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50 Cent explains how he took over press duties on Righteous Kill after Robert De Niro and Al Pacino clashed over publicity "I was on Righteous Kill with De Niro and Pacino, and they had press and publicity to do." "Pacino wasn't doing much, and De Niro was like,...

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Doing a Robert De Niro impression is one thing. Doing it while Robert De Niro is sitting right beside you is another level of courage. 😂 Tom Hiddleston reenacts the famous Heat scene, playing both Pacino and De Niro — then De Niro actually applauds him. The funniest part? Tom is explaining the scene to the man who was literally in it. Would you have the nerve to do this?
6:11

Doing a Robert De Niro impression is one thing. Doing it while Robert De Niro is sitting right beside you is another level of courage. 😂 Tom Hiddleston reenacts the famous Heat scene, playing both Pacino and De Niro — then De Niro actually applauds him. The funniest part? Tom is explaining the scene to the man who was literally in it. Would you have the nerve to do this?

Tony_B 🚀

110,861 views • 11 days ago

Robert De Niro only agreed to star in Heat after reading the legendary diner scene. He, Al Pacino, and director Michael Mann all admitted they were counting the days until they could film it. De Niro refused any rehearsals for the sequence, wanting the raw tension between the two characters to feel absolutely authentic and unrehearsed.
1:34

Robert De Niro only agreed to star in Heat after reading the legendary diner scene. He, Al Pacino, and director Michael Mann all admitted they were counting the days until they could film it. De Niro refused any rehearsals for the sequence, wanting the raw tension between the two characters to feel absolutely authentic and unrehearsed.

Best Movie Moments 🍿

743,970 views • 7 months ago

Martin Brest on why he cast Robert De Niro & Charles Grodin in 'Midnight Run' (1988): "Interviewer: The chemistry between Robert De Niro and Charles Grodin in “Midnight Run” is just all-time for me. How difficult was it to find the right two people for those roles? Martin Brest: Dealing with someone you would consider a very intense, dramatic actor, to me, is a great opportunity to find humorful moments. The idea of De Niro in this role, it wasn’t really conceived for somebody like that. But Jack Rapke, my agent at the time, said, “What about De Niro?” and I thought, “If I could work with Robert De Niro, I’ll figure out the rest later on.” If you’re thinking about comedy with a capital K, you wouldn’t think of him. But again, the way I approach humorful situations, I saw him as being a perfect actor. But once we had cast him, it was really hard to find somebody to complement him, and everybody wanted to play the part. It was a role that we needed people to read for it because it was really a question of micro-chemistry. Charles Grodin came in, and I remembered a scene in “Heaven Can Wait” where he just turned to another character, it was a deadpan reaction that knocked me off my chair. I remember thinking at the time, “He’s doing nothing. Why is that so genius and funny?” When he read with De Niro, everybody was intimidated by De Niro — and Grodin wasn’t at all." (Martin Brest's interview with Todd Gilchrist, Variety, 2023)
2:43

Martin Brest on why he cast Robert De Niro & Charles Grodin in 'Midnight Run' (1988): "Interviewer: The chemistry between Robert De Niro and Charles Grodin in “Midnight Run” is just all-time for me. How difficult was it to find the right two people for those roles? Martin Brest: Dealing with someone you would consider a very intense, dramatic actor, to me, is a great opportunity to find humorful moments. The idea of De Niro in this role, it wasn’t really conceived for somebody like that. But Jack Rapke, my agent at the time, said, “What about De Niro?” and I thought, “If I could work with Robert De Niro, I’ll figure out the rest later on.” If you’re thinking about comedy with a capital K, you wouldn’t think of him. But again, the way I approach humorful situations, I saw him as being a perfect actor. But once we had cast him, it was really hard to find somebody to complement him, and everybody wanted to play the part. It was a role that we needed people to read for it because it was really a question of micro-chemistry. Charles Grodin came in, and I remembered a scene in “Heaven Can Wait” where he just turned to another character, it was a deadpan reaction that knocked me off my chair. I remember thinking at the time, “He’s doing nothing. Why is that so genius and funny?” When he read with De Niro, everybody was intimidated by De Niro — and Grodin wasn’t at all." (Martin Brest's interview with Todd Gilchrist, Variety, 2023)

DepressedBergman

37,661 views • 11 months ago

Michelle Pfeiffer was relatively an unknown in 1983 when "Scarface" (1983) was made. Both Al Pacino & Brian De Palma were against casting her. De Palma wasn't convinced that she had the chops to pull off a part that was initially earmarked for Glenn Close. But Producer Martin Bregman fought for Pfeiffer to be cast & managed to achieve it. Here is Al Pacino and Bregman talking about it: While discussing the film's female casting, Bregman said, "Michelle Pfeiffer... That was a battle because of everybody in town was going out for that. In spite of what [Al] said before, [he was] a star at the time. Michelle wasn't known at the time." "And you had that sense about her," Pacino said "Because I probably would have said no." "You did say no!" replied Bregman, inciting laughter from Pacino and the entire theater. Michelle Pfeiffer explaining about it: "Al was probably more intense back then, or I think it was maybe the nature of the project, and he didn’t particularly want me for the part, It was a very long and drawn-out audition process. I don’t know it seemed like forever but I think it was about two or three months. And I was terrified and I was really young, and I knew he didn’t want me, and as it went on, the worse I got because I just got so afraid.” ("Why Al Pacino “didn’t want” Michelle Pfeiffer in ‘Scarface’", Scott Campbell, Farout Magazine, 2024 "Al Pacino Did Not Want Michelle Pfeiffer For Scarface and 8 Other Revelations About the Gangster Classic", Movieline, 2011) P.S: Happy 68th birthday, Michelle Pfeiffer!
1:35

Michelle Pfeiffer was relatively an unknown in 1983 when "Scarface" (1983) was made. Both Al Pacino & Brian De Palma were against casting her. De Palma wasn't convinced that she had the chops to pull off a part that was initially earmarked for Glenn Close. But Producer Martin Bregman fought for Pfeiffer to be cast & managed to achieve it. Here is Al Pacino and Bregman talking about it: While discussing the film's female casting, Bregman said, "Michelle Pfeiffer... That was a battle because of everybody in town was going out for that. In spite of what [Al] said before, [he was] a star at the time. Michelle wasn't known at the time." "And you had that sense about her," Pacino said "Because I probably would have said no." "You did say no!" replied Bregman, inciting laughter from Pacino and the entire theater. Michelle Pfeiffer explaining about it: "Al was probably more intense back then, or I think it was maybe the nature of the project, and he didn’t particularly want me for the part, It was a very long and drawn-out audition process. I don’t know it seemed like forever but I think it was about two or three months. And I was terrified and I was really young, and I knew he didn’t want me, and as it went on, the worse I got because I just got so afraid.” ("Why Al Pacino “didn’t want” Michelle Pfeiffer in ‘Scarface’", Scott Campbell, Farout Magazine, 2024 "Al Pacino Did Not Want Michelle Pfeiffer For Scarface and 8 Other Revelations About the Gangster Classic", Movieline, 2011) P.S: Happy 68th birthday, Michelle Pfeiffer!

DepressedBergman

54,057 views • 4 months ago

Christopher Nolan interviewing Michael Mann, Al Pacino and Robert De Niro on the iconic coffee shop meeting in Heat... Nolan: So for all three of you, I mean, one of the great and memorable scenes in the film - there are many - but the iconic coffee shop meeting that people were so struck by when the film came out, seeing two such great actors who had not acted in the same scene together before, together. There was such mythology around it at the time. I remember several friends of mine being convinced that you'd shot it on different days because there was no two-shot… (Michael Mann laughs) Nolan: Was it single camera? Was it two cameras? Did you have two cameras so you could shoot both close-ups at the same time? How did you approach that momentous event? Mann: It started with this consummate respect for the great artists that these two guys are. We talked about the scene and we analysed the scene… We didn't want to do the scene until we were at Cape Mandelini's. And then it was so ingrained that I knew that in all the little tiny organic details it would be different from take to take. So what I wanted to do was shoot with two cameras, two over the shoulders – I knew that there would be an organic unity to one take, and it would be a slightly different organic unity to another; because if you look at it very carefully, if Bob shifts his hand like this a little bit, right in the middle of dialogue, Al is doing something to counter it - because maybe he's shifting his positions so he can get closer to a weapon… Nolan: What do you remember about that shoot? Pacino: I do remember that Bob said – at first I wondered about it and then I thought how right he is – he said, “let’s not rehearse it.” Nolan: Because you love to rehearse. Pacino: Oh yeah. And Bob does too. De Niro: No, I do too at times, but this kind of scene we didn't have to. Pacino: But the thing is, what Bob said is so true about rehearsal – and that is that there is no sense in rehearsing if the people around you don't know how to rehearse. That is an important factor. Might as well not rehearse or rehearse very little. But it's true because it's a certain kind of thing and people either respond to it or they don't. And so, they could be great actors, of course, but they don't want to rehearse. I've had experiences like that… De Niro: Well, it was also that we were stationary. So, it wasn't we had to sort of rehearse blocking or anything and discover how our physical moves would be. We were kind of, there, though there were subtle moves in the scene itself, obviously. But anyway, and we started late and.... we didn't start till after lunch or dinner, which was really like one o'clock in the morning...I loved the scene and I wanted, you know, really wanted it to be as best as it could be. So I was a little unhappy that we started so late in the middle of the night... Mann: It was actually intentional... De Niro: I know, he wanted to tire us out. Nolan: But getting into a scene like that, that you know is going to be such a significant part of the film, huge expectation from both of you as you sit down to perform it. At the end of that night, did you know you had it? Did you feel it? Pacino: I never knew that. De Niro: You never know that. Mann: I knew we had it. Nolan: You knew. That's your job. Pacino: I'd like to do it again actually. Mann: (laughs) We’ll re-shoot it… We normally would rehearse scenes. That scene we talked about, we all as a group decided, you know, we wanted to just talk it through and save it for the event of shooting it, which was the only scene we probably did that with. But I tend to not want to rehearse things to the point where I feel like I wish I'd shot it. That's a disaster – I think things will be perfect once, and they'll never be perfect. They'll never be 100% twice. They'll only be 100% once. You want that happening in front of the camera. From a panel discussion following a special screening of Heat at the Samuel Goldwyn Theater on September 7, 2016.
6:17

Christopher Nolan interviewing Michael Mann, Al Pacino and Robert De Niro on the iconic coffee shop meeting in Heat... Nolan: So for all three of you, I mean, one of the great and memorable scenes in the film - there are many - but the iconic coffee shop meeting that people were so struck by when the film came out, seeing two such great actors who had not acted in the same scene together before, together. There was such mythology around it at the time. I remember several friends of mine being convinced that you'd shot it on different days because there was no two-shot… (Michael Mann laughs) Nolan: Was it single camera? Was it two cameras? Did you have two cameras so you could shoot both close-ups at the same time? How did you approach that momentous event? Mann: It started with this consummate respect for the great artists that these two guys are. We talked about the scene and we analysed the scene… We didn't want to do the scene until we were at Cape Mandelini's. And then it was so ingrained that I knew that in all the little tiny organic details it would be different from take to take. So what I wanted to do was shoot with two cameras, two over the shoulders – I knew that there would be an organic unity to one take, and it would be a slightly different organic unity to another; because if you look at it very carefully, if Bob shifts his hand like this a little bit, right in the middle of dialogue, Al is doing something to counter it - because maybe he's shifting his positions so he can get closer to a weapon… Nolan: What do you remember about that shoot? Pacino: I do remember that Bob said – at first I wondered about it and then I thought how right he is – he said, “let’s not rehearse it.” Nolan: Because you love to rehearse. Pacino: Oh yeah. And Bob does too. De Niro: No, I do too at times, but this kind of scene we didn't have to. Pacino: But the thing is, what Bob said is so true about rehearsal – and that is that there is no sense in rehearsing if the people around you don't know how to rehearse. That is an important factor. Might as well not rehearse or rehearse very little. But it's true because it's a certain kind of thing and people either respond to it or they don't. And so, they could be great actors, of course, but they don't want to rehearse. I've had experiences like that… De Niro: Well, it was also that we were stationary. So, it wasn't we had to sort of rehearse blocking or anything and discover how our physical moves would be. We were kind of, there, though there were subtle moves in the scene itself, obviously. But anyway, and we started late and.... we didn't start till after lunch or dinner, which was really like one o'clock in the morning...I loved the scene and I wanted, you know, really wanted it to be as best as it could be. So I was a little unhappy that we started so late in the middle of the night... Mann: It was actually intentional... De Niro: I know, he wanted to tire us out. Nolan: But getting into a scene like that, that you know is going to be such a significant part of the film, huge expectation from both of you as you sit down to perform it. At the end of that night, did you know you had it? Did you feel it? Pacino: I never knew that. De Niro: You never know that. Mann: I knew we had it. Nolan: You knew. That's your job. Pacino: I'd like to do it again actually. Mann: (laughs) We’ll re-shoot it… We normally would rehearse scenes. That scene we talked about, we all as a group decided, you know, we wanted to just talk it through and save it for the event of shooting it, which was the only scene we probably did that with. But I tend to not want to rehearse things to the point where I feel like I wish I'd shot it. That's a disaster – I think things will be perfect once, and they'll never be perfect. They'll never be 100% twice. They'll only be 100% once. You want that happening in front of the camera. From a panel discussion following a special screening of Heat at the Samuel Goldwyn Theater on September 7, 2016.

Gangster Cinema Central

36,895 views • 3 months ago

In 2022, at the 94th Academy Awards, the ceremony paused to celebrate 50 years of The Godfather. Francis Ford Coppola, Al Pacino and Robert De Niro walked on stage to a standing ovation. Some films change cinema forever. This was one of them.
3:04

In 2022, at the 94th Academy Awards, the ceremony paused to celebrate 50 years of The Godfather. Francis Ford Coppola, Al Pacino and Robert De Niro walked on stage to a standing ovation. Some films change cinema forever. This was one of them.

Films to Films

49,277 views • 5 months ago

Christian Bale was so fat in this movie that Robert De Niro couldn’t recognize him. De Niro pulled the director aside, pointed to Bale, and asked who he was. He didn't believe it was Bale. Dir. convinced him. Then said, "Wow, he looks really different”
0:23

Christian Bale was so fat in this movie that Robert De Niro couldn’t recognize him. De Niro pulled the director aside, pointed to Bale, and asked who he was. He didn't believe it was Bale. Dir. convinced him. Then said, "Wow, he looks really different”

Emir Han

9,134,843 views • 10 months ago

Al Pacino pays tribute to his "Godfather" co-star Robert Duvall: “It was an honor to have worked with Duvall. He was a born actor as they say, his connection with it, his understanding and his phenomenal gift will always be remembered. I will miss him.”
0:21

Al Pacino pays tribute to his "Godfather" co-star Robert Duvall: “It was an honor to have worked with Duvall. He was a born actor as they say, his connection with it, his understanding and his phenomenal gift will always be remembered. I will miss him.”

Victor Bigham 🇺🇸

199,527 views • 6 months ago

Al Pacino pays tribute to his "Godfather" co-star Robert Duvall: “It was an honor to have worked with Duvall. He was a born actor as they say, his connection with it, his understanding and his phenomenal gift will always be remembered. I will miss him.”
0:52

Al Pacino pays tribute to his "Godfather" co-star Robert Duvall: “It was an honor to have worked with Duvall. He was a born actor as they say, his connection with it, his understanding and his phenomenal gift will always be remembered. I will miss him.”

Emir Han

327,806 views • 6 months ago

Roy London was Sharon Stone's acting teacher. Early on in her career, she used to seek his advice every time; even for a toothpaste commercial. One day, Roy London asked Sharon Stone, "What's you real goal?". She said, "I want to be able to sit across from Robert De Niro and hold my own." He then asked her again if it really was her goal. She replied, "That's my secret goal." She achieved the goal by starring in Martin Scorsese's "Casino" (1995) Later, she said, "The fact that I got to star alongside Robert De Niro was everything to me; The fact that I even got to audition and to do that was such a big deal to me; I put my all into the it because it really was my dream". P.S: Happy 83rd birthday, Robert De Niro!
2:11

Roy London was Sharon Stone's acting teacher. Early on in her career, she used to seek his advice every time; even for a toothpaste commercial. One day, Roy London asked Sharon Stone, "What's you real goal?". She said, "I want to be able to sit across from Robert De Niro and hold my own." He then asked her again if it really was her goal. She replied, "That's my secret goal." She achieved the goal by starring in Martin Scorsese's "Casino" (1995) Later, she said, "The fact that I got to star alongside Robert De Niro was everything to me; The fact that I even got to audition and to do that was such a big deal to me; I put my all into the it because it really was my dream". P.S: Happy 83rd birthday, Robert De Niro!

DepressedBergman

81,909 views • 13 days ago

Matthew McConaughey explaining his samurai beetle acting technique to Al Pacino and Robert De Niro is exactly the kind of unhinged energy I live for. Watching two acting titans try to process this is just hilarious. McConaughey: I look at myself and I go I'm a samurai beetle. Pacino: Yeah. McConaughey: Right. And then you're seeing the world now through through another lens. Pacino: Yeah. Well that's very interesting. De Niro: What? Is he? Is he about to pull a blade out from behind his back? You really never know what is going to come out of Matthew's mouth during an interview.
2:34

Matthew McConaughey explaining his samurai beetle acting technique to Al Pacino and Robert De Niro is exactly the kind of unhinged energy I live for. Watching two acting titans try to process this is just hilarious. McConaughey: I look at myself and I go I'm a samurai beetle. Pacino: Yeah. McConaughey: Right. And then you're seeing the world now through through another lens. Pacino: Yeah. Well that's very interesting. De Niro: What? Is he? Is he about to pull a blade out from behind his back? You really never know what is going to come out of Matthew's mouth during an interview.

| UCEE |

468,726 views • 1 month ago

Monica Bellucci said she was scared of doing this scene with Robert De Niro in The Ages of Love (2011), but he was so gentle that she forgot she was acting opposite De Niro: “If he wasn’t so generous, I don’t know if I could do it. He is handsome, he smiles all the time.”
1:37

Monica Bellucci said she was scared of doing this scene with Robert De Niro in The Ages of Love (2011), but he was so gentle that she forgot she was acting opposite De Niro: “If he wasn’t so generous, I don’t know if I could do it. He is handsome, he smiles all the time.”

Emir Han

2,453,544 views • 4 months ago

Gary Oldman's "EVERYONE!!" scream in Léon: The Professional is so iconic people yell it at him in the street. Turns out it started as a joke between him and Luc Besson. He explains: “What's strange is that it's become this sort of iconic line, and it was all done as a joke. And that was the thing, I played the scene…. And I had a relationship with Luc. Luc Besson was kind of mad in a way — I mean, we were shooting on film. He would say to me, "OK, do the scene again, but now do it as Robert De Niro." Or do it as... And he would shoot it for kicks, and his archive. So we had a fun kind of relationship… I said to Luke, "I just want to do one more, let me do one more." And I went to the sound guy and I said, "I'm going to be really loud, so be careful." And said “bring me everyone" — you know, EVERYONE like that. I just did it as a joke to make Luc laugh. I was a little shocked when I saw it in the film, yeah. It was just me fooling around — with intensity, with feeling — and yet it's become this line now.”
0:56

Gary Oldman's "EVERYONE!!" scream in Léon: The Professional is so iconic people yell it at him in the street. Turns out it started as a joke between him and Luc Besson. He explains: “What's strange is that it's become this sort of iconic line, and it was all done as a joke. And that was the thing, I played the scene…. And I had a relationship with Luc. Luc Besson was kind of mad in a way — I mean, we were shooting on film. He would say to me, "OK, do the scene again, but now do it as Robert De Niro." Or do it as... And he would shoot it for kicks, and his archive. So we had a fun kind of relationship… I said to Luke, "I just want to do one more, let me do one more." And I went to the sound guy and I said, "I'm going to be really loud, so be careful." And said “bring me everyone" — you know, EVERYONE like that. I just did it as a joke to make Luc laugh. I was a little shocked when I saw it in the film, yeah. It was just me fooling around — with intensity, with feeling — and yet it's become this line now.”

Gangster Cinema Central

35,141 views • 1 month ago

50 Cent reveals Ghost was almost killed off years earlier in Power 50 Cent: I didn’t mind killing Kanan when the time came. It got awkward for the writer, for the showrunner, because she felt like it was registering as a 50 Cent show instead of her show. It also was friction between her and Omari, because he was feeling like he was the lead and the star of the show. Omari would’ve died, Ghost must die. He would’ve died when Kanan died, she planned to kill Omari’s character off right there. I’m like, “Nah.” I could feel how the general public was feeling, and I knew that was not the right decision. She said, “If he doesn’t die, something has to happen. Something big has to happen.” I’m like, “Me. Kill my character. I got other shit to do. I could go be 50 Cent, and then I don’t have to be here anymore.” Interviewer: Do you agree with them killing Ghost? 50 Cent: I wouldn’t have killed him, that shit could still be running if it was running right now. It was creatively a decision that she made because she was not feeling him no more.
2:29

50 Cent reveals Ghost was almost killed off years earlier in Power 50 Cent: I didn’t mind killing Kanan when the time came. It got awkward for the writer, for the showrunner, because she felt like it was registering as a 50 Cent show instead of her show. It also was friction between her and Omari, because he was feeling like he was the lead and the star of the show. Omari would’ve died, Ghost must die. He would’ve died when Kanan died, she planned to kill Omari’s character off right there. I’m like, “Nah.” I could feel how the general public was feeling, and I knew that was not the right decision. She said, “If he doesn’t die, something has to happen. Something big has to happen.” I’m like, “Me. Kill my character. I got other shit to do. I could go be 50 Cent, and then I don’t have to be here anymore.” Interviewer: Do you agree with them killing Ghost? 50 Cent: I wouldn’t have killed him, that shit could still be running if it was running right now. It was creatively a decision that she made because she was not feeling him no more.

‏ً

1,141,542 views • 1 month ago

Snoop Dogg says he tried DMT once and will never do it again after feeling like he died “They gave me some new shit called DMT. I hit it one time. That shit was like I fucking died and was dead, then came back and looked at myself dead. I was like, okay, I have seen death. I'm cool” “It felt like I was, ‘Oh...’ And then I stood up and was looking at myself dying. Like, man, what the fuck is you doing. Do not hit that motherfucker one more time” “Bitch, I’m done. I stepped out of my body and looked down at myself for about 25 seconds. Then when I came out of it, I was like... my fingers and shit was like… This is not for me”
0:51

Snoop Dogg says he tried DMT once and will never do it again after feeling like he died “They gave me some new shit called DMT. I hit it one time. That shit was like I fucking died and was dead, then came back and looked at myself dead. I was like, okay, I have seen death. I'm cool” “It felt like I was, ‘Oh...’ And then I stood up and was looking at myself dying. Like, man, what the fuck is you doing. Do not hit that motherfucker one more time” “Bitch, I’m done. I stepped out of my body and looked down at myself for about 25 seconds. Then when I came out of it, I was like... my fingers and shit was like… This is not for me”

dank

875,060 views • 1 month ago

Heat is one of the best films ever. Directed by Michael Mann, the 1995 crime classic has a truly “one-of-a-kind” moment: Al Pacino and Robert De Niro in the same scene for the first time. To make it happen, Mann actually created the *same film* twice. It’s an awesome story of creative dedication… …that begins in the mid-1970s, when Mann met a Chicago police detective named Chuck Adamson. Adamson was retired and consulting on Hollywood projects. He told Mann about his years chasing a bank robber named Neil McCauley, including a time they shared a coffee at a diner. In 1979, Mann wrote a 180-page script called “Heat” about Adamson and McCauley. After success producing the TV show “Miami Vice”, Mann was given an opportunity to make his script. However, it ended up as a low budget direct-to-TV film called “LA Takedown”. The film took ~3 weeks to make and — while reviews were OK — Mann’s vision was unfulfilled. After directing the critical and commercial hit “The Last of the Mohicans” in 1992, Mann could basically do any new project he wanted. And he chose to redo “LA Takedown”, but this time with a $60m budget and the biggest stars (Pacino, De Niro, Val Kilmer, Ashley Judd, Tom Sizemore, Jon Voight). After six months of filming, “Heat” came out in 1995. At 165 minutes, it was twice the length of “LA Takedown” (Mann layered on lots of narrative left out of the original). It was an instant classic and made ~$190m at the box office. Meanwhile, the much-anticipated coffee diner scene with Pacino and De Niro delivered the goods (compare it to the original below). After 2 decades and 2 films, Mann finally saw his vision through. The unwavering commitment to his original idea created a true masterpiece.
2:19

Heat is one of the best films ever. Directed by Michael Mann, the 1995 crime classic has a truly “one-of-a-kind” moment: Al Pacino and Robert De Niro in the same scene for the first time. To make it happen, Mann actually created the *same film* twice. It’s an awesome story of creative dedication… …that begins in the mid-1970s, when Mann met a Chicago police detective named Chuck Adamson. Adamson was retired and consulting on Hollywood projects. He told Mann about his years chasing a bank robber named Neil McCauley, including a time they shared a coffee at a diner. In 1979, Mann wrote a 180-page script called “Heat” about Adamson and McCauley. After success producing the TV show “Miami Vice”, Mann was given an opportunity to make his script. However, it ended up as a low budget direct-to-TV film called “LA Takedown”. The film took ~3 weeks to make and — while reviews were OK — Mann’s vision was unfulfilled. After directing the critical and commercial hit “The Last of the Mohicans” in 1992, Mann could basically do any new project he wanted. And he chose to redo “LA Takedown”, but this time with a $60m budget and the biggest stars (Pacino, De Niro, Val Kilmer, Ashley Judd, Tom Sizemore, Jon Voight). After six months of filming, “Heat” came out in 1995. At 165 minutes, it was twice the length of “LA Takedown” (Mann layered on lots of narrative left out of the original). It was an instant classic and made ~$190m at the box office. Meanwhile, the much-anticipated coffee diner scene with Pacino and De Niro delivered the goods (compare it to the original below). After 2 decades and 2 films, Mann finally saw his vision through. The unwavering commitment to his original idea created a true masterpiece.

Trung Phan

1,309,957 views • 3 years ago

Lana Rhoades reveals that when she was a teenager, she helped her adult boyfriend break into houses because she wanted him to love her. "We were doing it for two different reasons. He was doing it because he wanted money, I was doing it because I wanted him to love me" "he was an adult, I was like 14, 15. He would break into houses and I would go with him" "he would put me in the window, and then I would go to the front door and unlock it for him" "he was doing it because he wanted money" "I was doing it because I wanted him to love me" "Both equally selfish. We were doing it for our own selfish reasons, and we didn't care enough about the people that we were affecting" Source: Lana Rhoades || JEFF FM
1:12

Sensitive content

Lana Rhoades reveals that when she was a teenager, she helped her adult boyfriend break into houses because she wanted him to love her. "We were doing it for two different reasons. He was doing it because he wanted money, I was doing it because I wanted him to love me" "he was an adult, I was like 14, 15. He would break into houses and I would go with him" "he would put me in the window, and then I would go to the front door and unlock it for him" "he was doing it because he wanted money" "I was doing it because I wanted him to love me" "Both equally selfish. We were doing it for our own selfish reasons, and we didn't care enough about the people that we were affecting" Source: Lana Rhoades || JEFF FM

gee

446,789 views • 11 days ago

Al Pacino once refused a direction from Nolan. He claimed the performance was already there. Nolan realized he was right later in the editing room. “I looked for it on dailies and I was like, ‘Oh, my God.’ Great actors can do that.”
0:46

Al Pacino once refused a direction from Nolan. He claimed the performance was already there. Nolan realized he was right later in the editing room. “I looked for it on dailies and I was like, ‘Oh, my God.’ Great actors can do that.”

Best Movie Moments 🍿

280,537 views • 27 days ago

When Nicholas Pileggi decided to write a book about Las Vegas, he researched the story of Frank "Lefty" Rosenthal and became very interested. At first, however, Frank "Lefty" Rosenthal was not interested in Pileggi's idea to write a book about him. It was only after Rosenthal read that a movie would be adapted from the book by Martin Scorsese, and that it would star Robert De Niro, that he became interested, because he loved Goodfellas (1990) and De Niro's performance in the film. This film marks the 3rd collaboration between Martin Scorsese, Robert De Niro and Joe Pesci. Casino (1995).
0:32

When Nicholas Pileggi decided to write a book about Las Vegas, he researched the story of Frank "Lefty" Rosenthal and became very interested. At first, however, Frank "Lefty" Rosenthal was not interested in Pileggi's idea to write a book about him. It was only after Rosenthal read that a movie would be adapted from the book by Martin Scorsese, and that it would star Robert De Niro, that he became interested, because he loved Goodfellas (1990) and De Niro's performance in the film. This film marks the 3rd collaboration between Martin Scorsese, Robert De Niro and Joe Pesci. Casino (1995).

Love Classical Music and Movies 🎺🎻💖🎥🎬

98,997 views • 8 months ago

this year, angelina jolie told this sweet story about being directed by robert de niro, "he was really, really lovely, really tough. and i remember i was pregnant, i became pregnant he didn't know. it was tough, and tough, and then i kind of- because we had reshoots, and my prosthetics were kind of falling off, and i kind of-. and i got a bit sick, i was in a scene where everybody was smoking. and then i had to say to my very tough, cool director, who's just focused on what he wants, i said, 'i'm so sorry but i'm pregnant'. and then i saw a very different rob de niro, who went from being this very tough, strong director, to being a man who's saying 'get her a banana and help her', and he was the sweetest" #SBIFF
1:20

this year, angelina jolie told this sweet story about being directed by robert de niro, "he was really, really lovely, really tough. and i remember i was pregnant, i became pregnant he didn't know. it was tough, and tough, and then i kind of- because we had reshoots, and my prosthetics were kind of falling off, and i kind of-. and i got a bit sick, i was in a scene where everybody was smoking. and then i had to say to my very tough, cool director, who's just focused on what he wants, i said, 'i'm so sorry but i'm pregnant'. and then i saw a very different rob de niro, who went from being this very tough, strong director, to being a man who's saying 'get her a banana and help her', and he was the sweetest" #SBIFF

magali 🐼

584,040 views • 8 months ago