Al Pacino) who betrays one of the original eleven, Reuben Tishkoff (Elliott Gould). The crew must enlist old enemy, Terry Benedict (Andy Garcia), for funding, leading to the team’s biggest challenge yet. With the help of newcomers Saul Bloom (Carl Reiner) and a holographic egg expert (Eddie Izzard), Danny and the gang devise an elaborate revenge plan. Action-packed and filled with wit, “Ocean’s Thirteen” demonstrates the team’s unwavering camaraderie and the heights they’ll go to exact justice. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 61. Righteous Kill (2008) When two seasoned New York City detectives, “righteous” and no-nonsense veterans, are tasked with solving a series of gruesome murders of criminals who have evaded justice, they must navigate a delicate path between law enforcement and the criminal underworld. In the shadows of Manhattan, these grizzled cops are driven by an unyielding sense of justice and a desire to put an end to this brutal spree. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 62. Explicit Ills (2008) Explicit Ills is a compelling 2008 drama that weaves together four interconnected stories, all of which revolve around the themes of love, drugs, and poverty in the city of Philadelphia. Told through a series of intertwined narratives, the film offers a raw, unflinching look at the lives of these individuals, and the struggles that they face. The performances from an impressive cast, including Paul Dano, Rosario Dawson, and Naomie Harris, are truly standout, adding depth and nuance to their characters’ complex, often tragic, journeys. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 63. Los mejores momentos de ‘Sé lo que hicisteis’ (2009) Dive into the world of parody comedy with “Los mejores momentos de ‘Sé lo que hicisteis’”, a 2009 film that combines satire and laughter. With a runtime of 1 hour and 35 minutes, this Spanish production takes audiences on a journey through sketches that spoof various topics. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 64. You Don’t Know Jack (2010) You Don’t Know Jack” is a gripping drama that delves into the captivating life and work of medical doctor Jack Kevorkian, who advocated for doctor-assisted suicide. In this powerful film, directed by Barry Levinson, viewers will be enveloped in the moral dilemma and profound ethical questions that surround the topic. The movie stars Al Pacino, Brenda Vaccaro, and John Goodman, and has received critical acclaim, winning two Primetime Emmys and garnering 11 wins and 36 nominations in total. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 65. Jack and Jill (2011) Jack and Jill” is a comedy film released in 2011, starring Adam Sandler as Jack, a family guy who dreads the Thanksgiving visit of his fraternal twin sister, Jill. Portrayed by Katie Holmes, Jill is an extremely needy and passive-aggressive character. This time, however, she refuses to leave, leading to a series of hilarious misadventures as the twins navigate their way through the holiday season. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 66. The Son of No One (2011) The Son of No One” is a gripping 2011 action film directed by Dito Montiel, starring Channing Tatum, Al Pacino, and Juliette Binoche. As a new young cop, Tatum gets assigned to his childhood neighborhood’s precinct in the blue-collar area. Unfortunately, he uncovers long-standing secrets that threaten to destroy not only his life, but his family’s safety as well. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 67. The 68th Annual Golden Globe Awards (2011) Prepare to witness the extravagance and star-studded glamour of the 68th Annual Golden Globe Awards! . Hosted by the witty and irreverent Ricky Gervais, this unforgettable night is filled with laughter, music, and the most anticipated awards in Hollywood. Join Amy Adams, Max Adler, and a star-studded ensemble of nominees as they come together to celebrate the year’s best in film and television. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 68. Wilde Salomé (2011) Experience the haunting tale of lust, greed, and scorn in “Wilde Salomé. “ Directed by Al Pacino and written by Oscar Wilde, this thought-provoking film delves into the mesmerizing world of female desire and betrayal. With a star-studded cast, including Jessica Chastain and Kevin Anderson, the film offers an intimate look at the lives of those entangled in this twisted story. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 69. The 65th Annual Tony Awards (2011) Witness the magic of live theater as The 65th Annual Tony Awards celebrates the best of Broadway in this electrifying 2011 television special. Hosted by the charismatic Neil Patrick Harris, this three-hour extravaganza showcases unforgettable performances, heartwarming moments, and exciting surprises. With a star-studded cast of presenters, including Frank Abagnale Jr. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 70. Stand Up Guys (2012) Stand Up Guys” (2012) is a charming and unexpectedly emotional comedy-crime-thriller featuring three legendary actors — Al Pacino, Christopher Walken, and Alan Arkin. The trio masterfully portrays a group of aging criminals who band together for one last heist, to avenge a painful and unjust past act that threatens to ruin the life of one of their companions. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 71. Arbitrage (2012) In the gripping thriller Arbitrage, hedge fund magnate Robert Miller finds himself in a dangerous game of deception when he makes a fatal mistake. As he desperately tries to push his trading empire over the finish line, he stumbles upon a web of lies and corruption. A mysterious and tough female manager, played by Susan Sarandon, becomes his unlikely ally. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 72. Casting By (2012) Casting By” is a riveting documentary that delves into the fascinating world of Hollywood casting directors. This unsung workforce, often overlooked in the glitz and glamour of the movie industry, have a crucial role in redefining it with their exceptional talent and keen eye for spotting stars. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 73. Final Cut: Ladies and Gentlemen (2012) Final Cut: Ladies and Gentlemen” is a heartwarming and unique blend of comedy, drama, and romance. This 2012 film was masterfully directed by György Pálfi and written by Pálfi and Zsófia Ruttkay. The movie tells a simple yet timeless love story between a man and a woman, brought to life through a series of scenes edited together from hundreds of classic films, creating a delightful crossover of movie genres. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 74. The Godfather Legacy (2012) Delve into the world of the iconic Corleone crime family in “The Godfather Legacy”. This gripping documentary takes us beyond the screen and into the realm of Hollywood history. Experience unforgettable scenes from all three films in Francis Ford Coppola’s masterful Godfather saga. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 75. Inside Story: Scarface (2013) Inside Story: Scarface” is a gripping documentary that dives into the captivating world of Tony Montana and his close friend Manny as they build a powerful drug empire in Miami. Set against the backdrop of the 1980s, this film takes viewers on a journey through the rise and fall of this empire, highlighting the complexities and challenges faced by those who step into the underworld of organized crime. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 76. Salomé (2013) Directed by Al Pacino and penned by Oscar Wilde himself, “Salomé” (2013) brings the Biblical tale of Salomé to life, as an entranced young woman agrees to partake in the infamous “dance of the seven veils” in exchange for a ghastly favor; John the Baptist’s head on a silver platter. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 77. Phil Spector (2013) Phil Spector” is a gripping biographical drama that delves into the complex relationship between legendary music producer Phil Spector and his dedicated defense attorney, Linda Kenney Baden. Set against the backdrop of Spector’s high-profile murder trial for the brutal death of actress Lana Clarkson, this tense film sheds light on the intricacies of power, fame, and the pursuit of justice. Directed by renowned playwright David Mamet and featuring powerhouse performances by Al Pacino and Helen Mirren, “Phil Spector” serves as a compelling exploration of the blurred lines between reality and myth-making. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 79. The Humbling (2014) The Humbling” is a thought-provoking comedy-drama film released in 2015, based on Philip Roth’s novel of the same name. Directed by Barry Levinson, the film stars Academy Award-nominated actors Al Pacino and Greta Gerwig, along with Nina Arianda. The movie follows the journey of a stage actor, played by Pacino, who is slowly but surely losing his grip on reality. In a surprising twist, he embarks on a relationship with an intellectually curious younger woman, portrayed by Gerwig, who is grappling with her own sexual identity. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 80. Manglehorn (2014) Manglehorn, a heartfelt drama starring Al Pacino, is a tale of love lost and the quest for a second chance at life. When an eccentric small-town locksmith named Manglehorn finds himself heartbroken by the woman he loved, he embarks on a journey to rebuild his life. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 81. Danny Collins (2015) Danny Collins is a gripping 2015 biographical comedy-drama film that boasts an all-star cast, including Al Pacino, Annette Bening, and Jennifer Garner. Directed and written by Dan Fogelman, this movie unravels the captivating story of a 70-year-old aging rock star who, feeling stagnant in his life, finds inspiration from a 40-year-old letter penned by none other than the legendary John Lennon. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 82. Misconduct (2016) Delve into the dark and twisted world of corporate deceit in the riveting thriller, MISCONDUCT. Set against the backdrop of a large pharmaceutical company, an ambitious young lawyer takes on a case that changes his life forever. As he battles against the powerful and ruthless executive of the company, he quickly finds himself embroiled in a web of blackmail and corruption. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 83. 73rd Golden Globe Awards (2016) The 73rd Golden Globe Awards are an annual celebration honoring excellence in film and television, hosted by the renowned actor and comedian Ricky Gervais. This star-studded event, which took place in 2016, is presented by the Hollywood Foreign Press Association and features top talents from film and television industries. The Golden Globes have a long-standing tradition of acknowledging exceptional performances and films, serving as a precursor to the upcoming Academy Awards. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 84. The Pirates of Somalia (2017) The Pirates of Somalia” is a gripping 2017 biographical drama that presents an unprecedented close-up look into the life of the world’s notorious pirates. Set in 2008, rookie journalist Jay Bahadur devises a bold plan to embed himself with the Somali pirates, ultimately succeeding in providing a unique perspective on their lives, motivations, and the forces driving them. Directed by Bryan Buckley and written by both Buckley and Bahadur, the movie features a star-studded cast including Al Pacino, Evan Peters, and Melanie Griffith, delving deep into the complexities of these pirates and the challenges they face in their world. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 85. Frank Serpico (2017) Frank Serpico” is a gripping documentary that dives deep into the personal life and struggles of the brave New York Police detective, Frank Serpico. Set against the backdrop of the early 1970s, the film chronicles Serpico’s one-man crusade for police reform within the NYPD. The documentary, directed by Antonino D’Ambrosio, relies on Serpico’s first-hand account, providing viewers with an intimate look into his journey. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 86. Hangman (2017) Hangman” (2017) is a chilling crime thriller that follows a seasoned homicide detective, played by Al Pacino, as he teams up with his former partner, Karl Urban, to catch a twisted serial killer. The killer’s gruesome crimes are eerily connected to the popular children’s game, Hangman. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 87. Julian Schnabel: A Private Portrait (2017) Julian Schnabel: A Private Portrait” is a fascinating documentary that delves into the personal life and illustrious public career of renowned New York artist, Julian Schnabel. This intimate exploration of Schnabel’s work and influences is brought to life through the artistry of director Pappi Corsicato, and masterfully presented with the help of the artist himself as a co-executive producer. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 88. Spielberg (2017) Spielberg” is a comprehensive documentary about the iconic filmmaker, Steven Spielberg. With interviews from his family, film critics, colleagues, and colleagues who have worked with him, viewers get an in-depth look at the career and journey of one of Hollywood’s most celebrated directors. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 89. Paterno (2018) Paterno” offers an intense drama centered around the highly regarded football coach, Joe Paterno, and the events that unfolded during the sexual abuse scandal that shook Pennsylvania State. Set against the backdrop of a college football dynasty, the film delves into the intricacies of power, loyalty, and the complexities of justice. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 90. The Irishman (2019) The Irishman” is a gripping, unscripted narrative that follows the life of Frank Sheeran, a WWII veteran who becomes a hit-man for the Bufalino crime family. With a nonlinear timeline, the film delves deep into Sheeran’s journey — from being a truck driver to an alleged assassin of his close friend, Jimmy Hoffa. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 91. Once Upon a Time… in Hollywood (2019) In the Golden Age of Hollywood, a fading television actor named Rick Dalton and his stunt double, Cliff Booth, desperately chase after fame and success in 1969 Los Angeles. Quentin Tarantino’s movie, “Once Upon a Time. . in Hollywood, “ is a star-studded comedy-drama that masterfully blends real life with the glamorous world of cinema. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 92. Untouchable (2019) Untouchable” is a feature documentary that delves into the breathtaking downfall of media titan Harvey Weinstein. The film, released in 2019, takes an unflinching look at Weinstein’s rise to power and the abuses of power that led to his spectacular fall. Drawing from interviews with survivors, friends, and colleagues, the documentary paints a portrait of unchecked power and its devastating consequences. The story spans over forty years, offering a penetrating insight into the dark side of Hollywood and the entertainment industry. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 93. The Last Blockbuster (2020) The Last Blockbuster” is a nostalgia-filled documentary that uncovers the untold story behind the fall of Blockbuster, the once-giant video rental chain. The film brings to light the impact of technology on traditional retail and entertainment, as well as the resilience of a small video store in Bend, Oregon, that continues to keep the spirit of a bygone era alive. With interviews from notable actors and film enthusiasts, and featuring a personal account by director Taylor Morden, this captivating documentary transports viewers to a time when going to a video store was the norm for movie night. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 94. American Traitor: The Trial of Axis Sally (2021) American Traitor: The Trial of Axis Sally” is a gripping and intense drama set against the backdrop of World War Two. Directed by Michael Polish, the films tells the story of American Mildred Gillars, a woman who unwittingly falls into a life of intrigue as a collaborator and radio announcer for the Axis powers in Berlin, Germany during the 1940s. The film, released in 2021, offers a thrilling depiction of historical events and the moral complexities that come with war. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art That’s All Folks!
915	yago	0	80	http://www.filmscouts.com/intervws/al-paci.html	en	Film Scouts Interviews			[ "http://www.filmscouts.com/banners/binterv.gif", "http://www.filmscouts.com/sharegif/reel2.gif", "http://www.filmscouts.com/sharegif/amazon.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Copyright 1994-2008 Film Scouts LLC Created, produced, and published by Film Scouts LLC Film Scouts® is a registered trademark of Film Scouts LLC All rights reserved.
915	yago	2	76	https://filmtalk.org/2019/04/06/al-pacino-coppola-was-the-only-one-who-wanted-me-in-the-godfather-nobody-else-wanted-me/	en	INTERVIEWS WITH ACTORS AND FILMMAKERSINTERVIEWS WITH ACTORS AND FILMMAKERS	https://i0.wp.com/filmta…=750%2C528&ssl=1	https://i0.wp.com/filmta…=750%2C528&ssl=1	[ "https://i0.wp.com/filmtalk.org/wp-content/uploads/2019/05/dsc_0112-3-c.jpg?fit=750%2C528&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2019/05/pavlo-hummel-02-al-pacino.jpg?resize=750%2C353&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2019/04/aero-theatre-al-pacino-harold-becker-city-hall-bijgesn-2.jpg?resize=750%2C446&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2019/05/dsc_0109-3.jpg?resize=750%2C544&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2019/05/poster-city-hall-al-pacino-harold-becker-1.jpg?resize=498%2C750&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2019/05/dsc_0141-3.jpg?resize=750%2C574&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2019/05/poster-star-wars-al-pacino.jpg?resize=482%2C750&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2019/05/dsc_0133-3.jpg?resize=750%2C582&ssl=1", "https://filmtalk.org/wp-content/uploads/2023/11/pexels-tima-miroshnichenko-7991579-ENG-JPEG.jpg", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2023/11/Click-here-ENG.jpg?w=940&ssl=1", "https://filmtalk.org/wp-content/uploads/2023/11/SIDEBAR-Press-25-JPEG.jpg", "https://filmtalk.org/wp-content/uploads/2023/11/SIDEBAR-Tags-JPEG-zonder-witte-rand.jpg", "https://filmtalk.org/wp-content/uploads/2023/11/SIDEBAR-Support-us-zonder-rand.jpg", "https://filmtalk.org/wp-content/uploads/2024/08/SIDEBAR-Contact-JPEG-01.jpg" ]	[]	[]	[ "" ]	null	[]	2019-04-06T00:00:00	The first time I saw Al Pacino on the stage was in the summer of 1977 when he appeared on Broadway in "The Basic Training of Pavlo Hummel." I had a great seat on the front row, and since then, the actor I got to know and appreciate tremendously in his films up until then,…	en	https://i0.wp.com/filmta…it=32%2C32&ssl=1	FILM TALK	https://filmtalk.org/2019/04/06/al-pacino-coppola-was-the-only-one-who-wanted-me-in-the-godfather-nobody-else-wanted-me/	The first time I saw Al Pacino on the stage was in the summer of 1977 when he appeared on Broadway in “The Basic Training of Pavlo Hummel.” I had a great seat on the front row, and since then, the actor I got to know and appreciate tremendously in his films up until then, “Me, Natalie” (1969), “The Panic in Needle Park” (1971), “The Godfather” (1972), “Scarecrow” (1973), “Serpico” (1973), “The Godfather, Part II” (1974) and “Dog Day Afternoon” (1975)–earning him four consecutive Academy Award and four Golden Globe nominations–became a lifelong hero of mine. Why? Because he was Michael Corleone, or Frank Serpico, or Lion in “Scarecrow” and Sonny in “Dog Day Afternoon.” His fresh, inspiring, and innovative acting style, which became his landmark from the very beginning, and the huge variety of in-depth characters he portrayed since his early years as a screen actor, turned him into an established screen star right away. Now, over four decades later, Mr. Pacino (b. 1940) still is one of the greatest, most talented, most versatile, and most iconic actors ever to grace the screen. So when the American Cinematheque announced that a mid-week screening of the political drama “City Hall” (1996) at the Aero Theatre in Santa Monica would be followed by a Q&A with Mr. Pacino and film director Harold Becker, I knew this would be a once in a lifetime opportunity to see him again on the stage, this time with Mr. Pacino at the center of panel interview, followed by a very enjoyable Q&A. Most questions were addressed to him, and that’s why I only focus here on his contribution to this event. Unfortunately, Mr. Becker’s audio was of poor quality. Considering the body of work of this highly acclaimed 90-year-old filmmaker, who also brought us the absorbing crime drama “The Onion Field” (1979) and prior to “City Hall” directed Mr. Pacino in “Sea of Love” (1989), that turned out to be a major disappointment. This is a slightly edited and condensed version of the topics Mr. Pacino talked about. Mr. Pacino, both you and Harold Becker were very successful on “Sea of Love” [1989]. Do you remember your initial conversations when you started to work on “City Hall”? Well, somebody else was in the room first. I’ve never forgiven you, Harold [laughs]. He was a great actor, very well-known. But for some reason, they fell out. But I love Harold, his direction, and I loved working with him and John Cusack; we had a good script. It’s a great feature film, but that’s Harold. Don’t forget he did “The Onion Field” [1979]! I haven’t seen “City Hall” for a long time—I’m gonna see it!—but I remember liking it, just as I liked “Sea of Love.” I really didn’t know how good it was and how good he directed it. It was much better than the way I remembered it; maybe it’s just age or something. Before we did the film, I talked to different mayors, like Ed Koch [mayor of New York from 1978-1989] and Rudy Giuliani [1994-2001]. You remember there’s a scene when they’re watching that carousel movie, and I’m outside in the lobby, hunched over like this—that’s Giuliani! It was great meeting those mayors and learning about New York. “City Hall” is one of the great New York movies made in the last thirty years. How difficult are the logistics when you’re shooting movies on this scale in the city? Is it all worth it, and what are the challenges? New York gives you such an energy, it feeds you. Everybody in the movie is great, down to the smallest parts and the actors who have only one or two lines. That’s amazing, isn’t it? You know, that reminds me of this actor who has hardly ever worked, he’s just depressed, and he goes to his agent, and this man says, ‘Listen, I got something for you.’ And the actor says, ‘Really??’ ‘It’s just one line, it’s a play, and it’s going on tonight.’ ‘So what’s the line?’ ‘You have to say, Is that a bomb right here?’ So the guy gets on the train, and he’s just practicing… Is that a bomb right here? Is that a bomb right here? And he’s doing it over and over again, but he’s really late for the show. So when he arrives there, they say, ‘Where the hell were you!’ ‘There was something on the train!’ And he puts his outfit on, saying, Is that a bomb right here, is that a bomb right here… When he’s backstage waiting, the stage manager and the actors say, ‘You go on, go!’ and he runs out, he hears this huge explosion, and he says, ‘What the f*ck was that!’ [Laughs]. You have a ton of lines in this movie, like the monologue at the funeral scene. How did you do that? Did you rehearse for that scene? We had two versions, remember Harold? I thought, can I do what mayors do sometimes when there are in those situations when they revive—so I took that kind of preachy approach, and I remember when I was doing that, Harold just let me do it—that’s what I love about him. But to this day, I don’t know if the other version was better. I also like the final scene you had with John Cusack. It was beautifully written and directed, with all the sadness and the tragedy. This particular scene could be considered as a trademark of yours. How do you compare it to your work in films like “Dick Tracy” [1990] or “The Devil’s Advocate” [1997] ? If you look at the film, there’s a reason why I was like that in the church scene, while in the final scene with John Cusack, there’s a different approach. I usually go by what the script is telling me. I know that sometimes risibility is appreciated; sometimes it isn’t. Sometimes I like it; sometimes I don’t. But if it calls for it, I do it. Usually, the variety is in the script. Who are your favorite directors you worked with, other than Harold Becker? Quentin Tarantino, Francis Ford Coppola,… …and Martin Scorsese! [“The Irishman,” now in post-production, is Mr. Pacino’s first Scorsese film.] I’ve been very lucky to have worked with those people, so it’s very hard to say anyone that’s my favorite. Of course, I started with Sidney Lumet [“Serpico,” 1973; “Dog Day Afternoon,” 1975], and he rehearsed, which was very important to get his group together. I also liked the way he directed. When we did the opening scene of “Dog Day Afternoon,” the bank robbery, he just said, ‘You go there, you go there, and you go there.’ He gave you things to do. When you started doing it—just by doing—you felt you were robbing a bank. You’re in it, because he directs that kind of vision. So I loved working in that way, but all those other directors, I love them. And Francis Ford Coppola made me famous; he was the only one who wanted me in “The Godfather” [1972], nobody else wanted me. They simply wanted to fire me. Many of the directors you have worked with have different styles, different approaches. What do you look for in a director? what helps you to deliver your best work? Sometimes you don’t know what a director will bring out in you, but I completely trusted Harold. But you simply know that when you’re with those film directors, like Warren Beatty for example—I loved working with him—a lot of people don’t know I was in “Dick Tracy” [1990]. Those directors have this kind of sensibility, it’s infectious to you, no matter what you do, they will pick what has the kind of nutrition that is needed. So it’s very liberating when you work with these people. I just worked with Quentin Tarantino [“Once Upon a Time in Hollywood”]: it’s very great to work with great directors. It also took “City Hall” fifteen weeks to shoot, but that’s what you see up there on the screen: you see fifteen weeks up there. So it’s difficult to make a movie in, let’s say, five weeks. Sometimes it works, but five weeks to make a movie… What am I talking about? [Laughs.] You know what it is? I’m thinking about certain movies and stuff, I don’t want to go into it because of names I’d have to say, so I think of them… I don’t know why I’m talking [laughs]. What of your roles would you consider a favorite? Well, you have me there. It’s always very different; there are always so many components into what makes a role. You’re talking about films—it’s difficult to say, I know that “Scarface” [1983] is a very interesting film and has so many things in it that have lasted so long. I like that because at the time my life was pretty good. So that’s part of what made it interesting for me; I mean, you’re always going on. And “City Hall,” that film has a certain intelligence in it. What would your advice be to a less experienced director? Give the actor a really good script. As time goes on, it’s also good to think of the director first, but in the end, it’s the script—it’s the word. That’s how it works with me. I was offered “Star Wars” [1977] and turned it down because I didn’t understand it! I mean, at the time, it was innovative and groundbreaking, but I still didn’t understand what was going on. I gave it to a friend and a mentor of mine and I asked him, ‘Would you mind reading this thing? They offer me a lot of money, but I just don’t get it.’ So he read it, he called me back, and he said, ‘Oh Al, I don’t get it!’ [Laughs.] And what would you advise to young actors? If acting is something that you really want to do, just keep doing it; whatever you can, however you can, do it. And if you can help yourself, don’t go for the part just to get work. Sometimes you do it and you get more work, I know. But it’s not about work, it’s about finding things in yourself that you really want and that you connect to with a role or something. I’ll give you an example. When I was young—like nineteen, twenty—I didn’t want to do any auditions, I didn’t want to go and see agents. I just rang the doorbells. ‘What have you done?’ And I said, ‘Absolutely nothing.’ I mean, what have I done? I got here, I’m in this office here, with you! So I got there, but I didn’t know what to say. But if you go and audition, and tell the joke, like, Is that a bomb right here—that’s the idea. So at auditions, sometimes they hand you this crap to read, you know, and what are you gonna do with it? Then I’d say, ‘Excuse, do you mind, I’ve prepared something for you…’ ‘You’ve prepared something?’ And then I’d burst into something by Eugene O’Neill or Shakespeare, and of course, they thought I was nuts and wouldn’t get the part. But I can tell you this; you make sure you don’t want the part—that’s the best advice, and you might get it. How old were you when you decided you wanted to become an actor? I was very young. I was always acting in school, in high school—I was always nicknamed ‘the actor.’ I just kept going, not knowing why I was doing this. I was floundering with it, I was very troubled, did a lot of stuff, and I didn’t know what I wanted to do. And then finally I was in a play, some off-off-off-Broadway play, and I started saying the words—and something happened to me. I thought, ‘Yes, this is something I want to do now, because I can speak through this medium. That was it. And I didn’t know if I was good or bad or if I was talented. But once I knew I could do that, I didn’t care about anything, I didn’t care about money or getting paid, because I had that. Now, I don’t know how long that would have lasted, I was twenty-one years old. I felt I could speak, and that provoked me, that put the juice. So for me, it’s not about getting the part, it’s about having that opportunity to express. When will you be doing another play? I don’t know, right now I’m doing a series for Amazon called “The Hunt”—I’ve been doing that for a while, and if I survive it, I will come back, and once I get myself in some sort of frame, I might do another play somewhere. It’s hard to find, but you never know. In “Bobby Deerfield” [1977], you did an imitation of Mae West. Would you like to do that again? You know something? “Bobby Deerfield” was my favorite film, even though nobody liked it and it got terrible reviews. But something that I was going through in my life was coming out in the film. I was criticized for that Mae West scene because when I did it, they were saying, ‘Why is he really acting like Mae West?’ But I played a character having a hard time living, much less remembering anything, but the real emotion was if he could remember what it was like if he played Mae West. I was playing a character that couldn’t remember his past, and he couldn’t get through—he tried, he struggled, and the girl knew that. That was a very exceptional scene. I couldn’t do it now; I’m not there. But if you give me about six seconds… [laughs]. Santa Monica, California March 27, 2019 FILMS ME, NATALIE (1969) DIR Fred Coe PROD Stanley Shapiro SCR A. Martin Zweiback (story by Stanley Shapiro, A. Martin Zweiback) CAM Arthur J. Ornitz ED Sheila Bakerman, John McSweeney Jr. MUS Henri Mancini CAST Patty Duke, James Farentino, Salome Jens, Elsa Lanchester, Martin Balsam, Bob Balaban, Al Pacino (Tony), Ann Thomas THE PANIC IN NEEDLE PARK (1971) DIR Jerry Schatzberg PROD Dominick Dunne SCR Joan Didion, John Gregory Dunne (book by James Mills) CAM Adam Holender ED Evan A. Lottman CAST Al Pacino (Bobby), Kitty Winn, Alan Vint, Richard Bright, Keil Martin, Michael McClanathan, Raul Julia, Rutanya Alda THE GODFATHER (1972) DIR Francis Ford Coppola PROD Albert S. Ruddy SCR Francis Ford Coppola, Mario Puzo (novel by Mario Puzo) CAM Gordon Willis ED William Reynolds, Peter Zinner MUS Nino Rota CAST Marlon Brando, Al Pacino (Michael Corleone), James Caan, Richard S. Castellano, Robert Duvall, Sterling Hayden, Richard Conte, John Marley, Al Lettieri, Diane Keaton, Abe Vigoda, Talia Shire, John Cazale, Al Martino, Carmine Coppola, Sofia Coppola SCARECROW (1973) DIR Jerry Schatzberg PROD Robert M. Sherman SCR Garry Michael White CAM Vilmos Zsigmond ED Evan A. Lottman MUS Fred Myrow CAST Gene Hackman, Al Pacino (Lion), Dorothy Tristan, Ann Wedgeworth, Richard Lynch, Eileen Brennan, Penelope Allen, Richard Hackman, Rutanya Alda SERPICO (1973) DIR Sidney Lumet PROD Martin Bregman SCR Waldo Salt, Norman Wexler (book by Peter Maas) CAM Arthur J. Ornitz ED Dede Allen, Richard Marks MUS Mikis Theodorakis CAST Al Pacino (Serpico), John Randolph, Jack Kehoe, Biff McGuire, Barbara Eda-Young, Cornelia Sharpe, Tony Roberts, M. Emmet Walsh, F. Murray Abraham, Sam Coppola, Judd Hirsch, Tony Lo Bianco THE GODFATHER, PART II (1974) DIR – PROD Francis Ford Coppola SCR Francis Ford Coppola, Mario Puzo (novel by Mario Puzo) CAM Gordon Willis ED Richard Marks, Peter Zinner, Barry Malkin MUS Nino Rota CAST Al Pacino (Michael Corleone), Robert Duvall, Diane Keaton, Robert De Niro, Talia Shire, Morgana King, John Cazale, Marianna Hill, Lee Strasberg, Michael V. Gazzo, Joe Spinell, Abe Vigado, Fay Spain, Harry Dean Stanton, Danny Aiello, Kathleen Beller, Peter Donat, Roger Corman, James Caan, Roman Coppola, Sofia Coppola, Richard Matheson DOG DAY AFTERNOON (1975) DIR Sidney Lumet PROD Martin Bregman, Martin Elfand SCR Frank Pierson (book by Leslie Waller; magazine article by Thomas Moore, P. F. Kluge) CAM Victor J. Kemper ED Dede Allen CAST Al Pacino (Sonny), John Cazale, James Broderick, Charles Durning, Chris Sarandon, Penelope Allen, Sully Boyar, Carol Kane, Lance Henriksen, Kenneth McMillan BOBBY DEERFIELD (1977) DIR – PROD Sydney Pollack SCR Alvin Sargent (novel ‘Der Himmel kennt keine Günstlinge’ [1961, a.k.a. ‘Heaven Has No Favorites’] by Erich Maria Remarque) CAM Henri Devaë ED Fredric Steinkamp MUS Dave Grusin CAST Al Pacino (Bobby Deerfield), Marthe Keller, Anny Duperey, Walter McGinn, Romolo Valli, Stephen Meldegg, Gérard Hernandez …AND JUSTICE FOR ALL (1979) DIR Norman Jewison PROD Norman Jewison, Patrick J. Palmer SCR Barry Levinson, Valerie Curtin CAM Victor J. Kemper ED John F. Burnett MUS Dave Grusin CAST Al Pacino (Arthur Kirkland), Jack Warden, John Forsythe, Lee Strasberg, Jeffrey Tambor, Christine Lahti, Sam Levene, Craig T. Nelson CRUISING (1980) DIR William Friedkin PROD Jerry Weintraub SCR William Friedkin (novel ‘Cruising’ [1970] by Gerald Walker) CAM James Contner ED Bud Smith MUS Jack Nitsche CAST Al Pacino (Steve Burns), Paul Sorvino, Karen Allen, Richard Cox, Don Scardino, Joe Spinell, Jay Acovone, Edward O’Neill, Powers Boothe AUTHOR! AUTHOR! (1982) DIR Arthur Hiller PROD Irwin Winkler SCR Israel Horovitz CAM Victor J. Kemper ED William Reynolds MUS Dave Grusin CAST Al Pacino (Ivan Travalian), Dyan Cannon, Tuesday Weld, Bob Dishy, Bob Eliott, Ray Goulding, Eric Gurry SCARFACE (1983) DIR Brian De Palma PROD Martin Bregman SCR Oliver Stone (screenplay SCARFACE [1932] by Howard Hawks, Ben Hecht; novel by Armitage Trail) CAM John A. Alonzo ED David Ray, Gerald B. Greenberg MUS Giorgio Moroder CAST Al Pacino (Tony Montana), Michelle Pfeiffer, Steven Bauer, Mary Elizabeth Mastrantonio, Robert Loggia, Miriam Colon, F. Murray Abraham, Paul Shenar REVOLUTION (1985) DIR Hugh Hudson PROD Irwin Winkler SCR Robert Dillon CAM Bernard Lutic ED Stuart Baird MUS John Corigliano CAST Al Pacino (Tom Dobb), Donald Sutherland, Nastassja Kinski, Joan Plowright, Dave King, Steven Berkoff, Annie Lennox, Dexter Fletcher SEA OF LOVE (1985) DIR Harold Becker PROD Martin Bregman, Louis A. Stroller SCR Richard Price CAM Ronnie Taylor ED David Bretherton MUS Trevor Jones CAST Al Pacino (Detective Frank Keller), Ellen Barkin, John Goodman, Michael Rooker, William Hickey, Richard Jenkins, Paul Calderon, Gene Canfield, Samuel L. Jackson THE LOCAL STIGMATIC (1990) DIR David F. Wheeler PROD Al Pacino, Michael Hadge SCR Heathcote Williams (also play) CAM Edward Lachman ED Norman Hollyn MUS Howard Shore CAST Al Pacino (Graham), Paul Guilfoyle, Joseph Maher, Michael Higgins, Brian Mallon DICK TRACY (1990) DIR – PROD Warren Beatty SCR Jim Cash, Jack Epps Jr. (characters created by Chester Gould) CAM Vittorio Storaro ED Richard Marks MUS Danny Elfman CAST Warren Beatty, Madonna, Charlie Korsmo, Al Pacino (Big Boy Caprice), Mandy Patinkin, Seymour Cassel, Charles Durning, Paul Sorvino, Dustin Hoffman, Kathy Bates, Henry Silva, Michael J. Pollard, Estelle Parsons THE GODFATHER, PART III (1990) DIR – PROD Francis Ford Coppola SCR Francis Ford Coppola, Mario Puzo CAM Gordon Willis ED Barry Malkin, Walter Murch, Lisa Fruchtman MUS Carmine Coppola CAST Al Pacino (Don Michael Corleone), Diane Keaton, Talia Shire, Andy Garcia, Eli Wallach, Joe Mantegna, Bridget Fonda, George Hamilton, Sofia Coppola, Raf Vallone, Helmut Berger, Catherine Scorsese, Carmine Coppola, Gia Coppola FRANKIE AND JOHNNY (1991) DIR – PROD Garry Marshall SCR Terrence McNally (also play) CAM Dante Spinotti ED Battle Davis, Jacqueline Cambas MUS Marvin Hamlish CAST Al Pacino (Johnny), Michelle Pfeiffer, Hector Elizondo, Nathan Lane, Kate Nelligan, Jane Morris, Greg Lewis, Al Fann, Ele Keats GLENGARRY GLEN ROSS (1992) DIR James Foley PROD Stanley R. Zupnik, Jerry Tokofsky SCR David Mamet (also play) CAM Juan Ruiz Anchía ED Howard E. Smith MUS James Newton Howard CAST Al Pacino (Ricky Roma), Jack Lemmon, Alec Baldwin, Ed Harris, Alan Arkin, Kevin Spacey, Jonathan Pryce, Bruce Altman SCENT OF A WOMAN (1992) DIR – PROD Martin Brest SCR Bo Goldman (screenplay PROFUMO DI DONNA [1974] by Dino Risi, Ruggero Maccari; novel by Giovanni Arpino) CAM Donald E. Thorin ED Michael Tronick, Harvey Rosenstock, William Steinkamp MUS Thomas Newman CAST Al Pacino (Lieutenant Colonel Frank Slade), Chris O’Donnell, James Rebhorn, Gabrielle Anwar, Philip Seymour Hoffman, Richard Venture, Bradley Whitford CARLITO’S WAY (1993) DIR Brian De Palma PROD Martin Bregman, Willi Bär SCR David Koepp (novels by Edwin Torres) CAM Stephen H. Burum ED Kristina Boden, Bill Pankow MUS Patrick Doyle CAST Al Pacino (Carlito), Sean Penn, Penelope Ann Miller, John Leguizamo, Ingrid Rogers, Luis Guzmán, James Rebhorn, Joseph Siravo, Viggo Mortensen, Paul Mazursky TWO BITS (1995) DIR James Foley PROD Arthur Cohn SCR Joseph Stefano CAM Juan Ruiz Anchía ED Howard E. Smith MUS Carter Burwell CAST Al Pacino (Grandpa), Mary Elizabeth Mastrantonio, Jerry Barone, Patrick Borriello, Andy Romano, Donna Mitchell, Mary Lou Rosato, Joe Grifasi, Rosemary De Angelis CITY HALL (1996) DIR Harold Becker PROD Harold Becker, Ken Lipper, Edward R. Pressman, Charles Mulvehill SCR Paul Schrader, Ken Lipper, Bo Goldman, Nicholas Pileggi CAM Michael Seresin ED David Bretherton, Robert C. Jones MUS Jerry Goldsmith CAST Al Pacino (Mayor John Pappas), John Cusack, Bridget Fonda, Danny Aiello, Martin Landau, David Paymer, Anthony Franciosa, Richard Schiff HEAT (1995) DIR – SCR Michael Mann PROD Michael Mann, Art Linson CAM Dante Spinotti ED Pasquale Buba, William Goldenberg, Dov Hoenig, Tom Rolf MUS Elliot Goldenthal CAST Al Pacino (Lieutenant Vincent Hanna), Robert De Niro, Val Kilmer, Jon Voight, Tom Sizemore, Diane Venora, Amy Brenneman, Ashley Judd, Natalie Portman, Bud Cort DONNIE BRASCO (1997) DIR Mike Newell PROD Barry Levinson, Mark Johnson, Louis DiGiaimo, Gail Mutrux SCR Paul Attanasio (book by Richard Woodley, Joseph D. Pistone) CAM Peter Sova ED Jon Gregory MUS Patrick Doyle CAST Al Pacino (Lefty), Johnny Depp, Michael Madsen, Bruno Kirby, James Russo, Anne Heche, Zeljko Ivanek, Gerry Becker, Val Avery, Paul Giamatti THE DEVIL’S ADVOCATE (1997) DIR Taylor Hackford PROD Arnold Kopelson, Anne Kopelson, Arnon Milchan SCR Jonathan Lemkin, Tony Gilroy (novel by Andrew Neiderman) CAM Andrzej Bartkowiak ED Mark Warner MUS James Newton Howard CAST Keanu Reeves, Al Pacino (John Milton), Charlize Theron, Jeffrey Jones, Judith Ivey, Connie Nielsen, Craig T. Nelson, Tamara Tunie, Ruben Santiago-Hudson THE INSIDER (1999) DIR Michael Mann PROD Michael Mann, Pieter Jan Brugge SCR Michael Mann, Eric Roth (article by Marie Brenner) CAM Dante Spinotti ED William Goldenberg, David Rosenbloom, Paul Rubell MUS Lisa Gerrard, Pieter Bourke CAST Al Pacino (Lowell Bergman), Russell Crowe, Christopher Plummer, Diane Venora, Philip Baker Hall, Lindsay Crouse, Debi Mazar, Stephen Tobolowsky, Bruce McGill, Rip Torn ANY GIVEN SUNDAY (1999) DIR Oliver Stone PROD Lauren Shuler Donner, Clayton Townsend, Dan Halstead SCR Oliver Stone, John Logan (story by John Logan, Daniel Pyne) CAM Salvatore Totino ED Stuart Levy, Thomas J. Nordberg, Keith Salmon, Stuart Waks MUS Paul Kelly, Richard Horowitz CAST Al Pacino (Tony D’Amato), Cameron Diaz, Dennis Quaid, James Woods, Jamie Foxx, LL Cool J, Matthew Modine, Jim Brown, Ann-Margret, Aaron Eckhart, Charlton Heston, Oliver Stone CHINESE COFFEE (2000) DIR Al Pacino PROD Robert Salerno, Michael Hadge, Larry Meistrich SCR Ira Lewis (also play) CAM Frank Prinzi ED Noah Herzog, Pasquale Buba, Michael Berenbaum MUS Elmer Bernstein CAST Al Pacino (Harry Levine), Jerry Orbach, Susan Floyd, Ellen McElduff, Michel Moinot, Judette Jones, Paul J.Q. Lee, Joel Eidelsberg INSOMNIA (2002) DIR Christopher Nolan PROD Edward L. McDonnell, Broderick Johnson, Paul Junger Witt, Andrew A. Kosove SCR Hillary Seitz (screenplay of INSOMNIA [1997] by Nikolaj Frobenius, Erik Skjoldbjærg) CAM Wally Pfister ED Dody Dorn MUS David Julyan CAST Al Pacino (Will Dormer), Robin Williams, Hillary Swank, Paul Dooley, Nicky Katt, Jay Brazeau, Lorne Cardinal, Maura Tierney S1MONE (2002) DIR – PROD – SCR Andrew Niccol CAM Edward Lachman ED Paul Rubell MUS Carter Burwell CAST Al Pacino (Viktor Taransky), Catherine Keener, Rachel Roberts, Winona Ryder, Evan Rachel Wood, Jay Mohr, Benjamin Salisbury, Darnell Williams, Jason Schwartzman PEOPLE I KNOW (2002) DIR Daniel Algrant PROD Michael Nozik, Leslie Urdang, Karen Tenkhoff SCR Jon Robin Baitz CAM Peter Deming ED Suzy Elmiger MUS Terence Blanchard CAST Al Pacino (Eli Wurman), Kim Basinger, Ryan O’Neal, Téa Leoni, Richard Schiff, Bill Nunn, Robert Klein, Mark Webber THE RECRUIT (2003) DIR Roger Donaldson PROD Jeff Apple, Roger Birnbaum, Gary Barber SCR Roger Towne, Kurt Wimmer, Mitch Glazer CAM Stuart Dryburgh ED David Rosenbloom MUS Klaus Badelt CAST Al Pacino (Walter Burke), Colin Farrell, Bridget Moynahan, Gabriel Macht, Kenneth Mitchell, Mike Realba, Ron Lea, Karl Pruner GIGLI (2003) DIR – SCR Martin Brest PROD Martin Brest, Casey Silver CAM Robert Elswit ED Julie Monroe, Billy Weber MUS John Powell CAST Ben Affleck, Jennifer Lopez, Al Pacino (Starkman), Christopher Walken, Lainie Kazan, Justin Bartha, Lenny Venito THE MERCHANT OF VENICE (2004) DIR Michael Radford PROD Jason Piette, Barry Navidi, Cary Brokaw SCR Michael Radford (play by William Shakespeare) CAM Benoît Delhomme ED Lucia Zuchhetti MUS Jocelyn Pook CAST Al Pacino (Shylock), Jeremy Irons, Joseph Fiennes, Lynn Collins, Zuleikha Robinson, Kris Marshall, Heather Goldenhersh, John Sessions, Mackenzie Crook TWO FOR THE MONEY (2005) DIR D.J. Caruso PROD Jay Cohen, James G. Robinson SCR Dan Gilroy CAM Conrad W. Hall ED Glen Scantlebury MUS Christophe Beck CAST Al Pacino (Walter), Matthew McConaughey, Rene Russo, Armand Assante, Jeremy Piven, Jaime King, Kevin Chapman, Ralph Garman 88 MINUTES (2007) DIR Jon Avnet PROD Jon Avnet, Gary Scott Thompson, Randall Emmett SCR Gary Scott Thompson CAM Denis Lenoir ED Peter E. Berger MUS Edward Shearmur CAST Al Pacino (Jack Gramm), Leelee Sobieski, Amy Brenneman, Deborah Kara Unger, Neal McDonough, Alicia Witt, Ben McKenzie OCEAN’S THIRTEEN (2007) DIR Steven Soderberg PROD Jerry Weintraub SCR David Levien, Brian Koppelman (characters created by Jack Golden Russell, George Clayton Johnson) CAM Peter Andrews ED Stephen Mirrione MUS David Holmes CAST George Clooney, Brad Pitt, Matt Damon, Andy Garcia, Don Cheadle, Bernie Mac, Ellen Barkin, Al Pacino (Willy Bank), Carl Reiner, Elliott Gould, Shaobo Qin, Jerry Weintraub, Oprah Winfrey RIGHTEOUS KILL (2008) DIR Jon Avnet PROD Jon Avnet, Rob Cowan, Daniel M. Rosenberg, Alexandra Milchan, Avi Lerner, Lati Grobman SCR Russell Gewirtz CAM Denis Lenoir ED Paul Hirsch MUS Edward Shearmur CAST Robert De Niro, Al Pacino (Rooster), 50 Cent, Carla Gugino, John Leguizamo, Donnie Wahlberg, Brian Dennehy, Tribly Glover, Saidah Arrika Ekulona THE SON OF NO ONE (2011) DIR – SCR Dito Montiel PROD Dito Montiel, John Thompson CAM Benoît Delhomme ED Jake Pushinsky MUS David Wittman, Jonathan Elias CAST Channing Tatum, Tracy Morgan, Katie Holmes, Ray Liotta, Juliette Binoche, Al Pacino (Detective Charles Stanford), James Ransone, Ursula Parker, Dito Montiel JACK AND JILL (2011) DIR Dennis Dugan PROD Adam Sandler, Todd Garner, Jack Giarraputo SCR Adam Sandler, Steve Koren (book by Ben Zook) CAM Dean Cundey ED Tom Costain MUS Waddy Wachtel, Rupert Gregson-Williams CAST Adam Sandler, Katie Holmes, Al Pacino (Al Pacino), Elodie Tougne, Rohan Chand, Eugenio Derbez, David Spade, Nick Swardson, Tim Meadows, John McEnroe, Bruce Jenner [Caitlyn Jenner] STAND UP GUYS (2012) DIR Fisher Stevens PROD Sidney Kimmell, Gary Lucchesi, Tom Rosenberg, Jim Tauber SCR Noah Haidle CAM Michael Grady ED Mark Livolsi MUS Lyle Workman CAST Al Pacino (Val), Christopher Walken, Alan Arkin, Julianna Margulies, Mark Margolis, Lucy Punch, Addison Timlin, Vanessa Ferlito WE ARE NOT ANIMALS (2013) DIR Alejandro Agresti PROD John Cusack, Pablo Bossi, Kevin Norris SCR Alejandro Agresti, John Cusack CAM Alejandro Agresti, Hans Bonato ED Pablo Barbieri Carrera CAST John Cusack, Paul Hipp, Kevin Morris, Alejandro Agresti, Al Pacino (The Agent), Norman Briski, Edda Bustamante, Leticia Brédice SALOMÉ (2013) DIR Al Pacino PROD Robert Fox, Barry Navidi SCR Oscar Wilde CAM Benoît Delhomme ED Pasquale Buba, Jeremy Weiss, David Leonard CAST Al Pacino (King Herod), Jessica Chastain, Roxanne Hart, Kevin Anderson, Ralph Guzzo, Phillip Rhys, Joe Roseto THE HUMBLING (2014) DIR Barry Levinson PROD Al Pacino, Barry Levinson, Jason Sosnoff SCR Buck Henry, Michal Zebede (novel by Philip Roth) CAM Adam Jandrup ED Aaron Yanes MUS Marcelo Zarvos CAST Al Pacino (Simon Axler), Greta gerwig, Dianne Wiest, Nina Arianda, Kyra Sedgwick, Charles Grodin, Mary Louise Wilson, Dan Hedaya, Billy Porter MANGLEHORN (2014) DIR David Gordon Green PROD David Gordon Green, Christopher Woodrow, Derrick Tseng, Lisa Muskat, Molly Conners SCR Paul Brad Logan CAM Tim Orr ED Colin Patton MUS David Wingo, Explosions in the Sky CAST Al Pacino (Manglehorn), Holly Hunter, Harmony Korine, Chris Messina, Skylar Gasper, Brian Mays, Herc Trevino, Angela Woods, Marisa Varela DANNY COLLINS (2015) DIR – SCR Dan Fogelman PROD Jessie Nelson, Nimitt Mankad CAM Steve Yedlin ED Julie Monroe MUS Ryan Adams, Theodore Shapiro CAST Al Pacino (Danny Collins), Annette Bening, Jennifer Garner, Bobby Cannavale, Christopher Plummer, Katarina Cas, Giselle Eisenberg MISCONDUCT (2016) DIR Shintaro Shimosawa PROD Bill Delaney, Ryan S. Black SCR Adam Mason, Simon Boyes CAM Michael Fimognari ED Henrik Källberg, Gregers Dohn MUS Federico Jusid CAST Josh Duhamel, Al Pacino (Charles Abrams), Anthony Hopkins, Alice Eve, Malin Akerman, Byung-Hun Lee, Julia Stiles, Glen Powell, Marcus Lyle Brown THE PIRATES OF SOMALIA (2017) DIR Bryan Buckley PROD Claude Dal Farra, Matt Lefebvre, Mino Jarjoura SCR Bryan Buckley (book ‘The Pirates of Somalia: Inside Their Hidden World’ by Jay Bahadur) CAM Scott Henriksen ED Jay Nelson MUS John Nau, Andrew Feltenstein CAST Evan Peters, Barkhad Abdi, Melanie Griffith, Al Pacino (Seymour Tolbin), Carol Peña, Philip Ettinger, Mohamed Hakeemshady, Russell Posner HANGMAN (2017) DIR Johnny Martin PROD Arnold Rifkin, Michael Mendelsohn SCR Charles Huttinger, Michael Caissie CAM Larry Blanford ED Jeffrey Steinkamp MUS Frederik Wiedmann CAST Al Pacino (Ray Archer), Karl Urban, Brittany Snow, Joe Anderson, Sarah Shahi, Sloane Warren, Chelle Ramos, Steve Coulter ONCE UPON A TIME IN HOLLYWOOD (2019) DIR – SCR Quentin Tarantino PROD Quentin Tarantino, Shannon McIntosh, David Heyman CAM Robert Richardson CAST Margot Robbie, Leonardo DiCaprio, Brad Pitt, Dakota Fanning, Kurt Russell, Luke Perry, Al Pacino (Marvin Schwarzs), Tim Roth, James Marsden, Emile Hirsch, Michael Madsen THE IRISHMAN (2019) DIR Martin Scorsese PROD Martin Scorsese, Robert De Niro, Irwin Winkler, Troy Allen, Gerald Chamales, Randall Emmett, Gastón Pavlovich, Jane Rosenthal, Emma Tillinger Koskoff SCR Steven Zaillian (book by Charles Brandt) CAM Rodrigo Prieto ED Thelma Schoonmaker CAST Robert De Niro, Al Pacino (Jimmy Hoffa), Anna Paquin, Jesse Plemons, Bobby Cannavale, Joe Pesci, Harvey Keitel, Stephen Graham AXIS SALLY (2020) DIR Michael Polish PROD Vance Owen, Randall Emmett, Shaun Sanghani, Luillo Ruiz, George Furla SCR Darryl Hicks, Vance Owen (book by William E. Owen) MUS Kubilay Uner CAST Al Pacino (James Laughlin), Meadow Williams, Thomas Kretschmann, Lala Kent, Mitch Pileggi, Carsten Norgaard, Swen Temmel KING LEAR (2020) DIR Michael Radford PROD Al Pacino, Barry Navidi SCR Michael Radford (play by William Shakespeare) CAM Benoît Delhomme CAST Al Pacino (King Lear) TV MOVIES YOU DON’T KNOW JACK (2010) DIR Barry Levinson PROD Scott Ferguson TELEPLAY Adam Mazer CAM Eigil Bryld ED Aaron Yanes MUS Marcelo Zarvos CAST Al Pacino (Jack Kevorkian), Brenda Vaccaro, Susan Sarandon, John Goodman, Deirdre O’Connell, Todd Susman, Adam Lubarsky, Jennifer Mudge PHIL SPECTOR (2013) DIR – TELEPLAY David Mamet PROD Michael Hausman CAM Juan Ruiz Anchía ED Barbara Tulliver MUS Marcelo Zarvos CAST Al Pacino (Phil Spector), Helen Mirren, Jeffrey Tambor, Chiwetel Ejiofor, Rebecca Pidgeon, John Pirruccello, Jame Tolkan, David Aaron Baker PATERNO (2018) DIR Barry Levinson PROD Amy Herman TELEPLAY John C. Richards, Debora Cahn CAM Marcell Rév ED Ron Patane, Brad Turner MUS Evgueni Galperine, Sacha Galperine CAST Al Pacino (Joe Paterno), Kathy Baker, Larry Mitchell, Kenneth Maharaj, Michael Mastro, Jushua Morgan, Ross Degraw, Mitchell L. Mack TELEVISION MINI-SERIES ANGELS IN AMERICA (2003) DIR Mike Nichols PROD Celia D. Costas TELEPLAY Tony Kushner CAM Stephen Goldblatt ED Antonia Van Drimmelen, John Bloom MUS Thomas Newman CAST Al Pacino (Roy Cohn), Meryl Streep, Emma Thompson, Mary-Louise Parker, Patrick Wilson, James Cromwell, Brian Markinson, Robin Weigert TELEVISION SERIES THE HUNT (2019) DIR Wayne Yip, Alfonso Gomez-Rejon (and others) PROD Kris Baucom TELEPLAY David Weill MUS Cristobal Tapia de Veer CAST Al Pacino (Meyer Offerman), Lena Olin, Carol Kane, Tiffany Boone, Greg Austin, Dylan Baker, Logan Lerman, Saul Rubinek, Louis Ozawa Changchien
915	yago	1	54	https://me.ign.com/en/al-pacino	en	Al Pacino	https://sm.ign.com/t/ign…no_edpw.1200.jpg	https://sm.ign.com/t/ign…no_edpw.1200.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=3000068&c4=", "https://sm.ign.com/t/ign_me/cover/a/al-pacino/al-pacino_edpw.300.jpg", "https://sm.ign.com/t/ign_me/cover/a/al-pacino/al-pacino_edpw.300.jpg", "https://sm.ign.com/t/ign_me/gallery/p/paterno-im/paterno-images_aebh.600.jpg", "https://sm.ign.com/t/ign_me/video/a/amazons-hu/amazons-hunters-watch-the-intense-opening-credits_bwez.280.jpg", "https://sm.ign.com/t/ign_me/video/a/al-pacino-/al-pacino-joins-quentin-tarantino-film-ign-news_ksgm.280.jpg", "https://sm.ign.com/t/ign_me/gallery/p/paterno-im/paterno-images_aebh.280.jpg", "https://me.effectivemeasure.net/em_image" ]	[]	[]	[ "" ]	null	[]	2020-02-21T15:46:03+04:00	Born April 25, 1940 in New York City, New York, Al Pacino is one of America's finest actors. <p> Best know for his star-making role in <i>The Godfather</i> as Michael Corleone, Pacino has appeared in such films as <i>Scarface</i>, the Oscar-winning <i>Scent of a Woman</i>, the LA crime saga <i>Heat</i> and Brian De Palma's <i>Carlito's Way</i>.	en	/s/ign/favicon.ico	IGN Middle East	https://me.ign.com/en/al-pacino	Born April 25, 1940 in New York City, New York. Hailed as one of the greatest screen actors of all time, the diminutive but fiery Pacino first gained acclaim on the New York stage - earning both a Tony and an Obie award - before he made his film debut with 1969's Me, Natalie. After his acclaimed performance in 1971's Panic in Needle Park, Pacino was cast in the role that would define his career, that of the brooding, tragic Mafia heir Michael Corleone in Francis Ford Coppola's The Godfather. The 1972 film, which starred Marlon Brando as Michael's father Don Vito Corleone, made Pacino a star and earned him his first Oscar nomination (as Best Supporting Actor). Pacino would reprise his role for The Godfather Part II (1974) and The Godfather Part III (1990). In addition to The Godfather and its sequel, the 1970s saw Pacino star in several modern classics: Serpico, Dog Day Afternoon and Scarecrow. Pacino then endured a string of flops, including Bobby Deerfield and Cruising, but his iconic turn as gangster Tony Montana in Brian De Palma's ultra-violent 1983 remake of Scarface has become as prominent in pop culture as his Godfather role. After starring in the 1985 bomb Revolution, Pacino retreated from Hollywood for four years before returning in the hit thriller Sea of Love. The 1990s saw Pacino regain his footing with films such as Glengarry Glen Ross, Dick Tracy, Heat, Donnie Brasco, The Insider and Any Given Sunday. And after seven Oscar nominations, Pacino finally won the Academy Award as Best Actor for 1992's Scent of a Woman.
915	yago	1	0	https://en.wikipedia.org/wiki/List_of_awards_and_nominations_received_by_Al_Pacino	en	List of awards and nominations received by Al Pacino	https://upload.wikimedia…98/Al_Pacino.jpg	https://upload.wikimedia…98/Al_Pacino.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/98/Al_Pacino.jpg/220px-Al_Pacino.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Al_Pacino_with_James_Caan_%28cropped%29.jpg/75px-Al_Pacino_with_James_Caan_%28cropped%29.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2008-07-04T18:52:59+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/List_of_awards_and_nominations_received_by_Al_Pacino	Al Pacino awards and nominations Awards and nominations Award Wins Nominations 1 9 1 5 2 3 4 19 2 7 2 3 Totals[a]Wins40Nominations150 Note ^ Certain award groups do not simply award one winner. They recognize several different recipients, have runners-up, and have third place. Since this is a specific recognition and is different from losing an award, runner-up mentions are considered wins in this award tally. For simplification and to avoid errors, each award in this list has been presumed to have had a prior nomination. This article is a List of awards and nominations received by Al Pacino. Al Pacino is an American actor known for his roles on stage and screen. He has received his numerous accolades including an Academy Award, a British Academy Film Award, two Primetime Emmy Awards, four Golden Globe Awards, two Screen Actors Guild Awards, and two Tony Awards as well as a nomination for a Grammy Award. His honorary awards include the Honorary Golden Lion at Venice Film Festival in 1994, the Golden Globe Cecil B. DeMille Award in 2001, the National Medal of Arts in 2011, and the Kennedy Center Honors in 2016. Pacino won the Academy Award for Best Actor for his portrayal of a blind retired Lieutenant Colonel in the drama Scent of a Woman (1992). He was also Oscar-nominated for his roles as Michael Corleone in the epic gangster film The Godfather (1972), Frank Serpico in the crime film Serpico (1973), Michael Corleone in gangster film The Godfather Part II (1974), Sonny Wortzik in the crime drama Dog Day Afternoon (1975), a Baltimore defense attorney in the legal drama ...And Justice for All (1979), Alphonse "Big Boy" Caprice in the action crime film Dick Tracy (1990), Richard Roma in the tragedy film Glengarry Glen Ross (1992), and Jimmy Hoffa in the epic crime film The Irishman (2019). On television, Pacino won the Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie, the Golden Globe Award for Best Actor – Miniseries or Television Film, and the Screen Actors Guild Award for Outstanding Actor in a Miniseries or Television Movie for his portrayals of Roy Cohn in the HBO miniseries Angels in America (2003) and the Jack Kevorkian the HBO biopic You Don't Know Jack (2010). He was Emmy-nominated for his performance as the title role in the HBO film Phil Spector (2013). He received a nomination for the Golden Globe Award for Best Actor – Television Series Drama for his dual role as a Nazi evading arrest in the Amazon Prime Video conspiracy drama Hunters (2020–2023). On stage, he won two Tony Awards, his first for Best Featured Actor in a Play for playing a drug addict in the Don Petersen play Does a Tiger Wear a Necktie? (1969), and his second for Best Actor in a Play for playing a Vietnam army trainee in the David Rabe play The Basic Training of Pavlo Hummel (1977). He was Tony-nominated for playing Shylock in the revival of the William Shakespeare play The Merchant of Venice (2011). He also received two Drama Desk Awards, an Obie Award, and a Theatre World Award for his performances on stage. Year Category Nominated work Result Ref. 1972 Best Supporting Actor The Godfather Nominated [1] 1973 Best Actor Serpico Nominated [2] 1974 The Godfather Part II Nominated [3] 1975 Dog Day Afternoon Nominated [4] 1979 ...And Justice for All Nominated [5] 1990 Best Supporting Actor Dick Tracy Nominated [6] 1992 Glengarry Glen Ross Nominated [7] Best Actor Scent of a Woman Won 2019 Best Supporting Actor The Irishman Nominated [8] Year Category Nominated work Result Ref. 1973 Best Film Newcomer The Godfather Nominated [9] 1975 Best Film Actor in a Leading Role Serpico Nominated [10] 1976 Dog Day Afternoon / The Godfather Part II Won [11] 1991 Best Film Actor in a Supporting Role Dick Tracy Nominated [12] 2020 The Irishman Nominated [13] Year Category Nominated work Result Ref. Primetime Emmy Award 2004 Outstanding Actor in a Limited Series or Movie Angels in America Won [14] 2010 You Don't Know Jack Won [15] 2013 Phil Spector Nominated [16] Year Category Nominated work Result Ref. 1972 Best Actor in a Motion Picture – Drama The Godfather Nominated [17] 1973 Serpico Won [17] 1974 The Godfather Part II Nominated [17] 1975 Dog Day Afternoon Nominated [17] 1977 Bobby Deerfield Nominated [17] 1979 ...And Justice for All Nominated [17] 1982 Best Actor in a Motion Picture – Musical or Comedy Author! Author! Nominated [17] 1983 Best Actor in a Motion Picture – Drama Scarface Nominated [17] 1989 Sea of Love Nominated [17] 1990 Best Supporting Actor – Motion Picture Dick Tracy Nominated [17] Best Actor in a Motion Picture – Drama The Godfather Part III Nominated 1992 Best Supporting Actor – Motion Picture Glengarry Glen Ross Nominated [17] Best Actor in a Motion Picture – Drama Scent of a Woman Won 2000 Cecil B. DeMille Award Recipient [17] 2003 Best Actor in a Miniseries or Motion Picture – Television Angels in America Won [17] 2010 You Don't Know Jack Won [17] 2013 Phil Spector Nominated [17] 2015 Best Actor in a Motion Picture – Musical or Comedy Danny Collins Nominated [17] 2019 Best Supporting Actor – Motion Picture The Irishman Nominated [17] 2020 Best Actor in a Television Series – Drama Hunters Nominated [17] Year Category Nominated work Result Ref. 2001 Best Spoken Word Album The Complete Shakespeare Sonnets Nominated [18] Year Category Nominated work Result Ref. 2003 Outstanding Actor in a Miniseries or Television Movie Angels in America Won [19] 2010 Outstanding Actor in a Miniseries or Television Movie You Don't Know Jack Won [20] 2013 Outstanding Actor in a Miniseries or Television Movie Phil Spector Nominated [21] 2019 Outstanding Actor in a Supporting Role The Irishman Nominated [22] Outstanding Cast in a Motion Picture Nominated Outstanding Cast in a Motion Picture Once Upon a Time in Hollywood Nominated 2021 Outstanding Cast in a Motion Picture House of Gucci Nominated [23] Year Category Nominated work Result Ref. 1969 Best Featured Actor in a Play Does a Tiger Wear a Necktie? Won [24] 1977 Best Leading Actor in a Play The Basic Training of Pavlo Hummel Won [25] 2011 The Merchant of Venice Nominated [26] Organizations Year Category Work Result Ref. Drama Desk Awards 1969 Best Performance Does a Tiger Wear a Necktie? Won 1977 Best Leading Actor in a Play The Basic Training of Pavlo Hummel Won 1984 American Buffalo Nominated 2011 The Merchant of Venice Nominated Obie Awards 1966 Best Actor Why Is A Crooked Letter Nominated 1968 The Indian Wants the Bronx Won Theatre World Awards 1969 Best Debut Does a Tiger Wear a Necktie? Won Organizations Year Category Work Result Ref. Boston Society of Film Critics 1997 Best Leading Actor Donnie Brasco Won Chicago Film Critics Association 1991 Best Leading Actor Dick Tracy Nominated 1993 Best Leading Actor Scent of a Woman Nominated Best Supporting Actor Glengarry Glen Ross Nominated 1998 Best Leading Actor Donnie Brasco Nominated 2020 Best Supporting Actor The Irishman Nominated Columbus Film Critics Association 2019 Best Supporting Actor The Irishman Nominated Kansas City Film Critics Circle 1976 Best Leading Actor Dog Day Afternoon Won London Film Critics Circle 2003 Best Leading Actor Insomnia Nominated Los Angeles Film Critics Association 1975 Best Leading Actor Dog Day Afternoon Won National Board of Review 1972 Best Supporting Actor[27] The Godfather Won 1973 Best Leading Actor[28] Serpico Won National Society of Film Critics 1973 Best Leading Actor The Godfather Won 1974 Serpico Nominated 1976 Dog Day Afternoon Nominated 1991 Best Supporting Actor Dick Tracy Nominated 1998 Best Leading Actor Donnie Brasco Nominated New York Film Critics Circle 1974 Best Leading Actor Serpico Nominated 1976 Dog Day Afternoon Nominated 1993 Scent of a Woman Nominated Television Critics Association 2004 Best Actor in a Drama Angels in America Nominated Organizations Year Category Work Result Ref. American Comedy Awards 1991 Best Supporting Actor in a Film Dick Tracy Won American Movie Awards 1980 Best Leading Actor ...And Justice for All Nominated Blockbuster Entertainment Awards 2000 Favorite Leading Actor in a Drama Any Given Sunday Nominated David di Donatello Awards 1973 Best Foreign Actor The Godfather Won 1974 Serpico Won 1993 Carlito's Way Nominated Directors Guild Awards 1997 Outstanding Documentary Directorial Achievement Looking for Richard Won [29] Hollywood Film Awards 2019 Hollywood Supporting Actor Award The Irishman Won Independent Spirit Awards 1997 Truer Than Fiction Award Looking for Richard Nominated Karlovy Vary International Film Festival 1980 Best Actor[30] ...And Justice for All Won MTV Movie Awards 1998 Best Villain The Devil's Advocate Nominated San Sebastián International Film Festival 1975 Best Actor Dog Day Afternoon Won Satellite Awards 2000 Best Leading Actor in a Drama Film The Insider Nominated 2004 Best Leading Actor in a Miniseries or Television Film Angels in America Nominated 2010 You Don't Know Jack Won 2014 Phil Spector Nominated Saturn Awards 1991 Best Supporting Actor in a Film Dick Tracy Nominated 1998 Best Leading Actor in a Film The Devil's Advocate Nominated Teen Choice Awards 2007 Choice Movie Villain Ocean's Thirteen Nominated Valladolid International Film Festival 1992 Best Actor[31] Glengarry Glen Ross Won Organizations Year Notes Result Ref. Venice Film Festival 1994 Career Golden Lion Honored [32] San Sebastián International Film Festival 1996 Donostia Award Honored [33] Gotham Awards 1996 Lifetime Achievement Award Honored Film Society of Lincoln Center 2000 Gala Tribute Honored [34] Golden Globe Awards 2001 Cecil B. DeMille Award Honored [35] American Cinematheque 2005 American Cinematheque Award Honored University Philosophical Society 2006 Honorary Patron of the Society Honored American Film Institute 2007 Lifetime Achievement Award Honored [36] National Medal of Arts 2011 Medal Honored [37] Venice International Film Festival 2011 Glory to the Filmmaker Award Honored [38] Queer Lion Honored Jameson Dublin International Film Festival 2012 Volta Award Honored Goldene Kamera 2013 Lifetime Achievement Award Honored Kennedy Center Honors 2016 Medal Honored [39] American Icon Awards 2019 Statue Honored This list includes awards, votes, etc. where Al Pacino appears by websites, channels or magazines. Vote or Rank Voted the greatest movie star of all time in a Channel 4 poll. Voted second best actor of all time at FilmFour.com (2004). Ranked #4 in the Empire "The Top 100 Movie Stars of All Time" list (October 1997). Premiere ranked him #37 on a list of the Greatest Movie Stars of All Time in their Stars in Our Constellation feature (2005). Voted 41st Greatest Movie Star of All Time by Entertainment Weekly. His performance as Michael Corleone in The Godfather Part II is ranked #11 on AFI's 100 Years...100 Heroes & Villains list of villains. His line "Keep your friends close, but your enemies closer." from The Godfather Part II is ranked #58 on AFI's 100 Years...100 Movie Quotes list. His performance as Michael Corleone in The Godfather Part II is ranked #20 on the list of 100 Greatest Performances of All Time by Premiere. His character, Michael Corleone from The Godfather Part II, is ranked #21 on the list of 100 Greatest Movie Characters by Empire. His line "Say hello to my little friend!" from Scarface is ranked #61 on AFI's 100 Years...100 Movie Quotes list. His character, Tony Montana from Scarface, is ranked #27 on the list of 100 Greatest Movie Characters by Empire. His character, Tony Montana from Scarface, is ranked #74 on the list of 100 Greatest Movie Characters of All Time by Premiere. His line "Attica! Attica!" from Dog Day Afternoon is ranked #86 on AFI's 100 Years...100 Movie Quotes list. His performance as Sonny Wortzik in Dog Day Afternoon is ranked #4 on the list of 100 Greatest Performances of All Time by Premiere. His performance as Frank Serpico in Serpico is ranked #40 on AFI's 100 Years...100 Heroes & Villains list of heroes.
915	yago	1	15	https://www.celebrityspeakersbureau.com/talent/al-pacino/	en	Celebrity Speakers Bureau	https://www.celebrityspe…6/al-pachino.jpg	https://www.celebrityspe…6/al-pachino.jpg	[ "https://www.facebook.com/tr?id=1659383301024366&ev=PageView&noscript=1", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2016/10/celebrity-speakers-home-page.png", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2023/10/CSB_-Logo-imageholder-editted.png", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/robert-downey-jr-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/arnold-schwarzenegger-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/robert-de-niro-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/Ashton-Kutcher-PP-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/dave-coulier-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/Rob-Lowe-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/bruce-willis-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/Hulk-Hogan-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/adam-carolla-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/george-takei-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/george-clooney-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/clint-eastwood-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/gary-sinise-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/billy-crystal-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/Spike-Lee-150x155.jpg", "https://www.celebrityspeakersbureau.com/wp-content/uploads/2013/06/Zach-Braff-150x155.jpg" ]	[]	[]	[ "" ]	null	[]	2013-06-24T12:00:00+00:00	Contact Celebrity Speakers Bureau today to hire a Celebrity Speaker like Al Pacino for your next corporate business event.	en	https://www.celebrityspe…e-touch-icon.png	Celebrity Speakers Bureau	https://www.celebrityspeakersbureau.com/talent/al-pacino/	Academy Award winner Al Pacino if most famous for his roles as famous mobsters, which include: Michael Corleone in The Godfather trilogy, Tony Montana in Scarface, Alphonse “Big Boy” Caprice in Dick Tracy and Carlito Brigante in Carlito’s Way. Al has also been the ‘good guys’ as he has played police officers, detectives and lawyers. In 1992 after seven Oscar nominations, Al Pacino won an Academy Award for Best Actor in Scent of a Woman for his role as Frank Slade. If first feature film premiered in 1969, where he played a minor role in Me, Natalie and two years later, he was the leading role in The Panic in Needle Park. Probably his most famous role was in The Godfather, playing Michael Corleone where he was nominated for an Academy Award for Best Supporting Actor. Al’s other Oscar nominated roles include Best Supporting Actor for Dick Tracy and Glengarry Glen Ross; Best Actor nominations include The Godfather Part II, Serpico, Dog Day Afternoon, …And Justice for All, and Scent of a Woman. He is set to star in the 2016 film Beyond Deceit alongside Greta Gerwig. Most fans know Celebrity Speaker Al Pacino only in on screen roles, but he also has had a very successful career on stage. His part in Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel both won Al Pacino Tony Awards. As a director, Al directed his first film Looking for Richard after a part documentary on the play Richard III from Shakespeare. Al is the recipient of a lifetime achievement award from the American Film Institute. Celebrity Speaker Al Pacino is available for speaking engagements, infomercials, and personal appearances. APPEARANCES: E! True Hollywood Story, Film ’72, Inside the Actors Studio, Late Show with David Letterman, N.Y.P.D., The Academy Awards, The Merv Griffin Show, The Primetime Emmy Awards
915	yago	0	75	https://medium.com/the-almost-complete-works-of-william-shakespeare/determined-to-prove-a-villain-richard-iii-b212bc1f86c3	en	Determined to prove a villain: Richard III	https://miro.medium.com/…9nfQbN9iElQ.jpeg	https://miro.medium.com/…9nfQbN9iElQ.jpeg	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/resize:fill:88:88/0_O4i7dQgPDSoO_Nx.jpg", "https://miro.medium.com/v2/resize:fill:48:48/1QZfgsqipWw1KQ10IsWdalA.png", "https://miro.medium.com/v2/resize:fill:144:144/0_O4i7dQgPDSoO_Nx.jpg", "https://miro.medium.com/v2/resize:fill:64:64/1*QZfgsqipWw1KQ10IsWdalA.png" ]	[]	[]	[ "" ]	null	[ "Blair Mahoney", "blairmahoney.medium.com" ]	2015-07-12T08:16:57.011000+00:00	This is it: Shakespeare’s first great play. (It’s also the first one in the series that I was already very familiar with, having taught it for a number of years.) He’s been playing around with…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://medium.com/the-almost-complete-works-of-william-shakespeare/determined-to-prove-a-villain-richard-iii-b212bc1f86c3	This is it: Shakespeare’s first great play. (It’s also the first one in the series that I was already very familiar with, having taught it for a number of years.) He’s been playing around with comedy, testing out his witty lines, and had a try at tragedy, but his biggest success so far has probably been with the Henry VI trilogy of history plays. Richard III is a continuation of the story he started in that trilogy, but now he has a central character that can dominate the play in his own right and be a focus for the audience; and for the first time he has a character of real psychological depth, that we can identify with and be repulsed by. The play was published in the First Folio as The Tragedy of Richard the Third and this is indeed history combined with tragedy; this play provides the template for Shakespeare’s great tragedies to follow and is a kind of ghostly early vision of Macbeth in particular. The play, which is Shakespeare’s second longest after Hamlet, begins with a famous soliloquy by Richard: Now is the winter of our discontent Made glorious summer by this sun of York; And all the clouds that lour’d upon our house In the deep bosom of the ocean buried. Now are our brows bound with victorious wreaths; Our bruised arms hung up for monuments; Our stern alarums changed to merry meetings, Our dreadful marches to delightful measures. Grim-visaged war hath smooth’d his wrinkled front; And now, instead of mounting barded steeds To fright the souls of fearful adversaries, He capers nimbly in a lady’s chamber To the lascivious pleasing of a lute. But I, that am not shaped for sportive tricks, Nor made to court an amorous looking-glass; I, that am rudely stamp’d, and want love’s majesty To strut before a wanton ambling nymph; I, that am curtail’d of this fair proportion, Cheated of feature by dissembling nature, Deformed, unfinish’d, sent before my time Into this breathing world, scarce half made up, And that so lamely and unfashionable That dogs bark at me as I halt by them; Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to spy my shadow in the sun And descant on mine own deformity: And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. Plots have I laid, inductions dangerous, By drunken prophecies, libels and dreams, To set my brother Clarence and the king In deadly hate the one against the other: And if King Edward be as true and just As I am subtle, false and treacherous, This day should Clarence closely be mew’d up, About a prophecy, which says that ‘G’ Of Edward’s heirs the murderer shall be. Dive, thoughts, down to my soul: here Clarence comes. What a beginning! It’s a little surprising that this is the only time that Shakespeare begins a play with a soliloquy, because it’s so effective here at drawing in the audience. It’s a presentation of opposites: winter made summer, dreadful marches transformed into delightful measures and grim-visaged war himself is now apparently capering nimbly in a lady’s chamber. This is wonderful, right? Wrong. Richard hates it. He’s “Deformed, unfinish’d,” a creature of shadows rather than sunlight. He got to be a star during the Wars of the Roses, a feared fighter, and he can’t stand this “weak piping time of peace.” So he tells us straight up that he is “determined to prove a villain” and plot his way to the throne. Furthermore, he draws us into his plans. There he is onstage, talking just to us, telling us how he’s going to deceive people, make them look like idiots and we’re drawn in, we’re on his side, we can’t help it. Sure he’s a repellent villain, but he’s smart and he’s the one in control. He’s also got a psychological reason for his actions (Freud was very impressed by this play): he “cannot prove a lover” because of his hunchback and withered arm. Furthermore, as we’ll see later in the play, his own mother hates him. Of course this is all a blatant, self-serving justification for his evil acts (as if everyone with some sort of a disability is going to be evil…), but he’ll play it for all it’s worth. He even proceeds to disprove his claim that he’s no lover in the very next scene, pouncing on the Lady Anne who is accompanying the body of her father-in-law, Henry VI. In a virtuoso scene, Richard sets about wooing her, somehow managing to overcome the fact that he killed her husband and her father-in-law. He may not be much to look at, but thanks to Shakespeare he’s a master of words, the most impressive one he’s created thus far. He can counter everything that Anne throws at, even the very spit from her mouth. She calls him a devil, a beast, a foul toad, a “defused infection of a man,” and he’s not in the least concerned. Instead, he tells her he killed everyone because he was so in love with her: Your beauty was the cause of that effect; Your beauty: which did haunt me in my sleep To undertake the death of all the world, So I might live one hour in your sweet bosom. He then bids her kill him if she hates him so much, even putting his sword in her hand, which she lets fall. As part of this high stakes gambit he then make it appear that she has a simple choice: “Take up the sword again, or take up me.” And she’s a goner. Despite his great confidence, Richard can barely believe how successful he’s been: Was ever woman in this humour woo’d? Was ever woman in this humour won? I’ll have her; but I will not keep her long. What! I, that kill’d her husband and his father, To take her in her heart’s extremest hate, With curses in her mouth, tears in her eyes, The bleeding witness of her hatred by; Having God, her conscience, and these bars against me, And I nothing to back my suit at all, But the plain devil and dissembling looks, And yet to win her, all the world to nothing! Ha! The women of the play have fairly significant roles but they mainly get to curse and lament. Margaret makes a reappearance here, but she’s a very different person from the scheming and belligerent queen in the Henry VI plays. Now she’s a ghostlike figure who brims with resentment at the loss of her kingdom and her loved ones. She curses all and sundry and her prophecies of doom and despair all come true. Prophecies and dreams are significant in the play and mostly they go unheeded to the great cost of those who were warned. Richard’s brother Clarence is the first to fall victim to Richard’s scheming in the play, and before the murderers sent by his brother arrive he recounts a dream he had while locked in the Tower of London: Methoughts that I had broken from the Tower, And was embark’d to cross to Burgundy; And, in my company, my brother Gloucester; Who from my cabin tempted me to walk Upon the hatches: thence we looked toward England, And cited up a thousand fearful times, During the wars of York and Lancaster That had befall’n us. As we paced along Upon the giddy footing of the hatches, Methought that Gloucester stumbled; and, in falling, Struck me, that thought to stay him, overboard, Into the tumbling billows of the main. Lord, Lord! methought, what pain it was to drown! What dreadful noise of waters in mine ears! What ugly sights of death within mine eyes! Methought I saw a thousand fearful wrecks; Ten thousand men that fishes gnaw’d upon; Wedges of gold, great anchors, heaps of pearl, Inestimable stones, unvalued jewels, All scatter’d in the bottom of the sea: Some lay in dead men’s skulls; and, in those holes Where eyes did once inhabit, there were crept, As ‘twere in scorn of eyes, reflecting gems, Which woo’d the slimy bottom of the deep, And mock’d the dead bones that lay scatter’d by. Shakespeare was so impressed with himself in this beautiful speech that he returned to the imagery of gems in the skulls of drowned men when he wrote The Tempest. Of course, we in the audience know that the dream is prophetic and that Richard (“brother Gloucester”) doesn’t stumble accidentally when he knocks Clarence overboard. Clarence has to be told by his murderers that “You are deceived, your brother Gloucester hates you” and even then he doesn’t believe them. You almost start to think that he deserves to be stabbed and then drowned in a barrel of wine. Lord Hastings is similarly oblivious to Richard’s machinations and ignorant of the warnings that get conveyed through dreams. So when Lord Stanley sends him a messenger to tell him about a dream he had (“He dreamt to-night the boar had razed his helm”), he mocks the message rather than heeding it: Come on, come on; where is your boar-spear, man? Fear you the boar, and go so unprovided? And when Richard is about to betray him, Hastings remarks: I think there’s never a man in Christendom That can less hide his love or hate than he; For by his face straight shall you know his heart. Before he knows it he’s been accused of being a traitor and he’s about to get his head lopped off. Everything goes to plan for Richard, but just when he’s at his height, he’s fooled everyone, killed most of his enemies and attained the crown for himself, things start to become a bit trickier for him. We’ll see all of this again in even greater psychological depth in Macbeth, of course, but it perhaps touches on a situation even closer to home. Richard’s problems start when he gets the shits with Buckingham, who has “play[ed] the orator” on Richard’s behalf and helped him to the throne, but now starts to get a little queasy when Richard asks him to kill the two princes, his nephews, in the Tower. Richard’s paranoia that his “kingdom stands on brittle glass” starts to get the better of him and he starts alienating people left right and centre. Marjorie Garber, in her wonderful book Shakespeare After All, puts it thus: When Richard becomes King Richard, when he finally attains his goal, he begins at the same time to lose his power. His strength — and we have seen it — comes from the position of antagonist, one who opposes or tears down. But Shakespeare’s Richard is temperamentally ill-suited to rule. The minute he becomes King he begins to distrust all about him, and the power of speech and persuasion, so confidently his in the early acts, begins to desert him. Now tell me if that isn’t an exact description of Tony Abbott (apart from the part about him having powers of speech and persuasion in the first place). His entire raison d’être is to be an antagonist, to tear people down, to be a wrecker. And as soon as he attained his goal of becoming Prime Minister he has shown himself “temperamentally ill-suited to rule,” and in fact probably the most inept Prime Minister Australia has ever seen. And like Richard, his problems have arisen partly from distrust, making his “Captain’s picks” without consulting anyone, implementing plans without informing the relevant ministers. No doubt, like Buckingham, who was promised “The earldom of Hereford and the moveables,” Barnaby Joyce was promised various rewards for his support for Tony Abbott. But the Minister for Agriculture has found his Prime Minister “not in the giving vein” when it comes to acceding to his opposition to the Shenhua mine. How long before he realises the writing is on the wall and openly rebels, like Buckingham? How long before Malcolm Turnbull acts like Lord Stanley and withdraws his support from his leader just at the moment he needs it most? How long before Bill Shorten turns up from France with his army to depose the tyrant laying waste to his country? (Okay, yes, I also have trouble envisaging Bill Shorten as a noble leader who will restore the fortunes of the land…) Of course, Richard III has long been seen as a great model for the Machiavellian political operator. Both the original British series of House of Cards and its American remake (with lead Kevin Spacey fresh from playing Richard III on stage) explicitly draw on Richard as a touchstone. Several years ago I saw a wonderful production of the play by the Melbourne Theatre Company with Ewen Leslie as Richard that presented everything West Wing style in terms of political machinations in the modern world. Having recently viewed the compelling documentary The Killing Season, I’m even tempted to extend the analogy further back and liken the conflicts between Kevin Rudd and Julia Gillard to the Wars of the Roses, as depicted in the Henry VI trilogy, characterised as they were by a sense of betrayal in the struggle for power. Just as Richard was able to take advantage of the enmities between supposed allies in his rise to power, so Abbott capitalised on the ructions in the Labor Party. Here’s hoping we can get a happy ending like Shakespeare devised and that Abbott is being tormented by the ghosts of his defeated enemies, unable to rest easy as his kingdom falls around him. The BBC production, which first aired in January 1983, was filmed on the back of the Henry VI trilogy using the same ensemble as actors from the previous play. Ron Cook is an effective Richard, although he does pale somewhat compared to some of the more prominent actors who have taken on the role either on stage or on film, including Sir Laurence Olivier and Sir Ian McKellen. The rest of the ensemble often crop up in four or five other minor roles given the length of the play and the number of characters it contains. Of some note is Zoë Wanamaker as the Lady Anne who does a very good job of what can be a tricky scene as she gets seduced by Richard against seemingly impossible odds. The set is also a continuation of the earlier trilogy, here almost completely devoid of colour as Richard sets about destroying everyone around him. It is only with the arrival of Richmond that we see the return of colour with his standards. One little flourish in the production is to close with an added scene panning over a pile of dead bodies with Margaret sitting at the top, her hair all wild, cradling the body of Richard in her arms and laughing maniacally. It’s a kind of coda to all the death and destruction that has been wrought during the Wars of the Roses. The two most prominent film adaptations of the play have been Laurence Olivier’s 1955 version and Richard Loncraine’s 1995 film with Ian McKellen in the title role. Olivier plays a wonderfully camp Richard in his film and in many ways defined the way that people saw the role. His performance was also much parodied (see Peter Sellers below). He messes around with the text a fair bit, incorporating parts of Henry VI, Part Three, using parts of Colly Cibber’s 18th Century rewrite, and entirely omitting Richard’s soliloquy after he is visited by the ghosts before the Battle of Bosworth. Loncraine’s film, based on Richard Eyre’s stage adaptation for the National Theatre, sets the action in a fictional 1930s with Richard as a Fascist leader modelled on Adolf Hitler. It also greatly cuts and adapts from the play in order to achieve a two hour running time. It significantly recasts the end of the film, with Richard leaping to his own death, smiling as he falls into the flames and says a line which comes before the battle in the play, “Let us to’t pell-mell; if not to heaven, then hand-in-hand to hell.” This is then followed by Al Jolson’s jaunty version of “I’m Sitting On The Top Of The World.” The year after Loncraine’s film, Al Pacino released his directorial debut, Looking for Richard, which looks at the peculiar relationship that Americans have with Shakespeare as well as conveying his great love for the play. Pacino stages scenes from the play with a bunch of actor friends (inluding Alec Baldwin and Kevin Spacey, who plays Buckingham), with Pacino taking on the role of Richard himself. He talks to a range of people, including Sir John Gielgud and Kenneth Branagh, about the play and how best to approach it. It’s a shambling and good-natured film that provides some good insights into the play. Pacino impresses in his scenes as Richard.
915	yago	0	22	https://simoncolumb.com/2014/03/19/looking-for-richard-al-pacino-1996/	en	Looking for Richard (Al Pacino, 1996)	https://simoncolumb.com/…a92-looking3.jpg	https://simoncolumb.com/…a92-looking3.jpg	[ "https://simoncolumb.com/wp-content/uploads/2016/01/header2.png?w=2177", "https://simoncolumb.com/wp-content/uploads/2014/03/0da92-looking3.jpg?w=213&h=320", "https://simoncolumb.com/wp-content/uploads/2014/03/131af-looking1.jpg?w=320&h=235", "https://simoncolumb.com/wp-content/uploads/2014/03/6d1ca-looking2.jpg?w=320&h=209", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2014-03-19T00:00:00	The Al Pacino season at the BFI has showcased his best work, but it can be difficult to get a sense of what Pacino is like when viewed through the fictional lens of characters like Michael Corleone and Frank Serpico. Looking for Richard is Pacino’s directorial debut, digging deeper into American attitudes towards Shakespeare –…	en	https://s1.wp.com/i/favicon.ico		https://simoncolumb.com/2014/03/19/looking-for-richard-al-pacino-1996/	The Al Pacino season at the BFI has showcased his best work, but it can be difficult to get a sense of what Pacino is like when viewed through the fictional lens of characters like Michael Corleone and Frank Serpico. Looking for Richard is Pacino’s directorial debut, digging deeper into American attitudes towards Shakespeare – specifically the influential historical drama Richard III. This is an insight into Pacino’s acting and his love for the stage. Informative, insightful and playful, Looking for Richard is a theatrical treat for film fans. Led primarily by Pacino himself and his co-writer Frederic Kimball, they banter and argue about the text and purpose of the documentary. While Pacino is building and amassing footage to create a film to educate and illuminate a centuries old text, Fred is keen to prove how actors understand Shakespeare, while directors and academics don’t hold a candle to the perspective of the actor – who lives and breathes the roles. Looking for Richardalso showcases some of the finest American acting talent. Signing up Kevin Spacey and Alec Baldwin after working on Glengarry Glen Ross, we see their portrayals of their respective roles effortlessly played. Baldwin particularly clearly has a finesse and style that perfectly suits the betrayed brother of the king (How else can I see Baldwin play Shakespeare?). Winona Ryder appears briefly as the widow, and future wife, of King Richard. Her grace and conflicted young woman is challenged and manipulated so well, it only highlights how strong an actress Ryder can be. It also breaks my heart to see Pacino and Ryder acting alongside each other. Francis Ford Coppola cast Winona Ryder as Michael Corleone’s daughter in The Godfather Part III, but she was taken ill shortly before production and replaced by Sofia Coppola. Suffice to say, if she can convincingly act Shakespeare, Mary Corleone would be a walk in the park – and what a film it would’ve been. Pacino cuts between the actors discussing the roles and their motivations to actors and academics who have built their careers on Shakespeare. Vanessa Redgrave tells us of the Iambic Pentameter providing a direct connection to the soul; John Gielgud reveals his belief that Americans are simply not cultured enough to truly understand Shakespeare while James Earl Jones equates Shakespeare with the word of God. It’s hard to argue with Pacino. The relevance of Shakespeare, and crucially Richard III, is all around us. From the debt House of Cards owes to Richard III, to the politics at play in Game of Thrones, the influence is all around us. In fact, considering the story so far in House of Cards, watching the third act of Richard III may give the plot away for the third season of House of Cards next year. Though difficult to break down, iconic and unforgettable lines hark back to this specific text. “Now is the winter of our discontent” through to “… a horse, a horse, my Kingdom for a horse”. Looking for Richard deconstructs and reveals the poetry, though an acquired taste, of the language. While shooting some of his most memorable roles (his beard from Carlito’s Way, the use of crew in the final act – borrowed from Michael Mann’s Heat), this is Al Pacino discussing his love for Shakespeare, the stage and acting itself. But now I recall others. Where is ‘Looking for Hamlet’ starring Jude Law or David Tennant? Or Ian McKellan enlightening us with the words of King Lear? This is a fascinating documentary and, if you’ve ever been switched off by the Bard, this is your entrance into his work. This was originally written for Flickering Myth on 17th March 2014 Share this: Like Loading...
915	yago	3	2	https://goldenglobes.com/articles/al-pacino/	en	Golden Globes	https://goldenglobes.com…ino-hfpa-cvr.jpg	https://goldenglobes.com…ino-hfpa-cvr.jpg	[ "https://goldenglobes.com/wp-content/uploads/2023/10/al_pacino-hfpa-cvr.jpg?w=825", "https://goldenglobes.com/wp-content/uploads/2023/11/gg_stacked_whiteversion.svg", "https://goldenglobes.com/wp-content/uploads/2023/10/dickclark.svg", "https://goldenglobes.com/wp-content/uploads/2023/10/ernst-and-young.png" ]	[]	[]	[ "" ]	null	[ "Armando Villanueva" ]	2016-01-08T12:08:08+00:00	Al Pacino was born in East Harlem, New York, to Sicilian-American parents. “In America most everybody who’s Italian is half Italian. Except me. I’m all Italian.” He has said, “I’m mostly Sicilian, and I have a little bit of Neapolitan in me. You get your full dose with me.”When his parents divorced, when he was […]	en	https://goldenglobes.com…image-1.jpg?w=32	Golden Globes	https://goldenglobes.com/articles/al-pacino/	Al Pacino was born in East Harlem, New York, to Sicilian-American parents. “In America most everybody who’s Italian is half Italian. Except me. I’m all Italian.” He has said, “I’m mostly Sicilian, and I have a little bit of Neapolitan in me. You get your full dose with me.”When his parents divorced, when he was two years old, he moved with his mother to her parents’ house in the Bronx. Her parents coincidentally came from the town of Corleone in Sicily. “When my mother got home from work, she would take me to the movies. It was her way of getting out, and she would take me with her. I’d go home and act all the parts.” In school where he was nicknamed both “Sonny” and “the actor” his favorite subject was English, but he dropped out at 17. “My first language was shy,” he recalls. “It’s only by having been thrust into the limelight that I have learned to cope with my shyness.” He moved out of the family house and took low paying jobs to support his acting studies. Much of this time he was unemployed and homeless. He slept anywhere he could, including theaters, friend’s houses and even on the streets. “When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff, or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?” He was at first rejected from the Actor’s Studio (of which he currently is co-president) but after four years at HB Studio he was accepted. He studied under Lee Strasberg who later appeared with him in The Godfather 2 and … And Justice for All. “I don’t think actors should ever expect to get a role, because the disappointment is too great. You’ve got to think of things as an opportunity. An audition’s an opportunity to have an audience.” Pacino got his first major paycheck, $125 per week, from the theater in 1967 while spending a season at the Charles Playhouse in Boston. He continued to do plays in New York, where he met Martin Bregman who became his manager and encouraged him to do The Godfather. “Martin Bregman discovered me off Broadway. I was 26, 25. And he discovered me and became my manager. And that’s why I’m here. I owe it to Marty, I really do,” He did a few small independent films early on, one was Jerry Schatzberg’s junkie drama Panic in Needle Park. That is the film in which Francis Ford Coppola saw him before eventually casting him in The Godfather (reportedly to the dismay of the studio). That film would earn him his first Golden Globe nomination (of a total 17!). Pacino’s next film Serpico would translate into his first Best Acting Globe. He has a total of four including television-acting awards for Angels in America (2003), You Don’t Know Jack (2010) and Phil Spector (2013). “I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could – I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It’s almost like a painter having a model to become.” Pacino was never married but has three children; a daughter born in 1989 and twins born in 2001. “At this point in my career, I don’t have to deal with audition rejections. So I get my rejection from other things. My children can make me feel rejected. They can humble you pretty quick.” Pacino, who is presently on Broadway performing in China Doll, has acted in dozens of films and plays. He directed four films two of which are docudramas: Looking for Richard and Wilde Salomé, yet he doesn’t seem like he is slowing down anytime soon. “You need some insecurity if you’re an actor. It keeps the pot boiling. I haven’t yet started to think about retiring. I was shocked when I heard about Paul Newman retiring at age 82. Most actors just fade away like old soldiers.” “When I was a younger actor, I would try to keep it serious all day.” He now says, “but I have found, later on, that the lighter I am about things when I’m going to do a big scene that’s dramatic and takes a lot out of you, the better off I am when I come to it.”
915	yago	3	61	https://www.vulture.com/article/christopher-nolan-movies-ranked.html	en	All 12 Christopher Nolan Movies, Ranked	https://pyxis.nymag.com/…social.w1200.jpg	https://pyxis.nymag.com/…social.w1200.jpg	[ "https://assets.nymag.com/media/components/customer-alert-banner/alert.svg", "https://assets.nymag.com/media/components/customer-alert-banner/double_chevron.svg", "https://assets.nymag.com/media/components/customer-alert-banner/close_x.svg", "https://pyxis.nymag.com/v1/imgs/de2/ba4/7147d133883cc04c3973e7f848f3c865d8-1724Cov-4x5-Pets.w240.jpg", "https://pyxis.nymag.com/v1/imgs/732/ed2/9e11b834c4c2c33d8099d7b32b4cb9c32f-critics-portraits-0004-BilgeEbiriFINAL.2x.rsquare.w168.jpg", "https://pyxis.nymag.com/v1/imgs/b97/838/9575952d6e4aaa9424ba7ce1b38485b97d-nolan-movies-ranked.rsquare.w400.jpg", "https://pyxis.nymag.com/v1/imgs/916/6fb/6e0a374c2f444abd47986f7b0c42aa76b1-biden-dnc.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/e06/cec/cb6625fac236c8eb081e0c7ec04ddc307d-Kathy-Hochul.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/9f3/268/534cd9953ffb7b3392e14f7d7f01e7b87e-8-12-WICLW.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/5c5/5f5/54a1fe13fe32d893d3f1651edd67d7e666-love-island-usa.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/fd1/301/50475f079e4c13bf5b7a3fbacf049c6dd4-belowdeck-s9-ep12.rsquare.w536.png", "https://pyxis.nymag.com/v1/imgs/3bd/94d/4ccf336d76810c0fc15ef40277edd16d24-chappell-roan.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/a48/16f/0705ff263279df4be5143404b5663e246d-ansel-elgort-ken-watanabe.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/277/c64/ef003c1650282f42c44f53cac587e83b14-tony-kerry-scandal.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/e10/54c/5a0d49ac257ebfc7010b987ccaea2c5f49-ysl-judge.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/666/fd4/c49554b7a3d5a8476188b694d99f64bc17-rhoslc-lisas-lunch.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/272/961/589652d584737b2bb77a00df56e03f5e47-homocide-comparison.rsquare.w536.gif", "https://pyxis.nymag.com/v1/imgs/dce/521/b2d188bcdf3697d2fe90b21e0d36a53546-homicide-life-onthe-street-secondary.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/ca6/15a/799f9a97bec0ce63dd81ab09712ec8cd7f-ellen-lastshow.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/58b/68a/06c07aa2782aa5a321b6c1cbd52c6ba275-brian-cox.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/8a6/b5a/4ebabc30daab786befd4e30e972b7baa19-blink-twice-channing-tatum.rsquare.w536.jpg ", "https://pyxis.nymag.com/v1/imgs/169/c5a/2aa1bcba1fbd091a25ca513a113aa5527f-NUP-204988-01745.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/96d/425/53078780f51ad105dd0803b93396c3bc8b-doja-joseph-quinn.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/0c8/784/0c604ef2ca29e1194af7dec49d355b1fc9-itendswithus-boxoffice.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/ee0/a63/55ca18ed66b5168daa8f3a02568b4c055f-didi-ending.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/80f/4bd/e7a242e5892e378074b3cf8522a7a4eeb5-crossword-8-19-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/c9e/47b/6dbb9e02880409399c88db2c90da361d07-cinematrix-8-19-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/f56/625/8fa5ad2910ff8d9f449b8f9f1e4fde7fd9-snowpiercer-s4-ep5.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/e43/66c/082d1b6af43adc0195b217b87c66ffff05-kit-harington-harry-lawtey.rsquare.w536.jpg" ]	[]	[]	[ "" ]	null	[ "Bilge Ebiri" ]	2017-07-19T14:44:02.055000-04:00	A ranking of Christopher Nolan’s 12 movies from worst to best, starting with his earliest effort and continuing through his Batman trilogy to ‘Oppenheimer.’	en	https://assets.vulture.c…e/icon.76x76.png	Vulture	https://www.vulture.com/article/christopher-nolan-movies-ranked.html	This article was originally published on June 18, 2018. It has been updated to include additional movies. At the 2024 Oscars, Christopher Nolan won the award for Best Director for Oppenheimer. The long-awaited (and much-speculated-about) Oppenheimer is here, and the film seems like a major turning point for Christopher Nolan. Of course, given the ambitious and obsessive nature with which he tackles all his projects, every Nolan film feels in its moment like the biggest one of his career. So where does Oppenheimer actually fit in the director’s filmography? Hold up! Before you go any further, know this: Christopher Nolan is an exceptional filmmaker who has made many great movies. As a result, any ranking of his films is bound to wind up with at least a couple of amazing titles near the bottom; that’s the kind of problem most directors wish they could have. So let’s take a look back over his career and figure out which of the director’s films were the masterpieces, and which ones were merely near-masterpieces. Yes, this is something of a dangerous endeavor, given the fervency with which Nolan’s work is debated — by both his obsessive fans and his quite vocal detractors. Anyway, here they are. 12. Following (1998) Nolan’s ultra-low-budget 1998 directorial debut was cobbled together while he was working full-time, using available light and cheap film stock. It does feel very much like a student effort: ambitious, awkward, bursting with ideas but often downright amateurish. Still, you can see the talent, and there are lots of fascinating elements here that would reemerge later: a nonlinear narrative, manipulative characters, a twist ending, the human psyche represented in material form. And the irony at the movie’s center — about a man who robs people to make them better appreciate their lives — is pure Nolan. (Also, the lead thief’s name is Cobb, the same as the head thief in Inception). Anybody interested in the director’s films should check this one out. But its technical limitations, combined with Nolan’s own inexperience, make it one of his weaker works. 11. Insomnia (2002) This adaptation of the 1997 Norwegian crime thriller — about a troubled cop with a past who, while investigating a murder in small-town Alaska, accidentally kills his partner and then tries to cover up his crime — showed that the director could go from making low-budget indies to successful studio projects. (He has said that in many ways this was the most important stepping-stone in his career, because it allowed him to ease into big-budget filmmaking.) Insomnia is impressive in many regards: Al Pacino is effectively haunted as the lead, and Robin Williams, at the time eagerly trying to shed his image as a cloying funnyman, is appropriately creepy and pathetic as the suspected murderer. Plus, there’s loads of atmosphere. But the movie is also, at times, dreadfully dull. The somnambulant mood may be partly intentional, but it’s also wearying. 10. The Dark Knight Rises (2012) Nolan followed up the runaway worldwide success of The Dark Knight with a look at Batman brought low, his back broken by Bane (Tom Hardy) and thrown in a pit-prison where he’s forced to watch Gotham destroyed from afar. And yes, it was a huge hit, but how could it have been anything other than a disappointment after something like The Dark Knight? That said, this one doesn’t get enough credit for how effectively it captures the hero’s feeling of helplessness — as the city’s bridges and buildings are leveled, its people pitted against one another, the very fabric of society ripped asunder. For anyone who’s been following Bruce Wayne’s efforts to try and make Gotham a better place, this is all quite heartbreaking to watch. There’s plenty of great stuff here, from Anne Hathaway’s jaded, sassy Catwoman to some eye-popping action sequences. It might be the most epic of Nolan’s three Batman entries. Until Dunkirk, it was his one film that could be called a war movie. But at times it seems as if the director has bitten off more than he can chew, as he wrestles with effectively trying to convey the villains’ evil plan. Plus, in order to truly show the breakdown of society, and the existential threat this represents, Nolan needs to condemn the people of Gotham a bit … but he pulls back, settling instead on vagaries. 9. Batman Begins (2005) It didn’t seem at all likely that Christopher Nolan would be the one to reinvent the modern superhero movie; his forte seemed to be mind-fuck thrillers, not action spectacles, and this was before young, newish directors were regularly handed billion-dollar franchises. But his take on Batman (immeasurably aided by Christian Bale, still the most talented actor ever to play the Caped Crusader) was both brilliant and deceptively simple: Batman had always been the “relatable” superhero — the one who didn’t have magic powers, just money, vengeance, and will — so why not give us a Batman grounded in something resembling reality? Some will point to this movie as the beginning of turning everything into a “dark, gritty reboot,” but Nolan’s model borrowed the DNA of Richard Donner’s original Superman, with its matter-of-fact, ground-level approach to capes-and-tights derring-do. Bruce Wayne’s transformation into the Dark Knight is presented with uncommon psychological realism, set in motion by a somewhat-plausible series of events that explain how he became such a determined, effective fighter. The film only really falters in its last act, with a somewhat underwhelming final action set piece. Oh, and Katie Holmes seems strangely miscast as Bruce Wayne’s love interest/moral North Star. 8. Tenet (2020) There are parts of Tenet that feel like they were crafted as a direct response to those who criticized Inception for being too exposition-heavy. You can almost hear Nolan yelling, “Okay, wise guy, how do you like it when I don’t explain things?” Nolan’s most oblique film to date — a sprawling, ornate action thriller in which the heroes can invert their passage through time so that they experience car chases and fights and all sorts of other things in reverse — is also one of his most ambitious, and, weirdly, one of his lightest. We’re told early on in the film that we shouldn’t try to understand it, but that we should feel it; that’s pretty solid advice. Not unlike The Big Sleep, or The Parallax View, Tenet is a movie built out of brilliant, often beautiful setpieces whose overall placement in the broader puzzle is not always clear. That’s not to suggest, however, that the film is frivolous or meaningless. The idea that our future selves can hold sway over our present-day selves is an adorably Nolan-esque notion that plays out across pictures like Memento, Interstellar, and Inception. And how wonderful it is to see a filmmaker tackle a big modern genre movie in such challenging fashion — and on such a massive scale. Maybe some will call it a flop, but if it is, it’s the kind of flop that only Christopher Nolan could have made. It would have been fun to go back to the theater for repeat viewings during Tenet’s initial run to pick apart the timeline and the story, but the COVID pandemic rendered that pretty much impossible for most of us. That said, Tenet might be the Nolan film I enjoy revisiting the most nowadays. 7. Memento (2000) An absolutely ingenious thriller: The story, told in reverse, of a man who’s been trying to avenge his wife’s death; but his mind can’t form memories, and he forgets who, where, and what he is within minutes, so he has to tattoo his clues on his body in order not to forget them. It’s an ideal marriage of structure and subject matter, as the nature of the storytelling ensures that we in the audience never really know what has happened before any given scene, which mimics the protagonist’s existential haze. This put Nolan on the map with its release in 2000, and is still considered his masterpiece by many fans. Does it lose some luster once you’ve figured it out? Not quite, though nothing can match that electrifying first viewing. 6. Inception (2010) Consider this for a second: Nolan made a movie about high-tech thieves who break into people’s dreams and steal hidden ideas from them, but this time they are asked to secretly plant an idea in a person’s head, so they go into that person’s dream, but in order to hide their actions they have to go several dreams down, so they have to create a dream inside the guy’s dream so they can go into the next dream, then do it again, but they can’t go too far down the dream levels because if they do they’ll be stuck in a dream forever and their brains will melt, and also each level of a dream happens at a different speed, so that five minutes in the real world is an hour in dream time, and things slow down even further the deeper you go within the dreams, but anything that happens in one dream can affect the dream in the next level. Now consider this: Inception was beloved by millions and made $825 million worldwide. Fact: Christopher Nolan knows how to tell a goddamn story. 5. Interstellar (2014) One of the saddest, loneliest space epics ever made, Nolan’s expansive sci-fi film — about Matthew McConaughey and Anne Hathaway traveling through a wormhole to another part of the universe in an effort to find a new home for humanity — was divisive when it came out, but it’s slowly being acknowledged as one of his best works. It’s certainly his most earnest movie, and maybe the mixture of eye-popping special effects, gee-whiz scientific phenomena, environmental dystopia, and unabashed sentiment was too much for some to take, as if 2001: A Space Odyssey had been hijacked by someone’s therapy session. At heart, this is a story about parents and children, about the fear of letting go, about the need to reconcile your dreams with the needs of your loved ones. At the same time, it’s a movie about survival — how planetary survival and species survival and individual survival often conflict with one another. The way Nolan ties these concepts together in a narrative that mixes heavy-duty scientific theories with nutty sci-fi invention can be jarring. But open yourself up to it, and Interstellar becomes one of the most emotionally overwhelming things you’ll ever see. 4. The Prestige (2006) Nolan’s sole literary adaptation — based on Christopher Priest’s 1995 novel — also features his most subtle, complex characters. As dueling magicians in turn of the century London, Hugh Jackman and Christian Bale are both charming and sinister in their obsessions with one another. Maybe that’s why, unlike so many other films that rely on “puzzle”-like structures and big twists, The Prestige continues to work so well on repeat viewings; if anything, it improves and gains depth the more you watch it. It’s also a dazzling magic trick in its own right, with an intricate plot that keeps doubling back on itself and throwing red herrings at us. As in so many Nolan pictures, the movie’s structure and its effect on the viewer echo the characters’ own psychological journeys. Nolan understands something about his audience: He lays out everything we need to figure out what’s happening, but it’s all just a bit too macabre for us to put two and two together. So we wait … until that incredibly disturbing, final image. (Aaand then a ridiculous Thom Yorke song plays over the end credits, but the less said about that, the better.) 3. The Dark Knight (2008) If nothing else, this is one of the most influential movies of our time — the entire DC Universe of superhero tentpoles has basically been built around its success. But none of its imitators have come close to matching the sweep and power of Nolan’s second Batman entry, which is really a gangster epic masquerading as a superhero flick. And at the center of it all is one of the great performances of the decade, with the late Heath Ledger’s wild, disturbing, charismatic turn as the Joker making a perfect foil for Christian Bale’s stolid, wounded, tormented Batman. With a story that could easily have made for three separate movies (and maybe should have) and each insane set piece topped by the next one, this is the rare comic-book film that earns the obsessive quality of its fandom. That’s also because Nolan doesn’t shy away from tackling philosophical, moral, and political issues: When Batman turns all of Gotham’s cell phones into a citywide sonar system, is he essentially confirming Bush-era surveillance tactics? Or is he simply debasing himself and betraying his own ideals — essentially falling into the Joker’s trap? If so, what do we make of the fact that he succeeds? But wait, does he even succeed, or is it the people of Gotham who redeem him by refusing to blow each other up? Nearly a decade after its release, you can still go down any number of rabbit holes thinking about The Dark Knight. There are very few movies — in any genre — about which you can say that. 2. Oppenheimer (2023) In J. Robert Oppenheimer, the brilliant (and tormented) physicist known as the father of the atomic bomb, Nolan has found a real-life avatar for so many of his key obsessions: the idea of hidden knowledge that could upend the world; of infernal machines that must never be used; of the way our greatest achievements sometimes become our greatest regrets; of the thin line between heroism and disgrace. In Oppenheimer, he weaves all these themes into a breakneck piece of history. Though technically not a genre movie, it’s faster than most action films and more terrifying than most horror flicks. Oppenheimer also turns out to be the perfect part for Cillian Murphy, who has given many great turns for this director but who gets the role of a lifetime as the scientist who channeled his anxieties and fascination with the quantum world into an earth-shattering achievement, then spent the rest of his life quietly tortured by what he had unleashed. Meanwhile, despite the fact that many of them occupy only a few minutes of screen time, Nolan somehow gets career-high performances from a massive cast of familiar faces. Seriously, I could watch these scientists arguing for hours and hours. The whole film builds and builds and builds majestically — until a shattering finale that might well be the most emotionally resonant moment in Nolan’s entire filmography. 1. Dunkirk (2017)
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more...	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0078718/news/
915	yago	3	60	https://rosa.uniroma1.it/rosa03/memoria_di_shakespeare/article/view/17620/16782	en	View of Shakespeare in Washington: From 'House of Cards' to Capitol Hill			[ "https://rosa.uniroma1.it/rosa00/public/site/pageHeaderTitleImage_en_US.png" ]	[]	[]	[ "" ]	null	[]	null		en			null
915	yago	0	35	http://velvet_peach.tripod.com/fpaclfr.html	en	LOOKING FOR RICHARD	http://velvet_peach.tripod.com/pics/pac_lfr4.jpg		[ "http://velvet_peach.tripod.com/links_menu_image_map_purple4.gif", "http://velvet_peach.tripod.com/pics/pac_lfr1.jpg", "http://escati.linkopp.net/cgi-bin/counter2001.cgi?491908", "http://velvet_peach.tripod.com/pics/pac_lfr2.jpg", "http://velvet_peach.tripod.com/pics/pac_lfr5.jpg", "http://velvet_peach.tripod.com/pics/pac_lfr4.jpg", "http://velvet_peach.tripod.com/zwavs.gif", "http://velvet_peach.tripod.com/pics/pac_lfr4.jpg", "http://velvet_peach.tripod.com/animball.gif", "http://velvet_peach.tripod.com/pacinogalleryanimation.gif" ]	[]	[]	[ "Al", "Pacino", "actor", "movies", "filmography", "quotes", "Looking For Richard", "Al Pacino", "Penelope Allen", "Alec Baldwin", "Kevin Conway", "Al Pacino", "Estelle Parsons", "Aidan Quinn", "Winona Ryder", "Kevin Spacey", "Kenneth Branagh", "John Gielgud", "James Earl Jones", "Kevin Kline", "Vanessa Redgrave", "Derek Jacobi", "Harris Yulin" ]	null	[]	null	Looking For Richard - Al Pacino's Loft				null	Background: Al Pacino is the screen writer and director of "Looking for Richard" which had it's world premiere at Sundance. Portions of Richard III are interlaced with discussion about Richard, acting, theater and Shakespeare. It features: Al Pacino, Winona Ryder, Alec Baldwin, Aidan Quinn, Kevin Spacey, Estelle Parsons, Kevin Kline, Kenneth Branagh, Sir John Gielgud, James Earl Jones and Vanessa Redgrave. Al Pacino is here to answer any questions the press may have concerning Richard. HOW DID IT FEEL TO DO A MOVIE YOUR WAY, VERSUS HOW THE STUDIO WANTED IT? I've always been in movies, I never did them on my own. Maybe because I didn't start out to make a film. It started out as an experiment, an idea I had. It reminds me of a short Italian film where the mayor comes to lay the first brick in a building and everyone applauds. So he lays another one. And they cheer. So his assistant says to do another. And pretty soon he is doing the whole building. And this is the same kind of thing, one thing led to another. It started as a thing I thought I would do and send out to schools. I thought it had some kind of educational merit. And because I think the seed of it started in schools. In the late seventies I went out and was touring some schools, colleges and I would recite poetry. I would take sections of things I enjoyed myself and there would be back and forth questions. Everyone of these I would mention Shakespeare and I was surprised at how few of the kids had even read Hamlet. And I remember that I would talk about the play and then read an excerpt. By doing that they would get tuned, they would find the equinox from their world to the Shakespeare world and make the jump. And I forgot about it. Years later I was asked to do Richard III as a movie, I had done it on stage, and I though I wouldn't do it as a movie. I couldn't see myself doing it. Olivier had done it and it was done. Then I got this idea and this would be a way of doing it. It gradually turned into this. I thought it would be on television or something. Then six months ago I thought it might get theatrical release. WAS DIRECTING AN INEVITABLE STEP FOR YOU? No, I don't think of myself as a director. You see by the film that it came out of my head, it was my idea and I was just doing it a step at a time. If I were to direct again it would have to be something that I have a strong feeling about because it is a whole way of looking at things. And I don't have that as much. But the good thing about it is the control. (Laughs) WAS DIRECTING AN INEVITABLE STEP FOR YOU? No, I don't think of myself as a director. You see by the film that it came out of my head, it was my idea and I was just doing it a step at a time. If I were to direct again it would have to be something that I have a strong feeling about because it is a whole way of looking at things. And I don't have that as much. But the good thing about it is the control. (Laughs) HOW DID THE PROJECT EVOLVE? I thought I would free associate. You'll notice I have different looks in the picture, It went on for years. And I had wonderful help from the editors to construct the story I had in my head. I would take a situation and I would set it up. HOW DID YOU GET ALL THOSE WONDERFUL ACTORS ON BOARD? Knowing the right people. (Laughs) Some actors just wanted to watch, it was such chaos. There are some American actors who would like to do Shakespeare and they could do it without the onus on it, so much commercial pressure. Some actors did it for nothing. I know because we didn't pay them much but they sent me the checks to put back into the movie. It took three and a half years to make it and I made three movies in between and two plays. And documentaries take that long, but I'm not sure what this is. WHAT WAS YOUR FIRST EXPERIENCE WITH SHAKESPEARE? In school we read Romeo and Juliette, I saw Marlon Brando in Julius Caesar. And all the great English actors. I talk in the movie with James Earl Jones about what it is like to be able to express yourself through Shakespeare. I enjoyed that. "It's not Richard III," he says of the film. "It's me looking for Richard. It's a meditation on Richard. At the same time, it's an experimental experience in a kind of personal way. I want it to invoke some kind of connection and relevance to Shakespeare. Yet, on a simple level, I hope the audience will just be entertained by it and come away from it having a sense of it." (Toronto International Film Festival, September 9, 1996, "Looking for a New Pacino", By Bruce Kirkland) "There is an innate humor and irony in it. You find it in all of Shakespeare's plays, even the tragedies. What makes the tragedy more palatable is if you kind of balance it with humor." (Toronto International Film Festival, September 9, 1996, "Looking for a New Pacino", By Bruce Kirkland) "The whole spirit of this movie is a kind of experiment. It took on a kind of life and here I am having a press conference. It never dawned on me that it would come to this. It was certainly going to go to the archives. But, if it went further, it was going to go to schools. And then we thought possibly it might be a television mini-thing. Then it became a movie, which was something that only happened a year ago." (Toronto International Film Festival, September 9, 1996, "Looking for a New Pacino", By Bruce Kirkland)
915	yago	3	76	https://www.polygon.com/2019/10/30/20939812/robert-de-niro-al-pacino-movies-the-irishman-righteous-kill	en	Before Irishman, De Niro & Pacino starred in the bizarre Righteous Kill	https://platform.polygon…955%2C100&w=1200	https://platform.polygon…955%2C100&w=1200	[ "https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/19331233/righteous_blu.jpg?quality=90&strip=all&crop=17.521598272138%2C0%2C64.956803455724%2C100&w=376 376w, https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/19331233/righteous_blu.jpg?quality=90&strip=all&crop=17.521598272138%2C0%2C64.956803455724%2C100&w=384 384w, https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/19331233/righteous_blu.jpg?quality=90&strip=all&crop=17.521598272138%2C0%2C64.956803455724%2C100&w=415 415w, 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https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/19410602/8v66_d043_00039r.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=1920 1920w, https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/19410602/8v66_d043_00039r.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=2048 2048w, https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/19410602/8v66_d043_00039r.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=2400 2400w" ]	[]	[]	[ "" ]	null	[ "Jordan Hoffman" ]	2019-10-30T00:00:00	Godfather 2 didn’t really count. Heat only gave them one scene. But before teaming up for Martin Scorsese’s 3-hour Netflix drama, Robert De Niro and Al Pacino starred in Righteous Kill, which you can watch (if you dare) on Netflix.	en	/static-assets/icons/favicon.ico	Polygon	https://www.polygon.com/2019/10/30/20939812/robert-de-niro-al-pacino-movies-the-irishman-righteous-kill	Martin Scorsese’s The Irishman gives moviegoers what they’ve always wanted: Robert De Niro and Al Pacino side-by-side for the first time. At least, that would be the case if facts didn’t get in the way. The Godfather: Part II (1974) does, technically, star both men, but they are in different timelines and don’t share a scene. De Niro plays the younger version of Pacino’s papa, who grows to become Marlon Brando. Heat (1995) sold itself as a “clash of the titans” to amp up the film’s already epic scope. De Niro and Pacino on opposite sides of the law, engaging each other in an existential chess match and finally locking horns in an explosive finish. While the characters occupy space in the minds of one another, they only face off in that one scene in the diner. Michael Mann knew to always leave the audience wanting more. Now, The Irishman gives us boundless screen time of the two great New Yawkers sinking their teeth into meaty scene work. With the greatest of directors at the helm. At long last. At. Long. Last. Uhh, excuse me: Does no one remember a little picture called Righteous Kill? The year was 2008 and Starz, LLC had recently created a theatrical distribution company called Overture Films. Don’t look for it now as it no longer exists, due, in no small part, for wasting a fortune on absolute dreck like Righteous Kill. The Overture method was to take the dullest and least thought-provoking scripts, align them with hack directors, and then wave a boatload of money at universally known performers to get them to sign up. Who can forget Dustin Hoffman in Last Chance Harvey? Or the Diane Keaton/Queen Latifah/Katie Holmes vehicle Mad Money? The answer: everyone. Righteous Kill was one of Overture’s early projects. Co-starring 50 Cent, Donnie Wahlberg, John Leguizamo, Carla Gugino, Brian Dennehy, and pro-skater Rob Dyrdek, the names above the title were De Niro and Pacino. Two legends playing cops — it was a combination to delight both cinephiles and dads who go to the movies once a year. Early trade announcements pegged the crime drama as an adaptation of a highly regarded French film (36 Quai des Orfèvres), but this seems to either have been a mistake, or the end product was so different lawyers arbitrated the connection away. There is no mention of it in the credits and looking at the synopsis of the “original,” I don’t see much similarity. This, to me, suggests that this was a “get the cast first, worry about the story second” type of movie. The film was directed by Jon Avnet, who had a hit in 1991 with Fried Green Tomatoes. After that, his resume gets dodgy. A year before Righteous Kill he directed Pacino in 88 Minutes, one of the worst things the Oscar, Tony, Emmy, Golden Globe and BAFTA-winning actor had ever starred in. That is, until, Righteous Kill. Financed and produced by Millennium/Nu Image, the production outfit currently dumping Rambo and Hellboy revamps into multiplexes, Righteous Kill boasts an 18% percent on ye olde Rotten Tomatoes. The pull quotes from different “fresh” reviews include phrases like “despite major reservations,” “has been done before,” “isn’t anything to write home about” and references to Grampa Simpson. Reminder: these are the positive reviews! Is it really that bad? The opening sequence of Righteous Kill should be studied by scientists for its ability to provide more cringe-per-capita than any other cinematic product of our age. A choppy montage (spliced together from what appears to be scenes from later in the movie that didn’t make the cut) finds two well-past-retirement cops gritting their teeth and mugging during shooting practice. “Two between the eyes!” these once-great thespians blurt at one another, as cheesy electric guitars shred all over the soundtrack. It’s like the Doof Warrior is somewhere in the next room while these two old guys, in grey sweats, lift weights. After this disorienting intro, we begin with De Niro on some sort of confessional video, confessing that he’s gone from detective to vigilante. When the scum on the streets beat the system, he hunts them down and blows them away. It began quietly, with planting evidence, but evolved to multiple homicides. Pacino, his partner, appears to be covering for him, especially when two other cops (Leguizamo and Wahlberg) join to help “find” the killer. (Because the killer leaves poems behind. Real smart.) I got in the business of writing about movies because I am easily captured in their thrall. As such, I never can see a twist coming or guess an ending. The point is, I saw the big switcheroo in Righteous Kill coming a mile away. And if I saw it coming, I can only imagine how viewers like my wife, a genuine movie-twist Poirot, thought of it. The movie features flashbacks of stylized murders, gobs of voice-over, shots of a chief (Dennehy) dressing down our heroes and some queasy moments on the edge of offensiveness. Referring to someone as an “African-American junkie whore” is, uh, weird. The movie builds to a big revelation and a chase scene that’s shot in such a way that these older gents don’t have to run too much. It all looks so cheap. Apart from the rote plot, though, there’s just an overall grossness to the film. Carla Gugino, nearly thirty years De Niro’s junior, is his girlfriend; a fellow cop whose sole character trait is that she likes it rough. As such, we are treated to shots of old man De Niro giving her the time (mostly audio, thankfully) then later complaining to Pacino that “she’s got my sperm level so low I’ve got to sit down to take a piss.” I’ve dealt with male plumbing equipment for my entire life and I just want to state for the record I have no idea what in the hell that’s supposed to mean. There’s a lot else that stinks about this movie. To catalogue it all feels a bit like punching down. A line like “is it killing time? Or is he just killing time?” is just so bad you need to respect it. Avnet, thrilled with his “get” of the two stars, boasted that the casting was an event in world history. Party coverage of the post-premiere shindig at New York’s Terminal 5 (an enormous concert venue) mentions that both Pacino and De Niro quickly bailed, leaving reporters to deal with Chevy Chase and Mickey Rourke. Around this time in 2008, the public had to face facts: The involvement of either of these legendary actors in a film, especially De Niro’s, was now a sign that the movie should probably be avoided. Yes, De Niro had The Silver Lining’s Playbook in 2012, but there was also Everybody’s Fine, Stone, Little Fockers, Killer Elite, Red Lights, The Family, Grudge Match (oh, Lord, Grudge Match), Last Vegas, Hands of Stone … all this dross leading up to Dirty Grandpa. Pacino was less busy, and gave us Danny Collins in 2015, which ruled, but there were plenty of whiffs like Manglehorn and The Humbling, and his truly awful filmed play of Salomé. (There’s a case to be made for Adam Sandler’s Jack and Jill, in which Pacino performs a musical number about Dunkin’ Donuts “Dunkaccinos,” being so bad that it’s actually good, but that’s for another time.) To get to heaven, one must go through hell, and that’s Righteous Kill, an absolute nadir for two greats. Luckily, a righteous man was in the wings. Martin Scorsese and Pacino have known one another for decades, though had never worked together. The Irishman marks collaboration number nine for he and De Niro. While the movie is only coming out now, development with this cast began in 2008, right as Righteous Kill was bumming everyone out. We should all have friends like Martin Scorsese. The third act of The Irishman, which hits theaters on Nov. 1 before arriving to Netflix on Nov. 29, argues that everyone – even the hardened killers – will eventually reevaluate their deeds. We can’t lie about the past. We must confront it if we want to be saved. So there’s no lying about Righteous Kill. But with acknowledgment, we may just meet our eternal reward. The Irishman is big, brave and good enough to be Righteous Kill’s redemption. Righteous Kill is currently available to stream on Netflix. Correction (Oct. 31): A previous version of this story indicated that the Richard Gere film Brooklyn’s Finest was produced by Overture. The film was only distributed by the company. We’ve edited the article to remove mention of the film.
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"https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_DRAMA/ff08f33b-26bd-42eb-b24f-36a3854e1bc4._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_ROMANCE/a913ed77-a328-4136-bd01-ed8f1b37235f._SX300_.jpg", "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:134-4519606-7924436:T9GYD6BSKF9BV0TAF14Q$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DT9GYD6BSKF9BV0TAF14Q:0" ]	[]	[]	[ "" ]	null	[]	null	Browse Al Pacino movies and TV shows available on Prime Video and begin streaming right away to your favorite device.	en			https://www.amazon.com/prime-video/actor/Al-Pacino/amzn1.dv.gti.5e5f9a3d-98d8-458d-a8f5-08d565b0311e/	Alfredo James "Al" 'Pacino established himself as a film actor during one of cinema's most vibrant decades, the 1970s, and has become an enduring and iconic figure in the world of American movies. He was born April 25, 1940 in Manhattan, New York City, to Italian-American parents, Rose (nee Gerardi) and Sal Pacino. They divorced when he was young. His mother moved them into his grandparents' home in the South Bronx. Pacino found himself often repeating the plots and voices of characters he had seen in the movies. Bored and unmotivated in school, he found a haven in school plays, and his interest soon blossomed into a full-time career. Starting onstage, he went through a period of depression and poverty, sometimes having to borrow bus fare to succeed to auditions. He made it into the prestigious Actors Studio in 1966, studying under Lee Strasberg, creator of the Method Approach that would become the trademark of many 1970s-era actors. After appearing in a string of plays in supporting roles, Pacino finally attained success off-Broadway with Israel Horovitz's "The Indian Wants the Bronx", winning an Obie Award for the 1966-67 season. That was followed by a Tony Award for "Does the Tiger Wear a Necktie?" His first feature films made little departure from the gritty realistic stage performances that earned him respect: he played a drug addict in The Panic in Needle Park (1971) after his film debut in Me, Natalie (1969). The role of Michael Corleone in The Godfather (1972) was one of the most sought-after of the time: Robert Redford, Warren Beatty, Jack Nicholson, Ryan O'Neal, Robert De Niro and a host of other actors either wanted it or were mentioned, but director Francis Ford Coppola wanted Pacino for the role. Coppola was successful but Pacino was reportedly in constant fear of being fired during the very difficult shoot. The film was a monster hit that earned Pacino his first Academy Award nomination for Best Supporting Actor. However, instead of taking on easier projects for the big money he could now command, Pacino threw his support behind what he considered tough but important films, such as the true-life crime drama Serpico (1973) and the tragic real-life bank robbery film Dog Day Afternoon (1975). He was nominated three consecutive years for the "Best Actor" Academy Award. He faltered slightly with Bobby Deerfield (1977), but regained his stride with And Justice for All (1979), for which he received another Academy Award nomination for Best Actor. Unfortunately, this would signal the beginning of a decline in his career, which produced flops like Cruising (1980) and Author! Author! (1982). Pacino took on another vicious gangster role and cemented his legendary status in the ultra-violent cult film Scarface (1983), but a monumental mistake was about to follow. Revolution (1985) endured an endless and seemingly cursed shoot in which equipment was destroyed, weather was terrible, and Pacino fell ill with pneumonia. Constant changes in the script further derailed the project. The Revolutionary War-themed film, considered among the worst films ever made, resulted in awful reviews and kept him off the screen for the next four years. Returning to the stage, Pacino did much to give back and contribute to the theatre, which he considers his first love. He directed a film, The Local Stigmatic (1990), but it remains unreleased. He lifted his self-imposed exile with the striking Sea of Love (1989) as a hard-drinking policeman. This marked the second phase of Pacino's career, being the first to feature his now famous dark, owl eyes and hoarse, gravelly voice. Returning to the Corleones, Pacino made The Godfather Part III (1990) and earned raves for his first comedic role in the colorful adaptation Dick Tracy (1990). This earned him another Academy Award nomination for Best Supporting Actor, and two years later he was nominated for Glengarry Glen Ross (1992). He went into romantic mode for Frankie and Johnny (1991). In 1992, he finally won the Academy Award for Best Actor for his amazing performance in Scent of a Woman (1992). A mixture of technical perfection (he plays a blind man) and charisma, the role was tailor-made for him, and remains a classic. The next few years would see Pacino becoming more comfortable with acting and movies as a business, turning out great roles in great films with more frequency and less of the demanding personal involvement of his wilder days. Carlito's Way (1993) proved another gangster classic, as did the epic crime drama Heat (1995) directed by Michael Mann and co-starring Robert De Niro. He directed the film adaptation of Shakespeare's Looking for Richard (1996). During this period, City Hall (1996), Donnie Brasco (1997) and The Devil's Advocate (1997) all came out. Reteaming with Mann and then Oliver Stone, he gave commanding performances in The Insider (1999) and Any Given Sunday (1999). In the 2000s, Pacino starred in a number of theatrical blockbusters, including Ocean's Thirteen (2007), but his choice in television roles (the vicious, closeted Roy Cohn in the HBO miniseries Angels in America (2003) and his sensitive portrayal of Jack Kevorkian, in the television movie You Don't Know Jack (2010)) are reminiscent of the bolder choices of his early career. Each television project garnered him an Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie. Never wed, Pacino has a daughter, Julie Marie, with acting teacher Jan Tarrant, and a set of twins with former longtime girlfriend Beverly D'Angelo. His romantic history includes Jill Clayburgh, Veruschka von Lehndorff, Carole Mallory, Debra Winger, Tuesday Weld, Marthe Keller, Carmen Cervera, Kathleen Quinlan, Lyndall Hobbs, Penelope Ann Miller, and a two-decade intermittent relationship with "Godfather" co-star Diane Keaton. He currently lives with Argentinian actress Lucila Solá, who is 36 years his junior. As of 2022, Pacino is 82-years-old. He has never retired from acting, and continues to appear regularly in film.
915	yago	0	74	https://uh.edu/~yliu23/shakespeare/richard3/richard3.htm	en	Shakespeare's Major Works			[ "https://uh.edu/~yliu23/shakespeare/images/playbanner_richard3.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	Richard III is one of the most frequently performed Shakespearean plays, yet it is the fourth play of a tetrology and therefore relies heavily on the history detailed in the earlier three plays (Henry VI, part 1; Henry VI, part 2; and Henry VI, part 3). Your text is more heavily footnoted than other plays that you have read, and unless you are very familiar with English history of the fifteenth century, you will from time to time be confused about who is or was whom. These obstacles notwithstanding, Richard III provides some of the greatest scenes and greatest lines found in Shakespeare's works. It provides a wonderful venue for actors and actresses to demonstrate the full range of their dramatic ability. An excellent film was made in the mid 1990s by Al Pacino, Looking For Richard, which explores in a very contemporary way the difficulties an actor, and an entire acting company, must wrestle with to bring an effective production of this play to a modern audience unfamiliar with the complicated monarchial history of late fifteenth century England. A famous British actor, Ian McClellan also made a recent film of Richard III using a modern set with jeeps, tanks, and machine guns to provide a 20th Century interpretation of this medieval play.
915	yago	0	8	https://quadcinema.com/film/looking-for-richard/	en	Looking for Richard	https://quadcinema.com/w…t-3.50.56-PM.png	https://quadcinema.com/w…t-3.50.56-PM.png	[ "https://quadcinema.com/wp-content/uploads/2018/02/Screen-Shot-2018-02-14-at-3.50.56-PM.png" ]	[]	[]	[ "" ]	null	[]	null	Established in 1972, Quad Cinema is New York's original multi-screen cinema.	en		Quad Cinema	https://quadcinema.com/film/looking-for-richard/	In this mold-breaking documentary Pacino encourages actors to share their perspectives on Shakespeare in general and his formidable Richard III in particular, in an effort to both honor and demystify the playwright and his prose. The result earned Pacino a Directors Guild of America Award. Play rehearsal and performance footage stars Pacino, Winona Ryder, Alec Baldwin, and more; expert-witness interviewees include Peter Brook, John Gielgud, Rosemary Harris, and James Earl Jones.
915	yago	2	16	https://en.wikipedia.org/wiki/Al_Pacino	en	Al Pacino	https://upload.wikimedia…401544240%29.jpg	https://upload.wikimedia…401544240%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/1/1b/Semi-protection-shackle.svg/20px-Semi-protection-shackle.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Al_Pacino_2016_%2830401544240%29.jpg/220px-Al_Pacino_2016_%2830401544240%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Al_Pacino_with_James_Caan_%28cropped%29.jpg/75px-Al_Pacino_with_James_Caan_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/56/Al_Pacino_-_Hummel.jpg/170px-Al_Pacino_-_Hummel.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/03/Al_Pacino_with_James_Caan.jpg/170px-Al_Pacino_with_James_Caan.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Pacino_as_Serpico_in_1973.jpg/170px-Pacino_as_Serpico_in_1973.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Al_Pacino_Cannes_1996.jpg/170px-Al_Pacino_Cannes_1996.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/98/Al_Pacino.jpg/170px-Al_Pacino.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/e8/Manglehorn_03_%2815272211442%29.jpg/170px-Manglehorn_03_%2815272211442%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/33/CMiks_-_The_Irishman_table_-_CCA_2020_01_12.jpg/220px-CMiks_-_The_Irishman_table_-_CCA_2020_01_12.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/19px-P_vip.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/19px-Video-x-generic.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Flag_of_New_York_City.svg/21px-Flag_of_New_York_City.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2002-02-26T04:36:58+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Al_Pacino	American actor (born 1940) "Pacino" redirects here. For the medieval Italian painter, see Pacino di Buonaguida. For the American football player, see Pacino Horne. Alfredo James Pacino ( pə-CHEE-noh; Italian: [paˈtʃiːno]; born April 25, 1940) is an American actor. Considered one of the greatest and most influential actors of the 20th century, Pacino has received numerous accolades including an Academy Award, two Tony Awards, and two Primetime Emmy Awards, achieving the Triple Crown of Acting. He has also received four Golden Globe Awards, a BAFTA, two Screen Actors Guild Awards, and was honored with the Cecil B. DeMille Award in 2001, the AFI Life Achievement Award in 2007, the National Medal of Arts in 2011, and the Kennedy Center Honors in 2016.[1][2][3][4] A method actor, Pacino studied at HB Studio and the Actors Studio, where he was taught by Charlie Laughton and Lee Strasberg. Pacino went on to receive the Academy Award for Best Actor for his role in Scent of a Woman (1992). His other Oscar-nominated roles were in The Godfather (1972), Serpico (1973), The Godfather Part II (1974), Dog Day Afternoon (1975), ...And Justice for All (1979), Dick Tracy (1990), Glengarry Glen Ross (1992), and The Irishman (2019). His other notable roles include The Panic in Needle Park (1971), Scarecrow (1973), Cruising (1980), Scarface (1983), The Godfather Part III (1990), Carlito's Way (1993), Heat (1995), Donnie Brasco, The Devil's Advocate (both 1997), The Insider, Any Given Sunday (both 1999), Insomnia (2002), Ocean's Thirteen (2007), Once Upon a Time in Hollywood (2019), and House of Gucci (2021). On television, Pacino has acted in multiple productions for HBO, including Angels in America (2003) and the Jack Kevorkian biopic You Don't Know Jack (2010), winning a Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie for each. Pacino starred in the Amazon Prime Video series Hunters (2020–23). He has also had an extensive career on stage. He is a two-time Tony Award winner, winning Best Featured Actor in a Play in Does a Tiger Wear a Necktie? (1969) and Best Actor in a Play for The Basic Training of Pavlo Hummel (1977). Pacino made his directing debut with the documentary Looking for Richard (1996); Pacino had played the lead role on stage in 1977. He has also acted as Shylock in a 2004 feature film adaptation and 2010 stage production of The Merchant of Venice. Pacino directed and starred in Chinese Coffee (2000), Wilde Salomé (2011), and Salomé (2013). Since 1994, he has been the joint president of the Actors Studio. Early life and education Alfredo James Pacino was born in the East Harlem neighborhood of Manhattan, New York City, on April 25, 1940, the only child of Sicilian Italian-American parents Rose (née Gerardi) and Salvatore Pacino.[5]: xix [6]: 2 His parents divorced when he was two years old.[7][6]: 2 He then moved with his mother to the South Bronx to live with her parents, Kate and James Gerardi, who were Italian emigrants from Corleone.[8][6]: 1–2 Pacino's father was from San Fratello and moved to work as an insurance salesman and restaurateur in Covina, California.[7][9] In his teenage years, Pacino was known as "Sonny" to his friends.[5]: xix He had ambitions to become a baseball player and was also nicknamed "The Actor".[5]: xix He attended Herman Ridder Junior High School,[10] but soon dropped out of most of his classes except for English. He subsequently attended the High School of Performing Arts,[11] after gaining admission by audition. His mother disagreed with his decision and, after an argument, he left home. To finance his acting studies, Pacino took low-paying jobs as a messenger, busboy, janitor, and postal clerk,[7] as well as once working in the mailroom for Commentary.[12] Pacino began smoking and drinking at age nine, and used marijuana casually at age 13, but he abstained from hard drugs.[5]: 9 His two closest friends died from drug abuse at the ages of 19 and 30.[5]: 8 Growing up in the South Bronx, Pacino got into occasional fights and was considered somewhat of a troublemaker at school.[5]: 6 He acted in basement plays in New York's theatrical underground, but was rejected as a teenager by the Actors Studio.[5]: xix Instead, Pacino joined the HB Studio, where he met acting teacher Charlie Laughton,[a] who became his mentor and best friend.[5]: xix In this period, he was often unemployed or homeless, and sometimes slept on the street, in theaters, or at a friend's home.[5]: 14 [8] In 1962, Pacino's mother died at the age of 43.[5]: 10 The following year, his maternal grandfather also died.[7] Pacino recalled it as the lowest point of his life and said, "I was 22 and the two most influential people in my life had gone, so that sent me into a tailspin."[9] After four years at HB Studio, Pacino successfully auditioned for the Actors Studio.[5]: xix The Actors Studio is a membership organization of professional actors, theater directors, and playwrights in the Hell's Kitchen neighborhood of Manhattan.[13] Pacino studied "method acting"[7] under acting coach Lee Strasberg, who appeared with Pacino in the films The Godfather Part II and in ...And Justice for All.[8] During later interviews, he spoke about Strasberg and the Studio's effect on his career. "The Actors Studio meant so much to me in my life. Lee Strasberg hasn't been given the credit he deserves ... Next to Charlie, it sort of launched me. It really did. That was a remarkable turning point in my life. It was directly responsible for getting me to quit all those jobs and just stay acting."[5]: 15 In another interview he added, "It was exciting to work for him [Lee Strasberg] because he was so interesting when he talked about a scene or talked about people. One would just want to hear him talk, because things he would say, you'd never heard before ... He had such a great understanding ... he loved actors so much."[14] In 2000, Pacino was co-president of the Actors Studio, along with Ellen Burstyn and Harvey Keitel.[13] Stage career In 1967, Pacino spent a season at the Charles Playhouse in Boston, performing in Clifford Odets' Awake and Sing! (his first major paycheck: US$125 a week); and in Jean-Claude Van Itallie's America Hurrah. He met actress Jill Clayburgh on this play. They had a five-year romance and moved back to New York City.[6] In 1968, Pacino starred in Israel Horovitz's The Indian Wants the Bronx at the Astor Place Theatre, playing Murph, a street punk. The play opened January 17, 1968, and ran for 177 performances; it was staged in a double bill with Horovitz's It's Called the Sugar Plum, starring Clayburgh. Pacino won an Obie Award for Best Actor for his role, with John Cazale winning for Best Supporting Actor and Horowitz for Best New Play.[15] Martin Bregman saw the play and became Pacino's manager, a partnership that became fruitful in the years to come, as Bregman encouraged Pacino to do The Godfather, Serpico, and Dog Day Afternoon.[16] About his stage career, Pacino said, "Martin Bregman discovered me ... I was 26, 25 ... he discovered me and became my manager. And that's why I'm here. I owe it to Marty, I really do".[17] Pacino took the production of The Indian Wants the Bronx to Italy for a performance at the Festival dei Due Mondi in Spoleto. It was Pacino's first journey to Italy; he later recalled that "performing for an Italian audience was a marvelous experience".[6] Pacino and Clayburgh were cast in "Deadly Circle of Violence", an episode of the ABC television series NYPD, premiering November 12, 1968. Clayburgh at the time was also appearing on the soap opera Search for Tomorrow, playing the role of Grace Bolton. Her father would send the couple money each month to help with finances.[18] On February 25, 1969, Pacino made his Broadway debut in Don Petersen's Does a Tiger Wear a Necktie? at the Belasco Theater, produced by A&P Heir Huntington Hartford. It closed after 39 performances on March 29, 1969, but Pacino received rave reviews and won the Tony Award on April 20, 1969.[6] Pacino continued performing onstage in the 1970s, winning a second Tony Award for The Basic Training of Pavlo Hummel and performing the title role in Richard III.[7] In the 1980s, Pacino again achieved critical success on stage while appearing in David Mamet's American Buffalo, for which Pacino was nominated for a Drama Desk Award.[7] Since 1990, Pacino's stage work has included revivals of Eugene O'Neill's Hughie, Oscar Wilde's Salome and in 2005 Lyle Kessler's Orphans.[19] In 1983, Pacino became a major donor for The Mirror Theater Ltd, alongside Dustin Hoffman and Paul Newman, matching a grant from Laurance Rockefeller.[20] The men were inspired to invest by their connection with Lee Strasberg, as Strasberg's daughter-in-law Sabra Jones was the founder and Producing Artistic Director of The Mirror. In 1985, Pacino offered the company his production of Hughie by Eugene O'Neill, but the company was unable to do it at the time due to the small cast.[20] In October 2002, Pacino starred in Bertolt Brecht's The Resistible Rise of Arturo Ui for the National Actor's Theater and Complicite.[21] Directed by Simon McBurney, the production starred a host of Hollywood names, including John Goodman, Charles Durning, Tony Randall, Steve Buscemi, Chazz Palminteri, Paul Giamatti, Jacqueline McKenzie, Billy Crudup, Lothaire Bluteau, Dominic Chianese and Sterling K. Brown.[22] The production was a critical success in which "Pacino grabs and holds the attention like a coiled spring about to snap. He is all brooding menace and crocodile grimace, butchering his way to the top with unnervingly sinister glee."[23] Pacino returned to the stage in the summer of 2010, playing Shylock in the Shakespeare in the Park production, The Merchant of Venice.[24] The acclaimed production moved to Broadway at the Broadhurst Theatre in October, earning US$1 million at the box office in its first week.[25][26] The performance also garnered him a Tony Award nomination for Best Leading Actor in a Play.[27] Pacino starred in the 30th-anniversary Broadway revival of David Mamet's play, Glengarry Glen Ross, which ran from October 2012 to January 20, 2013.[28] He starred on Broadway in China Doll, a play written for him by Mamet, which opened on December 5, 2015, and closed on January 21, 2016, after 97 performances.[29] The previews were done in October 2015.[30] Screen career Pacino found acting enjoyable and realized he had a gift for it while studying at The Actors Studio. However, his early work was not financially rewarding.[8] After his success on stage, Pacino made his film debut in 1969 with a brief appearance in Me, Natalie, an independent film starring Patty Duke.[31] In 1970, Pacino signed with the talent agency Creative Management Associates (CMA).[6] 1970s His role as a heroin addict in The Panic in Needle Park (1971) brought Pacino to the attention of director Francis Ford Coppola, who cast him as Michael Corleone in what became a blockbuster Mafia film, The Godfather (1972).[32] Although Jack Nicholson, Robert Redford, Warren Beatty, and the little-known Robert De Niro tried out for the part, Coppola selected Pacino, to the dismay of studio executives who wanted someone better known.[8][33] Pacino's performance earned him an Academy Award nomination, and offered a prime example of his early acting style, described by Halliwell's Film Guide as "intense" and "tightly clenched". Pacino boycotted the Academy Award ceremony, insulted at being nominated for the Supporting Acting award, as he noted that he had more screen time than co-star and Best Actor winner Marlon Brando—who also boycotted the awards, but for unrelated reasons.[34] In 1973, Pacino co-starred in Scarecrow with Gene Hackman, and won the Palme d'Or at the Cannes Film Festival. That same year, Pacino was nominated for an Academy Award for Best Actor after starring in Serpico, based on the true story of New York City policeman Frank Serpico, who went undercover to expose the corruption of fellow officers.[34] In 1974, Pacino reprised his role as Michael Corleone in The Godfather Part II, which was the first sequel to win the Best Picture Oscar; Pacino was nominated a third time for an Oscar, this second nomination for the Corleone role being in the lead category.[34] Newsweek has described his performance in The Godfather Part II as "arguably cinema's greatest portrayal of the hardening of a heart".[35] In 1975, he enjoyed further success with the release of Dog Day Afternoon, based on the true story of bank robber John Wojtowicz.[8] It was directed by Sidney Lumet, who had directed him in Serpico a few years earlier, and Pacino was again nominated for Best Actor.[36] In 1977, Pacino starred as a race-car driver in Bobby Deerfield, directed by Sydney Pollack, and received a Golden Globe nomination for Best Actor – Motion Picture Drama for his portrayal of the title role. His next film was the courtroom drama ...And Justice for All. Pacino was lauded by critics for his wide range of acting abilities, and nominated for the Best Actor Oscar for a fourth time.[36] He lost out that year to Dustin Hoffman in Kramer vs. Kramer—a role that Pacino had declined.[36] During the 1970s, Pacino had five Oscar nominations, including four for Best Actor for his performances in Serpico, The Godfather Part II, Dog Day Afternoon, and ...And Justice for All.[8] 1980s Pacino's career slumped in the early 1980s; his appearances in the controversial Cruising, a film that provoked protests from New York's gay community,[37] and the comedy-drama Author! Author!, were critically panned.[7] However, his performance in Scarface (1983), directed by Brian De Palma, proved to be a career highlight and a defining role.[8] Upon its initial release, the film was critically panned due to violent content, but later received critical acclaim.[38] The film did well at the box office, grossing over US$45 million domestically.[39] Pacino earned a Golden Globe nomination for his role as Cuban drug lord Tony Montana.[40] In 1985, Pacino worked on his personal project, The Local Stigmatic, a 1969 off-Broadway play by the English writer Heathcote Williams. He starred in the play, remounting it with director David Wheeler and the Theater Company of Boston in a 50-minute film version. The film was not released theatrically, but was later released as part of the Pacino: An Actor's Vision box set in 2007.[8] His 1985 film Revolution about a fur trapper during the American Revolutionary War, was a commercial and critical failure, which Pacino blamed on a rushed production,[41] resulting in a four-year hiatus from films. At this time Pacino returned to the stage. He mounted workshop productions of Crystal Clear, National Anthems and other plays; he appeared in Julius Caesar in 1988 in producer Joseph Papp's New York Shakespeare Festival. Pacino remarked on his hiatus from film: "I remember back when everything was happening, '74, '75, doing The Resistible Rise of Arturo Ui on stage and reading that the reason I'd gone back to the stage was that my movie career was waning! That's been the kind of ethos, the way in which theater's perceived, unfortunately."[42] Pacino returned to film in 1989's Sea of Love,[8] when he portrayed a detective hunting a serial killer who finds victims through the singles column in a newspaper. The film earned solid reviews.[43] 1990s Pacino received an Academy Award nomination for playing Big Boy Caprice in the box office hit Dick Tracy in 1990, of which critic Roger Ebert described Pacino as "the scene-stealer".[44] Later in the year he followed this up in a return to one of his most famous characters, Michael Corleone, in The Godfather Part III (1990).[8] The film received mixed reviews, and had problems in pre-production due to script rewrites and the withdrawal of actors shortly before production.[45] In 1991, Pacino starred in Frankie and Johnny with Michelle Pfeiffer, who co-starred with Pacino in Scarface. Pacino portrays a recently paroled cook who begins a relationship with a waitress (Pfeiffer) in the diner where they work. It was adapted by Terrence McNally from his own off-Broadway play Frankie and Johnny in the Clair de Lune (1987), that featured Kenneth Welsh and Kathy Bates. The film received mixed reviews, although Pacino later said he enjoyed playing the part.[46] Janet Maslin in The New York Times wrote, "Mr. Pacino has not been this uncomplicatedly appealing since his Dog Day Afternoon days, and he makes Johnny's endless enterprise in wooing Frankie a delight. His scenes alone with Ms. Pfeiffer have a precision and honesty that keep the film's maudlin aspects at bay."[47] For his portrayal of the irascible, blind U.S. Army Lieutenant Colonel Frank Slade in Martin Brest's Scent of a Woman (1992)[8] Pacino won the Academy Award for Best Actor next year. He was also nominated for Best Supporting Actor for Glengarry Glen Ross, making Pacino the first male actor ever to receive two acting nominations for two movies in the same year, and to win for the lead role.[8] Pacino starred alongside Sean Penn in the crime drama Carlito's Way in 1993, in which he portrayed Carlito Brigante, a gangster released from prison with the help of his corrupt lawyer (Penn) and vows to go straight.[48] Pacino starred in Michael Mann's Heat (1995), in which he and Robert De Niro appeared on-screen together for the first time (though both Pacino and De Niro starred in The Godfather Part II, they did not share any scenes).[8][49] In 1996, Pacino starred in his theatrical docudrama Looking for Richard, a performance of selected scenes of William Shakespeare's Richard III and a broader examination of Shakespeare's continuing role and relevance in popular culture. The cast brought together for the performance included Alec Baldwin, Kevin Spacey, and Winona Ryder.[50] Pacino played Satan in the supernatural thriller The Devil's Advocate (1997) which co-starred Keanu Reeves. The film was a success at the box office, taking US$150 million worldwide.[51] Roger Ebert wrote in the Chicago Sun-Times, "The satanic character is played by Pacino with relish bordering on glee."[52] In 1997's Donnie Brasco, Pacino played gangster "Lefty" in the true story of undercover FBI agent Donnie Brasco (Johnny Depp) and his work in bringing down the Mafia from the inside.[53] In 1999, Pacino starred as 60 Minutes producer Lowell Bergman in the multi-Oscar nominated The Insider opposite Russell Crowe, and in Oliver Stone's Any Given Sunday.[54][55] 2000s Pacino won three Golden Globes since 2000; the first being the Cecil B. DeMille Award in 2001 for lifetime achievement in motion pictures.[56] In 2000, Pacino starred alongside Jerry Orbach in a low-budget film adaptation of Ira Lewis' play Chinese Coffee, which was released to film festivals.[57] Shot almost exclusively as a one-on-one conversation between two main characters, the project took nearly three years to complete and was funded entirely by Pacino.[57] Chinese Coffee was included with Pacino's two other rare films he was involved in producing, The Local Stigmatic and Looking for Richard, on a special DVD box set titled Pacino: An Actor's Vision, which was released in 2007. Pacino produced prologues and epilogues for the discs containing the films.[58] Pacino turned down an offer to reprise his role as Michael Corleone in the computer game version of The Godfather. As a result, Electronic Arts was not permitted to use Pacino's likeness or voice in the game, although his character does appear in it.[59] He did allow his likeness to appear in the video game adaptation of 1983's Scarface, the quasi-sequel Scarface: The World is Yours.[60] Director Christopher Nolan worked with Pacino on Insomnia, a remake of the Norwegian film of the same name, co-starring Robin Williams. Newsweek stated that "he [Pacino] can play small as rivetingly as he can play big, that he can implode as well as explode".[61] The film and Pacino's performance were well received, gaining a favorable rating of 93 percent on the review aggregation website Rotten Tomatoes.[62] The film did moderately well at the box office, taking in $113 million worldwide.[63] His next film, S1m0ne, however, did not receive much critical praise or box office success.[64] He played a publicist in People I Know, a small film that received little attention despite Pacino's well-received performance.[65] Rarely taking a supporting role since his commercial breakthrough, he accepted a small part in the critical and box office flop Gigli, in 2003, as a favor to director Martin Brest.[65][66] The Recruit, released in 2003, featured Pacino as a CIA recruiter and co-stars Colin Farrell. The film received mixed reviews,[67] and has been described by Pacino as something he "personally couldn't follow".[65] Pacino next starred as lawyer Roy Cohn in the 2003 HBO miniseries Angels in America, an adaptation of Tony Kushner's Pulitzer Prize winning play of the same name.[8] For this performance, Pacino won his third Golden Globe, for Best Performance by an Actor, in 2004.[68] Pacino starred as Shylock in Michael Radford's 2004 film adaptation of The Merchant of Venice. Critics praised him for bringing compassion and depth to a character traditionally played as a villainous caricature.[69] In Two for the Money, Pacino portrays a sports gambling agent and mentor for Matthew McConaughey, alongside Rene Russo. The film was released on October 8, 2005, to mixed reviews.[70] Desson Thomson wrote in The Washington Post, "Al Pacino has played the mentor so many times, he ought to get a kingmaker's award ... the fight between good and evil feels fixed in favor of Hollywood redemption."[71] On October 20, 2006, the American Film Institute named Pacino the recipient of the 35th AFI Life Achievement Award.[72] On November 22, 2006, the University Philosophical Society of Trinity College Dublin awarded Pacino the Honorary Patronage of the Society.[73] Pacino starred in Steven Soderbergh's Ocean's Thirteen, alongside George Clooney, Brad Pitt, Matt Damon, Elliott Gould and Andy García, as the villain Willy Bank, a casino tycoon targeted by Danny Ocean and his crew. The film received generally favorable reviews.[74] 88 Minutes was released on April 18, 2008, in the United States, after having been released in various other countries in 2007. The film co-starred Alicia Witt and was critically panned,[75] although critics found fault with the plot, and not Pacino's acting.[76] In Righteous Kill, Pacino and Robert De Niro co-star as New York detectives searching for a serial killer. The film was released to theaters on September 12, 2008. While it was an anticipated return for the two stars, it was not well received by critics.[77] 2010s Pacino played Jack Kevorkian in an HBO Films biopic titled You Don't Know Jack, which premiered April 2010. The film is about the life and work of the physician-assisted suicide advocate. The performance earned Pacino his second Emmy Award[78] for lead actor[79] and his fourth Golden Globe award.[80] He co-starred as himself in the 2011 comedy film Jack and Jill. The film was panned by critics, and Pacino "won" the Golden Raspberry Award for Worst Supporting Actor at the 32nd ceremony.[81] He was presented with Jaeger-LeCoultre Glory to the Filmmaker Award on September 4, 2011, prior to the premiere of Wilde Salomé, a 2011 American documentary-drama film written, directed by and starring Pacino.[82][83] Its US premiere on the evening of March 21, 2012, before a full house at the 1,400-seat Castro Theatre in San Francisco's Castro District, marked the 130th anniversary of Oscar Wilde's visit to San Francisco. The event was a benefit for the GLBT Historical Society.[84][85][86] Pacino, who plays the role of Herod in the film, describes it as his "most personal project ever".[83] In February 2012, President Barack Obama awarded Pacino the National Medal of Arts.[87][88] Pacino starred in a 2013 HBO biographical picture about record producer Phil Spector's murder trial, titled Phil Spector.[89] He took the title role in the comedy-drama Danny Collins (2015). His performance as an aging rock star garnered him a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy nomination.[90] In 2016, Pacino received the Kennedy Center Honor.[91] The tribute included remarks by his former costars Sean Penn, Kevin Spacey, Bobby Cannavale and Chris O'Donnell.[92] In September 2012, Deadline Hollywood reported that Pacino would play the former Penn State University football coach Joe Paterno in the television film Paterno based on a 2012 biography by sportswriter Joe Posnanski.[93] Paterno premiered on HBO on April 7, 2018.[94] Pacino starred alongside Brad Pitt and Leonardo DiCaprio in Quentin Tarantino's comedy-drama Once Upon a Time in Hollywood, which was released on July 26, 2019.[95] Later in 2019, Pacino played Teamsters chief Jimmy Hoffa, alongside Robert De Niro and Joe Pesci, in Martin Scorsese's Netflix film The Irishman, based on the 2004 book I Heard You Paint Houses by Charles Brandt; this was the first time Pacino was directed by Scorsese, and he received an Academy Award for Best Supporting Actor nomination.[96] Pacino's performance received positive reviews. Peter Bradshaw described it as "glorious" in The Guardian.[97] Justin Chang wrote, "De Niro, Pesci and Pacino are at the top of their game, in part because they aren't simply rehashing the iconic gangster types they've played before."[98] 2020s In February 2020, Pacino starred as Meyer Offerman, a fictional Nazi hunter, in the Amazon Prime Video series Hunters.[99] This is Pacino's first television series since Angels in America (2003). Hunters was renewed for a second season in August 2020.[100] In 2021, Pacino played Aldo Gucci in Ridley Scott's House of Gucci.[101] The film received mixed to positive reviews, with Pacino's performance being highlighted as a standout, along with Lady Gaga's and Jared Leto's. That same year, he played the lead defense attorney in American Traitor: The Trial of Axis Sally. In August 2022, Pacino was set to produce Modì, a film about Amedeo Modigliani, which he will co-produce alongside Johnny Depp and Barry Navidi.[102] The film is based on a play by Dennis McIntyre, which was previously adapted for the 2004 film of the same name.[102] Principal photography commenced in September 2023.[103] On March 10, 2024, Pacino presented the Academy Award for Best Picture at the 96th Academy Awards.[104] Personal life Relationships Pacino has four children. The eldest, Julie Marie (born October 16, 1989), is his daughter with acting coach Jan Tarrant. He has twins, son Anton James and daughter Olivia Rose (born January 25, 2001), with actress Beverly D'Angelo, with whom he had a relationship from 1997 until 2003. He has a son, Roman (born June 15, 2023) with his producer girlfriend Noor Alfallah, who is 54 years younger than he is.[105] Pacino, at age 83, is one of the oldest fathers on record.[106] He has never been married.[107][108] Pacino had a relationship with his The Godfather Trilogy co-star Diane Keaton. Their on-again, off-again relationship ended after the filming of The Godfather Part III. Keaton said of Pacino, "Al was simply the most entertaining man... To me, that's, that is the most beautiful face. I think Warren [Beatty] was gorgeous, very pretty, but Al's face is like whoa. Killer, killer face."[109] He has had relationships with Jill Clayburgh, Tuesday Weld, Marthe Keller, Veruschka von Lehndorff, Kathleen Quinlan, Lyndall Hobbs, and Penelope Ann Miller.[58][110][111] Pacino had a ten-year relationship with Argentine actress Lucila Polak from 2008 to 2018.[112] Substance abuse issues Pacino has admitted to abusing drugs and alcohol early in his career, partly because he found his sudden fame after The Godfather difficult to cope with.[113][114] He achieved sobriety in 1977.[113] Acting credits and accolades Pacino has won and been nominated for many awards during his acting career, including nine Oscar nominations (winning one) and five BAFTA nominations (winning one) for his film work; 19 Golden Globe nominations (winning four) and seven SAG Award nominations (winning two), each recognizing both his film and TV work; three Primetime Emmy Award nominations (winning two) solely for his work on television; and three Tony Award nominations (winning two) for his stage work. In 2007, the American Film Institute awarded Pacino with a lifetime achievement award and, in 2003, British television viewers voted Pacino as the greatest film star of all time in a poll for Channel 4.[115] Explanatory notes References Citations General and cited references Grobel, Lawrence (2006). Al Pacino: The Authorized Biography. Simon & Schuster. ISBN 0-7432-9497-1. Al Pacino at IMDb Al Pacino at the Internet Broadway Database Al Pacino at the Internet Off-Broadway Database Al Pacino at the American Film Institute Catalog Al Pacino at the University of Wisconsin's Actors Studio audio collection Al Pacino at the TCM Movie Database Al Pacino at Emmys.com Al Pacino discography at Discogs
915	yago	1	14	http://alpacino.4mg.com/life.html	en	Al Pacino's Biography			[ "http://alpacino.4mg.com/cgi-bin/image/images/bannertype/100X22.gif", "http://alpacino.4mg.com/alangelo.jpg", "http://alpacino.4mg.com/alpacino.gif", "http://alpacino.4mg.com/aloscar.jpg", "http://alpacino.4mg.com/arrest.jpg" ]	[]	[]	[ "al", "pacino", "alpacino", "scarface", "godfather", "tony", "montana", "Filmography", "Album", "Biography", "Trivia", "Theatre", "OSCARS", "Sounds", "waves", "wave", "Releases", "sony", "INSIDER", "ANY", "GIVEN", "SUNDAY", "Broadway", "golden", "globe", "Me", "Natalie", "Panic", "needle", "park", "Serpico", "Scarecrow", "Dog", "Day", "Afternoon", "Bobby", "Deerfield", "Justice", "Cruising", "Author", "Scarface", "Revolution", "Sea", "Love", "Dick", "Tracy", "Frankie", "Johnny", "Scent", "Woman", "Glenngarry", "Glen", "Ross", "Carlito's", "Way", "Two", "Bits", "Heat", "Looking", "Richard", "City", "Hall", "Donnie", "Brasco", "Devil's", "Advocate", "Chinese", "Coffee", "Any", "Given", "Sunday", "Insider", "hollywood", "images", "pictures", "photos", "director", "Asad" ]	null	[]	null	Al Pacino's Biography with great info on his life, family, awards and Interesting facts.				null	Al Pacino's Biography, Awards and Trivia Education: High School for the Performing Arts, NYC; left before graduating at age 17 HB Studio, NYC; studied with Charles Laughton Actors Studio, NYC Family: Father: Salvatore Pacino, insurance salesman; left home when Pacino was two Mother: Rose Pacino Daughter: Julie Marie; mother, Jan Tarrant; born in 1989 TWINS (a baby boy and a girl): Mother, Beverly D'Angelo. Born in Jan 2001 Significant Others: Jill Clayburgh: actress; met while acting together at Charles Street Repertory Company, Boston (1966); no longer together Marthe Keller: actress; no longer together Diane Keaton: actress; no longer together Jan Tarrant: mother of Pacino's daughter Julie; no longer together Lyndall Hobbs: newscaster; Australian; born in 1953 in London; no longer together Penelope Ann Miller: actress; became involved during the filming of Carlito's Way (1993); no longer together Beverly D'Angelo: actress; dating since 1997. Mother of his twins. With Beverly D'Angelo Awards: 1967/68: Obie: Best Actor, The Indian Wants the Bronx 1969: Tony: Best Supporting Actor in a Play, Does a Tiger Wear a Necktie? 1969: Drama Desk: Does a Tiger Wear a Necktie? 1969: Theater World: Does a Tiger Wear a Necktie? 1972: National Board of Review: Best Supporting Actor, The Godfather 1972: National Society of Film Critics: Best Actor, The Godfather 1973: National Board of Review: Best Supporting Actor, Serpico 1973: Golden Globe: Best Actor in a Motion Picture (drama), Serpico 1974: BAFTA: Best Actor, The Godfather, Part II 1975: Los Angeles Film Critics: Best Actor, Dog Day Afternoon 1975: BAFTA: Best Actor, Dog Day Afternoon 1977: Tony: Best Actor in a Play, The Basic Training of Pavlo Hummel 1992: Golden Globe: Best Actor in a Motion Picture (drama), Scent of a Woman 1992: Oscar: Best Actor, Scent of a Woman 1996: Independent Feature Project: Gotham Award, Lifetime Achievement 1996: Directors Guild of America: Documentary Direction, Looking for Richard 1997: Boston Society of Film Critics: Best Actor, Donnie Brasco 2001: Cecil B. De Mille Lifetime Achievement Award (Presented at Golden Globe Awards 2001) After winning his Golden Globe Holding his OSCAR for "Scent of a Woman" AL PACINOwas born April 25 1940 in East Harlem, New York, and was raised in the Bronx. It wasn't that long before Pacino discovered his acting ability. Pacino was rather poor, and he lived in a poor neigborhood with his Grandmother. Growing up Pacino acted in lots of stage performences. Before his first movie was ever made he won a "Tony" for a stage play he'd done.Pacino recieved his great acting ability from the HERBERT BERGHOF STUDIO and the ACTORS STUDIO, both in New York. Pacino starred in a couple of award winning plays. Then he won the lead in the film "The Panic in Needle Park," in which Pacino played a drug addicted crook. "The Panic in Needle Park" pasted his way to Francis Ford Coppola and the role of Michael Corleone in "The Godfather, ( 1972)." The Godfather gave him his first OSCAR nomination. The film is about the fictional mafia crime family known as the Corleone crime family. Than came an almost unforgettable role in Serpico, a film were Pacino plays a cop who fights against coruption. After Serpico Pacino took on the role of Micheal Corleone once again in Francis Ford Coppola's "The Godfather Part II", Pacino is the don of the family, and we watch his rise as "don." "The Godfather Part II" earned Pacino another OSCAR nomination. Next Pacino stars as the homosexual bank robber Sunny in "Dog Day Afternoon" a film which co-starred John Cazel. Pacino did a few not to hot flicks, then came back with "Scarface." "Scarface" got some mixed reviews, but it brought Pacino back in a way. His next good movie was "Sea of Love." "Sea of Love" which got some good reviews, mostly about Pacino's great performence. Pacino was again nominated this time for his role in "Dick Tracy." Mostly because he did such a good job acting with all that make-up on. Once again Pacino returned to his role as Micheal Corleone in "The Godfather Part III." Pacino has now had a bit of a film streak. In 1992 and 1993, he gave his two great performances in "Scent of a Woman" and "Carlito's Way". He won his first OSCAR for his leading role in "Scent of a Woman". He's been starring in much more movies now. Like the obsessed cop in "Heat" trying to track down Robert De Niro. Playing the mayor in "City Hall." And writing and directing his own love letter to William Shakspere called "Looking for Richard". Pacino came out with some more movies in 1997. One starring Johnny Depp called "Donnie Brasco." his second in 1997 was "Devil's Advocate" with Keanu Reeves. We couldn't see Pacino in action in the year 1998. In the end of 1999, two pacino movies were released. Those were "The Insider" directed by Micheal Mann with whom Pacino gave one of my favorites..."Heat"(1995) and 2nd is "Any Given Sunday" with great director/producer Oliver Stone. More info on his movies is available at this site's Filmography Page. Interesting facts about Pacino's life -Pacino's parents divorced when he was two years old, after that he lived with his mother and grandparents in the Bronx -Pacino has had an interest in acting since he was very young, when he was 3 years old he would act out scenes to his grandfather that he had recently seen in movies -Al participated in school plays, and was voted "most likely to succeed," by his peers for his acting abilities -Pacino struggled with academics though, he dropped out of the High School of Performing Arts in New York at age 17 to pursue an acting career -He left home at age 17 to pursue his acting career, and struggled to stay out of poverty over the next ten years -Pacino had to pick up many different jobs to make money during that time, including theater usher and janitor -Pacino was arrested in 1961 for carrying a concealed weapon -During this time he was also honing his acting skills by taking classes at Lee Strasberg's Actors Studio, he would later work with Strasberg in the Godfather films -Pacino's mother died when he was 22 years old -Soon after, things started to pick up for Pacino, he won an Obie Award in 1968, and a Supporting Actor Tony in 1969 for ""Does a Tiger Wear a Necktie?" -Pacino later said that he enjoys theater work more than acting in movies -Pacino began getting a lot of critic's praise for his theater roles, and his success on Broadway landed him in the film The Panic in Needle Park -Francis Ford Coppola learned of Pacino through that role, and he was soon cast in The Godfather and on his way to superstardom -One of the more interesting movie mishaps occured in The Godfather, in the scene after Michael shoots McCluskey and Sollozzo Pacino jumps from the sidewalk into the getaway car, but he actually miscaluculated the leap in real life, twisting his ankle and straining a ligament -Pacino was payed only $40,000 for his role in The Godfather -Al's youth nickname was "Sonny," he later did Dog Day Afternoon with the name "Sonny" -Pacino stands only 5' 7" -His huge success in the mid-seventies went sour with a string of mostly commercial failures of 1977-1985 (with the possible exceptions of ...And Justice For All and Scarface) -Al took four years away from movie acting after that before returning in 1989 with Sea of Love -Pacino has been riding high since then with several successful films (The Godfather: Part III, Dick Tracy, Scent of a Woman, Carlito's Way, Heat, Donnie Brasco, Devil's Advocate) -Pacino has turned down roles in Pretty Woman, Kramer vs. Kramer, Crimson Tide, Apocalypse Now, and Born on The Fourth of July -Pacino was actually nominated for two Oscars in the same year (1992), one for Scent of a Woman and the other for Glengarry Glen Ross -Scent of a Woman director Martin Brest gave Pacino the name "El Diablo" (the devil in Spanish), just like with "Sonny" he later did The Devil's Advocate as "The Devil" -Pacino was once wore a fake beard and sun glasses at a Yankees game with Beverly D'Angelo, it did not work though as Pacino was easily recognized -Pacino's asking price is currently 9 million per film .
915	yago	2	41	http://velvet_peach.tripod.com/apacinomaglistbooks.html	en	BOOKS AND SOUNDTRACKS			[ "http://velvet_peach.tripod.com/links_menu_image_map_purple4.gif", "http://escati.linkopp.net/cgi-bin/counter2001.cgi?491590" ]	[]	[]	[ "Al", "Pacino", "books", "soundtracks", "dvd", "dvds", "tie-in", "making-of", "You'll", "Never", "Eat", "Lunch", "In", "This", "Town", "Again", "Julia", "Phillips", "A", "Life", "On", "the", "Wire", "Andrew Yule", "Ludovic Girard", "William Schoell", "Leonard Probst", "Michel Cieutat and Christian Viviani", "TITLE\r\nFilms of Al Pacino", "In", "Conversation", "Off-Camera", "Leveling", "About", "Themselves", "Dick", "Tracy", "Making", "of the Movie", "Mike Bonifer", "The Godfather Companion", "Peter Biskind", "The Godfather Legacy", "Harlan Lebo", "Francis Ford Coppola's Godfather Trilogy", "Nick Browne", "The Godfather Movies", "A Pictorial History", "Gerald Gardner and \r\nHarriet Modell Gardner" ]	null	[]	null	BOOKS AND SOUNDTRACKS - Al Pacino's Loft				null	The "Actors on Shakespeare" series draws on the contemporary relevance of, and enjoyment to be found in, Shakespeare. Each book provides an introduction to a particular play and here Al Pacino offers his view of Richard III as expressed in his own film Looking for Richard (thanks Anne for this info) Not released yet but you can pre-order it at Amazon.co.uk (£3.99) (this is British, I haven't found where to order it in the US yet.) Paperback - 112 pages (17 March, 2003) Faber and Faber; ISBN: 0571214053 A french biography. I don't have a copy so I don't know much about it. Amazon (France) says that it is out of print and unavailable at this time. FAN REVIEW: "I find it very interesting, each movie and off-screen things are well described. All pictures are taken from his movies. It's from his theater beginnings to Any Given Sunday." Virginie Jarosik (IN FRENCH) Two authors make a comparison between Robert De Niro and Al, their films, their method, their acting style etc. It has many black and white pictures from their films, bibliography, filmography. Edition: Dreamland (224 pages) (if the link doesn't work you can buy it at http://www.fnac.com/ search for Pacino.) FAN REVIEW: The same origins, an often close play of actor, Al Pacino and Robert De Niro offers many common points. On the basis of this observation, Michel Cieutat and Christian Viviani are leaning on the course of the two American actors. The fruit of their collaboration is a work entitled "Cross Regards". Michel Cieutat and Christian Viviani endeavor, initially, to draw up the portrait of Robert de Niro, then the one of Al Pacino. The occasion to see taking shape thus certain similarities. Both were born in New York at the beginning of the Forties. They have Italian blood in the veins. M. Cieutat and C Viviani then try to decipher the catalogue of films of the two actors. Virginie Jarosik
915	yago	1	1	https://en.wikipedia.org/wiki/Looking_for_Richard	en	Looking for Richard	https://upload.wikimedia…_for_richard.jpg	https://upload.wikimedia…_for_richard.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/f/ff/Looking_for_richard.jpg/220px-Looking_for_richard.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-04-15T22:20:28+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Looking_for_Richard	1996 film Looking for RichardDirected byAl PacinoWritten byWilliam Shakespeare Al Pacino Frederic KimballProduced byMichael Hadge Al PacinoStarringCinematographyRobert LeacockEdited byWilliam A. Anderson Ned Bastille Pasquale Buba Andre Ross BetzMusic byHoward Shore Production companies Chal Productions Jam Productions Distributed byFox Searchlight Pictures Release date Running time 112 minutesCountryUnited StatesLanguageEnglishBox office$1,408,575 Looking for Richard is a 1996 American documentary film directed by Al Pacino, in his directorial debut. It is a hybrid film, including both a filmed performance of selected scenes of William Shakespeare's Richard III and a documentary element which explores a broader examination of Shakespeare's continuing role and relevance in popular culture. The film was featured at the Sundance Film Festival in January 1996[1] and it was screened in the Un Certain Regard section at the 1996 Cannes Film Festival.[2] Al Pacino won the Directors Guild of America Award for Outstanding Directing – Documentaries. Description [edit] Pacino plays both himself and the title character, Richard III. The film guides the audience through the play's plot and historical background.[3] Pacino and several fellow actors, including Penelope Allen and Harris Yulin,[4] act out scenes from the play.[5] In addition, the actors comment on their roles. Pacino also features other actors famous for performing Shakespeare, such as Vanessa Redgrave, Kenneth Branagh, John Gielgud, Derek Jacobi, James Earl Jones, and Kevin Kline.[6] Pacino includes interviews with Shakespeare scholars such as Barbara Everett,[7] as well as ordinary people on the street. Cast [edit] Al Pacino as Richard III Penelope Allen as Queen Elizabeth Harris Yulin as King Edward Kevin Spacey as Buckingham Winona Ryder as Lady Anne Madison Arnold as Rivers Vincent Angell as Grey Gordon MacDonald as Dorset Kevin Conway as Lord Hastings Julie Moret as Mistress Shore Estelle Parsons as Queen Margaret Alec Baldwin as Clarence Aidan Quinn as Richmond Bruce MacVittie 1st Murderer Paul Guilfoyle 2nd Murderer Reception [edit] The film received positive reviews from critics. On the review aggregator website Rotten Tomatoes, 82% of 49 critics' reviews are positive, with an average rating of 7.1/10. The website's consensus reads: "Looking for Richard is a smart, fascinating behind-the-scenes look at adapting Shakespeare."[8] References [edit]
915	yago	1	55	https://playbill.com/article/al-pacino-to-receive-award-from-oxford-shakespeare-company-com-169367	en	Al Pacino to Receive Award from Oxford Shakespeare Company	https://playbill.com/ass…d70b15ee1de3c27e	https://playbill.com/ass…d70b15ee1de3c27e	[ "https://sb.scorecardresearch.com/p?c1=2&c2=33044428&cv=3.1&cj=1", "https://www.facebook.com/tr?id=925349244281937&ev=PageView&noscript=1", "https://pixel.quantserve.com/pixel/p-d4EOGSLZ4snXA.gif", "https://assets.playbill.com/site/main-logo-trimmed_2023-03-27-021655_agag.png", "https://assets.playbill.com/site/Playbill-P-Logo-1-5-line_2023-03-27-021704_bzom.png", "https://assets.playbill.com/editorial/_defaultEnhancement/2a682be3c93dc28af9df9a0e1344a059-pacino1_1145019880.jpg", "https://cdn.playbill.com/ad-block-logo.png" ]	[]	[]	[ "" ]	null	[]	2010-06-16T16:29:00-04:00	Al Pacino, the much-lauded stage and screen actor currently playing Shylock in the Public Theater's Shakespeare in the Park production of The Merchant of Venice , will soon add another award to his crowded mantle.	en	https://playbill.com/ass…d70b15ee1de3c27e	Playbill	https://playbill.com/article/al-pacino-to-receive-award-from-oxford-shakespeare-company-com-169367	Tribeca's Oxford Shakespeare Company (OSC) has named Pacino the first recipient of its Oxford Prize "in honor of the actor's outstanding artistic achievements in bringing Shakespeare to the public," according to press notes. The award, which will be presented to Pacino later this summer, also consists of a scholarship named in the recipient's honor, which is given to a promising actor at the OSC's theatre school, allowing the student to attend classes and production workshops at no cost. The Al Pacino Scholarship honoree is Frank Franconeri. Pacino's Shakespeare credits include a recent film version of Merchant; Looking for Richard, the semi-documentary meditation on Richard III in which he appeared and directed; and a Broadway production of Richard III. Other stage credits include a staged reading of Salome, The Resistable Rise of Arturo Ui, The Indian Wants the Bronx (Obie Award), American Buffalo, The Basic Training of Pavlo Hummel (Tony Award) and Does a Tiger Wear a Necktie? (Tony Award). Screen credits include "You Don't Know Jack," "Angels in America" (Emmy Award), "Scent of a Woman" (Academy Award), "Glengarry Glen Ross," "Scarface," "Dog Day Afternoon" and "The Godfather" films, among many others.
915	yago	0	81	https://www.panix.com/~dangelo/look.html	en	Looking for Richard			[]	[]	[]	[ "" ]	null	[]	null					null	Looking for Richard (Al Pacino) Rating: 1/2 (out of **)
915	yago	2	20	https://www.cynthianewberrymartin.com/2014/01/shakespeare-richard-iii/	en	shakespeare-richard iii	https://i0.wp.com/www.cy…it=32%2C32&ssl=1	https://i0.wp.com/www.cy…it=32%2C32&ssl=1	[ "https://www.cynthianewberrymartin.com/wp-content/uploads/2023/01/logo-blue3.png", "https://i0.wp.com/www.cynthianewberrymartin.com/wp-content/uploads/2013/11/img_3504.jpg?resize=300%2C247&ssl=1", "https://i0.wp.com/www.cynthianewberrymartin.com/wp-content/uploads/2013/11/img_3504.jpg?resize=300%2C247&ssl=1", "http://cynthianewberrymartin.files.wordpress.com/2013/09/5152q3z08ml.jpg?w=122&resize=122%2C150", "http://cynthianewberrymartin.files.wordpress.com/2013/09/5152q3z08ml.jpg?w=122&resize=122%2C150", "https://i0.wp.com/www.cynthianewberrymartin.com/wp-content/uploads/2019/06/PostPrevious.png?w=1080&ssl=1", "https://i0.wp.com/www.cynthianewberrymartin.com/wp-content/uploads/2019/06/PostPrevious.png?w=1080&ssl=1", "https://i0.wp.com/www.cynthianewberrymartin.com/wp-content/uploads/2019/06/PostNext.png?w=1080&ssl=1", "https://i0.wp.com/www.cynthianewberrymartin.com/wp-content/uploads/2019/06/PostNext.png?w=1080&ssl=1", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://i0.wp.com/pbs.twimg.com/profile_images/1745130325/Me_WinterinLove_Author-pic_normal.jpg?resize=80%2C80", "https://i0.wp.com/pbs.twimg.com/profile_images/1745130325/Me_WinterinLove_Author-pic_normal.jpg?resize=80%2C80", "https://secure.gravatar.com/avatar/c7380cdfbb320cc8864253454ac1681e?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/c7380cdfbb320cc8864253454ac1681e?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/865f85d6dec304d99ef51947699fa5be?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/865f85d6dec304d99ef51947699fa5be?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/865f85d6dec304d99ef51947699fa5be?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/865f85d6dec304d99ef51947699fa5be?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/865f85d6dec304d99ef51947699fa5be?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/865f85d6dec304d99ef51947699fa5be?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/de71609a4c9ffa857f9f917fc4c7a868?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/de71609a4c9ffa857f9f917fc4c7a868?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/d9cc475089acb5c5a555b86155872602?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/6b91514a5772baeaa5390af5c8d0d340?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/6b91514a5772baeaa5390af5c8d0d340?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g", "https://secure.gravatar.com/avatar/965050306f6e78d164cbace75b8fdceb?s=80&d=mm&r=g" ]	[]	[]	[ "" ]	null	[ "Cynthia Newberry Martin" ]	null	So I read Richard III. And I listened to Richard III. And although the 1995 movie starring Annette Bening was not available for rent, I did watch the 1955 movie directed by and starring Laurence Olivier. The movie was torturous even though I was on the treadmill. I also watched Al Pacino’s Looking for Richard and I wanted […]	en	https://i0.wp.com/www.cy…it=32%2C32&ssl=1		https://www.cynthianewberrymartin.com/2014/01/shakespeare-richard-iii/	So I read Richard III. And I listened to Richard III. And although the 1995 movie starring Annette Bening was not available for rent, I did watch the 1955 movie directed by and starring Laurence Olivier. The movie was torturous even though I was on the treadmill. I also watched Al Pacino’s Looking for Richard and I wanted to write him a love letter–Al Pacino, that is, who with the movie is on a quest to help people understand Richard III and Shakespeare. The documentary could easily be titled Loving Shakespeare, or Loving Richard, or Loving Al. And I can’t wait to watch it again. But beware, if you watch it, you’re going to want to join me in my quest. Confession: I am seriously behind in my secondary reading–Bloom and Garber, primarily. Still, onward… So Richard III. Here is where Shakespeare figures out how to start a play Now is the winter of my discontent Made glorious summer by this son of York Versus these first lines: Henry VI, Part One: Hung be the heavens with black, yield day to night! [which is not bad] Henry VI, Part Two: As by your high imperial Majesty I had in charge at my depart for France… Henry VI, Part Three: I wonder how the King escaped our hands. The power of the following passage hit me each time I heard it. To set the scene: Richard killed Lady Anne’s husband and her husband’s father, King Henry VI, and now he’s attempting to woo her with the dead King lying there beside them: Speak it again and, even with the word, This hand, which for thy love did kill thy love, Shall for thy love kill a far truer love. To both their deaths shalt thou be accessory. (Act 1, sc. 2, lines 207-210) In this play, we have GHOSTS who visit Richard while he sleeps, a parade of all those he has killed or has had killed. When he wakes: What do I fear? Myself? There’s none else by. Is there a murderer here? No. Yes, I am. Then fly! What, from myself? Great reason why: Lest I revenge. What, myself upon myself? Alack, I love myself. Wherefore? For any good That I myself have done unto myself? O, no. Alas, I rather hate myself For hateful deeds committed by myself. I am a villain. Yet I lie; I am not. (Act 5, sc. 3, lines 194-203) Wandering the battlefield, it is Richard III who utters the famous lines: Surprise: to find the phrase pell mell in Shakespeare, but here it is in Richard’s address to his army: (Act 5, sc. 3, lines 330-331)
915	yago	3	83	https://www.gq.com/story/al-pacino-and-robert-deniro-godfathers-of-the-year-2019	en	Robert De Niro and Al Pacino: A Big, Beautiful 50-Year Friendship	https://media.gq.com/pho…-the-year-03.jpg	https://media.gq.com/pho…-the-year-03.jpg	[ "https://www.gq.com/verso/static/gq-global/assets/logo.svg", "https://www.gq.com/verso/static/gq-global/assets/logo.svg", "https://media.gq.com/photos/5dcd7bbe81b355000904c7be/16:9/w_2560%2Cc_limit/al-pacino-robert-de-niro-gq-men-of-the-year-03-lede.jpg", "https://media.gq.com/photos/5dcd7cc8c3636800085b0eec/master/w_1600%2Cc_limit/al-pacino-robert-de-niro-cover-gq-men-of-the-year-2019.jpg", "https://media.gq.com/photos/5dcd7b868dcc01000830a3d3/master/w_1600%2Cc_limit/al-pacino-gq-men-of-the-year-2019-01.jpg", "https://media.gq.com/photos/5dcd7b8981b355000904c7bc/master/w_1600%2Cc_limit/robert-de-niro-gq-men-of-the-year-2019-02.jpg", "https://media.gq.com/photos/5dd30c434a18ac0009557fb8/master/w_1600%2Cc_limit/al-pacino-robert-de-niro-gq-men-of-the-year-07.jpg", "https://media.gq.com/photos/5dd30c434b5f8a0008a5f364/master/w_1600%2Cc_limit/al-pacino-gq-men-of-the-year-2019-05.jpg", "https://media.gq.com/photos/5dc455b6e0381b0008e7a8fc/1:1/w_775%2Cc_limit/tyler-the-creator-gq-men-of-the-year-2019-lede.jpg", "https://media.gq.com/photos/5dcd9c9b5f284d00086daf6d/1:1/w_775%2Cc_limit/MOTY-Covers-GQ-11142019_3x2.jpg", "https://media.gq.com/photos/669950a322b65da75be59cb5/4:3/pass/undefined", "https://media.gq.com/photos/66aabc0a46d4f93e090c4ebc/4:3/pass/undefined", "https://media.gq.com/photos/66b12b13583288ee683a3368/4:3/pass/undefined", "https://media.gq.com/photos/669e9e4949911cbfc304959a/4:3/pass/undefined", "https://www.gq.com/verso/static/gq-global/assets/logo-reverse.svg" ]	[]	[]	[ "" ]	null	[ "Zach Baron", "Richard Burbridge", "Carrie Battan", "The Editors of GQ", "Andrew Greif", "Evan Malachosky", "Frazier Tharpe", "Avidan Grossman", "Condé Nast" ]	2019-11-20T08:00:00-05:00	The two legends—and GQ Men of the Year—riff on 'The Irishman,' Martin Scorsese, 'The Godfather,' and five decades of Hollywood fame.	en	https://www.gq.com/verso/static/gq/assets/favicon.ico	GQ	https://www.gq.com/story/al-pacino-and-robert-deniro-godfathers-of-the-year-2019	“We got together early on,” Al Pacino said, gesturing at Robert De Niro. “And we shared something, which was a big thing at the time.” The two men were sitting in a hotel suite in New York, trying to sum up 50 years of friendship and the weird, singular bond that comes from being two of the most heralded actors of their generation. The balcony door was open, to catch the September breeze. Last night Martin Scorsese’s The Irishman, in which they both star, had premiered at the New York Film Festival, and they’d spent nearly every hour since being fêted. And so, despite their often formidable reputations, there was a sweetness about them. “New York Film Festival, this is a prestigious film festival!” Pacino said earnestly. After the first showing of the ﬁlm, De Niro and Scorsese emerged onto a balcony in Alice Tully Hall, arms around each other, as the crowd stood to applaud. Later that night, I watched De Niro and Pacino become overwhelmed by well-wishers at an after-party at Tavern on the Green, where Joe Pesci and Spike Lee and Bobby Cannavale mixed in with triumphant Netﬂix executives in an overheated VIP room. The reviews of the ﬁlm were good. They looked, sitting on a couch in front of me, like two men who couldn’t believe their luck. In 1974 they both starred—in separate timelines that never intersect—in The Godfather Part II. It wasn’t until most of the way through 1995’s Heat that they finally appeared in the same frame of the same ﬁlm, facing off across a diner table, and even then it was for only a few electric minutes. In the interim, both De Niro and Pacino made innumerable classics, and also 2008’s Righteous Kill, the first ﬁlm in which they shared multiple scenes. In The Irishman—based on Charles Brandt’s true-crime book I Heard You Paint Houses, about the disappearance of Jimmy Hoffa (played in the ﬁlm by Pacino) and the underworld into which he disappeared (represented by the hit man Frank Sheeran, played by De Niro)—the two men give surprisingly emotional performances, suffused by their history with each other and, in De Niro’s case, with Scorsese. (Somehow this is Pacino’s ﬁrst role in a Scorsese ﬁlm, and the ﬁrst time the three men—along with their costars Pesci and Harvey Keitel—have made something all together.) The movie has the feel of an old and august gang reuniting for one last job and looking back, sometimes ambivalently, on many lifetimes of work about violence and love and loss. Pacino is three years older than De Niro and visibly protective of him. De Niro is famously a man of few words in life and a man of even fewer words in front of journalists. During the afternoon we spent together, he sat quietly on the couch and barely spoke, except to laugh as Pacino stood to roar or act out characters and scenes from their respective lives. Even now De Niro looks like himself: When he shrugs, you see a dozen iconic movie characters flicker through him. Pacino wore a baseball cap that he periodically removed to reveal a wild mane of hair—the watchful beauty of his youth has long since turned to a mischievous chaos, a visible glee to still be at it. Pacino is on a recent run of characters, as in The Humbling or Danny Collins, ravaged by time and pride, while De Niro has increasingly found himself playing fathers and grandfathers, men who have as much to express and as little to actually say as he himself does. Their dynamic, at least today, was tender. Often Pacino would intercept questions intended for his friend and answer them himself. At the end of the interview, both men stood and embraced for a long, quiet moment. “I love you,” Pacino said to De Niro. Watch: Robert De Niro and Al Pacino Have an Epic Conversation GQ: The Irishman is a little bit deceptive. It appears to be a classic Scorsese–De Niro gangster movie, and then, as you’re watching it, you’re like, Oh, wait. This is a film about mortality and coming to the end of things. Al Pacino: It sort of bleeds out. It’s as though somehow Marty has found a way to get at his inner feelings about things in a very subtle way. I know when I saw it, I was moved by it and I thought, Why am I feeling this way? And I feel like it’s about us in a way. About people. What are we doing? Bob, you talked Joe Pesci into doing the movie, in part by saying, “This could be the last one,” right? Robert De Niro: Yeah, I was on Joe about it. But he knew that. We all know that. I mean, we’d like to do other projects together, and maybe if we’re lucky, we will, but this—I said, “Joe, you gotta.” Is there something bittersweet about coming to a point where anything that you guys do together could be the last one? Pacino: It didn’t enter my mind. It always feels like that’s in some way an outside determination. And perhaps in six weeks or something, I’ll say, “Hey, that was good while it lasted.” But basically you don’t think that way. Do you, Bob? De Niro: No. I mean, you don’t. Pacino: You don’t think that way. Because you’re in your body doing your thing, and you’re thinking, Well, it’s the same old, same old. The same old is: There’s a script, there’s a director, and is there a role for you? At least that’s the way I think: Is there a role for you to play in it? These characters could have been going to see your films on the weekends; it’s the same period as Mean Streets and The Godfather. Is it strange to see times that you lived through turned into a period piece? Pacino: As a writer, you see that, but we don’t think that way. Well, I’m not speaking for Bob here. But you don’t think of your life in the past as a period piece. You just don’t. De Niro: [laughs] Pacino: Someone said to me just recently, “How old are you?” And I said, “Well, that’s like asking me how long do you think I have left.” At a certain period, there’s something rude about asking someone how old they are. Is the implication that you’re somehow too old for what you’re doing? Pacino: I just don’t know. I think it’s personal. Like, I’m looking at you now. I’m not thinking about how old you are. You look like a young guy to me, but I see a marriage ring. I see, I wonder, Wow—but I don’t try guessing it. Certainly I don’t want to do it in front of you. When I leave maybe. Pacino: Yeah, when you leave, we’ll go over it. What do you think that guy is? How much time does he have left? Also, you’re Al Pacino. If someone wants to know your age, they can look it up. Pacino: Well, this is what we’re plagued with, you have to understand. When celebrities have birthdays, it’s all over the news. You can’t lie about your own age! Actually, that expression “You look good for your age” comes in. But I haven’t heard that in a long time. Maybe: “You look good to still be alive.” De Niro: [laughing] Right. Pacino: But it has a lot to do with choices, it has a lot to do with the kind of roles you get. Because with us, we don’t just go home and write. We need to find roles. It’s fascinating what you said, Al, about age dictating parts somewhat. You’re on a great run of playing prideful men at the end of their lives: Danny Collins, The Humbling, Manglehorn. I wondered if you were doing those parts because you felt a certain kind of affinity. Or is it because that’s what you get sent in the mail? Pacino: No, totally because of their thematic material. You look for that. I’m doing roles and thinking about doing things like King Lear. I’ve been approached to do that several times now. I’ve never thought of that as a film. And suddenly, you say, “Well, let me pick it up and start looking at it and reading it.” And you find there are things in it you understand more that you didn’t before. So it’s a funny kind of thing, when those awarenesses start to creep in on you without knowing it. I didn’t even think of doing King Lear, which I was offered 10 years ago. But now when I look at it, I understand some things I just didn’t then. So there’s these mini revelations that come along. And Bob, for you it’s been fathers, like the character you play in Silver Linings Playbook: guys who have a lot of love to give but don’t necessarily know how to pass it along. And obviously that’s very much threaded through The Irishman as well. Is that a thematic concern you relate to? De Niro: Yeah. It’s an appealing one, and it’s relevant to my life and I guess a lot of people’s lives, obviously. You guys both have worked almost constantly. Bob, I’m not really aware of any break you’ve ever taken. Al, the only time off I really know you have taken was after Scarface, in 1983, then Revolution, in 1985. Pacino: I went about four years without making films. Then I went broke. Bob knew about it. De Niro: [laughing] Pacino: That was only the first time I went broke. There was another time too. What was the other time? Pacino: We’ll leave that alone. But when I went broke the first time, the person I was living with at the time said, “What do you think you’re gonna do? Live off of me?” I thought, No. She said, “You gotta work.” I was relatively young when this happened to me. So I just decided not to do this for a while. Why’d you decide not to do it anymore? Pacino: It was just kind of an impulse. A bit of the bloom was off the rose for me, artistically and expressively. But somewhere in the back of my head, I always felt I could work. I always felt I’d be able to get work. And then the truth is I needed to go work. I had to earn. Did you learn anything from taking a break? Pacino: I remember how wonderful it felt to even sort of contemplate anonymity. Even though I wasn’t. But I did feel a little… You know what they say: out of sight, out of mind. Because there was an intense period. It was, I would say, more of a happier period in my life than I remember. That doesn’t mean I’m gonna do it again. [laughs] De Niro: Was that the time you were doing the documentary you were showing me? Pacino: Yeah, The Local Stigmatic [a little-seen extremely strange film by Pacino about dog- track betting]. De Niro: I liked that. Pacino: I was showing Bob stuff. And he thought I was nuts. Of course he was very nice, though. Like, “What is he doing?” But we were close. We were very close. So pretty much—what, 30 years, 40 years? De Niro: More, yeah. What’s the earliest memory that you guys have of each other? De Niro: Well, when we met, I think I was in my mid-20s. And you were maybe a couple years older than me. And that was about 50 years ago. Pacino: I remember the meeting very clearly. Unbelievably, I saw this guy, I thought, Wow, he’s got such charisma. He wasn’t doing anything. He was just walking. Remember? You know, he was Bob. But you felt something from him. Were you guys competitive with each other? De Niro: It’s not that you’re competitive. You’re up for the same parts. Like Godfather—Francis wanted Al. But every actor knew about it, and I think the studio was forcing him to look [elsewhere], from what I understood of it. And I never confirmed this with Francis, but they were putting pressure on him to use somebody other than Al. I was in a reading once with Paul Sorvino where Francis was on the phone talking to one of the studio heads, maybe it was Bob Evans, about another actor—I’m not gonna say who it was, but if I said who it was, you’d say, “Jesus.” But they were in a hit movie at the time. And Francis is very open. He’s talking in front of an actor. Saying, “I really don’t think that they’re right for it, blah blah blah.” Was it Michael that you were reading for? De Niro: I could have been reading for Michael, or I was reading for Sonny. Because I knew that Francis wanted Al for Michael. But the word was out also that he wanted Jimmy Caan for Sonny. But he was going through the pressure, Francis, unbelievable pressure that they were gonna push you to do things. It’s just the nature of it. I wonder if you guys are friends in part because so few other people can really relate to your respective life experiences. Pacino: We get together. And there’s a trust there. There just is. We understand this thing together a little bit better. And you go there sometimes just to get some feedback. We talk about things. De Niro: Kibitz. I don’t know if you know that word. I do. Pacino: We kibitz. I imagine there are not a lot of people who can understand, really, what it’s like for the two of you — Pacino: Well… Maybe not. You’re disagreeing. Pacino: I mean, it’s just such a different world now. Celebrity is different. And fame is, I think, sought-after more than it ever was in my lifetime. It’s sort of a cart-before-a-horse kind of thing. Younger actors cite you guys to me, and they’ll say they admire you guys for giving less away. Like, Al, maybe you’ve done a couple of things, like a big Playboy interview, but Bob, you hardly do interviews at all. Pacino: He used to tell it to me. He’d say, “No, I don’t need to. I’ll go to Al and talk about it.” No, I’m totally joking. Did you have to learn that, Bob, or was that always your instinct? De Niro: No, it’s just the way I am. I just feel a little—but I felt that you were that way too. Pacino: I was that way. I mean, that Playboy interview, that was Larry Grobel, who I got to know. But I’ll tell you the truth, I think I did it because he did Marlon! And he did Barbra Streisand, you know? And I thought, Wow. And he came to me and I said, “Well, Marlon...” See, a lot of my influence, I don’t know about Bob, was Marlon. The way he dealt with things. He was reclusive in a way. And so I thought you don’t give that away, because that is part of what your performance art is. De Niro: Yeah. Pacino: It’s keeping the page blank or the canvas blank so it doesn’t affect the performance you’re giving or the character you’re playing. That was my idea of it. And Marty Bregman was a big help to me, my manager at the time. ’Cause he would always say to me, you know, something would happen, and I would say, “Gee, should I go on TV?” And he would just say simply, “Not you, no. You don’t want to do that.” And the truth is some of these people that do do it, the young people, are very good at it. They’re wonderful actors too. And they know how to because they grew up with it. It’s not the same kind of stigma as it used to be when we were younger. It’s changed. Some very prominent young star told me that too. He just said to me straight out, “I know how to do this because it just came out of my upbringing.” And he says, “I know you didn’t. You didn’t have that.” And I thought, Gee, he’s making a good point here. But there’s nothing really against it at this point. It can’t really hurt you. Not us. We’re not young. We’re beyond it now. Now they come to you and they want to write books. You mean about you guys? Pacino: They want to write a book about Bob, a book about me. I didn’t want to write a book. I still don’t. I would probably, if I was writing a book, I would wake up in the middle of the night screaming. Something about somehow talking about the life I had and how I lived and all the things in it, if it didn’t make me scream—I don’t mean that so much as it would really bother me to go back there and go through things. It would? Pacino: Yeah. I think it would, yeah. But my kids want me to write a book. They say, “Dad, write about it.” Bob, you participated in making a beautiful film about your father, 2014’s Remembering the Artist, Robert De Niro, Sr., and I think at the time you said it was for your kids too, right? De Niro: Yeah, I did it for the kids and grandkids and the family. That was the original intention of it. So that they were aware of who he was. The Irishman is very much about a guy at the end of his life looking back, trying to make sense of it. When you look back at the lives you led, what do you think of first? Pacino: [A long silence here.] Well, I guess I think about the people that are no longer in my life. That’s what I think about. And of course, my kids. De Niro: Sure. You’re looking back, things that I’ve been through in my life. Did I make this decision correctly? And that one? And I say, “But this is what I did and you live and learn and that’s it.” You just gotta keep going and make the best of things, and I’m pretty fortunate in a lot of ways. So I want to always keep that focus. Pacino: That’s a big thing. You start feeling grateful. And when does that kick in? Pacino: Well, when you practice it. Because you forget a lot about that. But then when you think: It’s true. There’s a lot to be thankful for. Are there particular roles that you look back on with pride? De Niro: Of course. But I mean, I feel that this film is a—I mean, I could have shot for another five or six months with Marty. It was a great experience. And this is something I’m very proud of that we did. Pacino: What I’m happy about is to have desire. To feel appetite. To continue the work, or just in general? Pacino: Well, in general. Appetite for whatever—work, life. If you saw The Humbling, part of what motivated me to do that film is because I thought of that. The idea that what happens when you don’t have that anymore. God, to me it’s a gift. It’s a real gift. Desire, I think sometimes it trumps talent. Maybe it goes hand in hand. I guess it must. The talent part is not in question for you two, but when you think back on how you became successful, is that luck, or is it that you had more desire than the next guy? Pacino: It’s a combination of luck and other things. Let’s face it. Just something as simple as being at the right time, the right place. I mean, to come out of the ’70s, when our kind of actor was following the way paved by Brando and Dean and Newman and all these great people back then who opened the door for a lot of people like us. And Scorsese and Coppola and Spielberg and Lumet and these people—they were all around then. And Lucas and De Palma. This was a period at that time when film was flourishing. It was different than the time before it, I think. Not better or worse, mind you. It was different. And I think that there was a new kind of person out there, in that period. We were talking about commonalities that you guys have. And one of many is that you’re both formally trained. I don’t know if there are Stella Adlers and Lee Strasbergs around anymore — Pacino: Bob was a Stella Adler student. So was Marlon. De Niro: I don’t know what the acting-teaching situation is today. I’m sure there are very good people who teach today. I know, with Stella, she had a thing called script analysis that I had not experienced when I was studying at the Dramatic Workshop. And she was opposed to what Lee would do because Lee, she felt, was a cult of personality. But at the same time, she had Marlon, who was very much all that stuff. But he was a great actor and wonderful, and part of his personality came through in his acting, it was all together. And we all looked up to him. Pacino: I saw recently something he did, Streetcar, the film Streetcar. There’s a section in there, and I was telling Bob—or was I telling myself? But I was telling him about this time where he’s playing cards and Karl Malden is flirting with Vivien Leigh and they’re having a flirt together, and Brando’s by the kitchen playing cards with his poker buddies and he’s going crazy ’cause he’s losing and he’s half in the bag and he’s playing, and then she’s singing and the radio’s on and he starts saying things like, “Shut that radio off!” [Pacino is now fully performing as Brando in a loose re-creation of one the most iconic scenes in film history.] And then this one moment where the guy throws down his cards, Brando throws down his, he goes, [in full Marlon voice] “Bam! There they are. There they are.” And he lays down this good poker hand. And the guy next to him, his friend, goes, “Here! Here!” And he throws down a hand that beats him. And Brando just looks at it and gets upset, because this music is playing and he goes out into the other room and takes the radio, pulls it out of the wall, [Pacino is on his feet now, acting out the scene] and throws it through the window and it all winds up with him in the street going [at a full yell] Stelllllllllllaaa! This is a few minutes long. And it is a passage that is literally a tornado. It’s not like you’re watching an actor in an acting school getting really angry. It is more than anger. It is nature. And when I saw it, I just reflected on it. Bob, you are famous for your preparation for roles, which we don’t have to rehash here, but I only found out recently that you watched The Godfather, like, 50 times before you did The Godfather Part II. De Niro: Well, yeah, I looked at it. It’s funny, what I did with one of the producers, Gray Frederickson. But we went to the Paramount building right here, which is now a Trump hotel. We went there, and me and Gray went up to the 30-something floor, where the screening room was, and I had a Wollensak reel-to-reel tape recorder and a camera and I put it up there so it just caught the whole screen and then we shot. And then whenever Marlon’s pieces came on, I would record it. That’s how we did it. And I watched that a lot. So no Al. De Niro: No, it was all Marlon. Pacino: I was this gangly kid. Like, “Look at him. There he goes.” Just the Marlon parts. De Niro: Well, that’s who I was playing. It was almost like a technical exercise in some ways. I was seeing what he did and how could I transfer that to the scenes that I had. Bob, has your way of feeling your way into a performance changed? De Niro: Everything is different. When I was younger, I’d be worried about certain things that I would not worry about now, because it’s just, you’re anxious and you want to make sure. And so you get all sort of revved up, whereas what you really should do is not get revved up and just relax and let things happen. And sometimes that just comes from experience. “It’s gonna be okay, you’re gonna be there. Don’t push for anything and don’t get anxious that you’re gonna get it, because then you’ll never get it.” So you’ve done all your homework, you’re ready to go, and you just go in and do it and don’t think about it. I mean, that’s a better way to go into something, and especially if you’re with a director who understands that, respects that, like Marty. What do you think keeps you going and continuing to say yes to stuff? Especially when it would be very easy to say no to plenty of things. De Niro: Well, I mean, sometimes it’s just financial. You do something and you get paid well and you say, “I’m gonna make it work.” Or, “There will be things that will be good about it.” And I’ve done that—when I was a young actor and I had to do stuff, I was lucky I got the part. And I said, “I’m not sure about this or that. They’ve hired me for their reasons, but I’m doing it for mine as an actor.” You don’t always have the luxury of working in a situation like with Marty or David O. Russell or Francis Coppola or Barry Levinson. Nothing against the other directors. But you take your chances. Pacino: You know what? I may be falling into a bad habit now. I think I’m starting to get a little perverse. I’m starting to want to do films that aren’t really very good and try to make them better. And that’s become my challenge. I don’t think I go in thinking it’s not gonna be very good, but it’s like Bob said: Sometimes they offer you money to do something that’s not adequate. And you talk yourself into it. And somewhere within you, you know that this thing is gonna be a lemon. But then, when it comes full circle, and you see it, you say, “Oh, no. I’m gonna make this better.” And you spend a lot of time and you’re doing all these things, and you say, “If I can just get this to be a mediocre film,” and you get excited by that. It’s an impulse that I’ve got to just put that away now. “Every time I get the urge to exercise, I lie down till it passes.” That’s Oscar Wilde, I think. But the point is that it’s true. I work onstage a lot when I’m not doing other things. I’ve always wanted to ask you about this. There’s an anecdote you used to tell about acting. You were in Boston performing for a very perceptive pair of eyes, and— Pacino: Oh, yeah. Oh, my God. [to De Niro] You know that story? At the end of the play, there were these eyes on me. I went, “Who is this?” You know, “Is this gonna be my true love?” I see them again during the curtain call. I couldn’t believe this. There was such focus. So when the lights came up, I turned to the right, and there they were, two Seeing Eye dogs. De Niro: Really?! [laughing] Pacino: I said, “That’s the theater.” I realized that I’m not sure what this story is actually supposed to mean. Pacino: Well, it really means that when you’re out there, all kinds of impulses are working. You’re live. I mean, I was doing Richard III once, and I looked at the audience to talk about something, and in the second row was this woman standing up with a hunchback and her eyes—I was doing a monologue. And she’s up there looking up like this [Pacino is on his feet, impersonating a woman with a hunchback gazing toward the stage] and she was smiling at me. And I said, “Poor woman!” You know, I couldn’t help it, I smiled at her. “WE’RE RIDING HERE, BABY! YOU AND ME, WE KNOW IT!” And we just— De Niro: She said that? She said that? Pacino: She didn’t say it. I didn’t say it, either. I was doing Shakespeare. But at the same time, I felt it: We’re dancing here. Oh, my God! When those things happen, when you’re on the stage and a bat comes on the stage, I mean, for God’s sake, it’s so alive, you know? I guess I always thought the point of that story is that performing is just communing with the void. You don’t know what’s out there. Pacino: Exactly right. That’s what it is. I was young when it happened. I was in Boston. I was a kid doing a play. But at the same time, I was drawn to it. Because let’s face it, those dogs are focused. I mean, they’re protecting their owners. You guys both have really interesting histories with the Academy. Al, you were nominated four times in a row in the ’70s. Pacino: Wow. That’s intense. You say “wow” like you didn’t know that. Pacino: I didn’t think four times, but yeah. In a row? That’s pretty good. You didn’t know that? Pacino: I know there was a lot of times, but I didn’t know four in a row. Yeah, it’s four in a row. Pacino: That’s intense. And you didn’t show up the first year, right? Pacino: I don’t think I showed up a couple of those years. Why not show up? Pacino: Well, you have to understand, this was all new to me and I was extremely affected by it. I was a little concerned about what was going on with my life. There was a contrast to what I was and what I had so recently become. So I was going through a period of adjustment. And Bob knows. He was around when it was happening to me. I was having a difficult time. I think I was afraid of it for whatever reason. There was several reasons. I also took a lot of inebriants at the time. But I think I was…somewhat confused or something. De Niro: [with great empathy] Yeah, sure. Pacino: I mean, it happens. Bob, when you won for The Godfather Part II, you also didn’t go, right? De Niro: No. I had been away shooting with Bertolucci in Italy. So I couldn’t go. I don’t know whether if I was there I would have gone, but I was away shooting. I got a call at, like, six in the morning my time, like, nine at night, I guess, L.A. time. I’m curious how you decide on projects. The last movie you guys did together before The Irishman was Righteous Kill. What’s the calculus on getting involved with something like that? De Niro: [laughs] Pacino: He called me! We thought we were gonna do something. It was an interesting story. De Niro: I mean, we wanted to work together. I don’t want to say anything bad, because we did it and I did it. I think I was more just trying to give the movie as an example. If a master filmmaker like Scorsese asks you to do his film, I can see why you’d do it. But you guys do all sorts of films, and you probably don’t need to at this point. So what— Pacino: We really thought we had something there that we could do something with. There were a lot of different things I really can’t talk about now. He knows what I’m talking about. You’re better not talking about it. De Niro: But we had a good time doing the movie. It’s what it was. And I did say when we were together— Pacino: I’ll never forget that, what he’s gonna say. De Niro: We went to Europe, a couple of cities, for the premiere, and I said, “Well, look, Al, one day let’s hope that we’re gonna be here for a movie that we can really feel great about.” That’s all. Nothing against that movie. But it wasn’t what this one is. Pacino: It was very simple what he said. I said, “Damn, that would be good.” Do you feel like your relationship to Hollywood has changed over time? De Niro: I mean, I go out there. He lives out there. Pacino: I live there. I was talking less about the geography and more about Hollywood as an industry. Pacino: I want to get back here a lot, and I do come as much as I can. I have friends here. De Niro: We were just talking about it. Pacino: I do have a hard time with the winters here, I must say. It gets too cold for me. De Niro: You’re from Philadelphia? I’m from Philadelphia, yeah. De Niro: One of the coldest days I ever shot was in Philly, doing a reshoot with Bradley Cooper on Limitless. Oh, man. Pacino: You had to be outside? De Niro: When I did it, it was in the summer, so we wore lighter clothes, and we were shooting in the winter now. And I couldn’t even say the words.
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wants an autograph, and he wants Pacino to sign as the character he played in Dick Tracy, so the actor grabs a napkin and complies. On another occasion, outside the chic Chaya Brasserie, a teenage girl shyly praises his work in Raging Bull; Pacino politely thanks her, not mentioning that the work in question was Robert De Niro’s. At the Dorothy Chandler Pavilion, where Pacino has gone to hear the London Classical Players perform Beethoven’s Fourth on period instruments, a young man comes up and says, ”I bet my friend you’re not Al Pacino.” The actor shrugs and tells him he just lost a bet. Pacino is one of the most accomplished actors of his generation, but no one seems quite sure who he is. In an era when stars of his magnitude are recognized everywhere they go, Pacino is getting picked out for a cartoonish supporting role he played with makeup disfiguring half his face, for a part he did not play, and for not being himself. Unlike Nicholson or Hoffman, he has no strong public persona apart from his characters. And even his roles, ranging from the mastery of the Godfather movies to the intensity of Serpico and Dog Day Afternoon to embarrassing missteps like Revolution, send an enigmatic message. Instead of plotting his career along traditional points of stardom, Pacino seems to choose his parts according to some inner compass, often playing quirky roles that do little to enhance his fame — but that engage his fascination with the process of acting. In fact, Pacino sometimes seems happiest when his acting projects are most obscure. For much of the 1980s he was absent from the screen while he labored in small theater workshops and endlessly polished a self-produced, self-financed film that has been shown only at small, private screenings. At times it seems that Pacino actively evades his public; the passionate actor is a reluctant star. Perhaps it’s no coincidence that The Local Stigmatic, the movie he’s been tinkering with for years, is about a man attacked by thugs simply because he is famous. Still, the fame has been inescapable. Pacino’s intense stare has burned its way into our cultural consciousness. When John Travolta’s Tony Manero in Saturday Night Fever closes his door and looks at the poster on his wall, it is Pacino as Frank Serpico who looks back at Travolta grunting his macho war cry: ”Al Pa-cino!” When he turned 50 this year, Pacino received a satin jacket as a gift from one of his admirers. The card read, ”Bruce Springsteen.” Francis Coppola, who has directed the actor in all three Godfathers, attributes Pacino’s impact onscreen to his ability to project ”coldness when he wants to be cold, and heat when he wants to be hot.” At the center of the Pacino mystique stands Michael Corleone, the Mafia chieftain and tragic hero of the Godfather pictures. It has been Pacino’s fortune — he might say his burden — to play the pivotal role in what many consider the greatest of modern movies. It’s a role he owned from the time Coppola first considered the project. ”When I read the book,” the director says, ”I visualized the character as having (Pacino’s) face.” The first two films have earned nine Oscars and about $800 million. More important, they have become a grand metaphor for modern life, what critic Pauline Kael called ”an epic vision of the corruption of America.” With The Godfather Part III opening in 1800 theaters next week, Pacino is standing just short of the summit of a remarkable career. The movie has been plagued with problems, but if it delivers on the extravagant promise of the first two Godfathers, it will be a virtual coronation for Pacino. After so many shadowy years on the margins of Hollywood, he is clearly back in the forefront. He could even at long last win the Oscar that has eluded him through four Best Actor nominations and one for Best Supporting Actor. In the offing are other exciting projects: Next month he starts filming Frankie and Johnny in the Claire de Lune, a love story with Michelle Pfeiffer. But Pacino takes an ironic pleasure in not acting like a star. Asked whether he looks forward to the opening of Godfather III and his future projects, the actor says evenly, ”The last time I looked forward to anything was waiting for my Tom Mix spurs when I was a kid. I kept going to that mailbox and they finally came — on the day my great-grandmother died. Since then I stopped looking forward to anything.” Sitting in his enormous suite in L.A.’s Four Seasons Hotel, Pacino is pondering the origins of the third Godfather picture. He’s dressed entirely in black — black silk pants, black silk shirt, black silk jacket — but his mood is upbeat. After months of work and worry, he has just seen a rough version of the film on a VCR in his room and seems content with the results. ”I didn’t know if there would ever be a Godfather III,” he says. ”There was always a lot of talk, but Francis wasn’t interested and I would never have done it without him. Francis has the feel for the material.” After Coppola accepted Paramount’s offer, which granted him complete creative control, Pacino signed on in the summer of 1989, but he still had his doubts. ”I didn’t know if I could be that guy again,” he says. ”Seventeen years have gone by; a lot has happened. Michael’s not the most pleasant character.” The most fascinating aspect of the character in the earlier movies is how subtly he changes as he takes on the power of the Don. Pacino was intrigued by the script for Godfather III because it portrays an older, remorseful, and still evolving Michael Corleone. ”Francis gave him more colors as he got older and matured. Just to have come through and still be alive — a character like that would have to have reconciled himself to certain things.” In a Burbank studio, Francis Coppola takes a break from the marathon editing of Godfather III to recall how the $55 million project got underway in January of 1989. Paramount wanted him to try to produce the movie in time for the 1990 holiday season, a tight deadline for a film that didn’t even have a script at that point. Coppola enlisted Mario Puzo, author of the original novel and cowriter, with Coppola, of both earlier movies. ”I worked out a concept,” he says. ”Then I met with Mario in Reno and talked it through.” They put together an initial script in March and were still rewriting it when shooting began in November 1989. The entire project moved at such a pace it sometimes threatened to fly apart. ”Having your back to the wall can make you do some great things that you otherwise wouldn’t have done,” Coppola says, propping his feet on the studio sofa. The last few months have been frantic as he rushed to finish the film, despite predictions that he would never meet his deadline. ”I would have enjoyed working on (the movie) more, but at the same time I felt it had a life of its own,” Coppola says. ”It was coming alive and it wanted to be born now and it had to be born now.” Coppola knows what it’s like to have his back to the wall: After mortgaging his house to complete Apocalypse Now (1979), he lost his studio, Zoetrope, in the financial fiasco of 1982’s One From the Heart and further tarnished his reputation with the expensive disappointments The Cotton Club (1984) and Tucker: The Man and His Dream (1988). All that became an indirect part of Godfather III‘s evolution. As much as he resisted making the saga a trilogy, Coppola remained fascinated by the Corleone story; his own aesthetic drives and financial straits conspired to make finishing the Godfather cycle a kind of destiny. Coppola is not noted for stress-free movie production, but the third Godfather was particularly harrowing. ”This is a big one, this is like King Lear,” Pacino said last spring while the movie was shooting in Rome, noting that he hadn’t had a day off in 10 weeks. Besides the grueling schedule and the multiple shoots in Rome, Sicily, New York, and Atlantic City, chaos dogged the project. On the day of her first scene, Winona Ryder, cast as Michael’s daughter, Mary, dropped out complaining she was exhausted from shooting three movies back to back. In a highly unpopular move, Coppola replaced her with his then-18-year-old daughter Sofia, whose only film experience was bit parts in her father’s movies, most notably as Michael’s infant godson during the baptism scene in the first Godfather. Many on the set and at Paramount protested the choice, but Pacino now defends Coppola. ”He thought that would serve us in the film,” Pacino says, ”because his vision of the part was that kind of innocence. He knew what he wanted. Casting is what a director does, it’s part of his expression. So you have to grant him that.” Another unpopular bit of casting was the replacement of Robert Duvall, the Corleones’ consigliere in the earlier films, with a new character played by George Hamilton. Duvall asked Paramount for a reported $3.5 million to return, and after rounds of haggling refused to join the project. Pacino laments Duvall’s absence. ”The character he portrayed so subtly and vividly had such a place in those two pictures,” he says. ”I don’t want to make Bobby into a villain here, he must have had his reasons. But, yes, Duvall was missed.” Still, he was impressed by Hamilton. ”I never met a guy like him,” says Pacino. ”He’s what I would call an authentic high roller. He’s capable of doing much more than he’s been given a chance to.” Another new member of the cast is Andy Garcia, playing the illegitimate son of Michael Corleone’s dead brother Sonny, who becomes Michael’s potential successor. Garcia, a star of Black Rain and The Untouchables, was in awe of Pacino on and off the set. ”I opened a lot of doors for him,” Garcia remembers. ”Even when the cameras weren’t rolling, I was still opening doors.” Gazing at Pacino, made up to look 60, Garcia found himself thinking, ”When I get older, that’s what I’m going to look like.” Diane Keaton, who played Michael Corleone’s wife, Kay, in the first two Godfathers, is also back. She and Pacino had an on-and-off romance through much of the ’80s, and though the couple split soon after their work on the new film ended, Pacino remains an admirer. ”Diane is one of our foremost actresses,” he says. ”To see her go from that girl in Baby Boom to Godfather III is a transformation that’s exciting. In the first two films her character was youthful and always looked a bit out of it. But in III a new awareness has come to her. It allows Diane to use her talent more fully.” Then he slips effortlessly into discussing the characters Michael and Kay. ”Michael loved her when he met her and he loved her throughout his life and he loves her to this day, even though their relationship was surrounded by a lie. He not only loves her, he admires her.” Many actors try to keep their private and professional lives separate. Pacino’s and Keaton’s have often been intertwined. ”Our relationship at times has been complicated,” he concedes, and he sees value in that. ”It’s generally more interesting to work with people you know — that’s why a lot of families act together. It’s like being a trapeze act: You depend on each other, and when you know each other’s moods and rhythms you are able to guide each other and get across.” Rumors flew during the filming of Godfather III that there was tension between them, and Pacino doesn’t deny it, but he says the tension was not an acting ploy. ”Everyone who has ever breathed has had these things (happen), but it wasn’t because we were preparing for our roles. That’s a misconception. There are actors who consciously, and unconsciously, choose to set up these kinds of juxtapositions to serve their roles, but I am not one of those actors.” He pauses to think about that; Pacino is a great one for mulling things over endlessly. ”Maybe I was,” he adds, ”but I certainly don’t feel I’m that way now.” Pacino likes to think and talk — exhaustively — about his roles before filming begins. He has a soul mate in Coppola. ”When he theorizes,” marvels Pacino, ”all you have to do is listen for 10 minutes and you’ve been given a wealth of imaginative, stimulating insights and images. I’ve read where people compare him to the Don, but he’s more an emperorsario — maybe we’ve found a new word — than a Don. He’s intense, preoccupied, doesn’t miss a trick. He’s a maestro.” Coppola values the same traits in Pacino: ”I tend to have a running stream of dialogue with Al, telling him how I feel, what’s gone on before, more or less random thoughts, knowing he will seize on something that’s helpful and disregard what isn’t. Al is one of the most intelligent actors I’ve worked with.” In the Godfather films, Pacino sees a sweep that is nothing short of Shakespearean. ”Francis views Michael as a prince,” he says. ”There is the King, who is the Don (Marlon Brando), and there are his sons and his kingdom. The Don’s life is threatened, he knows he is going to die. Which son will defend him? He loses one, Sonny, and the other one, Fredo, is inadequate. And then there’s the third one, who comes to his aid and takes over the kingdom, even though he never wanted it.” But for all that grandeur, Pacino thinks, the movies speak to viewers in a very intimate way. He compares the situation of the Corleone brothers to that of second-generation immigrants in general. ”The first generation of Italian-Americans in this country brought with them the old cultural ways. The second generation sacrificed themselves for the third, which was supposed to achieve the American dream of power, success, and money. It has to do with holding on to your family, the old values versus the new, the old country and the new. It’s a family film, and it always has been. I think that explains its popularity.” Pacino’s own troubled but tight family ties help explain his feelings for the story. The only child of Salvatore and Rose Pacino, of Sicilian descent, he was born in Harlem but moved with his divorced mother to the mean streets near the Bronx Zoo in 1942, at age 2. As a child, Al used to hang with kids who wouldn’t make it out of their teens. ”It was like Tom Sawyer in the Bronx during the ’40s and ’50s,’ he recalls. His best friend, Cliffy, fated to die of a drug overdose, was a Huck Finn figure to Al. ”Cliffy once hijacked a public bus. When he was 11 he stole a garbage truck and came and picked me up. Eleven! Can you imagine that?” Young Al’s teachers were prescient enough to nickname him Marlon Brando and encourage him to attend Manhattan’s Performing Arts high school. That experience kindled his love of performing, but he wasn’t able to stay with it. With a sickly mother to help support, he dropped out at 17 and went to work as a janitor, furniture mover, movie theater usher, and mail-room worker. But he didn’t give up on acting. He talked his way into the Actors Studio (entering the same semester as Dustin Hoffman), where Lee Strasberg, the legendary founder, noticed the skinny Bronx kid with the intense stare. ”The Actors Studio was directly responsible for getting me to quit all those jobs and just stay acting,” Pacino says. He specialized in junkies and psychos, and his wild eyes first impressed audiences Off Broadway in Israel Horovitz’s play The Indian Wants the Bronx (1968), then on Broadway in Does a Tiger Wear a Necktie? (1969). A small role in Me, Natalie (1969) led to a lead in The Panic in Needle Park (1971), followed by The Godfather, which changed his life. The movie earned him his first Oscar nomination, for Best Supporting Actor, but his $35,000 salary didn’t get him out of hock. ”After I’d done the first Godfather, I never thought there’d be a second one,” he says. ”I was broke. After taxes I owed 15 grand, so I went up to Boston, my hunting ground, and hunted for stage parts.” That began his lifelong habit of shuttling between the worlds of film and theater, always picking parts that intrigued him. His role as a whistle-blowing cop in Serpico (1973) led to a Best Actor Oscar nomination and certified his bankability, but Pacino took pride in never accepting parts just for the money. When Paramount pursued him for the sequel to The Godfather, he recalls, he turned down an escalating series of offers that finally hit $1 million. ”It was the damnedest thing,” he says. ”I ended up apologizing to the guy for not taking the million.” A change of art changed his mind: Coppola finally signed on with definite ideas about where to take his character. Says Pacino, ”When Francis told me about the script, the hairs on my head stood up.” His Oscar nomination for Godfather II was soon followed by another for the bisexual bank robber in Dog Day Afternoon (1975). Pacino’s performance in that role was electrifying, but he barely recalls it; the year was a semi-alcoholic blur for him. (He eventually turned to AA for help in curbing his drinking.) ”What happened to Dog Day and with me is a bit foggy right now,” he says, ”but it certainly became a popular picture.” In the following years, his career took quirky turns. Despite his good performance, Bobby Deerfield (1977) crashed badly by saddling the story of a Grand Prix driver with a corny disease-of-the-week theme. His role as a populist lawyer in …And Justice for All earned him his last Oscar nomination in 1979, but other roles in the late ’70s and early ’80s were hardly conceived to be crowd-pleasers. On stage, he did Bertolt Brecht’s cerebral The Resistible Rise of Arturo Ui and Jungle of Cities. He was critically pummeled for his Richard III on Broadway, but received a second Tony for The Basic Training of Pavlo Hummel, and acclaim for his work in David Mamet’s American Buffalo. Pacino doesn’t apologize for being so determinedly uncommercial. His stage roles give him a chance to work on a complex part for months, slowly uncovering its possibilities through constant repetition. ”I did American Buffalo for four years, and I was always moving all over the stage, using my hands, doing pyrotechnics,” he recalls. ”Then once in Boston I did a performance and I realized that I hardly moved the whole time. I didn’t need to. But it took me all that time to get to that.” The movies have provided some less happy moments. As a cop investigating leather-bar killings in Cruising (1980), he drew protest from segments of the gay community. ”If I were writing a book and it came to the Cruising page, I would have a blank,” he says. ”Cruising was an unhappy experience all around.” Pacino says he was so upset by the way the movie turned out, he donated part of his pay to charity. Another disappointment was the 1982 comedy flop Author! Author!, Horovitz’s story about a playwright stuck with his ex-wife’s kids. ”Go ahead, throw it in my face!” Pacino jokes. He followed that with Brian De Palma’s 1983 Scarface, playing a crazed Cuban drug lord. The film leaned heavily on Pacino’s trademark intensity and explosiveness and was dismissed by critics, yet it earned $44 million in theaters and, thanks to video, has undergone a modest critical revival. The same cannot be said of Revolution, a $28 million, 1985 disaster about America in 1776. After that string, Pacino dropped out of sight for four years, acting in theater workshops and fiddling with his film of Heathcote Williams’ play The Local Stigmatic. The hour-long movie concerns a pair of cockney toughs (Pacino and Paul Guilfoyle) who attack a celebrity. Remote and difficult, the film is hardly intended for a mass audience. ”It’s not about entertainment or appealing to popularity,” says Pacino. ”It is what it is.” Pacino admits that such projects have undermined his career. ”You find yourself getting involved in things and then two years have gone by,” he says. ”I’ve always walked that line where I’ve felt as though I neglected pursuing movie roles or stage roles. In trying to do both, I’ve neglected each.” But the neglected movie career came roaring back in 1989 with Sea of Love. Pacino’s portrayal of a weary cop who isn’t sure whether to bed or arrest Ellen Barkin added a burnt-out quality and rueful humor to his intensity. He seemed to incorporate some of his own dilemmas into the part. ”Sea of Love was about a guy going through crises,” he says, ”which I thought was interesting — to play a cop who’s so caught up in his own survival he doesn’t realize that his needs are so great they take precedence over his logic.” Says Sea of Love director Harold Becker, ”Al’s more than a great actor, he’s the Human Condition walking around. Al doesn’t play a character, he becomes the character. When he’s sitting in a restaurant eating for a scene, he’s not acting — he’s eating!” Pacino popped up with another surprise in 1990 with his outrageously hammy, movie-stealing turn as the mobster Big Boy Caprice in Dick Tracy. Though the part was conceived as a cameo, his portrayal of the gangster as a kind of hulking overgrown dwarf was far funnier and more memorable than anything else in the movie. ”Who could have suspected that a performance of this hilarity lurked behind (his) forbidding intensity all these years?” wrote Los Angeles Times film critic Sheila Benson. ”It was a relief to play a cameo part and to feel free to play it,” Pacino says. If he were to do a Tracy sequel, he knows how he’d like to play Caprice: ”He’s now running from Tracy and he’s a headwaiter in a posh French restaurant.” His successes in Sea of Love and Dick Tracy helped reacquaint audiences with Pacino’s depth and versatility. But neither had the richness or range of a truly great picture, one that could fully engage Pacino’s skills. For that possibility, we have to wait for his return as Michael Corleone, a man at the painful pinnacle of his power. At the Burbank studio where Coppola has been editing Godfather III, the director, producer Fred Roos, and Pacino are sitting in a screening room watching a scene from the almost-finished movie. On the screen, Michael Corleone is alone, kneeling by the casket of an old Don, a man who had been his protector and surrogate father in Italy. As he quietly speaks to the old man, Michael slowly loses the steely composure that has masked his emotions ever since he became a Don himself. Finally, he breaks down and weeps. It’s a crucial scene, the kind that wins Oscars, and even in this rough, black-and-white working version, it’s a powerful moment. When the lights come up, the three men sit quietly. Then Pacino speaks. He’s concerned that several lines of dialogue have been cut and thinks they should be restored, perhaps as a voice-over. Coppola is under intense pressure to get this movie locked; a delay of even a few days would mean missing the all-important Christmas Day release. But he listens to Pacino, and promises to reconsider. ”That’s the great thing about Francis,” Pacino says on the way to the parking lot. ”He listens.” And he should. By now, hearing Pacino discuss Michael Corleone — a character he has known most of his career — is like getting advice from the Don himself. To Pacino, the casket scene reveals the crux of Michael’s tragic nature. ”Michael can’t understand why this old man was so loved while he is feared,” he explains. ”Because Michael always wanted to do good with his life, but he never got that kind of response. He says, ‘Why? Why? Because I thought too much about things? Was it my heart? Or my mind? I wanted what you wanted.’ It’s so revealing,” Pacino muses. ”It touches a universal nerve.” ”We tried in the third one to deal with the cathartic themes of finally dealing with your life and coming to terms with your sins,” Coppola says. ”I’m making it from the point of view of a man in his 50s; I’m getting the inkling that what I do now counts more for what comes after me than for me.” For Pacino at 50, the part of an older, more rueful Michael Corleone may just be the role of his career. When he talks about Michael, it’s hard not to see Pacino reflected in the words. ”I’ve thought a lot about Michael as an enigma,” Pacino says, ”someone who makes you feel uneasy. He’s someone who is searching. It’s about destiny and someone who has resisted his destiny.” The Los Angeles Times calls Godfather III ”the most anticipated film of the last decade,” and Pacino’s performance will be crucial to its reception. ”It’s a picture people seem to be rooting for,” he mildly observes, ”even in the industry.” If the picture succeeds, Pacino may receive a measure of respect and recognition to surpass even the triumphs of his early years. How does it all feel? ”It doesn’t do anything to me,” says Pacino. ”I’m just an actor.” After all this time, he maintains, playing Michael Corleone isn’t a challenge. ”A challenge is a role you find difficult,” he says. ”Doing a great role is an opportunity. It’s a gift to be able to play a part that can afford your acting talents to be freed.”
915	yago	0	97	https://www.cram.com/essay/Appearance-And-Reality-In-Elizabethard-III-And/FKJCX2S3GYKW	en	Appearance And Reality In Elizabethard III And Al Pacino's...			[ "https://beckett.cram.com/1.17/images/icons/burger.png", "https://beckett.cram.com/1.17/images/logos/cram/logo-cram.png", "https://beckett.cram.com/1.17/images/logos/cram/logo-cram-mobile.png", "https://beckett.cram.com/1.17/images/icons/cram/magnifying-glass.svg", "https://beckett.cram.com/1.17/images/icons/cram/magnifying-glass-mobile.svg", "https://beckett.cram.com/1.17/images/icons/user-icon-blue.png", "https://www.cram.com/s/images/preview.png" ]	[]	[]	[ "" ]	null	[]	null		en			https://www.cram.com/essay/Appearance-And-Reality-In-Elizabethard-III-And/FKJCX2S3GYKW	As times change, values and ideas often change as they are invariably shaped by their context. However, some remain constant throughout time and are universal. The 1592 Shakespearean drama Richard III and Al Pacino 's 1995 docu-drama Looking for Richard [LFR] were written four hundred years apart yet both texts address perpetual values and ideas that are common to both eras. Through a simultaneous study of both texts, the responder is able to understand the influence of context on aspects of the human condition such as the adverse effects of lust for power and appearance and reality. Richard III is heavily influenced by Elizabethan principles and in Pacino 's response to the increasingly secular and modern American context he effectively refashions …show more content… Richard 's carefully constructed facade allowed him to obtain what he desired and Shakespeare exhibits his duplicity through his asides and soliloquies as they unveil Richard 's multifaceted and deceptive character. Richard 's manipulative nature is shown through his chameleon like skills as he plays various personas ranging from a loving uncle, a pious man and a seemingly reluctant ruler. His duplicity is immediately displayed through his false concern for his brother Clarence seen in his "subtle, false and treacherous" lies all throughout the extremely ironic dialogue between the brothers. He goes as far as to feign a desperate lover in the scene with Lady Ann despite stating in the opening soliloquy "I cannot prove a lover". However, the irony of Richard 's dichotomy is that he has become a victim of his own lies and deception, losing all trust placed in him and not knowing who to trust. Richard 's death reveals a final truth that divine retribution is a more powerful reality than the interwoven lies that Richard has spread. Shakespeare has highlighted the significance of appearance and reality in relation to the human condition and condemns Richard 's use of it as he subverts the Tudor …show more content… Pacino seeks to create a Shakespeare play that is more accessible and relatable to a twentieth century audience. Rather than condemn Richard 's duplicity, Pacino subtlety admires Richard 's skill as an actor and how on a grander stage he is able to constantly switch personas and deceive the characters who trust him, "he 's in good shape. He can move around. He can manoeuvre. He 's got room" (Pacino). Moreover, the smooth transitions between rehearsals, staged performances, actors heated discussion and documentary mode on the street serve to emphasise and give credit to Richard 's duplicity as a skill to conceal the truth with his lies. The transitions are very frequent throughout the film and have a cumulative effect on the audience as it becomes increasingly difficult to distinguish between the interwoven images of 'Pacino the Hollywood Legend ' and 'Richard the Murderous Tyrant '. The intertextual use of Prospero 's speech from The Tempest is empowered through the voice over at the beginning and end of the film "These our actors... all spirits... this insubstantial pageant..." which heightens the ambiguity between the boundary of performance and reality. The audience to a certain degree is compliant in understanding that humans are multifaceted by nature as they change faces depending on various circumstances. Pacino has shown the universality of
915	yago	0	4	https://americanpopularculture.com/archive/film/pacino_shakespeare.htm	en	Film in American Popular Culture			[ "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", 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"https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/h_film.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/assets/Pacino.jpg", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif", "https://americanpopularculture.com/htdocs/images/spacer.gif", "https://americanpopularculture.com/htdocs/images/american_popular_culture_template/spacer.gif" ]	[]	[]	[ "" ]	null	[]	null					null	It has been nearly four hundred years since Shakespeare's fellow actors and theatrical partners, John Heminge and Henry Condell, addressed the First Folio of Shakespeare's collected works "To the great Variety of Readers. From the most able, to him that can but spell," yet those who know and love Shakespeare best are still trying to convince the mainstream populace that Shakespeare is for everyone. This point is made clear by the plethora of large-scale, English language Shakespearean films which have surfaced in the last decade, including one recent film that takes a fictional look at Shakespeare in Love. However, actor Al Pacino has confronted the issue more directly than any other filmmaker in his labor of love, Looking for Richard, a self-proclaimed "docu-drama type thing" which aims at making Shakespeare's work more accessible and less intimidating to the person on the street by recording and annotating a performance of Richard III on several illuminating levels. Heminge and Condell also warn that if you read Shakespeare and "do not like him, surely you are in some manifest danger, not to understand him," and it is precisely this problem Pacino sets out to remedy: if people understand him, they will come. So Pacino markets Shakespeare to the timorous, uninterested, and unsuspecting masses. Pacino, like Heminge and Condell, mixes a perhaps crass appeal to all citizens to buy or invest in Shakespeare with high praise of Shakespeare's artistic value and an invitation to examine his work for personal enrichment. The intended audience for this film seems to be the average American: a creature known, at least among the cultural elite, for its inability to comprehend or identify irony and its disinterest in any form of culture that might ask it to think on an intellectual or artistic level of any depth. Pacino declares that he intends to communicate to the American public that Shakespeare "is about how we feel and how we think today." In other words (or in those of Jan Kott), Shakespeare is our contemporary, and his works hold truths and "meanings," an often repeated word in the film, that can influence, inspire, and move us today. And why should the great masses of the United States care about the work of the great English Bard of Avon? Pacino credits Shakespeare with the capability of inspiring higher moral values and greater truthfulness in language, which he accomplishes through interviews with theatre and film actors and with people walking down the street. In order to bring Shakespeare into the public arena, he takes his camera and microphone into the streets of New York City and asks random passers-by questions like "What do you think of Shakespeare?" and "Is there anything that hinders your enjoyment of Shakespeare?" (to which one man answers: "Yeah. It's boring.") But Pacino's coup de theatre in the street is an interview with a snaggletoothed, African-American panhandler who tells Pacino the following: When we speak without feeling, we get nothing from our society. We should speak like Shakespeare. We should introduce Shakespeare into our academics. You know why? 'Cause then the kids would have feelings. We have no feelings. That's why it's easy for us to get a gun and shoot each other. We don't feel for each other. If we were taught to feel, we wouldn't be so violent. When Pacino, off camera, asks him if he thinks Shakespeare helps us feel, the man declares soulfully, "He did more than help us: he instructed us." It is a public service message to Americans, and despite the hyperbolic claims, this oration seems to come from the mouth of a sage of the street, serving Pacino's purposes well. In Looking for Richard, Pacino is marketing Shakespeare. In an encounter with some small children on a sidewalk at the start of the film, Pacino asks them, "You know Shakespeare? William Shakespeare?," then announces with a gleam in his eye, "We're peddling him on the streets." And indeed he is, but more importantly, he is peddling Shakespeare on film, in a film that will reach millions for the cause of spreading the gospel of Shakespeare. However, Pacino is not selling the sacred Shakespeare of the pedant here; it is the Shakespeare of the actor and of the people, a point he makes vividly clear by choosing two very stuffy-looking British scholars, Barbara Everett and Emrys Jones, to represent the academic approach to Shakespeare. Ensconced in their book-lined offices, these pedants gaze into the camera and pontificate occasionally on the fine points of textual interpretation and historical background of Richard III. This sterile academic environment is juxtaposed with the incredibly vibrant and sometimes even volatile interaction of the actors as they perform, argue about characterization, and revel in the sound of the language itself. At one point, Pacino's assistant Frederic Kimball angrily insists that Pacino knows more about Richard III than any Ivy League scholar, declaring "Actors truly are the possessors, the proud inheritors of the understanding of Shakespeare!" The message is clear: Shakespeare's text is meant to be performed; it is a living, breathing thing in the mouths of actors from generation to generation. It is not meant to be stuck in a huge, unwieldy leather-bound volume, placed proudly on the library shelf, and never opened. Although the performative nature of Shakespeare is emphasized repeatedly by many respected scholars, such as Stanley Wells and Peter Holland, Pacino chooses to simplify the relationship between the scholar and the play in order to reveal how the cultural elite have in some senses buried Shakespeare's true significance to and connection with the average person; in essence, the academics have claimed Shakespeare as their own "property." Pacino tells us in Looking for Richard that we should be looking for Shakespeare's Richard III in performances of the play, in the world around us, and in ourselves, not on the bookshelf. Al Pacino uses several devices and methods to help the film audience discover a Richard they can recognize and understand. Meanwhile, however, the audience is also getting a more personal view of this traditionally taciturn star. And perhaps looking for Pacino in his own docu-drama is apropos considering he is Looking for Richard in Richard III. In fact, in Time magazine Richard Corliss criticized the film for being "naive" and "wildly self-indulgent," asserting that in approaching Looking for Richard, "You come Looking for Richard and find Al." Nevertheless, I believe that the cinematic and narrative structures of Looking for Richard reveal and clarify Pacino's project. Typical of documentary film, Pacino utilizes a hand-held camera a good deal and conducts man-on-the-street interviews, which are perhaps more reminiscent of the evening newscast than anything else. By jumping between the general Joe on the street and stage and film luminaries like John Geilgud and Vanessa Redgrave, Pacino accomplishes a levelling or equalizing. Although most of the people he runs into on the street are clueless and apathetic about Shakespeare, the actors who have clearly invested time and energy in the Bard's work are passionate about and inspired by it. They did it and so can you. Pacino is communicating that investing in Shakespeare is worthwhile for everyone; Shakespeare can enrich your life. There are two sets of parallel scenes that epitomize this technique and also give a good feel for the tone and mission of the film. The first set of scenes begins with the introduction of the character of Margaret into the polished, full-costume film of the play, then cuts away to the actors discussing their interpretation of the character, while a disembodied voice-over of Vanessa Redgrave decries the difficulty of comprehending Shakespeare in a world in which "for centuries . . . word has been divorced from truth." We are given a quick shot of Redgrave being interviewed, then cut directly to our original New York sage on the street whose words profoundly mirror those of Redgrave in the vernacular. The panhandler's assertion that, "If we felt what we said, we'd say less and mean more," is complemented by Howard Shore's intensifying musical score swelling in the background. Pacino is highlighting his point once again: The two individuals in those last few seconds of film could not be more dissimilar; they are of different nationalities, races, genders, social classes, and educational levels, yet they have arrived at the same conclusion about language and meaning and they both believe that studying Shakespeare's language could help remedy the ills of our postmodern society. The symmetry of these scenes is ineluctable and poignant. The second set of scenes feature Frederic Kimball raving about actors being the true "possessors" of the Shakespearean text in a memorable quotation I have already given in this paper. He insists that the actor, not the scholar, is the most intimate with Shakespeare. The scene then cuts to the office of Emrys Jones. Perhaps the symmetry of the scenes speak for itself, but it is worth pointing out that in taking the omniscient scholar down a few notches, Pacino again is effecting an equalizing of the disciples of Shakespeare. None of us can claim him for our sole property; the nature of the Shakespearean text itself works to evade this type of exclusive ownership. Pacino brilliantly implements an MTV-esque film technique of quick cuts between disparate locations and activities, creating what one critic calls "a dazzling mosaic of comic documentary and dramatic performance." The lack of the classic Hollywood establishing shot during these fast-moving sequences is edgy, avant-garde filmmaking and often leaves the audience disoriented and unsure of its location (could be New York, London, Stratford, etc.); yet somehow this technique works in a sophisticated manner to emphasize Pacino's main focus: to demythologize the Bard, or as one critic put it, to attempt "demystification through deconstruction." Location is irrelevant; understanding is all. However, not everyone agrees that this technique aids comprehension. Veteran film critic Stanley Kauffman writes that the "fragmentary" technique of the film, rather than clarifying the plot and meaning of Richard III, leaves him feeling as if he has been "showered with Shakespeare confetti"; although, he admits that it is the "confetti feeling that keeps the picture entertaining." Nevertheless, I believe these staccato cuts between Pacino with his cast discussing the interpretation of the play, the actors in rehearsal, interviews, and the full-costume, polished Hollywood film version of select scenes from the play express formally both the confusion which can ensue when trying to comprehend Shakespeare and the rich, multifarious quality of the Shakespearean text. Despite his call for people to become involved in the "art" of Shakespeare, Pacino markets this film to the masses via some traditional Hollywood routes. Most notably, Looking for Richard has an astounding barrage of cameo appearances by big name celebrities. Besides Pacino himself, stars such as Kevin Spacey, Kevin Kline, Winona Ryder, James Earl Jones, Kenneth Branagh, Vanessa Redgrave, and Sir John Gielgud appear in the film, a strange and wonderful gathering. Another Hollywood move Pacino makes is to sexualize the wooing scene between Richard and Lady Anne to an extent that is neither textual nor plausible. Winona Ryder plays an insipid and suddenly sexual Anne who is willing to passionately kiss and caress Richard over her father-in-law's coffin, then retreat coquettishly back to the funeral procession. Pacino claims earlier in the film that he wants to cast someone young enough to believe "Richard's rap," but this scene seems absurd to me, nonetheless. Perhaps the issue is that Pacino has always wanted to kiss Ryder. Well, now he has. But couldn't he have done it off camera? So much for intellectual Hollywood. It seems evident by the frenzied cutting from one thing to another that Pacino is trying to appeal to the younger American audience, raised on the quick-cut style of MTV videos and accustomed to playing frenetically-paced computer games. In my experience in the classroom, having taught this film to approximately eighty students primarily between the ages of eighteen and twenty-four, Looking for Richard holds their attention and is largely successful in imparting the message that Shakespeare is relevant and comprehensible to them. However, the critics of this film have imparted some scathing sentiments on the matter. James Bowman of The American Spectator writes, Al Pacino's Looking for Richard. . . really ought to be called "Richard goes to Sesame Street." It is a film based on the by-now old-fashioned notion that Shakespeare can be made "relevant" to the happening youth of the nineties--kids who might not, were it not for Al and his pals in Mr. Roger's Neighborhood, ever bother to tear themselves away from MTV. But I doubt the efficacy of slicing and dicing Shakespeare and serving him up in quick cuts to pander to a bunch of no-mind slackers. They probably won't like him anyway, and they won't realize that the real Shakespeare takes work--though not so much work as they might imagine. He cannot be made into a music video with old-fashioned language, and people who suppose he can are in for a big shock in the unlikely event that they ever put themselves in a way to encounter the real thing. The "real thing," or as the Bard might say "the thing itself," unaccommodated Shakespeare: I hate to ask the pedantic and obvious question, but is there such a beast? It is certainly difficult if not impossible to determine absolutely if there is a "real thing" when it comes to Shakespeare's text, considering that so many of the plays exist in multiple versions printed during Shakespeare's lifetime or were printed for the first time in the First Folio of 1623, seven years after Shakespeare's death. But Bowman is not alone in his condescension to Pacino's unorthodox Shakespearean docu-drama, Donald Lyons of Commentary magazine calls Looking for Richard, "Another misguided attempt to make Shakespeare intelligible to the groundlings, . . . directed by Al Pacino, starring Al Pacino, with narration written by Al Pacino." Lyons, like many other critics, finds the film self-indulgent, reducing the whole project to a vain farce: [Pacino] decided to film his efforts to get a film made of Richard III, assembling a cast of cronies and colleagues to discuss the text over spaghetti and donuts and then dress up and perform it. . . . And so the film, basically a document confirming the obsession of the actors with themselves, is finally left looking at its own navel. Despite its high- minded posturing about the Bard's essential communicability, Looking for Richard actually demonstrates the incompatibility of Shakespeare with a certain self-important American mode of communicating: namely, Method acting. It is indeed true that this film focuses on the process the actors engage in to put together a Shakespearean film; however, it is also obvious from the interweaving of the rehearsals and explanations of certain play scenes with the "finished" film of the same scene that Pacino is subordinating the actor's process to the narrative timeline of the play. The film presents us with the actor's initial preparation for performing a specific piece, then participation in rehearsals of various levels of formality, and finally their performance of the play is revealed, but the stages of this process are all shown simultaneously in Looking for Richard because Pacino is most interested in clearly communicating the plot of the play. It is revealing that over eighty hours of footage was shot over four years for this project, and between the three film editors and Pacino, Looking for Richard was cut and shaped into the highly organized 112-minute end product. Pacino worked on the film between acting jobs, and he admits its completion marked the "culmination of a personal journey" for him (Pacino newsletter). However, it is not so much the documentation of Pacino's inner journey that we see, but rather an explanatory guide through the play, beginning with the reasoning behind even attempting a project of this sort and moving through the acts of the play. Screen legends announce the sections of the film, starting with "the question" (which transmorphs into "the quest"), then "the play," "Act I," etc., until the final section entitled "the battle," introduces Bosworth Field. Interpolated between and during play acts are sections focused on elements of performance and interpretation, such as "casting the actors," "getting in deeper," "the birthplace of shakespeare," and "iambic pentameter," but these clearly serve as footnotes and tutorials for Richard III. Moreover, "The play's the thing," and Pacino privileges its narrative over everything else by tying the sequential progression of the film to Shakespeare's plot instead of the actor's process. While there may be some self-indulgence on the part of the actors, Pacino manages to stick to his purpose, and the vast majority of my students agree. Lastly, I would like to consider the potential for Looking for Richard to be used as a learning tool successfully in the college classroom. Pacino may be a great actor, but is he a good teacher? Many critics seem to think so. One pays Pacino a backhanded compliment: "As for Pacino himself, he might be a better teacher of Shakespeare 101 than an interpreter of Richard III's lead role"; and another effuses, "Pacino has crafted a remarkably coherent and compelling movie, a vividly annotated Shakespeare. It is as if Scarface had suddenly turned into the world's coolest English teacher. . . . Pacino's Shakespeare class explodes into pure movie-making." The sardonic Stanley Kauffman, who calls the film an entertaining "romp-and-tribute" and a "wacky busman's holiday," disagrees with these opinions and claims that "textual explication doesn't seem to me the basic reason for this film. It's a very slim gloss of the play"; instead, he believes Pacino is really only selling himself: "I know of no previous instance in which a film star wanted to assure his film public that he was more than a film star." Kauffman is another believer in the "vanity project" theory. But critics aside, my own students, who must serve as my guinea pigs, have responded overwhelmingly positively to the use of Looking for Richard in the classroom. Almost all of the nearly eighty students I subjected to this movie wrote that it helped them understand and appreciate Richard III, and several students said that Looking for Richard motivated them to seek out other Shakespearean films. A surprising number of students even expressed to me that without seeing Looking for Richard beforehand, Laurence Olivier's 1955 film of Richard III would have been completely inscrutable. Mission accomplished for Pacino! He seems to be speaking their language. My students also had some insights into the film that the critics seemed to miss. Rather than viewing the actor's process portrayed in the film as narcissistic and self-indulgent, students remarked that watching actors they respected struggle with the interpretation and understanding of Shakespeare made them more comfortable with their own struggle for comprehension. The students empathize with the often scruffy and haggard-looking cast as they grapple with the text. A few students commented that seeing these celebrities pursue Shakespeare with so much passion, and obviously for little remuneration, has stimulated them to look at Shakespeare in a new and more exciting light. (At one point Alec Baldwin jokes, "We're doing this for forty dollars a day and all the doughnuts we can eat.") The human connection Pacino successfully makes between the lives of the actors and those of the audience members (my students) mirrors the metaphor connecting the actor performing on stage and the person living this "whirly-gig" life that pervades Shakespeare's canon. Pacino beautifully illustrates this metaphor by opening and closing the film with a slow motion, long shot of a Gothic-style cathedral while a deep, male voice-over chants Prospero's legendary speech, "Our revels now are ended. . . ." Although the majority of my students found Looking for Richard entertaining and helpful, there was, of course, not a perfect consensus: one student sarcastically effuses, "This film is a true jewel," and another drolly states that "Looking for Richard was nothing more than a movie based on Cliffs Notes." In fact, a number of students have compared the film to Cliffs Notes, calling it a video version of the same. It is clear that some students feel that the "Cliffs Notes" style of explication in Looking for Richard is condescending, while others find this sort of hypertext explication more effective and a lot more fun than the old yellow-and-black. Also notable is the disappointment many students expressed when they discovered that Pacino did not actually make a full-length feature film of Richard III, that Looking for Richard is an end in itself, not a documentation of the making of a film. Personally, I am glad Pacino did not make the film we see snippets of in Looking; it would have been, I believe, too monochromatic, too dark, and too long; but the students were excited by the prospect, more kudos for Pacino. On the other hand, I can think of nothing more apropos to his fragmentary filmic method, and certainly nothing more postmodern, than to make a film about making a film that does not exist. The teacher's guide issued by Youth Media International for Looking for Richard dares to inquire, "What happens when you shout the word 'Shakespeare' in a crowded room?" It is an excellent question. Through this film, Al Pacino intends to change the answer to this question. And he may be succeeding. After all, it is certainly not often that those ubiquitous American film critics Gene Siskel and Roger Ebert give a limited-release, mass-market Shakespearean film "Two-thumbs up! Way up!" Now perhaps you are one of the many critics who hold that Looking for Richard is nothing more than "Shakespearean snack food." But this film was not made for the critics and the scholars. According to my experience and observation, in the classroom Pacino serves his purpose well, which is summed up perfectly in the last sentence he speaks in the film. As he struggles to recall Hamlet's dying words, Pacino humbly declares the overarching universality of Shakespeare: "Whatever I'm saying, I know Shakespeare said it." December 2001
915	yago	1	34	https://www.watchonista.com/node/140316/li%2520class%253D	en	Al Pacino receives the Jaeger-LeCoultre Glory to the Filmmaker Award			[ "https://www.watchonista.com/sites/all/themes/custom/wbs/assets/images/logo_noir.svg?x=1629098605", "https://www.watchonista.com/sites/default/files/styles/310x0/public/watchographer/1/articles/497863/front/guitars_2024_rectangle.jpg?itok=YaxBcSTP&timestamp=1718793213 310w", "https://www.watchonista.com/sites/default/files/styles/310x0/public/watchographer/1/articles/498126/front/paris_2024_x_w_rectangle.jpg?itok=X9q07Q-s&timestamp=1723453323 310w", "https://www.watchonista.com/sites/default/files/styles/310x0/public/watchographer/1/articles/498118/front/greubel_forsey_2024_rectangle.jpg?itok=lggwNHcm&timestamp=1722255803 310w", "https://www.watchonista.com/sites/default/files/styles/650x0/public/watchographer/1/videos/498073/front/copie_de_copie_de_vc_rectangle.jpg?itok=LE89XRFA&timestamp=1721827996 650w", "https://www.watchonista.com/sites/default/files/styles/350x0/public/watchographer/856/profile/logo-omega.jpg?itok=ayzsMmFo&timestamp=1565264171 350w", "https://www.watchonista.com/sites/default/files/styles/350x0/public/watchographer/1/watches/498084/pictures/omega_522.92.39.21.99.001_sp_packshot_front_rgb.jpg?itok=z9qo1rk0&timestamp=1721818081 350w", "https://www.watchonista.com/sites/default/files/styles/body_content_848x0/public/watchographer/650/albums/140316/pictures/al_pacino_wearing_jaeger-lecoultre_master_compressor_diving_navy_seals_at_venice_film_festival_2011_rev.jpg?itok=fOHQQhkf&timestamp=1507841662 848w", "https://www.watchonista.com/sites/all/themes/custom/wbs/assets/images/logo_noir.svg?x=1629098605", "https://www.watchonista.com/sites/all/themes/custom/wbs/assets/images/w_support/logo_OnlyWatch.png", "https://www.watchonista.com/sites/all/themes/custom/wbs/assets/images/w_support/logo_DubaiWatchWeek.png", "https://www.watchonista.com/sites/all/themes/custom/wbs/assets/images/w_support/logo_GPHG.png", "https://www.watchonista.com/sites/all/themes/custom/wbs/assets/images/w_support/logo_JourneeMarketingHorloger.png", "https://www.watchonista.com/sites/all/themes/custom/wbs/assets/images/w_support/logo_ConcoursEleganceSuisse.png", "https://www.watchonista.com/sites/all/themes/custom/wbs/assets/images/w_support/logo_MIH.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.watchonista.com/sites/all/themes/custom/wbs/favicon.ico	Watchonista	https://www.watchonista.com/node/140316/li%2520class%253D	Legendary American actor and director Al Pacino is the recipient of the Jaeger-Le Coultre Glory to the Filmmaker 2011 Award, a prize of the Venice International Film Festival (organized by the Biennale di Venezia), created in collaboration with Jaeger-Le Coultre, and dedicated to an artist who has left an original mark on contemporary cinema. The prize has previously been awarded to some of the greatest figures in film including: Takeshi Kitano (2007), Abbas Kiarostami (2008), Agnès Varda (2008), Sylvester Stallone (2009) and Mani Ratnam (2010). This year, the award celebrates Al Pacino and his achievements as a filmmaker. The awards ceremony took place on Sunday September 4th during the 68th Venice International Film Festival (August 31st – September 10th 2011) directed by Marco Mueller and organized by the Biennale di Venezia chaired by Paolo Baratta. Festival Director, Marco Mueller, describes Pacino as, “An amazing director, whose experience is precious and original, and enriches the world of contemporary film.” The award ceremony preceded the world premiere of Pacino’s third feature-length directorial picture, Wilde Salome. Referred to as his "most personal project ever," the unconventional feature documentary invites audiences into Pacino’s private world, as he explores the complexities of Oscar Wilde’s acclaimed play Salome, Wilde himself and the birth of a rising star, in actress Jessica Chastain. “There is nowhere else I would rather debut Wilde Salome than at Venice, because of its rich artistic history. Wilde Salome is an exploration into the world of Oscar Wilde the artist and in Salome, the emancipation of a work that lives on” said Pacino. Wilde Salome will be released this fall and stars Al Pacino (Herod), Jessica Chastain (Salomé), and Kevin Anderson (John the Baptist), and is produced by Barry Navidi and Robert Fox, with Salome Productions. The director of the festival Marco Mueller invited Jessica Chastain on stage to present the prize to Al Pacino. It was with deep emotion that the actress (a talent discovered by Al Pacino) expressed how honored she was to give the prize to Al Pacino and underlined Jaeger-LeCoultre’s involvement in the world of cinema: "I am proud to present this award to Mr. Pacino on behalf of Jaeger-LeCoultre. Jaeger-LeCoultre's commitment to film is sincere, longstanding and ever increasing with their support of not only the Venice Film Festival but Shanghai as well, working to help recognize both upcoming and confirmed actors, directors and producers. They are delighted to honor Mr Pacino's outstanding contribution to the world of film and to help him celebrate Wild Salome by presenting him with an engraved watch, symbolizing the time dedicated to making art." Al Pacino has become a lasting and iconic figure in the world of American cinema. Pacino started on the stage in the mid-1960s and his heart still remains there today. In 1969 he broke through on screen with the film, Me, Natalie. With the role of Michael Corleone in Francis Ford Coppola’s Award winning The Godfather, Pacino launched a career that has cemented him not only as an acting legend but as a cultural icon, with roles in such films as Serpico, Dog Day Afternoon and Scarface. Pacino has never lost his dedication to the theatre, most recently receiving a Tony Award Nomination for the critically acclaimed Broadway production of The Merchant of Venice. In Looking for Richard he examined Shakespeare’s cultural relevance with Richard III and won the DGA Award for Outstanding Directorial Achievement in Documentary. He has provided audiences with indelible performances in films such as Glengarry Glen Ross, Carlito's Way, Heat, The Devil's Advocate, The Insider and Scent of a Woman, for which he won the Academy Award for Best Actor in 1992, after receiving seven previous nominations. He has won the AFI Lifetime Achievement Award and is currently the co-President of The Actors Studio in New York. Pacino’s commitment to acting and directing as a profession has established him as one of cinema’s true legends. Wilde Salome offers an unprecedented behind the scenes look at Pacino’s odyssey: a master class of insight into this cultural icon. Pacino's raw exploration of Salome is one of obsession, determination, commitment and above all, passion. Wilde Salome is unlike any other documentary, a profound vision of religion, literature, politics, violence and sexuality from one of the greatest artists of our time. Wilde Salome will be released this fall and stars Al Pacino (Herod), Jessica Chastain (Salomé), and Kevin Anderson (John the Baptist), and is produced by Barry Navidi and Robert Fox, with Salome Productions. Jaeger-Le Coultre is now in its seventh year as a sponsor of the Venice International Film Festival, and in its fifth year as the sponsor of the Glory to the Filmmaker award. Manufacture Jaeger-LeCoultre A major player in watchmaking history since 1833, Jaeger-LeCoultre is the first Manufacture to have been established in the Vallee de Joux, Switzerland. It played a pioneering role by uniting the full range of technical and artistic professions under one roof and made an indelible imprint on the watchmaking development of the entire region. The Manufacture has an impressive range of world firsts, superlative creations and legendary models to its credit, including the Reverso, the Duoplan, the Master Control, the Memovox Polaris, the Gyrotourbillon and the Atmos. Guided by time-honored know-how and a constant quest for technical enhancements, the master-watchmakers, engineers and technicians craft each watch in harmony with the same passion. Each masterpiece, heir to 178 years of expertise, calls for the exercise of no less than 40 professions and benefits from cutting-edge technologies while being crafted in harmony with the noblest traditions of the Vallée de Joux. Building on a vast heritage encompassing over 1,200 calibres and over 300 registered patents, Jaeger-LeCoultre remains the reference in high-end watchmaking. Jaeger-LeCoultre has long established relations with the world of cinema. Being the official partner of the Venice International Film Festival for the seventh consecutive year, Jaeger-LeCoultre shares the common devotion to the arts heritage.
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He became one of Hollywood’s most popular and bankable stars after he starred with Paul Newman in the enormously popular comic western Butch Cassidy and the Sundance Kid (1969).	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Robert-Redford	Robert Redford (born August 18, 1936, Santa Monica, California, U.S.) is an American motion-picture actor and director known for his boyish good looks, diversity of screen characterizations, commitment to environmental and political causes, and for founding the Sundance Institute and Film Festival in Utah. After years of drifting and studying art in both Europe and the United States, Redford enrolled at the American Academy of Dramatic Arts and soon thereafter made his Broadway debut in the play Tall Story (1959). Landing roles in several television dramas of the early 1960s, such as Alfred Hitchcock Presents, The Twilight Zone, and Route 66, he scored the biggest triumph of his early career with the lead role in Neil Simon’s Broadway hit Barefoot in the Park (1963). Britannica Quiz Oscar-Worthy Movie Trivia Redford appeared in mostly forgettable films throughout the mid-1960s, the cult favourite The Chase (1966) and the screen adaptation of Barefoot in the Park (1967) being notable exceptions. The turning point in his career came when he costarred with Paul Newman in the enormously popular comic western Butch Cassidy and the Sundance Kid (1969), in which he portrayed the outlaw Sundance Kid. The film became the top-grossing picture of the year, and Redford was soon one of Hollywood’s most popular and bankable stars, next appearing in such successful films as Downhill Racer (1969; written by James Salter) and The Candidate (1972). He starred with Barbra Streisand in The Way We Were and reteamed with Newman in The Sting—the two most successful films of 1973—and was ranked as the top American box office attraction. The Sting won that year’s Academy Award for best picture and earned Redford his only Oscar nomination for acting. Other films of the 1970s included Jeremiah Johnson (1972), The Great Gatsby (1974), The Great Waldo Pepper (1975), and Three Days of the Condor (1975), but they were overshadowed by All the President’s Men (1976). An account of the downfall of the administration of U.S. Pres. Richard Nixon, the film starred Redford and Dustin Hoffman as Washington Post reporters Bob Woodward and Carl Bernstein. It garnered Oscar nominations in eight categories and firmly established Redford’s star status. He starred in The Natural (1984), an adaptation of the Bernard Malamud novel about mythical baseball hero Roy Hobbs, which earned four Oscar nominations. Out of Africa (1985), in which he appeared opposite Meryl Streep, won 7 of the 11 Oscars for which it was nominated. Redford, however, was unable to repeat that level of success in later films. Sneakers (1992), The Horse Whisperer (1998), Spy Game (2001), and The Clearing (2004) earned mixed reviews. Better received, however, was All Is Lost (2013), in which he played a sailor whose yacht is struck by a shipping container; the tense survival drama featured little dialogue, and Redford was the only actor in the movie. He then appeared in the action film Captain America: The Winter Soldier (2014) and the buddy comedy A Walk in the Woods (2015), which was based on the memoir (1998) by writer Bill Bryson. Redford portrayed CBS reporter Dan Rather in the newsroom drama Truth (2015), which concerns the backlash from a story about U.S. Pres. George W. Bush’s military service. Redford then starred in a remake of Pete’s Dragon, a family film from Disney. In 2017 he played a widower who is befriended by his longtime neighbour (played by Jane Fonda) in the Netflix movie Our Souls at Night. The next year Redford portrayed a bank robber with charming manners in The Old Man & the Gun. His later film credits included Avengers: Endgame (2019). Redford launched his directing career with Ordinary People (1980), a family drama adapted from a novel by Judith Guest. The film won best picture at the Academy Awards, and Redford himself won an Oscar for best director. Of Redford’s first seven directorial efforts, The Milagro Beanfield War (1988), The Horse Whisperer, The Legend of Bagger Vance (2000), and Lions for Lambs (2007) garnered lukewarm reviews, but Ordinary People, A River Runs Through It (1992), and Quiz Show (1994) are regarded as minor masterpieces. The latter film, which dramatized a 1950s quiz-show scandal, earned four Oscar nominations, including best picture and best director. Redford subsequently directed The Conspirator (2010), about the trial of Mary Surratt, who was accused of having collaborated in the assassination of Abraham Lincoln, and The Company You Keep (2012), in which he starred as a family man running from his radical activist past. His directing style is characterized by long, meditative takes and by an emotional detachment from subject matter that serves to heighten the irony of the narrative.
915	yago	1	18	https://total-movies.fandom.com/wiki/Al_Pacino	en	Al Pacino	https://static.wikia.nocookie.net/total-movies/images/e/ea/Al_Pacino.1.jpg/revision/latest/scale-to-width-down/1200?cb=20131122004203	https://static.wikia.nocookie.net/total-movies/images/e/ea/Al_Pacino.1.jpg/revision/latest/scale-to-width-down/1200?cb=20131122004203	[ "https://static.wikia.nocookie.net/total-movies/images/e/e6/Site-logo.png/revision/latest?cb=20210719115724", "https://static.wikia.nocookie.net/total-movies/images/e/ea/Al_Pacino.1.jpg/revision/latest/scale-to-width-down/200?cb=20131122004203", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Total Movies Wiki" ]	2024-07-29T22:27:06+00:00	Alfredo James "Al" Pacino (born April 25, 1940) is an American film and stage actor and director. He is well known for playing mobsters, including Michael Corleone in The Godfather trilogy and Tony Montana in Scarface, and often appeared on the other side of the law—as a police officer, a...	en	https://static.wikia.nocookie.net/total-movies/images/4/4a/Site-favicon.ico/revision/latest?cb=20210719115729	Total Movies Wiki	https://total-movies.fandom.com/wiki/Al_Pacino	Al Pacino Born Alfredo James Pacino April 25 1940 (1940-04-25) (age 84) New York City, New York, U.S. Occupation Actor, director, screenwriter, producer Years active 1967–present Alfredo James "Al" Pacino (born April 25, 1940) is an American film and stage actor and director. He is well known for playing mobsters, including Michael Corleone in The Godfather trilogy and Tony Montana in Scarface, and often appeared on the other side of the law—as a police officer, a detective and lawyer. For his performance as Frank Slade in Scent of a Woman he won the Academy Award for Best Actor in 1992. He had received seven previous Oscar nominations, including one in that same year. He made his feature film debut in the 1969 film Me, Natalie in a minor supporting role, before playing the lead role in the 1971 drama The Panic in Needle Park. Pacino made his major breakthrough with the role of Michael Corleone in The Godfather in 1972, which earned him an Academy Award nomination for Best Supporting Actor. Other Oscar nominations for Best Supporting Actor were for Dick Tracy and Glengarry Glen Ross. Oscar nominations for Best Actor include The Godfather Part II, Serpico, Dog Day Afternoon, ...And Justice for All. In addition to a career in film, he has enjoyed a successful career on stage, winning Tony Awards for Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel. A longtime fan of Shakespeare, he made his directorial debut with Looking for Richard, a quasi-documentary on the play Richard III. Pacino has received numerous lifetime achievement awards, including one from the American Film Institute. He is a method actor, taught mainly by Lee Strasberg and Charles Laughton at the Actors Studio in New York. Although he has never married, Pacino has had several relationships with actresses and has three children. []
915	yago	0	15	https://variety.com/1996/film/reviews/looking-for-richard-2-1200445134/	en	Looking For Richard	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "Godfrey Cheshire" ]	1996-02-05T07:00:00+00:00	High-spirited and infectiously energetic, Al Pacino's "Looking for Richard" is a master class in Shakespeare and acting conducted by an uncommonly passionate and delightful teacher.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/1996/film/reviews/looking-for-richard-2-1200445134/	High-spirited and infectiously energetic, Al Pacino’s “Looking for Richard” is a master class in Shakespeare and acting conducted by an uncommonly passionate and delightful teacher. Ranging from New York’s streets to the reconstructed Globe Theater in London, talking with everyone from strangers encountered by chance to scholars and celebrated actors, Pacino is the voluble, mercurial center of a film that ingeniously interweaves commentary on Shakespeare with analysis of, rehearsals for and key segments from a “Richard III” on film. Remarkably cohesive, considering its disparate methods and aims, pie is nervy , personal, funny and emotionally charged throughout, a compelling tribute to the Bard and the players who make his words live. Given smart handling by Fox Searchlight, it should reach well beyond arthouses and into the mainstream that is Pacino’s obvious target. Popular on Variety The film’s source, unmistakably, is the actor’s love for Shakespeare and desire to communicate the writer’s poetry to audiences of all stripes. Pic’s initial section registers some of the barriers to general appreciation as Pacino , Wearing a backward baseball cap and quizzical expression, samples man-in-the-street opinions as to the offputting difficulties of Shakespeare’s 16 th-century lingo. The language is a tall hurdle to get over, and not just for those who last experienced it as a high-school endurance test. Pic also registers its challenges for American actors who, as John Gielgud notes, often don’t grow up experiencing the books and museums that provide the literature’s cultural context. Yet Pacino eagerly demonstrates solutions to such puzzlements from the outset. He draws in scholars as well as other actors to elucidate the War of the Roses and other elements of the historical backdrop that help viewers grasp the motivations of the play’s characters and the gist of such speeches as Richard’s famous opening monologue. At the same time, watching topnotch actors grapple with these roles gives both the history and the literature a vivid immediacy. While Pacino listens appreciatively to the likes of Gielgud and Vanessa Redgrave (who discourses eloquently on the spiritual force of iambic pentameter), he casts his “Richard III” with Americans and builds the drama’s foundations on the very physical rehearsal-hall interplay of cast members such as Penelope Allen, Estelle Parsons and Harris Yulin. The play emerges from all these commentaries and preparations like a gathering storm. Naturally, time permits no more than a healthy portion of key scenes to be included, yet these offer a surprisingly complete sense of the drama’s trajectory. Richard seduces Lady Anne (Winona Ryder) with his bold lies; Clarence (Alee Baldwin) meets his pathetic end; Richard uses, then abandons, Buckingham (Kevin Spacey) while scheming and murdering his way to the throne; and, finally, Richard faces his own doom in the form of Richmond (Aidan Quinn). What starts as history lessons and rehearsals has, by its end, left behind all intellectual props and achieved a magnificent emotional force. Pacino’s performance as Richard not only provides the film’s rawest, most ferocious energies, it also suggests why this play is ideal for the actor-director who wants to illuminate Shakespeare overall. Endlessly stage-managing and commenting on his own villainy, Richard is himself simultaneously player, playwright and director, a grandly theatrical creation suited to the purposes of both the classroom and the cinema. While intelligence, gusto and generosity characterize Pacino’s work with his cast, the film is equally noteworthy for the combined economy and clarity of its editing. It also shines with a general exuberance and good humor that provide a steady stream of comic moments and light-handed asides to buoy the drama’s weightier concerns. Technically, pie has some of the ragged edges that often come with seat-of-the-pants filmmaking, but these add to the prevailing mood of spontaneity and rugged integrity.
915	yago	1	59	https://tv.apple.com/us/person/al-pacino/umc.cpc.4qgmdxiagh76sjwkxu7ve0wfu	en	Al Pacino Movies and Shows	https://is1-ssl.mzstatic…g/1200x675mf.jpg	https://is1-ssl.mzstatic…g/1200x675mf.jpg	[ "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	null	Learn about Al Pacino on Apple TV. Browse shows and movies that feature Al Pacino including Knox Goes Away, Scarface, and more.	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/us/person/al-pacino/umc.cpc.4qgmdxiagh76sjwkxu7ve0wfu	Alfredo James Pacino is an American actor and filmmaker. Pacino has had a career spanning more than five decades, during which time he has received numerous accolades and honors both competitive and honorary, among them an Academy Award, two Tony Awards, two Primetime Emmy Awards, a British Academy Film Award, four Golden Globe Awards, the Lifetime Achievement Award from the American Film Institute, the Golden Globe Cecil B. DeMille Award, and the National Medal of Arts.
915	yago	0	49	https://en.wikipedia.org/wiki/Simone_(2002_film)	en	Simone (2002 film)	https://upload.wikimedia…/6/65/S1m0ne.jpg	https://upload.wikimedia…/6/65/S1m0ne.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/6/65/S1m0ne.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Star_half.svg/11px-Star_half.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-08-13T09:28:24+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Simone_(2002_film)	Science fiction film by Andrew Niccol SimoneDirected byAndrew NiccolWritten byAndrew NiccolProduced byAndrew NiccolStarringCinematographyEdward LachmanEdited byPaul RubellMusic byCarter Burwell Production company Distributed byNew Line Cinema Release date Running time 118 minutesCountryUnited StatesLanguageEnglishBudget$10 million[citation needed]Box office$19.6 million[1] Simone (stylized as S1M0NE) is a 2002 American satirical science fiction film written, produced, and directed by Andrew Niccol. It stars Al Pacino, Catherine Keener, Evan Rachel Wood, Rachel Roberts, Jay Mohr, and Winona Ryder. The story follows a fading director creating a virtual actress to star in his films and the attempts he makes to keep her non-presence a secret as she becomes more famous. Simone garnered mixed reviews from critics, grossing $19.6 million worldwide against its $10 million budget. Plot [edit] When Nicola Anders, the star of the new film by out-of-favor director Viktor Taransky, refuses to finish the film and contractually requires her image to not be used in the film, Taransky is forced to find a replacement actress and re-shoot scenes from the film. Instead of hiring another actress, Taransky experiments with a new computer program he inherits from late acquaintance Hank Aleno which allows the creation of a computer-generated woman which he can easily animate to play the film's central character. Taransky names his virtual actor "Simone," a name derived from the computer program's title, Simulation One. Seamlessly incorporated into the film, Simone gives a fantastic performance, exactly controlled by Taransky. The film is immediately a huge success, and the studio and world grow confused about Simone and campaign to find out who she truly is. Taransky initially claims that Simone is a recluse and requests her privacy be respected, but that only intensifies media demands for her to appear. Taransky decides he will reveal the secret of her non-existence after the second motion picture she stars in. To satisfy demand, he executes a number of progressively ambitious stunts relying on misdirection and cinematic special effects technology. Eventually, it escalates to simulated remote location video live interviews. In one instance, two determined tabloid reporters discover Taransky used out-of-date stock photography as a background during an interview instead of being on that site as claimed, and they blackmail him into getting Simone to make a live appearance. He arranges her to perform a song at a stadium event appearing in a cloud of smoke and then using flawless holographic technology. The perception of being in person is reinforced with real-time visualization on the stadium's monitors. Simone becomes even more famous, simultaneously becoming a double winner for the Academy Award for Best Actress, tying with herself in the process. Though initially happy about his hoax going off, Taransky grows tired of Simone constantly overshadowing him in the press, and decides to make her second film purposely bad; thus Simone's next film, I Am Pig, is her "directorial debut" and a tasteless treatment about zoophilia intended to disgust audiences. Not only does it fail to achieve the desired effect of audience alienation, but it also serves to foster her credibility as a risk-taking, fearless and avant-garde artist. Taransky's subsequent attempts to discredit Simone by having her drink, smoke, and curse at public appearances and use politically incorrect statements similarly backfire when the press instead begins to see her as refreshingly honest. As a last resort, Taransky decides to dispose of Simone completely by using a computer virus to erase her, dumping the hard drive and floppy disks into a steamer trunk, burying the trunk at sea, and then announcing to the press that she has died of a rare virus contracted on her Goodwill Tour of the Third World. During the funeral, the police interrupt, open the coffin and find only a cardboard cutout of Simone. He is arrested and shown a security camera video where he loads a large trunk onto his yacht. After being charged with her murder, he admits that Simone is not a person, but a computer program. The chest containing the computer data is brought up empty. Taransky's daughter Lainey and ex-wife Elaine enter his studio to try to help him restore Simone, as he has a change of heart. They find Taransky's forgotten virus source disk (Plague) and apply an anti-virus program to eradicate the computer virus. They restore Simone and have her appear on national television laughing while holding up a newspaper headline with her obituary along with a fake story that Simone's death was a hoax. Elaine and Taransky get back together, but Simone and Taransky get into a "public relationship" and even have a virtual baby as a publicity stunt. In a bizarre further twist of events, Simone at the end of the film enters politics so her child can have a good future. Cast [edit] Al Pacino as Viktor Taransky Catherine Keener as Elaine Christian Evan Rachel Wood as Lainey Christian Rachel Roberts as Simone Winona Ryder as Nicola Anders Jay Mohr as Hal Sinclair Pruitt Taylor Vince as Max Sayer Jason Schwartzman as Milton Claudia Jordan as Simone Lookalike Elias Koteas as Hank Aleno (uncredited) Rebecca Romijn as Faith (uncredited) Joel Heyman as Male Kelly Anna Cox as Young Simone Production [edit] Like Andrew Niccol's predecessor Gattaca, Simone deals with themes of the problematic aspects of technological advances being used to attempt to attain perfection. Unlike the former, however, Simone was Niccol's first attempt at a comedic satire with lighter moments and over-the-top drama. Niccol's first attempt at non-satire had been the earlier and more successful The Truman Show.[2] Pruitt Taylor Vince and Jason Schwartzman were cast as obese tabloid investigator Max Sayer and his shady-looking but peculiarly childlike assistant, Milton, respectively. Rebecca Romijn was cast later in the role of Faith, Viktor's secretary who is so obsessed with Simone that she begins dressing like Simone, dying her hair like Simone and even trying to have sex with Viktor just so that she can hear him call her "Simone". These side-actors built up much of the side comedy surrounding the bizarre cultural phenomenon surrounding Simone. Footage of character Holly Golightly from Breakfast At Tiffany's was obtained from Paramount Studios to be used in the film for part of the basis of the Simone character, while scenic footage used for Simone's "remote interview" backgrounds was obtained from Getty Images.[3] Stylized elements present throughout the film and its post-credits included the use of #1 in place of any letter 'I', and a #0 in place of any letter 'O', which occurs for the entire duration of the credits, including for all cast and crew names featured. Principal photography was done by Edward Lachman, while the entirety of the production was made in California, using the Getty stock footage to fill in for locations such as Egypt's Great Pyramids.[4] Simone featured a cover of "(You Make Me Feel Like) A Natural Woman", which Simone sings during a concert scene via hologram, and which later plays over the end credits. Carter Burwell composed the film's score, which was released on CD. Special effects [edit] The film shows how the fake is produced using the chroma key technique. A post-credits sequence shows Viktor creating fake footage of Simone in a supermarket, which one of her pursuers sees, believing it real. Reception [edit] Box office [edit] The film opened at #9 on the North American box office chart, grossing US$3,813,463 in its opening weekend. The film grossed $19,576,023 worldwide.[1] Critical response [edit] Simone received mixed reviews from critics. Review aggregator Rotten Tomatoes gave it a 51% approval rating based on 160 reviews, with an average rating of 5.8/10. The site's consensus reads: "The satire in S1m0ne lacks bite, and the plot isn't believable enough to feel relevant."[5] Metacritic, which assigns a weighted average out of 100 top reviews from mainstream critics, calculated an average score of 49, based on 38 reviews, indicating "mixed or average reviews".[6] Roger Ebert was critical of Niccol wasting his premise by giving it a broad appeal with "sitcom simplicity" and his cast a narrow direction for their characters, saying: "He wants to edge it in the direction of a Hollywood comedy, but the satire is not sharp enough and the characters, including the ex-wife, are too routine."[2] The Guardian's Peter Bradshaw wrote that "It's reasonable material, but there are no real plot twists or unexpected implications; it all just rolls out easily in a Hollywood that director Niccol makes appear so unreal as to be an easy target".[7] Marc Savlov of The Austin Chronicle said, "What really irked me about Simone was that it stank of the very thing it appeared to be mocking: it's a big-budget, commercial film taking potshots at big-budget, commercial filmmaking (as well as overripe, over-earnest indies), and although it strives constantly for a sense of knowing, winking irony, the only thing ironic about it is how much it resembles its supposed target."[8] Elvis Mitchell of The New York Times said, "The writer-director Mr. Niccol is satirizing the kinds of dazzling empties he himself has made. [Mr. Niccol is] fascinated with surfaces—the films he's been involved with (he wrote The Truman Show and wrote and directed Gattaca) are a mix of populism and deconstruction. His newest effort, Simone, goes beyond postmodern to post-entertainment—it's tepid and vapid."[9] See also [edit] The Truman Show VTuber (media phenomenon centering on virtual avatar entertainment) References [edit]
915	yago	1	6	https://www.tvguide.com/celebrities/al-pacino/bio/3030386501/	en	Al Pacino Biography	https://www.tvguide.com/…t=675&width=1200	https://www.tvguide.com/…t=675&width=1200	[ "https://www.tvguide.com/a/img/resize/07168ef4d25febc44ca36a0256f4125663aabe14/catalog/provider/10/9/10-F885AE6B-3BE3-4CCF-B9D9-D749794DEAEE.png?auto=webp&fit=crop&height=300&width=200" ]	[]	[]	[ "" ]	null	[]	null	Read all about Al Pacino with TV Guide's exclusive biography including their list of awards, celeb facts and more at TV Guide.	en	/favicon.ico	TVGuide.com	https://www.tvguide.com/celebrities/al-pacino/bio/3030386501/	Awards 2021Golden Globe-Best Performance by an Actor in a Television Series - Drama: nominated 2020BAFTA Film Awards-Best Supporting Actor: nominated 2019Oscar-Best Performance by an Actor in a Supporting Role: nominated 2019Screen Actors Guild Awards-Outstanding Performance by a Cast in a Motion Picture: nominated 2016Golden Globe-Best Performance by an Actor in a Motion Picture - Musical or Comedy: nominated 2014Golden Globe-Best Performance by an Actor in a Miniseries or Motion Picture Made for Television: nominated 2013Screen Actors Guild Awards-Outstanding Performance by a Male Actor in a Television Movie or Miniseries: nominated 2013Emmy-Outstanding Lead Actor in a Miniseries or a Movie: nominated 2011Golden Globe-Best Performance by an Actor in a Miniseries or Motion Picture Made for Television: winner 2010Emmy-Outstanding Lead Actor in a Miniseries or a Movie: winner 2010Screen Actors Guild Awards-Outstanding Performance by a Male Actor in a Television Movie or Miniseries: winner 2004Emmy-Outstanding Lead Actor in a Miniseries or a Movie: winner 2004Golden Globe-Best Performance by an Actor in a Miniseries or Motion Picture Made for Television: winner 2003Screen Actors Guild Awards-Outstanding Performance by a Male Actor in a Television Movie or Miniseries: winner 1997Independent Spirit Awards-Truer Than Fiction Award: nominated 1996Directors Guild of America Awards-Outstanding Directorial Achievement in Documentary: winner 1993Golden Globe-Best Performance by an Actor in a Supporting Role in a Motion Picture: nominated 1993Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: winner 1993Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: winner 1992Oscar-Best Performance by an Actor in a Leading Role: winner 1992Oscar-Best Performance by an Actor in a Leading Role: winner 1992Oscar-Best Performance by an Actor in a Supporting Role: nominated 1991Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: nominated 1991Golden Globe-Best Performance by an Actor in a Supporting Role in a Motion Picture: nominated 1991BAFTA Film Awards-Best Actor in a Supporting Role: nominated 1990Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: nominated 1990Oscar-Best Performance by an Actor in a Supporting Role: nominated 1984Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: nominated 1983Golden Globe-Best Performance by an Actor in a Motion Picture - Musical or Comedy: nominated 1980Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: nominated 1979Oscar-Best Performance by an Actor in a Leading Role: nominated 1978Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: nominated 1976BAFTA Film Awards-Best Actor: winner 1976Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: nominated 1976BAFTA Film Awards-Best Actor: winner 1975Oscar-Best Performance by an Actor in a Leading Role: nominated 1975Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: nominated 1975Los Angeles Film Critics Association-Best Actor: winner 1975BAFTA Film Awards-Best Actor: nominated 1974Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: winner 1974Oscar-Best Performance by an Actor in a Leading Role: nominated 1973Golden Globe-Best Performance by an Actor in a Motion Picture - Drama: nominated 1973BAFTA Film Awards-Most Promising Newcomer to Leading Film Roles: nominated 1973BAFTA Film Awards-Most Promising Newcomer to Leading Film Roles: nominated 1973National Board of Review-Best Actor: winner 1973Oscar-Best Performance by an Actor in a Leading Role: nominated 1972National Society of Film Critics-Best Actor: winner 1972National Board of Review-Best Supporting Actor: winner 1972Oscar-Best Performance by an Actor in a Supporting Role: nominated
915	yago	2	50	https://www.gq.com/story/al-pacino-and-robert-deniro-godfathers-of-the-year-2019	en	Robert De Niro and Al Pacino: A Big, Beautiful 50-Year Friendship	https://media.gq.com/pho…-the-year-03.jpg	https://media.gq.com/pho…-the-year-03.jpg	[ "https://www.gq.com/verso/static/gq-global/assets/logo.svg", "https://www.gq.com/verso/static/gq-global/assets/logo.svg", "https://media.gq.com/photos/5dcd7bbe81b355000904c7be/16:9/w_2560%2Cc_limit/al-pacino-robert-de-niro-gq-men-of-the-year-03-lede.jpg", "https://media.gq.com/photos/5dcd7cc8c3636800085b0eec/master/w_1600%2Cc_limit/al-pacino-robert-de-niro-cover-gq-men-of-the-year-2019.jpg", "https://media.gq.com/photos/5dcd7b868dcc01000830a3d3/master/w_1600%2Cc_limit/al-pacino-gq-men-of-the-year-2019-01.jpg", "https://media.gq.com/photos/5dcd7b8981b355000904c7bc/master/w_1600%2Cc_limit/robert-de-niro-gq-men-of-the-year-2019-02.jpg", "https://media.gq.com/photos/5dd30c434a18ac0009557fb8/master/w_1600%2Cc_limit/al-pacino-robert-de-niro-gq-men-of-the-year-07.jpg", "https://media.gq.com/photos/5dd30c434b5f8a0008a5f364/master/w_1600%2Cc_limit/al-pacino-gq-men-of-the-year-2019-05.jpg", "https://media.gq.com/photos/5dc455b6e0381b0008e7a8fc/1:1/w_775%2Cc_limit/tyler-the-creator-gq-men-of-the-year-2019-lede.jpg", "https://media.gq.com/photos/5dcd9c9b5f284d00086daf6d/1:1/w_775%2Cc_limit/MOTY-Covers-GQ-11142019_3x2.jpg", "https://media.gq.com/photos/669950a322b65da75be59cb5/4:3/pass/undefined", "https://media.gq.com/photos/66aabc0a46d4f93e090c4ebc/4:3/pass/undefined", "https://media.gq.com/photos/66b12b13583288ee683a3368/4:3/pass/undefined", "https://media.gq.com/photos/669e9e4949911cbfc304959a/4:3/pass/undefined", "https://www.gq.com/verso/static/gq-global/assets/logo-reverse.svg" ]	[]	[]	[ "" ]	null	[ "Zach Baron", "Richard Burbridge", "Carrie Battan", "The Editors of GQ", "Andrew Greif", "Evan Malachosky", "Frazier Tharpe", "Avidan Grossman", "Condé Nast" ]	2019-11-20T08:00:00-05:00	The two legends—and GQ Men of the Year—riff on 'The Irishman,' Martin Scorsese, 'The Godfather,' and five decades of Hollywood fame.	en	https://www.gq.com/verso/static/gq/assets/favicon.ico	GQ	https://www.gq.com/story/al-pacino-and-robert-deniro-godfathers-of-the-year-2019	“We got together early on,” Al Pacino said, gesturing at Robert De Niro. “And we shared something, which was a big thing at the time.” The two men were sitting in a hotel suite in New York, trying to sum up 50 years of friendship and the weird, singular bond that comes from being two of the most heralded actors of their generation. The balcony door was open, to catch the September breeze. Last night Martin Scorsese’s The Irishman, in which they both star, had premiered at the New York Film Festival, and they’d spent nearly every hour since being fêted. And so, despite their often formidable reputations, there was a sweetness about them. “New York Film Festival, this is a prestigious film festival!” Pacino said earnestly. After the first showing of the ﬁlm, De Niro and Scorsese emerged onto a balcony in Alice Tully Hall, arms around each other, as the crowd stood to applaud. Later that night, I watched De Niro and Pacino become overwhelmed by well-wishers at an after-party at Tavern on the Green, where Joe Pesci and Spike Lee and Bobby Cannavale mixed in with triumphant Netﬂix executives in an overheated VIP room. The reviews of the ﬁlm were good. They looked, sitting on a couch in front of me, like two men who couldn’t believe their luck. In 1974 they both starred—in separate timelines that never intersect—in The Godfather Part II. It wasn’t until most of the way through 1995’s Heat that they finally appeared in the same frame of the same ﬁlm, facing off across a diner table, and even then it was for only a few electric minutes. In the interim, both De Niro and Pacino made innumerable classics, and also 2008’s Righteous Kill, the first ﬁlm in which they shared multiple scenes. In The Irishman—based on Charles Brandt’s true-crime book I Heard You Paint Houses, about the disappearance of Jimmy Hoffa (played in the ﬁlm by Pacino) and the underworld into which he disappeared (represented by the hit man Frank Sheeran, played by De Niro)—the two men give surprisingly emotional performances, suffused by their history with each other and, in De Niro’s case, with Scorsese. (Somehow this is Pacino’s ﬁrst role in a Scorsese ﬁlm, and the ﬁrst time the three men—along with their costars Pesci and Harvey Keitel—have made something all together.) The movie has the feel of an old and august gang reuniting for one last job and looking back, sometimes ambivalently, on many lifetimes of work about violence and love and loss. Pacino is three years older than De Niro and visibly protective of him. De Niro is famously a man of few words in life and a man of even fewer words in front of journalists. During the afternoon we spent together, he sat quietly on the couch and barely spoke, except to laugh as Pacino stood to roar or act out characters and scenes from their respective lives. Even now De Niro looks like himself: When he shrugs, you see a dozen iconic movie characters flicker through him. Pacino wore a baseball cap that he periodically removed to reveal a wild mane of hair—the watchful beauty of his youth has long since turned to a mischievous chaos, a visible glee to still be at it. Pacino is on a recent run of characters, as in The Humbling or Danny Collins, ravaged by time and pride, while De Niro has increasingly found himself playing fathers and grandfathers, men who have as much to express and as little to actually say as he himself does. Their dynamic, at least today, was tender. Often Pacino would intercept questions intended for his friend and answer them himself. At the end of the interview, both men stood and embraced for a long, quiet moment. “I love you,” Pacino said to De Niro. Watch: Robert De Niro and Al Pacino Have an Epic Conversation GQ: The Irishman is a little bit deceptive. It appears to be a classic Scorsese–De Niro gangster movie, and then, as you’re watching it, you’re like, Oh, wait. This is a film about mortality and coming to the end of things. Al Pacino: It sort of bleeds out. It’s as though somehow Marty has found a way to get at his inner feelings about things in a very subtle way. I know when I saw it, I was moved by it and I thought, Why am I feeling this way? And I feel like it’s about us in a way. About people. What are we doing? Bob, you talked Joe Pesci into doing the movie, in part by saying, “This could be the last one,” right? Robert De Niro: Yeah, I was on Joe about it. But he knew that. We all know that. I mean, we’d like to do other projects together, and maybe if we’re lucky, we will, but this—I said, “Joe, you gotta.” Is there something bittersweet about coming to a point where anything that you guys do together could be the last one? Pacino: It didn’t enter my mind. It always feels like that’s in some way an outside determination. And perhaps in six weeks or something, I’ll say, “Hey, that was good while it lasted.” But basically you don’t think that way. Do you, Bob? De Niro: No. I mean, you don’t. Pacino: You don’t think that way. Because you’re in your body doing your thing, and you’re thinking, Well, it’s the same old, same old. The same old is: There’s a script, there’s a director, and is there a role for you? At least that’s the way I think: Is there a role for you to play in it? These characters could have been going to see your films on the weekends; it’s the same period as Mean Streets and The Godfather. Is it strange to see times that you lived through turned into a period piece? Pacino: As a writer, you see that, but we don’t think that way. Well, I’m not speaking for Bob here. But you don’t think of your life in the past as a period piece. You just don’t. De Niro: [laughs] Pacino: Someone said to me just recently, “How old are you?” And I said, “Well, that’s like asking me how long do you think I have left.” At a certain period, there’s something rude about asking someone how old they are. Is the implication that you’re somehow too old for what you’re doing? Pacino: I just don’t know. I think it’s personal. Like, I’m looking at you now. I’m not thinking about how old you are. You look like a young guy to me, but I see a marriage ring. I see, I wonder, Wow—but I don’t try guessing it. Certainly I don’t want to do it in front of you. When I leave maybe. Pacino: Yeah, when you leave, we’ll go over it. What do you think that guy is? How much time does he have left? Also, you’re Al Pacino. If someone wants to know your age, they can look it up. Pacino: Well, this is what we’re plagued with, you have to understand. When celebrities have birthdays, it’s all over the news. You can’t lie about your own age! Actually, that expression “You look good for your age” comes in. But I haven’t heard that in a long time. Maybe: “You look good to still be alive.” De Niro: [laughing] Right. Pacino: But it has a lot to do with choices, it has a lot to do with the kind of roles you get. Because with us, we don’t just go home and write. We need to find roles. It’s fascinating what you said, Al, about age dictating parts somewhat. You’re on a great run of playing prideful men at the end of their lives: Danny Collins, The Humbling, Manglehorn. I wondered if you were doing those parts because you felt a certain kind of affinity. Or is it because that’s what you get sent in the mail? Pacino: No, totally because of their thematic material. You look for that. I’m doing roles and thinking about doing things like King Lear. I’ve been approached to do that several times now. I’ve never thought of that as a film. And suddenly, you say, “Well, let me pick it up and start looking at it and reading it.” And you find there are things in it you understand more that you didn’t before. So it’s a funny kind of thing, when those awarenesses start to creep in on you without knowing it. I didn’t even think of doing King Lear, which I was offered 10 years ago. But now when I look at it, I understand some things I just didn’t then. So there’s these mini revelations that come along. And Bob, for you it’s been fathers, like the character you play in Silver Linings Playbook: guys who have a lot of love to give but don’t necessarily know how to pass it along. And obviously that’s very much threaded through The Irishman as well. Is that a thematic concern you relate to? De Niro: Yeah. It’s an appealing one, and it’s relevant to my life and I guess a lot of people’s lives, obviously. You guys both have worked almost constantly. Bob, I’m not really aware of any break you’ve ever taken. Al, the only time off I really know you have taken was after Scarface, in 1983, then Revolution, in 1985. Pacino: I went about four years without making films. Then I went broke. Bob knew about it. De Niro: [laughing] Pacino: That was only the first time I went broke. There was another time too. What was the other time? Pacino: We’ll leave that alone. But when I went broke the first time, the person I was living with at the time said, “What do you think you’re gonna do? Live off of me?” I thought, No. She said, “You gotta work.” I was relatively young when this happened to me. So I just decided not to do this for a while. Why’d you decide not to do it anymore? Pacino: It was just kind of an impulse. A bit of the bloom was off the rose for me, artistically and expressively. But somewhere in the back of my head, I always felt I could work. I always felt I’d be able to get work. And then the truth is I needed to go work. I had to earn. Did you learn anything from taking a break? Pacino: I remember how wonderful it felt to even sort of contemplate anonymity. Even though I wasn’t. But I did feel a little… You know what they say: out of sight, out of mind. Because there was an intense period. It was, I would say, more of a happier period in my life than I remember. That doesn’t mean I’m gonna do it again. [laughs] De Niro: Was that the time you were doing the documentary you were showing me? Pacino: Yeah, The Local Stigmatic [a little-seen extremely strange film by Pacino about dog- track betting]. De Niro: I liked that. Pacino: I was showing Bob stuff. And he thought I was nuts. Of course he was very nice, though. Like, “What is he doing?” But we were close. We were very close. So pretty much—what, 30 years, 40 years? De Niro: More, yeah. What’s the earliest memory that you guys have of each other? De Niro: Well, when we met, I think I was in my mid-20s. And you were maybe a couple years older than me. And that was about 50 years ago. Pacino: I remember the meeting very clearly. Unbelievably, I saw this guy, I thought, Wow, he’s got such charisma. He wasn’t doing anything. He was just walking. Remember? You know, he was Bob. But you felt something from him. Were you guys competitive with each other? De Niro: It’s not that you’re competitive. You’re up for the same parts. Like Godfather—Francis wanted Al. But every actor knew about it, and I think the studio was forcing him to look [elsewhere], from what I understood of it. And I never confirmed this with Francis, but they were putting pressure on him to use somebody other than Al. I was in a reading once with Paul Sorvino where Francis was on the phone talking to one of the studio heads, maybe it was Bob Evans, about another actor—I’m not gonna say who it was, but if I said who it was, you’d say, “Jesus.” But they were in a hit movie at the time. And Francis is very open. He’s talking in front of an actor. Saying, “I really don’t think that they’re right for it, blah blah blah.” Was it Michael that you were reading for? De Niro: I could have been reading for Michael, or I was reading for Sonny. Because I knew that Francis wanted Al for Michael. But the word was out also that he wanted Jimmy Caan for Sonny. But he was going through the pressure, Francis, unbelievable pressure that they were gonna push you to do things. It’s just the nature of it. I wonder if you guys are friends in part because so few other people can really relate to your respective life experiences. Pacino: We get together. And there’s a trust there. There just is. We understand this thing together a little bit better. And you go there sometimes just to get some feedback. We talk about things. De Niro: Kibitz. I don’t know if you know that word. I do. Pacino: We kibitz. I imagine there are not a lot of people who can understand, really, what it’s like for the two of you — Pacino: Well… Maybe not. You’re disagreeing. Pacino: I mean, it’s just such a different world now. Celebrity is different. And fame is, I think, sought-after more than it ever was in my lifetime. It’s sort of a cart-before-a-horse kind of thing. Younger actors cite you guys to me, and they’ll say they admire you guys for giving less away. Like, Al, maybe you’ve done a couple of things, like a big Playboy interview, but Bob, you hardly do interviews at all. Pacino: He used to tell it to me. He’d say, “No, I don’t need to. I’ll go to Al and talk about it.” No, I’m totally joking. Did you have to learn that, Bob, or was that always your instinct? De Niro: No, it’s just the way I am. I just feel a little—but I felt that you were that way too. Pacino: I was that way. I mean, that Playboy interview, that was Larry Grobel, who I got to know. But I’ll tell you the truth, I think I did it because he did Marlon! And he did Barbra Streisand, you know? And I thought, Wow. And he came to me and I said, “Well, Marlon...” See, a lot of my influence, I don’t know about Bob, was Marlon. The way he dealt with things. He was reclusive in a way. And so I thought you don’t give that away, because that is part of what your performance art is. De Niro: Yeah. Pacino: It’s keeping the page blank or the canvas blank so it doesn’t affect the performance you’re giving or the character you’re playing. That was my idea of it. And Marty Bregman was a big help to me, my manager at the time. ’Cause he would always say to me, you know, something would happen, and I would say, “Gee, should I go on TV?” And he would just say simply, “Not you, no. You don’t want to do that.” And the truth is some of these people that do do it, the young people, are very good at it. They’re wonderful actors too. And they know how to because they grew up with it. It’s not the same kind of stigma as it used to be when we were younger. It’s changed. Some very prominent young star told me that too. He just said to me straight out, “I know how to do this because it just came out of my upbringing.” And he says, “I know you didn’t. You didn’t have that.” And I thought, Gee, he’s making a good point here. But there’s nothing really against it at this point. It can’t really hurt you. Not us. We’re not young. We’re beyond it now. Now they come to you and they want to write books. You mean about you guys? Pacino: They want to write a book about Bob, a book about me. I didn’t want to write a book. I still don’t. I would probably, if I was writing a book, I would wake up in the middle of the night screaming. Something about somehow talking about the life I had and how I lived and all the things in it, if it didn’t make me scream—I don’t mean that so much as it would really bother me to go back there and go through things. It would? Pacino: Yeah. I think it would, yeah. But my kids want me to write a book. They say, “Dad, write about it.” Bob, you participated in making a beautiful film about your father, 2014’s Remembering the Artist, Robert De Niro, Sr., and I think at the time you said it was for your kids too, right? De Niro: Yeah, I did it for the kids and grandkids and the family. That was the original intention of it. So that they were aware of who he was. The Irishman is very much about a guy at the end of his life looking back, trying to make sense of it. When you look back at the lives you led, what do you think of first? Pacino: [A long silence here.] Well, I guess I think about the people that are no longer in my life. That’s what I think about. And of course, my kids. De Niro: Sure. You’re looking back, things that I’ve been through in my life. Did I make this decision correctly? And that one? And I say, “But this is what I did and you live and learn and that’s it.” You just gotta keep going and make the best of things, and I’m pretty fortunate in a lot of ways. So I want to always keep that focus. Pacino: That’s a big thing. You start feeling grateful. And when does that kick in? Pacino: Well, when you practice it. Because you forget a lot about that. But then when you think: It’s true. There’s a lot to be thankful for. Are there particular roles that you look back on with pride? De Niro: Of course. But I mean, I feel that this film is a—I mean, I could have shot for another five or six months with Marty. It was a great experience. And this is something I’m very proud of that we did. Pacino: What I’m happy about is to have desire. To feel appetite. To continue the work, or just in general? Pacino: Well, in general. Appetite for whatever—work, life. If you saw The Humbling, part of what motivated me to do that film is because I thought of that. The idea that what happens when you don’t have that anymore. God, to me it’s a gift. It’s a real gift. Desire, I think sometimes it trumps talent. Maybe it goes hand in hand. I guess it must. The talent part is not in question for you two, but when you think back on how you became successful, is that luck, or is it that you had more desire than the next guy? Pacino: It’s a combination of luck and other things. Let’s face it. Just something as simple as being at the right time, the right place. I mean, to come out of the ’70s, when our kind of actor was following the way paved by Brando and Dean and Newman and all these great people back then who opened the door for a lot of people like us. And Scorsese and Coppola and Spielberg and Lumet and these people—they were all around then. And Lucas and De Palma. This was a period at that time when film was flourishing. It was different than the time before it, I think. Not better or worse, mind you. It was different. And I think that there was a new kind of person out there, in that period. We were talking about commonalities that you guys have. And one of many is that you’re both formally trained. I don’t know if there are Stella Adlers and Lee Strasbergs around anymore — Pacino: Bob was a Stella Adler student. So was Marlon. De Niro: I don’t know what the acting-teaching situation is today. I’m sure there are very good people who teach today. I know, with Stella, she had a thing called script analysis that I had not experienced when I was studying at the Dramatic Workshop. And she was opposed to what Lee would do because Lee, she felt, was a cult of personality. But at the same time, she had Marlon, who was very much all that stuff. But he was a great actor and wonderful, and part of his personality came through in his acting, it was all together. And we all looked up to him. Pacino: I saw recently something he did, Streetcar, the film Streetcar. There’s a section in there, and I was telling Bob—or was I telling myself? But I was telling him about this time where he’s playing cards and Karl Malden is flirting with Vivien Leigh and they’re having a flirt together, and Brando’s by the kitchen playing cards with his poker buddies and he’s going crazy ’cause he’s losing and he’s half in the bag and he’s playing, and then she’s singing and the radio’s on and he starts saying things like, “Shut that radio off!” [Pacino is now fully performing as Brando in a loose re-creation of one the most iconic scenes in film history.] And then this one moment where the guy throws down his cards, Brando throws down his, he goes, [in full Marlon voice] “Bam! There they are. There they are.” And he lays down this good poker hand. And the guy next to him, his friend, goes, “Here! Here!” And he throws down a hand that beats him. And Brando just looks at it and gets upset, because this music is playing and he goes out into the other room and takes the radio, pulls it out of the wall, [Pacino is on his feet now, acting out the scene] and throws it through the window and it all winds up with him in the street going [at a full yell] Stelllllllllllaaa! This is a few minutes long. And it is a passage that is literally a tornado. It’s not like you’re watching an actor in an acting school getting really angry. It is more than anger. It is nature. And when I saw it, I just reflected on it. Bob, you are famous for your preparation for roles, which we don’t have to rehash here, but I only found out recently that you watched The Godfather, like, 50 times before you did The Godfather Part II. De Niro: Well, yeah, I looked at it. It’s funny, what I did with one of the producers, Gray Frederickson. But we went to the Paramount building right here, which is now a Trump hotel. We went there, and me and Gray went up to the 30-something floor, where the screening room was, and I had a Wollensak reel-to-reel tape recorder and a camera and I put it up there so it just caught the whole screen and then we shot. And then whenever Marlon’s pieces came on, I would record it. That’s how we did it. And I watched that a lot. So no Al. De Niro: No, it was all Marlon. Pacino: I was this gangly kid. Like, “Look at him. There he goes.” Just the Marlon parts. De Niro: Well, that’s who I was playing. It was almost like a technical exercise in some ways. I was seeing what he did and how could I transfer that to the scenes that I had. Bob, has your way of feeling your way into a performance changed? De Niro: Everything is different. When I was younger, I’d be worried about certain things that I would not worry about now, because it’s just, you’re anxious and you want to make sure. And so you get all sort of revved up, whereas what you really should do is not get revved up and just relax and let things happen. And sometimes that just comes from experience. “It’s gonna be okay, you’re gonna be there. Don’t push for anything and don’t get anxious that you’re gonna get it, because then you’ll never get it.” So you’ve done all your homework, you’re ready to go, and you just go in and do it and don’t think about it. I mean, that’s a better way to go into something, and especially if you’re with a director who understands that, respects that, like Marty. What do you think keeps you going and continuing to say yes to stuff? Especially when it would be very easy to say no to plenty of things. De Niro: Well, I mean, sometimes it’s just financial. You do something and you get paid well and you say, “I’m gonna make it work.” Or, “There will be things that will be good about it.” And I’ve done that—when I was a young actor and I had to do stuff, I was lucky I got the part. And I said, “I’m not sure about this or that. They’ve hired me for their reasons, but I’m doing it for mine as an actor.” You don’t always have the luxury of working in a situation like with Marty or David O. Russell or Francis Coppola or Barry Levinson. Nothing against the other directors. But you take your chances. Pacino: You know what? I may be falling into a bad habit now. I think I’m starting to get a little perverse. I’m starting to want to do films that aren’t really very good and try to make them better. And that’s become my challenge. I don’t think I go in thinking it’s not gonna be very good, but it’s like Bob said: Sometimes they offer you money to do something that’s not adequate. And you talk yourself into it. And somewhere within you, you know that this thing is gonna be a lemon. But then, when it comes full circle, and you see it, you say, “Oh, no. I’m gonna make this better.” And you spend a lot of time and you’re doing all these things, and you say, “If I can just get this to be a mediocre film,” and you get excited by that. It’s an impulse that I’ve got to just put that away now. “Every time I get the urge to exercise, I lie down till it passes.” That’s Oscar Wilde, I think. But the point is that it’s true. I work onstage a lot when I’m not doing other things. I’ve always wanted to ask you about this. There’s an anecdote you used to tell about acting. You were in Boston performing for a very perceptive pair of eyes, and— Pacino: Oh, yeah. Oh, my God. [to De Niro] You know that story? At the end of the play, there were these eyes on me. I went, “Who is this?” You know, “Is this gonna be my true love?” I see them again during the curtain call. I couldn’t believe this. There was such focus. So when the lights came up, I turned to the right, and there they were, two Seeing Eye dogs. De Niro: Really?! [laughing] Pacino: I said, “That’s the theater.” I realized that I’m not sure what this story is actually supposed to mean. Pacino: Well, it really means that when you’re out there, all kinds of impulses are working. You’re live. I mean, I was doing Richard III once, and I looked at the audience to talk about something, and in the second row was this woman standing up with a hunchback and her eyes—I was doing a monologue. And she’s up there looking up like this [Pacino is on his feet, impersonating a woman with a hunchback gazing toward the stage] and she was smiling at me. And I said, “Poor woman!” You know, I couldn’t help it, I smiled at her. “WE’RE RIDING HERE, BABY! YOU AND ME, WE KNOW IT!” And we just— De Niro: She said that? She said that? Pacino: She didn’t say it. I didn’t say it, either. I was doing Shakespeare. But at the same time, I felt it: We’re dancing here. Oh, my God! When those things happen, when you’re on the stage and a bat comes on the stage, I mean, for God’s sake, it’s so alive, you know? I guess I always thought the point of that story is that performing is just communing with the void. You don’t know what’s out there. Pacino: Exactly right. That’s what it is. I was young when it happened. I was in Boston. I was a kid doing a play. But at the same time, I was drawn to it. Because let’s face it, those dogs are focused. I mean, they’re protecting their owners. You guys both have really interesting histories with the Academy. Al, you were nominated four times in a row in the ’70s. Pacino: Wow. That’s intense. You say “wow” like you didn’t know that. Pacino: I didn’t think four times, but yeah. In a row? That’s pretty good. You didn’t know that? Pacino: I know there was a lot of times, but I didn’t know four in a row. Yeah, it’s four in a row. Pacino: That’s intense. And you didn’t show up the first year, right? Pacino: I don’t think I showed up a couple of those years. Why not show up? Pacino: Well, you have to understand, this was all new to me and I was extremely affected by it. I was a little concerned about what was going on with my life. There was a contrast to what I was and what I had so recently become. So I was going through a period of adjustment. And Bob knows. He was around when it was happening to me. I was having a difficult time. I think I was afraid of it for whatever reason. There was several reasons. I also took a lot of inebriants at the time. But I think I was…somewhat confused or something. De Niro: [with great empathy] Yeah, sure. Pacino: I mean, it happens. Bob, when you won for The Godfather Part II, you also didn’t go, right? De Niro: No. I had been away shooting with Bertolucci in Italy. So I couldn’t go. I don’t know whether if I was there I would have gone, but I was away shooting. I got a call at, like, six in the morning my time, like, nine at night, I guess, L.A. time. I’m curious how you decide on projects. The last movie you guys did together before The Irishman was Righteous Kill. What’s the calculus on getting involved with something like that? De Niro: [laughs] Pacino: He called me! We thought we were gonna do something. It was an interesting story. De Niro: I mean, we wanted to work together. I don’t want to say anything bad, because we did it and I did it. I think I was more just trying to give the movie as an example. If a master filmmaker like Scorsese asks you to do his film, I can see why you’d do it. But you guys do all sorts of films, and you probably don’t need to at this point. So what— Pacino: We really thought we had something there that we could do something with. There were a lot of different things I really can’t talk about now. He knows what I’m talking about. You’re better not talking about it. De Niro: But we had a good time doing the movie. It’s what it was. And I did say when we were together— Pacino: I’ll never forget that, what he’s gonna say. De Niro: We went to Europe, a couple of cities, for the premiere, and I said, “Well, look, Al, one day let’s hope that we’re gonna be here for a movie that we can really feel great about.” That’s all. Nothing against that movie. But it wasn’t what this one is. Pacino: It was very simple what he said. I said, “Damn, that would be good.” Do you feel like your relationship to Hollywood has changed over time? De Niro: I mean, I go out there. He lives out there. Pacino: I live there. I was talking less about the geography and more about Hollywood as an industry. Pacino: I want to get back here a lot, and I do come as much as I can. I have friends here. De Niro: We were just talking about it. Pacino: I do have a hard time with the winters here, I must say. It gets too cold for me. De Niro: You’re from Philadelphia? I’m from Philadelphia, yeah. De Niro: One of the coldest days I ever shot was in Philly, doing a reshoot with Bradley Cooper on Limitless. Oh, man. Pacino: You had to be outside? De Niro: When I did it, it was in the summer, so we wore lighter clothes, and we were shooting in the winter now. And I couldn’t even say the words.
915	yago	1	13	https://tv.apple.com/us/movie/looking-for-richard/umc.cmc.5nnbrj8i4521c9tfwg5sz412t	en	Looking for Richard	https://is1-ssl.mzstatic…g/1200x675mf.jpg	https://is1-ssl.mzstatic…g/1200x675mf.jpg	[ "https://tv.apple.com/us/movie/looking-for-richard/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	1996-10-11T00:00:00+00:00	This is a fascinating documentary-style film about Academy Award-winning actor Al Pacino's staging of Richard; and his simultaneous exploration of theâ¦	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/us/movie/looking-for-richard/umc.cmc.5nnbrj8i4521c9tfwg5sz412t
915	yago	2	11	https://www.deseret.com/1996/12/27/19285142/stars-inject-some-light-into-otherwise-dim-richard/	en	STARS INJECT SOME LIGHT INTO OTHERWISE DIM `RICHARD'	https://www.deseret.com/…485ea&width=1200	https://www.deseret.com/…485ea&width=1200	[ "https://static.themebuilder.aws.arc.pub/deseretnews/1707933931353.svg", "https://www.deseret.com/resizer/v2/KM2ZBAOG5RBR5ERARGHVPAKN3Y.jpg?focal=0%2C0&auth=dd7fbc043dc8eee9b26093d147a94ca0346918046d5294aa07ab45b274ff20ee&width=350&height=196", "https://www.deseret.com/resizer/v2/SNAWEPGH7NBX3L7CNP7FCMWN6E.JPG?focal=0%2C0&auth=c5c16c2a6be76254de22312448a05d246e5580a3f7daabc2499ad2e063dcfd06&width=350&height=196", "https://www.deseret.com/resizer/v2/ESBCAZS7DRE2RJESNBDXWHLFL4.JPG?focal=0%2C0&auth=3e4f6fe953db1230ec7d9a340c3f3e5ede7f2824790d374966d3728ca65d0529&width=350&height=196", "https://www.deseret.com/resizer/v2/MYYW4UPVO5HIJARWXRVSF25PMY.jpg?focal=603%2C123&auth=518853e99a3491edbad8db11bc3b69c45a2ca807a686d5f7de6f3e4d281512b3&width=350&height=196", "https://www.deseret.com/resizer/v2/Q3ZJIDENX5GPLDJ2YAIXATFKCU.jpg?focal=0%2C0&auth=fea91aebe944dc019ed2588e8de9d01b8f09d9b949f6c383e6a9d819a043b2ab&width=350&height=196", "https://www.deseret.com/resizer/v2/5ZSUKOL465H5FBI3Y3KHPT7UMA.jpg?focal=1560%2C950&auth=59f1b1cac4ef089b4c297a4e88e50dee119497986f2e8ebf2409be99a366a698&width=350&height=196", "https://www.deseret.com/resizer/v2/MA7LBX4OFRCRDIJ5ADTJGAF57A.jpg?focal=1490%2C840&auth=5cee181b2cb2f0e4ba09ca1aa64e6e2a5fde031e11a3c907b36666f58a7164fe&width=350&height=196", "https://www.deseret.com/resizer/v2/LAJS467NDNGNFHBUBO6TO4TY6E.jpg?focal=1555%2C820&auth=94a4c5954775a06c7ef4fbc05acf7e10424f89a3af32e86eaf0e1f9d759a1f6b&width=350&height=196", "https://www.deseret.com/resizer/v2/YK37NS2UPFFOHGJUM6AHBIH3XI.jpg?focal=2217%2C377&auth=651f8c0f89515e3661fbd98bbbd2ffbb0b467366312767e5237792df1cd211db&width=350&height=196", "https://www.deseret.com/pf/resources/deseretnews/assets/images/deseret-logo-footer.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/newsletters.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/print.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/ios.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/android.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/marathon.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/twitter.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/facebook.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/instagram.svg?d=161" ]	[]	[]	[ "" ]	null	[ "Deseret News", "Chris Hicks, movie critic", "www.deseret.com", "deseret-news" ]	1996-12-27T00:00:00	LOOKING FOR RICHARD - * * 1/2 - Al Pacino, Estelle Parsons, Alec Baldwin, Kevin Spacey, Winona Ryder, Aidan Quinn; directed, co-written and co-produced by Pacino; rated PG-13 (violence, profanity); exclusively at the Tower Theater.	en	/pf/resources/deseretnews/favicon.png?d=161	Deseret News	https://www.deseret.com/1996/12/27/19285142/stars-inject-some-light-into-otherwise-dim-richard/	LOOKING FOR RICHARD - * * 1/2 - Al Pacino, Estelle Parsons, Alec Baldwin, Kevin Spacey, Winona Ryder, Aidan Quinn; directed, co-written and co-produced by Pacino; rated PG-13 (violence, profanity); exclusively at the Tower Theater. "Looking for Richard" is a fractured documentary intercutting brief interview discussions of William Shakespeare's work - particularly "Richard III" - with longer sequences culled from rehearsals and a full-dress performance of that play. It also marks Al Pacino's directing debut. As you might expect, Pacino takes the title role in the play, but he also plays journalist for the documentary segments, which are a strange amalgam of Jay Leno-style man-on-the-street "What-do-you-think-of-Shakespeare?" interviews with New Yorkers and sit-downs with experts on the subject, including Sir John Gielgud and Kenneth Branagh. The film's thesis is obvious: The unwashed masses are out of touch with the classics. What a revelation! "Looking for Richard" is also a love poem from Pacino to himself, as a purveyor of the arts who desires to make one of Shakespeare's more difficult plays more accessible to the common man. In that regard, he partially succeeds, which does give the film some value. And this is especially true for students of theater, as Pacino takes us backstage, perhaps unintentionally giving us more insight into the theatrical process than of Shakespeare or his plays. And there is a major injection of entertainment value from the intelligent cast, as Pacino elicits vitality and witty commentary from people like James Earl Jones, Vanessa Redgrave and Kevin Kline, in addition to Gielgud and Branagh. They explain the characters and attempt interpretations of some of the more dense areas of "Richard III." And in the scenes from the play, such marquee names as Winona Ryder, Alec Baldwin, Aidan Quinn and Kevin Spacey show up, reading the play in a run-through, rehearsing scenes and finally performing in full costume. The latter scenes are not the film's strongest, as these actors - including Pacino - do not turn out particularly stellar performances. In that sense it is an inadvertent testimonial to strong directors. Imagine those same scenes as choreographed and interpreted by Branagh! But "Looking for Richard" is seldom boring, and certainly Pacino is eager to please. And if he had kept the R-rated language in check, this PG-13-rated film would be an ideal video for high school classroom study.
915	yago	1	44	https://www.filmcomment.com/article/dancing-on-a-high-wire-al-pacino/	en	Dancing on the High Wire	https://www.filmcomment.…pacino-thumb.png	https://www.filmcomment.…pacino-thumb.png	[ "https://www.filmcomment.com/wp-content/themes/filmcomment/static/img/fc-logo-c819c09f88.svg", "https://www.filmcomment.com/wp-content/themes/filmcomment/static/img/fc-reverse-logo-b287177bbe.svg", "https://www.filmcomment.com/wp-content/themes/filmcomment/static/img/fc-logo-on-light-5f484ec62e.svg", "http://filmlinc.com/page/-/uploads/comment/archives2000/marapr/al-pacino-ricardo-iii.png", "http://filmlinc.com/page/-/uploads/comment/archives2000/marapr/al-pacino-serpico.png", "http://filmlinc.com/page/-/uploads/comment/archives2000/marapr/Pacino-scarecrow.png", "http://filmlinc.com/page/-/uploads/comment/archives2000/marapr/al-pacino-godfather-1.png", "http://filmlinc.com/page/-/uploads/comment/archives2000/marapr/Pacino4-cruising.png", "http://filmlinc.com/page/-/uploads/comment/archives2000/marapr/donniebrasco2.png", "http://filmlinc.com/page/-/uploads/comment/archives2000/marapr/Pacino3-the-insider.png", "http://filmlinc.com/page/-/uploads/comment/archives2000/marapr/sundance-scent-of-a-woman.png", "https://www.filmcomment.com/wp-content/uploads/sites/2/2015/07/00marapr_large-480x0-c-default.jpg", "https://www.filmcomment.com/wp-content/uploads/sites/2/2015/07/JOHNNY-STACCATO-1-480x270-c-default.jpg", "https://www.filmcomment.com/wp-content/uploads/sites/2/2015/07/Prizzi-s-Honor-1985-jack-nicholson-30953091-1772-1181-thumb-480x270-c-default.png", "https://www.filmcomment.com/wp-content/uploads/sites/2/2015/07/78745507-thumb-480x270-c-default.png", "https://www.filmcomment.com/wp-content/uploads/sites/2/2011/05/kmpdvd222425-480x270-c-default.jpg", "https://www.filmcomment.com/wp-content/uploads/sites/2/2015/07/JOHNNY-STACCATO-1-480x270-c-default.jpg", "https://www.filmcomment.com/wp-content/uploads/sites/2/2015/07/Prizzi-s-Honor-1985-jack-nicholson-30953091-1772-1181-thumb-480x270-c-default.png", "https://www.filmcomment.com/wp-content/uploads/sites/2/2015/07/78745507-thumb-480x270-c-default.png", "https://www.filmcomment.com/wp-content/uploads/sites/2/2011/05/kmpdvd222425-480x270-c-default.jpg", "https://www.filmcomment.com/wp-content/themes/filmcomment/static/img/fc-logo-c819c09f88.svg", "https://www.filmcomment.com/wp-content/uploads/sites/2/2021/03/Cluny-Brown_Feature.jpg" ]	[]	[]	[ "" ]	null	[]	2011-06-21T10:19:07+00:00	Sidney Lumet, who directed him to two of his eight Oscar nominations in Serpico and Dog Day Afternoon, recalls that "if the day's work demanded a lunatic, he was a lunatic all day long." For its 27th annual Gala, the Film Society of Lincoln Center honors Michael Corleone and Richard III, Lowell Bergman and Ricky Roma, Carlito Brigante and Tony Montana, Lion and Sonny and Lefty Ruggiero, and by all means Al Pacino.	en	https://www.filmcomment.com/wp-content/themes/filmcomment/dist/img/favicon.ico	Film Comment	https://www.filmcomment.com/article/dancing-on-a-high-wire-al-pacino/	Looking for Richard In Looking for Richard, his 1996 documentary about Shakespeare, Al Pacino’s been out and about, buttonholing scholars, colleagues, regular people on the streets of New York, interrogating everyone and his brother regarding the significance of the Bard and Richard III. Now the director/actor is in costume—all black with slashes of silver—set to accost poor grief-stricken Anne (Winona Ryder) as she attends the corpse of her husband, murdered in accordance with Richard’s machinations. The great dissembler turns and leans into the camera, like some grinning salesman—say, Ricky Roma in Glengarry Glen Ross—eager to get out on the floor and work his scam: “Was ever woman in this vein wooed? Was ever woman in this vein won? … I’ll have her!” he chortles lewdly, projecting the kind of sharklike appetite Scarface shows at first glimpse of his boss’s high-priced whore (Michelle Pfeiffer). But it’s not lust for womanflesh or even the English crown that turns Richard—Al Pacino—on. It’s the heady challenge of entering inert, undefined space and making yourself the fulcrum of emotion, event, action. Of embracing a dramatic persona so intimately it possesses and moves you. Of sharing that addictive consummation with appreciative witnesses. Waifish Anne—Winona—is no match for the creature who courts her with such suave, insinuating grace. Indeed, drawn by the seductive power of Pacino’s physicality and voice, we too momentarily lose sight of the con. But, postcoitum, Pacino brings Shakespeare’s Heartless, guffawing ham (close kin to Satan in The Devil’s Advocate and even Dick Tracy’s Big Boy Caprice, Richard Crookback as comic-strip Corleone) back into camera closeup to reprise, in lascivious triumph, his “Was ever woman in this vein wooed?” speech. Having shown us the bare bones of theater and deliberately let us in on the tricks of the trade, he’s nonetheless conjured magic. High on the power of performance, Richard demands—and earns—our complicity in his dangerous fun. Such is the high-wire act Al Pacino has been pursuing on stage and screen for three decades. The metaphor shows up again and again in the few in-depth interviews this very private movie star has given over the years. Comparing critical panning of his Richard III to the tragedy of a trapeze artist’s fall, Pacino quoted the Flying Wallendas’ credo: “Life’s on the wire, the rest is just waiting.” His epiphany when he first set foot on stage—”I felt that I had the license to speak and that I was Everyman and that I was timeless and that I was universal … I love to talk and say and feel all those things, make things happen”—is shot through with the kind of wonderfully arrogant euphoria one usually associates with a very young man. But on the evidence of his career, Pacino’s passion, his addiction to the rush of crawling inside gangsters, cops, heroes, scum, Satan, et al., has not abated one jot. Serpico For a long time, this onetime student of Method acting (in Lee Strasberg’s Actors Studio) was notorious for going so deeply into character that there were fears he would not return. (Someone once swore he saw Pacino’s character leave the actor’s body.) Sidney Lumet, who directed Pacino in Serpico and Dog Day Afternoon, recalls that “if the day’s work demanded a lunatic, he was a lunatic all day long.” Even Strasberg warned his protégé, “Darling, you have to let go sometime.” Lots of writers and interviewers have gone “looking for Al,” the enigma behind (within?) the obsessive actor who won an Obie and a Tony and five Oscar nominations during his first seven years in the business. The enigma remains obstinately in hiding, convinced that personal revelations get between audiences and whatever fiction he performs, sure that in an age of relentless promotion the public might enjoy his interviews so much “that they would no longer want me to act, just do interviews.” He’s not seen much, either, on the celebrity circuit; Pacino’s canny about the way fame can turn an actor inauthentic, flaccid in the kind of interactions that tune imagination, identity, the performing instrument: “I realized people were receptive to me. And I hadn’t earned it. I had done nothing to earn their laughs, or their interest or anything. And it felt kind of cool to just sit there and not have to earn it. And I think that’s a trap….” So let me say right from the get-go, I don’t have the least idea who Al Pacino really is. (Or “Al De Niro,” as he has occasionally dubbed himself, in joking acknowledgment of his frequent confusion with that other New York Godfather.) Somehow persuaded into a Barbara Walter interview, the man who’d choose Dostoevsky or Chekhov as his biographer later congratulated himself on having revealed nothing, on taking cover in a charming tango with the dissector of celebrity psyches. What I know of Al Pacino are his dances on the high wire. Watching this obsessive performer at work on the screen, you can see the way his characters borrow from each other across the years, so that a physical nuance here signifies differently in the crucible of another lifestyle, an emotional dynamic there is deformed by unfamiliar pressures. All of Pacino’s personae have a little touch of Richard III; richly related, the best of his men are singular creations, lonely, alienated, sweet, sad, violent, innocent, corrupt dissemblers. Scarecrow In first films such as Panic in Needle Park (71) and Scarecrow (73), Pacino is all nervous energy, puppyish and still a little pudge-faced. In Panic, playing a hapless junkie, he’s stunted, stunned by the stuff he puts in his veins and by each stage of decay in his moral/emotional life. Here’s a small soul that tragically adapts to every devolution; his button-dull eyes slide away from whatever object or person he’s trying to connect with, as though he can’t or won’t trust any existential anchor. This early, Pacino’s perfected the macho street strut: shifting one shoulder around and forward, so that arm propels the torso into the familiar sideways, up-and-down rhythms of the gangsta bounce. Ratted out by his addict girlfriend (Kitty Winn), he emerges from jail and ignores her pathetic presence, walking straight toward the camera as she trails behind. Eventually, he gives in—in eloquent New York nasal-ese—to love on a yet lower rung: “Well?” A buddy-buddy road movie in the vein of Rain Man or Of Mice and Men, Scarecrow‘s too cute by half. But it offers a rare opportunity to see a smiling Pacino at comic, even physical, play. He seduces trigger-tempered Max (Gene Hackman) into friendship by acting out like a guileless, overgrown kid during a long, mostly silent sequence along a Midwestern backroad. In a very funny scene in a junkyard, while Hackman and the ineffable Ann Wedgeworth concentrate on sweet-talking each other into bed, Pacino’s diminutive figure, insanely focused, lugs huge doors and other unlikely burdens past and between them, causing great crashing sounds offscreen. It’s in the Buster Keaton tradition, the kind of comedy Pacino has said he’d like to pursue. Cornered by a prison rapist (the always-loathsome Richard Lynch), Pacino’s sort-of-holy fool splays himself up against a wall, then, in Hammer-movie style, puts a hand up to halt his attacker, intoning in a fake British accent: “Back, monster, back.” In Scarecrow‘s lost Lion, you can see signs of Dog Day Afternoon‘s doomed, good-hearted Sonny (“I’m dyin’ here”), and even of Lefty Ruggiero, Donnie Brasco‘s fatalistic Mafia foot soldier: little guys too dumb to live. Lion and Sonny stumble onto the stage, desperate, accidental performers with limited range. When their illusions are punctured by more ruthless players, dramatic air visibly leaks out of them—leaving Lion catatonic and Sonny sprawled over the hood of a police car, facing the camera, his realization that he’s been transformed into an instant nobody ours to share, up close and personal. But the role of Michael Corleone in the Godfather trilogy offered Pacino a remarkable opportunity to play out a mythic arc, rising from bit player to spotlighted actor/director—frozen on a Dantean stage with an ever-diminishing cast—then sinking into the final dying fall at the end of Godfather III (90) when his small, distant figure, seated alone in a sun-filled frame, dreaming of long-ago dances, simply tips over to earth. Epitaph: “My kingdom for a horse.” The Godfather Cast by Francis Ford Coppola against all advice, nearly fired for under-emoting, Pacino enters The Godfather (72) as an All-American boy, his hair combed high over his forehead, fresh-faced, a little bland, lacking in ethnic color or style. Dancing at his sister’s wedding, he’s a disengaged onlooker, regaling his WASP girlfriend (Diane Keaton) with Grimm fairy tales about his exotic family. In his father’s dark den, hot with the dynamics of ritual sacrifice and god-given benisons, Michael never takes fire; Coppola’s camera passes him by, drawn by the irresistible, potent stillness of Vito Corleone (Marlon Brando) and the kinetic energy of brother Sonny (James Caan). But from the moment Michael enters the hospital where the wounded don is about to be finished off, the understudy begins to claim center stage, to direct his supporting cast and organize the trajectories of action. “I am with you now,” Pacino whispers passionately to Brando, his prostrate father. It’s a declaration of a son’s new standing: in film frame, acting fraternity, fiction. (His jaw and cheek soon crushed by a crooked cop’s terrible blow, Pacino speaks in something like Brando’s distinctive Vito Corleone voice for much of the rest of the film.) After the near-hit, amid chaos and hysteria, Michael sits in his father’s room, legs crossed, emerging as a still, sure point of authority. His presence composes the shot. How swiftly, seamlessly, Pacino morphs his cleancut Marine into Mafia assassin, man into gun, sights locked on to the main chance for stardom and success. You can see the adrenalin high taking hold as Michael slips into acting the role of killer and don—and finds it good. Watch Pacino as he aims himself to gun down Sollozzo (Al Lettieri) and McCluskey (Sterling Hayden): eyes darting, chin tightening spasmodically, his face comes alive, visibly filling up with murder. By the end of The Godfather, after shattering blows to body and Heart, the dancing boy has become a dead man walking. Saturnine, Machiavellian, masked, given to eruptions of molten rage, he owns the stage utterly. Consider that Pacino’s elegantly performed anatomy of a monster was only his second starring film. Just three years after Panic in Needle Park and the year before his wired schlemiel in Dog Day Afternoon (75), in The Godfather, Part II (74) he’s gaunted up that Goya-esque visage, infected his black, chasm-deep eyes with corruption. The high cheekbones are beginning to emerge in scimitar curves that look as though they’ve been scooped out by a sculptor’s cruel chisel. He’s beginning to master the characteristic Pacino rhythm of tightly coiled stillness punctuated by emotional eruptions as killing as hammer blows. Watch Pacino propose to Diane Keaton in The Godfather, as passionate as a practiced snake mesmerizing food: “I need you.” Witness the implosive agony in his face as he stands behind his drunken brother Fredo in Godfather II, who’s just inadvertently confessed himself Michael’s Judas. The music he finds in words has him now; Pacino rides the instrument of his voice—on a scale rising from whisper to rant—trying for something like the way Dylan Thomas voluptuates in sounding out his cosmic lines. (Showing off his exhibitionist style in Heat, he shamelessly invites applause from a browbeaten snitch: “Ain’t I ferocious?”) By the end of Godfather II, Pacino has constructed a truly Mabusian soul, operating spiderlike from some very cold, silent outpost. Serpico (73) traces another kind of evolutionary journey, from cleancut young police recruit to hirsute whistleblowing hippie. But Pacino’s Serpico is no simple saint; he’s played with some of the complex eccentricity Russell Crowe finds in The Insider‘s Jeffrey Wigand. He embraces the Platonic purity of an incorruptible persona with the same perverse ardor Michael Corleone displays as he assumes the heady role of star sinner. Cruising Another of Pacino’s undercover men, the cop in Cruising (80), becomes a mole in New York’s gay S & M scene. At the start, this good-looking youngster conveys a lightness of character, a virginal quality in flesh and psyche. Accompanied by the creak of leather, the hard jingle of metal, Pacino’s Candide travels deeper into his own Heart of darkness; along the way, his face seems to ripen, his body grows heavier, and something goes very dead in his eyes when he gazes at his white-bread girlfriend (Kathleen Quinlan) after their unfictionalized lovemaking. Sexualized and seduced by verboten role-playing, Pacino’s cop explodes into orgiastic dance with a roomful of men in an underground dive, his lips wet with excitement, with pleasure in his own body, with the taste of violence generated by macho dressing-up and acting-out. You might say that clothes make the men in Pacino’s pantheon of idiosyncratic outlaws: Tony Montana (Scarface, 83), Carlito Brigante (Carlito’s Way, 93), and Lefty Ruggiero (Donnie Brasco, 97). From the start, Montana can hardly be bothered to mount a credible human disguise, to convince U.S. immigration officials that he is something more than an undesirable alien. His flat eyes cocked and his lips held slack with the kind of cool contempt that presages indiscriminate feeding, this “peasant” (elsewhere: “fucking little monkey”) is nothing more than amoral appetite, a bad actor in a cheap suit for whom performance never rises above brute action. Pacino fashions his voice out of labials and sibilants so that Montana’s words seem to be tongued lubriciously around the inside of his mouth, mere appetizers to the main course: the assault, the sex, the money, the cocaine. After the force of his hunger propels him to the top of the world, Montana runs out of steam and simply squats there, a drunken, murderous pig. The sheer ruthless energy of his acquisitiveness burned with a certain bestial beauty; when that energy dead-ends in unlimited “eating, drinking, fucking, sucking, snorting,” no epiphany invests Tony’s fall with tragic resonance. Pacino makes us see that sated appetite bloats him into dramatic immobility. Lacking the means to evolve, to imagine himself into a new suit of clothes, Pacino’s Tony Montana loses definition, any raison-d’être, and is galvanized only by death throes. In the first-rate Donnie Brasco, Pacino creates Scarface‘s opposite: short on style, grace, or self-awareness, Lefty Ruggiero can’t even aspire to smalltime sharkdom. In flat-brimmed porkpie hat and tacky plaid carcoat, this Willy Loman on the Mafia totem pole telegraphs his role as eternal extra. Everything about him tends downward, suffers from gravity. But deft Pacino weaves nobility out of this sad sack: after feeling out whether his protégé (Johnny Depp) might be an undercover Judas, Lefty screws up a funny-face, then lightly slaps and lays a fond caress on his adopted son’s cheek. Subtly communicated, it’s a loser’s acknowledgment of love, betrayal, and coming crucifixion. At film’s end, Pacino performs Lefty’s last rites with unimpeachable dignity, revealing the shape of some kind of samurai within his tired form. Donnie Brasco In contrast, Carlito Brigante, one of Pacino’s finest and most beautiful creations, is all elegant definition, a Puerto Rican samurai who marries content with style, action with self-awareness. Returning to his old neighborhood after five years in prison, this retired druglord saunters through crowded streets like an aging gunfighter. A Mifune among urban dregs—bearded and sporting dark glasses, black suit, full-length leather coat, cowboy boots—he’s an anachronism, giving off the romantic aroma of angst. Corraled into keeping a young nephew company during a poolroom payoff, Brigante is instantly attuned to the fatal dynamics of the mise-en-scène. It’s exhilarating—like watching Picasso paint on glass—to watch the expertise and grace with which Pacino begins to make this fraught stage his own, anticipating the vectors of the double-cross, the roles the killers around him will play. Like Michael in Godfather III, Brigante wants out, dreams of finding a path to paradise. But Carlito stands outside himself sufficiently to comment (voiceover) with fatalistic irony on his efforts to go legit: “Here’s me in the club, playing Humphrey Bogart.” Having insulted a smalltime hood (John Leguizamo) and then allowed the outraged punk to live, Brigante turns critic, analyzing the drama that keeps pulling him back in: “Dumb move, man … I know what happens now … Benny’s got to go down … the street is watching … I can’t do that shit no more.” When someone chivvies Brigante that Leguizamo’s arrogant urban cowboy might be the old hand twenty years ago, he gravels out, “Never me … never me,” and the repetition becomes a kind of poetic invocation of past and present Pacino characters and wannabes. As Carlito’s life bleeds away, forfeit to his purist reading of “who I am,” Pacino applies that richly abraded voice to an outlaw ballad: “Lay down, lay down … the Last of the Mohicans … last call for drinks … bar closing down … where we goin’ for breakfast? … rough night … tired, very tired.” Those melancholy litanies recall earlier fathers and sons in the Pacino canon: in Godfather III, post-stroke, Michael Corleone is lifted into bed by the young mafiosi who will replace him (Andy Garcia). Pacino makes himself small, fragile, as Garcia, swollen with health and virility, tenderly moves his flaccid limbs. Throughout, the two men unobtrusively touch each other; it’s in those minimalist caresses that the exchange of love and power is achieved. (One regrets that Garcia has never fulfilled his promise as an actor; here, he is enlarged by his proximity to Pacino.) In the first Godfather, Pacino, turned partly away from the camera, shared a garden bench with the worn but still potent Brando, who faces forward as he teaches his son how to play the don—though “I never wanted this life for you.” The younger actor has few lines; his primary function is to listen, yet the tyro somehow manages to claim space with uninsistent equality. The Insider Pacino’s honed that facility for active listening or apprehension. He’s capable of registering what he sees and hears with fierce acuity. Working with equals or heirs, this is an actor whose interest lies in the pitch-and-catch of performance, not wiping every presence but his own from the frame. From the wonderful two-part harmony he and the estimable Charles Durning orchestrate in Dog Day Afternoon; to the quiet, cross-cut exchange of existential ethics between Pacino’s cop and De Niro’s robber in Heat; to the easy rapport between a mobbed-up nowhere man (Pacino) and Johnny Depp’s Donnie Brasco, a pretender losing himself in his own fiction; to the subtle rhythms of conversational foreplay—in a car parked in the rain—between Pacino and Russell Crowe in The Insider, you appreciate how this actor somehow manages to share without giving ground. In Carlito’s Way, Brigante loves a young dancer (Penelope Miller), seeing in her dedication something akin to his professional code; when he discovers her working in a strip club, Pacino squares his body as though he’s been struck. His whole face effloresces in surprise, a kind of embarrassed shock that shades into shamed delight. He somehow pulls to the surface an innocence rooted in layers-deep experience. In Donnie Brasco, Pacino’s over-the-hill Mafia schlub sits in the bow of a luxury cruiser and watches his sleek young protégé hobnob with the bigwigs, stealing Lefty Ruggiero’s last chance to be somebody. Weariness, disappointment, and pain weight the flesh of his face; but a kind of wondering appreciation of Donnie’s/Depp’s performance leaks through. (See Glengarry Glen Ross for a variation on the theme: the appreciative rapport and rapid-fire improvisation between old-timer Jack Lemmon and Pacino, playing hotshot comer.) Juxtapose Lefty’s nuanced look with a telling projection that sharply defines the aesthetic discontinuities of Scent of a Woman (the 1992 performance for which Pacino won his long-overdue Oscar) as well as Pacino’s power to overwhelm unworthy material: Chris O’Donnell and Pacino are wrestling for a gun, and the life of suicidal, blinded Frank Slade. No Depp or Crowe, blond O’Donnell is nearly transparent in his sweet admiration for the dark, demonic presence in his arms. The film’s been fudging right along, trying to sell Slade as nasty but loveable curmudgeon. Pacino’s expression is so pure it exposes the lie of his character as written: the lined face opens like a crater in which life itself has exploded, scoring the flesh. His eyes are like tunnels down into unmitigated despair, a hell reserved for a bad man who has lived badly and is now condemned to live alone in the dark with nothing but bad memories. Beneath this skin is Corleone bone, Richard Crookback’s toxic marrow. Scent of a Woman When it comes to onscreen lovemaking, Pacino mostly eschews naked eroticism, preferring a sexual reticence remarkable among mainstream American film stars. For me, his worthiest consort has been Ellen Barkin in Sea of Love (89), the comeback movie he made after four years’ absence from the screen (following the disastrous period piece Revolution). Barkin’s quirky gorgeousness, her self-reliant sexuality, arouse Pacino to rare passion. At one point, the lanky Barkin and a somewhat shorter Pacino almost literally fling each other around her apartment on their way to heated consummation. In the claustrophobic confines of a tiny kitchen, Barkin confronts her cop with his hurtful duplicity and Pacino aims his blasted face and speaking eyes, assaulting her with naked existential loneliness: “I cannot lie down in my bed without you … lie down with me.” Hunger this well-deep has less to do with flesh than soul; Pacino brings something like this spiritual vastation to the table in almost every cinematic sexual encounter. Looking back over Pacino’s filmography, one could wish there were more Coppolas and Lumets and fewer Hillers and Marshalls in the directorial mix. By his own admission, Pacino prefers to look away, focusing on his own job, when he twigs to directorial weakness. And you can on occasion see how strongly he’s given to following his own bent in a rudderless film. On the evidence of Heat (95) and The Insider (99), it’s clear that Michael Mann provides the kind of directorial control that has served Pacino superbly: “[It’s] his film, and you are in it…. You can let it go and just be whatever your guy is.” Taut thriller and chronicle of a kind of love affair between unlikely heroes,The Insider really consists of a series of conversations between Pacino as Lowell Bergman, “60 Minutes” producer, and Russell Crowe’s tobacco company whistleblower. By phone, fax, in hotel, car, restaurant, outdoors—Crowe, baby-faced, white-haired, and pudgy, and Pacino, all dark, driven cragginess, show off their acting chops, measure each other’s worth and style, exchange roles. Pacino’s method for inspiring Crowe to moral action is to put himself in Jeffrey Wigand’s way, to be quietly there in such a way that he bodies forth Wigand’s own standards and beliefs. This brand of catharsis – “catching the conscience”—grows out of one of acting’s primal functions. Call Pacino salesman, shrink, devil, he’s a moral player in the theater of “60 Minutes.” Mann makes the process through which truth is mined mysterious, even mythic as Pacino simply watches—umbilically attached to the motions of his double’s mind and character—as Crowe walks along the Mississippi Gulf, wrestling with the decision to go public with what he knows about big tobacco’s rigging of cigarettes as ultra-efficient “delivery systems” for nicotine. Deprived of an audience for the heroic role that’s cost him everything, Wigand sits despairingly in a hotel room, watching the wallpaper dissolve into home movie: his lost daughters gaze at him across a garden that mocks his outsider’s sterile state. On a distant beach, in blue-steeped twilight, Pacino faces the vastness of ocean and sky while trying to phone and save the suicidal Crowe. In some eerie fashion that doesn’t entirely yield to analysis, Mann, Pacino, and Crowe tap into the electric circuit between players and the power lines of performance. Our existential stages and screens are illuminated by the shock of recognition they generate. At film’s end, when Bergman exits CBS, his corrupted theater of operations, his passage outdoors is italicized in iconographic slow motion. Trace that movement back to the door shutting in The Godfather‘s last shot, a final curtain closing on Michael Corleone’s apotheosis as lord of lies, framed forever in solitary confinement. Master of masked poise and naked kinesis, Al Pacino has surely made his bones as high-wire dancer, delivery system for truth.
915	yago	0	73	https://tremblesighwonder.com/2021/04/28/an-actors-nightmare-al-pacino-faces-the-humbling/	en	An Actor’s Nightmare: Al Pacino faces The Humbling	https://tremblesighwonde…ured1.jpg?w=1200	https://tremblesighwonde…ured1.jpg?w=1200	[ "https://tremblesighwonder.com/wp-content/uploads/2021/04/humbling-featured1.jpg?w=1568", "https://i2.wp.com/www.queensfreepress.com/wp-content/uploads/2015/03/BeFunkyhumble.jpg.jpg?resize=300%2C445", "https://tremblesighwonder.com/wp-content/uploads/2021/04/more-humbling.jpg?w=840", "https://tremblesighwonder.com/wp-content/uploads/2021/04/pacino-gerwig-humbling.jpg?w=976", "https://tremblesighwonder.com/wp-content/uploads/2021/04/cropped-tremblesighwonder.com_logo_original-1-2.png?w=50", "https://tremblesighwonder.com/wp-content/uploads/2021/04/cropped-tremblesighwonder.com_logo_original-1-2.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2021-04-28T00:00:00	Discussing one of Al Pacino's obscure but good performances of the twenty-first century.	en	https://tremblesighwonde…nal-1-2.png?w=32	Tremble...Sigh...Wonder...	https://tremblesighwonder.com/2021/04/28/an-actors-nightmare-al-pacino-faces-the-humbling/	By James Kenney A slightly different version of this was published for the Queens Free Press in 2016. “I still have actors’ nightmares… I remember being in a Shakespeare play and saying, ‘My Lord, I have so and so’, and then I did two or three more lines and realized it was another Shakespeare play – I was in Hamlet and I was doing Julius Caesar. I thought, ‘How do I get out of this?’ It was terrifying.” — Al Pacino, interview with The Telegraph, December 2014. One can see what drew legendary Al Pacino to the role of Simon Axler, an aging actor crippled by increasing dementia, suffocating insecurity and total narcissism; I know, I know, but don’t worry, it’s a comedy! The Humbling begins with Axler shakily reciting Shakespeare’s “All the World’s A Stage” soliloquy to his dressing room mirror, questioning and massaging the lines much like Pacino and friends did throughout his Looking for Richard. Axler is always giving a performance and overstrategizing his options as an artist, such as asking for a chance to do a second take on his moans when being wheeled into an emergency room. The Humbling, directed by Barry Levinson and written by Buck Henry and Michal Zebede, is based on a 2009 novel written by Philip Roth. In it, Axler is institutionalized after falling off a stage during a performance (shot at the striking, landmarked St. George theater in Staten Island where I saw Jaws and King Kong ’76 as a kid), contemplates suicide, and has an affair with a fellow actress’s lesbian daughter who has obsessed over him since her formative years. Pacino’s buoyant and brilliant Looking for Richard played as a metacommentary on the role of the actor, performance and reality as Richard broke down key scenes of Shakespeare’s Richard III to elucidate the anxieties and concerns of both actors and audience; so The Humbling shows in Axler the actor himself breaking down, illuminating the ticking mechanisms that drive him and also drive him away from any rational association to the drudgery the rest of us slog through daily. Some reviews seem irritated by the film’s indulgence of Pacino, but count me in the Pacino-is-still-worth-indulging coterie, and The Humbling is unimaginable without him: here is where his authority as an actor and the obsessive qualities that create both a Richard and his new Salome films pay off. The Humbling is both dark and surprisingly playful, as is his performance. After a 21st century that has put Pacino and us through the moronic 88 Minutes and the truly despicable Righteous Kill, I find his giving this comically knowing, lived-in performance at age 74 a Reason to Believe. Gerwig, who spent a healthy twelve minutes in the spotlight as her Frances Ha received praise a few years back, offers some funny, sharp line readings, and Charles Grodin makes a welcome, rare appearance as Pacino’s agent, but it’s Pacino’s show, no doubt, and fans partial to Richard, which stylistically and thematically shares the concerns of this fiction, will likely embrace this. Pacino, looking for comedy in the tragedy of an aging man’s current irrelevance and impending obsolescence is deeply committed here, perhaps because the project feels so personal to the star of The Godfather and Scarface. Lately, Pacino finds his own starring films such as this getting indifferent releases or debuting on cable; his last major theatrical release was throwing comedic support to Adam Sandler’s playing a girl.
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"https://smartcdn.gprod.postmedia.digital/nationalpost/wp-content/uploads/2024/08/fall-nonfiction-1.png?quality=90&strip=all&w=232&sig=7Mid6uUSjIzZ7yCpzOijHg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/np/logo-footer-np.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/share-icons/icon-soc-ig-mono-rev.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/share-icons/icon-soc-fb-mono-rev.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/share-icons/icon-soc-yt-mono-rev.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/share-icons/icon-soc-tw-mono-rev.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/logo-postmedia.svg", "https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/common-icon/icon-close-black.svg" ]	[]	[]	[ "" ]	null	[ "Washington Post" ]	2016-11-29T21:33:02+00:00	Pacino long ago proved the studio brass wrong, that he's the furthest thing from a disaster	en	https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/np/favicon-np.ico	nationalpost	https://nationalpost.com/entertainment/movies/al-pacino-our-greatest-actor-now-was-nearly-fired-from-the-godfather-and-the-rest-is-history	Pacino long ago proved the studio brass wrong, that he's the furthest thing from a disaster Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Article content On this, almost everyone was agreed: Al Pacino was looking like a disaster as Michael Corleone. Shooting had begun in early 1971. Pacino recalls the Paramount suits looking at the rushes and saying: “What the hell is this kid doing? And he’s short to boot.” They thought he was delivering an “anemic” performance. The studio brass, Pacino says, “tried to fire me three times.” We apologize, but this video has failed to load. Try refreshing your browser, or tap here to see other videos from our team. Al Pacino, 'our greatest actor now,' was nearly fired from The Godfather, and the rest is history Back to video Advertisement 2 Story continues below This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS Enjoy the latest local, national and international news. Exclusive articles by Conrad Black, Barbara Kay and others. Plus, special edition NP Platformed and First Reading newsletters and virtual events. Unlimited online access to National Post and 15 news sites with one account. National Post ePaper, an electronic replica of the print edition to view on any device, share and comment on. Daily puzzles including the New York Times Crossword. Support local journalism. SUBSCRIBE FOR MORE ARTICLES Enjoy the latest local, national and international news. Exclusive articles by Conrad Black, Barbara Kay and others. Plus, special edition NP Platformed and First Reading newsletters and virtual events. Unlimited online access to National Post and 15 news sites with one account. National Post ePaper, an electronic replica of the print edition to view on any device, share and comment on. Daily puzzles including the New York Times Crossword. Support local journalism. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. Article content There “was a movement not to have me in the part,” the 76-year-old actor recalls, sitting on the porch of his rental house in the flats of Beverly Hills. “I didn’t want me in the part.” Paramount had wanted Ryan O’Neal or Robert Redford to play Michael in The Godfather, America’s great epic about violence and family. Pacino himself thought that he would be better as the hotheaded older brother, instead of in the role that secured his stardom. “Michael? Sonny would be more appropriate,” he remembers thinking. But ultimately, he knew what he was doing. “I was trying to create a character who you don’t know where you’re at with him,” he says. “I knew it was a tough part to pull off. Michael’s so insular, so private.” Writer and director Francis Ford Coppola believed. He had always envisioned Pacino, already an acclaimed New York stage actor, as Michael. “His intelligence is what I noted first. He knows how to use his gifts,” says Coppola. “He uses what he has, this striking magnetic quality, this smouldering ambiance.” Then came the Sollozzo scene. Michael, teeth clenched, eyes darting, grabs the gun hidden in the restaurant bathroom and shoots Corleone rival Sollozzo and corrupt New York police captain McCluskey. It’s the law-abiding son’s first mob hit, and it seals his fate as his father’s replacement. Advertisement 3 Story continues below This advertisement has not loaded yet, but your article continues below. Article content The scene sealed the actor’s fate, too. Pacino, who will receive a Kennedy Center Honor on Dec. 4, stayed in the picture. Audiences saw what he was doing, having Michael’s character build with the story. Pacino, the New York Times noted, is “an actor worthy to have Brando as his father.” Pacino is sipping tea, surrounded by hounds, in front of his white-columned house in this fabled, palm-lined enclave. He’s at ease, but he doesn’t fit, an inveterate New Yorker in a far too sunny place. Buses loiter on his block every few minutes, tourists trying to steal a glimpse beyond the gates of the man whom film historian David Thomson in 2002 deemed “our greatest actor now.” Pacino is the winner of an Oscar (eight nominations), two Tonys, two Emmys, four Golden Globes (17 nominations) and a National Medal of Arts. In person, he does not disappoint. He seduces. Call me Al. Here’s my cell number. A kiss on each cheek. Everything, except his physical stature, is outsize. His skin is tanned the colour of cognac; the hair a tempest. His voice, a Bronx rasp, shades the world in italics. Where Robert De Niro recedes in public appearances, all nods and mumbles, Pacino offers a banquet of observations. Advertisement 4 Story continues below This advertisement has not loaded yet, but your article continues below. Article content “Talk is therapy,” he says, opening his arms. “Everything’s therapy. I’ve been in therapy my whole life.” Among Pacino’s ancillary talents is making fine Italian suiting – he’s wearing a tuxedo jacket for day – look like thrift-store rejects. It’s Salvation Gabbana. The get-up — baggy black T-shirt, baggy black pants, oversized silver and black ring — is impossible. And it all works. “He never looks like a movie star,” says Ellen Burstyn, his co-president at the Actors Studio. “He always looks like he slept on someone’s couch.” Pacino has been a star for 44 years, yet he still displays a penchant for risk and for working with young talent. Famous for saying no in the beginning of his career, “the last 20 years, I say yes more. I don’t know why,” he says. He’s filming Hangman with Johnny Martin, an unknown director. He’s also that rare actor who is not just admired but loved by his peers. “I can’t think of any actor whom people care more about in films than Al,” says friend Alec Baldwin, who has appeared in two of his movies. “There are actors who are admired, but Al they embrace.” Advertisement 5 Story continues below This advertisement has not loaded yet, but your article continues below. Article content In the span of a dozen years, beginning with 1971’s The Panic in Needle Park, he created a cinematic canon that few can best: the first two Godfathers, Serpico, Dog Day Afternoon (he initially turned down the great Sydney Lumet; “What can I say? I was ignorant”) and Scarface, eviscerated by critics at the time but ultimately placed atop pop culture’s altar. More indelible lines of dialogue are associated with him than with almost any other actor, a testament not only to the way the roles were written but to how he came to own them. He’s initially drawn to the script. “I’m very text-oriented. The text is everything,” he says. “The play’s the thing.” “He’ll write out the whole part, the text of the dialogue, then interpret in the terms of language he would normally colloquially use,” Coppola says. “Then he translates it into the language of the script.” He keeps doing theatre, his first love, including a 2010 New York performance of Shylock in The Merchant of Venice that critics deemed revelatory. He has performed Richard III many times, including in Looking for Richard, a 1996 exploration of the work that he directed and financed. But, Hamlet is “my favourite play of Shakespeare,” he confesses. “I never thought of doing it. I didn’t feel right about it.” Advertisement 6 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Pacino has done exceptional television work: he played closeted New York super lawyer Roy Cohn, dying of AIDs, in Angels in America; pathologist and assisted suicide advocate Jack Kevorkian in You Don’t Know Jack; the legendary record producer in Phil Spector. He has also made dreck – perhaps the nadir was Al Pacino in Adam Sandler’s Jack and Jill – which he prefers not to talk about. And then he does. “My accountant was put in jail,” he says. “That was part of the genesis.” Pacino was one of many celebrities who invested their savings with financial adviser Kenneth I. Starr, who pleaded guilty in 2010 to stealing at least $59 million from his clients. Know for his loyalty, Pacino shrugged it off, friends say, and went on. Work keeps him sane. “He loves the whole aspect of making movies, and he’s sort of fearless,” says filmmaker Barry Levinson, who co-wrote the 1979 courtroom drama ” … and justice for all” and directed Pacino in You Don’t Know Jack and The Humbling, a 2014 movie made for less than $2 million. “He’s easy to work with. It’s fun. He’ll just say, ‘Let’s try this.’ You keep playing with it, keep trying and seeing what else is there.” Advertisement 7 Story continues below This advertisement has not loaded yet, but your article continues below. Article content In the early days, Pacino was known as the actor who would ask for just one more take. “Oh, a small amount” of takes, he laughs. “Like 30. I had Brian De Palma scratching his head.” “He works really, really deeply,” says Burstyn. “I don’t think anything interests him except creativity. He’s a real acting genius. The only other one who comes to mind is Laurence Olivier.” Pacino grew up in an era that was more Vito than Michael. An only child, he lived with his fragile mother, who was prone to depression and became addicted to barbiturates, and his Italian immigrant grandparents – his grandfather was from Corleone (!), Sicily – in a three-room, fifth-floor tenement apartment in the South Bronx. His given name is Alfredo, but he was nicknamed Sonny – the name of his character in Dog Day Afternoon. He recalls that a junior-high teacher, Blanche Rothstein, came to the apartment and told his family, “You have to encourage your boy to act.” “I wasn’t very good at school,” he says. “I wasn’t focused on my classes. My mother had problems, and there was no money coming in.” After 10th grade, he quit Manhattan’s High School for the Performing Arts. He worked at various jobs, including as a Standard Oil office messenger with John Cazale, who would play his weak brother, Fredo, in The Godfather. Advertisement 8 Story continues below This advertisement has not loaded yet, but your article continues below. Article content His mother died when he was 21, and his grandfather a year and a half after that. The Actors Studio rejected him, only to accept him four years later. The studio’s famed Lee Strasberg later became his mentor and friend (and played gangster Hyman Roth, whom Michael ordered killed in the second Godfather). When Pacino finally landed theatre work, the reviews were rhapsodic. In 1968, the New York Times called him “the best young actor in town.” He can become so preoccupied with acting that almost everything else falls by the wayside. There are stories of him misplacing cars, losing a new coat because, when he tried to go back to the store to pick it up, he’d forgotten where he’d bought it and had lost the receipt. “Rehearsing is my favourite thing. It’s the closest you come to feeling like you’ve got something going,” he says. “And then the product comes out and,” he stops, sighs, “you didn’t” meet your expectations. The beauty of rehearsal is “that you imagined how the role would be.” He worked for four years on Looking for Richard and spent seven months rehearsing an Antigone production that was never staged. He admits that bad reviews singe and that he doesn’t read profiles of himself. Advertisement 9 Story continues below This advertisement has not loaded yet, but your article continues below. Article content His only other driving passion is his children: Julie, a 27-year-old filmmaker, and 15-year-old twins Anton and Olivia; he shares joint custody of the latter with their mother, actress Beverly D’Angelo. Hence the move to Los Angeles, a place where he never planned to live. His massive 1920s house is decorated like graduate student housing – if the student happened to be particularly wealthy. Gym equipment and dress shoes collect in a corner of the living room, which is dominated by an enormous television that appears to be always on. Pacino loves sports, especially football (he played a coach in Oliver Stone’s Any Given Sunday), baseball and boxing. Sullied dishes tower in a kitchen that appears to be an afterthought. “Not to drop names,” says Pacino – are there names Al Pacino can drop? – “but Elizabeth Taylor used to come to my house and cook spaghetti.” Let us pause for a moment to conjure that image. The actress would ask Pacino’s friends, “How’s that boy doing?” Pacino recalls. “Did he get help around the house? Because he needs all the help he can get.” The “boy” was 40 at the time. He got help. Advertisement 10 Story continues below This advertisement has not loaded yet, but your article continues below. Article content “Women find him irresistible,” says Coppola. Pacino is celebrated for the company he has kept, a cavalcade of smart, accomplished actresses – Jill Clayburgh, Diane Keaton, Marthe Keller, Tuesday Weld, D’Angelo – many of whom make brief appearances in his conversation and are always spoken of warmly. “I guess I’m boasting, but I’m friends with almost all of them,” he says. “It’s one or two things I can say that I’m happy about.” Pacino has famously never married. (His father, who left the family when Al was 2, wed five times.) “Sometimes I think I would have preferred that I did get married,” he muses. “One reason is I would have found out so much more than I think that I know.” He declines to discuss his current relationship, with Argentine actress Lucila Sola, 37. He also resists making political statements of any kind, an anomaly in Hollywood. “It’s like what Lee Strasberg said about swimming in the ocean: ‘I don’t want to get involved,'” the actor says. Partly, it’s his courtly behaviour — he is faultlessly kind about his collaborators, even the failures. Over a long afternoon of conversation, he never disparages a director or an actor, even off the record, or a single associate, not even his former accountant. Advertisement 11 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Scarface, the 1983 movie that the actor calls an “operatic, Brechtian sort of treatise on greed and avarice,” written by Oliver Stone and directed by Brian De Palma, branded Pacino, in the lead role of Tony Montana, as a double-barrelled actor of seething intensity. It’s a full-throttle performance, soaked in blood and powdered in cocaine, that’s not for everyone. But the generalization that Pacino is prone to histrionics misses his ability to delve deep into characters who are nothing like Montana. He has played plenty of cops and crooks — he’s playing a detective in Hangman — but he can exquisitely underplay a part, as in Donnie Brasco, where he portrays a fearful two-bit mob soldier who would register as lint to Michael Corleone. Audiences pay a premium to watch Pacino become violent on the screen. After he became a star, he commanded $14 million a picture. These days, “he gets five million” a movie, his manager told the New Yorker in 2014. “With a gun – seven million.” Violent behaviour is actually anathema to him. “I know it’s going to seem odd,” Pacino says, “but every time I go to do a movie and there’s a gun, I have to ask them to show me how to use it. And they’re like, ‘He’s putting me on.’ But I have an aversion to guns.” Advertisement 12 Story continues below This advertisement has not loaded yet, but your article continues below. Article content After The Godfather, Pacino was offered almost everything, including roles that won other actors awards: Days of Heaven, Taxi Driver, Star Wars, Kramer vs. Kramer, Die Hard and Pretty Woman. He told the Independent last year, “There is a museum of mistakes, all the movies I rejected.” Celebrity and drinking – he’s been sober since 1977 – wore him down. “It was a ride, hard to compute. I wasn’t really helping it along. I was having the whole thing of fame,” he says. After Revolution, a fiasco in which he played an 18th-century fur trader and reluctant soldier that someone should have stopped him from doing, Pacino took a four-year break from movies, beginning in 1985. “I was walking all over the city, seeing friends in Central Park. Having these little coffee klatches. It’s New York City, man, and I’m very happy there,” he says. “It was sort of enriching in a way. I felt more like myself, and I was living with Diane. It was wonderful.” One day, walking in the park, “this guy is passing me, he says: ‘Al, what the hell happened to you? You don’t make movies. You got to make movies, man, c’mon.’ I never saw anything like it.” Advertisement 13 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Share this article in your social network Latest from Shopping Essentials
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"https://www.youtube.com/embed/40hHA9n4C2o?feature=oembed", "https://www.youtube.com/embed/Ne6KMHLTvik?feature=oembed", "https://www.youtube.com/embed/emIHzg4VH8A?feature=oembed", "https://www.youtube.com/embed/hSZz5RI7KRQ?feature=oembed", "https://www.youtube.com/embed/cv276Wg3e7I?feature=oembed", "https://www.youtube.com/embed/g2ofJqqsL5g?feature=oembed", "https://www.youtube.com/embed/UaVTIH8mujA?feature=oembed", "https://www.youtube.com/embed/14oNcFxiVaQ?feature=oembed", "https://www.youtube.com/embed/9O1Iy9od7-A?feature=oembed", "https://www.youtube.com/embed/Q1DRD5Jvzis?feature=oembed", "https://www.youtube.com/embed/ilJ_ROLClZQ?feature=oembed", "https://www.youtube.com/embed/weO_jdrlRHQ?feature=oembed", "https://www.youtube.com/embed/MGOb29aePyc?feature=oembed", "https://www.youtube.com/embed/-aqecRSJo3o?feature=oembed" ]	[]	[ "" ]	null	[ "Garry Lu", "www.facebook.com" ]	2023-10-16T14:39:25+10:00	Al Pacino has crafted a career spanning over fifty years that has shaped modern cinema. Here are the ten best Al Pacino movies of all time.	en	https://www.bosshunting.com.au/cdn-cgi/imagedelivery/izM8XxyLg9MD6py1ribxJw/www.bosshunting.com.au/2020/03/cropped-BH-512-FAV.png/w=32,h=32	Boss Hunting	https://www.bosshunting.com.au/entertainment/movies/best-al-pacino-movies/	While some people will try and convince you that ranking the best Al Pacino movies of all time is entirely subjective, we’re here to tell you they’re wrong. For one, we know what movies shouldn’t be included: like Gigli (2003), Jack and Jill (2011), American Traitor (2021), Martin Scorsese‘s laborious misfire that was The Irishman (2020), and certainly not Ridley Scott‘s House of Gucci (2021). To this day, I still maintain the latter was the worst film of its year. For another, given how prolific Pacino’s career has been across over half a century, there’s something of a general consensus that most moviegoers can agree upon. Ranked: The Best Al Pacino Movies Of All Time Scent of a Woman finds a place at #10 not just because of Al Pacino’s Academy Award-winning performance, but because it’s one of the few film performances where he ventures outside of his usual wheelhouse (crime, action, straight-up villainy, etc). His pained monologue about being “in the dark” will go down in history as one of the most memorable ever committed to celluloid. An immortal expression. In short, a brilliant show of versatility. I anticipate that this may raise some eyebrows, especially in comparison to some other entries on this list. But the on-screen chemistry between Al Pacino and Keanu Reeves — the latter of whom reportedly sacrificed over US$1 million of his salary so the production could afford to secure the former — was the stuff of cinema magic. Not to mention: virtually every line of dialogue uttered by Pacino is a thing of immense pleasure. Plus he’s playing the literal devil. What more could you want? Despite the assertions of many, this was Al Pacino at his rawest. Not The Godfather. Not Serpico. Not even Scarface. There was something about the way he captured the desperation of real-life bank robber John Wojtowicz (“Sonny Wortzik” in the film) that sets Dog Day Afternoon apart from the rest of his filmography. This also marked the third time Pacino collaborated with The Godfather co-star John Cazale (AKA Fredo Corleone). One of Christopher Nolan‘s most underrated films, Insomnia is a taut psychological thriller that highlighted both Al Pacino and the late Robin Williams‘ capacity for claustrophobically introspective acting. It’s a crying shame these two never shared the screen more. No serious list of the best Al Pacino movies would be complete without a nod to Serpico. Nor could anyone else have pulled this role off. Bloody, over-the-top, extremely quotable, but above all else: iconic. Some roles seem to overshadow others. And regardless of how you might personally feel about Scarface, there’s no denying it was one of Al Pacino’s greatest career moments. This one was for the culture. I’ve never understood why blokes who work in sales gravitate towards Scarface when Glengarry Glen Ross is a profoundly more relevant shout. I guess it’s easier to keep a salesman’s attention with fantasies of cocaine, guns, and Michelle Pfeiffer than it is with — oh I don’t know — people actually trying to survive the bleak and despairing world of sales? In any case, this star-studded production — which included Alec Baldwin, Jack Lemmon, and, uh… cough Kevin Spacey cough — isn’t just essential Al Pacino viewing. It’s essential cinema viewing. And a masterful adaptation of David Mamet’s Pulitzer Prize-winning play of the same name. They just don’t make ’em like they used to. Zero explanation required. It’s one of the greatest actors of all time breaking out in one of the greatest films of all time. Cinema redefined. Although, an explanation might be required as to why The Godfather is: a) #3 on a best Al Pacino movies list and not #1; and b) why the first Godfather ranks below Part II. (We’ve provided the latter further down in this article.) Side note: imagine making The Godfather with just two feature-length performances under your belt. Legendary stuff. Al Pacino as Lt. Vincent Hanna in Michael Mann‘s Heat is the archetypal Al Pacino character. It’s a role that perfectly encapsulates the broader strokes of his career success. Everyone seems to have this idea that it’s because he plays bad guys with a redeeming sliver of good in them when it’s actually the reverse: a good guy with an unshakeable, almost overwhelming, element of darkness they’re constantly grappling with. That’s where Pacino shines. Heat is definitive proof. His characters understand the so-called line; understands his existence is one side of the same coin; and fully acknowledges this while championing consequentialism (ends-justify-the-means/morality-is-relative). Apply it to any of his characters and you’ll start to see the arcs more clearly. Perhaps even appreciate the movies themselves a little more. To be sure, the first Godfather was a monumental achievement in cinematic history which many have since attempted to recreate (though none have realistically ever come close). The inaugural adaptation of Mario Puzo’s novel put Al Pacino on the map, and is an undeniably phenomenal performance. But The Godfather, Part II is where the actor had the opportunity to really add nuance to that subdued darkness I’ve been yammering on about. It’s not the dipping of a toe from conventional morality that audiences find fascinating. It’s this: the violent descent. The immolation of one’s soul. The portrayal of irretrievable loss. Witnessing just how far a man may fall from grace, all for the supposed benefit of his family. The transformation of Al Pacino’s Michael Corleone is one that’s poetic. One that’s on par with the Greek tragedies of yore. Hence why The Godfather, Part II will forever hold the crown. And nothing you say could ever convince me otherwise. Honourable Mentions Any Given Sunday (1999) Directed by: Oliver Stone Actors: Al Pacino, Cameron Diaz, Dennis Quaid, James Woods, Jamie Foxx, LL Cool J, Ann-Margret, Lauren Holly, Lawrence Taylor, Jim Brown, Aaron Eckhart, Bill Bellamy, Matthew Modine, John C. McGinley Synopsis: Four years ago, Tony D’Amato’s (Al Pacino) Miami Sharks were at the top. Now, his team is struggling with three consecutive losses, sliding attendance, and aging heroes, particularly 39-year-old quarterback Jack “Cap” Rooney (Dennis Quaid). Off the field, D’Amato is struggling with a failed marriage and estranged children, and is on a collision course with Christina Pagniacci (Cameron Diaz), the young president/co-owner of the Sharks organization. Donnie Brasco (1997) Directed by: Mike Newell Actors: Al Pacino, Johnny Depp, Michael Madsen, Bruno Kirby, James Russo, Anne Heche, Zeljko, Gerry Becker, Robert Miano, Brian Tarantina, Rocco Sisto, Zach Grenier, Walt MacPherson, Ronnie Farer Synopsis: Joseph Pistone (Johnny Depp) is an FBI agent who has infiltrated one of the major New York Mafia families and is living under the name Donnie Brasco. He develops a relationship with mob hitman Benjamin “Lefty” Ruggiero (Al Pacino) in order to get deeper undercover, but ends up developing a real friendship with the Mafioso. As their relationship develops, Pistone must decide whether or not to complete his job, knowing that it will lead to the murder of his new friend. Carlito’s Way (1993) Directed by: Brian De Palma Actors: Al Pacino, Sean Penn, Penelope Ann Miller, John Leguizamo, Luis Guzman, Angel Salazar, Al Israel, Ingrid Rogers, James Rebhorn, John Finn, Michael P. Moran, Joseph Siravo, Frank Minucci, Rocco Sisto Synopsis: A free man after years in prison, Carlito Brigante (Al Pacino) intends to give up his criminal ways, but it’s not long before the ex-con is sucked back into the New York City underworld. Reconnecting with his dancer girlfriend, Gail (Penelope Ann Miller), Carlito gets entangled in the shady dealings of his friend Dave Kleinfeld (Sean Penn), who also serves as his lawyer. When Carlito and Kleinfeld run afoul of shifty gangster Benny Blanco (John Leguizamo), it sets them on a dangerous path. The Insider (1999) Directed by: Michael Mann Actors: Al Pacino, Russell Crowe, Christopher Plummer, Diane Venora, Philip Baker Hall, Lindsay Crouse, Debi Mazar, Renee Olstead, Hallie Kate Eisenberg, Stephen Tobolowsky, Colm Freore, Bruce McGill Synopsis: After seeking the expertise of former “Big Tobacco” executive Jeffrey Wigand (Russell Crowe), seasoned TV producer Lowell Bergman (Al Pacino) suspects a story lies behind Wigand’s reluctance to speak. As Bergman persuades Wigand to share his knowledge of industry secrets, the two must contend with the courts and the corporations that stand between them and exposing the truth. All the while, Wigand must struggle to maintain his family life amidst lawsuits and death threats. The Recruit (2003) Directed by: Roger Donaldson Actors: Colin Farrell, Al Pacino, Bridget Moynahan, Gabriel Macht, Kenneth Mitchell, Karl Pruner, Mike Realba, Elisa Moolecherry, Merwin Mondesir, Sam Kalilieh, Chris Owens, Richard Fitzpatrick, Chris Owens Synopsis: In an era when the country’s first line of defense — human intelligence — is more important than ever, comes an explosive thriller that gives an insider’s view into the CIA’s secret training ground: The Farm. James Clayton (Colin Farrell) might not have the attitude of a typical recruit, but he is one of the smartest graduating seniors in the country — and he’s just the person that Walter Burke (Al Pacino) wants in the Agency. There’s more where that came from. Find out why The Godfather, Part II is the perfect sequel which no other sequel shall ever come close to beating. If you agree/disagree with our picks for the best Al Pacino movies of all time, sound off in the comments with what we may have missed. Related Articles: Best Movies on Netflix Australia Best Movies On Amazon Prime Australia Best Shows On Stan To Stream Best Shows On Netflix Australia Right Now Best Shows On Amazon Prime Australia Right Now Also Read: What’s New To Binge In Australia? What’s New On Stan In Australia? What’s New To Netflix In Australia? What’s New To Amazon Prime In Australia? Best Al Pacino Movies — Frequently Asked Questions What film made Al Pacino famous? The Godfather (1972) directed by Francis Ford Coppola put Al Pacino on the map. In his third-ever feature-length film, Al Pacino achieved legend status as Michael Corleone, crime family successor to Marlon Brando’s Don Vito Corleone. Al Pacino was nominated for Best Supporting Actor at the 45th Academy Awards, alongside co-stars James Caan and Robert Duvall; later earning a nod for Best Actor in the wake of The Godfather Part II (1975). What was Al Pacino's best role? Michael Corleone in The Godfather trilogy is considered to be Al Pacino’s greatest role. Although Lt. Vincent Hanna in Heat (1995), Tony Montana in Scarface (1983), Ricky Roma in Glengarry Glen Ross (1992), and Frank Slade in Scent of a Woman (1992) all come awfully close. How much did Al Pacino make for 'Scarface'? Al Pacino was reportedly paid around US$500,000, possibly with a percentage of the film’s gross box office revenue. Adjusted for 1980s inflation, this equates to around US$10-20 million in present day.
915	yago	3	30	https://elevatesociety.com/al-pacino/	en	Who is Al Pacino	https://elevatesociety.c…piring-Facts.jpg	https://elevatesociety.c…piring-Facts.jpg	[ "https://elevatesociety.com/wp-content/themes/ontopic/images/ee_circle.png", "https://elevatesociety.com/wp-content/uploads/footer_circle_dark2.png", "https://elevatesociety.com/wp-content/themes/ontopic/images/guide3.png", "https://elevatesociety.com/wp-content/uploads/YT-ELEVATE-SOCIETY-Banner.jpg", "https://elevatesociety.com/wp-content/uploads/Tal-Gur-Only-Head-BW-150-PNG.png", "https://elevatesociety.com/wp-content/uploads/process-new.jpg", "https://elevatesociety.com/wp-content/uploads/whybook3.jpg", "https://elevatesociety.com/wp-content/themes/ontopic/popup/img/basic/x.png", "https://elevatesociety.com/wp-content/themes/ontopic/images/flcircle.png", "https://elevatesociety.com/wp-content/themes/ontopic/images/envelope2.png", "https://elevatesociety.com/wp-content/themes/ontopic/images/logo1.png", "https://elevatesociety.com/wp-content/themes/ontopic/images/logo2.png", "https://elevatesociety.com/wp-content/themes/ontopic/images/logo3.png", "https://elevatesociety.com/wp-content/uploads/bookimg1.png", "https://elevatesociety.com/wp-content/uploads/smartergoals_book.png", "https://elevatesociety.com/wp-content/uploads/Elevate-society-test.jpg", "https://elevatesociety.com/wp-content/uploads/Dream-Year-150x150.jpg", "https://elevatesociety.com/wp-content/uploads/healthy-social-media-habits-flat-150x150.jpg", "https://elevatesociety.com/wp-content/uploads/rituals-elevated-150x150.jpg", "https://elevatesociety.com/wp-content/uploads/elevate-your-goal-attainment.jpg", "https://elevatesociety.com/wp-content/uploads/elevate-your-freedom.jpg", "https://elevatesociety.com/wp-content/uploads/All-Access-Elevate-Uni-Banner.jpg", "https://elevatesociety.com/wp-content/uploads/elevate_logo.png", "https://elevatesociety.com/wp-content/uploads/Twitter-Footer-40.jpg", "https://elevatesociety.com/wp-content/uploads/Inst-footer-40.jpg", "https://elevatesociety.com/wp-content/uploads/Youtube-footer-40.jpg", "https://elevatesociety.com/wp-content/themes/ontopic/images/kiva.png", "https://elevatesociety.com/wp-content/themes/ontopic/images/footer_circle_dark.png", "https://www.facebook.com/tr?id=686861791490847&ev=PageView&noscript=1" ]	[]	[]	[ "" ]	null	[ "AJ" ]	2013-05-02T10:27:31+00:00	Al Pacino Biography Al Pacino is one of the most iconic actors of his generation, known for his intense performances and unforgettable characters. He has starred in some of the most celebrated films of all time, including The Godfather trilogy, Scarface, and Scent of a Woman, for which he won an Academy Award for Best […]	en	/wp-content/uploads/fbrfg/apple-touch-icon.png?v=2	Elevate Society	https://elevatesociety.com/al-pacino/	Al Pacino Biography Al Pacino is one of the most iconic actors of his generation, known for his intense performances and unforgettable characters. He has starred in some of the most celebrated films of all time, including The Godfather trilogy, Scarface, and Scent of a Woman, for which he won an Academy Award for Best Actor. Pacino has been recognized as one of the greatest actors of all time, with a career spanning more than five decades and numerous accolades to his name. He continues to captivate audiences with his incredible range and talent, and remains a beloved figure in the world of film and entertainment. Al Pacino Facts Al Pacino was born Alfredo James Pacino on April 25, 1940 in New York City, USA. He is one of the most legendary actors in Hollywood, with a career spanning over five decades. Pacino grew up in a tough neighborhood in the Bronx and had a difficult childhood, often getting into trouble. His breakthrough role was as Michael Corleone in the iconic film, The Godfather, which earned him an Academy Award nomination for Best Supporting Actor. Pacino has won an Academy Award for Best Actor for his performance in Scent of a Woman and has been nominated for the award nine times in total. Some of his other notable films include Scarface, Serpico, Dog Day Afternoon, Heat, and The Irishman. Despite his success, Pacino has never been one to conform to Hollywood norms and has always been known for his unconventional acting methods and his willingness to take on challenging roles. Pacino has also had success on stage, winning a Tony Award for his role in The Basic Training of Pavlo Hummel. In addition to acting, Pacino has also directed two films, Looking for Richard and Chinese Coffee. Pacino has been involved in several philanthropic causes, including supporting the Dream Foundation, a charity that grants wishes to terminally ill adults, and the American Foundation for AIDS Research. In 2011, Pacino was awarded the National Medal of Arts by President Barack Obama for his contributions to American culture. Al Pacino Quotes "It's easy to fool the eye but it's hard to fool the heart." (Meaning) ELEVATE Free Resource: A step-by-step blueprint to realize your dreams Get Your Guide For Free "You need people who can tell you what you don't want to hear." - Al Pacino Quotes *** * The editor of this short biography made every effort to maintain information accuracy, including any quotes, facts, or key life events. If you're looking to expand your personal development, I recommend exploring other people's life stories and gaining inspiration from my collection of elevating quotes. Exposing yourself to different perspectives can broaden your worldview and help you with your personal growth. Reading is Smart. Applying is Smarter: Apply Subscribe on YouTube to get more wisdom: SHARE: Chief Editor Tal Gur is an author, founder, and impact-driven entrepreneur at heart. After trading his daily grind for a life of his own daring design, he spent a decade pursuing 100 major life goals around the globe. His journey and most recent book, The Art of Fully Living, has led him to found Elevate Society.
915	yago	1	29	https://www.britannica.com/biography/Al-Pacino	en	Al Pacino \| Biography, Movies, Scarface, & Facts	https://cdn.britannica.c…Michael-Mann.jpg	https://cdn.britannica.c…Michael-Mann.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/91/66291-004-360B165E/Al-Pacino-The-Insider-Michael-Mann.jpg", "https://cdn.britannica.com/13/177313-004-1C7EBBAE/Sidney-Lumet-filming-Al-Pacino-Dog-Day.jpg", "https://cdn.britannica.com/92/182592-004-7CC2CA1A/Al-Pacino-Scarface-Brian-De-Palma.jpg", "https://cdn.britannica.com/45/196745-004-0869F560/Al-Pacino-Scarface-Brian-De-Palma.jpg", "https://cdn.britannica.com/59/183259-004-5AF814BD/Al-Pacino-Scarface-Steven-Bauer-Brian-De.jpg", "https://cdn.britannica.com/32/77132-004-76498C91/Al-Pacino-Gabrielle-Anwar-Scent-of-a.jpg", "https://cdn.britannica.com/14/240414-131-1042720D/Casablanca-film.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/65/129465-131-8F637272/USA-Annual-Academy-Awards-Closeup-entrance-statue-2009.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/196745-131-C3DD30A4/Al-Pacino-Scarface-Brian-De-Palma.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/44/191244-131-50EB6F02/Set-The-Hobbit-An-Unexpected-Journey.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/11/185311-131-A05F5992/Tom-Cruise-Top-Gun-Tony-Scott.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/31/142331-131-EE300AF6/basketball-Orange-background-lighting-Homepage-entertainment-history-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/55/164555-131-D8A6E6C8/rat-glass-table.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/91/223091-131-A986B08A/relief-Zoroastrian-god-Ahura-Mazda-Persepolis-Iran.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/14/196914-131-061D0CB0/Patagotitan-mayorum-titanosaurs.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/189145-131-45FF672E/Secret-Service-Agent-Earpiece.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/38/216038-131-BEEAF8B4/beaver.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/36/162636-131-E4AA93A0/Colosseum-Rome-Italy.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/91/66291-050-C790A630/Al-Pacino-The-Insider-Michael-Mann.jpg?w=400&h=300&c=crop", "https://cdn.britannica.com/13/177313-050-9491CD13/Sidney-Lumet-filming-Al-Pacino-Dog-Day.jpg?w=300", "https://cdn.britannica.com/14/240414-131-1042720D/Casablanca-film.jpg", "https://cdn.britannica.com/92/182592-050-50C32C1F/Al-Pacino-Scarface-Brian-De-Palma.jpg?w=300", "https://cdn.britannica.com/45/196745-050-66D0F975/Al-Pacino-Scarface-Brian-De-Palma.jpg?w=300", "https://cdn.britannica.com/59/183259-050-BE5C8D1A/Al-Pacino-Scarface-Steven-Bauer-Brian-De.jpg?w=300", "https://cdn.britannica.com/32/77132-050-A6CE2428/Al-Pacino-Gabrielle-Anwar-Scent-of-a.jpg?w=300" ]	[]	[]	[ "Al Pacino", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	2001-02-16T00:00:00+00:00	Al Pacino, American actor best known for his intense, explosive acting style. His notable movies included The Godfather series, Serpico, Dog Day Afternoon, Scarface, Glengarry Glen Ross, and Scent of a Woman; he won an Academy Award for his work in the latter film. Learn more about Pacino’s life and career.	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Al-Pacino	Al Pacino American actor In full: Alfredo James Pacino Born: April 25, 1940, New York, New York, U.S. (age 84) Awards And Honors: Tony Awards Kennedy Center Honors (2016) National Medal of Arts (2011) Cecil B. DeMille Award (2001) Academy Award (1993): Actor in a Leading Role Cecil B. DeMille Award (2001) Emmy Award (2010): Outstanding Lead Actor in a Miniseries or a Movie Emmy Award (2004): Outstanding Lead Actor in a Miniseries or a Movie Golden Globe Award (2011): Best Actor in a Limited Series or Motion Picture Made for Television Golden Globe Award (2004): Best Actor in a Limited Series or Motion Picture Made for Television Golden Globe Award (1993): Best Actor in a Motion Picture - Drama Golden Globe Award (1974): Best Actor in a Motion Picture - Drama Tony Award (1977): Best Actor in a Play Tony Award (1969): Best Featured Actor in a Play Al Pacino (born April 25, 1940, New York, New York, U.S.) is an American actor best known for his intense, explosive acting style. Early career After growing up in East Harlem and the Bronx, Pacino moved at age 19 to Greenwich Village, where he studied acting at the Herbert Berghof Studio and appeared in many Off-Broadway and out-of-town productions, including Hello, Out There (1963) and Why Is a Crooked Letter (1966). He took further acting lessons from Lee Strasberg and played a small part in the film Me, Natalie in 1969. The same year, he made his Broadway debut and won a Tony Award for his performance in the play Does the Tiger Wear a Necktie? Pacino’s first leading role in a film came with The Panic in Needle Park (1971), a grim tale of heroin addiction that became something of a cult classic. Stardom: The Godfather, Serpico, and Scarface Britannica Quiz Best Picture Movie Quote Quiz Director Francis Ford Coppola cast Pacino in the film that would make him a star, The Godfather (1972). The saga of a family of gangsters and their fight to maintain power in changing times, The Godfather was a wildly popular film that won the Academy Award for best picture and earned Pacino numerous accolades—including his first of many Oscar nominations—for his intense performance as Michael Corleone, a gangster’s son who reluctantly takes over the “family business.” Pacino solidified his standing as one of Hollywood’s most dynamic stars in his next few films. In Scarecrow (1973), he teamed with Gene Hackman in a bittersweet story about two transients, and his roles in Serpico (1973) and Dog Day Afternoon (1975) displayed Pacino’s characteristic screen qualities of brooding seriousness and explosive rage. He also repeated the role of Michael Corleone for Coppola’s The Godfather, Part II (1974), a film that, like its predecessor, won the best picture Oscar. Pacino’s next few films did not fare as well. Bobby Deerfield (1977) was notable as his first box-office failure since he had become a star. The dark comedy …And Justice for All (1979) featured some of Pacino’s most memorable scenes, but Cruising (1980) and the light comedy Author! Author! (1982) were critical and popular disasters. In Brian De Palma’s Scarface (1983), Pacino returned to the kind of combustible, high-intensity role that had made him famous. As gangster Tony Montana, Pacino gave a highly charged, unrestrained performance that, although loved by some and deplored by others, ranks among his most unforgettable. His next film, Revolution (1985), was an expensive flop, and Pacino did not appear in another film for four years. Academy Award and later films Sea of Love (1989), his biggest hit in years, reestablished Pacino as a major film star. In 1990 he reprised the role of Michael Corleone in The Godfather, Part III and gave a hilarious portrayal of grotesque gangster Big Boy Caprice in Dick Tracy. Frankie and Johnny (1991) and Glengarry Glen Ross (1992), both adaptations of plays, continued his string of well-received films, and he won a best actor Oscar for his portrayal of a bitter blind man in Scent of a Woman (1992). Pacino’s other notable films of the 1990s included Carlito’s Way (1993); Heat (1995), a crime drama in which he played a detective hunting a thief (Robert De Niro); Donnie Brasco (1997), in which he starred as a low-level mobster who unknowingly befriends an FBI agent (Johnny Depp); and Oliver Stone’s Any Given Sunday (1999). Also in 1999 Pacino appeared opposite Russell Crowe in The Insider; based on real-life events, it examines tobacco companies and their efforts to conceal the dangerous side effects of cigarettes. Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now Pacino’s prolific acting career continued into the 21st century. In 2002 he starred with Robin Williams in the thriller Insomnia, and he later appeared in Ocean’s Thirteen (2007), the final installment of a popular comedy trilogy that featured George Clooney and Brad Pitt. After skewering his public persona with a role as himself in the Adam Sandler comedy Jack and Jill (2011), Pacino played an aging gangster in Stand Up Guys (2012). He evinced the isolation of a small-town locksmith in Manglehorn (2014) and the late-life epiphany of a rock star in Danny Collins (2015). After a series of roles in unremarkable movies, Pacino joined a cast of colorful characters in Quentin Tarantino’s Once Upon a Time…in Hollywood (2019). He then costarred with De Niro in The Irishman (2019), his first film with director Martin Scorsese. In the mob drama, which received a theatrical release before airing on Netflix, Pacino played labor leader Jimmy Hoffa, whose disappearance in 1975 caused much speculation. For his performance, Pacino earned his 10th Oscar nomination. In 2021 he appeared as a lawyer in American Traitor: The Trial of Axis Sally, which was based on the true story of Mildred Gillars, a radio propagandist for the Nazi government during World War II. That year Pacino was also cast in Ridley Scott’s House of Gucci, which centers on the true story of the murder of Maurizio Gucci, who headed his family’s luxury fashion brand. TV and stage work In between his big-screen work, Pacino appeared in several television productions for HBO. For his role as homophobic lawyer Roy Cohn in Angels in America (2003), an adaptation of Tony Kushner’s two-part play about AIDS in the 1980s, he won an Emmy Award and a Golden Globe Award. His performance as Jack Kevorkian, a doctor who assisted in the suicide of terminally ill patients, in the movie You Don’t Know Jack (2010) earned him the same awards. He later starred as another controversial figure in David Mamet’s Phil Spector (2013), which was set during the embattled record producer’s first trial for murder. In Paterno (2018) Pacino played legendary Penn State football coach Joe Paterno, whose reputation was tarnished by a sex-abuse scandal that occurred during his tenure. In the Amazon series Hunters (2020–23), he portrayed a Holocaust survivor who leads a group of people searching for Nazis in the 1970s. Pacino frequently returned to the stage throughout his career, notably winning a Tony Award for his leading role in The Basic Training of Pavlo Hummel (1977). He also starred in such plays as William Shakespeare’s Richard III (1973 and 1979), Julius Caesar (1988), and The Merchant of Venice (2010); Mamet’s American Buffalo (1980, 1981, and 1983) and Glengarry Glen Ross (2012); and Oscar Wilde’s Salomé (1992, 2003, and 2006). In 1992 Pacino originated the role of Harry Levine, a washed-up writer who is depressed about his lack of success, in the Broadway drama Chinese Coffee; he later directed and starred in a 2000 film adaptation. He also directed the documentary films Looking for Richard (1996) and Wilde Salomé (2011), which offered behind-the-scenes looks at two of his stage productions. In 2001 Pacino received the Cecil B. DeMille Award (a Golden Globe for lifetime achievement). His other awards included the National Medal of Arts (2011) and a Kennedy Center Honor (2016). The Editors of Encyclopaedia Britannica This article was most recently revised and updated by Encyclopaedia Britannica.
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the movie business. We vote for them for president, give them Academy Awards for directing, applaud their every mood and move. Our reward, as far as Al Pacino is concerned, is films like “Looking for Richard.” An attempt, at least in theory, to deconstruct Shakespeare’s “Richard III” and communicate its essence to a mass audience, “Looking for Richard” depends for approval not on anyone’s potential interest in the play but rather on our bemused tolerance for star-driven self-indulgence in general and Pacino’s brand of self-love in particular. “Look,” the film beams at us like eager parents who insist we admire their 2-year-old’s artwork as worthy of the Louvre, “here’s a certified movie star, complete with backward baseball cap and unkempt hair, and he’s interested in Shakespeare! Isn’t it wonderful to see him so involved?! And so creative!” Truly, we are not worthy. Directed and produced by Pacino, who also stars, “Looking for Richard” takes two basic tacks in its attempt to get a handle on “Richard III,” which everyone irrationally insists is difficulty itself. One is to have Pacino interview a wide spectrum of people about Shakespeare and the play, the other is to show several key scenes from the work, with guess-who in the title role, in both rehearsal and full-dress production. The interviews include peppy talks with celebrated Shakespeare veterans like Kenneth Branagh and John Gielgud, less scintillating man-in-the-street comments that indicate a not surprising lack of public connection to the plays and carefully weighed words from Shakespearean scholars. These last tend to be the most interesting (“Irony is only hypocrisy with style” is one memorable comment), but because Pacino has thoughtlessly chosen not to identify the speakers, we have no idea who is doing the talking. In fairness, the film doesn’t ID the actors involved either, but recognizing James Earl Jones and Kevin Kline is a lot easier than these cloistered academics. Ever present in all these discussions is Al himself, a man who also needs no introduction, especially to the entourage that surrounds him with loving looks and never fails to laugh at his every joke. No wonder the star always looks immensely pleased with himself as he determinedly mugs his way through the proceedings. This perpetual hamminess is the bane of “Looking for Richard,” as Pacino the director can in no way resist shots of Pacino the actor goofing around and so overdoing things that “Looking for My Close-Up” would be a more appropriate title. Excessiveness also infects his performance as the king, where Pacino scuttles around with a bothersome accent wedded to an unconvincing demeanor. “Unconvincing” is also a fair word for the scenes plucked from the play. Though there is a lot of stouthearted “you Yanks can do it” sentiment in evidence in the interviews, the reality is that Pacino and fellow American actors Alec Baldwin (Clarence), Kevin Spacey (Buckingham), Aidan Quinn (Richmond) and Winona Ryder (Lady Anne) are not the best interpreters of this material. There’s no shame in that situation, but it is frankly silly to pretend otherwise. It’s especially unfortunate for “Looking for Richard” that it appears less than a year after Ian McKellen’s brilliant, updated version of “Richard III.” Pacino’s staging is stodgy and old-fashioned compared to the dash and excitement of McKellen’s true modernization, and to compare Kristin Scott Thomas and McKellen to Ryder and Pacino in their respective Lady Anne seduction scenes is to be saddened and dismayed at how lacking the Americans come off. While there’s no harm in attempting to make Shakespeare more accessible, it’s hard to imagine this film exciting anyone except Pacino’s fans and those who are fatally charmed by celebrity actors. More a high-culture version of Planet Hollywood than a helpful gloss on its celebrated play, “Looking for Richard” is a worthy idea derailed by unyielding egotism. When Pacino asks, “What is this thing that gets between us and Shakespeare?,” he’s too self-involved to notice that in this case the thing is he and he alone. * MPAA rating: PG-13 for brief strong language and some scenes of violence. Times guidelines: The language is modern, the violence Shakespearean. (BEGIN TEXT OF INFOBOX / INFOGRAPHIC) ‘Looking for Richard’ Penelope Allen: Queen Elizabeth Alec Baldwin: Clarence Kevin Conway: Hastings Al Pacino: Richard III Estelle Parsons: Margaret Aidan Quinn: Richmond Winona Ryder: Lady Anne Kevin Spacey: Buckingham Harris Yulin: King Edward A JAM production, released by Fox Searchlight Pictures. Director Al Pacino. Producers Michael Hadge & Al Pacino. Executive producer William Teitler. Narration written by Al Pacino & Frederic Kimball. Cinematographer Robert Leacock. Editor Pasquale Buba, William A. Anderson, Ned Bastille. Music Howard Shore. Art director Kevin Ritter. Running time: 1 hour, 58 minutes. * Exclusively at Cineplex Beverly Center, La Cienega Boulevard at Beverly Boulevard, Los Angeles, (310) 652-7760; Samuel Goldwyn Pavilion Cinemas, Westside Pavilion, 10800 W. Pico Blvd., West Los Angeles, (310) 475-0202; and Monica 4-Plex, 1332 2nd St., (310) 394-9741.
915	yago	3	47	https://www.pastemagazine.com/movies/paul-schrader/every-paul-schrader-film-ranked	en	Every Paul Schrader Film, Ranked	https://img.pastemagazin…ormed-header.jpg	https://img.pastemagazin…ormed-header.jpg	[ "https://img.pastemagazine.com/wp-content/uploads/2024/06/22164732/first-reformed-header.jpg" ]	[]	[]	[ "" ]	null	[ "Mitchell Beaupre" ]	2024-06-24T16:30:49+00:00	It's never been a better time to be a fan of filmmaker Paul Schrader and his lonely men. Here's every Paul Schrader movie, ranked:	en	https://www.pastemagazin…ile-icon-196.png	Paste Magazine	https://www.pastemagazine.com/movies/paul-schrader/every-paul-schrader-film-ranked	It’s a great time to be a Paul Schrader fan. Since the release of 2018’s First Reformed, which earned the writer and director his first ever Academy Award nomination, there’s been a re-energized burst of appreciation around the filmmaker, allowing him not only the opportunity to make movies on his terms once again at a steady clip but also a greater appreciation for his previous work as well. Seemingly every week you can find retrospective showings of films like Hardcore in N.Y. or L.A., and titles including Cat People, Touch, American Gigolo and Affliction have recently seen excellent new physical media releases from boutique labels. This month, Criterion Channel unveiled a new “Directed by Paul Schrader” collection which covers films from across his nearly 50-year career behind the camera, as well as an “Adventures in Moviegoing” conversation with the director where he talks about his passion for movies like An Autumn Afternoon and Ordet, two films that “proved a revelation in his understanding of the medium” and reflect his obsession with “transcendental style.” Schrader documented this cinematic approach in his 1972 book Transcendental Style in Film: Ozu, Bresson, Dreyer, written during his days as a film critic for the Los Angeles Free Press and Cinema magazine. He explains how, due to his strict Calvinist upbringing, he was unable to see a film until he was 17 years old, and as a result when he finally did discover the medium through the works of Ingmar Bergman, he instantly had an intellectual excitement and curiosity. That introduction would fuel his transition into the world of film criticism, where he’d earn a master’s degree in film studies at UCLA and develop a bond with esteemed trend-setter critic Pauline Kael. Making movies himself was the inevitable trajectory for the Grand Rapids native, beginning with the script for Taxi Driver, which he wrote on spec and was only able to get made after he sold another screenplay (The Yakuza, co-written with his brother Leonard). Taxi Driver established his recurring fascination with self-destructive protagonists, often in transactional career fields, who look for redemption in both themselves and the world around them, often through acts of violence and/or sacrifice. It was also the genesis of his relationship with director Martin Scorsese, with whom he’d collaborate several more times by writing the screenplays for Raging Bull, The Last Temptation of Christ and Bringing Out the Dead. Schrader still writes scripts occasionally for other filmmakers, with projects in the works that are lined up to be directed by Elisabeth Moss and Antoine Fuqua. You can also find him practicing criticism in the modern way via his much-discussed Facebook account, where he shares his hot takes on films like Saltburn (“an inversion of [The Talented Mr. Ripley] which should not work. And it doesn’t”) and I Saw the TV Glow (“Jane [Schoenbrun] is hands down the most original voice in film in the last decade”) along with his ruminations on hot-button discourse like the new Sight & Sound list and politics, which can sometimes get him in hot water. Through it all, the one thing that has defined Schrader is his inability to be anyone other than himself, bringing the magnitude of complexities of being human into each of his works and filtering himself through each. This holds especially true in his transition to becoming a director; as he tells Kevin Jackson in the book Schrader on Schrader, “That’s what you do for a living: you pick at your own wounds, and the deeper and more private the wound, the more special it is to you and possibly the more it can mean to someone else.” Traveling through each of Schrader’s directed works (with the exception of Oh, Canada, which recently premiered at the Cannes Film Festival and will be added to this list upon its release) is a daunting experience, unsurprisingly filled with despair. But, as Reverend Ernst Toller explains in First Reformed, “Wisdom is holding two contradictory truths in our mind, simultaneously: hope and despair. A life without despair is a life without hope. Holding these two ideas in our head is life itself.” In the films of Paul Schrader, one constantly grapples with the search for meaning in a cruel and hopeless world, with the filmmaker never pretending that an answer is to be found. The nature of humanity lies in the searching. Here is every Paul Schrader movie, ranked: 23. Forever Mine (2000) Forever Mine came from a good place. As Schrader tells it, “My thinking before making it was that everything had got so deconstructed and hip and referential that it would be fun to make a film that was completely old-fashioned, that harkened back to the Douglas Sirk kind of sensibility.” You can feel that striving for Sirkian melodrama all over this tale of a decades-long feud between a cabana boy (Joseph Fiennes) and a shady business mogul (Ray Liotta), spurred when the former has an affair with the latter’s wife (Gretchen Mol). For all its faults, the film is irrefutably lush, with breathtakingly warm cinematography from Schrader’s regular collaborator John Bailey and an Angelo Badalamenti score that could only come from that illustrious master of the high drama. Originally written in the late ‘80s with Patrick Swayze set to star, Schrader’s script sat on the shelf for quite a while and this period at the turn of Y2K was a bold moment to resurrect it. While Hollywood was steeped in Tarantino knock-offs, something this old-fashioned could feel like a breath of fresh air (just look at The Talented Mr. Ripley). The issues are two-fold. First, for a melodrama to work, there should be some grounding in reality to make the extravagant theatrics come from somewhere true. With its plot (disfigured cabana boy returning from the grave to seek revenge), Forever Mine comes off more daytime soap opera than Douglas Sirk. The other issue is in the casting, something Schrader himself acknowledges by stating that the tricky dual role in its center needs to be “Leonardo DiCaprio in Titanic and Pacino in Carlito’s Way in the same movie.” Joseph Fiennes was cast for being a hot property in Hollywood at the time, fresh off Shakespeare in Love, but that movie’s success wasn’t due to his talents. He’s all out of place as DiCaprio and Pacino. With a highly questionable Cuban(?) accent and zero chemistry with a likewise adrift Gretchen Mol (Liotta is decent enough but kind of sleepwalking through “the Ray Liotta role”), Fiennes can’t center this picture at all. “I’m so torn about this film,” Schrader said, “because in a way I want it to be brainless romantic entertainment, but I’m not a brainless romantic person.” Clearly, Forever Mine is a case of an artist not matching the material he’s going for, even though the intentions made sense. 22. Witch Hunt (1994) Aa an HBO movie made for $8 million at a time when Schrader was on the ropes just attempting to get anything made, there’s certainly a sense that Witch Hunt is directed by a guy who’s not one hundred percent passionate about the material he’s working with. A sequel to the Fred Ward-starring HBO picture Cast a Deadly Spell, this follow-up jumps from the ‘40s to the ‘50s in a Hollyweird where magic exists and society has to reckon with what that all means. While some allow it to flourish, others like Senator Larson Crockett (Eric Bogosian) want to outlaw its usage and blacklist anyone who practices. If that sounds a little HUAC to you, you’re not the only one. The metaphor is a bit heavy-handed, though Schrader scaled it back more than what was in the original script, which featured full-on references to McCarthy’s attacks on Hollywood. Witch Hunt is light on its feet, though it ends up feeling ill-defined when all is said and done. Schrader replaced Ward with Dennis Hopper in the leading role of private dick Harry Phillip Lovecraft (H.P. Lovecraft, heh), opting to make the character more Beat Generation than Philip Marlowe, and Hopper is sturdy enough in tampering down his manic charisma for something more straightforward. It’s the world around him that’s outlandish, and there’s a struggle to find that right tone between the absurd and the noir. For a movie as batshit as this one—lit with bright fluorescents and big splashes of color across turquoise walls and red lipsticks—it’s all a little drowsy. Schrader sparked at the opportunity to experiment with early special effects, though those elements seem rudimentary now. Mixed with the silliness of the plot, it can be tough to swallow—case in point, a scene in which a woman chants a spell to conjure William Shakespeare into the world, her words exiting her mouth and dancing in circles around her body like some kind of Disney Channel Original Movie. Then Shakespeare actually shows up in full Ren Faire-quality attire. If nothing else, there is pleasure to be had in Bogosian’s wild performance, including a climactic moment where his conservative politician literally splits down the middle and out of him emerges an id-like Bogosian whose energy resembles his lacerating stand-up persona. 21. The Canyons (2013) A collaboration between Paul Schrader and writer Bret Easton Ellis, with lead roles occupied by a spiraling Lindsay Lohan at the peak of her tabloid notoriety and adult film star James Deen (a couple years before nine women came forward with rape allegations against him), that The Canyons generated more coverage as a clickbait spectacle than anything else. Details of the frequent, elaborate clashes between Schrader and his two stars spread like wildfire—the bulk of them captured in Stephen Robrock’s New York Times feature “Here Is What Happens When You Cast Lindsay Lohan in Your Movie.” The film was lambasted upon release, treated as either a catastrophic failure or, at the very best, a “so bad it’s good” camp classic. Recent reappraisals have been kinder to Schrader and Ellis’ tale of a vapid couple violently falling out over sexual betrayals. While those might be pushing things a tad (or a lot) too far for me, it is encouraging to see folks at least assessing the picture on its own merits, outside the frenzied bubble of ravenous takedown culture The Canyons suffers under the weight of Ellis’ inability to mature as an observer of the elite, once again diving into a pool of self-obsessed pretty guys and gals who will destroy one another in the pursuit of cash, fame and sex—without adding anything new to what he’s delivered before in that milieu. The most compelling facet of this roast of Hollywood bloodsuckers is Lohan’s performance, a tragic and insightful mirror of her perception at the time—one looking at the struggle of an artist to reclaim a reputation that had long moved past the promise of breakout stardom and faded into washed-out has-been. It feels like a sincere peek behind the curtain in alarming, confrontational ways, only enhanced by the knowledge of her battles with alcohol abuse and rehab stints. Schrader opens and closes The Canyons with montages of vacant, long-abandoned movie houses and rental stores, calling our attention not only to the death of cinema as we know it, but also the people who inhabited those pictures on the silver screen. There are some compelling ideas here, they just get too often washed out in the muck of navel-gazing nothingness and a truly abominable performance from Deen. 20. Dominion: Prequel to the Exorcist (2005) Similar to The Canyons, Schrader’s highest-budgeted feature to date also met more talk around its chaotic production than around the material itself. Beginning life in the early 2000s with John Frankenheimer directing and Liam Neeson starring, Exorcist: The Beginning was a prequel to William Friedkin’s horror classic that would tell the story of Father Merrin (played by Max von Sydow in the original) battling the demon Pazuzu in East Africa years before encountering the MacNeil family. The briefest possible explanation of this extensive, bloated, studio-mismanaged production hell is thus: Schrader took over for Frankenheimer when the latter’s health issues became too severe. Stellan Skarsgård replaced Liam Neeson. With $30 million at his disposal and studio backing, Schrader made a studio version of a Schrader picture, which meant that the studio hated it. They wanted a mainstream horror film, and according to them Schrader’s movie wasn’t scary and didn’t have enough gore, so they made him recut it twice. They still hated it. Schrader was mad, probably hurled some expletives, and got fired. Instead of releasing the film, the studio brought in Renny Harlin to shoot a ton of new scenes to make basically an entirely different film—with almost an entirely new cast apart from Skarsgård and a couple others—and they released that instead. Exorcist: The Beginning earned heinous reviews, and a year later the studio ended up releasing Schrader’s version anyway (after hastily affording him some extra cash to complete it with cobbled together music and some shoddy visual effects). Retitled Dominion: Prequel to the Exorcist, Schrader’s version still has its issues, but it’s at least more interesting than the DTV-level schlock that was The Beginning. You can certainly see more of Schrader in here, as the story utilizes Merrin’s faith to dig deeper into philosophical and religious questions, such as how God can allow atrocities to occur—especially at the level of suffering that Merrin witnesses and is a party to. For what it’s worth, The Exorcist author (and director of the quite good The Exorcist III) William Peter Blatty described watching Harlin’s version as “the most humiliating professional experience” he’d ever had, while conversely stating that Schrader’s film was “a handsome, classy, elegant piece of work.” 19. Dying of the Light (2014) / Dark (2017) Not every Paul Schrader feature had a woeful production process, and even some that did would turn out to be his finest work. That said, it’s no coincidence that three notoriously difficult productions have landed in consecutive spots near the bottom of this list. One imagines that if Schrader himself were to see this, he’d object to the inclusion of Dying of the Light at all, given that the studio took the film away from him and completely rejiggered it without his insight or approval. When I spoke to Schrader last year, he counted it as the lowest point in his career, telling me “I realized I had a debacle film that I did with Nic Cage, and it was taken away from me and they tried to kill me. I don’t even say that jokingly. It was being edited by somebody else in Los Angeles, and if I left Los Angeles, that would be considered quitting the film and they didn’t have to pay me the money they owed me.” He continued: “I was sitting there in a hotel room drinking, and I realized after about four or five days of that, I said, ‘They want me to die. They want me to die in this hotel room drinking all day long, and I’m not going to die that way and I’m going to leave town and they can keep their money.’” Schrader would ensure that he always had final cut on everything he made from here on out, but Dying of the Light remained—and he ensured no one would mistake it for being a piece he felt was truly his. Taking to Facebook, he wrote, “We lost the battle. ‘Dying of the Light,’ a film I wrote and directed, was taken away from me, reedited, scored and mixed without my input,” accompanied by photos of himself, stars Nicolas Cage and Anton Yelchin, and producer Nicolas Winding Refn all wearing shirts with text of the non-disparagement clause in their contracts for the film which forbade them from speaking negatively of Dying of the Light around its release. The protest didn’t end there. Three years later, Schrader fought to restore his first cut as much as he could with the use of workprint DVD footage and choppy sound. His malformed baby would be titled Dark and the director uploaded it for free on torrent websites, as well as storing digital files of it at film archives including UCLA. In his words, he did this “not for exhibition or personal gain” but for “historical record.” So what of the ultimate quality of Dying of the Light and Dark? Like all of these rough and tumble productions, there is an inherently Schrader core at the center that is compelling. The film examines a man (Cage) who was trained that his value is one specific thing—service to the CIA—and is grappling with losing his faculties due to frontotemporal dementia. He now has to consider what his worth will become once his mind has slipped away. Schrader reckons with the indoctrination the United States attempts to put us all through in service to and worship of this country, and what a man like this gives of himself in order to fulfill that absurd sense of obligation. At one point, Cage’s character states that he wants to “do something that is worth remembering with my time.” It’s tragic that all he can think to do is take his revenge on a man who has long forgotten him. Dark creatively utilizes the limitations of the materials Schrader had to work with to embed us more fully in the crumbling state of this man’s psyche. It’s very rough around the edges, naturally, but certainly feels like it hits closer to the director’s original vision than Dying of the Light, which clearly shifts, about a third of the way through, to into another generic Nicolas Cage DTV action-thriller. 18. The Walker (2007) A “walker” is described in Schrader’s film as a man who “walks rich women from place to place.” Often gay and independently wealthy, these men operate in circles like the world of D.C. politics. It’s a real-life tradition, one which Schrader studied using the life of Jerry Zipkin, who escorted Nancy Reagan to operas and the like because Ronald had no interest in attending. Schrader saw this type of character as representative of his existential wanderers, his “God’s Lonely Man,” and at the time of writing The Walker he hoped it would wrap up his loose series on this specific character—that he could then “call it a day with that existential hero.” That didn’t end up coming to pass, as his recent trilogy attests, but it’s easy to see how The Walker exists in that same space. An update on American Gigolo, Schrader saw The Walker as “taking the gigolo out of the bedroom and [putting] him in a social function” to explore “this notion of a deeply superficial man whose superficiality is put to the test by circumstances, and he has to decide exactly how superficial he is.” That man is Carter Page III (Woody Harrelson) and those circumstances are the murder of a lobbyist who is the secret adulterous lover of one of the women Page escorts (Kristin Scott Thomas). Similar to Richard Gere’s Julian Kay in Gigolo, Page is embroiled in the murder scandal, and The Walker guides us through the societal machinations of elite D.C. to see how this man’s morals slowly ostracize him from the upper-crust connections he’s made. Schrader and Harrelson have both stated over the years that the actor was disastrously miscast (Schrader championed Rupert Everett for the part, but was shut down by the studio), and while Harrelson’s performance takes a bit of getting used to, it’s actually quite effective. Especially as we dig more into Page’s resentment towards himself for never being able to live up to his father’s reputation, and how he’s a grown man still living in the shadow of a parental figure who died a decade ago, we can see his fragile soul eroding. The people who made him privy to their secrets and trust never actually considered him “one of them.” What buckles The Walker is languid pacing and too much murder-mystery, which isn’t nearly as noteworthy as the social ramifications of this man stepping out of his lane and changing his stripes—or at least considering it. 17. Touch (1997) A satire on huckster faith, adapted from an Elmore Leonard novel, Touch caught flak upon release largely because critics and audiences had no idea what to make of its tone. Here’s Paul Schrader, the guy who adapted The Last Temptation of Christ and wrote Transcendental Style in Film, making a comedy about stigmata? It’s easy to see why people would be lost, though if you peel back the surface you can undoubtedly see Schrader’s stamp on it. The director mostly just wanted to make a picture—at the time he was still struggling to get financing for films like Light Sleeper and Affliction, and taking gigs like this and Witch Hunt to play around a bit. He had also been desperate to do an Elmore Leonard adaptation. He’d initially tried to get the rights to Rum Punch before the Leonard craze took off, but got turned down by the producer who had those rights…basically because Schrader wasn’t cool enough in Hollywood at the time. So the Leonard and Schrader fusion came in this unlikely form: An adaptation of Leonard’s least successful book, which was met with the same results. “The fundamental contradiction hurt the financial life of the book,” Schrader says, referring to the religious comedy angle within Leonard’s profane and stylized form, “but it was also the thing that interested me the most.” There is a loose, lackadaisical rhythm to Touch’s tale of a mild-mannered man (Skeet Ulrich) with a spiritual gift for healing, taken under the swirl of a mobile home salesman and former preacher (Christopher Walken) and positioned as a media sensation for profit. Also in the mix are Bridget Fonda as a woman Walken persuades to con Ulrich into pursuing this, and Tom Arnold as a moronic, violent fundamentalist who takes umbrage to the whole thing. Tonally and aesthetically, Touch doesn’t feel at all like a Schrader picture, but it’s nice to see him having fun despite the ill fit. Ulrich is sexy and slithery, with a devilish little goatee that makes you question his motives and wonder if he’s not the innocent he pretends to be. Fonda is in full film noir mode, sultry but with a girl-next-door charm, while Walken, who only signed up for the part if Schrader agreed to not direct his performance at all, shows up to church wearing a big-ass gold chain that says “THANK YOU JESUS.” There’s entertainment to be had here, though even Schrader acknowledges to this day (in the special features of Cinématographe’s new deluxe limited edition Blu-ray) that “it was an obstacle too high to get over—how to get [Leonard’s] style into that subject matter. The lightness, the tongue-in-cheekness, the ironic nature of it all.” 16. Light of Day (1987) Originally designed as a story about two working-class brothers in Cleveland who perform in a rock band while struggling to make ends meet, Schrader shifted the story for Light of Day to that of a brother and sister, played by Michael J. Fox and Joan Jett. Fascinatingly, the script was initially titled Born in the USA and pitched to Bruce Springsteen when the Jersey rocker was considering a dive into movie stardom; although Springsteen backed out, he still lifted the title for his legendary album (Schrader is given a thanks in the album’s insert sleeve). We can only wonder how Springsteen would have fared in the role, but as it stands, one of Light of Day’s biggest issues is its casting. Fox and Jett aren’t believable as roughing-it blue collar types, and their brother-sister chemistry is decidedly off. Light of Day does thrive in two specific areas: Schrader’s return to the working-class sensibilities of Blue Collar and capturing the daily grind that most musicians go through in pursuing their passion. He’s explained that “many rock-and-roll movies revolve around the Cinderella myth of fame and wealth and girls, and what is missed in all those films is that rock and roll has a day-to-day practical function in the lives of thousands of people and thousands of little bands in thousands of little cities all over the world, and that all these little bands just go and kick it out on the weekends. They may have dreams of glory, but what it’s really about is release. So I didn’t want to make a movie about fantasy, I wanted to make a movie about the realities of rock and roll.” There’s an authenticity to that specific aspect of Light of Day that reminded me of being in my twenties and watching so many of my friends jobbing around trying to make a living while they toured with their bands at night, making scraps and neglecting their transition into adulthood because they were trying to hang onto something closer to their heart. Schrader excels here, yet where Light of Day is most potent is actually in the portrayal of the parents, played by Gena Rowlands and Jason Miller. The father is devastatingly passive, aware of all the discord in the family, including the fact that his wife is gradually losing her mind day by day, but ignoring it completely because it’s too much to deal with. There’s a scene where he tells his daughter that he and his wife barely talk, that there’s essentially no love or communication between them, and that this is nice and pleasant and uncomplicated. It’s devastating. The emotional core of the film lies in the relationship between Rowlands and Jett’s characters, with us witnessing the rift between them, as the mother doesn’t support Jett’s pursuit of her musical ambitions. Schrader considered Light of Day an inverse of Hardcore; that film captured his relationship with his father, Light of Day with his mother. This was specifically true in the deathbed reconciliation between the mother and daughter, in which Rowlands asks, “Have I done anything so terrible that I can’t be forgiven?” It’s the most Schrader moment of the whole picture, and according to the director that whole scene “is more or less word for word what I went through with my mother.” 15. Dog Eat Dog (2016) Out of the remnants of Dying of the Light’s disastrous release, Schrader emerged like a phoenix with a new passion to make cinema on his terms. He told me that his next move was “saying to [Nicolas Cage], ‘I want to right this wrong. I want to do a film with you, and I want to get final cut, and if you take a price cut, we can do it.’” The result was Dog Eat Dog, a chaotic film but by all accounts a smooth production. It was Schrader’s realization that technology was at a place where he could make pictures on smaller budgets in quicker amounts of time, giving studios a return on investment that allowed him to ensure final cut and make things his way. It’s a model he’s followed ever since to great results, and while his next film First Reformed would usher in the full Schrader renaissance, Dog Eat Dog certainly kicked things off. Right from the jump, the director is throwing new and exciting things at the wall, opening with a stylistically gonzo sequence in which a gun nut on television is prophesying that the whole world would be safer if everyone had a gun, then pulling back to reveal Willem Dafoe (in a completely pink room with floral wallpaper) watching the TV, snorting a line of coke, then throwing his head back to reveal an eye tattoo under his chin. He gets up (going into a completely blue room) to shoot up some heroin before his ex-girlfriend comes home, which is when he cuts her throat and shoots her teenage daughter. Five minutes into this thing, and Schrader is not holding back. Dog Eat Dog overflows with rage but also a sense of fun and experimentation, with the director populating the crew primarily with first-timers just out of film school. That combustible, exciting energy is matched by his actors, with Cage channeling Humphrey Bogart just for the hell of it and Dafoe going full-on Wild at Heart wild man. Dog Eat Dog is ultimately about male friendship, the bonds you build for life, and Dafoe has a heartbreaking sequence where he talks about how it’s okay that one of his best friends doesn’t like him because he doesn’t like himself either There is a lot going on here, including Schrader in his only acting appearance (as a character named Greco the Greek). Sure, not all of it works, but it’s a ball to see a then-70-year-old filmmaker getting his juice back. 14. Adam Resurrected (2008) When speaking of Touch, Schrader said, “Over the years, I tend to have been sent scripts and books that no one else wanted to touch. Patty Hearst came to me because nobody could figure out how to shoot it, and Touch came to me because no one could figure out how to mix religiosity and vulgar humor. But it never bothered me. And perhaps one of my career difficulties is that I don’t weigh the consequences that heavily. If it seems like it might be fun to do, and I think I can pull it off, I do it.” One can’t imagine that the prospect of taking on Yoram Kaniuk’s 1969 novel Adam Resurrected seemed “fun” per se, but a challenge no doubt. In that sense, it’s easy to see why Schrader jumped at the opportunity to tell the story of Adam Stein (Jeff Goldblum), a Holocaust survivor being treated in an Israeli psychiatric asylum for people suffering survivor’s guilt. Through flashbacks, we learn of Stein’s past as a stage comedian before the war, where part of his act involved him pretending to be a dog, which amused the off-putting, dim German Commandant Klein (Willem Dafoe). Cut to the concentration camps, and when Klein and Adam are reunited, the officer forces Adam to be his dog in a literal sense, chewing on bones, wearing a leash and residing in his offices. It’s a grueling watch, with the story taking us to escalating heights of tragedy and humiliation for Adam, none more so than watching him forced to play fiddle while Jews, including his own wife and daughter, are taken to the gas chambers. Chances are some of the thornier elements of Adam Resurrected come across stronger in the novel, as they feel more literary than cinematic in concept, yet Schrader’s preoccupations with how we go on surviving in a world of cruelty are all over this picture. The director brilliantly utilizes Goldblum’s mercurial charm and comedic presence to untether us from our preconceptions, while understanding the gravitas of a man wholly succumbing to survivor’s guilt. There’s too much going on in Adam Resurrected overall, but when it’s working it’s really working. 13. Master Gardener (2023) The third in Schrader’s recent “God’s Lonely Man” trilogy, Master Gardener came at a major turning point for the filmmaker. During a press conference at the film’s Venice premiere, the director said, “I used to be an artist who never wanted to leave this world without saying ‘fuck you,’ and now I’m an artist who never wants to leave the world without saying ‘I love you.’” This is a reference to the S.G. Goodman song “Space and Time”, which closes out Master Gardener, and it speaks to his aging evolution into someone who cherishes what there is in this world—a man who sees the good maybe a little more now than the bad. Particularly as he’s grappled with difficult bouts of health and his wife Mary Beth Hurt’s worsening Alzheimer’s, Master Gardener exposes a nurturing quality to Schrader that parallels the profession of the immaculately named Narvel Roth (Joel Edgerton), a horticulturist whose life is devoted to delicately setting up living beings to blossom at their own speed. “Gardening is a belief in the future,” Narvel says, “A belief that things will happen according to plan. That change will come in its due time.” A gardener might not seem like a natural next step for Schrader’s Lonely Men, whose jobs are always transactional and often delve into the seedier realms of sex and crime, but Narvel fits right alongside First Reformed’s priest and The Card Counter’s gambler—men largely removed from the confines of society, whose daily routines are charted mostly in isolation, their nights spent scribbling existential thoughts into journals. Like with so many of Schrader’s men, a woman awakens Narvel from his self-imposed hibernation: Maya (Quintessa Swindell), the troubled great-niece of Mrs. Haverhill (Sigourney Weaver), the domineering dowager of Gracewood Gardens where Narvel is employed. Master Gardener received mildly positive notices upon release, with the biggest knock against it being that it can feel in some areas that Schrader is retreading too-familiar ground. An understandable response (though this is the third part of a trilogy, after all), but what sets Master Gardener apart is its overwhelming tenderness. The bond that forms between Narvel and Maya is enchanting, two lost souls finding solace in one another, crescendoing in a gorgeous, transcendental sequence in which they drive down a road at night and the greenery surrounding them springs to immense, extra-natural life. 12. Patty Hearst (1988) Biographical films are rare to come by in Paul Schrader’s filmography, so when he takes one on chances are they’re not going to be your typical Oscar-bait. That’s the case with Patty Hearst, a bold and confrontational approach to the story of the student and heiress (granddaughter of Willam Randolph Hearst), her time held captive by the Symbionese Liberation Army and her transformation into an active follower of the movement via purported brainwashing. The picture takes place over the span of 19 months, tracing the time from Hearst’s abduction to her eventual apprehension and arrest, something which presented more of an obstacle to Schrader than he may have initially been expecting. In a recent interview on the film’s Vinegar Syndrome Blu-ray, he states that if he made it today he wouldn’t make it as a film, but instead as a six- or eight-part limited series, as condensing so much time and so many characters makes the film unruly. Nevertheless, Patty Hearst thrives on Schrader’s ability to give this sensational story a totally new perspective, one that people didn’t seem interested in at the time: Hearst’s side of things. Adapted from Hearst’s memoir Every Secret Thing, Schrader’s film takes us inside her perspective for the entirety, never skewing outside of that point-of-view. “If the first third takes place in a closet with a blindfolded girl, that means the only reality that exists is her imagination and so I can do anything I want,” he says. “I saw that not as a problem but as an inviting challenge, and for me that still is the best part of the film.” I agree. The first act of Patty Hearst holds us in captivity with Hearst while she is blindfolded and locked in a closet, only given brief glances of lights and shadows piercing through when her captors open it up to bark doctrine at her or re-educate her to remove her from her bourgeois upbringing. (When she asks “May I use the restroom?” she’s instructed to instead say “I gotta pee.”) With the impressionistic, evocative cinematography of Bojan Bazelli used to fix us in this warped time and space, we start to succumb ourselves to this sensorial removal. As Hearst, remarkably portrayed by Natasha Richardson, is brought more into the fold of the SLA and becomes a contributing member, the media coverage takes a decided turn. Schrader invites us to question why this kidnapped woman becomes nothing more than a symbol for each side. She’s nothing but propaganda for everyone’s cause, be it the system or the revolutionaries, and what Patty Hearst does is restore her voice. Its most powerful statement arrives in its final moments, when Hearst plainly declares, “Fuck them all.” 11. Cat People (1982) While many Schrader films focus on solitary men whose self-imposed isolation from society is untethered by the arrival of a woman, Cat People focuses more on the woman herself. A remake of Jacques Tourneur’s 1942 film of the same name, the ethereal Nastassja Kinski stars as Irena, an orphan we meet as she arrives in New Orleans to reunite with her estranged brother, Paul (Malcolm McDowell). As she learns more about her brother and her lineage, a series of murders occur in the area, somehow linked to a black leopard. A romance begins between Irena and Oliver (John Heard), the curator of the zoo where this panther has been detained. Cat People was the first film Schrader directed that he hadn’t written, stating that, due to difficulties getting his own projects off the ground, he wanted “to do a genre film, a horror film, a special-effects film that will not be about me, and that will be a very salutary exercise.” Despite being his sole (explicit) remake and his first rare venture into horror, Schrader would eventually describe Cat People as “almost the most personal film I’ve done.” While your standard Schrader picture would focus on Oliver, and his awakening via Irena, the irony here is that it takes on an almost autobiographical quality by being so entranced by Irena herself. “During the actual shooting of the film I became involved with Nastassja Kinski and became obsessed with her,” Schrader explains. “So the story of the film started to become very personal, so much so that I wasn’t really aware of how perverse it was getting.” In the same release year as the third entries in the Halloween and Friday the 13th franchises, where horror was going for cheap and easy thrills to appeal to teenagers, Schrader took the genre in an evocative, heavily stylized direction while drawing a parallel from Irena and Oliver to Dante and Beatrice, along with inspiration from Jean Cocteau’s Beauty and the Beast and Orpheus, all detailing this theme of primal obsession. With the strumming tones of Giorgio Moroder’s exquisite score (including the theme song with lyrics from David Bowie, which would later be repurposed for an iconic sequence in Inglourious Basterds), Cat People is Schrader’s most overtly carnal picture, using horror to explore repression, intimacy and desire. 10. The Card Counter (2021) Routine is one of Schrader’s favorite recurring themes, and William Tell (Oscar Isaac) is a man of routine. He wakes up, he hits the casino floor, he plays cards, he goes back to his room, he writes in his journal, he goes to bed. His philosophy, as he tells La Linda (Tiffany Haddish)—who is essentially a pimp for a stable of gamblers and interested in recruiting Tell—is to bet just big enough to make a profit, but never so big that he draws the fervor of the casino owners. He never stays in hotel casinos, preferring motels to avoid attention. He lives out of two small suitcases and covers his motel room furniture with bed sheets and twine. William Tell doesn’t exist, and that’s exactly how he likes it. His days are spent in a void, a vacant wasteland of souls cycling in and out of spaces with no attachments. “They have commercials where they show people have fun in casinos,” Schrader said, “but I’ve never seen anybody have any fun in casinos. It’s like going into the zombie zone, a kind of purgatory.” There is indeed an intentional emptiness that permeates The Card Counter as we are enveloped in Tell’s life, only startled out of that haze when he is forced to confront what we discover is the thing he’s using all of this monotony to hide from: his past as a torturer in Abu Ghraib. The Card Counter has the polished sheen of a slick movie about gambling, and like so many of Schrader’s pictures he uses this to lull you into a false sense of thinking you know what you’re watching before the rug is pulled from underneath you. The Card Counter ties back to the filmmaker’s fixation on redemption and who is capable of earning it. Is it up to others to say you’re worthy, that you’re a good person? When you’ve done the kinds of heinous things Tell has done, is there ever a possibility of coming back? “He can’t just be a murderer, he has to have done something that shamed the nation, something that cannot be forgiven,” Schrader explained, going on to say that “we live in a culture where no one is really responsible for anything,” but that he comes “from a culture where it’s just the opposite, where you’re responsible for everything. I sort of imagined myself as someone who did something that can’t be forgiven. He went to jail, but he still hasn’t been punished enough. And what did he do? How does he keep punishing himself?” Returning in these later years to the things that have constantly haunted him, Schrader finds renewed life in those observations on moral depravity, of the innate hollowness of just getting by. The Card Counter is sterile, hollowed out, with a steely, clinical performance from Isaac, and in that emptiness it finds a wealth of resonance. 9. Hardcore (1979) When Paul Schrader speaks critically of a film like Dying of the Light, it’s not a huge surprise. But it can be surprising to learn that Schrader doesn’t have many kind words for Hardcore, his second feature as a director and arguably the one that has had the most cultural resonance—at least one of its scenes, anyway. Whether you’ve seen Hardcore or not, you’ve likely witnessed some variation of the moment in which strict Calvinist Jake Van Dorn (George C. Scott) watches a pornographic film featuring his missing teenage daughter Kristen (Ilah Davis) having sex with two men. Van Dorn writhes in pain and bellows “Turn it off!” It’s become a well-worn meme for mocking atrocious things we’d rather not bear witness to. So why, despite numerous revival showings and boutique Blu-ray releases touting Hardcore as one of Schrader’s finest, doesn’t the director care for it? For one, he feels the film draws too firm a line between the puritanical Van Dorn (largely based on his own strict Calvinist father) and the seedy underbelly of the sex world the man must venture into while trying to find his daughter. Hardcore is, in Schrader’s words, his most autobiographical picture (along with Light of Day), so one must wonder how much impact that has on his opinion towards it. Jake Van Dorn captures both sides of the Schrader coin: his father’s repulsion with the debauched world our leading figure dives into, and Paul’s own fascination with and seduction by it. Hardcore is a reckoning of a man and a country at a time when sex was becoming more commercialized and the sex industry was more public-facing than ever. You can’t hide from it any longer. It’s right in your home, taking your daughter and showing her the world you never wanted her to see. Each scene reveals something new about this world and its inhabitants. The police don’t care about Van Dorn’s cries that a young girl has been (allegedly) kidnapped and forced into this space—she’s just another sex fiend to them, like anyone who would get involved with pornography. Schrader feels that the film sides too much with Van Dorn and his rejection of modern culture, but Hardcore presents a more nuanced view. Despite the absurdity of Van Dorn’s moral code and the many paradoxes that emerge over the course of the film, Schrader can’t help having some inherent sympathy for him. He’s a human at all times. There’s sympathy and dimensionality to those involved in the sex industry. Not in the sense of “Oh, how bad that they got involved in this world,” but in seeing them as human beings with their own thoughts, feelings, dreams, desires—many of them revolving around the idea of being seen, of being wanted, of being allowed the freedom to figure out who they are and have that identity be embraced by someone. The most tragic character isn’t Kristen, and it’s certainly not Jake—it’s Niki (a remarkable Season Hubley), the sex worker who is used up and spit out, exploited in ways that don’t have anything to do with sex. The one spot where I’ll agree with Schrader is the ending, which, after everything we’ve gone through, feels too pat and tidily resolved for the Van Dorns. Naturally, this was a studio-mandated shift from Schrader’s original ending, in which Van Dorn discovers that his daughter died in a car accident—a random folly of life, completely unrelated to the narrative. He must return home and deal with everything he’s discovered, with no resolution. A chilling denouement that would have better fit the tone of the picture, but the ending we have doesn’t deter too much from everything leading up to it. As for what Schrader’s father thought when he saw the film? “He said that he was glad my mother wasn’t alive to see it,” the director says. 8. American Gigolo (1980) “I felt that I had arrived as a director,” Schrader says of his third feature American Gigolo. It’s easy to see why. As excellent as his first two films are, Gigolo bolts out of the gate with Richard Gere’s Julian Kay barreling down the highway as Blondie’s rapturous “Call Me” plays. We’ve got an auteur behind the wheel. Someone with a distinct vision, who’s going to take us for a ride. As the title suggests, Julian is a sex worker who makes his trade delivering pleasure to women—like many Schrader characters, he’s a man who exists in transactional relationships. He appears in people’s lives for flashes at a time, provides a service for them, and then disappears just as quickly. They don’t have to think of him as a human being, he is only what he provides for them. These professions have fascinated Schrader over his career—the taxi driver, the priest, the gambler, the drug dealer—and sexuality provides a particular allure to Gigolo. As Schrader explained when developing the film (back when John Travolta was set to star), “The character in Taxi Driver was compulsively nonsexual. The character in American Gigolo is compulsively sexual. He is a man who receives his identity by giving sexual pleasure but has no concept of receiving sexual pleasure.” Casting Gere (who was always Schrader’s first choice) proved a master stroke, with the actor’s breathtaking handsomeness falling on just the right side of dastardly to make you question who this guy really is, what he’s all about. “I realized that the character of the gigolo was essentially a character of surfaces,” Schrader says, “Therefore the movie had to be about surfaces, and you had to create a new kind of Los Angeles to reflect this new kind of protagonist.” Schrader brought in outsiders like Giorgio Armani, Ferdinando Scarfiotti and Giorgio Moroder to create the lush, bold and utterly unique aesthetic of American Gigolo, ushering us into a world that was so entranced by what’s on top that they’re unable to look at what’s underneath. Influences like Bertolucci’s The Conformist, Antonioni’s L’Eclisse and essentially everything Bresson (but especially Pickpocket), let Schrader approach Gigolo as a story removed from eroticism—a delightful irony for something about a gorgeous gigolo. “The trick of the film—and I guess if I ever try to do anything resembling transcendental style this might be it,” Schrader said (admittedly before he made First Reformed), “is to try and create an essentially cold film in which a burst of emotion transforms it at the end, which is why I had the audacity to take the end of Bresson’s Pickpocket and put it in there.” Schrader would later tell me that he didn’t think the Pickpocket ending, which he has now used several times across his filmography, quite fit on Gigolo and he just put it there because he loves it so much. I’d argue it’s the exact right crescendo to close out our journey with Julian Kay and leave him with the promise of a future that goes beyond the superficial. 7. The Comfort of Strangers (1991) While Cat People is Schrader’s most overtly carnal picture, The Comfort of Strangers is his most viciously sexual. Harold Pinter adapted the script from Ian McEwan’s novel centered on unmarried English couple Colin and Mary (Rupert Everett and Natasha Richardson), vacationing in Venice where they meet the luxurious Robert and Caroline (Christopher Walken and Helen Mirren), two children of diplomats living in a spacious apartment who begin to invite the younger couple over. The Comfort of Strangers fits, in its own strange way, into the mold of horror pictures like Funny Games, The Vanishing and Speak No Evil in how the performance of social niceties and the unwillingness to seem rude plunges these young yuppies into a clearly dangerous situation they might not be able to escape from. In a role initially offered to Al Pacino, Walken is perfectly cast for his cool combination of charm and menace, while Mirren’s elegant beauty exquisitely hides the fragility lurking just underneath this woman who seems trapped inside their apartment, like a bird in a gilded cage. Exquisite is the word for The Comfort of Strangers (Schrader refers to it as his best-directed film), as the filmmaker packs this puppy with sensorial splendor: costumes by Armani, Dante Spinotti’s breathtaking cinematography, an entrancing score from Angelo Badalementi. This lushness captivates us in the same fashion that Robert and Caroline draw Colin and Mary in, with Schrader remarking that “physical beauty is, in and of itself, dangerous: it’s threatening, it’s destructive.” As the young couple receives red flag after red flag, from Caroline watching them as they sleep to Robert straight-up punching Colin in the gut, they somehow keep returning to this increasingly threatening abode. The Comfort of Strangers could have been pitched as more of a direct horror picture, but its trappings as a Merchant-Ivory drama give it an even greater appeal as a Trojan Horse into terror. “The story was so tawdry that I wanted to make it seductive and attractive, to polish the apple until it absolutely shone, so that you would be enticed to take a bite out of it and then find your mouth full of decay,” Schrader explained. Everything is a whir in The Comfort of Strangers, an excitement for a waning couple looking for reasons to stay together…and finding that maybe you shouldn’t go down the dark alleys of Venice with a white-suited stranger who approaches you at 2 AM. 6. Auto Focus (2002) A biopic of Hogan’s Heroes television star Bob Crane wouldn’t be a project most people would expect Paul Schrader to take on, especially if you only have tangential knowledge of Crane. But looking deeper at Crane’s projection as an all-American family man hiding his sex addiction, with this double life ultimately leading to a violent death—well that’s Schrader all over, isn’t it? Auto Focus is an excoriating exposé on the rot of fame, celebrity and parasocial relationships that’s also laced with the filmmaker’s predilection for the toxicity lurking underneath the façade of puritanical religion. “This is a character not unlike characters I’ve done before,” Schrader says of Crane, “who have a disconnect in their lives, who want one thing but do another, see themselves as one thing but behave in a counter-productive way.” The distinction here, he explains, is that “when I’ve done these characters before, they usually have some degree of introspection and a clouded sense of self-awareness… they’re trying to figure out why it doesn’t work, why they can’t get what they want” but that Crane remains until the very end “superficial” and “clueless.” For the lead, Schrader made a genius, unexpected move by tapping Greg Kinnear, who was mostly known for soft parts like the assault victim in As Good As It Gets or the nice guy who doesn’t get the girl in You’ve Got Mail. Kinnear had just the right amount of vanilla surface, that almost deceptively neighborly aura. He can grin and charm you, but you know there’s something sinister lurking within. (It’s amusing that he would eventually tackle full-on spiritual pictures like Heaven Is for Real and Sight.) While Schrader has toyed with queer undertones in films like American Gigolo, Auto Focus would be a rare overtly homosexual text thanks to its focus on the bizarre, codependent bond formed between Crane and John Henry Carpenter (Willem Dafoe), an electronics expert who flirts in Hollywood circles. The casting is the greatest strength of Auto Focus, as Schrader describes how Willem “would give Greg Kinnear the confidence to go into these waters.” Carpenter was more of a tertiary character in the original script, but when Schrader came on board he brought this relationship fully into focus, seeing the innate humanity that Carpenter possesses and trusting Dafoe to bring that to the surface. This character could have easily been portrayed as a twisted little devil, a creepy little gremlin on Crane’s shoulder luring him into this sick world. Instead, Carpenter is an achingly human, almost pathetic hanger-on. He wants the attention he gets from being latched onto celebrities, but really just wants to be somebody—and isn’t that more or less what Crane wants? It’s no wonder that Schrader was so fascinated by Crane’s story, as beyond the dark lure of celebrity there’s also insight into the ways that burgeoning technology warped a man’s understanding of the world and of himself. He becomes more obsessed with watching the sex acts on videotape alone, after they’ve happened, than the acts themselves. A man once so fixated on his dream of being adored on the big screen now finds himself the star of his own dirty home movies, and he gets hard as a rock every time—including in one jerk-off scene with Crane and Carpenter that you have to see to believe. When you get to the final, haunting line of “men gotta have fun,” you know exactly why this is a Paul Schrader picture. 5. Affliction (1998) Paul Schrader is never going to be mistaken for a gentle filmmaker. His work is harsh, it reckons with some of the most difficult questions we can ask ourselves. Yet there’s often levity mixed in amongst the anguish. Hell, Auto Focus is a laugh riot despite its brutality. Affliction has no light. Adapted from a novel by Russell Banks, brought to the screen after nearly 10 years of development, this wintry tale begins as a somewhat conventional murder mystery, where Sheriff Wade Whitehouse (Nick Nolte) investigates the death of a wealthy businessman during a hunting accident. That setup proves to be another of Schrader’s Trojan Horses, with the director explaining, “My real attraction to it, the thing I loved, was that it was a story pretending to be something else: sort of meandering around, leading you to believe that a murder mystery was afoot. And then, in the book and in the film, about two-thirds of the way through, you realize that there was no murder, and that this is a character study, and this man has gone crazy.” What begins as an intriguing mystery becomes a descent into madness, unraveling this man and exposing the brutality that has long been dormant, waiting underneath the surface for the right circumstances to come about. Whitehouse is subtly picked apart by small disturbances, like a gnawing toothache and his fractured relationship with a daughter who clearly doesn’t care for him. Schrader intelligently weaves these into this building sense of aggression and frustration. As these minor distractions plague him, Whitehouse continues his investigation, but what comes more into focus is his chaotic relationship with his father (James Coburn). This father-son dynamic has made Whitehouse so disturbed, his father a terrifying bastard who abused him as a child while he drank himself into short-tempered rages. Affliction hones in on masculinity and the demons that men inherit from one another. What kind of impact does this abuse have? Is Whitehouse a bad man at heart, or was he made that way? Schrader’s films have never been ones to garner much awards attention, but despite financial struggles and a limited release, Affliction notched an Oscar nod for Nolte and a win for Coburn. The latter is a terrifying force—even when he’s not in a rage, you can feel it in the air, the fear that it can come at any moment. As far as his leading man goes, “Nick’s performance carries the film,” Schrader says, “because you have a situation where the character is predestined—he’s doomed. You know from the first line of the film that he will fail, and disappear. Yet throughout it all, Nick manages to keep you sort of rooting for him. ‘Come on, Wade! Just get it together, you’ll be alright…’” Nolte’s work is the finest of his career. He was initially cast back when he was declared People’s Sexiest Man Alive in the early ‘90s (the film finally coming to fruition when he had a more gruff exterior), and his startling vulnerability is at its best. The actor allows you to sympathize with Whitehouse, perhaps even empathize, which makes his unbridled descent all the more wrenching. There’s a scene, where he completely explodes on a tirade about how this town needs him, which leaves you unable to move—a towering display of machismo in the face of potential emasculation. Affliction is told via narration through the outside perspective of Whitehouse’s younger brother (Willem Dafoe), a gentler man who has moved away from this town and removed himself from the hostile environment of his brother and their father. That distance provides a further chill to the whole affair, with Rolfe opening the film with the line, “In telling the story of my brother I am telling my own story as well,” and at the end saying, “Why can’t I let it go? Why can’t I sell the house?” This abuse ripples out endlessly, with Schrader describing how “At one level, you’re watching the disintegration of a man, Wade, and his problems with male violence and his father. At another level, you’re watching a movie about the younger brother, who’s observing this situation, and has withdrawn from the conflict, and in fact envies his older brother for being on the frontlines.” It’s a surprising approach that makes the ache of Affliction linger all the longer. 4. Mishima: A Life in Four Chapters (1985) Mishima: A Life in Four Chapters might seem like a departure for Paul Schrader. But his biopic of Japanese renaissance man Yukio Mishima (celebrated author, poet, actor and devoted nationalist) interrogates living in the world as an artist who feels like words aren’t able to have enough of an immediate impact (if any at all) and direct action’s impact is too fleeting. You can see how this would appeal to Schrader. Early in the film, Mishima (portrayed primarily by Ken Ogata) reflects, “When I examine my early childhood, I see myself as a boy leaning at the window—forever watching a world I was unable to change, forever hoping it would change by itself.” Schrader is an artist constantly in turmoil watching us destroy one another and the world we inhabit, feeling hopeless to do anything about it. For Schrader’s characters, the answer can often be suicide, either from that hopelessness or as an attempted act of self-sacrifice, and Mishima often ruminates on the idea of a “perfect” death. The best time to die, the best way to die, how your death could be most useful. As Schrader puts it, “I do believe that the life is his final work and I believe that Mishima saw it that way too. He saw all his output as a whole, from the tacky semi-nude photographs to the Chinese poetry to the Dostoevskian novels to his private army—it was all Mishima. And the public, particularly the Japanese public, wanted to slice it up into bits that they could appreciate and he refused to let them. He said, ‘If you accept me, you have to accept the high and the low; it’s all part of my output.’” To approach the sheer enormity of Mishima, Schrader created a bold structure that incorporates several Mishima adaptations spliced between conventional biopic sections, as well as recurring bounces back to his final moments, where he and several of his followers take a commandant hostage and then Mishima dies by seppuku. Mishima’s right-wing ideology and reactionary beliefs, in opposition to Japan’s post-war democracy, aren’t the focal point in Schrader’s film. Rather, it’s the connection between an artist’s life and their work, along with the director’s belief that the suicidal impulse has to do “with the artistic impulse to transform the world.” In regards to Mishima’s politics, Schrader theorizes “that it was all theatre—well, that’s not fair: say 75% theatre. He did have a fixation on the Emperor and he did have a very strong sexual fixation on militarism, but his interests were primarily ritualistic and artistic.” Mishima utilizes its unique structure to fully examine notions of honor, vanity, pride, self-worth and even some deep dives into homosexuality and transness compellingly rooted in the idea of the body—how the body is a primal creation of art that can be sculpted and destroyed. That care for aesthetics is reflected in the breathtaking design of the film: Cinematographer John Bailey and production designer Eiko Ishioka craft distinct visual styles for each section, while Philip Glass’ operatic score bellows deep into your soul from its first notes. Mishima feels epic, yet is deceptively minimalist and intimate in its construction. Another of its many impressive paradoxes. 3. Blue Collar (1978) For the last 50 years, Schrader’s work has wrestled with finding hope amidst the aching realization of how little we matter in a world built to destroy us. We’re born only to die. Through films like Mishima: A Life in Four Chapters, Light Sleeper and The Card Counter, he toes the line between fatalism and a longing for meaning. Yet, if there’s a motion picture that declares “fuck you” loudly and proudly, it would be Schrader’s first as a director: Blue Collar. The film follows a trio of auto line workers in Wayne County, Michigan, beleaguered by mistreatment from management as well as their union reps. The guys who are supposed to be looking out for them are the ones screwing them the most, and that catalyzes their plan to get even. Zeke (Richard Pryor), Smokey (Yaphet Kotto) and Jerry (Harvey Keitel) will rob the safe at the union’s headquarters to help clear their debts, all while sticking it to the men who are sticking it to them. Schrader and his brother Leonard’s script shrewdly navigates the narrative layers unfolded over the course of Blue Collar, while his authorial vision strikes a delicate tonal balance between heist thrills, workplace drama, social commentary and nerve-wracking suspense. He keeps our interests rooted at all times with this trio of characters, and through them pursues important conversations around labor exploitation and the perpetual dehumanization of the workforce under capitalism. For as much as Blue Collar is about class hierarchy and the disparity between management, union and worker, it’s also intrinsically about race—something evidenced even in the genesis of the film. As Schrader notes on the film’s commentary track, in trying to sell the film as being about “two Black guys and a white guy,” people would respond by asking if he meant to say “two white guys and a Black guy.” For the director, it was crucial to use this film to highlight how the unions were just as guilty as management, while also drawing out the distinct differences in this economy between Black workers and white workers. The dramatic tension between the central characters, often stemming from their race, was further cemented by the tension between the actors on set. Schrader has spoken at length about the vitriol that flew between his three leads: “I hired three bulls and asked them to come into a china shop, and I promised each of those bulls that they would be the lead actor… It became a real ego struggle about who would win the day.” Schrader details a particularly intense moment on set, in which Pryor’s long off-script rant led to Keitel speaking directly into the camera in order to ruin the take. “Even before I cut, Richard was on Harvey, fists were flying,” Schrader says, explaining that Pryor and his bodyguard were wailing on Keitel before Schrader himself got involved and the fight was broken up. Pryor insisted that the film was responsible for him relapsing into cocaine addiction; at one point he pulled a gun on Schrader and told the director there was no way he would ever do more than three takes for a scene. “It’s so spooky watching Richard. He was the unhappiest person I ever met in my life,” the director says on the commentary. In just one effort behind the camera—one that caused him to have a nervous breakdown and consider never directing again—Schrader experienced as much tumult as many filmmakers will across their entire careers. All of this discord has seeped into the blood and sweat of Blue Collar, a film etched in the righteous fury of those beaten down by a system founded on having boots on the necks of the workers at all times. We’re lucky that Schrader got back in the saddle for a lengthy, topsy-turvy career in the decades since, but if this had been his swan song, it would have sent him out on a high note. 2. Light Sleeper (1992) Finding hope in the films of Paul Schrader can feel like a lost cause, but it’s usually there. You’ve just got to look a little harder. That search for something to hang onto is present almost immediately in Light Sleeper, which follows the exploits of John LeTour (Willem Dafoe), a mid-level New York drug dealer nearing 40. In the opening moments, LeTour rides around in the back of a car, gazing out at the city’s denizens through the window while Michael Been’s doom-laden “World on Fire” blares on the soundtrack. The message is clear: The world is coming down around him, and LeTour is merely bearing witness. Describing it as his “midlife movie” and also his “most personal film,” Schrader is in a transitional phase with Light Sleeper. While Hardcore deals with a man’s resistance to the sex-filled world his daughter’s generation is coming up in, and First Reformed grapples with the overwhelming despair at the damage mankind has wrought upon our earth, Light Sleeper is about one man’s relationship with the world around him. Where does he fit in? Does he fit in at all? A former addict now clean, LeTour makes his trade in selling to those not as lucky as him to kick the habit. His existence is a transient one, floating into people’s lives to exchange goods for cash, and floating out just as easily. If he disappeared, they’d simply find someone else to replace him. Like those other great Schrader loners, he’s a man who offers something to a world that doesn’t give him much in return. He’s a ghost, observing the fall of everything around him. He hears the thoughts of his clients, people more than happy to unload their basest ideas onto this total stranger. To the clients, he’s merely a figment. Schrader wrote the script with the idea that the main character had three ways to express himself: dialogue, diary and narration, and in the music which would chronicle his journey. From that opening use of “World on Fire,” Been’s vocals and melancholic tones feel as rooted in the essence of Light Sleeper as Dafoe’s razor-sharp bone structure, or the heaps of trash bags lining the sidewalks as a garbage strike ensues. It’s not technically LeTour singing these songs, but it may as well be, as Been’s music takes us along the emotional throughline of the film and gives us the interiority of LeTour that we aren’t able to experience through his spoken words. These specific forms of communication allow us full insight into his perspective as he wanders this lonely, desolate world. LeTour’s search for hope arrives in the form of Marianne (Dana Delany), a former flame who circles back into his life at just the right time, giving him an opportunity for salvation. After the two sleep together, LeTour writes in his journal that he can change, he can be a better person. What a strange thing to realize halfway through your life that you can change, he thinks. What luck. Yet, the push for redemption is met with resistance by the world around him. Murders lead the cops towards him; a teenage victim was found with drugs, and he’s a known dealer. It all collides in a violent shootout—something Schrader didn’t want, but the studio demanded. “If I had been able to come up with something better or if I had final cut, I probably wouldn’t have done that,” he told me. “So I ended up with the shootout. What I tried to do to mitigate it in that case was I made the shootout part of a song ballad. Which I think helped to throw it off.” LeTour survives the gunfire, but is incarcerated as a result. While in prison, he’s visited by Ann (Susan Sarandon), his boss in the drug game who is looking to go clean by transitioning into the cosmetic industry. It’s not the first time Schrader would draw a direct parallel to the ending of Robert Bresson’s Pickpocket, in which the lead is imprisoned but finds himself optimistic about the future—but it is the most effective instance. LeTour tells Ann, “I’ve been looking forward,” and now they can look forward to a brighter future together. Maybe there’s still some hope left. 1. First Reformed (2018) 40 years after his directorial debut, Paul Schrader came full-circle with First Reformed—all the way back to the films that made him fall in love with cinema as an intellectual, an observer of the world. Due to the restrictions of Calvinism, Schrader didn’t see a movie until he was 17 years old, and it wasn’t until college, where he was introduced to ‘60s European cinema, that his passion for the artform really sparked. That’s what led him to write Transcendental Style in Film: Ozu, Bresson, Dreyer, but it wasn’t until First Reformed that Schrader would make his own picture in the transcendental style. There are three stages in a transcendental film: “First is the presentation of the ‘everyday,’ a world without emotion or meaning. Into this stylized world comes an element of disparity, an irrational commitment or passion on the part of a character or group, which leads to action revealing the co-presence of the transcendent and factual. The final stage is marked by a return to the stylization of the everyday, but the viewer is now aware of the presence of the transcendent beneath the surfaces of things.” It’s with this approach that Schrader tackles the story of Ernst Toller (Ethan Hawke), the Reverend of a tiny congregation that mostly exists as “a souvenir shop” and has been bought out as a historic site by the hip neighboring evangelical megachurch run by Pastor Joel Jeffers (Cedric Kyles). Toller’s clearly been in the throes of deep physical pain for some time; he regularly vomits, has a persistent, guttural cough and pisses blood, but attempts to drown these ailments with a cocktail of whiskey and Pepto-Bismol. “It’s the main character from Diary of a Country Priest, it’s the setting from Winter Light, it’s the ending from Ordet, it’s the levitation from The Sacrifice, and it’s all wrapped together with the barbed wire of Taxi Driver,” Schrader said. “It’s a mistake when you think that any of us do anything new. All we do is reassemble our montages. If you reassemble in an interesting enough way, it will become something new.” The Winter Light of it all comes in the form of Michael Mensana (Philip Ettinger), the husband of parishioner Mary (Amanda Seyfried), who tells Toller that her husband is in need of his counsel. Michael is plagued by despair; Mary’s pregnancy has him grappling with the guilt of bringing a new life into a world we have destroyed beyond repair. Toller tries to guide Michael, but his efforts are for naught: Michael takes his own life and Toller is left with the emotional wreckage. As Toller attempts to comfort Mary, the two build a strong connection and Toller dives into Michael’s environmental radicalism. “Will God forgive us for what we’re doing to his creation?” he asks. “Life hurts for a lot of people in this world, and the movie in a lot of ways is a cry,” Hawke said of the film in which he gives a career-best performance. “Or a scream. It’s the scream of a very, very refined and fully mature artist saying, ‘Is there anybody out there?’” It’s the accumulation of the questions Schrader has been asking across his entire filmography: We’re all completely doomed, we did it to ourselves, there’s no way to resolve that, so what the hell do we do now? Schrader doesn’t offer a reprieve. He presents reality and allows us to do what we will. “That’s a great thing for an artist to accomplish,” Schrader reflects. “Cleave a crevice in the viewer’s skull that they have to somehow close.” First Reformed confronts us with our deepest, most anguished wails that we ignore to try and simply get through the day. “We live in a world of denial. Before, choosing hope was kind of an option. Now it’s almost a requirement,” the director says. The transcendental style strips us from the docile comforts of conventional cinema. “In order to address the spiritual in films, you have to leave room for the viewer to lean in. You can’t do it all for them,” Shrader explains. “You can’t tell them how to feel. You can’t use music to tell them how to feel. You can’t use emotions to tell them how to feel. You have to get them to the place where they come. The whole trick is knowing how to push the viewer back ever so slightly while giving them reason to come forward. So you push them back technically and you try to bring them forward through story and character elements.” Journaling and voiceover lets us into Toller’s inner thoughts. Hawke told me that the director “would talk a lot about the power of VO when it’s used right. The trick is that it can never be used as a cheat for furthering the plot. But if it’s used like music, it invites you into an internal experience and it can be really magical.” Schrader directed the actor to give what he refers to as “a recessive performance” that “avoids the audience,” with Hawke explaining that “if it works right, it draws you in and invites you in, and lets you participate, because it doesn’t tell you what you’re supposed to think all the time. For Toller, it invites you into his inner mania… On the surface, he has to create a feeling of everything being fine. Inside, there’s kind of an Edvard Munch–like scream happening all the time.” First Reformed is the distillation of the scream inside us all—or at least those of us paying attention.
915	yago	0	90	https://studyx.ai/homework/100806249-how-does-al-pacino-reimagine-king-richard-3	en	How does al pacino reimagine king richard 3	https://studyx.ai/favicon.ico	https://studyx.ai/favicon.ico	[ "https://a-us.storyblok.com/f/1015735/106x30/e49a5bd5fd/logo.png", "https://a-us.storyblok.com/f/1015735/106x30/e49a5bd5fd/logo.png", "https://studyx.ai/_nuxt/Canvas_2x.v9b8RHCm.png", "https://studyx.ai/_nuxt/Blackboard_2x.Kf5JR4J2.png", "https://studyx.ai/_nuxt/Moodle_2x.TpCawQqa.png", "https://studyx.ai/_nuxt/Pearson_2x.6Hghn6Q2.png", "https://studyx.ai/_nuxt/McGrawHill_2x.mdJZJ4as.png", "https://studyx.ai/_nuxt/KhanAcademy_2x.HYgvww7m.png", "https://studyx.ai/_nuxt/Coursera_2x.Piz0tmbV.png", "https://a-us.storyblok.com/f/1015735/248x150/d156a9d8f2/map.svg" ]	[]	[]	[ "" ]	null	[]	null	[Solved] How does al pacino reimagine king richard 3	en	/favicon.ico		https://studyx.ai/homework/100806249-how-does-al-pacino-reimagine-king-richard-3	Solakian ia pomitukl tukl ring letrang mokckomun a lomrowion da koring bolang bilang Isulat la ring ustung pakitsat king cuis 1 Prasalwanang pamangan ot katanokapian 2 Lugar a plpanalanginan 3 Mogsibing proteksyun king uran al pali ning oldo 4 Mamyo lioring kunsultang modikal 5 Magpanatili king kapayapan ampong koayusan ning kgor Answered step-by-step 1 answer A child recites Humpty Dumpty and asks if Humpty Dumpty was a real person The teacher explains that it might represent King Richard III What aspect of nursery rhymes does this highlight A) Math concepts B) Cultural preservation C) Language acquisition D) Physical coordination Answered step-by-step 1 answer Pantatay a i itala mo Paneito Batay sailmoa tinalakas ng guro pacino mo majpa alagonap any mqa buigtorg at saqua ka in sanit na hasa mara bagong panahon nata yo Maglistang 3-5 pamamaman Answered step-by-step 1 answer Name Section 3 Pacino nahati ang Acya sa ibatb ibang rehyon Ano ang moa batayang isinalaing alang sa paghahating ito Answered step-by-step 4 answers
915	yago	0	69	https://www.newyorker.com/magazine/2014/09/15/caught-act	en	Caught in the Act	https://media.newyorker.…40915_r25455.jpg	https://media.newyorker.…40915_r25455.jpg	[ "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-inverted.svg", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-header-reverse.svg", "https://media.newyorker.com/photos/59095c9d019dfc3494e9f7e9/master/w_2560%2Cc_limit/140915_r25455.jpg", "https://media.newyorker.com/cartoons/593b5c9957b86d47b169c085/master/w_1600%2Cc_limit/140915_a18516.jpg", "https://media.newyorker.com/cartoons/593b5c9bba20a654ac5d4212/master/w_1600%2Cc_limit/140915_a18441.jpg", "https://media.newyorker.com/cartoons/593b5c9c57b86d47b169c089/master/w_1600%2Cc_limit/140915_a18565.jpg", "https://media.newyorker.com/cartoons/593b5c9e20855957e69d51d5/master/w_1600%2Cc_limit/140915_a18468.jpg", "https://media.newyorker.com/cartoons/593b5ca0ba20a654ac5d4214/master/w_1600%2Cc_limit/140915_a18385.jpg", "https://media.newyorker.com/cartoons/593b5ca21260cf20873dfc7d/master/w_1600%2Cc_limit/140915_cheney-2003-06-09.jpg", "https://media.newyorker.com/cartoons/593b5ca43adc75471b34afdb/master/w_1600%2Cc_limit/140915_warp-2010-06-14-21.jpg", "https://media.newyorker.com/photos/5909662b6552fa0be682ef23/4:3/w_480%2Cc_limit/121217_r22932_p886.jpg", "https://media.newyorker.com/photos/59096eb76552fa0be6830201/4:3/w_480%2Cc_limit/100712_r19810_p646.jpg", "https://media.newyorker.com/photos/66afc8cf50e27a6b871ed406/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66afc8cf50e27a6b871ed406/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66bf7ff49696cb8e0b5602b1/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66bf7ff49696cb8e0b5602b1/4:3/w_480%2Cc_limit/undefined", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-reverse.svg" ]	[]	[]	[ "" ]	null	[ "John Lahr", "Hilton Als", "Inkoo Kang", "Alexis Okeowo", "Condé Nast" ]	2014-09-15T00:00:00	“Pacino sometimes asks himself, ‘When am I just gonna sit back and smell the golf balls?,’ ” John Lahr writes. “The answer is not soon.”	en	https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico	The New Yorker	https://www.newyorker.com/magazine/2014/09/15/caught-act	Nearly fifty years ago, when Al Pacino was at the start of his career, Marlon Brando gave him two pieces of advice: don’t go to court and don’t move to Los Angeles. At seventy-four, Pacino has managed to avoid the courts but not Beverly Hills, where he has taken up reluctant residence, for more than a decade, in order to share custody of his now thirteen-year-old twins, Anton and Olivia, with their mother, the actress Beverly D’Angelo. (Pacino, who has never married, also has a twenty-four-year-old daughter, Julie Marie, an aspiring writer and filmmaker.) Every half hour or so, an open-topped tour bus crawls its way along the wide, manicured boulevard where Pacino holes up for most of the year, with a cargo of rubbernecking out-of-towners, cameras at the ready. Inevitably, they stop in front of his rented house, which, like the actor, is elegantly dishevelled. Green canvas has been woven through the bars of the long iron fence to hide the place from street level; low-hanging Indian laurel trees seal off any visible signs of life from above. Nonetheless, the buses stop, the guides burble, and the tourists crane for a sign of the actor or his children. On my second day with Pacino, I happened to be parked in front of his house as a tour bus rolled up. The guide leaned down. “You were here yesterday,” he said. “You know Al?” I nodded. Above me, camera shutters clattered. At that moment, Pacino was reclining in a deck chair at the far end of a wide lawn behind the house, doing business on a cell phone. Beyond him was a fenced-off swimming pool, and beyond that was what he calls “the bunker” (as in “I hunker in the bunker”), a drab beige outbuilding, where he sometimes goes to incubate his roles. Pacino was dressed for the bright day in his usual sombre getup: black jacket, shirt, slacks, and shoes, with a long gray cravat loosely knotted at the chest. He keeps a well-pressed assortment of these dark camouflage outfits on a wardrobe rack in the alcove off his living room, alongside his infrequently used barbells and a folded-up running machine. His comfortable house, with its absence of texture, is remarkable for its indifference to externals: no paintings, no designer furniture or fripperies. Pacino’s focus, the house makes clear, is resolutely inward. As an actor, Pacino has always been unafraid to do what he needs to in order to be in the moment; he trusts his instincts and explodes with whatever feelings come up. Performing, for him, is not so much a profession as a destiny. “This is what I’m meant to do,” he told me. “It’s the cog in my life. With this, everything suddenly coheres. And I understand myself in that way.” Pacino has given complex shape to some of his era’s most memorable creations: Michael Corleone, the college boy turned Mafioso, in “The Godfather” trilogy (1972-90); Frank Serpico, the police whistle-blower, in “Serpico” (1973); Tony Montana, the Cuban drug lord, in “Scarface” (1983); the hapless thief Teach, in “American Buffalo” (1983); Sonny Wortzik, the would-be bank robber, in “Dog Day Afternoon” (1975); the gangster Big Boy Caprice, in “Dick Tracy” (1990); Ricky Roma, the smooth-talking salesman, in “Glengarry Glen Ross” (1992); and Roy Cohn, the closeted lawyer, in the HBO version of Tony Kushner’s “Angels in America” (2003)—to name just a few of the more than a hundred roles he has taken onscreen and onstage. In recent years, he has painted brilliant, eerie film portraits of such obsessives as the euthanasia activist Jack Kevorkian, in Barry Levinson’s HBO movie “You Don’t Know Jack,” and the eponymous swami of rock and roll, in David Mamet’s HBO film “Phil Spector.” Pacino regrets that many of his Hollywood movies of the past decade (“Righteous Kill,” “The Son of No One,” “88 Minutes,” “Jack and Jill”) have been business chores, taken on for primarily financial reasons. “If you don’t have that alacrity of spirit, then you have to check yourself—because where’s the pony in all this horseshit?” he said. “I worked for United Parcels once, and I don’t want to have that feeling with my own craft—that it’s just a job.” Because of the protean nature of his attack, Pacino has often been compared to Brando, another truth-seeking force of nature. When Pacino was thirteen and performing in a school play, an adaptation of “Home Sweet Homicide,” he already identified so strongly with his role that when his character was supposed to get sick onstage he became nauseated. (“Somebody came up and said to my mother, ‘Here’s the next Brando.’ I said, ‘Who’s Brando?’ ” Pacino recalled.) But between Brando and Pacino there is this crucial difference: Brando, who, over time, became reclusive and indifferent to acting, disappeared into his gift; Pacino has survived his—and is still working to refine it. “I believe I have not reached my stride, which is why I persist,” he told me in an e-mail. “The day I turn to you and say, ‘John, what I just did in this role was a real winner,’ I hope you’ll have the courage and decency to throw a wreath around my head, and then so very quietly and compassionately shoot me.” Pacino has three films awaiting release in the next year: Barry Levinson’s “The Humbling,” in which he plays an aging actor who has lost his magic; David Gordon Green’s “Manglehorn,” a film about an eccentric small-town locksmith; and Dan Fogelman’s “Danny Collins,” an amiable redemptive fable about a slick pop star who wants to turn his art and his lush life around. At seventy-four, Pacino sometimes asks himself, “When am I just gonna sit back and smell the golf balls?” But, with two new movies waiting in the wings (Martin Scorsese’s “The Irishman,” about the man who supposedly killed Jimmy Hoffa, and a Brian De Palma bio-pic about Joe Paterno), and a David Mamet play, “China Doll,” in the works for Broadway in 2015, the answer is not soon. Most of Pacino’s house has been ceded to his kids. The den is a sort of Camp Pacino, overflowing with toys: a pinball machine, a drum kit, electric guitars, dolls, a mound of games, balls, rackets, and swimming gear crammed into baskets against the back wall. A low table holds a sprawling Lego construction in progress. Outside, a punching bag hangs incongruously beside the patio barbecue. (It’s there for Pacino’s son; when I asked Pacino if he used it, he said, “Like Oscar Wilde, whenever I get the urge to exercise I lie down until it passes.”) Pacino usually spends weekends with the twins, because “their mother knows I’m a slacker at the homework.” At one point, Olivia came in to ask a favor: Olivia: Daddy, I really want to see the boy next door. He usually comes over by the weekend. Pacino: Does he really? But I don’t even know what his name is. What’s his name? Olivia: I forgot. It’s been so long since I’ve seen him. Pacino: Do you want to go over and say— What do you want me to do? Me? I’m the— What am I, the go-between? Olivia: No. Just see if Jared [Pacino’s weekend assistant] can call. Pacino: But Jared’s not here. He could do it tomorrow, when he comes in. Do you want Mike [Pacino’s regular assistant] to do it now? Mike will do it. Olivia: I don’t think Mike knows anybody there. Pacino: Jared knows someone there? Ask Mike if he could just find out. Pacino’s father left him and his mother when he was two, and he carries the shadow of that abandonment with him. “It’s the missing link, so to speak,” he said. “Having children has helped a lot. I consciously knew that I didn’t want to be like my dad. I wanted to be there. I have three children. I’m responsible to them. I’m a part of their life. When I’m not, it’s upsetting to me and to them. So that’s part of the gestalt. And I get a lot from it. It takes you out of yourself. When I do a movie, and I come back, I’m stunned for the first twenty minutes. These people are asking me to do things for them? Huh? I’m not being waited on? Wait a minute. Uh-oh, it’s about them! That action satisfies. I like it.” He pointed out a watercolor beside the fireplace. “My son painted this when he was four. ‘New York in the Fall,’ ” he said, then steered me back into the living room and deposited me on a sofa to watch “Wilde Salomé,” a docudrama he directed, starred in, and largely bankrolled, which premières this month. The film represents Pacino’s eight-year attempt to “inhale” Oscar Wilde by chronicling the mounting of a 2006 Los Angeles production of Wilde’s 1891 tragedy, in which he was Herod to Jessica Chastain’s Salomé. (“Wilde Salomé” will be released in tandem with a film of the play itself.) Pacino first encountered “Salomé” in London in 1989, without realizing that it was written by Wilde. “Who wrote this? I’d like to know this person,” he recalled thinking. “I just felt a connection. A kindred spirit. I think it was a mischievousness, a subversiveness.” Pacino relates to Wilde as an outsider. “I feel like an outsider who got on the inside, so I’m inside out, if you know what I mean. Or outside in,” he said. Like “Looking for Richard,” Pacino’s 1996 movie about Shakespeare’s “Richard III,” “Wilde Salomé” is a dramatic mosaic that jumps from historical facts to performance to interview to enactment. Pacino is the director yelling at the crew to hurry up; he’s the lubricious Herod eying his gorgeous daughter; he’s the interviewer prodding Tom Stoppard, Tony Kushner, Gore Vidal, and Bono to talk about Wilde; he’s the professor offering tidbits of Wildeana; and he’s the anthropologist trudging through the desert with kaffiyeh and camel. At one point, Pacino, with a carnation and a floppy handkerchief in his jacket pocket, even pops up as Wilde himself. Part of Pacino’s fervor for Wilde comes from a desire to claim the writer’s intelligence and eloquence. “I’m quite timid when it comes to challenging the status quo,” he said. “Oscar had the brains to back it up.” Pacino, whose formal education ended in tenth grade, grappled for years with a sense of intellectual inadequacy. Early in his career, after a breakthrough performance in Israel Horovitz’s 1968 play “The Indian Wants the Bronx,” Pacino appeared on “The Merv Griffin Show,” and, in front of a television audience of millions, he froze. “He just couldn’t do it,” Horovitz recalled. “He felt he had nothing to say. He was humiliated by his own presence. He wasn’t the character he was playing—he was Al.” Pacino’s devotion to acting is, in a way, a defense against that self-doubt. Having a script to work from gives him, he said, a kind of license. “I can talk, I can speak, I have something to say,” he explained. “You don’t need a college education. All the things that you were inhibited to talk about and understand—they can come out in the play. The language of great writing frees you of yourself.” Most actors of Pacino’s stature—Brando, Jack Lemmon, Dustin Hoffman, Robert De Niro—began in theatre and rarely returned. Pacino, however, craves the derring-do of working in front of a live audience, an activity he compares to tightrope walking. Stage acting, he likes to say, quoting the aerialist Karl Wallenda, is life “on the wire—the rest is just waiting.” Onstage, in the zone, he told me, “you’re up in the sky with the theatre gods—love it, love it, love it.” As a list of some of Pacino’s more esoteric stage work demonstrates—Eugene O’Neill’s “Hughie,” Bertolt Brecht’s “The Resistible Rise of Arturo Ui,” Shakespeare’s “Richard III” and “The Merchant of Venice”—the theatre is where he goes to challenge himself and to think. “There are more demands put on you when it is on the stage,” he said. To Pacino, there is no such thing as a fourth wall. “The audience is another character in the play,” he said. “They become part of the event. If they sneeze or talk back to the stage, you make it part of what you’re doing.” Once, when he was performing “The Basic Training of Pavlo Hummel,” the first play in David Rabe’s Vietnam trilogy, in Boston, in 1972, Pacino made a strong connection with a pair of penetrating eyes in the audience. “I remember feeling a focus I never experienced before—intense, so riveting that I directed my performance to that space,” he said. “I found at curtain call for the first time that I needed to find out who belonged to those eyes. So, as we were bowing, I looked over to the space where I believed the look was coming from and there it was, two seeing-eye dogs still looking at me. They must have found the curtain call as engaging as the performance.” Acting, according to Pacino, is about “getting into a state that brings about freedom and expression and the unconscious.” Mamet compares Pacino’s excavations of his characters to the way Louis Armstrong played jazz: “He’s incapable of doing it the same way twice.” While Pacino was shooting his last scene for the movie “Devil’s Advocate” (1997), in which he played Satan, for instance, he suddenly broke off from the script to launch into a rendition of “It Happened in Monterey.” “It’s just absolutely out there, surreal and brilliant,” the actress Helen Mirren, whose husband, Taylor Hackford, directed the film, said. In the final movie, Pacino lip-synchs to Frank Sinatra’s version of the song; according to Mirren, the studio had to pay “a huge sum for the rights, but it was worth it.” Pacino sometimes develops his characters by observing others. When he was working on his performance in “The Indian Wants the Bronx,” he would walk for hours with Horovitz. “What he was doing was finding a character in life,” Horovitz told me. “He’d spot a guy on the street and go, ‘Wait, wait, wait!’ We’d follow the person for hours, just to observe the walk, the posture. And the costume was important, too. He had to find the costume, rehearse in the costume, live in the costume.” “Some actors play characters. Al Pacino becomes them,” Lee Strasberg, the longtime director of the Actors Studio, said. “He assumes their identity so completely that he continues to live a role long after a play or movie is over.” Once, when Pacino was playing Richard III in Boston, Jacqueline Kennedy came backstage to greet him. “I didn’t even get up,” he said. “I was so into it that night that I continued to be the King. I can almost not forgive myself for that.” When preparing for a role, Pacino has a tendency to circle the airport before arriving at his destination. “I’m a slow learner,” he said. “I don’t believe in memorizing lines. That’s not how I come upon a role. My thing is eventually coming to the words, making the words part of you, so that they’re an extension of your emotional state.” Pacino’s “nibbling away at a character,” according to Barry Levinson, is a subtle process. After the first few readings of the script for “You Don’t Know Jack,” Levinson recalls wondering “when Kevorkian will show up.” “I remember we were in wardrobe. Al had his hair done, and his suit. We were talking and, all of a sudden, I could sense that Kevorkian was coming alive,” he said, adding, “Once he latches on, then he’s off to the races.” At the finale of “You Don’t Know Jack,” after Kevorkian has unsuccessfully defended himself in court, the judge looks at him and asks if he wants to take the stand. Pacino doesn’t answer at first. “It takes literally a minute,” Levinson said. “He’s trying to decide if the defense rests. It’s a brilliant moment. No words—it’s a look, a glance, small things that really inform the character.” Over the years, there have been rumblings about Pacino’s overacting. He can certainly roar; he can pound the furniture; he can go big with the facial expressions; he has made some dud movies. But the drama, for Pacino, is almost always inherent in the character he’s hoping to convey. His portrayal of the blind Lieutenant Colonel Frank Slade in “Scent of a Woman” (1992), for instance, was considered hammy by some, but, in Pacino’s thinking, the character was a lunatic—a suicidal, narcissistic man who drew attention to himself through his affectation of swagger—and he played him that way. “I paint the way I see it, and some of the colors are a little broader and a little bolder than others,” he said, adding, “Sometimes you take it to the limit, sometimes you may go a little overboard, but that’s all part of a vision. I say, go with the glow. If an effort is being made to produce something that has appetite and passion and isn’t done just to get the golden cup, it isn’t a fucking waste. Yes, there are flaws, but in them are things you’ll remember.” Pacino protects his talent by leaving it alone, which accounts for his vaunted moodiness. “There are various superstitions connected with reaching his center, and he doesn’t want to discuss them ever,” Mike Nichols, who directed Pacino in “Angels in America,” said. “He’s consulting somewhere else. And the somewhere else does not have to do with words.” Pacino almost never talks shop. When he was at the Actors Studio, in the late sixties, whenever Strasberg gave him notes, he said, “I would actually count numbers in my head not to hear what he was saying. I didn’t want to know. I thought it would fuck up what I was doing, where I was going with my own ideas.” Even Pacino’s speech patterns, which forge a kind of evasive switchback trail up a mountain of thought, serve as a defense against too much parsing of his interior. “Al is dedicated, passionately, to inarticulateness,” Nichols said, pointing out that in conversation Pacino has no “chitchat.” Playing dead in social situations is his instinctive strategy. “He was so sensitive that he was insensitive to his surroundings,” Diane Keaton, with whom Pacino had an on-again-off-again relationship in the seventies and eighties, wrote in her memoir “Then Again.” “Sometimes I swear Al must have been raised by wolves. There were normal things he had no acquaintance with, like the whole idea of enjoying a meal in the company of others. He was more at home eating alone standing up. He did not relate to tables or the conversations people had at them.” Pacino refers to acting as “close to magic.” To invoke that spell, he observes many rituals, which sometimes include shaking hands with everyone on a film set before shooting a scene, and heading off for a walk before going onstage. “The calm before the storm—only sometimes the calm becomes the storm,” he explained. In 2012, when he was appearing in Mamet’s “Glengarry Glen Ross” on Broadway, Pacino was skulking around midtown in a hooded coat when a parking attendant accosted him. “ ‘You! Get out! What are you doing here?’ ” Pacino recalled him shouting. He added, “Oh, it felt so good.” While working on his first production of “Richard III,” in 1973, at the Church of the Covenant, in Boston, Pacino and his assistant developed a pre-show routine for launching him into the role of the anarchic, manipulative “lump of foul deformity” who would be king. Pacino’s dressing room was the church rectory. “She’d peek through the door and say, ‘Half hour,’ then, ‘Fifteen minutes.’ She’d come back again and say, ‘Five minutes.’ I would say, ‘Fuck off,’ each time,” Pacino told me. “She’d say, ‘The audience is out there waiting for you.’ And I’d say, ‘Fuck off!’ She’d say, ‘I’m coming to get you.’ She’d grab at me, and she’d throw me out of the dressing room. I guess it was the right spirit, because it worked. They called me out six times after I bowed.” After the show, he added, “I would bawl my eyes out. I roused so many things in myself.” Pacino’s allegiance to the stage, his compulsion to connect with a live audience, is due, perhaps, to a need to re-create his relationship with the person he calls his first and “indeed my best audience,” his mother, Rose. To be seen and to be accepted was the promise behind his early performances. The theatrical interaction gives him, he said, “a sense of being at home, together again.” Pacino’s father, Salvatore, was eighteen when Alfredo was born, in East Harlem, in 1940, and twenty when he left. He paid a few memorable visits, twice going to see his son perform in high-school plays, but Pacino saw very little of him, even after he had become a star. By then, Salvatore, who married five times and for decades worked as an insurance salesman for Metropolitan Life, owned Pacino’s Lounge, a restaurant and bar in Covina, California, where he frequently joined the band to sing, play the maracas, and shake his booty. “When a friend met my dad, he looked at him and said, ‘There it is with you, Al. I see it. The survivor,’ ” Pacino said. “I got that from my dad.” Rose, according to Pacino, was a reader who had “a sensitivity and a connection to the theatre.” She took Pacino to see Tennessee Williams’s “Cat on a Hot Tin Roof” on Broadway. She was playful, with a good sense of humor, but also volatile and reclusive. She often refused to leave her room when company came over. “She reminded me of a Tennessee Williams character. She would have been a really good Laura, also a good Amanda. She had both,” Pacino said, referring to Williams’s play “The Glass Menagerie.” In other words, she was a troubled, fragile, controlling, somewhat hysterical soul, who fought a losing battle against her own desperation. Despite the family’s meagre income, Rose scraped together enough to pay for visits to a psychiatrist. To treat her chronic depression, she resorted to electric-shock therapy. Eventually, she became addicted to barbiturates, which may have been the cause of her death, at forty-three, in 1962. The stain of her possible suicide hangs over Pacino’s memory of Rose. “Poverty took her down,” he said. Not long before she died, Pacino recalls rushing to a casting session for Elia Kazan’s “America America.” “I had one of the few fantasies I’ve ever had in my life,” he said. “I would do well, my mother would be O.K. with it all, and I could say, ‘Mom, we got it. We’re gonna make some money. It’s gonna be O.K.’ ” As it happened, Pacino arrived late and missed the audition. After Salvatore left, Rose and Sonny (as Pacino was known throughout his childhood) moved in with her parents, James Gerardi, a plasterer who was an illegal immigrant from Corleone, Sicily, and his wife, Kate. In their cramped three-room apartment in the South Bronx, which sometimes housed as many as seven people, Pacino never had a space of his own. (“I remember years of sleeping between my grandmother and grandfather,” he said.) At the same time, he was an only child, often left to his own devices. “I was always sort of building stories, creating stories,” he said. “It was a way of filling up the loneliness.” Storytelling ran in the family. In warm weather, Pacino’s grandfather, with whom Pacino had what he calls “one of the great relationships of my life,” would sit with him on the tar roof of their tenement and spin tales about his rough Dickensian youth in turn-of-the-century New York. “He got the shit kicked out of him by cops with helmets and big clubs—‘You little wop! Get over here, you stinking Guinea!’ ” Pacino said. “He’d talk about running away from home, living off the farms, how he would steal milk. He just loved talking to me, like we were on some little rowboat.” The roof, Pacino added, “was our terrace. There was this cacophony of sound—the Poles, the Jews, the Irish, the German, the Spanish. This definitive melting pot is what I came from. In some Eugene O’Neill plays, you hear the same thing.” Among many odd jobs, Rose worked as a cinema usherette, and when Pacino was three or four she began to take him to the movies. “The next day, I would act out all the parts,” he said. “I think that’s how it started.” Pacino was often coaxed into performing scenes for his extended family, which included a deaf aunt. His party piece was an imitation of Ray Milland in “The Lost Weekend,” playing an alcoholic writer desperate for a drink. Pacino would open cupboards and doors, pretending to search for a hidden stash of booze. “I never understood why they were laughing, because I didn’t think it was funny,” he said. “But I knew it produced laughs.” On Bryant Avenue in the forties and fifties, people escaped their small, hot apartments to sit on stoops or hang out under street lamps to roll dice or play poker. To disarm bullies and find friends, Pacino used the same strategy on the street that he’d used at home: he performed and enlisted others to perform with him, earning the nickname “the Actor.” “We’d act out parts from joke books and comic books,” he told me. “Kids make videos today, but it was kind of an unusual thing then to get street urchins to join you in acting out comics. Of course, it never got off the ground; there’s a comedy in there somewhere.” “He was always full of drama,” said his neighbor Ken Lipper, who would later become the deputy mayor of New York and a producer and screenwriter of “City Hall” (1996), in which Pacino starred. “He loved to take on different personae. He used to go to 174th Street and pretend he was a blind child.” Pacino’s bravado and good looks got him noticed. “The girls in the neighborhood would say, ‘Sonny Pacino, the lover bambino.’ The boys would say, ‘Sonny Pacino, the bastard bambino,’ ” Pacino told me. “It started early.” Pacino was smoking at nine, chewing tobacco at ten, and drinking hard liquor at thirteen. He walked the edges of rooftops and jumped between tenement buildings. His favorite place was “the Dutchies,” a swampy labyrinth on the Bronx River, where truant kids hid in high marsh grasses. Pacino played third base for the Police Athletic League team, the Red Wings, which became a “quasi street gang,” with Al as its de-facto leader. In black wool jackets with a red stripe down the sleeve, the Red Wings patrolled their turf and protected it from roaming invaders, like the Young Sinners and the Fordham Baldies. Once, when they were twelve and sitting on the steps of a tenement after finishing a game of stickball, Lipper said, “some guy came over who was thirtyish and started menacing us. Al got up and whacked him with the stick.” Pacino’s wild crew, “tough kids with high I.Q.s and tragic endings,” became a template on which he modelled many of his memorable characters. “These people were a springboard for my profession,” he said. “They were part of what I consider the best time in my life.” Pacino was less popular with the authority figures around him. “I wasn’t out of control, but I was close,” he said. “My mother had to come to school to talk to the teachers. Their conclusion? That I needed a dad.” When Pacino’s junior-high-school drama teacher, Blanche Rothstein, climbed the five flights of stairs to talk to his grandmother about his acting skills, it was, he said, “the first time I ever had encouragement.” He went on, “The world we came from, the encouragement just wasn’t there. We weren’t seen. Or we weren’t regarded. Do you think ever, once in my life, my mother or any adult ever said, ‘How was school today?’ Never! It was unheard of.” Nonetheless, Ms. Rothstein spotted a spark when Pacino read Bible passages in school assembly—“I didn’t know what I was talking about, but I felt it,” he said—and she cast him in school plays. Thanks to his talent, at the end of junior high Pacino was voted “most likely to succeed.” Pacino was accepted into Manhattan’s High School of Performing Arts, which meant that his South Bronx street life was more or less a thing of the past. “All that remained was acting,” he said. His stay at the school, however, was a short one. “You gotta be kidding,” he told his Spanish teacher, when he discovered that the class was conducted entirely in Spanish. And he found the Stanislavsky method boring. “What does a kid who was thirteen, fourteen know about Stanislavsky?” he said. “All I knew was you sing, you dance, you have fun, you imitate. Now I was looking at my navel twenty-four-seven. It took me I don’t know how many years to get over that.” By his own admission, Pacino was a “dunderhead” at academic work, and by the time he dropped out of school, at sixteen, to support his mother, he was ready to go. Rose, who had at first approved of his ambition, now saw it as foolhardy. “Acting isn’t for our kind of people,” she told him. “Poor people don’t go into this.” Pacino said, “I didn’t know what she was talking about. On an unconscious level I did, but it didn’t mean anything to me. I’m a survivor. Survivors only hear what they want to hear.” Between odd jobs, Pacino attended auditions, where he soon learned that, as an Italian-American of a certain class and demeanor, he didn’t “look right” for most parts. His instinct was to bide his time. “I knew, when the opportunity came, all I’d have to do is be there,” he said. But his mother’s death, when he was twenty-one, sent him into a tailspin. Within a year, his grandfather, too, was dead. Pacino had buried the two people to whom he was closest. “And I had no father,” he said. “I think that was my darkest period. I felt lost.” On Pacino’s living-room mantelpiece is a small moody photograph of him in profile in his early twenties, in an Off-Off Broadway production of August Strindberg’s play “Creditors.” The image marks the seminal moment, he said, “when I knew that nothing mattered except that I became at one with the play.” “Creditors,” a tragicomedy about a credulous young artist whose mind is poisoned against his wife by her bilious ex-husband, was directed by Charlie Laughton, an actor turned acting teacher at the Herbert Berghof Studio, whom Pacino first met in a Village bar when he was seventeen. Laughton, who’d also had a hardscrabble early life, recognized both Pacino’s talent and his difficult circumstances. Over time, he became Pacino’s mentor, his sidekick, his drinking buddy, his dramaturge, and, ultimately, his business partner. Laughton also introduced the teen-age Pacino to the works of Joyce and Rimbaud. “He would read them, and then I would read them myself,” Pacino told me. In those knockabout years, he added, “I dealt with whatever was bothering me through reading. You could not find me without a book.” Still, in the early days of rehearsing “Creditors” Pacino, surrounded by classically trained actors, panicked and wanted to quit the show. Laughton sat him down and went through the script with him until he fully understood what was going on. Pacino had been spooked in that way before, in his Off-Off Broadway début, in a production of William Saroyan’s “Hello Out There,” which grew out of Laughton’s classes. Pacino’s first line got a laugh, but he didn’t understand the joke. In the alley, during intermission, he burst into tears and didn’t want to continue. Laughton talked him through it. “It was a very important moment for me,” Pacino recalled. “I went back in there and finished the run.” Laughton, who was for years wheelchair-bound with multiple sclerosis and who died in 2013, at the age of eighty-four, remained an emotional bulwark for Pacino until the end. Pacino visited him in his last days, at a hospital in Santa Monica, and they got to talking about the time that Pacino was taking Laughton’s class at the Berghof Studio and performed a scene from Reginald Rose’s “Crime in the Streets” in front of Berghof and the rest of the school. After he finished, he said, “Berghof got up there and started to put me down. He started screaming at me, ‘How dare you!’ He was absolutely flipping out.” Pacino asked Laughton, “What was going on?” “A new era,” Laughton said. “He saw a new era.” On January 17, 1967, for his first scene at the Actors Studio, Pacino presented a monologue from Eugene O’Neill’s “The Iceman Cometh,” which morphed into a soliloquy from “Hamlet.” It was risky, but, as Pacino said, “It’s a risk not to take risks.” Breaking a long-standing Studio tradition, the audience of actors applauded his performance. Lee Strasberg then asked Pacino to play O’Neill’s character, Hickey, as Hamlet, and Hamlet as Hickey. Afterward, he addressed Pacino. “The courage you have shown today is rarer than talent,” he said. Pacino had broken through. “I was now an actor,” he said. “I had an identity.” He spent much of the next year in Boston doing plays (Clifford Odets’s “Awake and Sing!,” Jean-Claude van Itallie’s “America, Hurrah”), in which, he said, “I played notes that fell flat and I didn’t connect.” But when Israel Horovitz delivered his one-act “The Indian Wants the Bronx” to Pacino, in a messy basement room in a building on West Sixty-eighth Street, where he was earning fourteen dollars a week as a superintendent, Pacino found the perfect vehicle—a script about two taunting teen-age louts in the Bronx who take out their frustrations on an Indian man at a bus stop. Over the next months, Pacino and Horovitz performed the play in and out of town to raise interest in a production. But when a producer was eventually found she had her own ideas about casting. “On audition day, she brought in the actor she wanted: blond, blue-eyed, tall, untalented,” Horovitz wrote in a memoir. “I said no, absolutely no. She said, fine, O.K., she wouldn’t produce the play. I said, ‘Let both actors audition.’ ” Pacino was furious with Horovitz for putting him in this position; since he didn’t belong to Actors’ Equity, he was forced to attend an open call. “It seemed like every young, non-union actor in New York City showed up that day,” Horovitz recalled. When it was Pacino’s turn, he came out singing, then crossed to downstage center and looked directly at the producer: Hey, Pussyface, can you hear us? Can you hear your babies singin’ to ya? “Startled and terrified,” according to Horovitz, she agreed to cast Pacino. “The Indian Wants the Bronx” opened at the Astor Place Theatre, on January 17, 1968. Of all the débuts I attended in more than fifty years as a theatre critic, Pacino’s was the most sensational: immediate, arresting, and inexplicable. “I saw an actor up there with a shaking jaw, who was on the verge of tears,” Horovitz recalled. “The circumstance of the play was bringing him to a deep place of pain. And the audience connected to this terrible sense of humiliation, of unworthiness.” Pacino won an Obie for Best Actor, and a Tony the following year, for his performance in Don Petersen’s “Does a Tiger Wear a Necktie?” “All I could see was Al Pacino’s face in that camera. I couldn’t get him out of my head,” said Francis Ford Coppola, who nearly got fired from “The Godfather” (1972) for insisting that Pacino play Michael Corleone, the educated youngest son of Don Corleone, the Mafia kingpin. The studio lobbied for such bright box-office names as Robert Redford, Warren Beatty, Jack Nicholson, and Ryan O’Neal. But Mario Puzo, who wrote “The Godfather” and adapted it for the screen, came to Coppola’s defense and gave him a letter to be used at his discretion. “Above all, Pacino had to be in the film,” he said. On the day of his first screen test, however, Pacino was hung over: he didn’t know his lines, and he ad-libbed the scene. Puzo felt that Pacino “was terrible. Jimmy Caan had done it ten times better.” Puzo went over to Coppola. “Give me my letter back,” he said. “Wait a while,” Coppola said. Pacino tested three times for the role. The back-and-forth agitated him to such a degree that he finally refused to take Coppola’s calls and made the actress Jill Clayburgh, his girlfriend at the time, speak for him. “ ‘Francis, you’re making him crazy. He doesn’t want to be where he’s not wanted,’ ” Pacino recalls her saying. When Pacino was finally offered the part, he almost couldn’t take it. A few months earlier, he’d signed on for an adaptation of the Jimmy Breslin book “The Gang That Couldn’t Shoot Straight,” and M-G-M and the producer, Irwin Winkler, refused to release him. Winkler and Horovitz were sharing a house on Fire Island, and Pacino begged the playwright to intercede on his behalf. “This was the door opening, and they wouldn’t let him out of his contract,” Horovitz recalled. “I went crazy with Irwin, and he said, ‘You find me a young Italian actor that’s as good as Pacino, and I’ll let him out.’ ” Horovitz took Winkler to see a performance by a young unknown named Robert De Niro. “He took De Niro, and he got two options on Pacino and two on De Niro,” Horovitz said. After Pacino got the “Godfather” role (for which he was paid a flat fee of thirty-five thousand dollars), he walked from his apartment, on Ninetieth Street and Broadway, to the Village and back, thinking about how he’d play it. “I didn’t see Michael as a gangster,” he said. “I saw his struggle as something that was connected to his intelligence, that innate sense of what’s around and being able to adjust to things.” He added, “The power of the character was in his enigmatic quality. And I thought, Well, how do you get to that? I think you wear it inside yourself, and you find a way to avoid, as much as you can, the obvious.” However, after his first week of avoiding the obvious, according to Pacino, “they wanted me fired—they didn’t see what I was doing. Luckily for me, the Sollozzo scene”—in which Michael earns his Mafia spurs by executing two men in a Bronx restaurant—“was the next day. When they saw that scene, they kept me.” Pacino’s performance in “The Godfather” put him at the center of one of the great cinematic sagas of the century and on a first-name basis with the world. He was showered with accolades and offers. (Coppola asked him to star in “Apocalypse Now,” but he declined. “You know, sometimes you look into the abyss?” Pacino said. “I’m, like, this is the abyss. I’m not gonna go there.” He also turned down “Star Wars,” “Die Hard,” and “Pretty Woman.”) But perhaps the most satisfying response came from Puzo, who wrote, “It was, in my eyes, a perfect performance, a work of art. I was so happy . . . I ate crow like it was my favorite Chinese food.” Pacino’s other great early successes—“Serpico,” “The Godfather, Part II,” and “Dog Day Afternoon”—only added to his momentum. But, of all his performances in those years, the sleeper was his embodiment of the garish, vulgar, sensationally violent Tony Montana, an impoverished Cuban refugee who becomes the most powerful drug trafficker in Miami, in “Scarface.” The role was dismissed as “macho primitivism” at the time, but, over the years, it has emerged as a challenger to Michael Corleone as Pacino’s most popular creation. The director, Brian De Palma, designed “Scarface” as a kind of hyperbolic pageant. “The picture had a fire to it,” Pacino said, in “Al Pacino: In Conversation with Lawrence Grobel.” “The violence blown up, the language blown up. The spirit of it was Brechtian, operatic.” To play Montana, Pacino drew inspiration from the swagger of the Panamanian boxer Roberto Duran and from Meryl Streep’s committed rendering of the traumatized Polish immigrant Sophie, in “Sophie’s Choice.” As an actor, Pacino said, “you’re always looking for that thing that’s going on besides the words.” In “Scarface,” he connected with Montana’s raging ambition and the rebelliousness in his epigrammatic lines: “All I have in the world is my balls and my word, and I don’t break them for no one”; “You know what capitalism is? Getting fucked!”; “You wanna play rough? O.K. Say hello to my little friend!” In the twenty years following the release of “The Godfather,” Pacino made seventeen films and was nominated for an Academy Award six times. (He finally received one, in 1993, for his performance in “Scent of a Woman.”) But he was discombobulated by the distractions of his success. “I felt like the fighter that was in Round 8, exhausted in the corner, they’re pouring water over my head and rubbing Vaseline on my face, then ding went the bell, and I was back out there in another film,” he recalled. “It was a whirlwind.” Pacino disappeared into work, and, after hours, into a bottle. “I don’t remember much of the seventies,” he said. “All that stuff—the explosiveness of my life change. It would be almost fair to say I wasn’t really there. It was too much for anyone to handle.” Eventually, Laughton called Pacino on his alcohol abuse, which had been a constant since he was a teen-ager. He stopped drinking in 1977. During his first year of sobriety, a time of great stress, Pacino made “Bobby Deerfield,” a plodding Sydney Pollack melodrama, in which he played a celebrity race-car driver, who hides his vulnerability behind sunglasses and a carapace of toughness. His next movie, “Cruising” (1980), William Friedkin’s thriller about a serial killer who targets gay men—which sparked protests in the gay community—was “a terrible experience” for Pacino as well as for the critics. “Author! Author!” (1982), which was written by Horovitz, was also a bust. “Scarface” came out to mixed reviews, and was followed by “Revolution” (1985), in which Pacino played a Scottish fur trapper with a Bronx accent, who gets embroiled in the Revolutionary War. “Revolution” was proof, if more was needed, that on the Hollywood merry-go-round Pacino had lost track of who he was. The movie cost twenty-eight million dollars to make and grossed less than $360,000. It was one disaster too many. In a radical move, at the height of his celebrity, Pacino called a halt to movie-making and moved to Snedens Landing, in Palisades, New York, with Diane Keaton. There he settled, he said, “into something that was wonderful with Diane and my life. I didn’t feel rushed or that I had to put out. I felt relatively content.” The stoppage was a crucial emotional recalibration. “It is the very nature of fame that the light is on you a lot,” he said. “I sort of wanted to turn the light out of my face, so I could see.” Pacino’s return to New York was also a return to theatre. He appeared in Dennis McIntyre’s “National Anthem” at the Long Wharf Theatre, in New Haven. He played Mark Antony, in a disastrous “Julius Caesar” at the Public, a role he could never find his way into. But his main creative focus was on “The Local Stigmatic,” a little-known 1969 one-act by Heathcote Williams, about two British ne’er-do-wells who grievously harm a famous actor whose success enrages them. Pacino produced and starred in a fascinating film version of the play. “I took almost a year to edit this fifty-two-minute play,” he said. “I had no one wanting it to work or not work. It was under my control. I was free.” (The film was never released theatrically but was included in the DVD boxed set “Pacino: An Actor’s Vision.”) Although Pacino remembers this time as “probably the best period” of his adult life—“It was as close to egoless as I’ve ever been”—four years into his self-imposed exile from Hollywood he was running out of money and Keaton was running out of patience. One day, according to Pacino, she read him the riot act. “What do you think you’re doing?” he remembers her saying. “Do you think you’re gonna go back and live in a rooming house again? You’ve been rich too long, buddy. You can’t go back. You think you’re on the A-list, but you’re not. You’re out because you put yourself out. You’ve got to go back to work.” Keaton added, “This script. This is your thing. This is what you’ve got to do.” She handed him Richard Price’s screenplay for “Sea of Love.” “It was so sweet of her,” Pacino said. “It was so giving, so caring. I have to say, she was right.” “Sea of Love” (1989), the story of a cop in a midlife crisis who falls for a woman who may be the killer he’s pursuing, made a star of Ellen Barkin and restored Pacino’s box-office clout. In the next five years, he made “Dick Tracy,” “The Godfather, Part III,” “Frankie and Johnny,” “Glengarry Glen Ross,” “Scent of a Woman,” “Carlito’s Way,” and “Heat.” As Pacino paced his living room, a tall, striking woman with long auburn hair swept in, draped an arm over his shoulders, and pulled him to her, like a swan taking a cygnet under its wing. Lucila Sola, a thirty-five-year-old Argentinean actress, spoke in Latin-inflected English. “I am his longest relationship—seven years,” she said, by way of introduction. Sola, who studied law and sociology before switching to acting, is the latest in a long line of strong, smart actresses with whom Pacino has been involved—Tuesday Weld, Kathleen Quinlan, and Marthe Keller, among them. The two met at a dinner party in 2005, when his twins were four and her daughter, Camila, was seven. They were both dating other people, but their kids got along and they found themselves going to movies together, swimming in Pacino’s pool, taking trips to San Diego, the beach. “We were friends. For two years—two years—nothing,” Sola said. “When people ask, ‘How long have you been together?,’ I say, ‘Forty-nine years.’ A year with Al is like a dog year because it’s so intense.” She explained, “He’s a medium. He’s channelling something. When he’s doing a part, it’s hard to be around him because he’s very different. Al has left the building.” The conversation turned to Diane Keaton’s bittersweet second memoir, “Let’s Just Say It Wasn’t Pretty,” which had been published the week before and in which she discussed “the lure of Al.” “His face, his nose, and what about those eyes?” Keaton wrote. “I kept trying to figure out what I could do to make them mine. They never were. . . . For the next twenty years I kept losing a man I never had.” Sola expounded on the astuteness of Keaton’s observation. “Al has this ephemeral, childlike quality about him,” she told me. “His friend Charlie used to say he’s like smoke. He’s there, but he’s not there. That’s maybe what drove the women crazy. You want to catch him, but you can’t because Al is—” “Leave John alone,” Pacino cut in, bringing the conversation effectively to an end. Sola had persuaded Pacino to accompany her to a friend’s birthday bowling party the next day. That evening, complaining about the “fucking bowling shoes”—“I can’t stand putting on my shoes every day. Imagine putting on bowling shoes,” he said—Pacino got behind the wheel of his white Range Rover and headed for Lucky Strike, in Hollywood, which turned out to be more of a bowling den than an alley. A bookshelf extended from the entrance into the large underlit space; jokey signage—a poster advertising “10 Rules for Sleeping Around”—hung from the walls; from a distance, beyond the bar, came the echo of ricocheting pins. The birthday girl, Kam, in blue satin shorts and a diamanté tiara, waved Pacino and Sola over to the leather banquette where her posse of svelte girlfriends and their men were huddled. While Sola plunged into the crowd of chatty celebrants, Pacino took a barstool at a table behind them and ordered a plate of barbecued chicken. As he ate, the standup comedian Bill Bellamy, who is credited with coining the phrase “booty call,” appeared. “We’re blessed, man,” Bellamy said. “I’m blessed. You killed in that Liberace shit, man.” “That was Michael Douglas,” Pacino said, wiping barbecue sauce off his fingers. As Pacino was putting on his bowling shoes, a Lucky Strike staffer approached. “Sorry to disturb you,” he said, holding up his cell phone to indicate a promotional photo op. “But would you mind?” “I don’t do that,” Pacino said. Sola pulled him away toward the party. “Once that starts, it’s over,” she said. Pacino guttered his first ball. His second swerved left and picked off five pins. By the next frame, his score was fifteen. He sat down on the sofa. “I usually get myself into a Zen place and am just very quiet,” he told me later. “People give you room when you get real quiet with your disposition.” At the bowling party, however, the tactic wasn’t working. The phones came out, and Pacino was swarmed with requests for selfies. Having done his duty, he slumped back down on the couch. From his body language, Sola could tell that the night was over. Thirty minutes after they arrived, she was leading Pacino toward the exit. In the garage, he fumbled for his parking ticket and couldn’t find it. “You know me, I’m in pictures,” he said to the attendant. At the exit, he struggled again, this time to fit his new ticket correctly into the machine. The barricade finally lifted. “I’m a natural, baby,” he said, as he accelerated into the balmy night. “I just pick things up.” In mid-2010, Pacino learned that his business manager, Kenneth I. Starr, had been arrested for embezzling his clients’ money in a Ponzi scheme. (Starr is currently serving seven and a half years in prison.) There had been warnings. Early on, Mike Nichols, who had taken his money out of Starr’s company, had raised suspicions. “I’ll get to it,” Pacino told Nichols. “Then I never got to it,” he said. “Millions of dollars were gone,” Sola said. “Gone.” Pacino took the loss in stride. “I thought, Hey, this is the world. It’s real,” he said. “Not one day I saw him down or depressed,” Sola said. “He was, like, ‘O.K., now what do we do? Roll up our sleeves and go to work.’ ” Pacino’s agent, John Burnham, told me, “In his halcyon days he made around fourteen million a picture, but the industry’s changed. Nowadays, he gets five million. With a gun—seven million.” It has taken Pacino four years to work himself back to a position where, he says, “compared to a normal person, I have a significant amount.” He sold a Snedens Landing property, did commercials, took out a loan, and signed on for Adam Sandler’s dismal but profitable “Jack and Jill” (2011)—a “kids’ movie,” according to Pacino, in which he sent up both his legend and his financial predicament. In the film’s best moment, a hip-hop ad for Dunkin’ Donuts, Pacino can be seen dancing and pitching the “Dunkaccino”: “You want creamy goodness / I’m your friend / Say hello to my chocolate blend.” “I’ve recently come to terms with the fact that I can only do something I am creatively connected to,” Pacino told me. “The Humbling,” based on the 2009 Philip Roth novel, which Pacino optioned, is part of that mission. The novel tells the story of a depressed, aging actor whose talent is slipping away and who tries to rejuvenate himself through an affair with a younger woman (who in the movie is played by Greta Gerwig). “I liked the idea that an actor is losing it and wants to revive not so much his career as his life, and finds that there’s no life there,” Pacino said. “He’s trying to be a real person, and discovering that he doesn’t have the appropriate tools to do this. I felt that these things were sad and almost farcical.” Barry Levinson, the director, who enlisted Buck Henry to write the screenplay, was also taken with the novel. “It was a great character study,” he said. “We wanted to flesh that out a little bit more, to apply some of the things that Al’s gone through in his life, and, hopefully, not in a super-serious fashion. There’s a dark comedic trail to the piece.” The film was undertaken with a freewheeling spirit. “We did a lot of improvisation,” Levinson said. “ ‘The Humbling’ is about as homemade a movie as you can make. We made it for two million dollars in twenty days. We shot part of it in my house, because we didn’t have enough money to go somewhere else.” Pacino’s legend is based on the films of his youth, for which he drew on his anger, his sexuality, his energy. The films he’s interested in now tend to dwell, like “The Humbling,” “Manglehorn,” and “Danny Collins,” on old age and the issues of decline. They are of a different amperage and a different spiritual mind-set. They are not, so to speak, the rock-’em-sock-’em Pacino of old but a new Pacino: a man who is consolidating his family, regretting some of his life choices, and living under the strictures of his fame. In late June, I met up with Pacino in Boston, one of the twenty-three cities in which he would be performing “Pacino: One Night Only,” a business junket disguised as a lap of honor. The promoters referred to this form of entertainment as “talk theatre.” In essence, Pacino was taking himself on the road. He had flown in late the previous night from Ottawa, where he’d sold out a twenty-six-hundred-seat theatre at the National Arts Centre. In Boston, he was at the Wang Theatre, a fun palace built to hold thirty-seven hundred customers, who were shelling out up to a hundred and seventy-nine dollars a seat—plus an extra three hundred if they wanted to attend a meet-and-greet after the show. A slick eight-minute montage of clips from Pacino’s movies opened the evening. He told Sonny Corleone, “It’s not personal, Sonny. It’s strictly business”; he shouted, “Attica! Attica!”; he jumped Ellen Barkin’s bones. When Tony Montana drunkenly turned on the scowling patrons of a swank restaurant (“Say good night to the bad guy!”), the audience roared. The lights came up, and Pacino entered to a standing ovation. He let the volley of sound wrap around him, then, with his hands clasped together in front of him, he bowed low. After a few reverent questions from Ty Burr, the Boston Globe’s film critic, who was his interlocutor for the evening, Pacino picked up his legend and ran with it: performing as a kid for the deaf aunt (“started my overacting, I guess”); the high-school teacher who called him a prodigy (“How do you spell that?”); when he knew he had “it” as an actor (“I hope I never do”). Pacino played off the hoots of approval—“riding the bull,” he calls it—taking the audience into his confidence, and, when he went off course, letting it guide him back to his story. “Where was I? Oh, yeah—I was a superintendent. . . . I put an eight-by-ten picture of me on the door—kind of looking handsome. Underneath, I wrote ‘Super.’ And there wasn’t a girl that went into that apartment that I didn’t go after!” Afterward, at the meet-and-greet, Pacino sat on a stool in front of a camera for forty-five minutes while premium ticket holders lined up for a photograph. The night before, he had obliged a blind woman who handed off her cane and asked him to dance. Tonight, the fans approached him solemnly, like communicants, uncertain how to arrange themselves beside their icon. Some leaned in, some stood apart, some asked if it was O.K. to put an arm around his shoulder. (It was.) One woman planted a kiss on Pacino’s cheek, then placed a lily and a rose in his lap. Another woman, in formal evening gloves and a gray dress, who positioned herself in front of Pacino to speak to him, told me later that she had devoted her life to theatre after seeing Pacino act in “The Resistible Rise of Arturo Ui,” on her twenty-first birthday, thirty-nine years before. “He gave me a passion for the theatre,” she said. “It was a great gift.” At Logan International, a private jet was waiting to take Pacino and his crew to New York. “There’ll be a crowd at the airport,” Pacino warned me, as the bags were loaded into his two-car convoy. As predicted, a group of autograph hunters were waiting like spectres outside the reception area. “It’s their job,” Pacino said. “At first, I didn’t know. I just thought they were strange people who kind of looked alike, but they do it for a living.” As he got out of the car, the scrum of about twenty pushed forward. “Al! Al! Over here, Al!” they called, flourishing photographs and memorabilia. Head down, Pacino walked straight through the glass doors and into the bright silence of the lounge. At takeoff and landing, Pacino crossed himself and kissed his fingers. During the flight, he talked about another kind of blessing he’d felt that day. In the late afternoon, with his bodyguard a hundred feet away, Pacino had spent an hour on Boston Common, sitting unnoticed on a bench and watching the passers-by. “It felt like I was back on the block, back home,” he said. “I felt lonely, but I always feel that way. I could feel connected to myself, just like when I sat there fifty years ago. I started there, in that park and that town. I didn’t feel I had changed. I was still me. The park was still the park. I’ll remember that moment.” The temporary anonymity had brought “a kind of peace,” which, he said, “is pretty much a luxury.” Later, he told me, “I haven’t been in a grocery store or ridden the subway in fifty years. My kids have a difficult time going out with me publicly. We have yet to go on a camping trip. But one day I want to rent a small house on a lake. It’s my dream—I don’t know how to get to it yet, but I’ll give it another year.” Still, he said, “I’m fine not having anonymity. I’ve learned how to live with the other thing, and the sort of enjoyment that comes with that. It ain’t bad.” He added, “Not that I recommend it, but, like they say, you should try it sometime.” ♦ Watch John Lahr’s commentary on films from Al Pacino’s career. An earlier version of this article misstated Bellamy’s first name.
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https://images.bauerhosting.com/legacy/empire-legacy/150.180/27311.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=1200&q=80 1200w, https://images.bauerhosting.com/legacy/empire-legacy/150.180/27311.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=1440&q=80 1440w", "https://www.empireonline.com/assets/facebook.svg 1x, /assets/facebook.svg 2x", "https://www.empireonline.com/assets/twitter.svg 1x, /assets/twitter.svg 2x", "https://www.empireonline.com/assets/pinterest.svg 1x, /assets/pinterest.svg 2x" ]	[]	[]	[ "" ]	null	[]	1940-04-25T00:00:00	Find out everything Empire knows about Al Pacino. Discover the latest Al Pacino news.	en	/assets/empire/favicon.ico		https://www.empireonline.com/people/al-pacino/13/	Alfredo James "Al" Pacino (born April 25, 1940) is an American film and stage actor and director. He is famous for playing mobsters, including Michael Corleone in The Godfather trilogy, Tony Montana in Scarface, Alphonse "Big Boy" Caprice in Dick Tracy and Carlito Brigante in Carlito's Way, though he has also appeared several times on the other side of the law — as a police officer, detective and a lawyer. His role as Frank Slade in Scent of a Woman won him the Academy Award for Best Actor in 1992 after receiving seven previous Oscar nominations. He made his feature film debut in the 1969 film Me, Natalie in a minor supporting role, before playing the leading role in the 1971 drama The Panic in Needle Park. Pacino made his major breakthrough when he was given the role of Michael Corleone in The Godfather in 1972, which earned him an Academy Award nomination for Best Supporting Actor. Other Oscar nominations for Best Supporting Actor were for Dick Tracy and Glengarry Glen Ross. Oscar nominations for Best Actor include The Godfather Part II, Serpico, Dog Day Afternoon, the court room drama ...And Justice for All and Scent of a Woman. In addition to a career in film, he has also enjoyed a successful career on stage, picking up Tony Awards for Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel. His love of Shakespeare led him to direct his first film with Looking for Richard, a part documentary on the play Richard III. Pacino has received numerous lifetime achievement awards, including one from the American Film Institute. He is a method actor, taught mainly by Lee Strasberg and Charlie Laughton at the Actors Studio in New York. Although he has never married, Pacino has had several relationships with actresses and has three children Description above from the Wikipedia article Al Pacino, licensed under CC-BY-SA, full list of contributors on Wikipedia
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"https://www.castingnetworks.com/wp-content/uploads/2024/08/Richard-Schiff-06-1024x683.jpg", "https://www.castingnetworks.com/wp-content/uploads/2024/08/shutterstock_2256551869.jpg", "https://www.castingnetworks.com/wp-content/uploads/2024/08/Audrey-Del-Prete-Success-Story.png", "https://www.castingnetworks.com/wp-content/uploads/2024/08/Dan-Hubbard.jpg", "https://www.castingnetworks.com/wp-content/uploads/2024/08/8.17.24-WHATS-CASTING.png", "https://www.castingnetworks.com/wp-content/themes/casting_network/images/large-logo-mark-new.svg", "https://www.castingnetworks.com/wp-content/uploads/2022/07/Download_on_the_App_Store_Badge.svg_.png", "https://www.castingnetworks.com/wp-content/uploads/2023/10/A-LIGN-SOC-Badge.png" ]	[]	[]	[ "" ]	null	[ "Neil Turitz" ]	2024-08-08T11:09:47-07:00	You may know Richard Schiff from his seven years on The West Wing, his run on Ballers opposite Dwayne Johnson or as Elijah Wood’s dad in the disaster flick Deep Impact. Or perhaps it’s from one of the dozens of movies and TV shows he’s been in throughout a highly acclaimed career now well into	en	https://www.castingnetwo…on-1-1-32x32.png	Casting Networks -	https://www.castingnetworks.com/news/how-west-wing-star-richard-schiff-learned-to-accept-his-acting-destiny/	You may know Richard Schiff from his seven years on The West Wing, his run on Ballers opposite Dwayne Johnson or as Elijah Wood’s dad in the disaster flick Deep Impact. Or perhaps it’s from one of the dozens of movies and TV shows he’s been in throughout a highly acclaimed career now well into its fourth decade. A native New Yorker who came to acting in his 30s, he almost immediately found work and continued to do so even before he was cast as Toby Ziegler, the role that won him an Emmy award in 2000, for The West Wing’s first season. More recently, he just finished a seven-year run on another show, The Good Doctor, which aired its series finale in May. He’s also the narrator of Peacock’s very entertaining three-part documentary series, Bronx Zoo ’90: Crime, Chaos and Baseball, about the hapless 1990 New York Yankees squad. He spoke to us from his home in Montana. How did you start acting? It was not a very typical journey. I was a bit of a lost soul. I was literally on the very fringe of society back then. Went to Colorado, was a hippie for a while, came back and went to CCNY because it was open admissions. Growing up in New York, I was fascinated with movies that made me forget my own story, so I took this theater class, and we would read all these great scenes from classic plays. I fell in love with Death of a Salesman and ended up going to the Lincoln Center Library on numerous occasions just to listen to the album of that play, I was so touched by it. I started taking more acting classes, which led me to take a directing class and the teacher suggested I audition for this acting program, even though I had no interest in being an actor. But you auditioned anyway? Yeah, and I was terrible. Every time they laughed, because it was a comedy, I would stop and look up at them and go, “What are you doing? I’m trying to read here.” When I was done, one of the two gentlemen asked, “Why are you so nervous?” I said, “Well, I’ve never done this before. I don’t know what I’m doing.” And he goes, Well, “Why do you want to be an actor?” I said “I don’t want to be an actor.” And he goes, “Well, what are you doing here? This is a three-year professional training program.” And I said, “I don’t know what I’m doing here.” Anyway, his name was Earle Gister, and he became my mentor. He came from Carnegie Mellon and later ran the Yale School of Drama for 15 years. He was the master of his profession, and I tripped over a threshold and fell into this thing, and he let me in. For a guy who had no interest in acting, you were suddenly acting. Well, sort of. I was fascinated with the process that he was teaching, and sometime later, I asked him why he let me into the program, and he told me out of all the years he’d been doing this, no one had ever been as honest as I was. He thought he’d take a chance. Around then I started directing. I directed an Odets play that was a big hit on campus and then followed a girlfriend to Brooklyn to audition for a James Baldwin play. It was a paying job, and I ended up getting the lead role. It was by all measures of success, but I just didn’t want to do it again. I had to go out to Brooklyn at noon to begin warming up, to get my nerves for an eight o’clock show. I thought, “This is going to kill me, so I’m just going to direct.” What brought you back? Years later, there were certain kinds of actors that I was very happy to work with who I thought were quite talented and also easily directable. They had one teacher in common, so I called him and he said to come in and talk to him. He said, “You’re an interesting fellow. You should take my class.” I go, “Well, I don’t want to be an actor.” And he goes, “You should take my class anyway.” That turned out to be William Esper. I was going to ask because it sounds like him. I knew Bill well. Wonderful guy. He and I became very close towards the end of his life, shockingly, because I hated him when I studied with him. He yelled at me once, and no one ever yelled at me. But it was very motivating. I took his class, and my partners would take me to do these scenes that we were working on to agents because they wanted to get an agent. Then the agent would come to me and go, “We want to sign you.” And I would go, “I don’t want to be an actor.” I’m sensing a theme. Yeah, that’s a theme that has not changed much. I’m still debating. (Laughs) Anyway, after two years, he challenged me to do this play. I was working with this wonderful actress named Robin Lord, who I’ve never seen again since those days, and she taught me how to engage the art of performance, to the nth degree. Up until that point, I was like, “I’ll do this exercise because it will help my directing.” But it was that commitment to the full experience, where I just went for it, that made me think, “Oh, I get it now.” I was already 32 at that point. What was that light bulb moment like for you? When you said, Oh my god, I think I finally get this. Well, it suddenly clicked, and then it kept clicking. I went back and played softball in Central Park after not participating in sports for 15 years. I went to shortstop and I was a vacuum cleaner. I was cleaning up every ground ball and firing to first base. I was like, “I didn’t know I could still do this.” Then I thought, “Well, maybe you can do other things that you don’t think you can do, or that you haven’t practiced all your life.” There was a series of epiphanies, each step was another platform to climb onto. How did you get from there to The West Wing, which was the first big regular gig you had, wasn’t it? Actually, no, not quite. It was about 15 years, 13 after I got to LA that West Wing happened, but I had already done a sitcom for Jim Burroughs and did a show called Relativity for Ed Zwick and Marshall Herskovitz. The network didn’t want me, but they fought for me and to this day it’s my favorite role. Around then, I ended up doing this audition. I had told my manager at the time I didn’t want to do any more one-scene roles, but I got a call saying, “All right, it’s one scene, but it’s really good and it’s a new show, a cop show called High Incident.” I read the material and I loved it, a beautifully written character. I say, “Okay, I’ll go in and do this because I’m curious, especially since it’s an old man who should be playing this part.” I did it, and I actually thought it was quite amazing how it came out, but then the casting director just took the tape and left. I don’t even remember her saying goodbye. It was insulting. I drove home, and I then I get a call saying, “Okay, not only did you get the part, but Steven Spielberg was in the next room. He’s producing the show, and he wants you for his next movie,” which turned out to be The Lost World. Wow. How did you work that into this new show you were doing with Zwick and Herskovitz? I told them, “Look, I want to do movies.” It was one of those contracts that was seven episodes out of 13, so there were times when I wasn’t going to be used. They said, “Listen, we’re movie people. We get it. Don’t worry about it. We’ll make it work.” But then they decided to write me into every episode, because they loved the storyline that they’re developing. Now I’m involved in everything, and they said, “We can’t let you go, the whole storyline depends on you.” It was a whole thing, but they eventually let me go, and I told them, “Lifelong, you have me at scale plus 10 whenever you need me if you’re in a bind.” Jason Katims, who was a writer on the show, ended up calling me a couple of times, once for a show called Roswell, which was on in the same time slot as West Wing. (Laughs) But John Wells let me go do it because I wanted to fulfill this favor. I didn’t mean to imply that you hadn’t worked before West Wing. You worked a ton. You had a pretty big role in City Hall, for instance, with Al Pacino. I played the probation officer, and it was a really good role. I remember having a great time with Danny Aiello. We had so much fun doing our scene and in the diner. Then I got an NYPD Blue where I played a Romanian terrorist, and then people started recognizing me around town. I was doing movies. Deep Impact happened, the lead role in an independent called Heaven in New Zealand, which was quite something. I was trying to make my way up in the film world, and then West Wing came along. I didn’t want to do TV. I knew it was great. Everyone was saying it was great. I read it and it was great. Toby wasn’t necessarily a fleshed-out character yet, but I still didn’t want to do it. It sounds like you’ve been successful almost despite yourself. That’s a very fair statement. (Laughs) I think that the directors and the writers who appreciate me especially are the ones who realize that I will interpret a role or a moment in a way that they never imagined. I got that from Aaron Sorkin all the time. Hack writers will go, “You’re supposed to do it this way,” but the real writers will always be grateful when you present to them a better idea or a way of approaching it that they hadn’t thought of. I don’t necessarily see a part and go, “I can kill that role.” I see a part and go, “Oh, my God, there are so many issues here. How am I going to deal with them?” You know what I mean? It might just be a different way to look at it, that is helpful in the craft, but not helpful in terms of negotiating a career. All in all, though, it’s gone pretty well. There’s so much inner discussion with everything that I do. I guess I’m cursed with that. But when the decision is made, it’s a commitment. There are no questions asked after that. I can’t half-ass it. I wish I could, but fear of embarrassment has driven a lot of decisions. (Laughs) Thinking about joining Casting Networks? Get 2 weeks free when you sign up today! You may also like:
915	yago	0	68	https://www.wbur.org/news/2020/04/17/quarantine-double-feature-looking-for-richard-hamlet-shakespeare	en	Quarantine Double Feature: The Fun[damentals] Of Shakespeare	https://wordpress.wbur.o…rd-1000x521.jpeg	https://wordpress.wbur.o…rd-1000x521.jpeg	[ "https://wordpress.wbur.org/wp-content/uploads/2020/04/hamlet-2000-0-1-1.jpeg", "https://media.wbur.org/wp/2020/04/looking-for-richard-1000x521.jpeg", "https://media.wbur.org/wp/2020/04/hamlet-2000-0-1000x521.jpeg", "https://wordpress.wbur.org/wp-content/uploads/2016/06/E073A570-C4BA-435F-9BDA-1BD42B0DFC37-600x600.jpg" ]	[]	[]	[ "" ]	null	[ "Sean Burns" ]	2020-04-17T00:00:00	Al Pacino’s documentary “Looking for Richard” and a 2000 adaptation of “Hamlet” are a reminder that while educational, this Shakespeare stuff is supposed to be fun, says Sean Burns.	en	https://static.wbur.org/images/icons/favicon.ico		https://www.wbur.org/news/2020/04/17/quarantine-double-feature-looking-for-richard-hamlet-shakespeare	Quarantine Double Feature is a series in which we pick two films available for streaming and discussion while we wait out this crisis at home. This week: The Fun[damentals] of Shakespeare. A big educational breakthrough for me — and I am sure I’m not alone here — was when I discovered that the stark, blood-soaked tragedy of “Macbeth” also contained a monologue about being too drunk to maintain an erection. Dirty jokes have a way of knocking down doors for young students, and for this particular class clown, the Porter’s speech about alcohol provoking desire while taking away performance was key to my early understanding that the plays of William Shakespeare were never meant to be musty objects of study, but rather were written as broad, bawdy entertainments for mass audiences. It looks like we’re all going to be home-schooling for the foreseeable future, so it’s fine a time as any to be reminded that this Shakespeare stuff is supposed to be fun. It also can be plenty intimidating, and sometimes requires a little homework before you can wrap your head around it all. That’s the point of Al Pacino’s wonderful 1996 documentary “Looking for Richard,” which finds the actor and his pals hanging around on weekends trying to put together their own informal production of Shakespeare’s “Richard III,” wrestling with the text and its interpretations in an accessible, enormously entertaining fashion. Then once you’ve got the words down, you can start getting weird with them, like director Michael Almereyda did with his brazenly irreverent 2000 adaptation of “Hamlet” set in modern-day Manhattan, where something’s rotten in the Denmark Corporation. A loosey-goosey attempt to tear down the psychological barriers between contemporary audiences and The Bard of Avon, Pacino’s documentary is the most delightful educational film you'll ever see. “What is it that gets between us and Shakespeare?” he wonders aloud, wandering the streets of New York City asking random passersby and later recruiting legends of the British theater to offer their own analyses of Americans' inferiority complex when it comes to iambic pentameter. The movie opens with a fantasy sequence in which the actor takes an empty stage and meets the disapproving gaze of a single audience member, Shakespeare himself. Pacino blurts out a word beginning with the letter “f” — it’s not folio — and the opening credits roll. With the assistance of his endearingly excitable playwright pal Frederic Kimball, Pacino pulls together a cast of close friends and begins workshopping the play. We join Alec Baldwin, Kevin Spacey, Winona Ryder and Estelle Parsons, among others, as they break down the scenes and dig into their characters' motivations. The film nimbly cuts between costumed performances and street-clothes rehearsals, with Pacino’s Richard III just as likely to be wearing a prop crown as a backward “Scent of a Woman” baseball cap. (Shot over several years, the footage is time-stamped by the tonsorial choices of whatever characters Pacino was playing in other films at the time. In my favorite scenes, he’s got his iconic “Carlito’s Way” beard, so the Duke of Gloucester looks like a Puerto Rican gangster.) What a joy this movie is to watch — such a treat to see these talents finding their way into the tricky material. The dense thickets of language become easier for us to navigate as the cast members grow more comfortable in their roles, the picture pausing sometimes to provide important historical context or just general silliness. Better than any other movie I can think of, “Looking for Richard” conveys the sheer pleasure of learning, along with a performer’s satisfaction in bringing these beautiful words to life. One of the things that makes Al Pacino my favorite actor is that he’s never lost his sense of play — that impish, antsy unpredictability he brings to every role, whether the movie calls for it or not. When he made this documentary, Pacino had already portrayed Richard III three times on stage, yet in every rehearsal here he seems to be beginning anew, always in the process of exploration and discovery, perfectly ready to look ridiculous if need be. That restless, searching energy drives the film, and its director. This kind of homework is an awful lot of fun. Presumably thanks to the success of Baz Lurhmann’s migraine-inducing 1996 “Romeo + Juliet” — a film in which most of the actors not named Leonardo DiCaprio appear to have learned their lines phonetically — the turn of the century brought a bumper crop of modern-day Shakespeare adaptations. For some reason, most of these movies seemed to star Julia Stiles, who played the high school shrew tamed by Heath Ledger in 1999’s “Ten Things I Hate About You” and a doomed Desdemona in director Tim Blake Nelson’s long-delayed, controversial “O.” She also co-starred as an ADD-addled Ophelia in Almereyda’s “Hamlet,” the most prankish and elegant update of the bunch. Advertisement Twenty years ago, the film felt a little bit too cheeky for its own good, with Ethan Hawke playing the melancholy Dane as a pouty film student in a hipster stocking cap, moping around the Hotel Elsinore after his Uncle Claudius (Kyle MacLachlan) married his mom and became the new CEO of the Denmark Corporation. It’s by far the wittiest of this era’s Shakespeare modernizations, with Hawke famously delivering the “To be or not to be” soliloquy in the “Action” aisle of a Blockbuster Video, and “get thee to a nunnery” taking the form of increasingly incensed messages left on Ophelia’s answering machine before she drowns herself at the Guggenheim. “The Mousetrap” becomes Hamlet’s student film, and the gravedigger scene is puzzlingly elided in favor of Jeffrey Wright singing a few bars of “All Along the Watchtower.” Like most Almereyda movies, it’s seemingly designed to divide audiences, yet the one thing we could all agree on at the time is that Bill Murray’s Polonius was a sublime stroke of casting. He brings out not just the inherent comedy but also a decency and pathos I’d never felt before in various incarnations of this character, a depth of feeling I thought the film otherwise had a hard time maintaining among all its shiny, clever modernizations. But time does funny things to movies, and the obsolescence of just about every technological update Almereyda included in “Hamlet” provides the film with a tremendous undercurrent of sadness it couldn’t have had back in 2000, one far more in keeping with the play’s somber sensibility and its themes of ephemerality and mortality. Turns out the movie didn’t need a Yorick because it was already full of them — video stores, landlines, fax machines — where be your gibes now? Watching it again last week, “Hamlet” moved me so much more than it did 20 years ago because now all of Almeryeda’s affections feel like they’re of a piece with the material, and the tale is timeless once again.
915	yago	2	26	https://www.newyorker.com/magazine/2014/09/15/caught-act	en	Caught in the Act	https://media.newyorker.…40915_r25455.jpg	https://media.newyorker.…40915_r25455.jpg	[ "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-inverted.svg", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-header-reverse.svg", "https://media.newyorker.com/photos/59095c9d019dfc3494e9f7e9/master/w_2560%2Cc_limit/140915_r25455.jpg", "https://media.newyorker.com/cartoons/593b5c9957b86d47b169c085/master/w_1600%2Cc_limit/140915_a18516.jpg", "https://media.newyorker.com/cartoons/593b5c9bba20a654ac5d4212/master/w_1600%2Cc_limit/140915_a18441.jpg", "https://media.newyorker.com/cartoons/593b5c9c57b86d47b169c089/master/w_1600%2Cc_limit/140915_a18565.jpg", "https://media.newyorker.com/cartoons/593b5c9e20855957e69d51d5/master/w_1600%2Cc_limit/140915_a18468.jpg", "https://media.newyorker.com/cartoons/593b5ca0ba20a654ac5d4214/master/w_1600%2Cc_limit/140915_a18385.jpg", "https://media.newyorker.com/cartoons/593b5ca21260cf20873dfc7d/master/w_1600%2Cc_limit/140915_cheney-2003-06-09.jpg", "https://media.newyorker.com/cartoons/593b5ca43adc75471b34afdb/master/w_1600%2Cc_limit/140915_warp-2010-06-14-21.jpg", "https://media.newyorker.com/photos/5909662b6552fa0be682ef23/4:3/w_480%2Cc_limit/121217_r22932_p886.jpg", "https://media.newyorker.com/photos/59096eb76552fa0be6830201/4:3/w_480%2Cc_limit/100712_r19810_p646.jpg", "https://media.newyorker.com/photos/66afc8cf50e27a6b871ed406/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66afc8cf50e27a6b871ed406/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66bf7ff49696cb8e0b5602b1/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66bf7ff49696cb8e0b5602b1/4:3/w_480%2Cc_limit/undefined", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-reverse.svg" ]	[]	[]	[ "" ]	null	[ "John Lahr", "Hilton Als", "Inkoo Kang", "Alexis Okeowo", "Condé Nast" ]	2014-09-15T00:00:00	“Pacino sometimes asks himself, ‘When am I just gonna sit back and smell the golf balls?,’ ” John Lahr writes. “The answer is not soon.”	en	https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico	The New Yorker	https://www.newyorker.com/magazine/2014/09/15/caught-act	Nearly fifty years ago, when Al Pacino was at the start of his career, Marlon Brando gave him two pieces of advice: don’t go to court and don’t move to Los Angeles. At seventy-four, Pacino has managed to avoid the courts but not Beverly Hills, where he has taken up reluctant residence, for more than a decade, in order to share custody of his now thirteen-year-old twins, Anton and Olivia, with their mother, the actress Beverly D’Angelo. (Pacino, who has never married, also has a twenty-four-year-old daughter, Julie Marie, an aspiring writer and filmmaker.) Every half hour or so, an open-topped tour bus crawls its way along the wide, manicured boulevard where Pacino holes up for most of the year, with a cargo of rubbernecking out-of-towners, cameras at the ready. Inevitably, they stop in front of his rented house, which, like the actor, is elegantly dishevelled. Green canvas has been woven through the bars of the long iron fence to hide the place from street level; low-hanging Indian laurel trees seal off any visible signs of life from above. Nonetheless, the buses stop, the guides burble, and the tourists crane for a sign of the actor or his children. On my second day with Pacino, I happened to be parked in front of his house as a tour bus rolled up. The guide leaned down. “You were here yesterday,” he said. “You know Al?” I nodded. Above me, camera shutters clattered. At that moment, Pacino was reclining in a deck chair at the far end of a wide lawn behind the house, doing business on a cell phone. Beyond him was a fenced-off swimming pool, and beyond that was what he calls “the bunker” (as in “I hunker in the bunker”), a drab beige outbuilding, where he sometimes goes to incubate his roles. Pacino was dressed for the bright day in his usual sombre getup: black jacket, shirt, slacks, and shoes, with a long gray cravat loosely knotted at the chest. He keeps a well-pressed assortment of these dark camouflage outfits on a wardrobe rack in the alcove off his living room, alongside his infrequently used barbells and a folded-up running machine. His comfortable house, with its absence of texture, is remarkable for its indifference to externals: no paintings, no designer furniture or fripperies. Pacino’s focus, the house makes clear, is resolutely inward. As an actor, Pacino has always been unafraid to do what he needs to in order to be in the moment; he trusts his instincts and explodes with whatever feelings come up. Performing, for him, is not so much a profession as a destiny. “This is what I’m meant to do,” he told me. “It’s the cog in my life. With this, everything suddenly coheres. And I understand myself in that way.” Pacino has given complex shape to some of his era’s most memorable creations: Michael Corleone, the college boy turned Mafioso, in “The Godfather” trilogy (1972-90); Frank Serpico, the police whistle-blower, in “Serpico” (1973); Tony Montana, the Cuban drug lord, in “Scarface” (1983); the hapless thief Teach, in “American Buffalo” (1983); Sonny Wortzik, the would-be bank robber, in “Dog Day Afternoon” (1975); the gangster Big Boy Caprice, in “Dick Tracy” (1990); Ricky Roma, the smooth-talking salesman, in “Glengarry Glen Ross” (1992); and Roy Cohn, the closeted lawyer, in the HBO version of Tony Kushner’s “Angels in America” (2003)—to name just a few of the more than a hundred roles he has taken onscreen and onstage. In recent years, he has painted brilliant, eerie film portraits of such obsessives as the euthanasia activist Jack Kevorkian, in Barry Levinson’s HBO movie “You Don’t Know Jack,” and the eponymous swami of rock and roll, in David Mamet’s HBO film “Phil Spector.” Pacino regrets that many of his Hollywood movies of the past decade (“Righteous Kill,” “The Son of No One,” “88 Minutes,” “Jack and Jill”) have been business chores, taken on for primarily financial reasons. “If you don’t have that alacrity of spirit, then you have to check yourself—because where’s the pony in all this horseshit?” he said. “I worked for United Parcels once, and I don’t want to have that feeling with my own craft—that it’s just a job.” Because of the protean nature of his attack, Pacino has often been compared to Brando, another truth-seeking force of nature. When Pacino was thirteen and performing in a school play, an adaptation of “Home Sweet Homicide,” he already identified so strongly with his role that when his character was supposed to get sick onstage he became nauseated. (“Somebody came up and said to my mother, ‘Here’s the next Brando.’ I said, ‘Who’s Brando?’ ” Pacino recalled.) But between Brando and Pacino there is this crucial difference: Brando, who, over time, became reclusive and indifferent to acting, disappeared into his gift; Pacino has survived his—and is still working to refine it. “I believe I have not reached my stride, which is why I persist,” he told me in an e-mail. “The day I turn to you and say, ‘John, what I just did in this role was a real winner,’ I hope you’ll have the courage and decency to throw a wreath around my head, and then so very quietly and compassionately shoot me.” Pacino has three films awaiting release in the next year: Barry Levinson’s “The Humbling,” in which he plays an aging actor who has lost his magic; David Gordon Green’s “Manglehorn,” a film about an eccentric small-town locksmith; and Dan Fogelman’s “Danny Collins,” an amiable redemptive fable about a slick pop star who wants to turn his art and his lush life around. At seventy-four, Pacino sometimes asks himself, “When am I just gonna sit back and smell the golf balls?” But, with two new movies waiting in the wings (Martin Scorsese’s “The Irishman,” about the man who supposedly killed Jimmy Hoffa, and a Brian De Palma bio-pic about Joe Paterno), and a David Mamet play, “China Doll,” in the works for Broadway in 2015, the answer is not soon. Most of Pacino’s house has been ceded to his kids. The den is a sort of Camp Pacino, overflowing with toys: a pinball machine, a drum kit, electric guitars, dolls, a mound of games, balls, rackets, and swimming gear crammed into baskets against the back wall. A low table holds a sprawling Lego construction in progress. Outside, a punching bag hangs incongruously beside the patio barbecue. (It’s there for Pacino’s son; when I asked Pacino if he used it, he said, “Like Oscar Wilde, whenever I get the urge to exercise I lie down until it passes.”) Pacino usually spends weekends with the twins, because “their mother knows I’m a slacker at the homework.” At one point, Olivia came in to ask a favor: Olivia: Daddy, I really want to see the boy next door. He usually comes over by the weekend. Pacino: Does he really? But I don’t even know what his name is. What’s his name? Olivia: I forgot. It’s been so long since I’ve seen him. Pacino: Do you want to go over and say— What do you want me to do? Me? I’m the— What am I, the go-between? Olivia: No. Just see if Jared [Pacino’s weekend assistant] can call. Pacino: But Jared’s not here. He could do it tomorrow, when he comes in. Do you want Mike [Pacino’s regular assistant] to do it now? Mike will do it. Olivia: I don’t think Mike knows anybody there. Pacino: Jared knows someone there? Ask Mike if he could just find out. Pacino’s father left him and his mother when he was two, and he carries the shadow of that abandonment with him. “It’s the missing link, so to speak,” he said. “Having children has helped a lot. I consciously knew that I didn’t want to be like my dad. I wanted to be there. I have three children. I’m responsible to them. I’m a part of their life. When I’m not, it’s upsetting to me and to them. So that’s part of the gestalt. And I get a lot from it. It takes you out of yourself. When I do a movie, and I come back, I’m stunned for the first twenty minutes. These people are asking me to do things for them? Huh? I’m not being waited on? Wait a minute. Uh-oh, it’s about them! That action satisfies. I like it.” He pointed out a watercolor beside the fireplace. “My son painted this when he was four. ‘New York in the Fall,’ ” he said, then steered me back into the living room and deposited me on a sofa to watch “Wilde Salomé,” a docudrama he directed, starred in, and largely bankrolled, which premières this month. The film represents Pacino’s eight-year attempt to “inhale” Oscar Wilde by chronicling the mounting of a 2006 Los Angeles production of Wilde’s 1891 tragedy, in which he was Herod to Jessica Chastain’s Salomé. (“Wilde Salomé” will be released in tandem with a film of the play itself.) Pacino first encountered “Salomé” in London in 1989, without realizing that it was written by Wilde. “Who wrote this? I’d like to know this person,” he recalled thinking. “I just felt a connection. A kindred spirit. I think it was a mischievousness, a subversiveness.” Pacino relates to Wilde as an outsider. “I feel like an outsider who got on the inside, so I’m inside out, if you know what I mean. Or outside in,” he said. Like “Looking for Richard,” Pacino’s 1996 movie about Shakespeare’s “Richard III,” “Wilde Salomé” is a dramatic mosaic that jumps from historical facts to performance to interview to enactment. Pacino is the director yelling at the crew to hurry up; he’s the lubricious Herod eying his gorgeous daughter; he’s the interviewer prodding Tom Stoppard, Tony Kushner, Gore Vidal, and Bono to talk about Wilde; he’s the professor offering tidbits of Wildeana; and he’s the anthropologist trudging through the desert with kaffiyeh and camel. At one point, Pacino, with a carnation and a floppy handkerchief in his jacket pocket, even pops up as Wilde himself. Part of Pacino’s fervor for Wilde comes from a desire to claim the writer’s intelligence and eloquence. “I’m quite timid when it comes to challenging the status quo,” he said. “Oscar had the brains to back it up.” Pacino, whose formal education ended in tenth grade, grappled for years with a sense of intellectual inadequacy. Early in his career, after a breakthrough performance in Israel Horovitz’s 1968 play “The Indian Wants the Bronx,” Pacino appeared on “The Merv Griffin Show,” and, in front of a television audience of millions, he froze. “He just couldn’t do it,” Horovitz recalled. “He felt he had nothing to say. He was humiliated by his own presence. He wasn’t the character he was playing—he was Al.” Pacino’s devotion to acting is, in a way, a defense against that self-doubt. Having a script to work from gives him, he said, a kind of license. “I can talk, I can speak, I have something to say,” he explained. “You don’t need a college education. All the things that you were inhibited to talk about and understand—they can come out in the play. The language of great writing frees you of yourself.” Most actors of Pacino’s stature—Brando, Jack Lemmon, Dustin Hoffman, Robert De Niro—began in theatre and rarely returned. Pacino, however, craves the derring-do of working in front of a live audience, an activity he compares to tightrope walking. Stage acting, he likes to say, quoting the aerialist Karl Wallenda, is life “on the wire—the rest is just waiting.” Onstage, in the zone, he told me, “you’re up in the sky with the theatre gods—love it, love it, love it.” As a list of some of Pacino’s more esoteric stage work demonstrates—Eugene O’Neill’s “Hughie,” Bertolt Brecht’s “The Resistible Rise of Arturo Ui,” Shakespeare’s “Richard III” and “The Merchant of Venice”—the theatre is where he goes to challenge himself and to think. “There are more demands put on you when it is on the stage,” he said. To Pacino, there is no such thing as a fourth wall. “The audience is another character in the play,” he said. “They become part of the event. If they sneeze or talk back to the stage, you make it part of what you’re doing.” Once, when he was performing “The Basic Training of Pavlo Hummel,” the first play in David Rabe’s Vietnam trilogy, in Boston, in 1972, Pacino made a strong connection with a pair of penetrating eyes in the audience. “I remember feeling a focus I never experienced before—intense, so riveting that I directed my performance to that space,” he said. “I found at curtain call for the first time that I needed to find out who belonged to those eyes. So, as we were bowing, I looked over to the space where I believed the look was coming from and there it was, two seeing-eye dogs still looking at me. They must have found the curtain call as engaging as the performance.” Acting, according to Pacino, is about “getting into a state that brings about freedom and expression and the unconscious.” Mamet compares Pacino’s excavations of his characters to the way Louis Armstrong played jazz: “He’s incapable of doing it the same way twice.” While Pacino was shooting his last scene for the movie “Devil’s Advocate” (1997), in which he played Satan, for instance, he suddenly broke off from the script to launch into a rendition of “It Happened in Monterey.” “It’s just absolutely out there, surreal and brilliant,” the actress Helen Mirren, whose husband, Taylor Hackford, directed the film, said. In the final movie, Pacino lip-synchs to Frank Sinatra’s version of the song; according to Mirren, the studio had to pay “a huge sum for the rights, but it was worth it.” Pacino sometimes develops his characters by observing others. When he was working on his performance in “The Indian Wants the Bronx,” he would walk for hours with Horovitz. “What he was doing was finding a character in life,” Horovitz told me. “He’d spot a guy on the street and go, ‘Wait, wait, wait!’ We’d follow the person for hours, just to observe the walk, the posture. And the costume was important, too. He had to find the costume, rehearse in the costume, live in the costume.” “Some actors play characters. Al Pacino becomes them,” Lee Strasberg, the longtime director of the Actors Studio, said. “He assumes their identity so completely that he continues to live a role long after a play or movie is over.” Once, when Pacino was playing Richard III in Boston, Jacqueline Kennedy came backstage to greet him. “I didn’t even get up,” he said. “I was so into it that night that I continued to be the King. I can almost not forgive myself for that.” When preparing for a role, Pacino has a tendency to circle the airport before arriving at his destination. “I’m a slow learner,” he said. “I don’t believe in memorizing lines. That’s not how I come upon a role. My thing is eventually coming to the words, making the words part of you, so that they’re an extension of your emotional state.” Pacino’s “nibbling away at a character,” according to Barry Levinson, is a subtle process. After the first few readings of the script for “You Don’t Know Jack,” Levinson recalls wondering “when Kevorkian will show up.” “I remember we were in wardrobe. Al had his hair done, and his suit. We were talking and, all of a sudden, I could sense that Kevorkian was coming alive,” he said, adding, “Once he latches on, then he’s off to the races.” At the finale of “You Don’t Know Jack,” after Kevorkian has unsuccessfully defended himself in court, the judge looks at him and asks if he wants to take the stand. Pacino doesn’t answer at first. “It takes literally a minute,” Levinson said. “He’s trying to decide if the defense rests. It’s a brilliant moment. No words—it’s a look, a glance, small things that really inform the character.” Over the years, there have been rumblings about Pacino’s overacting. He can certainly roar; he can pound the furniture; he can go big with the facial expressions; he has made some dud movies. But the drama, for Pacino, is almost always inherent in the character he’s hoping to convey. His portrayal of the blind Lieutenant Colonel Frank Slade in “Scent of a Woman” (1992), for instance, was considered hammy by some, but, in Pacino’s thinking, the character was a lunatic—a suicidal, narcissistic man who drew attention to himself through his affectation of swagger—and he played him that way. “I paint the way I see it, and some of the colors are a little broader and a little bolder than others,” he said, adding, “Sometimes you take it to the limit, sometimes you may go a little overboard, but that’s all part of a vision. I say, go with the glow. If an effort is being made to produce something that has appetite and passion and isn’t done just to get the golden cup, it isn’t a fucking waste. Yes, there are flaws, but in them are things you’ll remember.” Pacino protects his talent by leaving it alone, which accounts for his vaunted moodiness. “There are various superstitions connected with reaching his center, and he doesn’t want to discuss them ever,” Mike Nichols, who directed Pacino in “Angels in America,” said. “He’s consulting somewhere else. And the somewhere else does not have to do with words.” Pacino almost never talks shop. When he was at the Actors Studio, in the late sixties, whenever Strasberg gave him notes, he said, “I would actually count numbers in my head not to hear what he was saying. I didn’t want to know. I thought it would fuck up what I was doing, where I was going with my own ideas.” Even Pacino’s speech patterns, which forge a kind of evasive switchback trail up a mountain of thought, serve as a defense against too much parsing of his interior. “Al is dedicated, passionately, to inarticulateness,” Nichols said, pointing out that in conversation Pacino has no “chitchat.” Playing dead in social situations is his instinctive strategy. “He was so sensitive that he was insensitive to his surroundings,” Diane Keaton, with whom Pacino had an on-again-off-again relationship in the seventies and eighties, wrote in her memoir “Then Again.” “Sometimes I swear Al must have been raised by wolves. There were normal things he had no acquaintance with, like the whole idea of enjoying a meal in the company of others. He was more at home eating alone standing up. He did not relate to tables or the conversations people had at them.” Pacino refers to acting as “close to magic.” To invoke that spell, he observes many rituals, which sometimes include shaking hands with everyone on a film set before shooting a scene, and heading off for a walk before going onstage. “The calm before the storm—only sometimes the calm becomes the storm,” he explained. In 2012, when he was appearing in Mamet’s “Glengarry Glen Ross” on Broadway, Pacino was skulking around midtown in a hooded coat when a parking attendant accosted him. “ ‘You! Get out! What are you doing here?’ ” Pacino recalled him shouting. He added, “Oh, it felt so good.” While working on his first production of “Richard III,” in 1973, at the Church of the Covenant, in Boston, Pacino and his assistant developed a pre-show routine for launching him into the role of the anarchic, manipulative “lump of foul deformity” who would be king. Pacino’s dressing room was the church rectory. “She’d peek through the door and say, ‘Half hour,’ then, ‘Fifteen minutes.’ She’d come back again and say, ‘Five minutes.’ I would say, ‘Fuck off,’ each time,” Pacino told me. “She’d say, ‘The audience is out there waiting for you.’ And I’d say, ‘Fuck off!’ She’d say, ‘I’m coming to get you.’ She’d grab at me, and she’d throw me out of the dressing room. I guess it was the right spirit, because it worked. They called me out six times after I bowed.” After the show, he added, “I would bawl my eyes out. I roused so many things in myself.” Pacino’s allegiance to the stage, his compulsion to connect with a live audience, is due, perhaps, to a need to re-create his relationship with the person he calls his first and “indeed my best audience,” his mother, Rose. To be seen and to be accepted was the promise behind his early performances. The theatrical interaction gives him, he said, “a sense of being at home, together again.” Pacino’s father, Salvatore, was eighteen when Alfredo was born, in East Harlem, in 1940, and twenty when he left. He paid a few memorable visits, twice going to see his son perform in high-school plays, but Pacino saw very little of him, even after he had become a star. By then, Salvatore, who married five times and for decades worked as an insurance salesman for Metropolitan Life, owned Pacino’s Lounge, a restaurant and bar in Covina, California, where he frequently joined the band to sing, play the maracas, and shake his booty. “When a friend met my dad, he looked at him and said, ‘There it is with you, Al. I see it. The survivor,’ ” Pacino said. “I got that from my dad.” Rose, according to Pacino, was a reader who had “a sensitivity and a connection to the theatre.” She took Pacino to see Tennessee Williams’s “Cat on a Hot Tin Roof” on Broadway. She was playful, with a good sense of humor, but also volatile and reclusive. She often refused to leave her room when company came over. “She reminded me of a Tennessee Williams character. She would have been a really good Laura, also a good Amanda. She had both,” Pacino said, referring to Williams’s play “The Glass Menagerie.” In other words, she was a troubled, fragile, controlling, somewhat hysterical soul, who fought a losing battle against her own desperation. Despite the family’s meagre income, Rose scraped together enough to pay for visits to a psychiatrist. To treat her chronic depression, she resorted to electric-shock therapy. Eventually, she became addicted to barbiturates, which may have been the cause of her death, at forty-three, in 1962. The stain of her possible suicide hangs over Pacino’s memory of Rose. “Poverty took her down,” he said. Not long before she died, Pacino recalls rushing to a casting session for Elia Kazan’s “America America.” “I had one of the few fantasies I’ve ever had in my life,” he said. “I would do well, my mother would be O.K. with it all, and I could say, ‘Mom, we got it. We’re gonna make some money. It’s gonna be O.K.’ ” As it happened, Pacino arrived late and missed the audition. After Salvatore left, Rose and Sonny (as Pacino was known throughout his childhood) moved in with her parents, James Gerardi, a plasterer who was an illegal immigrant from Corleone, Sicily, and his wife, Kate. In their cramped three-room apartment in the South Bronx, which sometimes housed as many as seven people, Pacino never had a space of his own. (“I remember years of sleeping between my grandmother and grandfather,” he said.) At the same time, he was an only child, often left to his own devices. “I was always sort of building stories, creating stories,” he said. “It was a way of filling up the loneliness.” Storytelling ran in the family. In warm weather, Pacino’s grandfather, with whom Pacino had what he calls “one of the great relationships of my life,” would sit with him on the tar roof of their tenement and spin tales about his rough Dickensian youth in turn-of-the-century New York. “He got the shit kicked out of him by cops with helmets and big clubs—‘You little wop! Get over here, you stinking Guinea!’ ” Pacino said. “He’d talk about running away from home, living off the farms, how he would steal milk. He just loved talking to me, like we were on some little rowboat.” The roof, Pacino added, “was our terrace. There was this cacophony of sound—the Poles, the Jews, the Irish, the German, the Spanish. This definitive melting pot is what I came from. In some Eugene O’Neill plays, you hear the same thing.” Among many odd jobs, Rose worked as a cinema usherette, and when Pacino was three or four she began to take him to the movies. “The next day, I would act out all the parts,” he said. “I think that’s how it started.” Pacino was often coaxed into performing scenes for his extended family, which included a deaf aunt. His party piece was an imitation of Ray Milland in “The Lost Weekend,” playing an alcoholic writer desperate for a drink. Pacino would open cupboards and doors, pretending to search for a hidden stash of booze. “I never understood why they were laughing, because I didn’t think it was funny,” he said. “But I knew it produced laughs.” On Bryant Avenue in the forties and fifties, people escaped their small, hot apartments to sit on stoops or hang out under street lamps to roll dice or play poker. To disarm bullies and find friends, Pacino used the same strategy on the street that he’d used at home: he performed and enlisted others to perform with him, earning the nickname “the Actor.” “We’d act out parts from joke books and comic books,” he told me. “Kids make videos today, but it was kind of an unusual thing then to get street urchins to join you in acting out comics. Of course, it never got off the ground; there’s a comedy in there somewhere.” “He was always full of drama,” said his neighbor Ken Lipper, who would later become the deputy mayor of New York and a producer and screenwriter of “City Hall” (1996), in which Pacino starred. “He loved to take on different personae. He used to go to 174th Street and pretend he was a blind child.” Pacino’s bravado and good looks got him noticed. “The girls in the neighborhood would say, ‘Sonny Pacino, the lover bambino.’ The boys would say, ‘Sonny Pacino, the bastard bambino,’ ” Pacino told me. “It started early.” Pacino was smoking at nine, chewing tobacco at ten, and drinking hard liquor at thirteen. He walked the edges of rooftops and jumped between tenement buildings. His favorite place was “the Dutchies,” a swampy labyrinth on the Bronx River, where truant kids hid in high marsh grasses. Pacino played third base for the Police Athletic League team, the Red Wings, which became a “quasi street gang,” with Al as its de-facto leader. In black wool jackets with a red stripe down the sleeve, the Red Wings patrolled their turf and protected it from roaming invaders, like the Young Sinners and the Fordham Baldies. Once, when they were twelve and sitting on the steps of a tenement after finishing a game of stickball, Lipper said, “some guy came over who was thirtyish and started menacing us. Al got up and whacked him with the stick.” Pacino’s wild crew, “tough kids with high I.Q.s and tragic endings,” became a template on which he modelled many of his memorable characters. “These people were a springboard for my profession,” he said. “They were part of what I consider the best time in my life.” Pacino was less popular with the authority figures around him. “I wasn’t out of control, but I was close,” he said. “My mother had to come to school to talk to the teachers. Their conclusion? That I needed a dad.” When Pacino’s junior-high-school drama teacher, Blanche Rothstein, climbed the five flights of stairs to talk to his grandmother about his acting skills, it was, he said, “the first time I ever had encouragement.” He went on, “The world we came from, the encouragement just wasn’t there. We weren’t seen. Or we weren’t regarded. Do you think ever, once in my life, my mother or any adult ever said, ‘How was school today?’ Never! It was unheard of.” Nonetheless, Ms. Rothstein spotted a spark when Pacino read Bible passages in school assembly—“I didn’t know what I was talking about, but I felt it,” he said—and she cast him in school plays. Thanks to his talent, at the end of junior high Pacino was voted “most likely to succeed.” Pacino was accepted into Manhattan’s High School of Performing Arts, which meant that his South Bronx street life was more or less a thing of the past. “All that remained was acting,” he said. His stay at the school, however, was a short one. “You gotta be kidding,” he told his Spanish teacher, when he discovered that the class was conducted entirely in Spanish. And he found the Stanislavsky method boring. “What does a kid who was thirteen, fourteen know about Stanislavsky?” he said. “All I knew was you sing, you dance, you have fun, you imitate. Now I was looking at my navel twenty-four-seven. It took me I don’t know how many years to get over that.” By his own admission, Pacino was a “dunderhead” at academic work, and by the time he dropped out of school, at sixteen, to support his mother, he was ready to go. Rose, who had at first approved of his ambition, now saw it as foolhardy. “Acting isn’t for our kind of people,” she told him. “Poor people don’t go into this.” Pacino said, “I didn’t know what she was talking about. On an unconscious level I did, but it didn’t mean anything to me. I’m a survivor. Survivors only hear what they want to hear.” Between odd jobs, Pacino attended auditions, where he soon learned that, as an Italian-American of a certain class and demeanor, he didn’t “look right” for most parts. His instinct was to bide his time. “I knew, when the opportunity came, all I’d have to do is be there,” he said. But his mother’s death, when he was twenty-one, sent him into a tailspin. Within a year, his grandfather, too, was dead. Pacino had buried the two people to whom he was closest. “And I had no father,” he said. “I think that was my darkest period. I felt lost.” On Pacino’s living-room mantelpiece is a small moody photograph of him in profile in his early twenties, in an Off-Off Broadway production of August Strindberg’s play “Creditors.” The image marks the seminal moment, he said, “when I knew that nothing mattered except that I became at one with the play.” “Creditors,” a tragicomedy about a credulous young artist whose mind is poisoned against his wife by her bilious ex-husband, was directed by Charlie Laughton, an actor turned acting teacher at the Herbert Berghof Studio, whom Pacino first met in a Village bar when he was seventeen. Laughton, who’d also had a hardscrabble early life, recognized both Pacino’s talent and his difficult circumstances. Over time, he became Pacino’s mentor, his sidekick, his drinking buddy, his dramaturge, and, ultimately, his business partner. Laughton also introduced the teen-age Pacino to the works of Joyce and Rimbaud. “He would read them, and then I would read them myself,” Pacino told me. In those knockabout years, he added, “I dealt with whatever was bothering me through reading. You could not find me without a book.” Still, in the early days of rehearsing “Creditors” Pacino, surrounded by classically trained actors, panicked and wanted to quit the show. Laughton sat him down and went through the script with him until he fully understood what was going on. Pacino had been spooked in that way before, in his Off-Off Broadway début, in a production of William Saroyan’s “Hello Out There,” which grew out of Laughton’s classes. Pacino’s first line got a laugh, but he didn’t understand the joke. In the alley, during intermission, he burst into tears and didn’t want to continue. Laughton talked him through it. “It was a very important moment for me,” Pacino recalled. “I went back in there and finished the run.” Laughton, who was for years wheelchair-bound with multiple sclerosis and who died in 2013, at the age of eighty-four, remained an emotional bulwark for Pacino until the end. Pacino visited him in his last days, at a hospital in Santa Monica, and they got to talking about the time that Pacino was taking Laughton’s class at the Berghof Studio and performed a scene from Reginald Rose’s “Crime in the Streets” in front of Berghof and the rest of the school. After he finished, he said, “Berghof got up there and started to put me down. He started screaming at me, ‘How dare you!’ He was absolutely flipping out.” Pacino asked Laughton, “What was going on?” “A new era,” Laughton said. “He saw a new era.” On January 17, 1967, for his first scene at the Actors Studio, Pacino presented a monologue from Eugene O’Neill’s “The Iceman Cometh,” which morphed into a soliloquy from “Hamlet.” It was risky, but, as Pacino said, “It’s a risk not to take risks.” Breaking a long-standing Studio tradition, the audience of actors applauded his performance. Lee Strasberg then asked Pacino to play O’Neill’s character, Hickey, as Hamlet, and Hamlet as Hickey. Afterward, he addressed Pacino. “The courage you have shown today is rarer than talent,” he said. Pacino had broken through. “I was now an actor,” he said. “I had an identity.” He spent much of the next year in Boston doing plays (Clifford Odets’s “Awake and Sing!,” Jean-Claude van Itallie’s “America, Hurrah”), in which, he said, “I played notes that fell flat and I didn’t connect.” But when Israel Horovitz delivered his one-act “The Indian Wants the Bronx” to Pacino, in a messy basement room in a building on West Sixty-eighth Street, where he was earning fourteen dollars a week as a superintendent, Pacino found the perfect vehicle—a script about two taunting teen-age louts in the Bronx who take out their frustrations on an Indian man at a bus stop. Over the next months, Pacino and Horovitz performed the play in and out of town to raise interest in a production. But when a producer was eventually found she had her own ideas about casting. “On audition day, she brought in the actor she wanted: blond, blue-eyed, tall, untalented,” Horovitz wrote in a memoir. “I said no, absolutely no. She said, fine, O.K., she wouldn’t produce the play. I said, ‘Let both actors audition.’ ” Pacino was furious with Horovitz for putting him in this position; since he didn’t belong to Actors’ Equity, he was forced to attend an open call. “It seemed like every young, non-union actor in New York City showed up that day,” Horovitz recalled. When it was Pacino’s turn, he came out singing, then crossed to downstage center and looked directly at the producer: Hey, Pussyface, can you hear us? Can you hear your babies singin’ to ya? “Startled and terrified,” according to Horovitz, she agreed to cast Pacino. “The Indian Wants the Bronx” opened at the Astor Place Theatre, on January 17, 1968. Of all the débuts I attended in more than fifty years as a theatre critic, Pacino’s was the most sensational: immediate, arresting, and inexplicable. “I saw an actor up there with a shaking jaw, who was on the verge of tears,” Horovitz recalled. “The circumstance of the play was bringing him to a deep place of pain. And the audience connected to this terrible sense of humiliation, of unworthiness.” Pacino won an Obie for Best Actor, and a Tony the following year, for his performance in Don Petersen’s “Does a Tiger Wear a Necktie?” “All I could see was Al Pacino’s face in that camera. I couldn’t get him out of my head,” said Francis Ford Coppola, who nearly got fired from “The Godfather” (1972) for insisting that Pacino play Michael Corleone, the educated youngest son of Don Corleone, the Mafia kingpin. The studio lobbied for such bright box-office names as Robert Redford, Warren Beatty, Jack Nicholson, and Ryan O’Neal. But Mario Puzo, who wrote “The Godfather” and adapted it for the screen, came to Coppola’s defense and gave him a letter to be used at his discretion. “Above all, Pacino had to be in the film,” he said. On the day of his first screen test, however, Pacino was hung over: he didn’t know his lines, and he ad-libbed the scene. Puzo felt that Pacino “was terrible. Jimmy Caan had done it ten times better.” Puzo went over to Coppola. “Give me my letter back,” he said. “Wait a while,” Coppola said. Pacino tested three times for the role. The back-and-forth agitated him to such a degree that he finally refused to take Coppola’s calls and made the actress Jill Clayburgh, his girlfriend at the time, speak for him. “ ‘Francis, you’re making him crazy. He doesn’t want to be where he’s not wanted,’ ” Pacino recalls her saying. When Pacino was finally offered the part, he almost couldn’t take it. A few months earlier, he’d signed on for an adaptation of the Jimmy Breslin book “The Gang That Couldn’t Shoot Straight,” and M-G-M and the producer, Irwin Winkler, refused to release him. Winkler and Horovitz were sharing a house on Fire Island, and Pacino begged the playwright to intercede on his behalf. “This was the door opening, and they wouldn’t let him out of his contract,” Horovitz recalled. “I went crazy with Irwin, and he said, ‘You find me a young Italian actor that’s as good as Pacino, and I’ll let him out.’ ” Horovitz took Winkler to see a performance by a young unknown named Robert De Niro. “He took De Niro, and he got two options on Pacino and two on De Niro,” Horovitz said. After Pacino got the “Godfather” role (for which he was paid a flat fee of thirty-five thousand dollars), he walked from his apartment, on Ninetieth Street and Broadway, to the Village and back, thinking about how he’d play it. “I didn’t see Michael as a gangster,” he said. “I saw his struggle as something that was connected to his intelligence, that innate sense of what’s around and being able to adjust to things.” He added, “The power of the character was in his enigmatic quality. And I thought, Well, how do you get to that? I think you wear it inside yourself, and you find a way to avoid, as much as you can, the obvious.” However, after his first week of avoiding the obvious, according to Pacino, “they wanted me fired—they didn’t see what I was doing. Luckily for me, the Sollozzo scene”—in which Michael earns his Mafia spurs by executing two men in a Bronx restaurant—“was the next day. When they saw that scene, they kept me.” Pacino’s performance in “The Godfather” put him at the center of one of the great cinematic sagas of the century and on a first-name basis with the world. He was showered with accolades and offers. (Coppola asked him to star in “Apocalypse Now,” but he declined. “You know, sometimes you look into the abyss?” Pacino said. “I’m, like, this is the abyss. I’m not gonna go there.” He also turned down “Star Wars,” “Die Hard,” and “Pretty Woman.”) But perhaps the most satisfying response came from Puzo, who wrote, “It was, in my eyes, a perfect performance, a work of art. I was so happy . . . I ate crow like it was my favorite Chinese food.” Pacino’s other great early successes—“Serpico,” “The Godfather, Part II,” and “Dog Day Afternoon”—only added to his momentum. But, of all his performances in those years, the sleeper was his embodiment of the garish, vulgar, sensationally violent Tony Montana, an impoverished Cuban refugee who becomes the most powerful drug trafficker in Miami, in “Scarface.” The role was dismissed as “macho primitivism” at the time, but, over the years, it has emerged as a challenger to Michael Corleone as Pacino’s most popular creation. The director, Brian De Palma, designed “Scarface” as a kind of hyperbolic pageant. “The picture had a fire to it,” Pacino said, in “Al Pacino: In Conversation with Lawrence Grobel.” “The violence blown up, the language blown up. The spirit of it was Brechtian, operatic.” To play Montana, Pacino drew inspiration from the swagger of the Panamanian boxer Roberto Duran and from Meryl Streep’s committed rendering of the traumatized Polish immigrant Sophie, in “Sophie’s Choice.” As an actor, Pacino said, “you’re always looking for that thing that’s going on besides the words.” In “Scarface,” he connected with Montana’s raging ambition and the rebelliousness in his epigrammatic lines: “All I have in the world is my balls and my word, and I don’t break them for no one”; “You know what capitalism is? Getting fucked!”; “You wanna play rough? O.K. Say hello to my little friend!” In the twenty years following the release of “The Godfather,” Pacino made seventeen films and was nominated for an Academy Award six times. (He finally received one, in 1993, for his performance in “Scent of a Woman.”) But he was discombobulated by the distractions of his success. “I felt like the fighter that was in Round 8, exhausted in the corner, they’re pouring water over my head and rubbing Vaseline on my face, then ding went the bell, and I was back out there in another film,” he recalled. “It was a whirlwind.” Pacino disappeared into work, and, after hours, into a bottle. “I don’t remember much of the seventies,” he said. “All that stuff—the explosiveness of my life change. It would be almost fair to say I wasn’t really there. It was too much for anyone to handle.” Eventually, Laughton called Pacino on his alcohol abuse, which had been a constant since he was a teen-ager. He stopped drinking in 1977. During his first year of sobriety, a time of great stress, Pacino made “Bobby Deerfield,” a plodding Sydney Pollack melodrama, in which he played a celebrity race-car driver, who hides his vulnerability behind sunglasses and a carapace of toughness. His next movie, “Cruising” (1980), William Friedkin’s thriller about a serial killer who targets gay men—which sparked protests in the gay community—was “a terrible experience” for Pacino as well as for the critics. “Author! Author!” (1982), which was written by Horovitz, was also a bust. “Scarface” came out to mixed reviews, and was followed by “Revolution” (1985), in which Pacino played a Scottish fur trapper with a Bronx accent, who gets embroiled in the Revolutionary War. “Revolution” was proof, if more was needed, that on the Hollywood merry-go-round Pacino had lost track of who he was. The movie cost twenty-eight million dollars to make and grossed less than $360,000. It was one disaster too many. In a radical move, at the height of his celebrity, Pacino called a halt to movie-making and moved to Snedens Landing, in Palisades, New York, with Diane Keaton. There he settled, he said, “into something that was wonderful with Diane and my life. I didn’t feel rushed or that I had to put out. I felt relatively content.” The stoppage was a crucial emotional recalibration. “It is the very nature of fame that the light is on you a lot,” he said. “I sort of wanted to turn the light out of my face, so I could see.” Pacino’s return to New York was also a return to theatre. He appeared in Dennis McIntyre’s “National Anthem” at the Long Wharf Theatre, in New Haven. He played Mark Antony, in a disastrous “Julius Caesar” at the Public, a role he could never find his way into. But his main creative focus was on “The Local Stigmatic,” a little-known 1969 one-act by Heathcote Williams, about two British ne’er-do-wells who grievously harm a famous actor whose success enrages them. Pacino produced and starred in a fascinating film version of the play. “I took almost a year to edit this fifty-two-minute play,” he said. “I had no one wanting it to work or not work. It was under my control. I was free.” (The film was never released theatrically but was included in the DVD boxed set “Pacino: An Actor’s Vision.”) Although Pacino remembers this time as “probably the best period” of his adult life—“It was as close to egoless as I’ve ever been”—four years into his self-imposed exile from Hollywood he was running out of money and Keaton was running out of patience. One day, according to Pacino, she read him the riot act. “What do you think you’re doing?” he remembers her saying. “Do you think you’re gonna go back and live in a rooming house again? You’ve been rich too long, buddy. You can’t go back. You think you’re on the A-list, but you’re not. You’re out because you put yourself out. You’ve got to go back to work.” Keaton added, “This script. This is your thing. This is what you’ve got to do.” She handed him Richard Price’s screenplay for “Sea of Love.” “It was so sweet of her,” Pacino said. “It was so giving, so caring. I have to say, she was right.” “Sea of Love” (1989), the story of a cop in a midlife crisis who falls for a woman who may be the killer he’s pursuing, made a star of Ellen Barkin and restored Pacino’s box-office clout. In the next five years, he made “Dick Tracy,” “The Godfather, Part III,” “Frankie and Johnny,” “Glengarry Glen Ross,” “Scent of a Woman,” “Carlito’s Way,” and “Heat.” As Pacino paced his living room, a tall, striking woman with long auburn hair swept in, draped an arm over his shoulders, and pulled him to her, like a swan taking a cygnet under its wing. Lucila Sola, a thirty-five-year-old Argentinean actress, spoke in Latin-inflected English. “I am his longest relationship—seven years,” she said, by way of introduction. Sola, who studied law and sociology before switching to acting, is the latest in a long line of strong, smart actresses with whom Pacino has been involved—Tuesday Weld, Kathleen Quinlan, and Marthe Keller, among them. The two met at a dinner party in 2005, when his twins were four and her daughter, Camila, was seven. They were both dating other people, but their kids got along and they found themselves going to movies together, swimming in Pacino’s pool, taking trips to San Diego, the beach. “We were friends. For two years—two years—nothing,” Sola said. “When people ask, ‘How long have you been together?,’ I say, ‘Forty-nine years.’ A year with Al is like a dog year because it’s so intense.” She explained, “He’s a medium. He’s channelling something. When he’s doing a part, it’s hard to be around him because he’s very different. Al has left the building.” The conversation turned to Diane Keaton’s bittersweet second memoir, “Let’s Just Say It Wasn’t Pretty,” which had been published the week before and in which she discussed “the lure of Al.” “His face, his nose, and what about those eyes?” Keaton wrote. “I kept trying to figure out what I could do to make them mine. They never were. . . . For the next twenty years I kept losing a man I never had.” Sola expounded on the astuteness of Keaton’s observation. “Al has this ephemeral, childlike quality about him,” she told me. “His friend Charlie used to say he’s like smoke. He’s there, but he’s not there. That’s maybe what drove the women crazy. You want to catch him, but you can’t because Al is—” “Leave John alone,” Pacino cut in, bringing the conversation effectively to an end. Sola had persuaded Pacino to accompany her to a friend’s birthday bowling party the next day. That evening, complaining about the “fucking bowling shoes”—“I can’t stand putting on my shoes every day. Imagine putting on bowling shoes,” he said—Pacino got behind the wheel of his white Range Rover and headed for Lucky Strike, in Hollywood, which turned out to be more of a bowling den than an alley. A bookshelf extended from the entrance into the large underlit space; jokey signage—a poster advertising “10 Rules for Sleeping Around”—hung from the walls; from a distance, beyond the bar, came the echo of ricocheting pins. The birthday girl, Kam, in blue satin shorts and a diamanté tiara, waved Pacino and Sola over to the leather banquette where her posse of svelte girlfriends and their men were huddled. While Sola plunged into the crowd of chatty celebrants, Pacino took a barstool at a table behind them and ordered a plate of barbecued chicken. As he ate, the standup comedian Bill Bellamy, who is credited with coining the phrase “booty call,” appeared. “We’re blessed, man,” Bellamy said. “I’m blessed. You killed in that Liberace shit, man.” “That was Michael Douglas,” Pacino said, wiping barbecue sauce off his fingers. As Pacino was putting on his bowling shoes, a Lucky Strike staffer approached. “Sorry to disturb you,” he said, holding up his cell phone to indicate a promotional photo op. “But would you mind?” “I don’t do that,” Pacino said. Sola pulled him away toward the party. “Once that starts, it’s over,” she said. Pacino guttered his first ball. His second swerved left and picked off five pins. By the next frame, his score was fifteen. He sat down on the sofa. “I usually get myself into a Zen place and am just very quiet,” he told me later. “People give you room when you get real quiet with your disposition.” At the bowling party, however, the tactic wasn’t working. The phones came out, and Pacino was swarmed with requests for selfies. Having done his duty, he slumped back down on the couch. From his body language, Sola could tell that the night was over. Thirty minutes after they arrived, she was leading Pacino toward the exit. In the garage, he fumbled for his parking ticket and couldn’t find it. “You know me, I’m in pictures,” he said to the attendant. At the exit, he struggled again, this time to fit his new ticket correctly into the machine. The barricade finally lifted. “I’m a natural, baby,” he said, as he accelerated into the balmy night. “I just pick things up.” In mid-2010, Pacino learned that his business manager, Kenneth I. Starr, had been arrested for embezzling his clients’ money in a Ponzi scheme. (Starr is currently serving seven and a half years in prison.) There had been warnings. Early on, Mike Nichols, who had taken his money out of Starr’s company, had raised suspicions. “I’ll get to it,” Pacino told Nichols. “Then I never got to it,” he said. “Millions of dollars were gone,” Sola said. “Gone.” Pacino took the loss in stride. “I thought, Hey, this is the world. It’s real,” he said. “Not one day I saw him down or depressed,” Sola said. “He was, like, ‘O.K., now what do we do? Roll up our sleeves and go to work.’ ” Pacino’s agent, John Burnham, told me, “In his halcyon days he made around fourteen million a picture, but the industry’s changed. Nowadays, he gets five million. With a gun—seven million.” It has taken Pacino four years to work himself back to a position where, he says, “compared to a normal person, I have a significant amount.” He sold a Snedens Landing property, did commercials, took out a loan, and signed on for Adam Sandler’s dismal but profitable “Jack and Jill” (2011)—a “kids’ movie,” according to Pacino, in which he sent up both his legend and his financial predicament. In the film’s best moment, a hip-hop ad for Dunkin’ Donuts, Pacino can be seen dancing and pitching the “Dunkaccino”: “You want creamy goodness / I’m your friend / Say hello to my chocolate blend.” “I’ve recently come to terms with the fact that I can only do something I am creatively connected to,” Pacino told me. “The Humbling,” based on the 2009 Philip Roth novel, which Pacino optioned, is part of that mission. The novel tells the story of a depressed, aging actor whose talent is slipping away and who tries to rejuvenate himself through an affair with a younger woman (who in the movie is played by Greta Gerwig). “I liked the idea that an actor is losing it and wants to revive not so much his career as his life, and finds that there’s no life there,” Pacino said. “He’s trying to be a real person, and discovering that he doesn’t have the appropriate tools to do this. I felt that these things were sad and almost farcical.” Barry Levinson, the director, who enlisted Buck Henry to write the screenplay, was also taken with the novel. “It was a great character study,” he said. “We wanted to flesh that out a little bit more, to apply some of the things that Al’s gone through in his life, and, hopefully, not in a super-serious fashion. There’s a dark comedic trail to the piece.” The film was undertaken with a freewheeling spirit. “We did a lot of improvisation,” Levinson said. “ ‘The Humbling’ is about as homemade a movie as you can make. We made it for two million dollars in twenty days. We shot part of it in my house, because we didn’t have enough money to go somewhere else.” Pacino’s legend is based on the films of his youth, for which he drew on his anger, his sexuality, his energy. The films he’s interested in now tend to dwell, like “The Humbling,” “Manglehorn,” and “Danny Collins,” on old age and the issues of decline. They are of a different amperage and a different spiritual mind-set. They are not, so to speak, the rock-’em-sock-’em Pacino of old but a new Pacino: a man who is consolidating his family, regretting some of his life choices, and living under the strictures of his fame. In late June, I met up with Pacino in Boston, one of the twenty-three cities in which he would be performing “Pacino: One Night Only,” a business junket disguised as a lap of honor. The promoters referred to this form of entertainment as “talk theatre.” In essence, Pacino was taking himself on the road. He had flown in late the previous night from Ottawa, where he’d sold out a twenty-six-hundred-seat theatre at the National Arts Centre. In Boston, he was at the Wang Theatre, a fun palace built to hold thirty-seven hundred customers, who were shelling out up to a hundred and seventy-nine dollars a seat—plus an extra three hundred if they wanted to attend a meet-and-greet after the show. A slick eight-minute montage of clips from Pacino’s movies opened the evening. He told Sonny Corleone, “It’s not personal, Sonny. It’s strictly business”; he shouted, “Attica! Attica!”; he jumped Ellen Barkin’s bones. When Tony Montana drunkenly turned on the scowling patrons of a swank restaurant (“Say good night to the bad guy!”), the audience roared. The lights came up, and Pacino entered to a standing ovation. He let the volley of sound wrap around him, then, with his hands clasped together in front of him, he bowed low. After a few reverent questions from Ty Burr, the Boston Globe’s film critic, who was his interlocutor for the evening, Pacino picked up his legend and ran with it: performing as a kid for the deaf aunt (“started my overacting, I guess”); the high-school teacher who called him a prodigy (“How do you spell that?”); when he knew he had “it” as an actor (“I hope I never do”). Pacino played off the hoots of approval—“riding the bull,” he calls it—taking the audience into his confidence, and, when he went off course, letting it guide him back to his story. “Where was I? Oh, yeah—I was a superintendent. . . . I put an eight-by-ten picture of me on the door—kind of looking handsome. Underneath, I wrote ‘Super.’ And there wasn’t a girl that went into that apartment that I didn’t go after!” Afterward, at the meet-and-greet, Pacino sat on a stool in front of a camera for forty-five minutes while premium ticket holders lined up for a photograph. The night before, he had obliged a blind woman who handed off her cane and asked him to dance. Tonight, the fans approached him solemnly, like communicants, uncertain how to arrange themselves beside their icon. Some leaned in, some stood apart, some asked if it was O.K. to put an arm around his shoulder. (It was.) One woman planted a kiss on Pacino’s cheek, then placed a lily and a rose in his lap. Another woman, in formal evening gloves and a gray dress, who positioned herself in front of Pacino to speak to him, told me later that she had devoted her life to theatre after seeing Pacino act in “The Resistible Rise of Arturo Ui,” on her twenty-first birthday, thirty-nine years before. “He gave me a passion for the theatre,” she said. “It was a great gift.” At Logan International, a private jet was waiting to take Pacino and his crew to New York. “There’ll be a crowd at the airport,” Pacino warned me, as the bags were loaded into his two-car convoy. As predicted, a group of autograph hunters were waiting like spectres outside the reception area. “It’s their job,” Pacino said. “At first, I didn’t know. I just thought they were strange people who kind of looked alike, but they do it for a living.” As he got out of the car, the scrum of about twenty pushed forward. “Al! Al! Over here, Al!” they called, flourishing photographs and memorabilia. Head down, Pacino walked straight through the glass doors and into the bright silence of the lounge. At takeoff and landing, Pacino crossed himself and kissed his fingers. During the flight, he talked about another kind of blessing he’d felt that day. In the late afternoon, with his bodyguard a hundred feet away, Pacino had spent an hour on Boston Common, sitting unnoticed on a bench and watching the passers-by. “It felt like I was back on the block, back home,” he said. “I felt lonely, but I always feel that way. I could feel connected to myself, just like when I sat there fifty years ago. I started there, in that park and that town. I didn’t feel I had changed. I was still me. The park was still the park. I’ll remember that moment.” The temporary anonymity had brought “a kind of peace,” which, he said, “is pretty much a luxury.” Later, he told me, “I haven’t been in a grocery store or ridden the subway in fifty years. My kids have a difficult time going out with me publicly. We have yet to go on a camping trip. But one day I want to rent a small house on a lake. It’s my dream—I don’t know how to get to it yet, but I’ll give it another year.” Still, he said, “I’m fine not having anonymity. I’ve learned how to live with the other thing, and the sort of enjoyment that comes with that. It ain’t bad.” He added, “Not that I recommend it, but, like they say, you should try it sometime.” ♦ Watch John Lahr’s commentary on films from Al Pacino’s career. An earlier version of this article misstated Bellamy’s first name.
915	yago	0	29	http://www.dvdjournal.com/quickreviews/l/lookingforrichard.q.shtml	en	Quick Reviews: Looking for Richard			[ "http://www.dvdjournal.com/reviewimgs/l/lookingforrichard.jpg", "http://www.dvdjournal.com/imgs/bluestar.gif", "http://www.dvdjournal.com/imgs/bluestar.gif", "http://www.dvdjournal.com/imgs/bluestar.gif", "http://www.dvdjournal.com/imgs/bluestar.gif" ]	[]	[]	[ "Looking for Richard", "Al Pacino", "Kevin\nSpacey", "Alec Baldwin", "DVD", "The DVD Journal", "reviews", "commentary", "movies", "cinema", "film" ]	null	[]	null	Click here to read The DVD Journal's quick review of Looking for Richard.				null	Looking for Richard Al Pacino undertook his self-produced documentary Looking for Richard (1996) for a few reasons: to explain something about the works of William Shakespeare to himself, certainly but also to cast a light on the sort of vibrant drama that scholars tend to undermine with overly fussy terms while audiences, and Americans in particular, either understand in the most general sense or avoid outright. Like many actors, Pacino considers Shakespeare ideal for mass consumption. But he also thinks that Shakespeare should be very much for Americans, both to perform and appreciate. Hence, his four-year odyssey to capture a largely Stateside production of one of Shakespeare's important works. Notably, he avoided some of the easier targets in the canon the tragic/ironic romance of Romeo and Juliet; the patriotic, action-packed Henry V; the comedy and sexual politics of The Merry Wives of Windsor or The Taming of the Shrew. All would have been perfectly suitable primers on accessible Shakespeare. Instead, Pacino had settled upon Richard III, which by many accounts is Shakespeare's most-produced play historically, and his second longest (ranking next-door to Hamlet on both scorecards). It's not quite as easy to say that Shakespeare's arch-antihero Richard Gloucester is quintessentially American, although he's certainly among the most complex characters to arrive on the Elizabethan stage, winning the audience's sympathy with little more than his shrewd, against-all-odds cunning and his bold plot to steal the crown of England and coronate himself King. It's also notable that only two major cinematic renditions of Richard III exist: Laurence Olivier's 1955 version and Richard Loncraine's 1995 future-shock update with Ian McKellen. Both are British; Hollywood had produced none. Richard may not be Shakespeare for the masses after all. Aware that he had no opportunity to match Olivier's production, Pacino embarked upon Looking for Richard simply by recruiting fellow actors and shooting small excerpts on film, be it conversations, debates, table-readings, or informal scenes in casual settings. The process then gave way to a micro-budget, full-costume production of particular scenes and passages (primarily shot at Cloisters, the branch of New York's Metropolitan Museum of Art dedicated to Europe's middle ages). And in the interim, while Pacino was off making other movies, he also managed to lodge interviews with Shakespearean scholars, and even a few folks who might know a thing or two about putting on a show (including John Gielgud, James Earl Jones, Vanessa Redgrave, and Kenneth Branagh). The result is several things all at once. Looking for Richard is an authentic production of Shakespeare's popular historical work, distilled into four acts. It's a meditation on the value of the play, and of Shakespeare in general. It's a master class in acting, with several behind-the-scenes conversations illuminating how much thought and planning goes into this sort of production. It's a functional Cliff's Notes on the history behind the play and the action on stage. And it's a look at the very intuitive job of literary interpretation, where the actors and director do their best to determine exactly what motivations support each line of dialogue, and thus how the dialogue is best expressed. The fact that Pacino delivered this labor of love on the cheap is perhaps the only drawback to the experience. Despite being beautifully lit, the 16 mm film-source (blown up to 35mm) is hard to miss. And Pacino is simply so damn good at playing Richard that it's a bit painful to consider that an enclosed dramatic production wasn't created for those who would like to lose themselves in the story and the fine cast, which includes Kevin Spacey, Alec Baldwin, and Winona Ryder. Nonetheless, Pacino relied on the graces of others to even get this much on screen (he recruited Spacey and Baldwin from Glengarry Glen Ross, while Michael Mann lent some of his film crew from Heat to shoot the climactic Battle of Bosworth Field just outside of L.A.). And if it were possible for Pacino to mount his own production, it's doubtful that this fly-on-the-wall look at Shakespeare in America ever would have emerged. Fox's DVD release of Looking for Richard features a solid anamorphic transfer (1.85:1) from a reasonably good source-print, with monaural DD 2.0 audio. Extras include an "Epilogue" (22 min.) featuring new interviews with Al Pacino and Alec Baldwin. Available exclusively in Fox's four-disc "Pacino: An Actor's Vision" box-set. JJB Back to Quick Reviews Index: [A-F] [G-L] [M-R] [S-Z]
915	yago	1	32	https://www.scribd.com/document/433535078/Alfredo-James	en	Alfredo James "Al" Pacino (: Italian	https://imgv2-2-f.scribdassets.com/img/document/433535078/original/9680c3cced/1724146848?v=1	https://imgv2-2-f.scribdassets.com/img/document/433535078/original/9680c3cced/1724146848?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/shared/gr_table_reading.9f6101a1.png" ]	[]	[]	[ "" ]	null	[ "Skidrow jake" ]	null	Alfredo James - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. Alfredo James "Al" Pacino is an American actor and filmmaker who has had a career spanning over five decades. He has received numerous accolades, including an Academy Award, two Tony Awards, two Emmy Awards, and has won the Triple Crown of Acting. Pacino is renowned for his breakthrough role as Michael Corleone in The Godfather films, and has given many other notable performances in films such as Scarface, Carlito's Way, and The Devil's Advocate. In addition to film, Pacino has had an extensive career on stage, winning two Tony Awards and directing and starring in the film Looking for Richard. He has been the joint president of the Actors Studio since 1994.	en	https://s-f.scribdassets.com/scribd.ico?8a34d01b9?v=5	Scribd	https://www.scribd.com/document/433535078/Alfredo-James
915	yago	1	49	https://online.visual-paradigm.com/community/book/al-pacino-biography-14tgyb96aw	en	Al Pacino Biography	https://cdn-de-03.visual…d6/thumbnail.png	https://cdn-de-03.visual…d6/thumbnail.png	[ "https://online.visual-paradigm.com/images/vp-online-with-name.svg", "https://online.visual-paradigm.com/images/vp-online-logo-1.png", "https://online.visual-paradigm.com/images/vp-online-logo.png", "https://online.visual-paradigm.com/images/home/header/presentation.png", "https://online.visual-paradigm.com/images/home/header/pdf-editor.png", "https://online.visual-paradigm.com/images/home/header/infoart.png", "https://online.visual-paradigm.com/images/home/header/diagrams.png", "https://online.visual-paradigm.com/images/home/header/documents.png", "https://online.visual-paradigm.com/images/home/header/flipbook-maker.png", "https://online.visual-paradigm.com/images/home/header/presentation.png", "https://online.visual-paradigm.com/images/vp-ea-with-name.svg", "https://online.visual-paradigm.com/images/vp-sb-with-name.svg", "https://online.visual-paradigm.com/images/templates-menu/visuals-icon.png", "https://online.visual-paradigm.com/images/templates-menu/diagrams-icon.png", "https://online.visual-paradigm.com/images/templates-menu/charts-icon.png", "https://online.visual-paradigm.com/images/templates-menu/flipbooks-icon.png", "https://online.visual-paradigm.com/images/templates-menu/photobooks-icon.png", "https://online.visual-paradigm.com/images/templates-menu/collage-icon.png", "https://online.visual-paradigm.com/images/templates-menu/productivity-icon.png", "https://online.visual-paradigm.com/images/home/header/pdf-editor.png", "https://online.visual-paradigm.com/images/home/header/documents.png", "https://online.visual-paradigm.com/images/home/header/presentation.png", "https://online.visual-paradigm.com/images/home/header/tabular.png", "https://online.visual-paradigm.com/images/home/header/diagrams.png", "https://online.visual-paradigm.com/images/home/header/forms.png", "https://online.visual-paradigm.com/images/home/header/file-conversion.png", "https://online.visual-paradigm.com/images/home/header/infoart.png", "https://online.visual-paradigm.com/images/home/header/photo-effects-studio.png", "https://online.visual-paradigm.com/images/home/header/flipbook-maker.png", "https://online.visual-paradigm.com/images/home/header/powerpoint-viewer.png", "https://rrkwzirfon.de-03.visual-paradigm.com/rest/diagrams/projects/members/avatar?email=AAAAgE9%2Fa7scP140pEisCqfNzLUZoUKsEkH9Cum6zTfM2QBJtBdzIYyY5C%2Bdpr3AIAvQCgljw7WhtlPKOkMK2rTLmf%2B509eSdstt%2FGTVhbMUFP%2BQzl3pG4jnJNF61Rcb%2BT%2BZSKDhL5%2FOGZeZRbgzKW6PDB8vPu2UvE7vGAiKZGCm0Jd3yNeAmC%2F0TFEvzLO4l4qjCRMDJTseclEiV4F6XCRbBcM%3D&width=48", "https://online.visual-paradigm.com/images/vp-online-sm-white.png", "https://online.visual-paradigm.com/images/footer/x-logo.svg", "https://online.visual-paradigm.com/images/footer/yt_icon_mono_white.png", "https://online.visual-paradigm.com/images/vp-online-sm-white.png", "https://online.visual-paradigm.com/images/footer-ae-logo.png", "https://online.visual-paradigm.com/images/footer-sb-white-logo.png", "https://online.visual-paradigm.com/images/visual-paradigm-white-sm.png" ]	[]	[]	[ "flipbook", "book", "flipbook example", "flipbook demo", "flipbook tool", "flipbook software", "flipbook maker", "online flipbook maker", "online flipbook tool", "online flipbook example", "ebook maker", "ebook software", "ebook example", "online product catalog maker", "online catalog tool" ]	null	[]	null	'Al Pacino Alfredo James Pacino Born: April 25, 1940 [New York City, U.S.] Occupation: Actor \| Producer \| Director Years active: 1967–present Alfredo James Pacino (born April 25, 1940) is an American actor. Considered one of the most influential actors of the 20th century, he has received numerous accolades: including an Academy Award, two Tony Awards, and two Primetime Emmy Awards, making him one of the few performers to have achieved the Triple Crown of Acting. He has also been honored with the AFI Life Achievement Award, the Cecil B. DeMille Award, and the National Medal of Arts. Career A method actor and former student of the HB Studio and the Actors Studio, where he was taught by Charlie Laughton and Lee Strasberg, Pacino's film debut came at the age of 29 with a minor role in Me, Natalie (1969). He gained favorable notice for his first lead role as a heroin addict in The Panic in Needle Park (1971). Wide acclaim and recognition came with his breakthrough role as Michael Corleone in Francis Ford Coppola's The Godfather (1972), for which he received a nomination for the Academy Award for Best Supporting Actor, and he would reprise the role in the sequels The Godfather Part II (1974) and The Godfather Part III (1990). Pacino received nominations for the Academy Award for Best Actor for Serpico (1973), The Godfather Part II, Dog Day Afternoon (1975), and ...And Justice for All (1979). He won for his performance in Scent of a Woman (1992). For his performances in Dick Tracy (1990), Glengarry Glen Ross (1992), and The Irishman (2019), he earned additional nominations for the Academy Award for Best Supporting Actor. Other notable portrayals include Tony Montana in Scarface (1983), Carlito Brigante in Carlito's Way (1993), Benjamin Ruggiero in Donnie Brasco (1997), and Lowell Bergman in The Insider (1999). He has also starred in the thrillers Heat (1995), The Devil's Advocate (1997), Insomnia (2002), and appeared in Once Upon a Time in Hollywood (2019) and House of Gucci (2021). Television On television, Pacino has acted in several productions for HBO, including Angels in America (2003) and the Jack Kevorkian biopic You Don't Know Jack (2010), winning a Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie for each. Pacino currently stars in the Amazon Video series Hunters (2020–present). He has also had an extensive career on stage. He is a two-time Tony Award winner, in 1969 and 1977, for his performances in Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel. Filmmaking Pacino made his filmmaking debut with Looking for Richard (1996), directing and starring in this documentary about Richard III; Pacino had played the lead role on stage in 1977. He has also acted as Shylock in a 2004 feature film adaptation and 2010 stage production of The Merchant of Venice. Pacino directed and starred in Chinese Coffee (2000), Wilde Salomé (2011), and Salomé (2013). Since 1994, he has been the joint president of the Actors Studio.', an online flipbook example created with the online flipbook maker of Visual Paradigm. Get inspired by the flipbook examples in our flipbook library. Create your own online flipbook for reports, brochure, catalog, ebook and publish online.	en	/favicon-32x32.png	Visual Paradigm Online	https://online.visual-paradigm.com/community/book/al-pacino-biography-14tgyb96aw	File Converter Convert audio, image, and video files into various formats. Photo Effects Tool Wide range of AI image tools to repair and improve photos.
915	yago	0	13	https://muse.jhu.edu/article/27649/summary	en	Looking for Richard in Looking for Richard: Al Pacino Appropriates the Bard and Flogs Him Back to the Brits	https://muse.jhu.edu/art…649/og_image.jpg	https://muse.jhu.edu/art…649/og_image.jpg	[ "https://muse.jhu.edu/images/institution.png", "https://muse.jhu.edu/images/person.png", "https://muse.jhu.edu/images/icon_accessibility.png", "https://muse.jhu.edu/images/muselogo.png", "https://muse.jhu.edu/images/muselogo_notext.png", "https://muse.jhu.edu/images/search_blue.png", "https://muse.jhu.edu/images/search_blue.png", "https://muse.jhu.edu/access_icon?type=article&id=27649", "https://muse.jhu.edu/images/html_icon.png", "https://muse.jhu.edu/images/access/no_access.png", "https://muse.jhu.edu/images/icon_related.png", "https://muse.jhu.edu/access_icon?type=article&id=27649", "https://muse.jhu.edu/images/html_icon.png", "https://muse.jhu.edu/images/muselogo_notext.png", "https://muse.jhu.edu/images/footer_icon_fb.png", "https://muse.jhu.edu/images/footer_icon_linkedin.png", "https://muse.jhu.edu/images/footer_icon_twitter.png", "https://muse.jhu.edu/images/muselogoblack.png", "https://muse.jhu.edu/images/muselogo.png" ]	[]	[]	[ "" ]	null	[ "Kim Fedderson", "J.M. Richardson", "J. Michael Richardson" ]	null		en	/favicon.ico		null	Al Pacino’s Looking for Richard opens with the words “King Richard” appearing first on the screen with the other syllables necessary for completing the title being added gradually. This device not only highlights the name “Richard III,” the protagonist of the Shakespearean source for Pacino’s film, it also enlists and then encourages us to search for Richard within the film. And when we go looking for Richard, we can, if we look hard, find him, but not where we had expected and, more tellingly, not where we seem to be directed to look. While it gives us innumerable glimpses of Richard—the documentary frame of the film allows us to see Richard in America, in the Cloisters, in England, at the Globe, in theatrical rehearsal and performance, in cinematic rehearsal and performance—Pacino’s film, like Shakespeare’s humpbacked dissembler, harbors a “secret, close intent,” making Richard far more difficult to locate than his conspicuousness in the film would suggest. And once he is glimpsed, we should begin to question the film’s motives. While Pacino claims that his goal is to make Shakespeare more accessible to his public, what he, in fact, does under this typically American anti-elitist and democratic ruse is to appropriate the cultural commodity that Shakespeare has become and then use it to establish American dominance within the global market in which this commodity is distributed. Pacino does this by first undermining the hold that England has had on Shakespeare’s work, in effect repossessing the work, and then reforming it to his taste so that it may be marketed at home and ultimately abroad. In this cautionary tale about coming to America, Pacino not only hijacks the bard, but then he also audaciously offers him for sale back to his original owners. Indeed, it is only within the film’s conflict with itself, in the division between what it actually does and what it appears to do, that the character of Shakespeare’s smiling villain comes clearly into our view. One of the things this film purports to do and in fact does is to provide us with an iteration of Shakespeare’s Richard III. That Richard III offers a narrative comprised of four phases: 1) an initial state of sovereignty, presented as “true and just” and represented by King Edward IV, comes to an end as Edward sickens and dies; 2) this is followed by an act of legitimate succession as sovereignty passes into the hands of the legitimate heir, who because of his youth, is assigned a protector; 3) this in turn is disrupted by an act of illegitimate succession as the protector turns usurper, “subtle, false and treacherous,” has the rightful heir murdered, and assumes sovereignty himself; 4) finally, the usurper is displaced and dispatched and a new legitimate sovereignty is restored. Pacino’s Looking for Richard presents only a selection of scenes from the Shakespearean original, yet these scenes are carefully chosen so as to represent these major narrative phases: hence, the sickness and death of Edward IV (Harris Yulin) is enacted; the young prince inherits his sovereignty but is forced to relinquish it to the Protector (Pacino), who has his charge murdered and so succeeds illegitimately; and finally, the usurper is replaced by the new legitimate monarch, Henry Richmond (Aidan Quinn). While the major phases of the narrative of Shakespeare’s Richard III are represented in Pacino’s selection of incidents to dramatize in his Looking for Richard, the film itself, as a totality, is as conflicted as “divided York and Lancaster.” The principal source of this conflict is the film’s form. Pacino, as director of the film Looking for Richard, wraps his episodic and fragmentary performances of Shakespeare’s play in a documentary frame, in which Pacino, in the role of dramatized director of the film, explores how Richard III, which the film contends has become lost and mired in tradition, might be made “accessible to the people out there...
915	yago	3	46	https://www.nytimes.com/1996/10/27/movies/l-what-looking-for-richard-overlooked-959138.html	en	What 'Looking for Richard' Overlooked	https://static01.nyt.com…op.png?year=1996	https://static01.nyt.com…op.png?year=1996	[]	[]	[]	[ "" ]	null	[ "The New York Times" ]	1996-10-27T00:00:00	Letter by Harvard Hollenberg on Bruce Weber's Oct 6 profile of actor Al Pacino in light of Pacino's new film, Looking for Richard, documentary in which he makes his debut as a director (S)7	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1996/10/27/movies/l-what-looking-for-richard-overlooked-959138.html	To the Editor: Al Pacino's film ''Looking for Richard'' $(''Al Pacino, Slouching (Again) Toward Shakespeare,'' Oct. 6$) misses one important element of the analysis of ''Richard III.'' The play contains Shakespeare's most improbable scene: despite having murdered both her husband and her father, Richard disarmingly woos and wins the newly widowed Lady Anne. Throughout his career, Shakespeare struggled with an added theatrical problem: since women were not allowed to appear on the stage, the role of all of the women in his plays were portrayed by boys and men. Anne's initial revulsion at Richard's importuning is thus designed to mirror the presumed sentiments of an audience that was perfectly aware of the ruse. A few years later, Shakespeare's craft, in this regard, was to demonstrate far greater refinement, as he kept the boy Romeo apart from the boy Juliet by family animosity, exile and a certain balcony in Verona.
915	yago	3	31	https://www.pomoculture.org/2013/09/21/looking-for-richard-in-looking-for-richard-al-pacino-appropriates-the-bard-and-flogs-him-back-to-the-brits/	en	Looking for Richard in Looking for Richard: Al Pacino Appropriates the Bard and Flogs Him Back to the Brits			[]	[]	[]	[ "Kim Fedderson and J.M. Richardson Department of English Lakehead University Kim.Fedderson@Lakeheadu.ca Mike.Richardson@Lakeheadu.ca Looking for Richard. Dir. Al Pacino. Twentieth Century Fox", "1997. Al Pacino’s Looking for Richard opens with the words “King Richard” appearing first on the screen with the other syllables necessary for completing the title being added gradually. This device […]", "Volume 8 - Number 2 - January 1998" ]	null	[]	2013-09-21T00:00:00	Kim Fedderson and J.M. Richardson Department of English Lakehead University Kim.Fedderson@Lakeheadu.ca Mike.Richardson@Lakeheadu.ca Looking for Richard. Dir. Al Pacino. Twentieth Century Fox, 1997. Al Pacino’s Looking for Richard opens with the words “King Richard” appearing first on the screen with the other syllables necessary for completing the title being added gradually. This device […]	en	https://www.pomoculture.org/favicon.ico		https://www.pomoculture.org/2013/09/21/looking-for-richard-in-looking-for-richard-al-pacino-appropriates-the-bard-and-flogs-him-back-to-the-brits/	Kim Fedderson and J.M. Richardson Department of English Lakehead University Kim.Fedderson@Lakeheadu.ca Mike.Richardson@Lakeheadu.ca Looking for Richard. Dir. Al Pacino. Twentieth Century Fox, 1997. Al Pacino’s Looking for Richard opens with the words “King Richard” appearing first on the screen with the other syllables necessary for completing the title being added gradually. This device not only highlights the name “Richard III,” the protagonist of the Shakespearean source for Pacino’s film, it also enlists and then encourages us to search for Richard within the film. And when we go looking for Richard, we can, if we look hard, find him, but not where we had expected and, more tellingly, not where we seem to be directed to look. While it gives us innumerable glimpses of Richard–the documentary frame of the film allows us to see Richard in America, in the Cloisters, in England, at the Globe, in theatrical rehearsal and performance, in cinematic rehearsal and performance–Pacino’s film, like Shakespeare’s humpbacked dissembler, harbors a “secret, close intent,” making Richard far more difficult to locate than his conspicuousness in the film would suggest. And once he is glimpsed, we should begin to question the film’s motives. While Pacino claims that his goal is to make Shakespeare more accessible to his public, what he, in fact, does under this typically American anti-elitist and democratic ruse is to appropriate the cultural commodity that Shakespeare has become and then use it to establish American dominance within the global market in which this commodity is distributed. Pacino does this by first undermining the hold that England has had on Shakespeare’s work, in effect repossessing the work, and then reforming it to his taste so that it may be marketed at home and ultimately abroad. In this cautionary tale about coming to America, Pacino not only hijacks the bard, but then he also audaciously offers him for sale back to his original owners. Indeed, it is only within the film’s conflict with itself, in the division between what it actually does and what it appears to do, that the character of Shakespeare’s smiling villain comes clearly into our view. One of the things this film purports to do and in fact does is to provide us with an iteration of Shakespeare’s Richard III. That Richard III offers a narrative comprised of four phases: 1) an initial state of sovereignty, presented as “true and just” and represented by King Edward IV, comes to an end as Edward sickens and dies; 2) this is followed by an act of legitimate succession as sovereignty passes into the hands of the legitimate heir, who because of his youth, is assigned a protector; 3) this in turn is disrupted by an act of illegitimate succession as the protector turns usurper, “subtle, false and treacherous,” has the rightful heir murdered, and assumes sovereignty himself; 4) finally, the usurper is displaced and dispatched and a new legitimate sovereignty is restored. Pacino’s Looking for Richard presents only a selection of scenes from the Shakespearean original, yet these scenes are carefully chosen so as to represent these major narrative phases: hence, the sickness and death of Edward IV (Harris Yulin) is enacted; the young prince inherits his sovereignty but is forced to relinquish it to the Protector (Pacino), who has his charge murdered and so succeeds illegitimately; and finally, the usurper is replaced by the new legitimate monarch, Henry Richmond (Aidan Quinn). While the major phases of the narrative of Shakespeare’s Richard III are represented in Pacino’s selection of incidents to dramatize in his Looking for Richard, the film itself, as a totality, is as conflicted as “divided York and Lancaster.” The principal source of this conflict is the film’s form. Pacino, as director of the film Looking for Richard, wraps his episodic and fragmentary performances of Shakespeare’s play in a documentary frame, in which Pacino, in the role of dramatized director of the film, explores how Richard III, which the film contends has become lost and mired in tradition, might be made “accessible to the people out there, the people on the street.” This documentary frame contains two distinct narratives, both of which replicate much of Shakespeare’s story about Richard III, but which suppress its tragic implication. The two narratives of Pacino’s frame, when taken together, create an unsettling dissonance within Looking for Richard, one which should cause us to question the film’s happy democratic sense of itself as a film that merely attempts to make Shakespeare’s play more accessible to the American public. Like Shakespeare’s character, the film may ask us to regard it as a “marv’lous proper man” (I.ii.254), but there is no mistaking that it cannot so regard itself. The first of these narratives, and strongly foregrounded at that (both in the film and in its publicity, the press kit, and interviews with Pacino, so that it has become quite clear that this is what we are expected to go looking for), is a quest romance called “Looking for Richard” in which the “authentic spirit” of the play (and of Shakespeare himself), the holy grail as it were, has been lost but is found and renewed, recovered in effect, by the modern hero, Al Pacino. The keeper of the text of the play is analogous to King Edward IV and is as responsible for maintaining the currency and vitality of Shakespeare’s text as the king is for maintaining peace and prosperity in the realm. Like King Edward, the traditions of performance have become moribund. The evidence for the death of the king/death of the text is presented via interviews with “the man on the street,” demonstrating that the American public has, by and large, no liking for, patience with, or understanding of Shakespeare. Historically, of course, the keepers of this text have been British actors and scholars–many of whom are represented in the film. The argument, then, of the manifest narrative in the film is that, in essence, these British traditions of performance and scholarship have, like Edward IV, sickened and died, lost their power to maintain Shakespeare’s vitality, leaving the artistic equivalent of a power vacuum. Pacino, the dramatized director-as-character within the film’s fictional space, offers himself as the new keeper of the text, the man who can make Shakespeare accessible once again to Everyman. This aspirant, from the young nation of America, is analogous to the Princes in the Tower, the future hope for the realm. And as the young princes have backers such as Hastings (Kevin Conway), the dramatized director also has his in the form of Derek Jacobi and, especially, Sir John Gielgud. The latter is with him throughout and, most importantly, at the end of the film is presented as Pacino’s protector and approving witness to his claim. (We know this convention from Star Wars: Obi Wan and Luke Skywalker–an aged Brit who is clearly a part of the tradition sanctions the passing on of the force to an American.) This story mobilizes many of the narrative elements and characters of Richard III, but emplots them comedically, creating a version of Richard III in which no usurper threatens the rightful claims of the new generation. Unlike this manifest narrative (the film as it wishes to be seen; the film fashioned as Richard fashions himself for Anne, to “woo” us) the second, repressed narrative is the product of a Ricardian “dissembling nature” and, like Richard himself, harbors “a secret, close intent.” This buried narrative operates with no delusions about its motives. A couple of lines from the film serve as a nice gloss on its modus operandi: “The text is just a means for expressing what’s behind the text” and “Irony is really only hypocrisy with style.” Like the first narrative, the second one represents the British traditions of performance and scholarship as moribund; the legitimate inheritors, represented by Sir John Gielgud, Kenneth Branagh, Peter Brooks, Emrys Jones, are ineffectual. Indeed Kenneth Branagh, a powerful young Prince, exiting the film like Lear’s fool, is quickly shunted offstage and Sir Ian McKellen, whose own Richard III makes him a formidable rival, is simply not mentioned at all. Pacino as dramatized director, in essence, removes or co-opts the opposition to his claims to sovereignty just as Shakespeare’s Richard does, metaphorically killing off Branagh, McKellen, Trevor Nunn, Derek Jarman, Peter Greenaway, etc. He impudently installs himself within the vacancy he himself has created, offering himself as the protector/successor, the one who should command from the throne of the Globe Theatre. Like Richard, Pacino as dramatized director is an unlikely prospect for the elevation he seeks: Richard’s physical and moral deformities become Pacino’s less than polished accent and speech, the baseball cap worn reversed, and the generally unkempt appearance. As an apparently improbable claimant to the throne, Pacino, in this narrative, must address two problems not inherent in the manifest narrative discussed above, but that are to be found in the Shakespearean original: 1) the quasi-legalistic problem of establishing the legitimacy of his claim on the Shakespearean text: By what right does the future of the Shakespearean play fall to this American actor? Where does he stand in the “proper” (i.e., obvious, expected) line of succession? and 2) the essentially political problem of winning over the public to his side, of having them shout, “The king is dead! Long live the king!” On the matter of legitimacy, Pacino’s solution is not unlike Richard’s: Richard has Buckingham imply the bastardy of the Princes in the Tower; Pacino undermines the imputed British claim to exclusive dominion over Shakespeare by a variety of tactics. First, he argues that those with the most obvious claims are the very ones that have allowed the plays to falter. The film implies that the British tradition–both its actors and its scholars–has turned the body of the bard’s play into an inaccessible, irrelevant, antiquated corpse. If Shakespeare’s fortunes flag it is because of the elitist pedantry of British scholars, and the technically precise, but inauthentic and insincere, classical dramatic training of British actors. Pacino further delegitimizes the British claimants by dissociating the play from the specificity of its language. For it is in the British sway over the language of the plays, a language that is obsessively referred to within the film as an obstacle for American actors and audiences alike, that the British contenders find their strongest argument. Masterfully co-opting his opposition, Pacino gets one of the British scholarly authorities in the film to argue that “the text is just a means for expressing what’s behind the text,” thus legitimizing the claim that Shakespeare’s essence exists separately from Shakespeare’s language. Once Shakespeare can be shown to exist outside of the Englishness of his language, the corollary can then be advanced that the essence of Shakespeare may not be English at all, but could indeed be American. A homeless man, one of the many mechanicals Pacino peoples his new world with, extols the bard’s virtues and his relevance to contemporary problems. Pacino himself argues that Richard is just like the American-style gangsters with whom he made his reputation. Once we get past the irksome “prithees” and “post-hastes,” it turns out that Shakespeare has, in fact, been hiding out in Poughkeepsie looking for Pacino. On the matter of public approbation: as Richard and Buckingham manipulate the commoners to make them cry for Richard as king, so Pacino interviews his fellow New Yorkers and foregrounds those who clearly need someone to reclaim Shakespeare for them, and then, like Richard, offers himself as the necessary successor. In this version, there is no Richmond to challenge Richard because the usurper gets away with it. He successfully eliminates his rivals by displacing Branagh, effacing McKellen, and assuming a familial coziness with Gielgud, and, finally, ascends the throne. If the play is to be reanimated, the “Barons” of Branagh and Gielgud will have to, and indeed do, pay allegiance to Pacino (while “pretenders” like McKellen apparently “flee the scene”), thus authenticating Pacino’s assertion of legitimate succession. This ironic narrative offers no fifth act because the audience fails to recognize that its smiling, redeeming hero can also be regarded as its usurping villain. And to do this, Pacino must pull off the improbable feat of seducing all and not be seen seducing any. The analogue for this achievement is Richard’s seduction of Lady Anne (Winona Ryder): just as she is seduced into transferring her affections from her dead father and husband to Richard, their murderer, so Pacino, an unlikely Shakespearean whose American “deformities” would seem to preclude his being the last best hope of the text, asks us to accept him as the one who can save the bard for us, now that the British tradition has died off. Having pried Shakespeare loose from the British tradition of performance (a tradition which has always made Americans feel themselves culturally inferior to their former colonial masters), it can now be remade to American tastes, or more precisely, to the usurping Pacino’s tastes, since the version that prevails must be his own. Pacino’s satisfaction at having taken Shakespeare to the people is compromised by the liberties these very same people will take with the bard’s texts. Interpretations proliferate: one commoner talks about talmudic Shakespeare, another talks about a rock n’ roll Lady Macbeth, and a Hamlet who’s like every kid. Pacino, dismayed by the license the commoners allow themselves, complains, “You must get me out of this. It’s gone too far. I want to be king.” Here we see that Pacino’s goal is not to bring just any Shakespeare to the people. The bard that is enthroned in majesty must be his. The scene which follows this is entitled, significantly, “Now to take the crown.” And it is charged with a double resonance: it refers to Pacino as Richard taking the crown within the performance of the play, and to Pacino as dramatized director within the frame assuming sovereignty over the text. Having displaced the opposition and staked his claim to Shakespeare, Pacino is then able to repatriate the Bard. The implicit claim goes something like this: Shakespeare, having been freed from what the film claims are the ossifying traditions of British performance, is restored to his pristine essence in America, and now, in addition to being a marketable commodity able to meet foreign competition–Branagh, Luhrmann, McKellen et al.–within the domestic economy, can also be exported and marketed abroad. Thus, in the film’s most deliciously vertiginous moment, Pacino installs himself center stage at Sam Wannamaker’s restored Globe theatre–the new American-sponsored Euro-Shakespeare theme park–and intones the opening soliloquy of the play. The frame’s two narratives (the happy manifest narrative of legitimate succession and the ironic and repressed narrative of successful usurpation) taken together create a dissonance within Looking for Richard. It is within this dissonance that Pacino the undramatized narrator looks for Shakespeare’s Richard: the frame’s doubled narrative enacts the duplicitous split between seeming and being that constitutes Richard’s character; he is both the saint of the delusionary manifest narrative and the devil of its repressed other. Richard, then, is not Pacino playing the crookbacked monarch imposter in the staged scenes, but the smiling villain, the beguiling dramatized director making the film Looking for Richard. The dramatized scenes in the film look for and find Shakespeare’s play; the film itself, however, looks for and finds its titular character, and makes him a victorious usurper. The implicit premise of the film–that Shakespeare’s work is in need of resuscitation–is, of course, completely wrong: never before have Shakespeare’s works been made so accessible to the American public–largely due to Branagh and Nunn, the imaginatively modernized productions of McKellen and Baz Luhrmann, and the experimental work of Greenaway and Jarman. The tradition is anything but ossified, and foreign Shakespeares now compete at the box office with major Hollywood productions; in short, the endeavour to persuade the American audience that the bard of tradition is dead is necessary in order to protect the domestic market from foreign competition. The key question is not whose Shakespeare, or which style of Shakespearean production, but rather who gets to keep the financial and cultural profits. If the analogy between Lady Anne and the American audience holds, Pacino/Richard’s line, echoed chorically throughout the seduction scene–“I’ll win her, but I’ll not keep her long”–speaks volumes concerning their intentions; namely, both will move on to more profitable affairs when they have had their way with the current ones. Having legitimized himself and having seduced America with his Shakespeare, he can now return to his old standbys. Thus, he appears next in Donnie Brasco and currently in The Devil’s Advocate, a film in which he finally gets to play the ultimate seducer.
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"https://www.rogerebert.com/assets/v2/roger-f7d187c3e0336205f50f366bdce798210b160173facf59555f66c0b5dfa284e2.png", "https://pixel.quantserve.com/pixel/p--5eK9YWya67RJ.gif" ]	[]	[]	[ "" ]	null	[]	null	Al Pacino movie reviews & film summaries \| Roger Ebert	en	/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png	https://www.rogerebert.com/	https://www.rogerebert.com/cast-and-crew/al-pacino	Al Pacino Movies An American actor in film and theatre, as well as a director, Al Pacino is an Oscar-winning, Emmy-winning, and Tony-winning master who is widely considered to be one of the best actors of his generation. Especially early in his career, Al Pacino movies meant a different caliber of performance. Working consistently with some of the world’s best filmmakers for five decades, Al Pacino has also been given numerous lifetime achievement awards, including the National Medal of Arts and the Cecil B. DeMille Award. Generations of actors have grown up inspired by Al Pacino films. Al Pacino has been married twice and has three children. Al Pacino's Family Rose and Salvatore Pacino gave the world Alfredo James Pacino on April 25, 1940. Nicknamed “Sonny” as a teenager, Pacino was dreamt of becoming a baseball player as he grew up in New York City, but everything changed when he went to the High School of Performing Arts. His parents were divorced by now, and his mother did not support the decision, meaning that Pacino left home at a young age, getting odd jobs and working theatre gigs in the Bronx in the ‘50s. One of his early teachers at a place called the HB Studio was Charlie Laughton, who became his mentor, and he would later study under the legendary Lee Strasberg at the Actors Studio, which he returned to in 2019. Like a lot of actors of his generation, the actor honed the craft that would later be defined in Al Pacino films on the stage first, winning an Obie Award in 1968 for Israel Horovitz’s The Indian Wants the Bronx, and then a Tony Award the next year for Don Petersen’s Does a Tiger Wear a Necktie?. Al Pacino would return to the stage in every chapter of his career, earning raves for his work with David Mamet in the ‘80s, and revivals of major works in the years since. Al Pacino Movies - Dog Dag Afternoon Al Pacino Movies of the 1970s Al Pacino’s film career took off with 1971’s “Panic in Needle Park,” which earned enough attention that a young filmmaker named Francis Ford Coppola decided to check it out, and the rest was history. In 1972, Coppola cast Al Pacino in "The Godfather" as Michael Corleone and the result was one of the most acclaimed movies of all time, and its sequels “The Godfather, Part II” in 1974 and “The Godfather, Part III” in 1990. He earned his first Oscar nomination, although he famously boycotted the ceremony because he was upset he was in supporting when he truly belonged in lead. A string of massive critical and commercial hits would follow, including “Scarecrow” with Gene Hackman, “Serpico” (his second Oscar nomination), “The Godfather, Part II” (his third), Sidney Lumet’s “Dog Day Afternoon” (his fourth Oscar nod in consecutive years), “Bobby Deerfield,” and a Norman Jewison’s courtroom drama “…And Justice For All,” which netted Pacino his fifth Oscar nomination in his first decade in the profession. He became known as one of the most dominant performers on the screen even though Al Pacino's height stands only 5' 7". Many critics consider Al Pacino in "Dog Day Afternoon" to be among the best performances of all time. Al Pacino Movies of the 1980s The 1980s weren’t as nice to Al Pacino as the ‘70s. A few critical bombs followed, including “Cruising” and “Author! Author!,” although one role from this period would become one of Pacino’s most iconic. As Tony Montana in Brian De Palma’s “Scarface,” Pacino created a legendary character that would come to be one of his most defining and produce some of the most legendary Al Pacino quotes and impressions. A few passion projects, including the disastrous “Revolution,” would push him out of films for a large portion of the decade as he went back to the stage to find himself again. This period gave the world the first of Al Pacino's children, Julie Marie, whose mother was an acting coach named Jan Tarrant. Al Pacino Movies - Scent of a Woman Al Pacino Movies of the 1990s The Oscar winner returned confident in how to use his middle-age to his advantage in Al Pacino films like 1989’s “Sea of Love” and 1990’s “Dick Tracy.” The third film in the “Godfather Saga” was considered a disappointment, but the actor had a nice run of smaller movies in the ‘90s, including “Frankie and Johnny” with Michelle Pfeiffer, “Glengarry Glen Ross” with Jack Lemmon, and a reunion with De Palma for 1993’s “Carlito’s Way.” Perhaps the most notable film from this era as Martin Brest’s “Scent of a Woman,” which won Pacino his only Oscar, widely considered a sort of Lifetime Achievement Award for not giving him a trophy earlier. As a blind Army Lieutenant, Pacino chews the scenery in ways that would amplify the impressions people do of him, but he also finds truth in the melodrama in ways that other actors would fail to do. And he should have won three or four times before then anyway. Major roles would follow the Oscar, and many of them would seem to riff on this new over-the-top persona, including “Heat,” “The Devil’s Advocate,” “Donnie Brasco,” and “Any Given Sunday.” He would start the next century with the birth of twins, Anton James and Olivia Rose, with actress Beverly D’Angelo, whom he had been partners with since 1996. The two broke up in 2003 and Al Pacino has never been married despite confirmed relationships with D’Angelo, Diane Keaton, Tuesday Weld, Jill Clayburgh, and more. He has been with the same woman, Lucila Polak, since 2008. Al Pacino Movies of the 2000s The 2000s were an odd period for Al Pacino, but he work with daring filmmakers like Christopher Nolan (“Insomnia”), Andrew Niccol (“S1m0ne”), and Steven Soderbergh (“Ocean’s Thirteen”), and try develop his own passion projects. Disasters would also litter this part of Pacino’s career, including “Gigli,” “88 Minutes,” “Jack and Jill,” and “Righteous Kill,” but one of his most-acclaimed parts dropped in here too in HBO’s adaptation of the Pulitzer Prize-winning “Angels in America,” for which Pacino won an Emmy. Other quality work on HBO would follow, including “You Don’t Know Jack,” “Phil Spector,” and “Paterno.” It’s arguable that Pacino’s best work in the 2010s was on TV. Al Pacino Movies - The Irishman Al Pacino Movies of the 2010s Al Pacino's age didn't hold him back as he made a major comeback in 2019, appearing in arguably the two most critically acclaimed films of the year. He has a minor role in Quentin Tarantino’s “Once Upon a Time … in Hollywood,” but a major one in Martin Scorsese’s “The Irishman,” reuniting with friend Robert De Niro, and marking the first time that arguably the best actor and best director of the ‘70s have ever worked together. Al Pacino and Robert De Niro worked together on "The Godfather, Part II," "Heat" and "Righteous Kill," but Pacino had never worked with Scorsese. Al Pacino and Robert De Niro have been friends since the '70s and were once considered the two best living actors. Seeing the pair work with Scorsese for the first time was worth the wait as it's one of the best Al Pacino movies. In all, Al Pacino has been nominated for eight Oscars, 17 Golden Globes, four BAFTAs, three Emmys, three Golden Globes, and three Tony Awards. As of 2019, Al Pacino's net worth was reportedly $165 million. Best Al Pacino Movies List - the most critically-acclaimed Al Pacino movies "The Godfather" "The Godfather, Part II" "The Insider" "The Irishman" "Dog Day Afternoon" "Glengarry Glen Ross" "Insomnia" "Serpico" "Donnie Brasco" "Scent of a Woman" Oscar Nominations and Wins For Al Pacino Movies 1993 - "Scent of a Woman" (Winner) 1993 - "Glengarry Glen Ross" (Nominee) 1991 - "Dick Tracy" (Nominee) 1980 - "...And Justice for All" (Nominee) 1976 - "Dog Day Afternoon" (Nominee) 1975 - "The Godfather, Part II" (Nominee) 1974 - "Serpico" (Nominee) 1973 - "The Godfather" (Nominee) Memorable Al Pacino Quotes (courtesy of BrainyQuote) "I don't ever give my opinion. Opinions I have about anything are in my personal life. "There has been a lot of self-doubt and unwelcome events in my life." "The hardest thing about being famous is that people are always nice to you. You're in a conversation and everybody's agreeing with what you're saying - even if you say something totally crazy. You need people who can tell you what you don't want to hear." "You do get very tired sometimes, when you're sitting around for hours in movies. You get depleted." "I was not prepared for fame. It hit me hard, and I did not have the capacity to cope." More Al Pacino Quotes From the Actor Himself Famous Al Pacino Quotes From Movies Top Al Pacino Quotes From "The Godfather" Watch Al Pacino Movies on Netflix Here Al Pacino Filmography Find on IMDB
915	yago	0	64	https://mycroft-brolly.livejournal.com/104598.html	en	Looking for Richard and Richard III	http://pics.livejournal.com/rakspatel/pic/0011ww1c/s640x480	http://pics.livejournal.com/rakspatel/pic/0011ww1c/s640x480	[ "https://top-fwz1.mail.ru/counter?id=3402139;js=na", "https://sb.scorecardresearch.com/p?c1=2&c2=10463284&cv=2.0&cj=1", "https://l-stat.livejournal.net/img/community.gif?v=556&v=777", "https://l-stat.livejournal.net/img/community.gif?v=556&v=777", "https://l-stat.livejournal.net/img/schemius/print-logo.png?v=49361", "https://l-userpic.livejournal.com/109529761/36770362", "https://l-stat.livejournal.net/img/community.gif?v=556&v=777", "https://l-stat.livejournal.net/img/btn_prev.gif?v=17312", "https://l-stat.livejournal.net/img/btn_sharethis.gif?v=18499", "https://l-stat.livejournal.net/img/button-flag.gif?v=17312", "https://l-stat.livejournal.net/img/btn_next.gif?v=17312", "https://l-userpic.livejournal.com/122834989/32135698", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://l-stat.livejournal.net/img/community.gif?v=556&v=777", "https://pics.livejournal.com/rakspatel/pic/0011ww1c/s640x480", "https://l-userpic.livejournal.com/122834989/32135698", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://l-userpic.livejournal.com/120727079/14405616", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://l-userpic.livejournal.com/122834989/32135698", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://l-userpic.livejournal.com/122834989/32135698", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://l-userpic.livejournal.com/120727079/14405616", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://pics.livejournal.com/rakspatel/pic/000h4ax1", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://ic.pics.livejournal.com/rakspatel/32135698/358358/358358_600.jpg", "https://ic.pics.livejournal.com/rakspatel/32135698/409055/409055_600.jpg", "https://ic.pics.livejournal.com/rakspatel/32135698/409140/409140_600.jpg", "https://ic.pics.livejournal.com/rakspatel/32135698/408370/408370_600.png", "https://ic.pics.livejournal.com/rakspatel/32135698/408763/408763_600.png", "https://ic.pics.livejournal.com/rakspatel/32135698/414109/414109_600.jpg", "https://pics.livejournal.com/rakspatel/pic/001bgt0e/s640x480", "https://ic.pics.livejournal.com/rakspatel/32135698/446877/446877_600.jpg", "https://ic.pics.livejournal.com/rakspatel/32135698/359904/359904_600.jpg", "https://pics.livejournal.com/rakspatel/pic/0008rtwr", "https://pics.livejournal.com/rakspatel/pic/0009e7fy", "https://pics.livejournal.com/rakspatel/pic/0008z8wk/s640x480", "https://pics.livejournal.com/rakspatel/pic/000wd2zb", "https://pics.livejournal.com/rakspatel/pic/000f56fc", "https://pics.livejournal.com/rakspatel/pic/000hrcy8", "https://ic.pics.livejournal.com/rakspatel/32135698/447130/447130_600.jpg", "https://pics.livejournal.com/rakspatel/pic/000htp36", "https://pics.livejournal.com/rakspatel/pic/001a0wy6/s640x480", "https://pics.livejournal.com/rakspatel/pic/000326cq/s640x480", "https://www.tns-counter.ru/V13a**sup_ru/ru/UTF-8/tmsec=lj_noncyr/", "https://www.tns-counter.ru/V13arambler_ad/ru/UTF-8/tmsec=rambler_cid1100104-posid2155079/", "https://www.tns-counter.ru/V13a**rambler_ad/ru/UTF-8/tmsec=rambler_cid1100108-posid2155106/", "https://xc3.services.livejournal.com/ljcounter/?d=srv:kr-ws18,r:0,j:36770362,p:32135698,uri:%22%2F104598.html%22,vig:0,m:0,v:1,extra:AjESOgHqWhIAAZiW", "https://mc.yandex.ru/watch/27737346" ]	[]	[]	[ "ЖЖ", "LiveJournal", "живой журнал", "film", "theatre", "shakespeare", "The Umbrella Organisation", "The Umbrella Organisation" ]	null	[]	null	Richard III Last Tuesday I went to see Richard III starring Kevin Spacey at the Old Vic. It was bang in the midst of my Emperor and Galilean obsession and so I didn't really have time to prepare for it mentally ie do the background research on it prior to seeing the play. This was my gut reaction…				https://mycroft-brolly.livejournal.com/104598.html	Richard III Last Tuesday I went to see Richard III starring Kevin Spacey at the Old Vic. It was bang in the midst of my Emperor and Galilean obsession and so I didn't really have time to prepare for it mentally ie do the background research on it prior to seeing the play. This was my gut reaction to it: Kevin Spacey. Richard III at the Old Vic. Old style sock it to 'em acting. Subtlety out the window. Result = very powerful. Blew me away. Loved it! Looking for Richard Photo credit: http://www.moviepostershop.com/looking-for-richard-movie-poster-1996 Anyway, I am going to see Richard III again tonight. This time I have had time to do the prep. My prep was seeing Al Pacino's "Looking for Richard", which came out in 1996. I remember seeing it at the cinema and being blown away by it. This is the first time I have seen the film since 1996. My reaction to the film? - mind-blowing! Highly highly recommended. Why? Because it makes Shakespeare and Richard III accessible to everyone. It explains what the play is about - the plot, the characters, the motivations and the language. It gives you a behind the scenes look at what goes on in the rehearsal room when the actors discuss what the scene is about and what motivations are driving their characters. Above all, it shows that Shakespeare is relevant to the here and now and the contemporary world. My personal passion for Shakespeare is not founded on someone who is dead and buried but on a living and breathing Shakespeare, whose messages are as relevant today as when his plays were written half a century ago. His plays are about topics that interest people today - power and love being key - and I have always drawn, throughout my life, inspiration from Shakespeare's plots, characters, and his beautiful language and words. Things that also struck me: - Al Pacino is THE most amazing Shakespearean actor. He speaks the language as though that was his birthright. He makes it live and brings it to life. He makes the language accessible to Joe Public (ie me!). He shows that US actors can do Shakespeare brilliantly. I am also going to be revisiting The Merchant of Venice film where he plays Shylock - I cannot wait! - They visited the Globe at the time that it was being constructed. It feels weird to see the Globe as a work in progress - I only know it as a done and dusted project. - Kevin Spacey is in the film playing Buckingham. He is now of course taking on the title role at the Old Vic. Anyway, what I am trying to say is watch "Looking for Richard". It is being sold on Amazon for the bargain price of £4. http://www.amazon.co.uk/Looking-For-Richard-DVD/dp/B0006OR0YY/ref=sr_1_1?ie=UTF8&s=dvd&qid=1313663482&sr=8-1 Review cut and pasted from Amazon: Looking for Richard, a strange and charming documentary by Al Pacino in which he also stars, is an exploration of several topics: Shakespeare and his humpbacked villain, the impulse to act, the way actors work - and Pacino's single-minded effort to make the Bard accessible to all audiences and not just the effete few. Over the course of the film, Pacino alternately discusses the role and the text, roams Manhattan talking about Shakespeare with everyone from scholars to street people and re-creates scenes from the play in a production staged at the Cloisters, an evocative castle-like museum on the north end of Manhattan. He assembles a cast that includes Kevin Spacey, Winona Ryder, Estelle Parsons and Alec Baldwin to perform the scenes, slipping back and forth between text and discussion of the play in a way that makes Shakespeare comprehensible and fascinating to viewers who know or care nothing about his writing. - Marshall Fine, Amazon.com
915	yago	3	89	https://stacker.com/movies/best-and-worst-al-pacino-movies	en	Best and worst Al Pacino movies	https://static.stacker.c…-al-pacino_0.jpg	https://static.stacker.c…-al-pacino_0.jpg	[ "https://stacker.com/themes/custom/stacker/logo.svg", "https://static.stacker.com/s3fs-public/styles/horizontal_card/s3/2021-03/streaming%20services.jpg", "https://static.stacker.com/s3fs-public/styles/horizontal_card/s3/MoviesFilmreelBlueE7GE_11.png", "https://static.stacker.com/s3fs-public/styles/horizontal_card/s3/2023-05/i-love-lucy-chocolate-episode.jpg", "https://static.stacker.com/s3fs-public/styles/horizontal_card/s3/SocialMediaNNB1.png", "https://static.stacker.com/s3fs-public/styles/horizontal_card/s3/PopcornTVScreenM6AA_1.png", "https://static.stacker.com/s3fs-public/styles/sar_screen_maximum_large/s3/2023-08/the-godfather-al-pacino.jpg", "https://static.stacker.com/s3fs-public/styles/sar_screen_maximum_large/s3/2024-07/john-belushi-animal-house.jpg", "https://static.stacker.com/s3fs-public/styles/sar_screen_maximum_large/s3/2022-04/men-reading-newspaper.jpg", "https://static.stacker.com/s3fs-public/styles/sar_screen_maximum_large/s3/2023-06/sunset-blvd-black-and-white.jpg", "https://static.stacker.com/s3fs-public/styles/sar_screen_maximum_large/s3/2024-02/cool-hand-luke-paul-newman.jpg", "https://stacker.com/themes/custom/stacker/logo.svg" ]	[]	[]	[ "" ]	null	[ "Rachel Cavanaugh" ]	2022-12-05T12:30:00-05:00	From Michael in "The Godfather" to Aldo in "House of Gucci," Stacker ranked all 53 Al Pacino films from worst to best via IMDb	en	/themes/custom/stacker/favicon.ico	Stacker	https://stacker.com/movies/best-and-worst-al-pacino-movies	Al Pacino has been lighting up the big screen since the late 1960s, gaining a devoted fan base with his good looks, great acting, and rough-and-tumble charm. His film debut was a small role as a character named Tony in the 1969 drama "Me, Natalie" starring Patty Duke. However, his big break would come when he was cast in Francis Ford Coppola's 1972 gangster flick "The Godfather" three years later—a role that made him an instant legend. In that film, the Italian-American actor played the iconic lead character Michael Corleone—a part he beat out Robert De Niro, Jack Nicholson, Robert Redford, and Warren Beatty to get. The following year he played the title character in the Oscar-nominated drama "Serpico" and together these two films cemented his public perception as a leading man. For the next few decades, he played mostly cops and gangsters in crime thrillers. Though he indeed starred in a few comedies and romantic dramas ("Frankie and Johnny" and "Scent of a Woman" being two of the most famous), most of his quieter, less dramatic roles came later in life. His early days were filled with shootouts, car chases, and lots of Italian-American swagger. Today, Pacino has more than 50 film credits to his name, as well as a handful of appearances on TV, stage, and in documentaries. He's received numerous accolades for his work, many of which came early in his career. His first Oscar nomination, for example, was for the first "Godfather" film—though Pacino famously refused to attend the ceremony that year due to his placement in the Supporting Actor category for a lead role. Nonetheless, his first Oscar nod kicked off a four-year streak where he was nominated for an Academy Award and a Golden Globe every year between 1973 and 1976. In total, Pacino has been nominated for nine Oscars (winning one) and 19 Golden Globes (winning four). He also has a Grammy nomination, two Tony wins, and two Primetime Emmy wins. Not all of his films have been Oscar winners—Pacino has also received attention from the Razzie Awards for his work in critically panned movies. To honor the prolific actor, Stacker put together a list of every Al Pacino movie ever made, ranked from worst to best, according to IMDb user ratings as of November 2022. This list only includes feature-length Pacino films, and ties were broken by the number of IMDb votes. Keep reading to see where your favorite Pacino movie ranks.
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]	null	[]	null			https://www.blu-ray.com/favicon.ico	Blu-ray.com	https://www.blu-ray.com/Looking-for-Richard/193594/	Movie finder Release calendar New releases Coming soon Reviews User reviews Search Directed by Al Pacino Looking for Richard 1996 PG-13 112 MIN Overview Releases Reviews Cast crew Movie Codes Products News Forum Documentary StudioSearchlight Pictures Twentieth Century Fox Release dateCountry US LanguageEnglish Runtime112 minRatedPG-13Technical details 1.85:1 Movie plot tags Director Al Pacino juxtaposes scene's from Richard III, scenes of rehearsals for Richard III, and sessions where parties involved discuss the play, the times that shaped the play and the events that happened at the time the play is set. Interviews with mostly British actors are also included, attempting to explain why American actors have more problems performing Shakespearean plays than they do. Director Al Pacino juxtaposes scene's from Richard III, scenes of rehearsals for Richard III, and sessions where parties involved discuss the play, the times that shaped the play and the events that happened at the time the play is set. Interviews with mostly British actors are also included, attempting to explain why American actors have more problems performing Shakespearean plays than they do. (less) Director: Al Pacino Writers: William Shakespeare, Al Pacino Starring: Penelope Allen, Gordon MacDonald, Madison Arnold, Harris Yulin, Alec Baldwin, Al Pacino Producers: Michael Hadge, Al Pacino, William Teitler » See full cast & crew 4 fans 83 DVD collections 13 Digital collections 10 iTunes collections 3 Prime collections 8 MA collections Similar titles you might also like What is this? 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915	yago	1	12	https://www.biography.com/actors/al-pacino	en	Al Pacino: Biography, Actor, Movies, Age & The Godfather	https://hips.hearstapps.…xh&resize=1200:*	https://hips.hearstapps.…xh&resize=1200:*	[ "https://www.biography.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg", "https://www.biography.com/_assets/design-tokens/fre/static/icons/close.38e3324.svg", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/logo.5ec9b18.svg?primary=%2523ffffff", "https://hips.hearstapps.com/hmg-prod/images/gettyimages-696660556.jpg?crop=1.00xw:1.00xh;0,0&resize=640:", "https://hips.hearstapps.com/rover/profile_photos/b50d4909-0f39-4b73-b482-46d0a9078d40_1682363012.file?fill=1:1&resize=120:", "https://www.biography.com/_assets/design-tokens/fre/static/icons/play.db7c035.svg?primary=%2523ffffff", "https://hips.hearstapps.com/vidthumb/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2_image.jpg?crop=1xw:1.0xh;center,top&resize=640:* 640w, https://hips.hearstapps.com/vidthumb/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2_image.jpg?crop=1xw:1.0xh;center,top&resize=980:* 980w, https://hips.hearstapps.com/vidthumb/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2_image.jpg?crop=1xw:1.0xh;center,top&resize=1200:* 1120w", "https://hips.hearstapps.com/hmg-prod/images/matthew-perry-gettyimages-138426760.jpg?crop=0.566xw:1.00xh;0.141xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/matthew-perry-attends-the-gq-men-of-the-year-party-2022-at-news-photo-1690831315.jpg?crop=0.668xw:1.00xh;0.167xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/tom-cruise-attends-the-australian-premiere-of-mission-news-photo-1723494676.jpg?crop=0.671xw:1.00xh;0.181xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/jamie-lee-curtis-holds-a-knife-in-a-scene-from-the-film-news-photo-1721929549.jpg?crop=0.692xw:0.956xh;0.223xw,0.0442xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/photo-of-steve-martin-news-photo-1660070714.jpg?crop=0.590xw:0.874xh;0.194xw,0.0618xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/robert-downey-jr-attends-the-96th-oscars-nominees-luncheon-news-photo-1708713684.jpg?crop=0.412xw:0.487xh;0.288xw,0.0327xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/actor-meryl-streep-attends-the-23rd-annual-screen-actors-news-photo-1718048743.jpg?crop=0.703xw:1.00xh;0.150xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/christopher-reeve-during-the-63rd-annual-academy-awards-news-photo-1684799172.jpg?crop=1.00xw:0.745xh;0,0.0736xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/gettyimages-1374093348.jpg?crop=0.668xw:1.00xh;0.167xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/honoree-steve-martin-winner-of-the-afi-life-achievement-news-photo-1690822886.jpg?crop=0.670xw:1.00xh;0.0769xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/blake-lively-is-seen-at-the-michael-kors-fashion-show-news-photo-1677545808.jpg?crop=0.559xw:0.373xh;0.207xw,0.0353xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/selma-blair-attends-the-build-series-to-discuss-mom-and-dad-on-january-22-2018-in-new-york-city-photo-by-matthew-eisman_getty-images-square.jpg?crop=1.00xw:1.00xh;0,0&resize=360:", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/logo.5ec9b18.svg?primary=%2523ffffff", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/x.3361b6d.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/network-logo.04aa008.svg?primary=%2523ffffff" ]	[]	[]	[ "Last Name: Pacino", "Birth Month/Day: April 25", "First Name: Al", "Birth Year: 1940", "School: P.S. 41", "School: The Actors Studio", "School: High School of Music and Art", "School: Stella Adler Conservatory (Stella Adler Studio of Acting)", "Birth City: New York", "Birth State: New York", "Industry/Interest Area: Comedy", "Industry/Interest Area: Action", "Industry/Interest Area: Drama", "Industry/Interest Area: Theater and Dance", "Birth Month: 4", "Astrological Sign: Taurus", "Birth Country: United States" ]	null	[ "Biography.com Editors" ]	2014-04-02T14:56:19+00:00	Oscar-winning actor Al Pacino has kept moviegoers riveted since the 1970s, with roles in films like 'The Godfather,' 'Dog Day Afternoon,' 'Dick Tracy' and 'Scent of a Woman.'	en	/_assets/design-tokens/biography/static/images/favicon.3635572.ico	Biography	https://www.biography.com/actors/al-pacino	(1940-) Who Is Al Pacino? Al Pacino began studying acting in his teens and eventually made his way from the stage to the big screen. During his career he has brought a brooding seriousness and explosive rage to gritty roles, including those of gangster Michael Corleone in The Godfather (1972) and drug lord Tony Montana in Scarface (1983). A versatile performer, he has starred in a diverse range of projects during his prolific career, appearing in countless stage productions and directing several films as well. He received an Academy Award for Best Actor for his portrayal of a blind man in Scent of a Woman (1992) and in 2007 received a Lifetime Achievement Award from the American Film Institute. Quick Facts FULL NAME: Alfredo James Pacino BORN: April 25, 1940 BIRTHPLACE: New York City, NY CHILDREN: Julie Marie Pacino, Olivia Pacino, Anton James Pacino, Roman Pacino ASTROLOGICAL SIGN: Taurus Early Life and Stage Work Alfredo James Pacino was born in New York City on April 25, 1940. He was the only child of Italian immigrants from Sicily who separated when he was a toddler. After they split, Pacino’s father moved to California and Pacino was raised by his mother and grandparents in the Bronx. Though somewhat shy as a child, in his early teens Pacino developed an interest in acting and was later accepted at the High School of Performing Arts. However, he proved to be a poor student, failing most of his classes before he eventually dropped out at age 17. After leaving school, Pacino worked a variety of jobs before moving to Greenwich Village in 1959 to pursue his dreams of becoming an actor. He began studying theater at the Herbert Berghof Studio and soon landed parts in off-Broadway productions, including a 1963 role in the William Saroyan play Hello, Out There. In 1966, Pacino made the next step forward in his career when he was accepted at the Actors Studio, where he studied under renowned coach Lee Strasberg. Pacino’s work there led to his involvement in prominent projects like the 1969 Broadway production of Does a Tiger Wear a Necktie?—for which he received a Tony Award—and a part in that year's coming-of-age film Me, Natalie. Al Pacino Movies 'The Godfather' But it would be Pacino’s performance in a little-known 1971 movie called The Panic in Needle Park that would set his career on a path to new heights. Pacino’s portrayal of a heroin addict caught the eye of Francis Ford Coppola, who was in the midst of casting for his upcoming picture The Godfather, based on the novel by Mario Puzo. Although he had been considering such superstars as Robert Redford and Jack Nicholson for the part, Coppola ultimately chose the relatively unknown Pacino to play Michael Corleone. Released in 1972, The Godfather was a massive success and is widely considered (along with its first sequel) to be among the greatest films of all time. Telling the tale of the Corleone crime family and Michael Corleone's rise to power, Pacino was just one of many actors—including Marlon Brando, James Caan, Robert Duvall and Diane Keaton—to receive critical acclaim for their performances. The Godfather dominated the 1973 Academy Awards, winning Oscars for Best Picture, Best Actor (Brando) and adapted screenplay while receiving nominations for direction, sound, costume design, and editing. Caan, Duvall and Pacino each received a supporting actor nomination, but, angered over not receiving a nod from the Academy in the category of lead actor, Pacino boycotted the event. More Acclaim With 'Serpico' In the wake of The Godfather’s success, Pacino quickly became a sought-after leading man. Following a co-starring role with Gene Hackman in Scarecrow (1973), Pacino starred in three successive hit films, each of which earned him an Academy Award nomination for Best Actor. In 1974 he starred in Serpico, the true story of police officer Frank Serpico, whose undercover work during the 1960s helped expose corruption in the NYPD. The film was both a critical and commercial success. 'The Godfather: Part II,' 'Dog Day Afternoon' That same year, he appeared again as Corleone in The Godfather: Part II, which also starred Robert De Niro and received as many accolades as its predecessor. And in 1975 Pacino starred in Dog Day Afternoon, playing a much more unusual role as John Wojtowicz, who in 1972 attempted to rob a bank in Brooklyn to pay for his boyfriend's sex change. The actor next starred in the box-office failure Bobby Deerfield before returning to form in the legal drama …And Justice for All (1979), earning himself yet another Academy Award nomination. 'Scarface' Given his dazzling success during the 1970s, Pacino’s film-acting career experienced a relative lull in the decade that followed. With the exception of his role as crazed drug dealer Tony Montana in the Brian De Palma–directed hit Scarface (1983), Pacino’s other films from this era were significantly less successful and his roles less memorable. Cruising (1980), Author! Author! (1982) and Revolution (1985) were all commercial and critical flops. But during this time Pacino also made a successful return to the stage. In 1983 he received a Drama Desk Award nomination for his performance in the David Mamet play American Buffalo, and in 1988 he received favorable reviews for his portrayal of Marc Antony in a New York Shakespeare Festival production of Julius Caesar. Then Pacino returned to the screen in the 1989 thriller Sea of Love, which ultimately reestablished his star power. 'Dick Tracy,' 'Scent of a Woman' In 1990, Pacino appeared in two films—The Godfather: Part III and Dick Tracy. His role in the latter earned him his first Academy Award nomination in more than a decade and marked the first in a steady string of roles in hit movies in the years to come. In the first half of the 1990s, Pacino earned favorable reviews for his work in outings such as Frankie and Johnny (1991), with Michelle Pfeiffer, and Carlito's Way (1993). And he received his first Academy Award for his lead role as a blind man in 1992’s Scent of a Woman, while also being nominated in the supporting actor category for his role in Glengarry Glen Ross (1992). 'Donnie Brasco,' 'Any Given Sunday' In the latter half of the decade, parts in such films as Michael Mann’s Heat (1995), gangster film Donnie Brasco (1997), supernatural thriller The Devil's Advocate (1997), Oliver Stone’s football classic Any Given Sunday (1999) and the Academy Award–winning The Insider (1999) helped keep Pacino both busy and relevant. He filled in his schedule by writing, directing and performing in the documentary Looking for Richard, an exploration of William Shakespeare’s Richard III. 'Insomnia,' 'Angels in America' In 2000, Pacino turned 60. However, this did little to slow his prolific career. In 2002 he appeared in four films: the Christopher Nolan thriller Insomnia and the only moderately successful films People I Know, S1m0ne and The Recruit. The following year he won an Emmy Award for his role in the adaptation of the Tony Kushner play Angels in America, and in 2004 he once more indulged his love for the works of Shakespeare by appearing in a film version of The Merchant of Venice. 'Ocean's Thirteen' In 2007, the actor was among the all-star ensemble of the blockbuster hit Ocean’s Thirteen and released the DVD box set Pacino: An Actor’s Vision. He then co-starred with De Niro in the 2008 cop drama Righteous Kill, portrayed Jack Kevorkian in the TV movie You Don’t Know Jack (2010)—for which he received his second Emmy Award—and revisited the David Mamet play Glengarry Glen Ross, this time in a 2012 Broadway production that also starred Bobby Cannavale. 'Phil Spector' Pacino collaborated with Mamet on the 2013 TV film Phil Spector, to portray the famously troubled musical producer, before taking on lead roles in indie projects like Manglehorn (2014) and Danny Collins (2015). In the latter film, co-starring Annette Bening, Jennifer Garner and Christopher Plummer, Pacino plays a rock star who seeks out his son (Cannavale) after learning of an undelivered letter from John Lennon. 'Paterno,' 'Once Upon a Time,' 'The Irishman' Following roles in the 2017 films The Pirates of Somalia and Hangman, Pacino returned to the spotlight as the titular Penn State football coach at the center of a child sex abuse scandal in Paterno (2018). He then joined the star-studded cast of Quentin Tarantino's Once Upon a Time in Hollywood (2019), before reuniting with Scorsese and De Niro later that year to play the ill-fated union boss Jimmy Hoffa in The Irishman, a role that garnered him his ninth Academy Award nomination. Pacino then returned to the small screen with the February 2020 debut of Amazon's Hunters, as the leader of a group of vigilantes out to thwart a Nazi revival in 1970s America. Awards and Honors As of 2019, Pacino has won one Oscar, two Emmys, Two Tonys and four Golden Globe Awards. He received a Lifetime Achievement Award from the American Film Institute in 2007. In December 2016, Pacino and his acclaimed performances were celebrated at the 39th Kennedy Center Honors. Personal Life Al Pacino is a lifelong bachelor. He is, however, the father of three children: one daughter from a relationship with his former acting coach Jan Tarrant and a daughter and a son from a long-term relationship with actress Beverly D’Angelo. Over the years, Pacino has also been romantically linked with Keaton, Penelope Ann Miller, Lucila Sola and Meitel Dohan. Fact Check: We strive for accuracy and fairness. If you see something that doesn't look right, contact us! QUOTES
915	yago	2	47	https://edubirdie.com/examples/a-view-on-human-nature-in-william-shakespeares-play-richard-iii-and-al-pacinos-docudrama-looking-for-richard/	en	A View on Human Nature in William Shakespeare’s Play ‘Richard III’ and Al Pacino’s Docudrama ‘Looking for Richard’	https://edubirdie.com/bu…2.png?1539347127	https://edubirdie.com/bu…2.png?1539347127	[ "https://edubirdie.com/wp-content/themes/essay/assets/img/logo-blue.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/logo-blue.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/search-ico-blue.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/search-ico-blue.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/close_ico.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/close_ico.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/trigger.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/trigger.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/quote.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/quote.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/dowload.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/dowload.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/banner/document.png", "https://edubirdie.com/wp-content/themes/essay/assets/img/banner/document.png", "https://edubirdie.com/wp-content/themes/essay/assets/img/rating/like.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/rating/dislike.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/banner/reviwes.png", "https://edubirdie.com/wp-content/themes/essay/assets/img/banner/reviwes.png", "https://edubirdie.com/wp-content/themes/essay/assets/img/timer.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/timer.svg", "https://edubirdie.com/wp-content/uploads/cache/thumb/12/48bd382927fec12_375x435.webp", "https://edubirdie.com/wp-content/themes/essay/assets/img/student-help/icon-border.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/student-help/icon-border.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/close-single-popup.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/close-single-popup.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/Search.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/Search.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/bird-with-essay.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/email-sent.svg", "https://edubirdie.com/wp-content/themes/essay/assets/img/preloader.svg" ]	[]	[]	[ "" ]	null	[]	2023-09-08T05:00:29+00:00	Despite being composed centuries apart, William Shakespeare’s play ‘Richard III’ (1593) and Al Pacino’s docudrama… For full essay go to Edubirdie.Com.	en	//edubirdie.com/bundles/asterfreelance/_layout/images/EdubirdieCom/favicon/apple-icon-57x57.png?1539347127	Edubirdie	https://edubirdie.com/examples/a-view-on-human-nature-in-william-shakespeares-play-richard-iii-and-al-pacinos-docudrama-looking-for-richard/	Despite being composed centuries apart, William Shakespeare’s play ‘Richard III’ (1593) and Al Pacino’s docudrama ‘Looking for Richard’ (1996) provides stark commentary on human nature. Through reimagining and reframing textual aspects, perspectives of power and ambition, and the idea of providentialism and free will are depicted. While both texts explore aligning characterizations of Richard III, the intertextual conversation through different mediums of production and language illuminate the power of art in enhancing our understanding of different contexts and values as well as resonances and dissonances between the two texts. Shakespeare critiqued the Machiavellian pursuit of power and the moral vacuity it causes, whereas Pacino’s post-modern film uses a framework of secular values to engage a contemporary audience with Shakespeare’s legacy, acting as an artistic mechanism to express the existential imperfection governing human intention. In Shakespeare’s ‘Richard III’, Richard rejects contextual expectations of theocentric values in his desire for power, by subverting the morality and values of Elizabethan England. In his opening soliloquy by openly admitting he is “subtle, false and treacherous” and “determined to prove a villain”, Shakespeare presents him as the duplicitous embodiment of the dichotomy of ‘morality and vice’, which is seen further in his ability to feign charm and honor through theatricality. Through the façade of Richard, Shakespeare critiques humanity’s demonic nature: “From blood to blood/Your right of birth, your empery, your own”, in which Richard is portrayed as immoral and unholy as he rejects the paradigms of Christian morality. During Richard’s era, the War of the Roses and Richard III’s proceeding reign were acknowledged as a dark period of horror and disorder in English history. The use of bestial symbolism of ‘toad’, ‘boar’, ‘foul swine’ and ‘hedgehog’ shows how his compassion deteriorating, consumed by his desires, where Richard sacrifices his humanity for retribution. In “O that deceit should steal such gentle shapes, and with a virtuous visor hide”, the use of theatrical imagery reveals one’s appearance as a mechanism for hiding duplicity in character. Shakespeare therefore portrays a debased Richard, who arrogantly seeks to furtively usurp the very crown of England and thereby violate the deepest principles of Elizabethan morality, embodied in the notion of the divine right of kings. Richard’s oxymoronic declaration “seem a saint when most I play the devil” suggests the contextual significance of the holiness of a king. Thus, through Richard’s character, Shakespeare elucidates the immorality and divine consequences of deceit in a world governed by moral absolutes. Differing contexts influence the motivations of individuals shaping a new understanding of the human nature. Shakespeare reflects the tensions between providentialism or determinism and free will, within his Elizabethan context. Besides, he portrays the devout Protestantism of the Elizabethan era through his delineation of the shifting changes towards free will underpinned by the humanism within 16th-century paradigms. This is epitomized through Richard’s facade of Christian values, shown through theatrical and religious imagery, “a book of prayer in your hand”, however, this is undercut through the paronomasia of Richard’s determination, “I am determined to prove a villain”. Thus, Shakespeare exemplifies the conflict between Richard’s motivation as his personal construct and his beliefs of being preordained. Shifts in political and social paradigms through the influence of Renaissance humanism influenced Shakespeare to promote the legitimacy and principles of natural order. By employing dramatic irony, “The course my noble father laid on thee, when thou didst crown his warlike brows with paper”, he underpins Richard’s free will in his downfall. Characters are shown to be aware of Richard’s machinations, yet unable to control the consequences, prompting the audience to question the rising power of the individual and its negative ramifications on society when one acts against the prevalent religious tenets. Correspondingly, in ‘Looking for Richard’ power is defined as a human construct. The film begins and ends with the intertextual use of ‘The Tempest’ coupled with a voiceover, suggesting that life is transient and ‘our life is rounded with a sleep’, which implies that life cannot provide us with moral certainty. This is followed by the mis-en-scene, which depicts a gothic spire ‘church’ fading into a ‘New York’ basketball court, symbolizing life is a game, that we conjure. The positioning of Pacino’s menacing figure over the sick King Edward implies his premature domination of the kingdom displaying his control, further amplified through, “plots have I laid ... inductions dangerous”. This ambiguity is enhanced as Pacino wears black, using the literal darkness to evoke Richard’s corruption, resonating with society’s post-modern perception of evil. Furthermore, Pacino explores the comparison of the Machiavellian politics and the stratified power structure of the Elizabethan era and 20th century politics when he questions contemporary authority, “The truth is that those in power have a total contempt for everything…”. The chiaroscuro of Pacino reciting Richard’s opening monologue reinforces Richard’s hidden self. Moreover, his employment of vox populi and interviews demonstrates contemporary democratic power structure counteracting this ultimate darkness. Pacino’s desire to exert his influence for the advancement is ambiguous, as it appears noble yet ironically it elevates Pacino an intellectual authority. Conversely in Richard’s asides, Shakespeare presents no such moral high ground, remaining literally evil within this theocentric world. In the final scene of ‘Richard III’, Richard is cast as a pathetic figure, abandoned by his followers, dying alone, thus reducing the moral lesson, where even the beast cannot not pacify, “My horse, my horse, my kingdom for a horse”. Morality is shaped in Shakespeare’s ‘Richard III’ by Christian moral paradigms, which is re-shaped by Pacino to reflect post-modern secularism. Thus, ‘Richard III’ and ‘Looking for Richard’ both didactically provide a warning against illicit use of power. ‘Looking for Richard’ mirrors contemporary values through Pacino’s exploration of secularism, which highlights the growth of humanism and individualism in shaping 20th century morality. This is revealed in the appreciation for Richard’s pragmatism by interviewed scholars. “Irony is really only hypocrisy with style... We love Richard’s irony in a way”. Pacino juxtaposes the contextual intervention and an opportunity for Richard to gain redemption but as a 20th century amoral society, we view Pacino’s views on Richard’s irony as a manifestation of his guilt from his subconscious. Pacino, by juxtaposing twentieth century values with those of the Elizabethan audience collides with Shakespeare, when he posits that individuals are guided by their own moral compass and not by religion. Instead, he chooses to focus on their own individual guilty conscience and the impact on their lives: “Faith, certain dregs of conscience are here within me”. Richard is haunted by the ghost of his conscience and ultimately, is punished by his madness rather than his death, as explored in William Shakespeare’s ‘Richard III’. In twenty first century context, justice comes in the form of one’s own psychological fragmentation and guilty conscience, rather than sanctions by God. This resonance can also be seen in ‘Richard III’, in which Richard himself compares himself to a vice, “Thus, like the formal Vice, Iniquity/ I moralize two meanings in one world”, highlighting how he is confiding with the audience by sharing his devious plots, reflecting his lack of morality. Only in the last scene, he questions himself saying, “Richard loves Richard, that is, I am I. Is there a murderer here? No. Yes, I am”. This indicates the internal conflict he faces because of his moral revelation, demonstrating the impact of religious beliefs on the individual, emphasizing the idea of human nature. Appropriations of texts provide the readers with an enriched understanding through different perspectives and form. Composed during the Tudor Monarchy, William Shakespeare’s ‘Richard III’ manipulates the authority of Richard to highlight the key ideas of power, providentialism and freewill. Pacino reshapes these ideas to reflect 20th century society’s growing secularism. Thus, both texts resonate that the transcendent hypocrisy in the form of one’s pursuit for power, whereas their intertextual conversation reveals the dissonance of values due to their contextual differences, inviting reflection on contemporary society and what shape one's life.
915	yago	1	7	https://www.afi.com/laa/al-pacino/	en	Al Pacino	https://prdaficalmjediwe…790F80A55044.jpg	https://prdaficalmjediwe…790F80A55044.jpg	[ "https://www.facebook.com/tr?id=404753177081502&ev=PageView&noscript=1", "https://www.afi.com/wp-content/themes/AFI/images/search_close.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/05/AFI-Logo.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/05/AFI-Logo.png", "https://www.afi.com/wp-content/themes/AFI/images/search.png", "https://www.afi.com/wp-content/themes/AFI/images/white_search.png", "https://www.afi.com/wp-content/themes/AFI/images/search_close.png", "https://www.afi.com/wp-content/themes/AFI/images/search_white.png", "https://www.afi.com/wp-content/themes/AFI/images/toggle.png", "https://www.afi.com/wp-content/themes/AFI/images/white_toggle.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/06/Resized-1500x500_0012_AlPacino.jpg", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/06/Resized-1500x500_0012_AlPacino.jpg", "https://www.afi.com/wp-content/themes/AFI/images/popup_close.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2020/02/Donate-to-AFI@2x.png", "https://www.afi.com/wp-content/themes/AFI/images/top.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/08/gdpr-logo.png" ]	[]	[]	[ "American Film Institute" ]	null	[]	null	Nearly 40 years after delivering a shockingly real performance as Bobby, the strung-out dope addict in THE PANIC IN NEEDLE PARK, Al Pacino — one of the most honored actors of his generation — is still refining his craft, and defining it for the next generation. His driving intelligence and quest for excellence have given us such indelible screen characters as tortured mob chief Michael Corleone, Det. Frank Serpico, irresistible bank robber Sonny of DOG DAY AFTERNOON, blind tango dan	en	https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/09/favicon.ico	American Film Institute	https://www.afi.com/laa/al-pacino/	Nearly 40 years after delivering a shockingly real performance as Bobby, the strung-out dope addict in THE PANIC IN NEEDLE PARK, Al Pacino — one of the most honored actors of his generation — is still refining his craft, and defining it for the next generation. His driving intelligence and quest for excellence have given us such indelible screen characters as tortured mob chief Michael Corleone, Det. Frank Serpico, irresistible bank robber Sonny of DOG DAY AFTERNOON, blind tango dancer Lt. Col. Frank Slade of SCENT OF A WOMAN and Tony Montana, a gangster who remains a cultural force 20 years after the release of SCARFACE. Between and around those legendary roles, this actor’s actor plays on the nation’s best stages in works by Israel Horovitz, Bertolt Brecht, David Mamet, William Shakespeare and, most recently, in Oscar Wilde’s Salome. His passion for language and the art of acting led him to write and direct LOOKING FOR RICHARD, an award-winning documentary that explores the beauty and relevance of Shakespeare for a modern screen audience. At the same time, he stretches his muscles as a filmmaker with personal projects like THE LOCAL STIGMATIC and CHINESE COFFEE. Once Pacino discovered his gifts, as an only child in the Bronx of the 1940s and then at the Actors Studio, where as a young adult he studied his craft under the tutelage of mentors like Charlie Laughton and Lee Strasberg, he honored them by making a singular commitment to his craft. By plunging into acting as his way to connect with the world, the intense young actor learned to express himself like no other. Building on the techniques that fellow Method actor Marlon Brando displayed so brilliantly in A STREETCAR NAMED DESIRE and ON THE WATERFRONT, Pacino plumbed his own psyche to create a finely wrought cast of ruthless gangsters, conflicted cops, street punks and mid-life wrecks who, even from the depths of depravity, can make us love them, or feel what it must be like to walk in their shoes. Sidney Lumet, who directed the actor in DOG DAY AFTERNOON and SERPICO, tried to explain the Pacino magic: “Everything stems from some incredible core inside of him. I wouldn’t think of trying to get near it, because it would be like getting somewhere near the center of the earth. What comes out of his core is so uniquely his own.” That core can feel as elemental as the human condition itself, and when it flashes on the big screen it touches something deep inside of us. Like that other movie gangster with the streets of New York written on his face, James Cagney, and that female outlaw Bette Davis, Pacino’s power is volcanic. It keeps us in our seats just waiting for it to explode with operatic intensity. Whether he’s standing up to the tobacco industry and big media as crusading producer Lowell Bergman in THE INSIDER, seducing another pathetic sucker as salesman Ricky Roma in David Mamet’s GLENGARRY GLEN ROSS, or slipping into bedlam as the raving Roy Cohn in ANGELS IN AMERICA, the truth feels red hot. And it is compelling to watch. That same man is also capable of the finest restraint. In the averted glances of worn-out street soldier Lefty Ruggiero at the end of his game in DONNIE BRASCO, in the stooped shoulders of weary investigator Dormer out to crack one more case in INSOMNIA, and in the hollow, calculating eyes of Michael Corleone, Pacino has drawn characters that shimmer with the nuances of real life. He is a master at portraying men who have perhaps seen too much, but who, like Det. Frank Keller in SEA OF LOVE, yearn for a second chance. In life and on the screen Pacino has not played it safe. He committed to the actor’s life as a poor kid from the Bronx who quit the School of Performing Arts at 16 to help support his family. He held jobs as a messenger, an usher and a building superintendent while apprenticing at avant-garde off-off-Broadway theater companies until joining the Actors Studio and dedicating himself to acting full time at the age of 26. He struggled, sleeping on friends’ floors, appearing off-Broadway in The Indian Wants the Bronx, and screen-testing several times, at the age of 32, for the role in THE GODFATHER that would cement his place in cinematic history. Paramount thought he was too short and understated to play a gangster, and suggested less ethnic actors for the part. But Francis Ford Coppola, who had seen Pacino on the stage in New York, knew he had found a true son for Brando, a casting decision for which author Mario Puzo was forever grateful. “The great bonus was Al Pacino,” remembered Puzo in his book, The Godfather Papers. “As Michael, Pacino was everything I wanted that character to be on screen. I couldn’t believe it. It was, in my eyes, a perfect performance, a work of art.” In his quest to uncover what it means to be alive, Pacino has applied himself tirelessly to his craft and the result is a body of work that glows with vitality. His gifts have not gone unrecognized. The eight-time Academy Award nominee has taken home an Obie, a Tony, an Oscar and an Emmy. As the consummate actor said about identity, at a 2007 seminar at the AFI Conservatory, “Who you are is really about what you do.” And Al Pacino acts like no other.
915	yago	1	53	https://medium.com/%40marilynstanton/all-al-pacino-movies-in-order-a2a88458a5cc	en	All 94 Al Pacino Movies (in Order)	https://miro.medium.com/v2/da:true/resize:fit:1200/0*qNK9_pdg0J4K5ZtL	https://miro.medium.com/v2/da:true/resize:fit:1200/0*qNK9_pdg0J4K5ZtL	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/da:true/resize:fill:88:88/0ByazN4UbeOyBNfTK", "https://miro.medium.com/v2/da:true/resize:fill:144:144/0*ByazN4UbeOyBNfTK" ]	[]	[]	[ "" ]	null	[ "Marilyn Stanton", "medium.com" ]	2024-03-17T03:10:27.855000+00:00	Get ready to dive into the world of legendary actor Al Pacino as we take a look at some of his most memorable movies throughout his illustrious career. From his early roles to his more recent…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://medium.com/@marilynstanton/all-al-pacino-movies-in-order-a2a88458a5cc	Marilyn Stanton · Follow 36 min read · Mar 17, 2024 -- Get ready to dive into the world of legendary actor Al Pacino as we take a look at some of his most memorable movies throughout his illustrious career. From his early roles to his more recent performances, we’ll highlight the films that have made Pacino a household name and a true icon in the industry. 1. Me, Natalie (1969) Me, Natalie” is a delightful 1969 comedy-drama that follows the story of a young woman named Natalie, portrayed by Patty Duke, as she strives for her own unique sense of independence and individuality. Despite her physical likeness to one of the ugliest ducklings, it becomes clear that Natalie is anything but ordinary. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 2. The Panic in Needle Park (1971) The Panic in Needle Park, “ directed by Jerry Schatzberg and written by James Mills, Joan Didion, and John Gregory Dunne, is a gripping drama set in New York City that follows the lives of heroin addicts who frequent the infamous “Needle Park. “ The movie stars a young Al Pacino and Kitty Winn, highlighting the harrowing realities of addiction and its impact on individuals and those around them. As the story unfolds, viewers are taken on an emotional journey through the struggles and desperation of these characters, ultimately leading them to confront the harsh realities of their choices. With a stellar ensemble cast and a powerful storyline, “The Panic in Needle Park” provides a raw and unforgettable look at the dark underbelly of heroin addiction. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 3. The Godfather (1972) The Godfather” is a gripping tale of power, loyalty, and family. Directed by Francis Ford Coppola, this masterpiece stars an all-star cast including Marlon Brando, Al Pacino, and James Caan. Set in the world of organized crime, Don Vito Corleone, played by Brando, is the head of a mafia family. As he prepares to pass up his empire to his youngest son Michael, unforeseen danger lurks around his loved ones’ lives. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 4. Scarecrow (1973) Scarecrow” is a 1973 drama movie that follows an ex-convict with a penchant for brawling as he teams up with a homeless ex-sailor to travel east together. Starring Al Pacino and Gene Hackman, the film navigates the challenges they face throughout the journey and tests the boundaries of their friendship. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 5. Serpico (1973) Serpico” is a riveting film set in 1970s New York that exposes the complex and corrupt world of law enforcement. The title character, Frank Serpico, is a dedicated and honest cop who dares to go against the system and expose the rampant corruption within his force. However, instead of being hailed as a hero, Serpico finds himself under attack from his own comrades who do not want their illicit dealings to be revealed. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 6. The Godfather Part II (1974) The Godfather Part II” is a riveting crime drama that delves deep into the complexities of the Corleone family, as well as exploring the dark, untamed world of organized crime. Set in 1920s New York City, the film tells the enthralling tale of Vito Corleone and his son Michael, as they navigate through a precarious web of power, loyalty, and deceit. As Vito tries to maintain his influence in the criminal underworld, the younger Michael unleashes a relentless campaign to take control of the family’s business and exert his iron grip on a sprawling empire. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 7. Dog Day Afternoon (1975) In the captivating 1975 film “Dog Day Afternoon, “ directed by the talented Sidney Lumet, audiences are drawn into a tale of crime, desperation, and human error. The plot revolves around three inexperienced bank robbers who try to pull off a seemingly straightforward heist: walk in, take the money, and run. However, their well-intentioned plan quickly spirals into a chaotic hostage situation, leaving them in a precarious predicament that defies all odds. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 8. America at the Movies (1976) America at the Movies” is a 1976 documentary film that showcases a fascinating compilation of scenes from 83 American films, divided into five intriguing segments. The cinematic voyage delves into the heart of America, highlighting its diverse landscapes, bustling cities, loving families, significant conflicts, and profound spirit. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 9. Bobby Deerfield (1977) Bobby Deerfield, a riveting 1977 drama romance, stars Al Pacino as the eponymous character, a renowned American race car driver competing in Europe. After a life-changing encounter, Bobby falls in love with enigmatic, terminally-ill Lillian Morelli, played by Marthe Keller. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 10. And Justice for All (1979) And Justice for All” is a gripping, thrilling drama that delves into the heart of the American judicial system. Directed by Norman Jewison and written by Valerie Curtin and Barry Levinson, the movie stars Al Pacino as Arthur Kirkland, a dedicated but morally conflicted lawyer who faces the ultimate test of justice and righteousness. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 11. Cruising (1980) In 1980, acclaimed director William Friedkin delved into the dark and uncharted territories of the underground S&M gay subculture of New York City with “Cruising. “ A chilling tale of a serial killer on a terrifying rampage, the film centers around a determined police detective, Al Pacino, who goes undercover to catch the predator responsible for the gruesome murders. As he navigates the dangerous world of forbidden desires and covert identities, Pacino finds himself drawn into a twisted game of cat and mouse. The film’s intense plot, coupled with its daring depiction of raw human sexuality, pushes the boundaries and leaves viewers on the edge of their seats. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 12. Author! Author! (1982) Author! . Author! “ is a heartwarming 1982 comedy-drama film, telling the story of a playwright who navigates the hustle and bustle of raising a family while his Broadway play is underway. The protagonist’s marital separation adds to the complexity of his life, making it a compelling exploration of parenthood and the pressures of success. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 13. Night of 100 Stars (1982) Night of 100 Stars” is a star-studded comical variety special celebrating the centennial of the Actors’ Fund of America in 1982. The event is packed with famous faces and talented performers, making it a delightful family-friendly experience. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 14. Scarface (1983) Scarface, directed by Brian De Palma and written by Oliver Stone, is an intense crime drama that explores the dark underworld of Miami’s drug cartels in the 1980s. Led by the charismatic and ruthless Cuban immigrant, Tony Montana, played by Al Pacino, the film dives deep into the world of organized crime, as Tony ascends from a lowly worker to a powerful drug lord. However, the journey tests not only Tony’s leadership skills but also his loyalty and morality. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 15. Revolution (1985) Revolution, “ directed by Hugh Hudson, takes us on an incredible journey through the tumultuous times of colonial America. Al Pacino stars as a young trapper, unexpectedly caught up in the whirlwind of the American Revolution, alongside his son, played by Donald Sutherland. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 16. Sea of Love (1989) Sea of Love” is a gripping crime thriller with a chilling twist. Set in New York City, the movie follows a police detective, Frank Keller, played by legendary actor Al Pacino, as he becomes increasingly obsessed with a serial murder case. His obsession leads him to an alluring woman named Helen, portrayed by Ellen Barkin, whose presence complicates his investigation. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 17. Dick Tracy (1990) Dick Tracy, a classic comic strip detective, finds himself in the middle of an intricate web of crime, love, and danger when the captivating Breathless Mahoney makes her seductive moves towards him. Amidst it all, Tracy must face the united might of the mob led by crime boss Big Boy Caprice. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 18. The Godfather Family: A Look Inside (1990) Get an exclusive, behind-the-scenes look at the making of all three films in the iconic Godfather trilogy with “The Godfather Family: A Look Inside. “ This captivating documentary delves into the intricate process of creating one of the most revered film series in history. Follow the cast and crew, including director Francis Ford Coppola, as they share candid interviews, screen tests, and stories from the set. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 19. The Godfather Part III (1990) In “The Godfather Part III, “ Michael Corleone, played by Al Pacino, is now in his 60s and striving to bring his family out of the criminal world and find the perfect successor to his empire. The film delves into the realms of opera, gangster life, the Catholic Church, and the intense violence and guilt that come with leading a mafia family. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 20. Madonna: Truth or Dare (1991) Experience the raw and unapologetic world of pop icon Madonna like never before with “Madonna: Truth or Dare, “ a groundbreaking documentary that offers an unprecedented glimpse into her life during the Blond Ambition tour in 1990. Filmmaker Alek Keshishian immerses viewers in the controversy, theatrics, and electrifying energy of Madonna’s notorious performances. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 21. Frankie and Johnny (1991) Frankie and Johnny, “ directed by Garry Marshall, stars Al Pacino and Michelle Pfeiffer, delivering a compelling tale of new beginnings and unexpected romance. Based on Terrence McNally’s play, the 1991 film is set in a quaint New York City restaurant where Frankie, a reclusive waitress, crosses paths with Johnny, an ex-convict eager to start anew. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 22. The Godfather Trilogy: 1901–1980 (1992) The Godfather Trilogy: 1901–1980 is a gripping and intense saga that explores the rise and fall of the powerful Corleone crime family. Directed by Francis Ford Coppola and written by both Coppola and Mario Puzo, this trilogy brings to life the tumultuous world of organized crime in the United States. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 23. Glengarry Glen Ross (1992) In the 1992 film “Glengarry Glen Ross, “ an examination of the cutthroat world of sales in a real estate office takes center stage. Under the watchful eye of a ruthless boss, the stakes are higher than ever as the salesmen struggle to make their quotas. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 24. Scent of a Woman (1992) Scent of a Woman” is a powerful and captivating drama that challenges our perceptions of life, love, and the human spirit. Set in the world of a prestigious prep school and private wealth, the film follows a young student as he takes on a seemingly simple task — to “babysit” a blind man in need of money. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 25. The 65th Annual Academy Awards (1993) Celebrate the magic of cinema in The 65th Annual Academy Awards, an unforgettable awards ceremony held in 1993. This prestigious event, traditionally known as the “Oscars”, honors the greatest achievements in filmmaking throughout the prior year, bringing Hollywood’s elite together to celebrate their success. Led by the charming emcee, Billy Crystal, this televised spectacle showcases glamour, talent, and heartwarming moments that continue to captivate audiences today. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 26. Carlito’s Way (1993) In the gritty streets of 1970s New York, Carlito (Al Pacino) has just served five years in prison, and he’s determined to avoid the temptation of returning to life as a gangster and drug user. But, with his former associates and the Mafia breathing down his neck, Carlito struggles to stay on the straight and narrow. He finds solace and support in Pachanga (John Leguizamo), his loyal sidekick and bodyguard, and Gail (Penelope Ann Miller), an aspiring journalist who genuinely loves him. As pressure mounts and allegiances shift, Carlito soon finds that choosing the path of righteousness may not be enough to save him from the fate of those who betrayed him. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 27. In the Name of the Father (1993) In the Name of the Father” (1993) is a gripping, crime-drama film that tells the harrowing true story of a family torn apart by the political tensions of Ireland during the 1970s. Directed by Jim Sheridan, the film is based on the life of Gerry Conlon and stars Academy Award winner, Daniel Day-Lewis, as an English lawyer fighting for the freedom of both the man wrongly condemned for an I. R. A. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 28. Jonas in the Desert (1994) Experience the captivating world of artist Jonas Mekas in “Jonas in the Desert” (1994). This thought-provoking documentary offers a unique journey through the life and work of the influential founder and director of the New York Anthology Film Archive. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 29. Two Bits (1995) Two Bits” is a heartfelt comedy-drama film released in 1995, starring Al Pacino, Mary Elizabeth Mastrantonio, and Jerry Barone. Directed by James Foley, the movie follows the story of Gennaro (played by Pacino), living with his ailing grandfather who holds on tight to his last quarter. Despite his deteriorating health, the grandfather is not ready to die. He enlists Gennaro to serve as his emissary, seeking closure for unfinished business with a woman from his past. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 30. The 67th Annual Academy Awards (1995) Bring the glamour and excitement of Hollywood to your living room with “The 67th Annual Academy Awards”! . This three-hour-long event showcases the brightest and best moments from the world of cinema. Join hosts David Letterman, Ken Adam, and others as they present awards, introduce spectacular performances, and let you in on some exclusive behind-the-scenes footage. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 31. Heat (1995) Heat” is a gripping action-packed movie set in the heart of Los Angeles. A group of highly skilled professional thieves, led by the unforgettable Al Pacino and Robert De Niro, find themselves under intense scrutiny from the city’s elite police force, the LAPD. In true Hollywood fashion, the gang’s latest score goes awry, leaving a trail of clues that the detectives begin to follow, leading to an explosive standoff. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 32. Looking for Richard (1996) In “Looking for Richard, “ Al Pacino takes a deep dive into the world of Shakespeare, specifically “Richard III. “ The film features interviews with notable actors, including Alec Baldwin and Kevin Spacey, as they discuss the significance and relevance of the play to modern society. This documentary-style drama also delves into the rehearsal process, giving viewers a unique backstage perspective on the creation of a theatrical production. With a strong emphasis on the importance of literature, “Looking for Richard” provides a thought-provoking and engaging exploration into the power of storytelling. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 33. City Hall (1996) In the bustling city of New York, a seemingly innocent accident spirals into an unexpected investigation led by the Deputy Mayor, played by the renowned Al Pacino. As the layers of deception are unraveled, the lives of those involved are forever changed in ways they never imagined. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 34. The Devil’s Advocate (1997) The Devil’s Advocate” is a gripping drama that explores the consequences of making a deal with the devil. Set in the high-stakes world of New York City law, the film follows an exceptionally skilled Florida lawyer as he is offered the chance of a lifetime to join a prestigious law firm. Despite the warning signs, he accepts the position, soon discovering that his boss, played by Al Pacino, is the embodiment of evil. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 35. Donnie Brasco (1997) Donnie Brasco” is a riveting crime drama that tells the story of an undercover FBI agent, Joe Pistone, who infiltrates the mob with incredible precision. Directed by Mike Newell, the movie takes us on a thrilling journey as the real-life story unfolds on screen. The film boasts an impressive ensemble cast, including Al Pacino and Johnny Depp, delivering compelling performances that add depth to this gritty, raw storyline. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 36. Pitch (1997) Pitch” is a lively and humorous documentary that delves into the lives of two young aspiring writers in Hollywood. The film follows Kenny Hotz and Spencer Rice as they embark on a mission to pitch their script to the big leagues. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 37. The Best of Hollywood (1998) Join Tab Hunter on a nostalgic journey through the history of Hollywood’s most iconic cinematic achievements from the 1950s to the end of the 20th century. “The Best of Hollywood” (1998) is a thought-provoking documentary that takes viewers on an exploration of the golden age of Hollywood. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 38. Tough Guise: Violence, Media & the Crisis in Masculinity (1999) Tough Guise: Violence, Media & the Crisis in Masculinity” is a groundbreaking documentary that delves into the complex relationship between pop culture and the construction of masculine identities. Directed by Sut Jhally and written by Jeremy Earp and Jackson Katz, this riveting film explores the disturbing influence of media on shaping the behaviors and attitudes of white men, particularly teenagers. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 39. The Insider (1999) In the gripping 1999 drama “The Insider, “ research chemist Jeffrey Wigand finds himself thrust into the spotlight when he chooses to go public about his knowledge of Big Tobacco’s unethical practices. As he prepares to appear on 60 Minutes, Wigand faces personal and professional attacks from the powerful tobacco industry, pushing him to the brink and putting his life in danger. Al Pacino, Russell Crowe, and Christopher Plummer deliver powerful performances in this intense courtroom thriller that explores the high stakes of whistleblowing in the 1990s. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 40. Any Given Sunday (1999) Directed by Oliver Stone, “Any Given Sunday” is a gripping drama that delves into the world of modern-day gladiators and those who lead them. Starring an all-star cast, including Al Pacino, Dennis Quaid, and Cameron Diaz, the film presents an intense and unapologetic look into the high-stakes, life-and-death struggles that pervade the realm of American football. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 41. Chinese Coffee (2000) Chinese Coffee (2000) is a gripping drama that delves into the lives of two struggling artists. As Harry and Jake passionately debate over money and aesthetics, their friendship is put to the test. This thought-provoking film explores the complexities of poverty in the creative world and raises questions about the true essence of art. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 42. America: A Tribute to Heroes (2001) America: A Tribute to Heroes” is a powerful and heartfelt documentary film that pays tribute to the tragic events of September 11, 2001. This poignant production features an impressive lineup of celebrities and musicians, ranging from legendary boxer Muhammad Ali to Golden Globe-winning actress Halle Berry, as well as Jon Bon Jovi. United in their quest to honor and remember those who perished, the stars come together for a moving musical concert that leaves a lasting impact on viewers. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 43. People I Know (2002) In “People I Know” (2002), a tale of crime, drama, and mystery unfolds in New York City. Al Pacino stars as a beleaguered press agent who finds himself entangled in a web of scandal involving his high-profile client. As the client’s reputation crumbles, the press agent is forced to use all his cunning and wits to keep his own career afloat amidst the chaos. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 44. Insomnia (2002) Experience the gripping tension of “Insomnia, “ a mystery-thriller film directed by Christopher Nolan, featuring a star-studded cast of Al Pacino, Robin Williams, and Hilary Swank. Two Los Angeles homicide detectives find themselves in a small northern town where the sun never sets, where they must investigate a local teen’s brutal murder. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 45. The Kid Stays in the Picture (2002) Delve into the life of legendary Hollywood producer Robert Evans in the gripping documentary, The Kid Stays in the Picture. In a film that shares its title with Evans’s acclaimed 1994 autobiography, the documentary takes viewers on a journey through Evans’s tumultuous life, marked by love, drug busts, and various escapades. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 46. S1m0ne (2002) S1m0ne” is a 2002 film that tells the story of a frantic producer named Vic Mansfield, portrayed by Al Pacino. Faced with the dilemma of having his star walk off the set, he resorts to an unconventional solution — digitally creating a star to replace her. The resulting holographic image, played by Rachel Roberts, becomes an overnight sensation and captivates the media frenzy. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 47. The 100 Greatest Movie Stars (2003) Dive into the world of cinema as the British public takes center stage in the documentary “The 100 Greatest Movie Stars” (2003). Spanning 6 hours, this captivating film presents an exclusive survey showcasing the top 100 film actors of all time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 48. Sex at 24 Frames Per Second (2003) Sex at 24 Frames Per Second is a 2003 feature-length documentary that delves into the sensational history of sex in Hollywood cinema, offering viewers a tantalizing journey through the evolution of this provocative subject. The film, directed by Kevin Burns and Steven C. Smith, is a gripping exploration of how sex has been portrayed in the world’s most influential movies and how filmmakers have successfully captivated audiences worldwide. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 49. Gigli (2003) Gigli, “ featuring big-name stars Ben Affleck and Jennifer Lopez, is a high-octane crime comedy that takes the audience on a wild and hilarious ride. When crime boss Leonardo “Gigli” DiCaprio assigns hitman Larry Gigli to kidnap a prominent district attorney’s brother, he enlists the help of beautiful woman Ricki. As they navigate their way through the web of crime, they must also deal with their personal lives and unexpected twists and turns. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 50. The Recruit (2003) The Recruit, “ a high-stakes action thriller released in 2003, sees talented young CIA operative Walter Burke face his most challenging mission yet. As a skilled rookie, he is tapped by his mentor, veteran CIA analyst Tom Clayton, to help uncover a dangerous mole within the agency itself. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 51. Based on a True Story (2004) Based on a True Story” (2006) is a gripping documentary that delves into the extraordinary events of John Wojtowicz and Salvatore Naturile’s bank robbery attempt in Flatbush, NY, an event that later inspired the 1975 film of the same name. The movie not only captures the tense atmosphere of the robbery but also explores the complexities of the characters involved. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 52. The Merchant of Venice (2004) Discover the timeless tale of “The Merchant of Venice, “ a Renaissance drama written by none other than William Shakespeare. Directed by Michael Radford and starring the remarkable ensemble of Joseph Fiennes, Al Pacino, and Lynn Collins, this poignant portrayal of 16th-century Venice will captivate your senses. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 53. The 77th Annual Academy Awards (2005) Witness the glamour, excitement, and prestige of The 77th Annual Academy Awards, where the best of the film industry comes together to celebrate excellence in cinema. Hosted by the charismatic Chris Rock, the ceremony nominates critically acclaimed films such as The Aviator, Finding Neverland, Million Dollar Baby, Ray, and Sideways for prestigious awards. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 54. Bullets Over Hollywood (2005) Bullets Over Hollywood” is a riveting documentary that delves into the captivating world of American gangster movies. From their roots in the silent film era to modern times, the film explores the blood-soaked landscape and enduring allure of this iconic genre. Featuring interviews and stories from industry professionals, as well as glimpses into the lives of legendary figures like Warren Beatty, Humphrey Bogart, and Marlon Brando, this documentary offers an unprecedented look at the history and impact of gangster films on Hollywood and beyond. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 55. Two for the Money (2005) Two for the Money” is a gripping crime drama that follows the life of a former college football star who faces a devastating career-ending knee injury. Desperate and seeking a way to support himself, he turns to the dangerous world of sports gambling with the help of a notorious tout in the business. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 56. Midnight Movies: From the Margin to the Mainstream (2005) Midnight Movies: From the Margin to the Mainstream” is a riveting documentary that takes viewers on a captivating journey through the world of low budget cinema from 1970–1977. Director Stuart Samuels expertly uncovers the transformative power of six midnight films and how they revolutionized the film industry. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 57. Boffo! Tinseltown’s Bombs and Blockbusters (2006) Dive into the heart of Tinseltown with “Boffo! . Tinseltown’s Bombs and Blockbusters” (2006), a compelling documentary that puts Hollywood’s leading lights under the microscope to unravel the secrets behind blockbusters, flops and movie magic. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 58. Brando (2007) Brando” is a riveting, heartfelt documentary that delves into the life and legacy of the iconic Marlon Brando, renowned for revolutionizing the art of acting. As the first biography made during his lifetime, the film masterfully captures Brando’s essence off-screen, revealing the man behind the enigmatic persona. The movie explores Brando’s professional journey, his complex relationship with the entertainment industry, and his indelible impact on film history. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 59. 88 Minutes (2007) 88 Minutes is a suspenseful crime thriller that follows the harrowing journey of Dr. Jack Gramm, a dedicated forensic psychologist and professor. As Dr. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 60. Ocean’s Thirteen (2007) In “Ocean’s Thirteen” (2007), Danny Ocean (George Clooney) and his gang, including Rusty Ryan (Brad Pitt), reassemble for a third heist. This time, their target is casino owner Willy Bank (Al Pacino) who betrays one of the original eleven, Reuben Tishkoff (Elliott Gould). The crew must enlist old enemy, Terry Benedict (Andy Garcia), for funding, leading to the team’s biggest challenge yet. With the help of newcomers Saul Bloom (Carl Reiner) and a holographic egg expert (Eddie Izzard), Danny and the gang devise an elaborate revenge plan. Action-packed and filled with wit, “Ocean’s Thirteen” demonstrates the team’s unwavering camaraderie and the heights they’ll go to exact justice. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 61. Righteous Kill (2008) When two seasoned New York City detectives, “righteous” and no-nonsense veterans, are tasked with solving a series of gruesome murders of criminals who have evaded justice, they must navigate a delicate path between law enforcement and the criminal underworld. In the shadows of Manhattan, these grizzled cops are driven by an unyielding sense of justice and a desire to put an end to this brutal spree. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 62. Explicit Ills (2008) Explicit Ills is a compelling 2008 drama that weaves together four interconnected stories, all of which revolve around the themes of love, drugs, and poverty in the city of Philadelphia. Told through a series of intertwined narratives, the film offers a raw, unflinching look at the lives of these individuals, and the struggles that they face. The performances from an impressive cast, including Paul Dano, Rosario Dawson, and Naomie Harris, are truly standout, adding depth and nuance to their characters’ complex, often tragic, journeys. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 63. Los mejores momentos de ‘Sé lo que hicisteis’ (2009) Dive into the world of parody comedy with “Los mejores momentos de ‘Sé lo que hicisteis’”, a 2009 film that combines satire and laughter. With a runtime of 1 hour and 35 minutes, this Spanish production takes audiences on a journey through sketches that spoof various topics. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 64. You Don’t Know Jack (2010) You Don’t Know Jack” is a gripping drama that delves into the captivating life and work of medical doctor Jack Kevorkian, who advocated for doctor-assisted suicide. In this powerful film, directed by Barry Levinson, viewers will be enveloped in the moral dilemma and profound ethical questions that surround the topic. The movie stars Al Pacino, Brenda Vaccaro, and John Goodman, and has received critical acclaim, winning two Primetime Emmys and garnering 11 wins and 36 nominations in total. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 65. Jack and Jill (2011) Jack and Jill” is a comedy film released in 2011, starring Adam Sandler as Jack, a family guy who dreads the Thanksgiving visit of his fraternal twin sister, Jill. Portrayed by Katie Holmes, Jill is an extremely needy and passive-aggressive character. This time, however, she refuses to leave, leading to a series of hilarious misadventures as the twins navigate their way through the holiday season. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 66. The Son of No One (2011) The Son of No One” is a gripping 2011 action film directed by Dito Montiel, starring Channing Tatum, Al Pacino, and Juliette Binoche. As a new young cop, Tatum gets assigned to his childhood neighborhood’s precinct in the blue-collar area. Unfortunately, he uncovers long-standing secrets that threaten to destroy not only his life, but his family’s safety as well. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 67. The 68th Annual Golden Globe Awards (2011) Prepare to witness the extravagance and star-studded glamour of the 68th Annual Golden Globe Awards! . Hosted by the witty and irreverent Ricky Gervais, this unforgettable night is filled with laughter, music, and the most anticipated awards in Hollywood. Join Amy Adams, Max Adler, and a star-studded ensemble of nominees as they come together to celebrate the year’s best in film and television. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 68. Wilde Salomé (2011) Experience the haunting tale of lust, greed, and scorn in “Wilde Salomé. “ Directed by Al Pacino and written by Oscar Wilde, this thought-provoking film delves into the mesmerizing world of female desire and betrayal. With a star-studded cast, including Jessica Chastain and Kevin Anderson, the film offers an intimate look at the lives of those entangled in this twisted story. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 69. The 65th Annual Tony Awards (2011) Witness the magic of live theater as The 65th Annual Tony Awards celebrates the best of Broadway in this electrifying 2011 television special. Hosted by the charismatic Neil Patrick Harris, this three-hour extravaganza showcases unforgettable performances, heartwarming moments, and exciting surprises. With a star-studded cast of presenters, including Frank Abagnale Jr. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 70. Stand Up Guys (2012) Stand Up Guys” (2012) is a charming and unexpectedly emotional comedy-crime-thriller featuring three legendary actors — Al Pacino, Christopher Walken, and Alan Arkin. The trio masterfully portrays a group of aging criminals who band together for one last heist, to avenge a painful and unjust past act that threatens to ruin the life of one of their companions. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 71. Arbitrage (2012) In the gripping thriller Arbitrage, hedge fund magnate Robert Miller finds himself in a dangerous game of deception when he makes a fatal mistake. As he desperately tries to push his trading empire over the finish line, he stumbles upon a web of lies and corruption. A mysterious and tough female manager, played by Susan Sarandon, becomes his unlikely ally. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 72. Casting By (2012) Casting By” is a riveting documentary that delves into the fascinating world of Hollywood casting directors. This unsung workforce, often overlooked in the glitz and glamour of the movie industry, have a crucial role in redefining it with their exceptional talent and keen eye for spotting stars. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 73. Final Cut: Ladies and Gentlemen (2012) Final Cut: Ladies and Gentlemen” is a heartwarming and unique blend of comedy, drama, and romance. This 2012 film was masterfully directed by György Pálfi and written by Pálfi and Zsófia Ruttkay. The movie tells a simple yet timeless love story between a man and a woman, brought to life through a series of scenes edited together from hundreds of classic films, creating a delightful crossover of movie genres. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 74. The Godfather Legacy (2012) Delve into the world of the iconic Corleone crime family in “The Godfather Legacy”. This gripping documentary takes us beyond the screen and into the realm of Hollywood history. Experience unforgettable scenes from all three films in Francis Ford Coppola’s masterful Godfather saga. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 75. Inside Story: Scarface (2013) Inside Story: Scarface” is a gripping documentary that dives into the captivating world of Tony Montana and his close friend Manny as they build a powerful drug empire in Miami. Set against the backdrop of the 1980s, this film takes viewers on a journey through the rise and fall of this empire, highlighting the complexities and challenges faced by those who step into the underworld of organized crime. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 76. Salomé (2013) Directed by Al Pacino and penned by Oscar Wilde himself, “Salomé” (2013) brings the Biblical tale of Salomé to life, as an entranced young woman agrees to partake in the infamous “dance of the seven veils” in exchange for a ghastly favor; John the Baptist’s head on a silver platter. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 77. Phil Spector (2013) Phil Spector” is a gripping biographical drama that delves into the complex relationship between legendary music producer Phil Spector and his dedicated defense attorney, Linda Kenney Baden. Set against the backdrop of Spector’s high-profile murder trial for the brutal death of actress Lana Clarkson, this tense film sheds light on the intricacies of power, fame, and the pursuit of justice. Directed by renowned playwright David Mamet and featuring powerhouse performances by Al Pacino and Helen Mirren, “Phil Spector” serves as a compelling exploration of the blurred lines between reality and myth-making. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 79. The Humbling (2014) The Humbling” is a thought-provoking comedy-drama film released in 2015, based on Philip Roth’s novel of the same name. Directed by Barry Levinson, the film stars Academy Award-nominated actors Al Pacino and Greta Gerwig, along with Nina Arianda. The movie follows the journey of a stage actor, played by Pacino, who is slowly but surely losing his grip on reality. In a surprising twist, he embarks on a relationship with an intellectually curious younger woman, portrayed by Gerwig, who is grappling with her own sexual identity. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 80. Manglehorn (2014) Manglehorn, a heartfelt drama starring Al Pacino, is a tale of love lost and the quest for a second chance at life. When an eccentric small-town locksmith named Manglehorn finds himself heartbroken by the woman he loved, he embarks on a journey to rebuild his life. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 81. Danny Collins (2015) Danny Collins is a gripping 2015 biographical comedy-drama film that boasts an all-star cast, including Al Pacino, Annette Bening, and Jennifer Garner. Directed and written by Dan Fogelman, this movie unravels the captivating story of a 70-year-old aging rock star who, feeling stagnant in his life, finds inspiration from a 40-year-old letter penned by none other than the legendary John Lennon. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 82. Misconduct (2016) Delve into the dark and twisted world of corporate deceit in the riveting thriller, MISCONDUCT. Set against the backdrop of a large pharmaceutical company, an ambitious young lawyer takes on a case that changes his life forever. As he battles against the powerful and ruthless executive of the company, he quickly finds himself embroiled in a web of blackmail and corruption. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 83. 73rd Golden Globe Awards (2016) The 73rd Golden Globe Awards are an annual celebration honoring excellence in film and television, hosted by the renowned actor and comedian Ricky Gervais. This star-studded event, which took place in 2016, is presented by the Hollywood Foreign Press Association and features top talents from film and television industries. The Golden Globes have a long-standing tradition of acknowledging exceptional performances and films, serving as a precursor to the upcoming Academy Awards. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 84. The Pirates of Somalia (2017) The Pirates of Somalia” is a gripping 2017 biographical drama that presents an unprecedented close-up look into the life of the world’s notorious pirates. Set in 2008, rookie journalist Jay Bahadur devises a bold plan to embed himself with the Somali pirates, ultimately succeeding in providing a unique perspective on their lives, motivations, and the forces driving them. Directed by Bryan Buckley and written by both Buckley and Bahadur, the movie features a star-studded cast including Al Pacino, Evan Peters, and Melanie Griffith, delving deep into the complexities of these pirates and the challenges they face in their world. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 85. Frank Serpico (2017) Frank Serpico” is a gripping documentary that dives deep into the personal life and struggles of the brave New York Police detective, Frank Serpico. Set against the backdrop of the early 1970s, the film chronicles Serpico’s one-man crusade for police reform within the NYPD. The documentary, directed by Antonino D’Ambrosio, relies on Serpico’s first-hand account, providing viewers with an intimate look into his journey. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 86. Hangman (2017) Hangman” (2017) is a chilling crime thriller that follows a seasoned homicide detective, played by Al Pacino, as he teams up with his former partner, Karl Urban, to catch a twisted serial killer. The killer’s gruesome crimes are eerily connected to the popular children’s game, Hangman. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 87. Julian Schnabel: A Private Portrait (2017) Julian Schnabel: A Private Portrait” is a fascinating documentary that delves into the personal life and illustrious public career of renowned New York artist, Julian Schnabel. This intimate exploration of Schnabel’s work and influences is brought to life through the artistry of director Pappi Corsicato, and masterfully presented with the help of the artist himself as a co-executive producer. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 88. Spielberg (2017) Spielberg” is a comprehensive documentary about the iconic filmmaker, Steven Spielberg. With interviews from his family, film critics, colleagues, and colleagues who have worked with him, viewers get an in-depth look at the career and journey of one of Hollywood’s most celebrated directors. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 89. Paterno (2018) Paterno” offers an intense drama centered around the highly regarded football coach, Joe Paterno, and the events that unfolded during the sexual abuse scandal that shook Pennsylvania State. Set against the backdrop of a college football dynasty, the film delves into the intricacies of power, loyalty, and the complexities of justice. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 90. The Irishman (2019) The Irishman” is a gripping, unscripted narrative that follows the life of Frank Sheeran, a WWII veteran who becomes a hit-man for the Bufalino crime family. With a nonlinear timeline, the film delves deep into Sheeran’s journey — from being a truck driver to an alleged assassin of his close friend, Jimmy Hoffa. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 91. Once Upon a Time… in Hollywood (2019) In the Golden Age of Hollywood, a fading television actor named Rick Dalton and his stunt double, Cliff Booth, desperately chase after fame and success in 1969 Los Angeles. Quentin Tarantino’s movie, “Once Upon a Time. . in Hollywood, “ is a star-studded comedy-drama that masterfully blends real life with the glamorous world of cinema. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 92. Untouchable (2019) Untouchable” is a feature documentary that delves into the breathtaking downfall of media titan Harvey Weinstein. The film, released in 2019, takes an unflinching look at Weinstein’s rise to power and the abuses of power that led to his spectacular fall. Drawing from interviews with survivors, friends, and colleagues, the documentary paints a portrait of unchecked power and its devastating consequences. The story spans over forty years, offering a penetrating insight into the dark side of Hollywood and the entertainment industry. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 93. The Last Blockbuster (2020) The Last Blockbuster” is a nostalgia-filled documentary that uncovers the untold story behind the fall of Blockbuster, the once-giant video rental chain. The film brings to light the impact of technology on traditional retail and entertainment, as well as the resilience of a small video store in Bend, Oregon, that continues to keep the spirit of a bygone era alive. With interviews from notable actors and film enthusiasts, and featuring a personal account by director Taylor Morden, this captivating documentary transports viewers to a time when going to a video store was the norm for movie night. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 94. American Traitor: The Trial of Axis Sally (2021) American Traitor: The Trial of Axis Sally” is a gripping and intense drama set against the backdrop of World War Two. Directed by Michael Polish, the films tells the story of American Mildred Gillars, a woman who unwittingly falls into a life of intrigue as a collaborator and radio announcer for the Axis powers in Berlin, Germany during the 1940s. The film, released in 2021, offers a thrilling depiction of historical events and the moral complexities that come with war. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art That’s All Folks!
915	yago	3	32	https://wagner.edu/newsroom/filmed-at-wagner-2023/	en	If you’ve watched these movies, shows and ads, then you already know Wagner College	https://wagner.edu/newsr…696561513290.png	https://wagner.edu/newsr…696561513290.png	[ "https://wagner.edu/newsroom/wp-content/themes/wagner-newsroom/images/Newsroom-logo.png", "https://wagner.edu/newsroom/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/facebook.png", "https://wagner.edu/newsroom/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/twitter.png", "https://wagner.edu/newsroom/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/google.png", "https://wagner.edu/newsroom/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/linkedin.png", "https://wagner.edu/newsroom/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/pinterest.png", "https://wagner.edu/newsroom/wp-content/plugins/simple-share-buttons-adder/buttons/somacro/email.png", "https://wagner.edu/newsroom/files/2023/10/SchoolOfRock1.png", "https://px.ads.linkedin.com/collect/?pid=5093650&fmt=gif" ]	[ "https://www.youtube.com/embed/TExoc0MG4I4?si=mzJVV-SkZ9nSN8dS&start=50", "https://player.vimeo.com/video/861293999?h=edbf0c8fc3&title=0&byline=0&portrait=0" ]	[]	[ "" ]	null	[]	2023-10-09T14:59:20-04:00	Grab a bowl of popcorn and see which of your favorite movies and television shows were filmed at Wagner College.	en	https://wagner.edu/newsroom/wp-content/themes/wagner/images/favicon.ico	Newsroom	https://wagner.edu/newsroom/filmed-at-wagner-2023/	By Jefferson Geiger Even if you haven’t stepped foot on Staten Island, chances are high that you have seen the iconic Gothic architecture of Wagner College on your screen. The location is a popular set for directors seeking to capture an archetypal school because it combines pastoral charm with proximity to Manhattan. Wagner is visible in everything from foreign films like “Eurotapped” to heartfelt dramas like “The Visitor.” The institution also appears in television shows like “Blue Bloods,” “Bull” and “The Sopranos,” as well as a plethora of commercials. If you’ve watched any of the following, then you already know Wagner. "Law & Order: Special Victims Unit" In addition to being a filming location back in 2004 for “Law & Order: Criminal Intent,” two episodes of the long-running “Law & Order: SVU” were filmed at Wagner. The school is first used as a set in “Swing,” the third episode of the tenth season, which aired on Oct. 14, 2008. The episode includes Trautmann Square, while the Union’s exterior was turned into an emergency room entrance and the Beisler Lounge in Guild Hall was transformed into a dry cleaner. Wagner is more visible in season 15, episode 16, “Gridiron Soldier.” In that episode, SVU uncovers disturbing activities in a New York City college football program when a high school player disappears after a recruiting trip. "King of Staten Island" Judd Apatow's 2020 film starring Pete Davidson is partly based on the “Saturday Night Live” alumnus's life in New York. It focuses on a high school dropout whose father died while fighting a fire, and he must come to terms with his mother dating another firefighter. A movie all about Staten Island naturally used Wagner as a filming location, and on June 13, 2019, Wagner welcomed the cast and crew to film scenes in Foundation Hall, with a group of students invited to spend the day on set. "School of Rock" One of the better-known films to feature Wagner is “School Of Rock,” starring Jack Black, Joan Cusack, Sarah Silverman and Mike White. Directed by Richard Linklater and written by White, the 2003 film follows guitarist Dewey Finn impersonating a substitute teacher at Horace Green Preparatory School, which is actually Wagner. Once at school as “Mr. S,” he opts to teach the students music more than other subjects, ropes them in to creating the band called School of Rock and helps the kids — spoiler alert — win the battle of the bands. browser does not support iframe "You Don’t Know Jack" This 2010 HBO film tells the story of Dr. Jack Kevorkian, played by Al Pacino. Kevorkian was a pathologist and proponent of physician-assisted suicide who was convicted of second-degree murder. The movie was directed by Barry Levinson, and Pacino won both a Primetime Emmy and a Golden Globe for his performance as Kevorkian. The filmakers transformed the Union for an art gallery scene, with students as extras. "Rescue Me" The FX drama featuring Denis Leary as a New York firefighter stops in Staten Island for the episode “Play,” which aired on May 19, 2009, as the seventh episode in the show’s fifth season. Among the program’s various plots, Tommy and Janet attempt to survive a weekend together at Katy's new prep school — or in this case, Wagner. "Crashing" Pete Holmes’ semi-autobiographical HBO show is about the comedian trying to make a career out of stand-up after his wife leaves him. The episode “NACA” has Pete and Ali going on a trip to a college comedy conference. Filming took place on the Cunard Hall loop. It is the seventh episode in the show’s second season, and it aired on Feb. 25, 2018. Commercials Companies like Goldfish, Garnier Fructis, Sperry, Kohl’s, Citibank, Dell, Adidas, Nike and more have filmed their advertisements at Wagner. Allstate’s series of “Mayhem” commercials — where Dean Winters plays the personification of mayhem and wreaks havoc on those lacking insurance — once used Wagner to stand in as a quintessential college. In the spot, Mayhem walks right in front of Main Hall as people get ready for a football game. Meanwhile, an interior view of Wagner can be found in a Sour Patch Kids ad. Set in a lecture hall, the candies show their sour side by causing a scene, but then help a student answer a question correctly. browser does not support iframe Bonus: Who’s Afraid of Virginia Woolf?" Though the 1966 movie version of Edward Albee’s Tony Award–winning play wasn’t filmed on campus, the story itself is very much tied to Wagner. Willard Maas, a member of Wagner College’s English department faculty from 1958 to 1963, and his wife, Marie Menken, were the real-life models for the fictional George and Martha. According to Marie Menken, Albee was a frequent guest in their penthouse on Montague Street in Brooklyn, listening to the couple argue like they do in the play.
915	yago	0	67	https://richard-iii-of-england.fandom.com/wiki/Al_Pacino	en	Al Pacino	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	[ "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Richard III of England Wiki" ]	null	Alfredo James "Al" Pacino ( born April 25, 1940) is an American actor and filmmaker. He is well known for playing mobsters, especially Michael Corleone in The Godfather films and Tony Montana in Scarface, and often appeared on the other side of the law—as a police officer, a detective and...	en	/skins-ucp/mw139/common/favicon.ico	Richard III of England Wiki	https://richard-iii-of-england.fandom.com/wiki/Al_Pacino	Alfredo James "Al" Pacino ( born April 25, 1940) is an American actor and filmmaker. He is well known for playing mobsters, especially Michael Corleone in The Godfather films and Tony Montana in Scarface, and often appeared on the other side of the law—as a police officer, a detective and lawyer. A longtime fan of Shakespeare, he made his directorial debut with Looking for Richard, a quasi-documentary on the play Richard III.
915	yago	0	88	https://fredacooper.wordpress.com/2016/10/21/dvd-review-looking-for-richard/	en	DVD Review: Looking For Richard	https://fredacooper.word…rdpic1.jpg?w=788	https://fredacooper.word…rdpic1.jpg?w=788	[ "https://fredacooper.wordpress.com/wp-content/uploads/2016/10/lookingforrichardpic1.jpg?w=788&h=443", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2016-10-21T00:00:00	Director Al Pacino Certificate 15 Starring Al Pacino, Kevin Spacey, Alec Baldwin, Winona Ryder, Aidan Quinn Released 17th October 2016 Richard III is Shakespeare’s most frequently performed play, or so we’re told in Al Pacino’s documentary, Looking For Richard. No wonder, then, that it holds a fascination for the theatrical community. Pacino starred in, wrote…	en	https://s1.wp.com/i/favicon.ico	Talking Pictures	https://fredacooper.wordpress.com/2016/10/21/dvd-review-looking-for-richard/	Director Al Pacino Certificate 15 Starring Al Pacino, Kevin Spacey, Alec Baldwin, Winona Ryder, Aidan Quinn Released 17th October 2016 Richard III is Shakespeare’s most frequently performed play, or so we’re told in Al Pacino’s documentary, Looking For Richard. No wonder, then, that it holds a fascination for the theatrical community. Pacino starred in, wrote and directed this documentary, which celebrates its 20th anniversary this year, hence the DVD re-release this week. But he’s not the only one to have made an exploration of the play and Shakespeare’s most notorious villain. Fast forward to 2014 and Now: In The Wings On A World Stage, which documented the Old Vic’s touring production of Richard III, with Kevin Spacey in the title role. Here, he’s Buckingham to Pacino’s Richard. Pacino’s film seeks to find the answer to a couple of big questions. Why do Americans have problems acting Shakespeare? How relevant is Shakespeare to today’s theatre and its audiences? On top of that are rehearsal sessions for a production of selected scenes from the play, location shoots and discussions with members of the cast about their individual characters. And, for some objectivity, commentary from theatrical luminaries such as John Gielgud, Vanessa Redgrave, Derek Jacobi, Peter Brook and Kenneth Branagh. All Brits, curiously enough. If Pacino’s conversations with members of the public in New York are to be believed – and they were filmed 20 years ago – very few people have heard of Shakespeare, let alone been to see one of his plays. So he and his cast are taking on a big job in getting them to try Shakespeare. But as far as the film is concerned, there’s a strong sense that it’s preaching to the converted. It’s very much aimed at audiences who are interested in the theatre, the acting process in particular, and assumes more than a little knowledge on their part. That knowledge includes recognising the theatrical dignitaries sharing their thoughts, because there isn’t a single caption to be seen. But, just in case they need their memories refreshing on the technicalities of Shakespeare, there’s a scene explaining the iambic pentameter, so fundamental to his blank verse. While Richard III is one of Shakespeare’s most popular plays, it’s also one of his most complicated, so chunks of the plot need to be explained to unravel all the relationships involved. Even Pacino, despite having immersed himself in the project, looks baffled at times. As the film progresses, it increasingly concentrates on the performance side of things, with longer and longer extracts enacted by a cast that includes Spacey, Alec Baldwin, Winona Ryder and Aiden Quinn. The locations vary, from gloomy interiors, to an actual theatre and a field representing Bosworth, where Richard meets his end. As Pacino’s directorial debut, it’s also deeply personal and he’s hardly off the screen. His villainous king doesn’t bear any resemblance to the most famous interpretations – Laurence Olivier on both stage and screen in the mid-1950s and Antony Sher’s “spider king” from the mid-1980s – nor does anybody ever refer to them. For such a flamboyant actor in a showy role, Pacino offers us something surprisingly pared down with little emphasis on Richard’s physical characteristics. It’s all about his words, looks and gestures. The film only partly manages to answer its own questions. American actors are probably too reverential in the way they approach Shakespeare, so they always feel awkward speaking his lines and that gets in the way of their performances. But surely there’s more to it than that? As for its relevance to audiences, that’s very much down to the people on the street who interviewed on the subject. And, from what they say, the answer is “not very”. If that was actually true then, and still is now, then it’s really rather sad. And it’ll take more than one documentary to change things. Verdict: 3.5
915	yago	3	65	https://letterboxd.com/film/looking-for-richard/	en	Looking for Richard (1996)	https://a.ltrbxd.com/res…jpg?v=4c4ba2e4f5	https://a.ltrbxd.com/res…jpg?v=4c4ba2e4f5	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/ESP.2321e2cc.svg", "https://s.ltrbxd.com/static/img/flags/CZE.cf470e4e.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/CZE.cf470e4e.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/ESP.2321e2cc.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/upload/1/1/9/6/0/0/shard/avtr-0-80-0-80-crop.jpg?v=19c6cc20f1", "https://a.ltrbxd.com/resized/avatar/upload/1/6/0/6/5/2/7/shard/avtr-0-80-0-80-crop.jpg?v=775b3ff4bc", "https://a.ltrbxd.com/resized/avatar/upload/1/1/2/9/5/8/1/shard/avtr-0-80-0-80-crop.jpg?v=b006961b32", "https://a.ltrbxd.com/resized/avatar/upload/7/0/7/1/7/3/shard/avtr-0-80-0-80-crop.jpg?v=3e66fddc2b", "https://a.ltrbxd.com/resized/avatar/twitter/8/8/1/8/9/5/shard/http___pbs.twimg.com_profile_images_1284910618525478913_TSVolz_9-0-80-0-80-crop.jpg?v=1b491782cc", "https://a.ltrbxd.com/resized/avatar/twitter/1/0/7/4/7/1/shard/http___pbs.twimg.com_profile_images_2179837204_image-0-80-0-80-crop.jpg?v=042345313b", "https://a.ltrbxd.com/resized/avatar/upload/1/0/1/3/0/6/3/shard/avtr-0-80-0-80-crop.jpg?v=6fac9dc847", "https://a.ltrbxd.com/resized/avatar/twitter/8/2/3/6/shard/blob-0-80-0-80-crop.png?v=3937b59caa", "https://a.ltrbxd.com/resized/avatar/twitter/5/3/5/0/9/3/shard/http___pbs.twimg.com_profile_images_1361843792182149124_TPNN7M_u-0-80-0-80-crop.jpg?v=00c35593a4", "https://a.ltrbxd.com/resized/avatar/upload/2/2/4/4/5/5/5/shard/avtr-0-80-0-80-crop.jpg?v=3b3de39d2a", "https://a.ltrbxd.com/resized/avatar/upload/2/6/6/8/5/shard/avtr-0-80-0-80-crop.jpg?v=7ef1ccda1e", "https://a.ltrbxd.com/resized/avatar/upload/1/9/5/7/9/2/4/shard/avtr-0-80-0-80-crop.jpg?v=510d57d7fd", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png" ]	[]	[]	[ "" ]	null	[]	null	Al Pacino's deeply-felt rumination on Shakespeare's significance and relevance to the modern world through interviews and an in-depth analysis of "Richard III."	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/looking-for-richard/	There's something inherently fascinating about watching experts talk about a craft they understand inside and out. It could be on any subject, any medium. When people are passionate about something, you take notice. Al Pacino lives and breathes Shakespeare. By watching him here, you can get a real sense of this actor's joy when he obsessively picks apart one of Shakespeare's most difficult plays, Richard III. Even Pacino fumbles over the description of the story. "I know you're confused by what I just said because I'm confused even listening to myself!" So Pacino rallies his theatre buddies together and tries to find a common understanding of Richard III. He stages a few intimate readings in some New York apartments (with… I must admit that until I'd seen this film I hadn't been aware of Pacino's love for Shakespeare? It's been nine years since I watched this, but it's amazing to think that this documentary is nearly twenty five years old itself. I seemed to remember my father-in-law speak highly of Pacino's performance in 2004 The Merchant Of Venice, but I'm not entirely sure how much Shakespeare the little New Yorker has actually done, either on stage or screen. Here however it's a mix of behind the scenes footage of the rehearsals and planning going in to staging a performance of Richard III in Central Park, and a broader examination of just what makes Shakespeare still so compelling over 400 years…
915	yago	2	29	https://behindtherabbitproductions.wordpress.com/2017/11/21/btrp-recommends-looking-for-richard/	en	BTRP Recommends-Looking for Richard	http://www.pastposters.com/cw3/assets/product_expanded/JamieF-BX/looking-for-richard-cinema-quad-movie-poster-%281%29.jpg	http://www.pastposters.com/cw3/assets/product_expanded/JamieF-BX/looking-for-richard-cinema-quad-movie-poster-%281%29.jpg	[ "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/06/cropped-jen-and-spike.jpg", "https://i0.wp.com/www.pastposters.com/cw3/assets/product_expanded/JamieF-BX/looking-for-richard-cinema-quad-movie-poster-%281%29.jpg?resize=529%2C393", "https://i0.wp.com/www.pastposters.com/cw3/assets/product_expanded/JamieF-BX/looking-for-richard-cinema-quad-movie-poster-%281%29.jpg", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2016/05/4749584.jpg?w=98&h=65", "https://0.gravatar.com/avatar/fdc6e81964b1a84be5244c42b3e4afa94cc4046c82721792e90b0689a32a8b7b?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/6e6713df880da7ff9d58eb1e52fdcc8bc99a770a89a7f2d969ff30992b00ce68?s=48&d=identicon&r=G", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=48", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=50", "https://behindtherabbitproductions.wordpress.com/wp-content/uploads/2023/10/cropped-nrftw-blog-banner.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Behind the Rabbit Productions" ]	2017-11-21T00:00:00	by Jason Godbey, Creative Director of Behind the Rabbit Productions How do you make a movie about a 15th Century King of England in 1990s Manhattan? Ask Al Pacino. He made Looking for Richard, a docu-drama adaptation William Shakespeare’s The Tragedy of Richard III. Looking for Richard is Al Pacino’s interpretation of Richard III with…	en	https://behindtherabbitp…-banner.jpg?w=32	No Rest for the Weekend	https://behindtherabbitproductions.wordpress.com/2017/11/21/btrp-recommends-looking-for-richard/	by Jason Godbey, Creative Director of Behind the Rabbit Productions How do you make a movie about a 15th Century King of England in 1990s Manhattan? Ask Al Pacino. He made Looking for Richard, a docu-drama adaptation William Shakespeare’s The Tragedy of Richard III. Looking for Richard is Al Pacino’s interpretation of Richard III with Pacino directing and starring in the title role. The film handles the complicated task of interpreting Shakespeare’s play by telling us historical context in which Richard III Gloucester came to power. It covers The War of the Roses, the victory of the Yorks, and the relationships between various royals, and relatives. The film does this so well that the movie serves as a live-action Cliff Notes. Pacino travels to England and visits Stratford-upon-Avon where Shakespeare was born, but the much of the movie was filmed in New York City. He made the film on a small budget and couldn’t possibly fly his cast across an ocean, so he filmed of the scenes from the play in rehearsal, the actors reading the script around a table, or sometimes in full costume on a stage. For a few key scenes, he managed to find a Medieval setting in Manhattan. Imagine that. This is truly resource filmmaking at its best. Pacino filmed his exteriors at The Cloisters, a museum in Manhattan built to resemble a medieval castle, and his interiors at St. John the Divine, one oldest and largest churches in the US. Combined with period costumes and the acting chops of Alec Baldwin, Kevin Spacey, Winona Ryder, and many others, the movie makes us believe we’re in the world of Shakespeare’s play. In addition to showing us the inner workings of the play, we also see Pacino’s struggle in making his film which took four years to complete. We see him attempt to conquer the challenge of performing Shakespeare as an American actor, grappling with the language, and the challenge of filming the film’s climax, The Battle of Bosworth Field on a small budget. This film is an extraordinary achievement considering Pacino essentially made the film in his spare time in between movies. He didn’t have money to buy himself out of trouble, so he employed old fashion movie tricks, creative editing techniques. It’s a lesson to any filmmaker you don’t need a ton of money in order to make an audience understand a 400 year old play about a 500 year old English king.
915	yago	3	73	https://www.timeout.com/movies/looking-for-richard	en	Looking for Richard	https://www.timeout.com/static/images/favicon.ico	https://www.timeout.com/static/images/favicon.ico	[]	[]	[]	[ "" ]	null	[]	2012-01-25T00:53:28+00:00	Pacino's first film as writer/director is a marvellously intelligent, witty and imaginative exploration of the problems faced by anyone wishing to act in Shakes	en	/static/images/favicon.ico	Time Out Worldwide	https://www.timeout.com/movies/looking-for-richard	Get us in your inbox Sign up to our newsletter for the latest and greatest from your city and beyond
915	yago	3	24	https://www.brightwalldarkroom.com/2023/03/16/boxcar-love-scarecrow-1973/	en	Boxcar Love: Scarecrow's Not	https://www.brightwallda…-AM-1280x526.png	https://www.brightwallda…-AM-1280x526.png	[ "https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2023/03/Duncanbirmingham-150x150.jpg", "https://www.brightwalldarkroom.com/wp-content/uploads/2023/03/Tangerine-293x293.jpg", "https://www.brightwalldarkroom.com/wp-content/uploads/2023/03/Pee_Wees_Big_Adventure-293x293.jpeg", "https://www.brightwalldarkroom.com/wp-content/uploads/2023/03/wendy-and-lucy-293x293.jpg", "https://www.brightwalldarkroom.com/wp-content/uploads/2023/03/longlongtrailer-293x293.jpeg", "https://www.brightwalldarkroom.com/wp-content/uploads/2023/03/down-by-law-jarmusch-150x150.jpeg", "https://www.brightwalldarkroom.com/wp-content/uploads/2023/03/La-Strada-150x150.jpg", "https://www.brightwalldarkroom.com/wp-content/uploads/2017/05/footerlogo.fw_-1.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/09/round-logo.512-500x500.png" ]	[ "about:blank", "https://www.youtube.com/embed/0_MKLJWn0P8?feature=oembed" ]	[]	[ "" ]	null	[ "Duncan Birmingham" ]	2023-03-16T00:00:00	In its own time, this hard-to-pigeonhole ambling road picture had as much trouble finding its place in the world as Max and Lion, but the past decade has seen 'Scarecrow' garner a cult following.	en	https://www.brightwallda…go.512-32x32.png	Bright Wall/Dark Room	https://www.brightwalldarkroom.com/2023/03/16/boxcar-love-scarecrow-1973/	I couldn’t find anyone to go to an Al Pacino double feature with me at the New Beverly on a ho-hum Tuesday in Los Angeles, 2017. I didn’t try too hard to find a friend for the spur-of-the-moment twin bill. I couldn’t even vouch for either film, both directed by a filmmaker—Jerry Schatzberg—with whom I was unfamiliar. I rolled the dice solo. Expectations low, I was taken by the first film, The Panic in Needle Park—a gritty, slice-of-life heroin melodrama shot on location in Manhattan, with Pacino in his first starring role opposite crush-worthy Kitty Winn in a heartbreaking performance. I felt like I’d struck gold; surely the second feature, Scarecrow, couldn’t be as good. How could it be? I’d never once had this film recommended to me, despite it boasting two of Hollywood’s greatest actors. I remembered shrugging past its Warner Bros. clamshell VHS box in my local video store as a kid; something about the illustrated poster art, with its muted colors and barely recognizable caricatures of the two stars exiting a train’s boxcar, just didn’t scream “Rent me.” I was resigned to a sleepy stinker. When the lights came on between features, lo and behold, Quentin Tarantino took center stage in front of the half-filled theater—not a huge shock, since in recent years he’d gone from landlord to full-time owner and face of the theater. He said he had a surprise for us. All heads turned as he pointed towards…me? No—someone rose in the seat directly in front of me: Al Pacino. I hoped I hadn’t been chewing my popcorn too loud. All flowing scarves and rumpled coat, the Oscar winner walked to the front of the theater and modestly saddled up to QT. He scratched his bedhead and confessed that he hadn’t seen the film since its release and wasn’t really sure what to expect. Even the always-bombastic Tarantino seemed muted on what we were about to watch, besides marking it as the debut performance by the late, great character-actor villain, Richard Lynch. Nonplussed, Pacino shuffled back to his seat in front of me as the lights dimmed. Not long after the opening title, I couldn’t help notice his silhouette bent low and hurrying up the aisle to the exit, scarves trailing in the dark. * The film opens with a static shot, courtesy of cinematographer Vilmos Zsigmond, resembling a classic American landscape painting. Dwarfed by a golden California hillside that feels straight out of Steinbeck, a speck of a figure seems to appear from nowhere. At a glacial pace, we’re introduced to Gene Hackman’s Max—a bespectacled bear of a man in layers of tattered clothes, who fumbles over a barbed-wire fence before attempting to hitch a ride. But he’s not alone. Watching him from behind a tree is a small man in a peacoat, a baby-faced Pacino, also eager for a lift. A tumbleweed blows past. It’s a classic tableau—timeless, even; it’s not until the first car chugs past that we get our bearings in the modern day. The two drifters compete for a ride until realizing their odds for success are better if they team up. And, by the time they make it to a roadside greasy spoon for a post-meet-cute lunch, they’ve formed an uneasy enough alliance for Max to propose that Pacino’s Lion partner with him on a business venture—Maxy’s Car Wash—he’s got planned for Pittsburgh. Strangers on opposite sides of the road just that morning, now the drifters shake calloused hands to forge their fates together. This diner scene was the moment I stopped worrying and threw my lot in with these characters. There is a certain type of movie I adore—a slim subgenre mostly native to the first darker half of ‘70s New Hollywood—that just isn’t made anymore. No doubt their stakes seem too small and pedestrian now, the material teetering on toxic. I think of these films as ‘bummer buddy movies.’ Not that subsequent decades haven’t been a deluge of Apatowian entourages, midlife manchildren, and mismatched buddy cops—but there’s something about a handful of pictures from this period that hits harder for me. Men in these movies find common ground in their lousy lots in life; bond over becoming blackout drunk and stoned and chasing women or visiting sex workers; have each other’s backs in bar brawls and soured drug transactions; and often stumble out of dives at dawn with arms slung around each other, crooning gibberish songs. Things usually go downhill from there—way downhill; the platonic bromances of ‘70s cinema are doomed on a Shakespearean level. Male friendships in these films are treated as serious business, and I love them for that. The bulk of Scarecrow sees the combative Max and gentle Lion on a detour-laden ramble across the country, from the flaxen hills of Bakersfield to Detroit’s bone-chillingly gray skies. Max always refers to Lion as his “partner” in reference to their car wash plans; it’s a convenient way for gruff alpha dog Max to couch his deepening relationship with the oddball Lion. Both men are trying to find their footing in society after years away (Max locked away in prison; Lion “at sea,” presumably with the Merchant Marines or Navy for five years)—like modern-day Rip Van Winkles, they find the world they’ve been absent from altered and changing under their well-worn shoes. In a seemingly throwaway moment, Max is excited to take Lion for breakfast at a hospitable “hobo jungle” (I had to look it up, too) but is disappointed to find it no longer there, apparently displaced by the behemoth factory in the distance. “It’s like I’ve been asleep for nine years,” he grumbles. Max and Lion pass through flophouses, car graveyards and beer halls, boxcars and hay haulers—what writer Greil Marcus dubbed “the old weird America”—that seem to reflect their outdated mental states and highlight their hopeless incongruity with a capitalist America fast outpacing them. In fact, there’s little in the film anchoring us to the usual ‘70s cinematic cornerstones; there’s no stumbling upon a flock of free-love hippies, as in the bummer buddy picture The Last Detail, or crashing a cutting-edge Warhol-esque loft party as the characters do in Midnight Cowboy. No one’s dropping out or getting turned on. For all their rootless meandering, there’s nothing counterculture about Max and Lion. Their vagabonding is less lifestyle choice, more economic necessity. Their dreams—Lion to reunite with the wife and child he abandoned, Max to start up a car wash—are meat-and-potatoes bourgeoisie. The film’s one brief brush with hippiedom (a hitched ride in a flower family van that Max flees due to a screaming baby) is so curtailed that I wondered if Schatzberg and writer Garry Michael White made a conscious effort to sidestep counterculture and lean into an amber timelessness. As a film, Scarecrow often feels as out of time as its main characters. It defies easy categorization. Schatzberg infuses the film with a gritty kitchen-sink realism and docudrama aesthetic, while the script is peppered with moments of flat-out slapstick bordering on vaudeville (a department-store sequence in which Max instructs Lion to deflect attention from him could have been lifted straight from a silent comedy). Additionally, the narrative eludes easy classification. The plot is Beckettian-threadbare, only for a dramatic crash of complications to pile-up in the film’s final reel. It’s this neither-fish-nor-fowlness that may have puzzled audiences at the time but makes the film feel so thrilling and non-formulaic now. Even as a road picture, Scarecrow dodges convention, screeching to a pitstop halfway through, and becoming, for a spell, a compelling prison picture. When a wild dive-bar bender segues first to a parking-lot conga line—with Pacino’s Lion, for unknown reasons, in a bee suit—and then to a full-scale brawl, our duo lands in a Denver work farm. Here, our mismatched buddies have their first argument, with prison-weary Max blaming Lion for their predicament, warning him to keep his distance and effectively severing their “partnership.” Enter Richard Lynch in his screen debut as a deceptively amiable prisoner, Riley, who takes Lion under his wing. Riley has the prison wired, bribing guards with sexual favors from his prostitution connection on the outside in exchange for cushy work details. Only when the two men are up late sharing stories and contraband booze does Riley make his agenda clear: he makes a pass at Lion. Lion tries to defuse the situation with antics and cartoon voices—no doubt how the diminutive seaman dealt with past aggressions. But Riley won’t be easily put off. His face bloated and battered like rancid meat, Lion later stumbles into the prison bunkroom in the dead of night. A regretful Max holds him as he collapses. As an ex-con who previously refused Lion’s questions about the sexual side of prison life, Max has presumably been in Lion’s position. His swagger and hardened demeanor, his moniker as the “meanest son of a bitch alive,” and his insatiable heterosexual appetite would seem to be the armor Max has assembled for himself since his own tangles with prison assault. As Max cradles his wounded friend, we sense the regret that the stronger and more cynical man feels for not being there to save the guileless Lion from the traumatic beatdown—or, more aptly, save Lion from becoming more like himself. And here, halfway through the film, is where the closest thing to a plot shimmies into focus like a hitchable jalopy on an empty road’s horizon. Fresh from the work farm, Lion and Max are drinking the day away when Max gets into a row with another patron and is about to throw down. Lion starts to storm off; his prison beating has robbed him of his innocence. As we’ve seen repeatedly, he’s a sweet-natured clown averse to conflict, in contrast to his partner. It’s a philosophy Lion has shared with Max, a bit of homespun optimism about how scarecrows—contrary to popular belief—are effective not because the straw-stuffed dummies scare crows away, but because they make the crows laugh. Previously, the rough-and-tumble Max scoffed at his friend’s catch-more-flies-with-honey optimism, but here in the bar room, he demonstrates that he’s picked up a thing or two from Lion. In one of the film’s most memorable sequences, Max engages in a striptease—peeling off layer after layer of his ragtag wardrobe—at first to confusion, then jeers, and finally to the absolute delight of the bar’s jaded patrons. It’s comic and sentimental and one of my favorite Gene Hackman scenes (in a career clearly choked with knockout ones). In sequences like this one, the authenticity of the location, the verisimilitude of the extras—leering and laughing, their faces worn, tired but still gleeful, and almost Rockwellian—and the spontaneity of the two actors at the top of their game elevate the free-wheeling material. As Max winds up his little dance, Lion watches from the doorway; the performance is for his benefit. The brawl-happy Max is showing—for maybe the first time in his life—restraint, and is risking humiliation to show his vulnerable friend that he was right after all, to help him retrieve the humanity he’s lost. The film’s funniest scene is also its most profound. * Captain America blown off his motorcycle; Ratso expired in the back of the bus before he can feel the Florida sunshine; Lightfoot dying from a kick in the head in Thunderbolt’s getaway car—downer endings reflecting the soured national ennui were de rigueur at the time, especially in the bummer buddy movie. But even by those standards, the fate awaiting Lion and Max in Pittsburgh feels particularly wrenching. Calling ahead to his abandoned bride from a payphone, Lion is greeted with more resistance than he anticipated. Penelope Allen as Annie burns a white-hot hole in the celluloid as she unloads years of abandonment and resentment on her estranged husband from a cramped apartment. Among the railroad boxcars and halfway houses of Scarecrow, Annie’s apartment is the film’s rare setting with a present-day feel—cheap plastic toys, boxy TV, Casey Kasem squawking on the radio. The garish modernity accentuates the distance accumulated from all those years Lion’s been away. Lion, like a ghost trying to make contact across a vast divide, hopes his call will not just reunite him with his wife and child, but also give him a place in a world that seems to have passed him by. His hopes are dashed, to say the least. If there’s a more emotionally devastating phone call in American cinema, I sure can’t think of it. Embittered by her abandonment, Annie lays the mother of all guilt trips on Lion (“You bastard,” she repeats like a mantra). The coup de grâce is a twisted lie. With their doe-eyed son looking on, Annie says she miscarried their baby, and blames it on Lion’s absence. Furthermore, without a proper baptism, the child’s soul is barred from heaven. Lion’s Catholicism, alluded to previously, now takes center stage. In retrospect, the scarecrow story he uses as a guiding light has a turn-the-other-cheek religiosity baked in; the scarecrow itself seems a Christ proxy. The silence from Lion’s side of the call is so heavy, so fraught with guilt, that Annie looks, for a split second, like she may reel back the monster lie. “Francis?” she says. But it’s too late; Lion has hung up. Even though he’s calling from a payphone right down the street, the connection has been severed forever; the lie may as well be true. It’s a devastating moment for the characters on both sides of the call. From here, the film’s tragedy snowballs. Lion’s friendship with Max, deep as it is, doesn’t allow him to share Annie’s bombshell. Instead, Lion tells a lie of his own, celebrating the fact that he has a son. Only later in the day when Lion—eyes bulging as he play-acts a pirate—grabs a small child and wades into a roaring park fountain for a kind of impromptu baptism, does Max realize something’s gone terribly, horribly wrong. His friend, the doctor informs him later at the hospital, is catatonic. It’s a shockingly terse diagnosis that prompts more questions than it answers. Max has little choice but to leave Lion there. At the bus station, digging into his shoe for money to pay the fare, Max chooses a round-trip ticket; the gruff, combative “meanest son of a bitch alive” will be back to see his partner. As many times as I’ve seen the film, this last handful of scenes roll in like a flash thunderstorm, delivering both a sense of whiplash and an emotional gut punch. It’s fast, destructive, and random (isn’t that how the most tragic chapters of our lives unfold?), highlighting the characters’ absence of a safety net, and was no doubt alienating to some audiences upon its release. Scarecrow targets no common enemy like other similar buddy films of the era—the blight of urban living depicted in Midnight Cowboy, the emotional toll of gambling addiction in California Split—to make the ending’s bitter pill any more palatable by feeling like part of a bigger picture. The film’s modest narrative ambition feels true to its everyday characters. These are not remarkable men; they’re as common as the tumbleweeds blowing past in the opening sequence. The final scene offers only the gesture of Max’s kindness towards Lion as a salve. Scarecrow isn’t there to pander or to inflate the importance of Max and Lion’s friendship. The film leaves it to audiences to decide if attention must be paid. Initially, it was not. Scarecrow split the top prize at Cannes (with Alan Bridges’s The Hireling), but neither Pacino or Hackman accompanied Schatzberg to the festival to receive the honor. Ultimately, the film was a box-office flop, especially considering that Pacino and Hackman were both fresh off the biggest pictures of their careers (The Godfather, The Conversation). Schatzberg has said that Pacino disliked the final cut of the film and didn’t speak with him for years. Hackman vowed to take on more commercial projects moving forward. In histories of the decade, like Peter Biskind’s Easy Riders, Raging Bulls, the film is dismissed as of “secondary” significance. In its own time, this hard-to-pigeonhole ambling road picture had as much trouble finding its place in the world as Max and Lion.
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The tradition became decennial, increasing in size and prestige as the decades passed. The Sight and Sound poll is now a major bellwether of critical opinion on cinema and this year’s edition (its eighth) is the largest ever, with 1,639 participating critics, programmers, curators, archivists and academics each submitting their top ten ballot. What has risen up the ranks? What has fallen? Has 2012’s winner Vertigo held on to its title? Find out below.	en		BFI	https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time	In 1952, the Sight and Sound team had the novel idea of asking critics to name the greatest films of all time. The tradition became decennial, increasing in size and prestige as the decades passed. The Sight and Sound poll is now a major bellwether of critical opinion on cinema and this year’s edition (its eighth) is the largest ever, with 1,639 participating critics, programmers, curators, archivists and academics each submitting their top ten ballot. What has risen up the ranks? What has fallen? Has 2012’s winner Vertigo held on to its title? Find out below.
915	yago	1	11	https://www.gspeakers.com/topics/an-evening-with-al-pacino/	en	An Evening with Al Pacino	https://www.gspeakers.co…/2020/06/fav.png	https://www.gspeakers.co…/2020/06/fav.png	[ "https://www.gspeakers.com/wp-content/uploads/2024/04/global_speakers_bureau_logo.svg", "https://www.gspeakers.com/wp-content/themes/global-speakers/img/icon_phone_1.svg", "https://www.gspeakers.com/wp-content/uploads/2018/04/icon_search_2.svg", "https://www.gspeakers.com/wp-content/uploads/2024/04/global_speakers_bureau_logo.svg", "https://www.gspeakers.com/wp-content/themes/global-speakers/img/icon_phone_1.svg", "https://www.gspeakers.com/wp-content/uploads/2018/04/icon_search_1.svg", "https://www.gspeakers.com/wp-content/uploads/2019/03/image004-1.jpg", "https://www.gspeakers.com/wp-content/uploads/2021/03/instagram.svg", "https://www.gspeakers.com/wp-content/uploads/2018/02/Group-145.svg", "https://www.gspeakers.com/wp-content/uploads/2024/03/x.svg", "https://www.gspeakers.com/wp-content/uploads/2019/01/fb.svg" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.gspeakers.co…/2020/06/fav.png	Global Speakers Bureau	https://www.gspeakers.com/topics/an-evening-with-al-pacino/	In a career spanning over five decades, legendary actor Al Pacino has received many accolades, including an Academy Award, two Tony Awards, and two Primetime Emmy Awards, becoming one of the few performers to have received the Triple Crown of Acting. He has also been honored with the AFI Life Achievement Award, the Cecil B. DeMille Award, and the National Medal of Arts. A method actor and former student of the HB Studio and the Actors Studio, where he was taught by Charlie Laughton and Lee Strasberg, Pacino's film debut came at the age of 29 with a minor role in Me, Natalie. He gained favorable notice for his first lead role in The Panic in Needle Park. Wide acclaim and recognition came with his breakthrough role as Michael Corleone in Francis Ford Coppola's The Godfather, for which he received his first Oscar nomination, and he would reprise the role in the sequels The Godfather Part II and The Godfather Part III. His portrayal of Corleone is regarded as one of the greatest performances in film history. Pacino received nominations for the Academy Award for Best Actor for Serpico (1973), The Godfather Part II, Dog Day Afternoon, and ...And Justice for All, ultimately winning it for playing a blind military veteran in Scent of a Woman. For his performances in The Godfather, Dick Tracy, and Glengarry Glen Ross, he earned Best Supporting Actor Oscar nominations. Other notable portrayals include Tony Montana in Scarface, Carlito Brigante in Carlito's Way, Benjamin Ruggiero in Donnie Brasco, Lowell Bergman in The Insider, and Jimmy Hoffa in The Irishman. He has also starred in the thrillers Heat, The Devil's Advocate, Insomnia, and appeared in the comedy-drama Once Upon a Time in Hollywood. On television, Pacino has acted in several productions for HBO, including the miniseries Angels in America and the Jack Kevorkian biopic You Don't Know Jack, winning a Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie for each. He has also had an extensive career on stage. He is a two-time Tony Award winner, in 1969 and 1977, for his performances in Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel. A Shakespeare enthusiast, Pacino directed and starred in Looking for Richard, a documentary about the play Richard III, the lead role of which Pacino had earlier portrayed on stage in 1977. He has also acted as Shylock in a 2004 feature film adaptation and 2010 stage production of The Merchant of Venice. Having made his filmmaking debut with Looking for Richard, Pacino directed and starred in the films Chinese Coffee, Wilde Salomé, and Salomé. Since 1994, he has been the joint president of the Actors Studio.
915	yago	2	52	https://www.nytimes.com/1979/06/15/archives/drama-al-pacino-plays-richard-iii-exuberant-villain.html	en	Drama: Al Pacino Plays Richard III	https://static01.nyt.com…op.png?year=1979	https://static01.nyt.com…op.png?year=1979	[ "https://s1.nyt.com/timesmachine/pages/1/1979/06/15/111039802_360W.png?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Richard Eder" ]	1979-06-15T00:00:00	review; illus	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1979/06/15/archives/drama-al-pacino-plays-richard-iii-exuberant-villain.html	STRONG actor needs a strong director, and only in rare cases can it be himself. Al Pacino's portrayal of Richard III contains some intelligent and exciting ideas for playing Shakespeare's exuberant villain; and he plays them with a fierce and absorbing energy. But although he often goes right, he often goes very wrong. What at one moment is riveting, at the next moment sometimes from excess, sometimes from inappropriateness — becomes ludicrous. It was a very odd production indeed of “Richard III” that opened last night, after extensive previews, at the Cort Theater. Not in the sense of innovation: it was fairly conventional, in fact. The oddness lay in the extreme imbalance between Mr. Pacino and the rest of the cast. There was something rather 19thcentury about it all: an extravagant, dominating leading player with a mis- cellaneous and seemingly improvised company assembled about him. David Wheeler is the director of record, but others were reportedly called in to help out. The stage bristles with cross-purposes, crossed purposes, dim purposes and Mr. Pacino's purposes. Mr. Pacino, whose power to hold and use a stage is formidable, plays the role in three principal and differing ways. • First, and best, are those moments when his Richard ceases his frenetic activity and remains still, listening and watching. • • With his long, sallow face and restless eyes, he hangs back while letting others act for him or against him. When the little PrinceiRichard, whom he will have killed, teases him, his smile is innocent and terrible. When Buckingham prevails on the Archbishop of York to break the Prince's sanctuary and deliver him, Mr. Pacino watches the operation with a dangerous absent look. , He is the bottled spider. When he unbottles himself to do something difficult or demanding, he shifts into a different mode, usually quite effective. His courtship of Anne, whose husband he had killed, is most impressive. All people are objects either of contempt Or hatred to him. He despises Anne, but she is necessary to his purpose. His face is blank, almost extinguished as he conducts a courtship that is like a contagion by plague. He takes her insults meekly, stolidly, yet at the end of each of her tirades he stands an inch or two closer. Finally there is the clownishness with which he meditates, soliloquizes and reflects on his actions. One sees Mr. Pacino's reasoning as he delivers his opening soliloquy — “Now is the winter of our discontent” — with his head lolling, his eyes rolling a bit, his speech slurred and a dribble of spit on his lips. There is a plausible intention behind his toothy grins of complicity to the audience, his nods to us, the flickering of his tongue to signal to us that he is up to some new evil. Mr. Pacino treats us as if we were his own mind; he is acting out to us the depraved monster that Shakespeare has him declare himself to be. The idea is plausible, but it is not workable. It is so ludicrously exaggerated in its practice, and practiced so incessantly, that it breaks the back of the characterize‐, tion. It wastes, in a foolish, actorish display, the excitement that he has so artfully built up. • What is lacking most of all is direction, and it is almost a tragic lack because there is enough strength in the pieces of Mr. Pacino's performance to suggest that if it could be drawn together and governed, he could give us one of the great Richards of his generation. Apart from its relations with Mr. Pacino, the direction is generally weak. There are several factors that would make this production hard to direct, in any case. One is the stage of the Cort, hopelessly small and shallow. Without depth, all the action goes back and forth sideways, largely on a long platform that is one of the weaker ideas in Tony Straiges's uninteresting set. Another weakness is the black backdrop; it shows up Mr. Pacino's tendency to spit when he talks. • Because of the stage limitations, great many entrances and exits, and one whole crowd scene, are conducted up and down the aisles of the theater. ‘don't care how good they are: actors clamoring in the aisle are indistinguishable, dramatically speaking, from latecomers claiming their seats. A second difficulty is the generally undistinguished level of the cast. Of the three major women's roles, one, that of Queen Margaret, has been cut out altogether. The other two, Anne and Queen Elizabeth, are played by Penelope Allen and Linda Selman. Miss Allen is stolid; Miss Selman delivers some of her speeches effectively, but she is awkward in the part. There are a mannered performance by Max Wright as the Second Murderer Exuberant Villain Martha Swope Penelope Allen and Al Pacino in a scene from “Richard III”
915	yago	1	4	https://thinkingheads.com/en/speakers/al-pacino/	en	Al Pacino【Actor and Director】Thinking Heads	https://thinkingheads.co…erenciante-1.jpg	https://thinkingheads.co…erenciante-1.jpg	[ "https://thinkingheads.com/wp-content/uploads/2019/01/Telephone.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/Telephone.svg", "https://thinkingheads.com/wp-content/uploads/2019/02/SearchIconWhite.svg", "https://thinkingheads.com/wp-content/uploads/2019/02/SearchIconWhite.svg", "https://thinkingheads.com/wp-content/uploads/2019/02/SearchIconWhite.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/Telephone.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/Telephone.svg", "https://thinkingheads.com/wp-content/uploads/2019/02/SearchIconWhite.svg", "https://thinkingheads.com/wp-content/uploads/2019/02/SearchIconWhite.svg", "https://thinkingheads.com/wp-content/uploads/2019/02/SearchIconWhite.svg", "https://thinkingheads.com/wp-content/uploads/2017/10/al-pacino-conferenciante-1.jpg 632w, https://thinkingheads.com/wp-content/uploads/2017/10/al-pacino-conferenciante-1-239x300.jpg 239w", "https://thinkingheads.com/wp-content/uploads/2017/10/al-pacino-conferenciante-1.jpg", "https://thinkingheads.com/wp-content/uploads/2018/05/gema-hassen-bey-motivacion-speaker-thinking-heads-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2018/05/gema-hassen-bey-motivacion-speaker-thinking-heads-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2017/08/JavierCapitanweb-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2017/08/JavierCapitanweb-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2017/08/risto-1-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2017/08/risto-1-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2018/04/Marco-Tempest-1-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2018/04/Marco-Tempest-1-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2020/10/scott-steinberg-speaker-business-strategy-thinking-heads-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2020/10/scott-steinberg-speaker-business-strategy-thinking-heads-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2019/06/wayne-lee-spaker-peak-performance-thinking-heads-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2019/06/wayne-lee-spaker-peak-performance-thinking-heads-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2020/05/maria-elena-salinas-conferenciante-thinking-heads-periodismo-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2020/05/maria-elena-salinas-conferenciante-thinking-heads-periodismo-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2017/08/tony-melendez-web-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2017/08/tony-melendez-web-150x150.jpg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/04/Whatsapp.svg", "https://thinkingheads.com/wp-content/uploads/2019/04/Whatsapp.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/PhoneFooter.svg", "https://thinkingheads.com/wp-content/uploads/2019/03/facebook.svg", "https://thinkingheads.com/wp-content/uploads/2019/03/facebook.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/Instagram.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/Instagram.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/Twitter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/Twitter.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/LinkedIn.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/LinkedIn.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/YouTube.svg", "https://thinkingheads.com/wp-content/uploads/2019/01/YouTube.svg" ]	[]	[]	[ "" ]	null	[]	2017-10-31T08:54:05+00:00	Al Pacino is one of the most famous actors in history ? Known for his performance in The Godfather and 1992 Oscar winner ⇨ Speaker in Thinking Heads	en	https://thinkingheads.co…icono_-32x32.png	Thinking Heads	https://thinkingheads.com/en/speakers/al-pacino/	Known for his legendary turn as “Michael Corleone” in Coppola’s classic The Godfather, Al Pacino is a household name whose performances have captured audiences around the globe. Through his uncanny ability to inhabit various characters, from gangsters to law-abiding citizens, Pacino reveals absolute devotion to the art of acting. A native of the Bronx, Pacino began his acting career on stage with award-winning performances in “The Indian Wants the Bronx” and “Does the Tiger Wear a Necktie?” His fame took off with Serpico, The Godfather, and Scarface, all of which earned him multiple Academy Award nominations. His knockout performance in 1992’s Scent of a Woman scored him an Academy Award for Best Actor. He has also was part of such celebrated films as Carlito’s Way, Donnie Brasco, Dick Tracy, and Glengarry Glen Ross. Al Pacino was accepted into the prestigious Actors Studio in 1966 and studied under legendary acting coach Lee Strasberg, known for advocating “method acting,” an approach that was becoming increasingly popular at that time. He made his directorial debut with the documentary Looking for Richard, for which he won a Directors Guild Award for Outstanding Directorial Achievement in a Documentary. In his thrilling presentations, Pacino offers audiences a glimpse into his bright career, sharing his insights into the art of acting and some of his favorite anecdotes. He expertly blends character readings, video clips, and personal commentary in a multimedia presentation that will leave audiences wowed and inspired.
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"https://people.com/thmb/XxHlQG5RRhx1gDtescj0EdSxb7I=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Millers-Girl-trailer-121223-tout-7903bda1d80f405e970badaf8d000703.jpg", "https://people.com/thmb/dFpvoLGSz1I0eHylvbWGeX4OakU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/matt-rogers-brandon-sklenar-tout-081424-bd2aba57e17644368bef9e445dfbdfd4.jpg", "https://people.com/thmb/dFpvoLGSz1I0eHylvbWGeX4OakU=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/matt-rogers-brandon-sklenar-tout-081424-bd2aba57e17644368bef9e445dfbdfd4.jpg" ]	[]	[]	[ "" ]	null	[ "Alexandra Schonfeld", "www.facebook.com" ]	2023-04-25T10:52:47-04:00	Since his breakout performance in 1971's The Godfather, Al Pacino has established himself as one of the all-time acting greats. Look back at the iconic actor's personal and professional life in celebration of his 83rd birthday	en	/favicon.ico	Peoplemag	https://people.com/movies/al-pacino-life-and-career-in-photos/	01 of 29 Al Pacino's Early Days Born Alfredo James Pacino on April 25, 1940, in New York City, Al Pacinowas born and raised in N.Y.C. Pacino grew up poor in the South Bronx, he recalled in an Interview magazine feature, and was raised by his mother, aunt, grandmother and grandfather. "It was tough for me growing up, I will say," he told Donnie Brasco director Mike Newell. "But pretty much my grandmother, she ruled. And my mother was second. They were relatively young. My mother had me young. I owe a lot to that period in my life. I owe a lot to those women and my grandfather." He said while his family didn't quite "encourage" his acting, they "accepted" it. 02 of 29 Al Pacino as a Young Actor Before becoming the bonafide movie star he is today, Pacino studied acting at Herbert Berghof Studio in New York City and began his career on the stage. One of his teachers, Charlie Laughton (pictured here with Pacino in 1974), would become a close friend and mentor for decades to come. The two actually first met in a bar in New York City when Pacino was 17, The New Yorker noted. 03 of 29 Al Pacino's Acting Teachers Pacino began taking classes with renowned acting teacher Lee Strasberg and joined Strasberg's Actor's Studio in 1967; he went on to appear in productions in New York and Boston. Pacino's Broadway debut came in 1969's Does the Tiger Wear a Necktie? — a role that won him a Tony Award. Here, Pacino and Strasberg are seen at a party in New York City in 1976. Pacino credits both Laughton and Strasberg with his introduction to acting, saying in Interview that because he "quit school to go work," his "education came from the theater." "The people who were my mentors like Charlie Laughton, who is my greatest friend and mentor," he continued."[There's] Lee Strasberg, of course, Martin Bregman. I can't say anything without mentioning those three people." Bregman produced many of Pacino's films and served as his manager. 04 of 29 Al Pacino's First Film Role In 1971, Pacino landed his first major starring role on screen in the film The Panic in Needle Park, in which he played a man struggling with heroin addiction. 05 of 29 Al Pacino in 'The Godfather' His big break, though, came in 1972 when he stepped into the role of Michael Corleone in Francis Ford Coppola's The Godfather. The role led to Pacino's first Oscar nomination for Best Actor in a Supporting Role, though he skipped the ceremony altogether. In 2022, he told The New York Times that his absence wasn't a protest but rather, "I was somewhat, more or less, rebellious." He continued, when asked about his rise to fame: "I was somewhat uncomfortable with being in that situation, being in that world. I was also working onstage in Boston at that time [in Richard III]. But that was an excuse. I just was afraid to go." Pacino reprised the role as Corleone in The Godfather Part II in 1974 and The Godfather Part III in 1990. 06 of 29 Al Pacino and Diane Keaton's Relationship Diane Keaton told PEOPLE that when she and Pacino filmed The Godfather in 1971, she "had a crush" on the actor. They later became a couple. As Keaton recalled, "I was mad for him. Charming, hilarious, a nonstop talker," she said. "There was an aspect of him that was like a lost orphan, like this kind of crazy idiot savant. And oh, gorgeous!" Pacino, though, had no desire to get married, which lead Keaton to give an ultimatum and the relationship to end. "I worked hard on that one," she said. "I went about it in not a perfect way." 07 of 29 Al Pacino in 'Serpico' After The Godfather, the roles just kept coming for Pacino, including in 1973's Serpico, which earned him another Oscar nomination as well as a Golden Globe win. 08 of 29 Al Pacino in 'Dog Day Afternoon' He earned another Oscar nomination for his role in Dog Day Afternoon in 1975. 09 of 29 Al Pacino at The Tony Awards As his film career was taking off, Pacino continued to take the Broadway stage and in 1977 won his second Tony for his performance in Basic Training of Pavlo Hummel. Here, he poses at the ceremony with Diana Ross. 10 of 29 Al Pacino in 'Scarface' In 1983, Pacino stepped into the role of gangster Tony Montana in the iconic film Scarface. 11 of 29 Al Pacino in 'Sea of Love' In 1989, he starred as detective Frank Keller in Sea of Love alongside Ellen Barkin. 12 of 29 Al Pacino in 'Dick Tracy' He earned yet another Oscar nomination for his portrayal of Big Boy Caprice in Dick Tracy in 1990, directed by Warren Beatty. 13 of 29 Al Pacino in 'Glengarry Glen Ross' The 1992 film Glengarry Glen Ross was adapted from the David Mamet play of the same name. In the film, Pacino plays Richard Roma; years later, in the 2012 Broadway revival of the show, Pacino stepped into the role of Shelley Levene. 14 of 29 Al Pacino's Oscar-Winning Performance Pacino would finally win his first, and only, Oscar in 1993 for his performance in Scent of a Woman as a blind man who has a memorable experience in New York City after his caretaking niece hires a young man to look after him during the Thanksgiving holiday. 15 of 29 Al Pacino at the Golden Globes The role would also win him his second Golden Globe Award. He later won the statue for his work in Angels in America in 2004 and You Don't Know Jack in 2011. In 2001, he also won the Cecil B. DeMille Award — a prize given to recognize "outstanding contributions to the world of entertainment." 16 of 29 Al Pacino Takes Home the Oscar Here, Pacino accepts his Oscar for Best Actor after seven previous nominations. 17 of 29 Al Pacino Steps Behind the Camera Pacino's directorial debut came in 1996's Looking for Richard — a film that's part documentary about William Shakespeare's Richard III, a production Pacino starred in himself in 1979 on Broadway. The film's cast included Winona Ryder, Alec Baldwin, Kevin Spacey, Kevin Kline, James Earl Jones and Vanessa Redgrave. Here, Pacino poses at a screening of the film at Cannes Film Festival. 18 of 29 Al Pacino and Beverly D'Angelo Beverly D'Angelo fell for Pacino in the 1990s — while she was still married to her ex-husband. But that ex encouraged her to pursue a relationship with Pacino, and after dating for several years, she and Pacino welcomed twins Anton and Olivia in 2001. While the pair broke up shortly after the birth of their children, D'Angelo told PEOPLE, "The greatest gift that Al ever gave me was to make me a mother." Here, the former couple poses together at the U.K. premiere of Pacino's film Any Given Sunday in 2000. 19 of 29 Al Pacino at the Emmy Awards Pacino poses alongside Meryl Streep and Angels in America director Mike Nichols at the 2004 Emmy Awards, where the series won for outstanding miniseries. Pacino also won an individual award for his portrayal of Roy Cohn on the show. In 2010, he won his second Emmy Award for outstanding lead actor in miniseries or a movie for his role in You Don't Know Jack as Dr. Jack Kevorkian. 20 of 29 Al Pacino and 'Salome' Before becoming an Oscar winner herself, Jessica Chastain worked alongside Pacino in 2006 in a production of Oscar Wilde's Salome — a show Pacino also starred in on Broadway in 1992 and 2003. The 2006 production at the Wadsworth Theatre in Los Angeles was part of a documentary Pacino created that was released in 2018 titled Wilde Salome. 21 of 29 Al Pacino in 'Ocean's Thirteen' In 2007, he starred in Ocean's Thirteen alongside George Clooney (pictured here at the film's U.S. premiere), Matt Damon and Brad Pitt. 22 of 29 Al Pacino Wins the AFL Life Achievement Award That year, he also accepted the American Film Institute's 35th annual AFI Life Achievement Award. 23 of 29 Al Pacino at Kennedy Center Honors In 2016, Pacino was awarded the Kennedy Center Honors alongside James Taylor, members of the band the Eagles, Martha Argerich and Mavis Staples. 24 of 29 Al Pacino as a Dad Pacino is father to three children: Julie Pacino (whom he shares with Jan Tarrant, an acting teacher) and his younger children with D'Angelo, Anton and Olivia Pacino. Here, Pacino poses with all three of his children at the Academy Awards in 2019. 25 of 29 Al Pacino in 'The Irishman' In 2019, he reunited with The Godfather Part II costar, Robert De Niro, when they starred in Martin Scorsese's film The Irishman. Here, the three men pose together at the film's international premiere at the 63rd BFI London Film Festival. 26 of 29 Al Pacino and Lady Gaga In 2021 he starred as Aldo Gucci in House of Gucci alongside Lady Gaga (pictured here at the New York City premiere) and Adam Driver. 27 of 29 Al Pacino Celebrates 'The Godfather' Pacino took the stage with De Niro and The Godfather director Francis Ford Coppola during the 2022 Academy Awards to honor the iconic film's 50th anniversary. "I feel moments like this should be sincere and brief, and I'm so grateful for my wonderful friends to come here to help me celebrate with you," Coppola said of De Niro and Pacino. "This project that we began 50 years ago with really the most extraordinary collaborators, many of them legends and so many of them that I can't take the time to list them all, but you know them all well." "So I'm going to only thank two from the bottom of my heart," Coppola added, thanking Mario Puzo, author of the Godfather novels, and late producer Robert Evans. 28 of 29 Al Pacino and Robert De Niro The celebrations continued, and in June, De Niro and Pacino reunited once again at The Godfather 50th Anniversary Screening during the 2022 Tribeca Festival at United Palace Theater in New York City. 29 of 29 Al Pacino in 'Hunters' Most recently, Pacino starred as Meyer Offerman on the series Hunters — a show inspired by true events about a group of Nazi hunters in New York in the 1970s.
915	yago	2	72	https://www.bartleby.com/essay/Who-Is-Sir-Laurence-Oliviers-Richard-III-FJBXQ52TVT	en	Who Is Sir Laurence Olivier's Richard III? - 225 Words			[ "https://assets.bartleby.com/1.17/images/logos/bartleby/logo-home.svg", "https://assets.bartleby.com/1.17/images/placeholders/essay_preview.png" ]	[]	[]	[ "" ]	null	[]	null	Free Essay: Sir Laurence Olivier’s version of Richard III was an outstanding film that William Shakespeare would be extremely impressed with. As Olivier...				https://www.bartleby.com/essay/Who-Is-Sir-Laurence-Oliviers-Richard-III-FJBXQ52TVT	Al Pacino's Looking for Richard presents a facet of cultural and academic critiques of performing Shakespeare while striving to turn those preconceived presumptions on their head. Pacino shakes up the script and provides an interesting conversation on the importance, influence, and approachability of Shakespeare on a grand scale. In an important rehearsal scene at 41:26, Frederic Kimball exclaims that “actors truly are the possessions- the possessors of a tradition, the proud inheritors of the understanding of Shakespeare” (Pacino, Looking for Richard). In this documentary, Pacino uses method acting to mirror the challenges of producing Richard III to the play itself. At 41:26, the scene is framed as a medium shot of Kimball, while the edge of the frame shows Pacino and Winona Ryder at a close-up. Through exploring connections between Shakespeare’s Richard III and Al Pacino’s Looking for Richard the values of the era are often a product of the context of the text. However, through studying the theatricality of man and the pursuit of power, it is clear these notions transcend time and context. Shakespeare valued the way an actor could act within a play and theatre was valued in this context. Shakespeare also demonstrated how Richard pursued political power, whilst Shakespeare himself Both William Shakespeare’s play “Richard III” and Al Pacino’s docudrama “Looking for Richard” explore the timeless themes of Richards’s pursuit of power and the impacts of his villainous and evil nature. Shakespeare’s Elizabethan context is far different from the humanist and secular context of Pacino. Shakespeare highlights the importance of the church and the divine right to rule of monarchs within Richards’s pursuit of power and downfall; this is not relevant within Pacino’s contemporary times. Hence Pacino employs this key theme to reframe the play's focus from divine rule to political power whilst still exploring Richards’s achievement of this power. Through his portrayal of King Richard, Shakespeare creates a character meant to be hated by his audience who were familiar with the Tudor myth. Al Pacino's "Looking for Richard" is an unusual film. It is a documentary about the complexities of Shakespeare, the performing of the play Richard III, and the ignorance of the average American regarding Shakespeare. The unusual nature of the film - it's similar to a filmed Cliff-notes version of the text - provokes wildly different reactions from film buffs, critics, and Shakespeare purists. A perusal of five different reviews of the film show such variant descriptors that range from Mary Brennan's comment that the documentary is "decidedly narcissistic" to Edwin Jahiel's comment that the film is an "original, mesmerizing exploration." The rather wide incongruity between the reviews Moreover, Richard’s multifaceted nature in his determination to attain power is further accentuated through the striking metaphor “And thus I clothe my naked villainy …And seem a saint, when most I play the devil.”, which Shakespeare employs to represent Richard as an embodiment of absolute evil and amorality. Hence, the Shakespearean audience becomes aware of the destruction of Richard’s moral compass as he sacrifices the value of honesty in his ambitious plan to gain power and engage in sacrilegious acts to create his own fate. Comparatively, Pacino reshapes the downfall of Richard as a result of his ambition for power to reflect the secular perspective of free will and aspiration. As such, Pacino’s reimagining of the opening soliloquy with a mid shot of Pacino leaning over the sick King Edward effectively encapsulates the control Richard possesses, which allows him to deceive the king and maneuver his way Richard III is seen as a monster and a horrible person, but why? What if people saw him differently or if his family treated him equally like others? Also nobody wants to love an ugly hunchback. This is how Richard is treated in the play. He despises everybody including God and all of is creations so he decides to conquer the land and become King of England. Right from the offset of the play Richard is cast as a Machiavellian character stating; “since I cannot prove a lover… I am determined to prove a villain” in the first monologue. It is plain to see throughout the first few acts of the play that Richard holds all the power and that he is able to dictate just what happens as seen through his asides, where he says what he is going to do and then does it. Asides are less effective in showing this in a film and as such the idea is adapted by Pacino into him playing Richard while also being the director and dictating what the other actors do just, just as Richard ‘directs’ the events of the play. Pacino also uses his interviews with academics and general citizens to attempt to ‘give Shakespeare back to the people’, leaving them nameless to give equal value to the opinions of both parties. By giving the audience a feeling of power over the understanding of Shakespeare Pacino allows the responders to come up with new perspectives on ‘King Richard III’ and how power relates to the telling of the Shakespeare used the physical deformities and the gray areas of history to create one of the most well known villains of all time. Shakespeare’s play, Richard III, is the leading voice in the Richard III story. He is portrayed as an ugly villain, an image that is fueling the way people think, talk and reference Richard III. In reality he differed as a person, but many mysteries remain unsolved. The murder of the princes in the tower at the hand of Richard III is still undecided. In more recent terms we are able to see what he actually looked like and if his physical appearance played the role it did in real life. Richard III is an unloved king by many people even though we base most of our assumptions on a play. Richard II was one of Shakespeare's political works depicting the rise and fall of King Richard II. Richard became king of England as a boy at 10 years of age, although his advisors made most of the political decisions of the kingdom until he matured. During this maturation period, Richard was more interested in learning about aesthetic things in life rather than things more responsible to the monarch. He had very little experience and talent in the areas of military tactics and his decisions relating to the monarch seemed arbitrary. Richard is not eye-catching due to physical deformity which he vividly describes as the cause of his misfit, and therefore acquires himself the status of a victim. No one pays attention to him because others neither find him handsome nor sexually appealing. But he magnetizes the audience, makes them complicit of his own deeds and dares it to look away. Shakespeare wrote many plays during his lifetime, but possibly none as complex and busy as Richard III. It is an intricate play where many different characters are portrayed in many different roles. One of those characters is the Duke of Buckingham, a villain and for the majority of the play the trusted accomplice for Richard. In almost every scene in which Buckingham was portrayed, he proved himself to be a rebellious villain over and over. As a rebel, he fought as a revolutionist, craving a change of events for self-seeking power. Buckingham exemplifies the definition of a revolutionist rebel because of his willingness to be part of a revolution in order to change his surroundings and increase his own eminence. He followed through with almost every plan given to him by Richard to accomplish his purposes until the final order to kill the young princes. Often, pieces of literature have been analyzed and made into a motion picture in the hopes of further developing the themes presented in the work. Though the Shakespearian play, Hamlet, has been interpreted and converted into a film numerous times by different directors, Kenneth Branagh’s adaptation particularly captured the essence of Hamlet and helped the audience truly understand the events that transpired in Act Three Scene Two of Hamlet. It is in this act, Hamlet plan to reveal King Claudius’ treachery is played out. Hamlet exposes the king through adding an extra sixteen lines to the play which depicts him killing Hamlet’s father. With the directions Hamlet gave to the actors, Hamlet is able to make the audience recognize the king’s
915	yago	0	84	https://members.tripod.com/velvet_peach/DISCONTINUED_PGS/apacinointv.html	en	Al Pacino's Loft			[ "http://velvet_peach.tripod.com/links_menu_image_map_purple4.gif", "http://escati.linkopp.net/cgi-bin/counter2001.cgi?491210", "https://members.tripod.com/velvet_peach/DISCONTINUED_PGS/animball.gif", "https://members.tripod.com/velvet_peach/DISCONTINUED_PGS/animball.gif", "https://members.tripod.com/velvet_peach/DISCONTINUED_PGS/animball.gif", "https://members.tripod.com/velvet_peach/DISCONTINUED_PGS/animball.gif", "https://members.tripod.com/velvet_peach/DISCONTINUED_PGS/animball.gif", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pac_articles_line.jpg", "http://velvet_peach.tripod.com/pacinogalleryanimation.gif" ]	[]	[]	[ "Al", "Pacino", "interviews", "interview", "Detroit News", "October 17", "1997", "PACINO LOOKED FOR \r\n\r\n INSPIRATION TO PLAY THE DEVIL", "Filmweb", "1997", "PRINCE OF DARKNESS", "GQ", "September 1992", "AL ALONE", "Scene Magazine", "1997", "SYMPATHY FOR THE DEVIL", "Toronto International Film Festival", "September 9", "1996", "LOOKING FOR A NEW PACINO" ]	null	[]	null	Al Pacino interviews, page one, Detroit News, October 17, 1997, PACINO LOOKED FOR INSPIRATION TO PLAY THE DEVIL, Filmweb, 1997, PRINCE OF DARKNESS, GQ, September 1992, AL ALONE, Scene Magazine, 1997, SYMPATHY FOR THE DEVIL, Toronto International Film Festival, September 9, 1996, LOOKING FOR A NEW PACINO				null	INTERVIEWS (1) Detroit News, October 17, 1997, PACINO LOOKED FOR INSPIRATION TO PLAY THE DEVIL Filmweb, 1997, PRINCE OF DARKNESS GQ, September 1992, AL ALONE Scene Magazine, 1997, SYMPATHY FOR THE DEVIL Toronto International Film Festival, September 9, 1996, LOOKING FOR A NEW PACINO GQ, September 1992 AL ALONE by Maureen Dowd (back to top) It's no longer sheer torture being Al Pacino, but it's still far from easy Al is not easy. At least, that's what everyone will tell you. It's not easy to persuade him to do interviews to promote his movies. It's not easy to do love scenes with him. It's not easy to understand what the hell he's talking about, because he can be so inarticulate at times. It's not easy to get him to commit to an acting project, and it's not easy to understand all his choices. he's not easy to work with, because he always wants just one more rehearsal or one more take or one more test screening. This is not the sort of star who makes voice-over commercials for Japanese cars or glitters at fund-raisers for politically correct candidates or yaks about his love life on Arsenio Hall's couch. We're talking here about a guy who rereads Checkhov and Emily Dickinson for fun. A guy who writes poetry and, mercifully, loses it. So it is with some trepidation that I walk up to Al Pacino's table in the back of Joe Allen, a pub in New York's theater district, and shake hands. The 52-year-old actor, who in performance is often compared to a hand grenade, seems a gentle soul in person, with a soft, gravelly voice and a courtly manner. Although he sometimes makes odd fashion statements with scarves used as headbands, tonight he looks rather stylish, in a black silk shirt, a black sport coat and a green-and-black Foties-style tie. There is a glint at his next, a long gold chain with a primitive cross. Although interviews rank somewhere below root canal on Pacino's favorite-things list, he seems to want to make this work. We chat for a bit about his new movie, Glengarry Glen Ross, and where he might go from here. I want to ask him something profound, something that will make him respect me. But before I can stop myself, I blurt out "So, do you regret not taking the Richard Gere role in Pretty Woman? He turns those mournful basset-hound eyes on me, the ones director Garry Marshall calls, "the best eyes in the world," and gives me a look of amused disdain. "No, the only movie I wished I could have done was Lenny," he says, referring to the blistering 1974 Bob Fosse film about comedian Lenny Bruce, in which Dustin Hoffman starred. The finicky Pacino, who has turned down more hits than he has made, then allows that he also might have liked to have played the Paul Newman part in the 1977 Gorge Roy Hill comedy about hockey players, Slap Shot. "I told Hill that I was interested, if they could fix the problems with the script, and all he wanted to know was 'Mr. Pacino, do you ice-skate?' " Pacino laughs. That is not as strange a thing to say as "Garbo talks," by the way. Pacino laughs fairly often. He says he did not picture himself as Michael Corleone when he got the role, in The Godfather Though he is a genuine American film icon, Al Pacino cannot "open" a movie in the way that Arnold Schwarzenegger and Eddie Murphy can. He went for a decade without a hit movie, between ..And Justice for All, in 1979, and Sea of Love , in 1989. So he has gingerly agreed to this interview to reap some attention for Glengarry Glen Ross, an independent production, directed by James Foley, that does not offer the usual blandishments of sex and violence. The film version of David Mamet's Pulitzer Prize-winning play about cutthroat real-estate salesmen is a scalding, syncopated ensemble piece featuring Jack Lemmon, Alec Baldwin, Alan Arkin, Ed Harris and Kevin Spacey. Pacino gets to curse and charm wear a diamond pinkie ring as Ricky Roma, a wired purveyor of "choice parcels" in a world where only one thing counts: getting them to sign on the line which is dotted. He will also star this fall in Universal's Scent of a Woman, playing Lieutenant Colonel Frank Slade, a blind, bitter a army veteran living in New England who decides to go on a weekend jaunt to New York City, with the teenage boy hired to care for him reluctantly in tow. Pacino has a lot of nervous energy. At the restaurant, he drinks cappuccino and chews gum and constantly runs his fingers through his thick hair. He gave up alcohol fifteen years ago, after friends suggested that he had a problem. Lately, he has gotten a bit pudgy around the middle and is supposed to be on a diet. His assistant has been fixing him bean dishes from the actor's grandmother's Sicilian recipes and quizzing his companions to see if he's cheating. He's cheating. "Do you want to split a hot-fudge cake?" It's an offer I can't refuse. After polishing off dessert, we get up to go. "Leave a big tip," he instructs, suggesting I offer 80 percent of the bill. he was once a struggling actor working odd jobs in Manhattan, so he identifies with the kids waiting tables at Broadway restaurants. (Pacino is also generous with his own money. he quietly contributes, though a foundation he has set up, to hungry children, AIDS research and other causes.) He checks out the Knicks game on the bar television, then, outside, climbs into his jeep and heads uptown. When he stops at a red light across from Lincoln Center, a street hustler comes up to talk. Pacino lowers the window and chats with the guy until the light changes, handing him a five-dollar bill from a stack of crisp ones and fives that's spilling out of his glove compartment. he is accustomed to strangers on the streets of New York calling him "Al" and tossing him a favorite line from Scarface - "Can I go now?" or chanting "At-ti-ca! At-ti-ca!" from Dog Day afternoon. Born in Harlem, Alfredo James Pacino grew up in a small apartment in the South Bronx with his mother, her parents and various cousins. One grandfather was a plasterer, the other a house painter. His father, an insurance agent, left home when Al was 2 an, while Pacino sees him occasionally, he says they "don't have any real relationship." Although his childhood had its dark moments - "Living in three rooms with a bunch of Sicilians is not easy" - he remembers it as happy. As a child, he was encouraged to act out movie roles (like the drunken Ray Milland looking for a hidden bottle in The Lost Weekend) and was eventually accepted at he High School of Performing Arts. But he had to drop out at 16 in order to help support his mother, who had become ill, and the next year, he moved to Greenwich Village and began auditioning for plays. He worked a series of odd jobs, from building superintendent to movie usher to messenger. "I know every street in this city," he says, driving past packed restaurants on the Upper West Side. "I never thought about moving to Hollywood. Not for a single moment. I have always been a kind of a homeboy." And as much as a quirky millionaire movie star who dates beautiful women, hangs out with the likes of Michelle Pfeiffer and Ellen Barkin, lives in a trendy suburb on the Hudson River called Sneden's Landing and ponders buying a farm so that his daughter can have "horsies," as much as this guy can still be a homeboy, Pacino probably is. "It's hard for people to believe that actors can be shy, but Al is shy," says Sidney Lumet, who directed Pacino in Dog Day afternoon and Serpico. "In his acting, his instrument is himself, his emotional nakedness. So other than acting, he tries his damnedest not to bare himself." Garry Marshall, who directed Frankie and Johnny, agrees that Pacino will curl into his shell if he has the slightest suspicion that someone is mocking him. "In a way, he's extremely naive," Marshall says. "It's strange to talk about vulnerability and innocence with a guy who's played the foremost killers on the American screen. But he's so pure and honest and artistic, it's a little like Don Quixote walking through Hollywood." Ellen Barkin,, who slammed Pacino around the bedroom in their steamy scenes in Sea of Love, says with mock bravado that she deserves all the credit she got for those scenes. One of Hollywood's most famous tough guys, it turns out, had a tough time feigning lust. "It's hard for him to do it unless he means it," Barkin says. "Lovemaking is an intimate gesture, and you don't do it with people you're not intimate with. That's what's sexy about him. It's real. He's not a seducer." When shooting the bedroom scenes for Frankie and Johnny, Michelle Pfeiffer loosened up her costar by giggling and being, as she puts it, "immature." "I'd conjure up the meanest things to say to him just before we would start a love scene, like 'You really bore me,'" she recalls. "He'd be on the floor, laughing." Pacino hates to talk about his personal life, even though he has been involved in high-profile relationships with a flock of famous actresses, including Kathleen Quinlan, Tuesday Weld, Jill Clayburgh, Marthe Keller and Diane Keaton. He has said that he has spent a lot of time hiding and withdrawing from stardom and from women. His friend James Caan says he thinks Pacino's reclusiveness, which extends to wearing disguises, is an affectation. "Al hiding under a hat and a mustache and saying 'I vant to be alone' is full of shit, and you tell him I said so. I told him to his face," Caan says. "You go in the business to get recognition and then you refuse recognition? Who are you bullshitting with that?" For Pacino, fame is an unfortunate by-product of his brilliance as an actor. From the beginning, his intensity for "the work" has been legend. "Everything stems from some incredible core inside of him that I wouldn't think of trying to get near, because it would be like getting somewhere near the center of the earth," Lumet says. "What comes out of his core is so uniquely his own. Its the only thing he can trust. It is quite clear that Al is a loner." Unlike actors who are trained to find the truth of the character in the moment and switch it off when the scene is over, Pacino stuck with the emotion twenty-four hours a day during Dog Day afternoon. "He was never really light in spirit. It's a very tough way to work. The cost has to be enormous, really nightmarish and horrendous." Even Lee Strasberg, the head of the Actors Studio and Pacino's Method guru, a man not known for his frivolity, warned him to lighten up. "Strasberg said to me, 'Darling, you know, you have to let it go sometimes,' " Pacino recalls. Pacino remembers that in 1983's Scarface, he was so deeply into the role of Tony Montana, the foul-mouthed, murderous Cuban drug kingpin, that when a neighbor's attack dog lunged at him-an action that he says normally would have scared him to death - he yelled "Back off!" and the dog scurried away in fear. Pacino has always done exhaustive preparation for the roles. For The Godfather, he met with Mafia chieftains. For Scarface, he met drug dealers. He learned Benihana-style chopping from short-order cooks for Frankie and Johnny and got so involved in it that Michelle Pfeiffer finally had to tell him to chop softer so she could hear herself speak. But lately, he has developed a sense of humor about his perfectionism. At one point, he told the crew of Frankie and Johnny, "I know you guys have a pool on how many takes I'm going to do here, and I say that the one who bet over twenty has the best shot." And he tries to be polite about it. "He'd say, 'You're the director and I'm the actor. But I'm imploring you to do one more take, '" say James Foley. "As if I would say no." At the heart of Pacino's talent is his ability to tear down the wall between reality and illusion. Arvin Brown, who directed the actor on stage in American Buffalo and Chinese Coffee, was literally afraid when he first saw Pacino, in The Indian Wants the Bronx, in the late Sixties. "He had so much violence in him that he shattered the mystical line that allows the audience to feel comfortable," Brown says. "Intellectually, I know he was an actor and he was not going to jump off the stage and attack me. But he scared the shit out of me." Barkin describes a similar experience while shooting Sea of Love, during a scene in which Pacino gets drunk and yells at her. "We did three or four takes, and there was this weird clacking noise. I was terrified. I felt like he might lose it and strangle me right there. Then Al suddenly turned to me and said, 'Could you be, like less...?' and I realized that my hands were shaking so hard that my rings were clacking away." But now he seems able to flip off the emotional switch. Pfeiffer noticed a dramatic difference between Pacino's temperament when they worked together on Scarface and then, eight years later, on Frankie and Johnny. "He's a happier person," she says. Pacino says that getting older has helped. "As you do this more and more, you don't mix up your parts and yourself as much." And life is not so serious anymore. Barkin recalls how Pacino broke up a tense Sea of Love production meeting one night by bursting into an imitation of Barbra Streisand singing "And we've got nothing to be guilty of/Our love is one in a million...." Pacino used to be touchy about being lumped with the group of intense ethnic actors who changes Hollywood's image of leading men in the Sixties and Seventies. Asked in a 1979 "Playboy:" interview about the comment in Pauline Kael's review of Serpico that, with a beard, he was indistinguishable from Dustin Hoffman, Pacino snapped "'Is that after she had the shot glass removed from her throat?'" Last year, a mellower Pacino told Garry Marshal that his real name is Al De Niro: "Yeah, we're all the same guy." Some of the worst times of Al Pacino's life were spent working on the Godfather movies. When Francis Ford Coppola began shooting The Godfather, the studio chiefs weren't buying Pacino, then a 31-year-old New York stage actor. They made Coppola test dozens of others for the role of Michael, including Robert De Niro and James Caan. Pacino seemed so deadpan, so passive. Everyone thought the young actor was being self-destructive. Pacino says he was unhappy but trying. "here I was, this kid, and all of a sudden I was thrown into an environment that was pressured, to say the least. Francis was worried about his job every day. he was young, too, up there for the first time. And he had been given this mountain to climb. And there I was, I just wanted to quit and go back to something else. I was having to do film acting, which I wasn't used to. And I was playing a leading man and everyone kept telling me I wasn't a leading man. "Word kept coming down from the he studio: 'Well, when is this kid going to deliver?' And I'd just say 'I need a drink.'" Finally, the studio relaxed, but Pacino didn't. "Movies were difficult things for the first ten years of my career," he observes. "I kept feeling as though this was not the medium for me." When The Godfather came out, in 1972, celebrity hit Pacino hard. His life was suddenly filled with booze, tranquilizers, women, deals, money and sycophants. "When you become visible and notorious, you start accepting people into your world that you wouldn't normally be associated with," he says. "That was what got me in some trouble. I started to get involved in situations that came readily to me, where I didn't have to earn it. Especially if your a shy person to start with, what happens is, now you are accepted. You become unduly suspicious." He also struggled with darker emotions: selfishness, loneliness, isolation, depression. "It was like the scene out of Dr. Strangelove when Slim Pickins rode the bomb down," Pacino says. "It was anarchy. I didn't feel a rush. I just felt chaos when I was younger. I say 'What is gong on? Give me another drink.'" During this period, he lived with actress Jill Clayburgh, and he remembers soaking in the bathtub for hours, drinking and talking on the phone. Clayburgh even got him a plastic tub tray to hold a drink and a phone. "As long as I was home, it was all right for her, even if I was in the bathroom. She should have turned off the plumbing." He used the tray in a scene in Bobby Deerfield, a movie that marked the nadir of his noncommunicative, melancholy, out-of-it phase. There was a scary incident before Dog Day afternoon began shooting, in 1974, when Pacino dropped out briefly, sick with exhaustion and drink. Dustin hoffman was waiting in the wings, but Pacino beat back his demons and returned. After the movie came out, he was bigger than ever, but he didn't do much with his life except drink and indulge his melancholia about the meaning of celebrity and existence. When friends insisted, he went to AA meetings and stopped drinking and smoking. I ask Pacino whether he considered himself an alcoholic. "I still don't know, frankly how far or how deep my problem goes," he says. "I had some very close friends who were concerned about it. I was not as aware of my drinking as I guess other people were. Because I was always functioning, really. I didn't ever use drugs. I did the tranquilizers, that type of thing. I don't think I was doing a wise thing doing it while I drank." He looks out the window at darkness for a moment, then continues. "I don't have any desire for the hard stuff. But wine, it's warming, mellow, takes the edge off after having had a tough time; it's kind of a reward for having made it through the day. "It's a struggle. I wish it wasn't. Sometimes it isn't. My hope is, having stopped, that it made whatever is positive in my life, it gave me more of a chance to have that." If making The Godfather was hard, shooting The Godfather, Part III, on location for six months in Sicily, was a nightmare. Caan recalls that Pacino called him from Italy, "screaming and yelling about what Francis was ding. Francis was still mourning the death of his son. It was not the Francis who did the first Godfather. He even thought he could make George Hamilton an actor." Pacino says that once Robert Duvall dropped out of the cast due to a money dispute, the script had to be substantially rewritten: "When Duvall wouldn't do the movie, I thought we were in trouble." Then an exhausted Winona Ryder left the film and was replaced by Sofia Coppola, the director's daughter. "I think it's difficult when you cast your own kid," Pacino says. "It was a strain. The film developed a strain. I thing there was a problem in the fabric of the story, but I wish that we'd had the complete cast." Pacino, who has been nominated six times for an Oscar but has never won, says he was disappointed that he did not get nominated for Godfather III, which received seven nominations. (He was however, nominated for best supporting actor for his hilarious turn as Big Boy Caprice in Dick Tracy but lost to Joe Pesci.) "As I get older, I think about it more," he says. Roy Orbison is crooning on the box, and Herb Ritts, photographer to the stars, is chatting with Pacino at a West Side studio. The actor has donned a gray Armani suit, the trousers puddling around his ankles, for a photo shoot. "So, you're dating Lyndall Hobbs?" Ritts asks, referring to the tall, slim blonde Australian woman who has been Pacino's companion for the past year and a half. Hobbs, a former London television reporter who specialized in fashion, directed Annette Funicello and Frankie Avalon in Back to the Beach, in 1987. She moved to Manhattan with her young daughter last year to be closer to Pacino. Those who know her say she is as outgoing and interested in parties and celebrities as he is reclusive. Some have noticed a resemblance to Diane Keaton in Hobbs, with her nervous energy and eclectic wardrobe of vintage menswear and high fashion. Pacino, who looks like he'd rather have a horse's head in his bed than confide anything about his love life, is glancing around the room skittishly. "Lyndall's great," Ritts says affably. "She has that great smile. And she's really there. So how did you two get together?" Pacino, his private side and his polite side visibly warring, goes with the polite. "We met a long time ago, but it didn't go anywhere. Then we ran into each other again." Ritts notes that it is unusual to return to a relationship years later. "No, it's happened to me before," Pacino says with a wry grin. "It happens more as you get older." A few nights later, as we drive back from the Long Wharf Theater in New haven, Connecticut, where Pacino went to see a friend's production of A Touch of the Poet, it seems like a good time to slip in some questions about romance. I pop the question: Why has he never married? When he feels comfortable with a subject, Pacino can be an eloquent conversationalist, but when the talk turns to love, he is instantly elliptic. "I guess there comes a point where one defines marriage for oneself and what does it mean," he answers, finally. "I have just not come to that point yet." Has he ever come close? "Not really." Will he ever? "I think so. If I could relate to its relevancy." He observes that "sharing your life with someone is a kind of wedding, in a way." What attracts him in a woman? "It takes more than one encounter." A sense of humor? A literary bent? "It's no one thing," he says. "But I remember once having fallen in love instantly. I won't say who, but it did happen to me once. Who knows with those things? They must have something to do with some unconscious precepts. Before it happened, I would have said there was no such thing." He swears he is easy to live with. "I'm not that demanding," he says, adding that he believes in "a certain amount of freedom, come and go" in relationships. Is he the jealous type? "I wouldn't say I'm the jealous type, no," he says, smiling. He feels the most important thing in a relationship is to have an understanding of why you are together and what you are together. "It's always best when you know what the rules are," he says. "Otherwise, it starts to go like a house of cards." Does he prefer strong, successful women like Diane Keaton, one of huis most prominent romance? "I was very close to Diane Keaton before she or I made a movie; I know her when she was very young," he replies. But she got involved with Woody Allen and then Warren Beatty, and the, many years later, she and Pacino picked up where they had left off. Although Keaton told Maribella that working with Pacino in The Godfather movies was exciting "'because you really know him and he can't trick you, and you can't trick him,'" Pacino says of working with a lover: "I prefer not, frankly. "It's wonderful when it's working," he says. "But you also have to know there are times when little things happen in day-to-day life that will affect you r working life. Being in close quarters so long, the least little thing might upset you. A lot of people think that it allows you to bring personal things to the work, but it isn't true. For the most part, you don't really use it - it's an interference. In order to work, you need objectivity and you have to be able to use your imagination. And you need a little peace." Keaton said that making Godfather III "'was so bittersweet'" because it was "'the end of the trail for us.'" Andy Garcia, who helped nurse Pacino through the bad professional and personal moments of the film, says of the Keaton-Pacino romance: "I liked them together. I think they're destined for one another." Although Pacino has lived with women in the past, he lives alone now- with five dogs - in his book-filled house in Sneden's Landing. "Sometimes, living together puts a strain on it," says Pacino, not sounding too interested in the idea of settling down. "Sometimes you're better off living apart and being together. I've found that to be very effective, especially if you like each other a great deal and enjoy each other's company. Having time alone is important to me, but not too much - that gets tiring. When Bette Davis was asked what makes a marriage successful, she said 'Separate bedrooms.'" Pacino's approach to fatherhood is similarly unconventional. A brief romantic interlude in 1989 produced a daughter named Julie, now 3, whom he kept a secret for a while before publicly incorporating her into his life. "When she and her mother went to a video store, in the days when nobody knew that I had a child, Julie would point to videos, going 'Dada, Dada,'" Pacino says, grinning. Now he goes to the movies, Central Park and Playland with her; he keeps her toys, finger paintings and photographs in his midtown office; and he has a room for her at his house. In one picture in the office, Julie, a brunette heartbreaker, sports pink heart-shaped sunglasses and a pink bottle. Pacino observes that when he doesn't see her, he misses her in a way that is entirely new to him. Pacino has always been more interested in art than in money, which has caused him to make some strange career choices. He recently too k about a $4.9 million pay cut to star in two one-act plays at New York's Circle in the Square, as part of a fundraising drive for the theater. The critics praised Pacino's acting in Ira Lewis's Chinese Coffee, in which he played a scuzzy, washed-up Greenwich Village writer, and in Oscar Wilde's Salome, in which he played a campy Herod, but they argued that he was wasting his time in second-rate vehicles and that the ornate language of Salome, full of "thine"s and "thou"s, was ill suited to him. Nor have they been kind about his forays into Shakespeare, in Richard III and Julius Caesar. Some observers think that Lee Strasberg encouraged Pacino to take on the kind of highbrow roles that are a bad fit for this quintessentially urban, American actor. "He has all the ability in the world, but sometimes his head gets in the way of his ass - it's like Jon Lovitz's thing about 'ahc-ting,'" says Caan, referring to the Saturday Night Live spoof of the windy Master Thespian. "After Revolution, Al shouldn't do another thing that requires an accent." Following the disastrous 1965 British-made costume epic about the American Revolution ("Mr. Pacino has never been more intense to such little effect," Vincent Canby wrote. "It's like watching someone walk around in a chicken costume"), Pacino burrowed out of sight for four years. he refreshed his interest in acting by giving readings at colleges, doing workshops and obsessively editing his own fifty-two-minute film, The Local Stigmatic, from the 1965 Heathcote Williams play about two cockney thugs gripped by class envy who brutalize an actor they meet in a pub because "fame is the first disgrace - because God knows who you are." (hear a wav of this line). The movie is required viewing, preferably twice, for those who would interview Pacino. He said he likes it because it is "bottomless," like the classics. Maybe the work speaks to Pacino on a subject close to his heart: the dark side of celebrity. Still, it is hard to understand his preoccupation with this play or why he has spent seven years and a small fortune filming it, editing it and screening it at colleges and museums and for small groups. the piece is a stale mix of John Osborne's working-class rage and Herold Pinter's anomie, and the Alfie-goes-to-the-Bronx accent Pacino affects in it is distracting. Pacino feels strongly that the movie is too raw, too difficult, to ever be released commercially. But even Williams, something of an eccentric himself, begged Pacino to make The Local Stigmatic more accessible; he suggested changing the title to Fans and adding some scenes to clarify the class conflict. But, after years of debating, Pacino refused, thinking that would sully the work's purity. So it remains an expensive hobby. (Not one to walk away from an obsession, Pacino is thinking of editing down about five hours of tape from college lectures on Stigmatic to make a short documentary about the film.) One night this past May, Pacino and Hobbs attended screening of the movie for a group of Whitney Museum contributors. Explaining why the movie has never been released, Pacino told the audience that "it needs a controlled environment." And the whole group was about as controlled as it gets - a veritable New Yorker cartoon of Dan Quayles' dread cultural elite. The evening had an emperor's-new-clothes feel: The audience knew its task was to "get it." After the screening, guests murmured knowingly to one another about how powerful the film was. And no one walked out in disgust at the violence, as has happened on occasion. Certainly, the group was thrilled to see Pacino standing on tiptoe to kiss the cheek of his girlfriend, who was wearing a black miniskirt and granny glasses and briskly drumming her fingers on various surfaces. but when asked, some guests quietly conceded that they didn't really understand the movie at all. Were the men supposed to be gay? Why did they beat up the actor? What was the message? In a question-and-answer session following the screening, Pacino looked out over the blanched faces in the audience and commented "This reminds me of a man outside a movie theater who saw an audience coming out of Scarface and said 'What did you do to these people?'" One man asked Pacino why he has bothered with his exercise in terror when he had done something so similar at the start of his career, in The Indian Wants the Bronx. (Pacino won an Obie Award in 1968 for the Off-Broadway play in which two toughs beat up an East Indian on a Bronx street corner.) "Naturally, it has the violence, but I think it's saying something different," he replied. Another man in the audience raised his hand: "Wasn't Heathcote Williams married to Twiggy?" Pacino, very artsy in a blue jacket, with a scarf around his neck, seemed a bit fatigued at the nature of the questions. "No," Pacino said. "He was involved with Jean Shrimpton." When you spend some time with him, you understand what a good match Pacino and Keaton must have been. He is much more like Woody Allen that Michael Corleone. Ellen Barkin notes with affection that "Al is not the most optimistic person in the world." And Michelle Pfeiffer does a wonderful imitation of Pacino whining about how burned-out he is: "'Oh, I'm so tired, I can't possibly do another movie. Oh, I'm so old.' He's kvetching all the time, when really he has boundless energy." Pacino is talking to Tri-Star Pictures about financing a theater space downtown, but the project its all very fuzzy and even his partner, Michael Hadge, laments that "no one understands what we're doing." And there has been some talk of a movie about the life of the artist Modiglaini. But it's no surprise when, one night, Pacino begins moaning gently about how tired he is and maybe he needs a change and maybe he should move to Paris or London for a year and maybe ha should just chuck acting and retire. "I keep envisioning myself sitting around the duomo, sipping anisette and watching the girls and having a great life not acting," he says with moody grandeur. No one believes him of course. Because he is a man addicted to the high wire and the process of acting and the sound of words. "Did you hear what I sad about the duomo?" he asks a little while later. Sure, Al. (back to top) Scene Magazine, 1997 SYMPATHY FOR THE DEVIL by Raj Bahadur (back to top) NEW YORK CITY -- Al Pacino as the Devil. Somehow, it fits. Not that there's anything satanic about the guy. But if anyone can give nuance to so bold a character, it's the great Pacino. And not just any devil, but one with a law degree. Again, it fits. Blame Taylor Hackford, who directed The Devil's Advocate, and, as Pacino puts it, "felt the script was a good canvas to express some of his feelings about today's society. When a director is that passionate about something, you know the movie has a chance." Hence, involvement by Pacino, who doesn't jump at just anything. Playing opposite him is Keanu Reeves, a perfect-record defense attorney from down South, recruited by Pacino's N.Y. firm. Once aboard, Reeves and his wife (Charlize Theron) realize the offer is too good to be true. Too late. New York turns out to be a hellhole (I guess they don't get out much down South), Reeves has conscience and career put to the test, and the young couple finds itself seduced by Pacino's demonic minions. Even with the special effects, The Devil's Advocate is far more morality play than horror show. With fiendish cunning assuming many guises, Pacino prepared accordingly. "There's no barometer in playing the Devil, so anything goes. We wanted a tempting Devil, a Faustian Devil. You really don't want to give it away and have the audience know you're the Devil right off. To give the role credibility, I looked at other people who've played the part, so I wouldn't feel like I'm the only one who ever did it." Pacino singled out late actor Walter Huston (THE DEVIL AND DANIEL WEBSTER), also such texts as PARADISE LOST and Dante's INFERNO for study references. Other than that, he flew by the seat of his pants. Improvisational techniques from his Actors Studio days helped. "I don't usually do improv," admits Pacino. "But I use it to get through the subtext or find areas in a scene I didn't see before. In movies, they usually don't have time for that. An exception was in Dog Day afternoon. The telephone scene was an improvisation between Chris Sarandon and me. We did about seven or eight improvs, and then [director] Sidney Lumet pieced them together." No Al Pacino film would be complete without an "Al Pacino moment," those scenes in which everyone steps back while Al chews scenery. The Devil's Advocate is no different. His monologue on the sorry state of the world heading into the new millennium is exemplary, as is a lesser scene in which he breaks into Sinatra ("It Happened in Monterey"). Describing his black humor outburst, Pacino relates, "That's an example of something that came out of an improv. We wanted the encounter between Keanu and me to have its capriciousness, yet remain in context." Despite being world-class, Pacino, a living repository of training and tricks, confesses to a chronic insecurity when approaching a role. He states, "I have the same doubts I've always had. Maybe that's what keeps me going. I worked with Lee Strasberg [the late Actors Studio honcho] -- the guru of the theater. But I never really knew him until I worked with him. Working together is like two people on a tightrope. You're balancing and checking and dependent on each other -- a mutual relationship. Acting is 'I throw you the ball, you throw me the ball.'" Another reason for persevering is the desire to play intriguing roles. "The material has always been my dictate," he says. "If the material is engrossing, I get excited. There was a period where I went four years between movies. I've had other periods where I didn't do anything. Recently, I've been more active, though having many roles from which to choose is difficult. "Is it THE BELLBOY where Jerry Lewis' boss tells him to go into a huge ballroom and lay down chairs? But the question is, where's he gonna put that first chair? It's a piece of genius watching him trying to figure it out. That's the way I feel when there's a lot of stuff to pick from. There's much to be said about waiting for something inspirational. As you get older, your time's running out. You're trying to figure what to do next. Bring the body and the mind will follow." Pacino's allowing for the ravages of age? Sure. He's never been precious about wrinkles. However, that quote about "time's running out" is a bit ominous. He expounds. "I've been doing this [acting] for 30 years. It's not that my time is running out. But I'm either too old for specific roles or they don't interest me in the same way they did a few years ago. If I want to do a play, that's a year out of my life. As long as I keep the idea that the play comes first, I can handle it." Before you go, Al, is there anything you want to pass on to the kids, any words of wisdom to impart? Here's his speech to the young actor. "I see so many plays I wished I'd done. They would've been so important for my growth. That's what I recommend all the time -- involve yourself in the classics. You'll learn a lot. It will give you the variety you can never get if you constantly do the same thing. "It's harder when you're famous. There's such a spotlight on you, you can't afford to fail. Part of why I make my own little films is to take chances and possibly fail in roles I might not ordinarily be cast for." According to Pacino, you're never too old to develop your craft. "My grandfather was a plasterer," he remembers. "He had such a love for what he did. You felt that he really wanted to get up and do it again the next day. Acting is all about pursuit and staying with something. What is the saying? He who continues in his folly will someday be wise." Pacino doesn't specify where he is along that folly/wisdom continuum. In his favor, he just gave up smoking. Or as he puts it, "I've given up giving up." Instead, he smokes those herbal cigarettes that smell like marijuana. For a better sense of Pacino, check out his baseball anecdote and judge for yourself. "I wanted to watch a few innings, catch the afternoon sun and see those great ballplayers. I thought, if I have to leave early, it's like leaving in the middle of a play. So I put a beard on. Of course, they got it all on television. That beard is now in the Museum Of Mistakes." (back to top) Toronto International Film Festival, September 9, 1996 LOOKING FOR A NEW PACINO By Bruce Kirkland (back to top) At The Festival Al Pacino went Looking For Richard and found a lot of himself, inspiring a level of comfort and maturity he has never experienced before. That ebullient version of Pacino was at play yesterday at the Toronto International Film Festival. "I'm more comfortable and satisfied now, definitely," the mid-fifties actor muses during a private interview. It is moments before he ventures into the turmoil of an overflow press conference in a sweltering room at Festival headquarters. "And making this film (over the last 10 years, during breaks from acting) was part of that process, yeah, sure." The Richard in Looking For Richard - Pacino's directorial debut and a Special Presentation at the Festival yesterday and Tuesday - is England's King Richard III, the villain of one of Shakespeare's most daunting, difficult plays. Pacino has played Richard twice and now films himself doing it and talking about it in a humorous, skillfully-edited docudrama. In off-guard moments on screen, Pacino pays homage to Shakespeare's genius, but takes "the piss" out of himself. "I hope that's what I do. If I didn't, I just couldn't think of it being palatable or watchable. You've got to do it - so I did." Throughout the day, Pacino plays the modest superstar, being charming and often self-deprecating, teasing himself for rambling answers which derail his train of thought. "It takes me half an hour to answer a question. I'm becoming verbose!" His clothes - teal linen jacket, black T-shirt, white vest, backwards baseball cap crowning a mop of unruly black hair - are rumpled. He is relaxed and smiling. The film itself is a work of personal passion that will get a commercial release in North America before - Pacino hopes - becoming part of permanent school literature programs. "It's not Richard III," he says of the film. "It's me looking for Richard. It's a meditation on Richard. At the same time, it's an experimental experience in a kind of personal way. I want it to invoke some kind of connection and relevance to Shakespeare. Yet, on a simple level, I hope the audience will just be entertained by it and come away from it having a sense of it." The humor in Looking For Richard - from the play itself as well as from Pacino's offbeat way of discussing it on screen - is a matter of keeping up with Shakespeare's traditions. "There is an innate humor and irony in it. You find it in all of Shakespeare's plays, even the tragedies. What makes the tragedy more palatable is if you kind of balance it with humor." The film is a culmination of a lifetime of fascination with Shakespeare, says the native New Yorker. He was hooked in junior high school. A teacher "involved me in Shakespeare in a way that was personal and made me enjoy it. But I was lucky." Looking For Richard allows Pacino to share his joy and interest in the material. "The whole spirit of this movie is a kind of experiment. It took on a kind of life and here I am having a press conference. It never dawned on me that it would come to this. "It was certainly going to go to the archives. But, if it went further, it was going to go to schools. And then we thought possibly it might be a television mini-thing. Then it became a movie, which was something that only happened a year ago." Now it is a personal release. "It's finished. It's out of my system. Now I can move on to other things." Pacino, who recently wrapped up a co-starring role with Johnny Depp on the gangster movie Donnie Brasco, flies back to New York today to resume starring in Eugene O'Neill's 55-minute, one-act Hughie, one of Broadway's biggest hits this summer. It's a good life. He's happy. (back to top) Detroit News, October 17, 1997 PACINO LOOKED FOR INSPIRATION TO PLAY THE DEVIL By By Joshua Mooney/ Entertainment News Wire (back to top) NEW YORK - There's a scene in The Devil's Advocate where New York Senator Alfonse D'Amato and boxing promoter Don King, playing themselves, shake hands with Satan. Given the wisecracks in some circles that D'Amato and King are already in league with the Prince of Darkness, one wonders if they were in on the joke. "I don't lie to people," says director Taylor Hackford. "But you can't underestimate the power of saying to someone, 'You're going to act in a scene with Al Pacino.'" Such is the unholy allure of the Oscar-winning Pacino, a man who's been pretty much a legend since his star turn 25 years ago as Michael Corleone in The Godfather. In The Devil's Advocate Pacino pulls out all the stops in his fevered portrayal of New York attorney John Milton, aka Satan. In person he comes across as a fairly down-to-earth guy: shy, polite and good-natured. Not exactly the force of nature he often plays on screen. Clad in a leather coat, black shirt, black pants and a crimson tie (a bit of a campy Satanic outfit), the notoriously press-shy Pacino takes his seat before the reporters gathered at a Midtown Manhattan hotel and asks, "Dare I smoke? I have these sort of ... health cigarettes." Lighting up an herbal cigarette, he warns, "They smell a little like grass, but no." Never at ease with the interview process, Pacino allows that he smokes whenever he's "a little nervous." The most intriguing aspect of his role in the film, Pacino says, was "Where do you start? He's the devil." However challenging it may be for the devil to contemplate inhabiting the soul of Al Pacino, the actor himself took his preparation for his role seriously - to a point. He read all the right books: Dante's Inferno, Milton's Paradise Lost. He looked at the history of actors who played the devil, including Walter Huston's memorable performance in the 1941 classic The Devil and Daniel Webster. "You're looking for a way to give yourself some credibility," Pacino says, "so those things helped." Ultimately, though, playing the devil was a liberating experience, because there's a lot of room for an actor to maneuver. "How are you gonna be judged?" Pacino asks. "Are they gonna say, 'The devil didn't really do that'? Anything goes, really." (back to top) Filmweb, 1997 PRINCE OF DARKNESS By Robin Eggar (back to top) After 26 years of roughneck integrity and strictly necessary violence, Al Pacino finally gets a shot at the ultimate bad guy. Keanu Reeves may be The Devil's Advocate, but it's Satan who gets all the best lines... He's done mad-dog gangster upstart (Scarface), stressed and obsessed detective (Heat), ruthless vengeful sibling (The Godfather), and, in 1993, he finally snagged his Best Actor Oscar (Scent of a Woman). But he's always been Principal Brooder with a Method behind the madness (during a shooting break in cop-with-a-conscience movie Serpico, he tried to arrest a driver for exhaust pollution). He picked up $35,000 for The Godfather. Now, at 57, Pacino commands $7 million per film. Devil's Advocate sees him invoke Old Nick in the body of a high-powered New York lawyer, with Keanu Reeves as the Faust figure... What kind of Devil do you play? One who talks too much. Given half a chance he will rant on and on. He is easily enraged, highly theatrical, but he can turn around and feign being extremely cordial and polite. This Devil has a philosophy of pure evil, but I tried to find stuff that's funny, too. I knew we had to go for that to make it palatable. There are scenes not in the picture where he gets a little more literate and speaks about how the Devil used to be something that would appear with a cloven hoof, but today he appears openly and everybody hurries to kiss his ass. Originally, you turned the role down. This part was offered to me a couple of years ago when it was more of an SFX monster movie. Then the script became more relevant. What made me do it was that I could hear [director] Taylor Hackford's enthusiasm for taking it into a story that parallels our life today. It stirred my interest. Together we figured a way to give it a Faustian theme. It's about temptation. This was also the opportunity to play a classical role. It is an interesting part; a blank page, an empty canvas. How do you think movie-making has changed during the past 25 years? When I started it felt more exotic to me than it does now; it was a little more private. When movies were released into the world they had a real meaning. Now, they've spread out, become more of a common denominator. People seem to know all about how much movies cost to make and they're concerned about it. But in the end it comes down to a darkened theatre and a light on the screen. The overpowering event of experiencing a movie never changes. In the '70s, movies were speaking more to the socio-political atmosphere of our world. Now, the media has taken up a lot of the issues, and film has either become more esoteric or more fantastical. I think personal films are still being made. Oliver Stone does it with a real power; he confronts things, and that still has a powerful impact in the world of movies. So it's all about money rather than 'art' ? Let's look at movies over the last 100 years and see what stayed afloat and what didn't. That's the only way I can tell. I love independent film-making, but you need money to make movies. Independent pictures need more money - because they have to be made on a lower budget, sometimes the film-makers are not able to communicate their vision with the alacrity and energy of the big-budget movies. The viewer has now become so sophisticated to the visual effects. Even in a very simple movie about a very simple thing you still need strong visual statements - but then again you always did. Now a man can't just get shot and go down on the ground. That's not acceptable. The audience want to see more blood and action. That's going to cost more. Do you cost too much? All actors or me personally? It's a sign of the times. If people are getting what they are getting, there is a reason for it. Like athletes. On one hand, it does seem to be outrageous; on the other, there is a definite practicality to it. If a film isn't assured of a large audience then a well-known actor will take a substantial cut in salary, but if he is taking a certain role in a certain type of film which virtually assures an audience, he will demand more bucks because the film will make everyone more bucks, and, hopefully will entertain a lot of people. Which movie did you like last summer? To me, Men In Black was very impressive. While it isn't the kind of thing I do, sitting there watching it, I couldn't help but be impressed. Such ingenuity. The film technique is colossal and that seems to be the direction films are going in. What about your documentary Looking For Richard? What I was trying to do was to engage an audience so that by the end they would want to see more Shakespeare, rather than me. It was a lot of fun for me to see if I could get anywhere close to doing it. Have you ever considered directing a studio film? I have had offers to direct real films. But I have worked with many great directors and seen that it's a level of film-making I can never get to, so I don't even bother. I just enjoy engaging in film as an amateur. I am directing Chinese Coffee, which is hard, but fun, and, because I don't have the pressure of having to deliver, I am off the hook. I just get on and do it - the way I sing in the shower. You have been accused of acting over the top. Who? Me? Yeah, I guess I have gone over the top. It's always hard to censor yourself. In one movie my character takes a couple of hits of cocaine; as those scenes were cut out of the picture, the audience doesn't have the benefit of knowing that he does cocaine periodically, which explains some of his behaviour. If you don't know that, it can look like overacting. Sometimes it's just me. We are at a stage in American cinema where naturalism seems to be the more accepted style - like when I did Donnie Brasco. But as long as you take a thing and it connects with the passion and that is what is communicated, I think the theatricality is perfectly valid. You are best known as Michael Corleone in The Godfather Trilogy. Was that a tough part to play? I thought the role was impossible to do. I didn't know how I was going to go from being a total non-entity to this guy who runs the whole show. I remember staying really close to the story in my mind and heart, and feeling that somehow I would chart out this character. I spent a lot of time praying. Literally. I went and sat in churches and prayed. How did you find working with De Niro in Heat? I didn't spend much time socialising with Bobby because we were in different parts of the movie. When I did see him I didn't rehearse with him, so I didn't have a day-to-day relationship with him on the film. I didn't get to know him in the same way. After eight nominations, you finally won an Academy Award for Scent of a Woman. Winning an Oscar was a great experience. It was wonderful. It wasn't really about deserving it - it was sort of my turn. The feeling afterwards is hard to describe. Because you go around and you live and people are aware you won an Oscar. And they come up to you and congratulate you. Which keeps it all afloat. That went on for a couple of weeks. It was like winning something at the Olympics. I have never won anything at a sporting event. I've honestly never felt anything like it. You're on a roll now... There was a period when I was out of it for a few years. Almost four years between movies. During the last few years, I've been much more interested, more active. Sometimes, you're waiting and you're not particularly excited about anything. You have to decide, Which one do I choose? There's something to be said for not doing anything, just waiting for some inspiration. But it doesn't seem to happen enough. Right now, I've nothing big planned. ENDS (back to top)
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"https://s.yimg.com/ny/api/res/1.2/9bS993W7D0xKzyboJscxtQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA--/https://media.zenfs.com/en/people_218/d3404ef7d5b84c77cc803a6664a1cfc4", "https://s.yimg.com/ny/api/res/1.2/9bS993W7D0xKzyboJscxtQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA--/https://media.zenfs.com/en/people_218/d3404ef7d5b84c77cc803a6664a1cfc4", "https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=1197800334&c7=https%3A%2F%2Fwww.yahoo.com%2Fentertainment%2Fal-pacinos-life-career-photos-145247818.html&c14=-1" ]	[]	[]	[ "" ]	null	[ "Alexandra Schonfeld" ]	2023-04-25T14:52:47+00:00	Since his breakout performance in 1971's The Godfather, Al Pacino has established himself as one of the all-time acting greats. Born Alfredo James Pacino on April 25, 1940 in New York City, Al Pacino was born and raised in New York City. Pacino grew up poor in the South Bronx, he recalled in an Interview magazine feature, and was raised by his mother, aunt, grandmother and grandfather.	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo Entertainment	https://people.com/movies/al-pacino-life-and-career-in-photos/
915	yago	3	69	https://www.biglawinvestor.com/lawyer-movies/	en	The 25 Best Lawyer Movies of All Time	https://www.biglawinvest…al_card_dark.png	https://www.biglawinvest…al_card_dark.png	[ "https://www.biglawinvestor.com/wp-content/themes/biglaw-investor-understrap/images/Biglaw-Investor-Logo-and-Wordmark-Dark-Gray-Cropped.svg", "https://www.biglawinvestor.com/wp-content/themes/biglaw-investor-understrap/images/avatars/joshua_holt_authorphoto.png", "https://secure.gravatar.com/avatar/a0b41324a355ec407163f26df054b710?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/0081aa0512413aed0ebd55f13a736bff?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/b9b83a5f0a98b32ede1194920e61ee67?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/edd56a02c7d32a1f9e070b0c7466af67?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/f301eddd9b635d609f4ca987a96b8343?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/136f7e0f786c59c74bb28243b54add02?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/bd75d131645fadefceac093d646eacc8?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/cabc3bddae65c6f756c7293e43466b7a?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/e9c9b1c2434b944e598c4ace3dac7c66?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/cabc3bddae65c6f756c7293e43466b7a?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/da433c46175c3325969bb04a4f7b222d?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/7d02478e9cc9747f6130e16c3879585e?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/b2a3334e86d2d11312cdfee42976729f?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/07eedcfcc25cd62d0f5492d2c964565c?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/affc56aa21c0fd40d0b389b09de0161d?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/240c91d820bc18abb434edc3ed94ce75?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/cba7a827624d4847b326a039fe3a2b9b?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/971b4d7a6a569f4e2ea5977c53150847?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/ab60a39d630c3f95e24ce1997c120ad5?s=64&d=mm&r=g", "https://secure.gravatar.com/avatar/f41133ba88a8b1dc9cbc7aa62fa193e9?s=64&d=mm&r=g", "https://www.biglawinvestor.com/wp-content/themes/biglaw-investor-understrap/images/Biglaw-Investor-Logo-and-Wordmark-White-Cropped.svg" ]	[ "https://www.youtube.com/embed/3nGQLQF1b6I", "https://www.youtube.com/embed/0jxVnlRdelU", "https://www.youtube.com/embed/meHflk7RYkk", "https://www.youtube.com/embed/i2uV68pKreU", "https://www.youtube.com/embed/gDOSJkcKPbo", "https://www.youtube.com/embed/xs3_hNYAVRw", "https://www.youtube.com/embed/wHSH-NpCQOw", "https://www.youtube.com/embed/BGX4nMrnxg0", "https://www.youtube.com/embed/qjYP7J3oP9Q", "https://www.youtube.com/embed/1baqsbEddrY", "https://www.youtube.com/embed/jRSw_0zpNE8", "https://www.youtube.com/embed/MlANWgyK2PY", "https://www.youtube.com/embed/9FnO3igOkOk", "https://www.youtube.com/embed/NXvcleOF798", "https://www.youtube.com/embed/8kIsYLV8bE8", "https://www.youtube.com/embed/wGUfvZU4wiE", "https://www.youtube.com/embed/JzH1Z17c4yc", "https://www.youtube.com/embed/CrjbL4eedkQ", "https://www.youtube.com/embed/sA0glbG6c-8", "https://www.youtube.com/embed/bKN1K2He8yg", "https://www.youtube.com/embed/Wt69UvLgfGY", "https://www.youtube.com/embed/CmoESMxbIIY", "https://www.youtube.com/embed/iMliaXlKxow", "https://www.youtube.com/embed/L38yiP7vLwM", "https://www.youtube.com/embed/fSsAMbEsQcM" ]	[]	[ "" ]	null	[ "Joshua Holt" ]	2019-12-31T16:15:40+00:00	Personal finances for the aspiring millionaire lawyer	en	/safari-pinned-tab.svg?v=rMq7WQQdWJ	Biglaw Investor	https://www.biglawinvestor.com/lawyer-movies/	Today’s post is totally for fun – and I hope you have as much fun with it as I had creating it. Below are the 25 best lawyer movies of all times (in my opinion), complete with clips from some of the best scenes. Did I leave anything out? If so, let me know in the comments. 1. My cousin Vinny (1992) Directed by Jonathan Lynn and written by Dale Launer, My Cousin Vinny follows two young New Yorkers, Bill Gambini and Stan Rothenstein, who are arrested and put on trial for murder while traveling in rural Alabama. The fate of these men rests in the hands of Vincent Gambini (Vinny) a cousin of Bill’s and a lawyer who’s just barely passed the bar exam and certainly didn’t go to a T14 law school. Gambini, played by Joe Pesci, does his best to defend his cousin and his cousin’s friend but makes a number of missteps along the way. Gambini’s fiancee, Mona Lisa, who is played by Marisa Tomei, is instrumental in helping him with his defense. Trivia: Marisa Tomei received an Academy Award for Best Supporting Actress for her role. 2. 12 angry men (1957) This classic courtroom drama was directed by Sidney Lumet and details the deliberations of 12 men, all of whom are part of the jury deciding the fate of a poor young man who’s been accused of murder. If found guilty, he will face the death penalty. The film begins with all jurors except for Juror 8 agreeing that the young man is guilty. Juror 8, played by Henry Fonda, encourages his fellow jurors to discuss the defendant’s case before sentencing him to death. Throughout the discussions, many of the jurors go back and forth, changing their votes as their forced to confront certain aspects of the case that they initially dismissed. Trivia: The film was shot in less than three weeks. 3. Anatomy of a murder (1959) Deemed one of the greatest courtroom dramas of all time and based on the novel with the same title, Anatomy of a Murder follows Michigan lawyer Paul Biegler (played by James Stewart), who has his work cut out for him after agreeing to defend Lt. Manion (played by Ben Gazzarra), who murdered a local bar owner after learning he’s been accused of rape. Biegler, who is encouraged to take the case by his mentor, Parnell McCarthy, played by Arthur O’Connell, must go up against big-city prosecutor Claude Dancer (played by George C. Scott) in order to help his client. Trivia: The novel upon which the film is based was written by John D. Voelker (under the pseudonym Robert Traver), a Michigan Supreme Court justice. 4. The Lincoln lawyer (2011) Directed by Brad Furman, The Lincoln Lawyer stars Matthew McConaughey as Mick Haller, a defense attorney who runs his law practice out of a Lincoln Continental. Mick’s clientele is comprised mainly of petty criminals, but he’s surprisingly presented with an opportunity to defend a wealthy Beverly Hills playboy by the name of Louis Ross Roulet, played by Ryan Phillippe, who’s been accused of attempted murder. At first, Mick assumes that the case will be an easy, open-and-shut affair. He soon learns, though, that there’s more to it than meets the eye and that it’s connected with a previous case of his. Trivia: After starring in the film, McConaughey went on to become a spokesman for the Lincoln brand in 2014. 5. Witness for the prosecution (1957) In this film, Tyrone Power plays Leonard Vole, who has been accused of murdering a wealthy woman. Vole is represented by the legendary Sir Wilfrid Robarts (played by Charles Laughton) and, in order to win his case, must have his alibi corroborated by his wife, Christine (played by Marlene Dietrich). In a shocking turn of events, Christine decides to appear in court and testify against him. Several other twists and turns occur throughout the award-winning film as Sir Wilfrid does his best to defend his client and close the case. Trivia: Witness for the Prosecution was the last film that Power completed before he died of a heart attack in November of 1958. 6. Legally blonde (2001) Based on the novel by Amanda Brown, Legally Blonde is a courtroom comedy that stars Reese Witherspoon as Elle Woods, a sorority girl from California. Elle follows her ex, Warner Huntington III (played by Matthew Davis), to Harvard law school after he breaks up with her on the night when she expects him to propose. While her initial goal is to win back Warner, Elle soon falls in love with the legal profession as she works to overcome the challenges of being a first-year law student, from cold calls to outlining case briefs. She goes on to realize that she has the potential to become a great lawyer in her own right. Trivia: Reese Witherspoon’s contract allowed her to keep all of the costumes she wore in the movie after filming ended. 7. Philadelphia (1993) Directed by Jonathan Demme, Philadelphia tells the story of lawyer Andrew Beckett, who struggles to hide his homosexuality, as well as his HIV status, for fear that they will have a negative impact on his career at a prestigious Philadelphia Biglaw firm. Eventually, his secrets are exposed by a colleague. After losing his job at the firm, Beckett decides he must sue on the grounds of discrimination. The only lawyer who will help him with his case is Joe Miller, played by Denzel Washington. The two men work together as they face down Belinda Conine, one of the firm’s top litigators, who is played by Mary Steenburgen. Trivia: Initially, Demme planned to cast a comedic actor in the role of Joe Miller, but he changed his mind after Washington showed an interest in the part. 8. Erin brockovich (2000) Erin Brockovich tells the true story of a woman who fought hard against the giant energy corporation Pacific Gas and Electric after learning about a cover-up that was exposing a local community to contaminated water and contributing to serious illnesses. In the film, directed by Steven Soderbergh, Brockovich is played by Julia Roberts. Her attorney, Ed Masry, who eventually hires her at his firm, is played by Albert Finney. It is when she starts working at Masry’s firm that Brockovich discovers medical records related to the case and kicks off her investigation. Trivia: Julia Roberts’ salary for her role as Erin Brockovich made her the first actress in Hollywood to earn more than $20 million. 9. The verdict (1982) The Verdict follows Frank Galvin, played by Paul Newman, a once-promising attorney who’s down on his luck after being fired from a Boston law firm for accusations of jury tampering. At the beginning of the film, directed by Sidney Lumet, as a favor to his friend Mickey (played by Jack Warden), Galvin agrees to take on a medical malpractice case. Galvin initially plans to settle the case, but declines the offer from the hospital and decides to take it to trial instead, much to the surprise of the judge and the relatives of the victim. Trivia: Two of the film’s cast members, Jack Warden and Edward Binns, starred in 12 Angry Men, which Lumet also directed. 10. Presumed innocent (1990) Directed by Alan J. Pakula, Presumed Innocent tells the story of Rusty Sabich, a chief deputy played by Harrison Ford, who is assigned by prosecuting attorney Raymond Horgan (played by Brian Dennehy) to investigate the rape and murder of his colleague, Carolyn Polhemus (played by Greta Scacchi). At the time of the assignment, Horgan doesn’t know that Polhemus and Sabich are involved in an affair. Eventually, though, evidence implicates Sabich and causes Horgan’s enemies to demand his arrest. Sabich must call on defense attorney Sandy Stern (played by Raul Julia) to help him with his defense. Trivia: Before Harrison Ford was cast as Rusty Sabich, both Robert Redford and Kevin Costner turned down the role. 11. Judgment at Nuremberg (1961) Set in the late 1940s post-World War II, this political drama follows nazis who are tried in an American court in Germany. In the film, directed by Stanley Kramer, these individuals must face a military tribunal and address charges of crimes against humanity. Chief Justice Haywood, played by Spencer Tracy, must hear from the lead defendant Ernst Janning (played by Burt Lancaster) as well as his defense attorney (played by Maximillian Schell), the widow of a Nazi general, a US army captain (played by William Shatner), and a witness named Irene Wallner (played by Judy Garland). Trivia: Maximillian Schell’s Academy Award for Best Actor made him the lowest-billed winner in history (he was billed fifth on the film’s cast list). 12. A man for all seasons (1966) Directed by Fred Zinnemann, A Man for All Seasons is set in 16th Century England and tells the story of Sir Thomas More, played by Paul Scofield. More is known for standing up to King Henry VIII (played by Robert Shaw) and refusing to pressure the Pope into allowing the king to have his marriage annulled so he could remarry. More, who was a devout Catholic, stood by his convictions to not allow the king to divorce, despite intense pressure to do otherwise. The king and his loyalists responded by charging More with treason. Trivia: Fred Zinneman describes A Man for All Seasons as the easiest film he’s ever made, thanks to the talent and cooperation of the cast and crew. 13. A few good men (1992) Directed by Rob Reiner and written by Aaron Sorkin, A Few Good Men tells the story of military lawyer Lt. Daniel Kaffee (played by Tom Cruise) as he defends two Marines who have been charged with killing another Marine at Guantanamo Bay. Kaffee is convinced by another lawyer, played by Demi Moore, that he should not seek a plea bargain for these Marines. Instead, she convinces him that they were acting on the orders of a commanding officer, Col. Nathan Jessep, who is played by Jack Nicholson. Trivia: The American Film Association named the film’s famous line “You can’t handle the truth!” as one of the top movie quotes of all time (it ranks #29 on the list). 14. The rainmaker (1997) The Rainmaker, directed by Francis Ford Coppola, follows a new attorney by the name of Rudy Baylor, who, struggling to find work, is forced to take a job under another lawyer of questionable morals, played by Mickey Rourke. While working for this lawyer, Baylor meets Deck Shifflet, a paralegal played by Danny DeVito and Dot Black (played by Mary Kay Place), whose insurance provider will not provide coverage for her dying son. When he learns of this information, Baylor decides to team up with Shifflet to take on Black’s insurance company and its formidable attorney (played by Jon Voight). Trivia: Danny DeVito wore fake teeth for his role in the film. 15. Kramer vs Kramer (1979) Written and directed by Robert Benton, Kramer vs Kramer follows advertising executive Ted Kramer (played by Dustin Hoffman) after he finds out that his wife (played by Meryl Streep) is abandoning him and his young son. Despite losing his advertising job, Ted goes on to develop a much stronger relationship with his son, helped along by a fellow single parent named Margaret, played by Jane Alexander. This causes problems later when his wife returns to try and win back custody. An arduous courtroom battle ensues as a result and has serious implications for all who are involved in the case. Trivia: Meryl Streep wrote her own courtroom speech when she was unhappy with the original speech she was given. 16. The paper chase (1973) In The Paper Chase, written and directed by James Bridges, a first-year Harvard law school gunner named James Hart (played by Timothy Bottoms) who faces a series of academic challenges. His load becomes even heavier, though, when he has a run-in with an intimidating contracts professor, Charles W. Kingsfield (played by John Houseman). Despite Kingsfield’s intensity in the classroom and the harsh demands he places upon his students, which cause many to abandon their pursuits and drop out altogether, James perseveres and even begins to date his professor’s daughter, Susan, who is played by Lindsay Wagner. Trivia: The film received three Academy Award nominations and received one for Best Supporting Actor. 17. The firm (1993) In The Firm, directed by Sydney Pollack and based on the legal thriller by John Grisham, a young lawyer by the name of Mitch McDeere (played by Tom Cruise) joins the ranks of a small and prestigious firm. Although at first honored to be part of the firm, McDeere soon learns, with the help of a receptionist played by Holly Hunter, that there’s more than meets the eye and that the firm is involved in laundering money for the mob. McDeere finds himself in a jam when the FBI contacts him to gather evidence about the actions of his colleagues. As a result, he must decide between doing what’s best in the eyes of the law and making the decision that will keep him alive. Trivia: Holly Hunter’s performance lasts five minutes and 59 seconds, making it one of the shortest Oscar-nominated performances of all time. 18. Compulsion (1959) This crime drama, directed by Richard Fleischer, tells the story of two sociopathic students, Artie Straus (played by Bradford Dillman) and Judd Steiner (played by Dean Stockwell). Artie and Judd find themselves in serious trouble after they commit a murder in an attempt to pull off a flawless crime. They leave behind a crucial piece of evidence and end up arrested for what they’ve done. Their lawyer, played by Orson Welles, must then work hard to defend the two young men and save them from execution. The film is based on the well-known and often-cited Leopold and Loeb case of 1924. Trivia: Despite his top-billed status, Welles does not appear in the film until an hour and five minutes in. 19. And justice for all (1979) Directed by Norman Jewison, follows Arthur Kirkland, a Baltimore defense attorney played by Al Pacino, who finds himself in jail after punching Judge Henry T. Fleming (played by John Forsythe) while arguing in defense of his client, Jeff McCullaugh (played by Thomas G. Waites). McCullaugh, after being stopped for a minor traffic defense, was mistaken for a murderer with the same name. Kirkland eventually gets out of jail and later finds himself hired to defend Judge Fleming, who has been accused of the brutal assault and rape of a young woman. Fleming wants Kirkland as his lawyer because he believes it will work in his favor to have someone who openly hates him defending him. Trivia: And Justice for All marks the theatrical film debut of acclaimed actor Jeffrey Tambor. 20. A time to kill (1996) In this film, directed by Joel Schumacher, Samuel L. Jackson Carl Lee Hailey, a man who shoots the bigoted men who brutally raped his daughter when they are on their way to being tried for their crime. Hailey must then rely on the help of defense lawyer Jake Brigance, played by Matthew McConaughey, to help him get acquitted. Brigance feels that the chances of an acquittal are slim, due in part to the fact that Hailey resides in a small and segregated town in the South, but he takes on the man’s case regardless when he shows unshakable faith in his abilities. Trivia: Woody Harrelson had an interest in playing Jake Brigance, but John Grisham objected. 21. A civil action (1998) In this film, written and directed by Steven Zaillian and based on a true story, John Travolta stars as personal injury attorney Jan Schlichtmann. Schlichtmann finds himself involved in a case that, while seemingly straightforward at first, ends up being incredibly difficult and appears to have the potential to be his undoing. The case involves a major company responsible for contaminating a town’s water supply and causing several of its residents to develop leukemia. At the risk of bankrupting his firm and ending his career, Schlichtmann goes up against a powerhouse attorney played by Robert Duval in an attempt to make things right and hold the company accountable. Trivia: This was the only non-Best Picture nominee for the year to receive a nomination for Best Cinematography. 22. The conspirator (2010) Directed by Robert Redford, The Conspirator tells the story of the aftermath of the assassination of President Lincoln. After the President is assassinated, seven men and one woman are arrested and charged with conspiring to murder him, the vice president, and the secretary of state. The lone woman, Mary Surratt (played by Robin Wright), is represented by the reluctant lawyer Frederick Aiken (played by James McAvoy). Surratt owns the boarding house where John Wilkes Booth and the other men planned their crimes. Convinced that Surratt may be innocent, Aiken works hard to defend her throughout the film and prove that she’s being used to try and capture her son, another suspect who is still at large. Trivia: This was the American Film Association’s first film. 23. Amistad (1997) Set in 1839, Amistad tells the story of a slave ship sailing from Cuba to the United States. In the film, directed by Steven Spielberg, Cinque (played by Djimon Hounsou) leads the slaves in an uprising, which results in them being held as prisoners in Connecticut. Theodore Joadson, a freed slave played by Morgan Freeman, learns of the plight of these individuals and recruits the help of property lawyer Roger Baldwin (played by Matthew McCaughnehey) to defend and exonerate them. Their pursuit later wins the support of John Quincy Adams, who is played by Anthony Hopkins. Trivia: This was the theatrical film debut of Chiwetel Ejiofor. 24. The devil’s advocate (1997) Keanu Reeves stars in the film as Kevin Lomax, a Florida defense attorney who is recruited for a position at a New York law firm headed by John Milton (played by Al Pacino). As Kevin moves up the ranks within the firm, his mentally ill wife, Mary Ann (played by Charlize Theron), has a series of progressively more severe frightening and mystical experiences that alter her perception of reality. While dealing with the strain of his wife’s illness, Kevin also learns that his boss is involved in some nefarious activities and is not who he claims to be. Trivia: Charlize Theron spent an hour per day working with a psychotherapist to learn how to play a schizophrenic in an accurate way. 25. RBG (2018) RBG chronicles the career of Supreme Court Justice Ruth Bader Ginsburg, which spans several decades, and how she developed a legal legacy while becoming a pop culture icon. After frankly answering questions about abortion and discrimination at her Senate confirmation hearings, Ginsburg was confirmed by a vote of 96 to 3, which President Clinton notes was astounding given the partisan political environment of the 1990s.
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With Penelope Allen, Gordon MacDonald, Madison Arnold, Vincent Angell. Al Pacino's deeply-felt rumination on Shakespeare's significance and relevance to the modern world through interviews and an in-depth analysis of "Richard III."	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0116913/	The film was shot over four years during and around Al Pacino's filming schedule, also while he was not working on any major film projects. This is visible during the film because he is seen growing a beard and hair cut for the film Carlito's Way (1993) as one example. In discussion, Pacino and co. are studying the "G of Edward's heirs the murderer shall be," and decide, since it's supposed to refer to Clarence, that they'll change it to "'C" of Edward's heir's." The problem is, since characters in the play are referred to both by their name and by their title, the prophecy very deliberately refers to Richard, Duke of GLOUCESTER and GEORGE, Duke of Clarence. With "G" the prophecy is true. If you change it to "C" the prophecy becomes false, and can no longer refer to two people.
915	yago	3	28	http://www.thestacksreader.com/al-pacino-ron-rosenbaum-profile/	en	Al Pacino: Out of the Shadows	http://www.thestacksreader.com/wp-content/uploads/2019/05/cropped-touchicon-medium-32x32.png	http://www.thestacksreader.com/wp-content/uploads/2019/05/cropped-touchicon-medium-32x32.png	[ "http://www.thestacksreader.com/files/2019-stacksreader-logo-web.svg", "http://www.thestacksreader.com/wp-content/uploads/2021/04/Al-pacino-sea-of-love.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	http://www.thestacksreader.com/wp-content/uploads/2019/05/cropped-touchicon-medium-32x32.png		http://www.thestacksreader.com/al-pacino-ron-rosenbaum-profile/	“I think maybe I’ve leaned too much on the clandestine thing,” Al Pacino concedes, a bit ruefully. “It was a phase I was going through.” It’s a phase he’s not entirely out of yet, at least stylistically. Tonight, for instance, sitting at my East Village kitchen table, he’s dressed entirely in black. Black shoes, slacks, shirt, a billowy jacket that looks as if it’s been fabricated from black covert-ops parachute silk. It suits him, the color of darkness. It matches his dark eyes and the dark circles under them, eyes that in his best roles were always on some covert mission of their own. Indeed, the black parachute look is perfectly suited to the bailout role he’s played the past six years: Al Pacino, fugitive movie star, clandestine prince of players, the Hamlet of Hollywood. Al’s “clandestine thing”: I have to admit that after I was able to figure it out I sort of liked it, even admired it. But it can drive Hollywood types crazy, particularly his Hamlet-like indecision about which film projects to commit to, if any. “Pacino is a schmuck. His career went into the toilet,” an evidently embittered Oliver Stone was quoted in People as saying recently—apparently still aggrieved by Pacino’s decision (more than ten years ago) to drop out of Born on the Fourth of July.(Pacino says he dropped out because the original director of the project, William Friedkin, dropped out.) And then there’s producer Elliott Kastner, who filed suit against Al for allegedly breaching his promise to appear in a project called Carlito’s Way (for a reported $4 million fee) after more than a year had been spent developing it. Hollywood is filled with stories of Oscar-winning roles and films Pacino was offered and then rejected. And with curiosity over the ones he’s actually done. Like Revolution, the only feature film he made in the six years between Scarface in 1983 and his return to the screen this fall in Sea of Love. And so Pacino—arguably the most naturally gifted of the great post-Brando quartet of American actors that includes Hoffman, De Niro, and Nicholson— has become a major enigma. What has he been doing in those six years? Part of the answer, at least, is The Clandestine Thing. I got my first glimpse of it the first time I met Al. That was early in 1988 when he had a small private screening of The Local Stigmatic. It’s a fifty-minute-long film of a Heathcote Williams one-act play, which Pacino financed and filmed in 1985 and which he’s been tinkering with ever since. In fact, although Stigmatic features one of the most brilliant Pacino performances on film, it’s one you’ll probably never see, because he’ll never let go of it, never stop editing and re-editing it. I’ve seen two more versions of it since that first screening, and though there have been changes in cross-fades, though flash-forwards have come and gone, the cobra-like menacing charm of Graham, the character he plays, remains riveting. Graham’s a thuggish Cockney dog-track bettor who engineers the vicious beating and scarring of an aging actor merely, it seems, because he’s famous. (“Fame is the first disgrace,” Graham hisses to his partner in crime. Why? “Because God knows who you are.”) It’s a strange, dense, mesmerizing work, and perhaps because of its peculiar self-referentiality it’s become Pacino’s obsession, this film, his white whale. In fact, he’s been working on it, thinking about it, for almost his entire acting life, from the time, twenty years ago, when he first did Stigmatic in an Actors Studio workshop. In the four years since it was shot in 1985, he’s been showing edited and reedited versions of it to covert groups of friends and confidants. He’s screened it for Harold Pinter in London (it was Pinter who first brought it across the Atlantic). He’s going to show it to Stanley Cavell’s class at Harvard, maybe one night only at MOMA. Each time, he gauges the audience’s reaction, then goes back into the editing room. Among those standing around giving their reactions at that first Stigmatic screening I saw was Diane Keaton, Pacino’s more or less steady companion for the past couple of years. “I’m glad those flash-forwards are gone now,” she said with affectionate asperity. “But it still needs something, don’t you think?” Al began. “I mean, in the beginning …” After gauging everyone’s reaction, Al took me aside and asked me what I’d thought of one of his clandestine stage appearances I’d happened to catch. This was an unpublicized workshop reading of a two-act play he’d done at New Haven’s Long Wharf Theatre, to which I’d been tipped off a few weeks before. That night up in New Haven was an eye-opening experience. It was an on-book reading of a Dennis McIntyre play called National Anthems, “on-book” meaning that the three actors (including the bewitching Jessica Harper) stalked around the minimally furnished stage with scripts in hand exploring their roles as they read them for a small subscription audience. Now, National Anthems is the kind of play you’d ordinarily have to put a gun to my head to get me to sit through: an impassioned drama about a suburban-Detroit fireman (Al) seizing on a yuppie couple to act out the psychodrama of his nervous breakdown. (Come to think of it, even a gun might not have gotten me there.) But Pacino brought a manic edge of black-comic electricity to the lines that turned it into something compelling to watch. You could almost see his shrewd actor’s intelligence seizing on a comic possibility in the midst of reading a line, and by the time he got to the end flipping it inside out like a glove, with a final flick of inflection. (Pacino’s stage work, most recently in Mamet’s American Buffalo and Rabe’s Pavlo Hummel, has consistently won him more critical praise and awards than his films. Although he’s been nominated five times for Oscars, he hasn’t won one.) At that first Stigmatic screening, I naïvely asked Al if he’d ever do a full-scale production of National Anthems. “We’re working on it,” he said vaguely. “Maybe try out some changes down the line. But,” he added, brightening, “that’s the kind of thing I really like to do” (meaning the semi-covert workshops and readings). “You know, we did a thing Off Off Broadway last year, kind of a workshop of a piece called Chinese Coffee.” He smiled beatifically at the ultimate coup for the clandestine actor: “Nobody saw it.” Sherman Oaks, California: Nobody’s seen Al Pacino in a long time, not in a good movie. He’s one of those stars whose magnitude has been sustained by the VCR revolution. There’s a whole couch potato cult around Scarface, for instance. Salvadoran death squad partisans love Pacino’s Commie-killin’ coke king, Tony Montana, if you believe Oliver Stone. And one recently convicted Long Island drug kingpin loved Tony Montana too much for his own good. He actually used the name Tony Montana, and somewhat foolishly laundered his profits through enterprises called Montana Cleaners and the Montana Sporting Goods Store. But tonight in a shopping-center cinema off Van Nuys Boulevard in the very heart of the Valley, a theater full of young sunburned suburbanites will see an early test screening (with focus group to follow) of Sea of Love, the big new romantic thriller in which Pacino plays a homicide detective who falls for a murder suspect (Ellen Barkin in an astonishingly steamy performance). It’s Pacino’s return to popular moviemaking, the public inception of his new, post-clandestine phase. In addition to Sea of Love, he’s done an uncharacteristically lighthearted thing: an uncredited cameo in Warren Beatty’s Dick Tracy, playing a bad guy known as “Big Boy,” the Joker in the film. “What’s big about him,” explained Al one night in L.A., where he was shooting Dick Tracy, ”is that he’s the world’s largest dwarf.” We were standing on a sidewalk on Sunset Boulevard and he pulled out a Polaroid of himself in Big Boy makeup, looking like a malevolent cross between Pee-wee Herman and Richard III. “He’s greedy,” said Al, grinning. “Very, very greedy.” Talking about his Big Boy role always seemed to put him in a cheerful mood. In fact, as I was looking at the Polaroid I heard the sound of weird cackling laughter echoing all around me. It wasn’t Al, and it wasn’t anyone else on the sidewalk, judging by the looks we got. It turned out to be a small black ball Al was concealing in his palm, which, when activated, emitted the eerie Nicholson-like cackling laughter of The Joker. In addition to Sea of Love and Dick Tracy, expected out next year, he also said yes to Francis Coppola after Coppola told him he’d come up with a brand-new concept for a third Godfather film. Diane Keaton will play opposite him, as Michael Corleone’s now estranged wife. (The brand-new concept reportedly is based on the Catiline conspiracy exposed by Cicero in pre-imperial Rome. Rudy Giuliani as Cicero against Michael Corleone’s Catilina?) He knows he has to do more films, if only to finance the editing-room rentals for Stigmatic, but it’s more than that. It’s part of a concerted effort to escape the “pale cast of thought” (one of his favorite phrases from Hamlet) which blighted his ability to do films in the clandestine phase. “He’s not beautiful anymore,” says Richard Price, who wrote the sharp-edged Sea of Love script. “Here he’s got years on his face, he’s got weight in his face, gravity.” Still, the pale cast of covert ops shadows him even at this coming-out screening. He told me that he might be present at the Sherman Oaks shopping-mall cinema, but that I might not recognize him: “I might be in disguise.” Disguise? He’s only half joking. He’s used disguise in the past, he says, to give him a cloak of anonymity at public performances. And the notion of disguise is one that holds a definite fascination for him. The Indian-chief disguise with which the great Shakespearean actor Edmund Kean ended his life is a favorite subject of Al’s, as, in fact, is just about every element of Kean’s bizarre life and fate. “Kean was the first acting superstar. You know, Byron called him the sun’s bright child. Someone said watching him act was like watching bolts of lightning cross the stage. But he had a tragic life; he couldn’t cope with fame,” Al told me. “It’s funny, at first he couldn’t get work—he had these dark features, and he was considered too short. But he dethroned Kemble with his first Shakespearean performance at Drury Lane. Actors were scared to share the stage with him. But then there was a big scandal—he got involved with an alderman’s wife. He came to America, where they destroyed the theater he was supposed to appear in. So he retreated up to Canada, where he joined a tribe of Indians.” “He joined a tribe of Indians?” “Yes, and they made him an Indian chief and when he came back and was interviewed he wouldn’t speak to anyone unless he was in Indian garb. I always thought you could do a great movie of him beginning with him giving an interview as an Indian chief.” “I have a feeling,” I said, “this might be a secret fantasy of yours, to run off, change your identity, and come back as a kind of anonymous . . . ” “It’s very . . . there’s a feeling that you experience when you put on glasses and a mustache and you blend in. I remember going to a concert in New York in a disguise and feeling so . . . I felt so free in a way. I was excited by it.” “What was your disguise?” “I dressed like Dustin Hoffman,” he said, flashing a killer grin. It’s a funny line, but there’s a double edge to it. Doubly intended, I think, but perhaps only half so. Hoffman is the actor whose career has most closely paralleled Pacino’s—up to a point. They entered the Actors Studio the same semester. And their physical resemblance has been the subject of a doubly nasty wisecrack by Pauline Kael, who in a review of Serpico said that Pacino, in his beard for the role, was “indistinguishable from Dustin Hoffman.” To which Pacino responded, with uncharacteristic testiness: “Was that after she had the shot glass removed from her throat?” More to the point, perhaps, than any physical resemblance is that Hoffman shares a reputation with Pacino for Hamlet-like dithering over which roles to commit to. Except that in recent years, at least, Hoffman’s Method madness and eccentric choices (transvestism and autism) have been smashingly vindicated while Pacino’s film decision-making has brought forth only Revolution (which, by the way, he thinks was not a failure, only “unfinished because of time pressure”; he even talks wistfully of going to Warner Bros, and asking them for the raw footage so that he can take it into the editing room and recut it to fulfill the “silent-movie epic” vision of it he and director Hugh Hudson had). If Al was in disguise at the Sherman Oaks test, it was a good one; I couldn’t spot him as I settled down into the midst of a full house of Valley persons, who applauded when his name appeared in the opening credits. When his face appeared, though, it was a different-looking Pacino, not a disguise, but a noticeable change. “He’s not beautiful anymore,” says Richard Price, who wrote the sharp-edged Sea of Love script. “He doesn’t have that urban street beauty he had. In everything he did in the past, even Dog Day Afternoon, there was this sort of wild-eyed gorgeousness. As Michael Corleone it was a cold, sinister kind of beauty, elegant ice. Here he’s got years on his face, he’s got weight in his face, gravity.” Pacino plays homicide cop Frank Keller with a hangdog, hung-over, and haunted look. He’s had twenty years on the force, and suddenly he’s eligible for his pension and facing mortality for the first time. You can see the skull beneath his skin, and so, suddenly, can he. An embittered romantic, he’s working on a case in which three men who have placed personal ads in a singles sheet have been found shot dead in their beds, one of them with the eerie, mournful oldies ballad “Sea of Love” stuck on the turntable. Frank and another detective (John Goodman) decide to concoct a personals ad themselves in hopes of smoking out the woman they believe is doing the killing. One of the women who show up for the marathon series of investigative “dates” is Ellen Barkin. Needless to say, they get involved, and the deeper they get, the more she looks like the killer. It’s a terrific thriller premise, but what raises it above the genre is the doomed elegiac note of that somber “Sea of Love” song, a note of desperation reflected in Pacino’s performance: he’s not just investigating a lonely-hearts murderer, he’s investigating the death inside his own heart. At the Sherman Oaks screening the audience of Valley guys and gals seemed to be with it all the way, gasping at the thriller-plot twists, laughing appreciatively at some of the trademark Pacino wise-guy wisecracks Price has tailored for him. But the morning after, on the phone, Al sounded down. “They got high cards,” he said of the audience-response forms. “The cards were high but…” Based on comments made in the focus group after the screening, the producers want to make the film move faster in the beginning, cut eight to ten minutes. Which could mean cutting one or two early character-development scenes that establish Frank’s mid-life crisis. Including one of Al’s favorite scenes: a desperate, lonely two A.M. phone call he makes to his ex-wife in her new husband’s bed. I can see why he wants it in; it’s the most explicitly actorish scene in the film, but I try to tell him I think his character radiates desperation in the way he carries himself—he doesn’t need the explicit dialogue to underscore what’s there in the body language and the eyes. “You think so?” he wondered dubiously, and moved on to a couple of other scenes he’s worried or self-critical about. Did he succeed in bringing this one off? Should he think about suggesting reshooting or re-editing that one? He’s probably one of the few actors who like the dread test-screening focus-group process, because it gives him the kind of opportunity to rethink his work that he usually gets only onstage during the course of a long run. Nor are his second thoughts merely dithering. It was in fact a brilliant last-minute rethink of his whole persona in the opening shots of Dog Day Afternoon that was responsible for his most amazing performance. It’s a deceptively simple scene, his first in the film, in which he gets out of his car, preparing to enter a bank, and carrying a gun concealed in a flower box. He’s playing Sonny, a would-be bank robber who needs the cash to pay for a sex-change operation for his male lover. Sonny bungles the holdup attempt, precipitating a prototypical live TV hostage siege/media event. For a brief floodlit instant, power and stardom are thrust upon him. (In fact, all Pacino’s best performances are about the paradoxes of power. In Dog Day the powerless briefly take power; in Godfather II Michael Corleone becomes a helpless prisoner of his own power.) The Dog Day role is pretty extreme material (though based on a real incident), the kind of thing where one false note could be fatal to a performance. But Pacino’s choices in it are so inspired that it’s almost impossible to imagine any of it done any other way. And yet, Al says, his first day’s scenes were all false notes. After watching the dailies he ran out and told the producer, Martin Bregman, that he had to do the whole opening over again. “When I saw it on the screen,” he says of the dailies, “I thought, There’s no one up there. I had spent all the time working on the story with Sidney Lumet and Frank Pierson and I’d forgotten to become a character. I was watching someone searching for a character, but there wasn’t a person up there.” The key to getting the character, he says, was taking something away. “In the dailies I came into the bank wearing glasses. And I thought, No. He wouldn’t be wearing glasses.” Instead he decided his character was the kind of guy who ordinarily would wear glasses, but who on the day of the big heist forgets them at home. Why? “Because he wants to be caught. Subconsciously he wants to be caught. He wants to be there.” He stayed up all night thinking about it, “helped by drinking a half-gallon of white wine,” he says, and the next day on the set told Lumet about his forgotten-glasses idea (which of course would mean reshooting all the subsequent bespectacled scenes they had in the can). What made his choice so inspired and successful is that this gave him a vaguely nearsighted squint, which endowed him with an aura not merely of incompetence but of Holy Fool innocence. Although he can be relentlessly self-critical, when Pacino decides he sees something that’s right in his dailies, he’ll take up the sword and fight for it. He was almost fired from the first Godfather when the producers told Coppola they “didn’t see anything at all” in the rushes of Pacino’s early scenes as Michael Corleone. They weren’t seeing the heroic dimension his character had to have, they thought. But Pacino believed that “Michael has to start out ambivalent, almost unsure of himself and his place. He’s caught between his Old World family and the postwar American Dream” (represented by his Wasp sweetheart, Keaton). He had to start out that way to make his later transformation into his father’s son have the dramatic impact it did. “They [the producers] looked at the dailies, and they wanted to recast the part,” he says. “You mean fire you?” “Right. But Francis hung in there for me.” And in one of the final scenes in Godfather II, it was another last-minute prop decision that put the chill on the “elegant ice” inside Michael Corleone, who’s had to kill everything human inside himself for the sake of the abstract honor of the Family and now is about to shut the door for the last time on his wife. It’s the climax of his transformation into the terminal frigidity of an emotional Absolute Zero. At the last minute Pacino decided he needed something extra. He decided what he needed was a beautiful camel’s-hair overcoat. There was something about the formal, funereal casualness of it. “I got lucky there, because at the last minute I picked that coat and it helped. That touch removes Michael in a way, it’s something distant, and the formality felt good.” It will be interesting to see how he unfreezes Michael Corleone in Godfather III. I suggested we need to see Michael defeated to make him human again. Maybe his wife, Kay, bitter over not getting custody of the kids, betrays him to Rudy Giuliani’s grand jury. “I haven’t really heard in detail what Francis wants to do,” he said, “but they do have the kids in common—that could bring them together.” Curiously, when Pacino talks about his decision to come out of his clandestine phase, he talks about it in terms of becoming more like Michael Corleone, someone who can execute cold-blooded plans. Someone unlike himself. “I’ve always thought of Michael as the kind of guy who will do it. Know what I mean? He’ll go out and do it,” Al tells me, and then adds, ‘‘I’ve got to get you to read Peer Gynt.” “Why Peer Gynt?” “I don’t want to force you to, but I carry it around with me like Hamlet—it’s a kind of key to . . . ” And the reason Michael Corleone makes him think of Peer Gynt? “It’s that scene where Peer’s running away from something or other,” he says. (Peer’s always slipping out of commitments, promises of marriage and the like.) “And Peer sees a young character who’s escaping the draft, and he watches while this guy takes a hatchet and chops off one of his fingers, to get out. And Peer Gynt is looking at him and says something like ‘I’ve always thought of doing something like that, but to do it! To do it!’ ” File this under the heading Like, I mean, is that psychic or what? I’m having breakfast in my hotel room the morning after I arrive in L. A. to talk to Al while he’s finishing his Dick Tracy work for Warren Beatty. (“I love working for Warren,” he says. “He even asked me, ‘Al, have you ever said “Action” while the camera’s rolling?’ I said no. Warren said, ‘You’ll say “Action” for me in this picture.’ ” “Did you?” I asked. “Well, no.” Then I asked Al to say the word “Action” for me. He did so, but only with extreme reluctance, almost as if the word itself were poison. “You know, one of my favorite things Brando ever said is that when they call out ‘Action’ it doesn’t mean you have to do anything.”) Anyway, I was trying to figure out where to suggest we meet after the day’s work on the set was done. Al was staying at Diane Keaton’s place in the Hollywood Hills (his own place is on the Hudson in New York, near Snedens Landing), but he preferred to talk elsewhere. While he’d been generous with interview sessions (“You can keep interviewing me until you feel like saying ‘I’m sick of Al Pacino,’” he told me), he was also fairly self-conscious about the process, and I was always trying to think of places to talk that wouldn’t be distracting, wouldn’t add to that self-consciousness. Anyway, it crossed my mind that the Hamburger Hamlet would be a good choice for a couple of reasons: first, I thought nobody in the industry went there, and second, it would be an excuse for a bad pun about Al as an actor being America’s Hamburger Hamlet. You know, his legendary indecisiveness, the reluctance to even say the word Action. Maybe too much of a stretch, I thought, but then Al called and asked if I’d decided on a place to meet. “What about that place on Sunset, the Hamburger Hamlet?” he suggested. So here we are in a booth in the back of the Hamburger Hamlet on Sunset. Al’s dressed in black, he’s drinking black coffee and telling a sad but funny story about how he sabotaged a reading of the Nunnery Scene in Hamlet with Meryl Streep —and with it his last best chance to play the Prince. This was back in 1979, about the beginning of the clandestine phase, and Al tells the story ruefully, knowing it illustrates the comic self-destructiveness to which he took the purism of his method. Joe Papp had brought together Pacino, Streep, Chris Walken, Raul Julia—the elite of that generation of New York stage-based film actors—to explore a New York Shakespeare Festival Hamlet production. But Al had definite ideas about how he wanted to structure the process. “See, I wanted to read Hamlet over a five-week period with this group. Just read it. Meet whenever we could, sitting around a table reading it. And then, after five weeks, have a formal reading. And then see what the next step would be.” And before even reading the first lines of dialogue, “I wanted to talk about how Hamlet talked to his father before he was the ghost. What his relationship to Ophelia was before the play. It would be a ‘relationship’ Hamlet, about the family . . . ” Things were going fine at this glacial pace as far as Al was concerned, until Meryl Streep delivered a line from the Nunnery Scene standing up. Al couldn’t handle it. “Meryl came in and said [as Ophelia], ‘My lord, I have remembrances of yours that I have longed long to re-deliver.’ And I say, ‘I never gave you aught.’ And she says, ‘My lord. . .’ and I said, ‘. . . Meryl.’ “Everything stopped. Joe Papp said, ‘All right, Al, what is it?’ I said, ‘I think we should still be at the table. I think it’s too soon to get up. I mean, Meryl’s calling me “My lord.” I’m not ready for that.’ “And that’s why the play didn’t get done. Joe Papp said, ‘Oh, these Method actors,’ and that was the end of that.” “It’s a tragedy there hasn’t been more for Al Pacino,” says one of Pacino’s close associates. He laughs now at how fanatical it sounds, how blighted by “the pale cast of thought” he’d become. “I was going through a phase then,” he says. “I remember reading about how the Lunts would spend three months just working on props. And I had this whole thing about the play never opening. Just always rehearsing and calling the audience to watch rehearsals. I went to East Berlin to Brecht’s theater to watch the Berliner Ensemble. You know the story about one of their rehearsals. The actors didn’t come on time. They wandered in, got up onstage and started laughing with each other, and then they had some coffee. One guy got on a box and jumped off and jumped back on. Then they sat and they talked a little bit and they left.” “That was it?” “That was it. That stayed with me, that thing.” “You loved that?” “I loved that. I really loved that. And after you jump up and down off the box for several months you say, ‘Now let’s tackle that first scene.’ ” It’s a little crazy; it’s inconvenient; some might call it self-indulgent or even self-destructive. But it’s impossible to understand Al Pacino, particularly the Pacino of the clandestine period, without understanding how deeply he’s still committed to a somewhat extreme theoretical position—his revolt against what he calls “technique dictated by the clock.” He brought it up again and again, sometimes as a lament, sometimes as a dream of how he’d like to work if he could have his way. The key is the idea of “maybe never opening,” of working on a performance of a play until it’s ready, and then opening, or maybe never scheduling an opening at all, just inviting people to watch the process from reading to workshop to rehearsals. Process over product, or the process as the product. “This is a kind of Utopia for me—I don’t think that it’ll ever happen,” he conceded one afternoon at the Stage Delicatessen in New York’s theater district, right after showing me the latest crossfade he’d edited into the endlessly evolving film of Stigmatic. ”But I dream about it: no clock. They say that you must put these restrictions on yourself in order to get the thing done. I just don’t agree. I think it can be done without that. That you can trust the faculty in yourself that says I’m ready to do it at this time, because there’s not much more I can do, so I’ll reveal it now.” This philosophical position caused some practical contention during the beginning of Pacino’s New York run of American Buffalo, when he kept extending previews, postponing an official opening. But for Pacino, the Buffalo experience clinched the belief that he had discovered something important. Once I asked him if he had anything like a personal motto that summed up his philosophy of life. And he quoted for me something he claimed one of the Flying Wallendas had said: ‘‘Life is on the wire. The rest is just waiting.” Stage work is the wire for me, he said. But in doing Buffalo in 1983-84 he found what sounds like the wire within the wire: the experiential thrill of doing a role long enough, often enough, to feel it take on a life of its own and dictate its own evolution, as if what was going on was no longer acting but metamorphosis. “Al, learn your lines, dolling.” It’s something he insists you discover only from “doing things for a long time.” He did Buffalo in New Haven, New York, Washington, D.C., San Francisco, Boston, London. “When we first did it I was very physical, I moved a lot in certain scenes. Then I found myself finally in Boston at one point and I realized I hadn’t moved at all. I just stayed in one spot the whole time. Now, there’s no way I could have gotten to that if someone had just told me, ‘Don’t move anymore.’ It was only through the constant doing of it.” His obsession with this idea cannot be overestimated. It colors his interpretation of his character “Teach” in Mamet’s gritty, obscene Buffalo, for instance. On the surface the story is about three petty crooks plotting a break-in and burglary. Some might see it as an allegory of Watergate and the petty crooks in the White House, all in the same corrupt biz. But Al believes it’s about his process-versus-product notion. “Why do you think Mamet called your character in Buffalo Teach?” I asked him. “What is it we’re supposed to learn from Teach?” “What we learn, I think, is that what we think we want is not what we really want. You think Teach wants to really knock off that place. But what he really wants is to scheme and talk about it, which actually doing it would ruin.” “He wants to workshop the crime?” I said a bit maliciously. He became defensive. “It’s not like I never do anything,” he replied. In fact, he’s now thinking of choosing a new play to do (with an official opening and all). Pacino’s aware, in a good-natured, self-deprecating way, of the extremism of his position. He tells a funny story about the way this Method purism taxed even the patience of the Godfather of the Method, Lee Strasberg. Strasberg played opposite Al twice. First in Godfather II as “Hyman Roth” (Strasberg’s one great screen-acting role, an absolutely unforgettable take on Meyer Lansky, the Jewish Godfather), and then in . . . And Justice for All. Strasberg had been Pacino’s mentor, his spiritual godfather. He’d taken him into the Actors Studio—treated him like a son, as his longed-for heir, the last, best vindication of his Method. But by the time he played Al’s grandfather in . . . And Justice for All, Al’s methodological purism exasperated even the Great Teacher. The problem was Al’s theory of learning dialogue. “I’m not a quick learn,” Al concedes, but not because he has a weak memory. He’s against “rote memorization” in principle. Because the more authentic way to learn lines is to first become the character; the closer you get to becoming the character, the closer you’ll get to uttering the character’s intended dialogue “spontaneously.” Because that’s what the character you’ve become would say. You get the picture. Anyway, I ask Al what kind of artistic advice Strasberg had given him when they were playing opposite each other. “You know what he said to me?” Al says, grinning. “This was during the shooting of . . . And Justice for All.” “No, what?” “He said, ‘Al, learn your lines, dolling.’ ” “It was a good piece of advice,” says Al meditatively, as if it were just dawning on him. These Method actors . . . Pacino in a way is a kind of ultimate Test Case of the Method. Did he become a great actor because of Strasberg’s training? Or in spite of it? Might he have been a greater actor, or at least a more productive great actor, without it? Stella Adler once said bitterly of Strasberg, her arch-rival acting guru, “It will take fifty years for the American actor to recover from the damage that man did.” “It’s a tragedy there hasn’t been more for Al Pacino,” says one of Pacino’s close associates. Maybe it’s our tragedy, not his: there’s been more of what he cares about (the absorption in the process of the clandestine phase) and less of what we think we want from him (more product). Was the Method to blame? Al claims that he’s not strictly a Method actor. That although he was a protégé of Strasberg’s he doesn’t use the most characteristic technique of the Method, “sense memory,” milking personal emotions/traumas of the past to fuel acting emotions. What he does use is the off-script improvisational exercises—Hamlet talking to his father before the murder, to Ophelia before the madness. But it seems undeniable that something changed after Pacino joined the Actors Studio in the late ’60s (at age twenty-six); he developed a kind of intense self-consciousness about the acting process that didn’t seem to be there before. In fact, it’s fascinating to listen to Al talk about the origins of his acting career because it sounds as if he started out as a “spouter,” not a doubter. Al says that “spouter” was the name given to child actors in Kean’s time. They’d come in and spout great chunks of Shakespeare plays as after-dinner entertainment for adults. Kean started off as a spouter, and so, it seems, did Al. He was a born mimic. When he was a child of three or four his mother would take him to the movies and he’d come back home to their place in the South Bronx and recite the parts all by himself. Then he’d take his show on the road to his father’s house in East Harlem (his parents divorced when he was two). There he learned histrionic demonstrativeness in order to get it across to his two deaf aunts. His performances were a smash, although sometimes even he wasn’t entirely sure why. “I remember my favorite was doing Ray Milland in The Lost Weekend, that scene where he’s tearing up the house looking for a bottle. There I was, six years old, doing it and I couldn’t understand why the adults were laughing.” By the time he was eleven or twelve he was so confident of his acting destiny that neighborhood kids took to calling him “The Actor,” and he’d sign autographs for them under the name he planned to be famous as: Sonny Scott. “Sonny Scott?” I asked him. Why Sonny Scott? It was still a time, he said, “when if your name ended in a vowel you always thought of changing it if you were going into the movies.” When Pacino tells stories about his early, pre-Strasberg years as a performer, he sounds as if he were talking about a different person; he acts like a different person: you hear the unpremeditated exuberance of a natural mimic, the instinctive entertainer; he speaks freely, almost effusively, rather than choosing words as carefully as a tightrope walker testing his footing, as he does when he talks about his later work. The kind of work he did starting out as a teenage dropout from Manhattan’s Performing Arts high school is surprising: children’s theater, satirical revues, stand-up comedy. In fact, that’s how he began on the boards: Al Pacino, stand-up comic. He and his acting-coach buddy, Charlie Laughton, would practically live at the Automat, sipping the cheap soup and soaking up material from the human zoo on display there to replay in revue sketches at Village Off Off Broadway venues like the Caffe Cino. Zoo is the operative word here: a lot of the early sketch material he recalled for me seemed to come directly from the wild life of his unconscious, cloaked in the shapes of animals. There was, for instance, a heartbreaking routine about the mechanical bear in the Playland amusement-park target-shooting game. Over the phone one evening he imitated for me the moaning sounds the bear made as he was forced to act out being wounded over and over again. And then there’s his astonishing Man-with-a-Python sketch, which Freudians might have a field day with. The python sketch, he says, is based on a Sid Caesar joke that he started acting out for his mother when he was in his early teens and that he then expanded into a twenty-minute routine he wrote and directed for Village coffeehouse stages. “It was about a guy who had a huge python snake . . . and his trick was he could get this snake to just crawl up his body and then through vibrations he would send it back down and into the cage . . . And of course it’s a complete fraud—he can’t control it—but he has to perform this trick on live television and he does all the things about getting it up, and he even says, ‘I’ll just let it get up a little further,’ till finally he’s screaming, ’Get it off!’ ” Well, to paraphrase Freud, sometimes a python is just a python, and in light of what he tells me later, I think the performance anxiety here is really theatrical, not sexual. It’s about the separation between his own identity and his performing self (Mr. Python), a separation which ultimately became a real problem for him. At first, Pacino says, performing was liberating for him. Speaking the dialogue of serious drama, “I felt I could speak for the first time. The characters would say these things that I could never say, things I’ve always wanted to say, and that was very liberating for me. It freed me up, made me feel good.” Then he discovered a new kind of liberation from acting, something that also seemed therapeutic at first. “By taking on roles of characters that were unlike me, I began to discover those characters in me.” As an example he talks about his first breakthrough Off Broadway success, in Israel Horovitz’s The Indian Wants the Bronx. “When they first asked me to audition for it, I thought they wanted me for the other guy, the milder of the two. But it turned out they wanted me for Murph, who is the more troubled, explosive character, and in playing it I discovered a kind of explosiveness in me I hadn’t known was there.” Indeed, that troubled explosive quality became a kind of Pacino trademark. His longtime producer and friend, Martin Bregman, used the word “explosiveness” to describe why audiences found Pacino’s screen presence so riveting. “They see that tension in him and they’re just waiting for it to explode. It’s there in all his best roles.” At first, the discovery of these more intense emotional characters within him was liberating, Al says. “It gave me license to feel, to feel very angry, very happy.” But it had a downside too. I wondered aloud to him at one point if being licensed to feel these things as someone else in a role somehow distorted the way he’d learn to feel them as himself. “I see your point,” he said. “It could arrest growth. But then, there are a lot of things that do that. Synthetic drugs do that too, don’t they, in a way? But it could, it does, affect your personal life . . . And after a while you have to take more of a look at yourself. I didn’t for a period of time.” “It sounds like what you’re saying is that in the beginning, acting was therapy for you and then you needed to do a kind of therapy to separate from acting.” “Yes,” he says. “Did you do psychoanalysis?” “Well, I did see people from time to time. It can be helpful. You need certain support systems, all kinds of support systems. For some it’s books or the bottle . . . ” In fact, it was the bottle for him for a time, he says, a time that culminated in a kind of year-long Lost Weekend around 1976. He’d touched on his drinking a couple of times earlier, told me how the combination of drinking and exhaustion had led him to throw a “tantrum” and temporarily drop out of Dog Day Afternoon before the shooting started. I asked how bad a drinking problem he had. “At first, drinking was part of the territory, part of the acting culture,” he said. He cited Olivier’s remark that the greatest reward of acting is “the drink after the show.” But he never saw it as a problem until he found himself at one point “enjoying being out of work more than working. There’s a term in the drinking world which is called ‘reaching one’s bottom.’ I don’t know that I ever got to my bottom—I feel I’ve been deprived of my bottom,” he said, laughing. “But I stopped earlier than that. Still, there’s a pattern in drinking; it can lead to other things, a downward spiral. Anyway, I took access to A.A. for a while—it was for a lot of reasons and I was asked to go there. I didn’t pick up the Program, but I found it very supportive, meaningful. And I did stop drinking. I stopped smoking too.” But there was more than a drinking crisis behind that yearlong Lost Weekend of ’76, when he just stopped working, stopped everything. There was also a fame crisis, and a death crisis (he’d lost a couple of people very close to him), all of which cumulatively produced something on the order of a deep melancholic spiritual crisis which you can still see on tape— captured, embodied in the character he plays in Bobby Deerfield. “I might have been closer to that character, what he was going through, than any character I’ve played—that loneliness, that isolation,” he said, “possibly the closest I’ve ever been.” Deerfield was a commercial failure and it’s hard even to find it on videocassette, but Pacino says that he’s “partial to that movie. It’s one of the few I’ve done that I watch again.” And it is a remarkable performance, the most nakedly emotional he’s done, his only pure romantic role. He plays a famous racecar driver born in Newark who’s escaped his past, lives in Europe (the only false touch is that Sonny Scott-sounding name, “Bobby Deerfield’’), and falls in love with a beautiful dying woman (Marthe Keller) who forces him to stop escaping from life. “He’s one of the loneliest people I ever saw,” Pacino said of Deerfield. “What’s his problem?” I asked. “I think finally to let go of the narcissism that has him isolated in himself. What fed it, of course, was the racecar-driver thing and being such a superstar.” To hear him talk about it, something similar had happened to him after the Godfather movies. His movie-star fame was not giving him what he wanted—in fact, it was cutting him off from what he wanted to do, which was return to the stage, to “the wire.” And it was getting in the way of people’s perceptions of him when he did get back onstage. I think he was particularly affected by his experience with Richard III. He did it first in a church with the Theatre Company of Boston in 1973. Several years later, after he became a movie star, he succumbed to pressure—and opportunity—to take it to New York to a big Broadway stage, where, he concedes, it “lost the concept” it had had in the church. He got slaughtered by the critics, who, he believes, looked at his efforts through the distorting lens of his movie-stardom. The stardom was getting in the way of personal relationships too, he says elliptically, “things came to me too easily,” things he didn’t think he’d earned. “Women?” I asked him. “People,” he said. (Pacino refuses to talk about his past relationships or his current one with Diane Keaton. “I’ve always felt that part of my life is private, and I just don’t discuss it.”) He talks about the desperation he felt back then, the seriousness with which he viewed his despair, until at one point when he was most desperate, “I looked at a picture of myself when I was younger, when I was going through something. And it was interesting, seeing that picture. It wasn’t life or death I looked like I was getting through.” It gave him perspective, “that everything’s not all that extraordinary, each crisis. We blow it up and sometimes—I guess that’s what therapy’s all about. You know, pricking the bubble, letting the air out of these things we think are so . . . so they don’t really govern us.” The kind of therapy that was ultimately most instrumental in bringing him out of his Lost Weekend impasse might be called clandestine Shakespeare therapy. He arranged a sporadic unpublicized series of college readings of his favorite “arias” from Hamlet, Richard III, Othello, and other, non-Bard drama and poetry. He’d call up a college drama department a few days in advance, tell them he wanted to come do a reading; he’d slip into town, get up on a bare stage with a bunch of books and start telling the story of Hamlet, reading the soliloquies, taking the students through those moments he cared most about, and then taking questions about himself and his work. It got him back into action again, got him out there on a stage reading Shakespeare, doing what he loved most, without the apparatus of fame, the opening, the show, the critics getting in the way. Ultimately, it led him back to the theater again, back to Broadway in David Rabe’s Pavlo Hummel, a performance that won him a Tony for Best Actor. His most recent clandestine phase—all those unpublicized readings, the workshops, the decision to abandon product for process for a while—came from a similar impulse, he says, although it was less a desperate measure than a conscious choice this time. “Stigmatic was the catalyst for that,” he says, the thing that got him out of the dumps, off the Hollywood production line, back on the wire again. “When we get back to New York,” he said at the Hamburger Hamlet one day, “I want to show you these new things I’ve done with Stigmatic since you last saw it. Just a couple of technical editing things, but I think you’ll see the difference.” New York, the Brill Building: In a cell-like editing room off a back corridor of this hallowed venue where once the great girl-group tunesmiths toiled, Al is conferring with Beth, his new film editor on Stigmatic. She’s threading the big old moviola editing bed, preparing to show him the work she’s done on the two small changes he wanted to show me. They’re trying to get a version ready to show for Stanley Cavell’s class at Harvard and a one-night screening at MOMA, and these technical changes should have been the finishing touches. But Al arrives this afternoon with a brand-new notion he wants to try out on Beth and me. Maybe, he says, he should film a couple of minutes of him “introducing the piece,” explaining his twenty-year-long involvement with Stigmatic and a little bit about the playwright— “make it a little easier for people to get into it.” Or: another possibility. “What if we opened with just an epigraph on a title card,” a line he has in mind from another work of the same playwright that will keynote the theme. “What’s the line?” Beth asks him. “It goes: ‘Fame is the perversion of the human instinct for validation and attention,’” he says. “What do you think, Ron?” he asks me. I suggest if he’s going to use a thematic epigraph, he should take the line from the play “Fame is the first disgrace” because it’s less didactic-sounding. I ask him if he thinks wanting fame or having it is the disgrace, the perversion. “Having it,” he says. Later I try out my theory about him and Stigmatic, why it’s become this career-long obsession with him, why he’s spent the last four years working on virtually nothing else. “I think what appeals to you is the central act in the play—an aging actor being beaten to death merely because he’s famous. It expresses the desire that part of you feels to punish yourself for the ‘disgrace,’ the stigma of fame.” He denies it, pointing out that he started working on the play before he became famous—which fails to explain why he’s been obsessed with it for fifteen years since. His explanation for his preoccupation with Stigmatic is fairly vague—“It was a difficult piece . . . it failed originally. . .I’m sort of campaigning for its recognition.” In fact, I think his recent clandestine phase can be seen as a more positive response to what was once a self-destructive impulse to punish himself for the stigma of fame: now in his covert stage appearances he’s found a creative way to evade its consequences. On the moviola, Beth shows Al the rough, flickering version of the technical changes he’s asked for. Tells him that in the first one, a new cross-fade, they can either do a “slop” for $200 or go for an “optical” for $1,200. Al says something about needing to make some more movies to finance the ever-evolving editing work on Stigmatic. Money isn’t a real problem, he says, but he likes to use the pressure of financial need to force himself into action, i.e., making films. Beth asks him what he thinks about the way she recut the second scene. “I want to sit on it,” he says ruminatively, “maybe see it again.” I get the feeling nothing’s ever final about Stigmatic. In fact, in the Brill Building elevator afterward, Al wonders out loud whether that second scene could maybe use a flash-forward. I had thought the flash-forwards might be gone for good after their excision had met with such hearty approval from Miss Keaton a year ago. But Al thinks this scene could use one. “Just one,” he says. The saving grace of his obsessiveness, of his intensity about his work, is that he does have a sense of humor about himself. Back at the beginning of the editing-room conference, as Beth was getting ready to thread Stigmatic through the moviola reels, she mentioned something about a kidney-stone attack she’d suffered, one that hit her shortly after the birth of her first child. “Afterwards, my doctor told me I’d survived the two greatest pains known to man.” “Yeah,” said Al, grinning, “but you’ve only begun to work with me on Stigmatic.”
915	yago	3	53	https://www.vanityfair.com/hollywood/2023/08/the-film-that-returned-william-friedkin-to-critical-acclaim	en	The Film That Returned William Friedkin to Critical Acclaim	https://media.vanityfair…es-607433866.jpg	https://media.vanityfair…es-607433866.jpg	[ "https://www.vanityfair.com/verso/static/vanity-fair/assets/logo-header.svg", "https://media.vanityfair.com/photos/64d3a0e4f9a03860a86c261a/master/w_2560%2Cc_limit/GettyImages-607433866.jpg", "https://media.vanityfair.com/photos/64d3a0e56d6666ee44fc45e8/master/w_1600%2Cc_limit/William%2520Petersen.jpg", "https://media.vanityfair.com/photos/66b61eba371071e487f51a20/1:1/w_350%2Ch_350%2Cc_limit/undefined", "https://media.vanityfair.com/photos/66c3656ffa47fef7a614dfbb/1:1/w_350%2Ch_350%2Cc_limit/undefined", "https://media.vanityfair.com/photos/66a7be4d4c47f7d876f613e2/1:1/w_350%2Ch_350%2Cc_limit/undefined", "https://media.vanityfair.com/photos/64d3a0e6f9a03860a86c261b/master/w_1600%2Cc_limit/willem%2520dafoe%2520LA.jpg", "https://media.vanityfair.com/photos/64d54726f787e518faf008d8/1:1/w_200%2Cc_limit/bondi-archive-battling-the-devil.jpeg", "https://media.vanityfair.com/photos/66b11d38c50913b242f6076f/1:1/pass/undefined", "https://media.vanityfair.com/photos/66aa50ad2cb32cf6e234ac9e/1:1/pass/undefined", "https://media.vanityfair.com/photos/669fda9f4ab733c23fa5ddec/1:1/pass/undefined", "https://media.vanityfair.com/photos/66abe1a2e312a30545fe9b58/1:1/pass/undefined", "https://media.vanityfair.com/photos/66a9265cc91a200025ef64d1/1:1/pass/undefined", "https://media.vanityfair.com/photos/66a3d35343ab619631d0f01e/1:1/pass/undefined", "https://media.vanityfair.com/photos/66a3b49092824f5fd9d84c98/1:1/pass/undefined", "https://media.vanityfair.com/photos/645173e44fa77a5228daa25d/1:1/pass/undefined", "https://media.vanityfair.com/photos/669fb3cd8027d93d5f3beec0/1:1/pass/undefined", "https://media.vanityfair.com/photos/66a29d97a20c895903dbc8b2/1:1/pass/undefined", "https://www.vanityfair.com/verso/static/vanity-fair/assets/logo-small-white.svg" ]	[ "https://www.youtube-nocookie.com/embed/huylF_VuBSo" ]	[]	[ "william friedkin", "directors", "in memoriam", "what is cinema" ]	null	[ "Maxime Jacob", "Richard Lawson", "Savannah Walsh", "David Canfield", "Chris Murphy", "Erin Vanderhoof", "Eric Lutz", "Paul Chi", "Chris Smith", "Lisa Robinson" ]	2023-08-10T16:18:42.333000-04:00	On the occasion of the director’s death, we take a look back at one of his most important works, the 1985 film ‘To Live and Die in LA.’ In this darkly seductive portrait of Los Angeles in the 1980s, it is impossible to distinguish the lines that divide right and wrong.	en	https://www.vanityfair.com/verso/static/vanity-fair-global/assets/favicon.ico	Vanity Fair	https://www.vanityfair.com/hollywood/2023/08/the-film-that-returned-william-friedkin-to-critical-acclaim	Shortly before his death, the director William Friedkin expressed a few regrets. Among them was that, in his opinion, he never created a film as critically acclaimed as some of Hollywood’s masterpieces, like Citizen Kane. The man who embodied New Hollywood for many, and who died on August 7 at the age of 87, was perhaps forgetting that he was behind the best thriller of the 1980s, To Live and Die in LA. Released in 1985, the plot of this 116-minute feature centers around a Secret Service agent’s relentless pursuit of a brilliant forger. The cop is a handsome adrenaline junkie, while the counterfeiter is a criminal with the smooth talents of a social climber. The film was Friedkin’s return to the detective genre, the source of his fame in the movie industry (The French Connection, his first success, won him an Oscar for Best Director in 1971). He also, however, produced some duds in the same genre. In 1980, the director released Cruising, a thriller starring Al Pacino as an undercover cop immersed in New York’s homosexual community. The film, which some critics pointed out was latently homophobic, was later disowned by Pacino. It put some dents in Friedkin’s reputation as a minor genius, and in 1983 he took another tumble with Deal of the Century. Critically and publicly panned, the comedy barely turned a profit. By the mid-1980s, the filmmaker’s young promise felt like a distant memory, based on movies released in the previous past decade. At the age of 50, he had no choice. If he were to continue directing, he had to create another great film. Then the director heard about a book written by a former Secret Service agent, Gerald Petrievich. The son of a California cop, Petrievich was assigned to fight counterfeiting operations. The novel To Live and Die in LA, published in 1984, was directly inspired by his experience as an agent. To make his film, Friedkin had to work with a $6 million budget ($4 million less than the budget for Deal of the Century). He soon realized that he wouldn’t be able to cast any of the big stars of the day. He called in his old friend Bob Weiner, the casting director who had worked miracles on The French Connection. His mission would be to find young actors capable of carrying a big movie. It was easy for Weiner: the lead role went to William Petersen, a complete unknown at the time. As for the counterfeiter, it was the angular face of young Willem Dafoe that caught the producer’s attention. The supporting roles were played by actors who would go on to successful careers in Hollywood: John Turturro, Darlanne Fluegel, Dean Stockwell, and John Pankow. Miami Vice Style in a West Coast Setting Among the remarkable aspects of the film is how Friedkin used music to anchor it in its time. He has some firsthand knowledge of ’80s pop music. In 1984, he directed the video for “Self Control,” performed by Laura Branigan, and a year later, he fell in love with the group Wang Chung. The film’s soundtrack was entrusted to the British band, which “adds real depth to the film’s universe,” Friedkin said at the time. The ’80s setting of the film was also influenced by a cultural touchstone of the era, Michael Mann’s Miami Vice series. For many fans of the TV show, To Live and Die in LA provided a West Coast counterpart to the program, reflecting the same taste for that latest in cool, whether sports cars, fashion, or music. The artwork promoting Friedkin’s film—a stylized bloodstain forming a palm tree along with fluorescent lettering—also evoked the world of Miami cops. Michael Mann, perhaps touched by the homage, would later cast William Petersen in Manhunter. Released in 1986, it was the first adaptation portraying the villain Hannibal Lecter. It is the look of To Live and Die in LA that is one of the film’s great strengths. Friedkin entrusted cinematography to Robby Müller. (The acclaimed Dutch cinematographer had been praised for his work on the 1984 film Paris, Texas, directed by Wim Wenders, and he was soon to become Jim Jarmush’s right-hand man.) Lilly Kilvert was the production designer and she insisted on filming both the most rotten and the most fascinating aspects of Los Angeles. For the film, the team imagined an LA in flames in the middle of winter, dirty and polluted. They filmed car wrecks, congested freeways, and homeless kids wandering the streets. The LA they portrayed is a world where everyone is sweating profusely in a suffocating city. “Robby saw Los Angeles through the eyes of an outsider,” says William Friedkin. “He notices details that nobody else does.” Friedkin wanted To Live and Die in LA to be a sensational film, an ’80s response to The French Connection. He pulled off that feat, complete with a chase scene as impressive as any in his first success. But, above all else, he tackled a provocative theme that had obsessed him since the beginning of his career: the impossibility of differentiating between good and evil in some situations. In 2018, the filmmaker declared in the documentary Friedkin Uncut: “The two most interesting characters in history are Hitler and Jesus.” In To Live and Die in LA, secret agent Richard Chance (played by William Petersen), with his youthful good looks, is in reality a bad guy, ready to use those closest to him to achieve his ends. He doesn’t hesitate to sexually exploit his informant Ruth (Darlanne Fluegel) and blackmail her when necessary. Rick Masters, the counterfeiter played by Willem Dafoe, is paradoxically an elegant aesthete, who only kills out of necessity and takes no pleasure in doing so. “All the films I’ve made deal with the fine line between good and evil, between the policeman and the criminal. The best cops are the ones who can think like criminals,” Friedkin said in 2008. The California-noir thriller led the director of The Exorcist back to success. It grossed $17 million at the box office, while its ability to capture ’80s culture, its cast of future stars, and its legendary chase scene gave it cult status. This story first appeared on Vanity Fair France. It was translated by John Newton.