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Brian De Palma initially sent Bob Hoskins the script of "The Untouchables" (1987) with the intention to cast him for the part of Al Capone. When Hoskins met De Palma at an Hotel, De Palma said, "really I want Robert De Niro to play him". Hoskins thought, "well great...

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DepressedBergman

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The late great BOB HOSKINS with a brilliant story about how Brian De Palma passing on him to play Al Capone in ‘The Untouchables’ led to Bob asking De Palma if there were any more films he didn’t want him to be in.
1:20

The late great BOB HOSKINS with a brilliant story about how Brian De Palma passing on him to play Al Capone in ‘The Untouchables’ led to Bob asking De Palma if there were any more films he didn’t want him to be in.

Michael Warburton

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Luis Guzmán on working with Brian De Palma on Carlito’s Way, a director known for being intensely focused and reserved on set. “If you got three words out of Brian in a day, you just had a conversation - Brian's into this whole trip of what he's doing. He does not talk much - One day we were doing a scene, and we were just rehearsing it - and after we rehearsed, he goes, "Okay, everybody, time to act." And I go up to Brian, I said, "Brian, I got a real big problem here, bro." He goes, "What?" - That was one word - And I said... "Brian, man, I gotta tell you, bro, I don't act."… And he looked like confused for a second. He said, "You don't act?." I said “Nah Brian, I just do it.” And then he announced it to everybody. "Okay, everybody act. Louie is gonna do it." He laughed. I got the guy to laugh. Four months working with the guy. Finally got him to laugh."
1:22

Luis Guzmán on working with Brian De Palma on Carlito’s Way, a director known for being intensely focused and reserved on set. “If you got three words out of Brian in a day, you just had a conversation - Brian's into this whole trip of what he's doing. He does not talk much - One day we were doing a scene, and we were just rehearsing it - and after we rehearsed, he goes, "Okay, everybody, time to act." And I go up to Brian, I said, "Brian, I got a real big problem here, bro." He goes, "What?" - That was one word - And I said... "Brian, man, I gotta tell you, bro, I don't act."… And he looked like confused for a second. He said, "You don't act?." I said “Nah Brian, I just do it.” And then he announced it to everybody. "Okay, everybody act. Louie is gonna do it." He laughed. I got the guy to laugh. Four months working with the guy. Finally got him to laugh."

Gangster Cinema Central

195,845 Aufrufe • vor 5 Monaten

Howard Hawks on his meeting with Al Capone & what Capone and another famous Chicago gangster thought about 'Scarface' (1932) when they saw the film: "Interviewer: Did you have any contact with Al Capone while making the picture? Hawks: While we were making 'Scarface' (1932), five or six of them came out and said, “The boss wants us to see the picture.” And I said, “You go and tell him when it comes out, he can pay a dollar and buy a ticket. You don’t scare me. Why the hell don’t you come out and just ask to see it?” They reported to Capone that it was just great, and they invited me to Chicago to see him. They met me at the train, and they were late. One of the fellows said, “There was a killing last night and we had to go to the funeral.” I said, “Do I have to ride with you if there was a killing last night?” They said I could ride in a different car. But when we went into a café, they would sit with their backs to the wall, and I had my back to the door. We had some damn good-looking girls with us, a bit brassy but very pretty. When I saw Capone, we had tea, and he was dressed in a morning coat, striped trousers, a carnation, being a very nice man, saying how much he liked the picture. I was with him two, three hours. Then he asked me to come again, and I stopped by there. But there was a shooting in Chicago, so they said that he couldn’t come because he was hiding out in Atlantic City or something. Then he came to see me when I was working in Hollywood, and the cops came and arrested him right on the set. Interviewer: So he did see 'Scarface'? Hawks: Five or six times. He had his own print of it. He thought it was great. He’d say, “Jesus Christ, you guys got a lot of stuff in that picture! How’d you know about that?” I said, “Look—you know how somebody can’t testify if he’s a lawyer? Well, I’m a lawyer.” And he laughed. He didn’t give a damn. Another famous gangster brought two very lovely daughters out to watch the movie and introduced himself to me. He said, “Where’d you get that stuff in that killing?” I asked him, “Why? Are you mad?” He said, “No, I’m just curious.” I told him, and he laughed, and he said, “That’s the way we did the shooting. Why hasn’t the picture played in Chicago?” I said, “They won’t let me.” He said, “Do you want it to play?” I said yeah. And he said, “Can I use your phone a minute?” When he finished he said, “You can play it any time you want.” ('Hawks on Hawks', Joseph McBride, 1982) P.S: On this day, 94 years ago, 'Scarface' (1932) premiered in New Orleans, Luisiana.
1:22

Howard Hawks on his meeting with Al Capone & what Capone and another famous Chicago gangster thought about 'Scarface' (1932) when they saw the film: "Interviewer: Did you have any contact with Al Capone while making the picture? Hawks: While we were making 'Scarface' (1932), five or six of them came out and said, “The boss wants us to see the picture.” And I said, “You go and tell him when it comes out, he can pay a dollar and buy a ticket. You don’t scare me. Why the hell don’t you come out and just ask to see it?” They reported to Capone that it was just great, and they invited me to Chicago to see him. They met me at the train, and they were late. One of the fellows said, “There was a killing last night and we had to go to the funeral.” I said, “Do I have to ride with you if there was a killing last night?” They said I could ride in a different car. But when we went into a café, they would sit with their backs to the wall, and I had my back to the door. We had some damn good-looking girls with us, a bit brassy but very pretty. When I saw Capone, we had tea, and he was dressed in a morning coat, striped trousers, a carnation, being a very nice man, saying how much he liked the picture. I was with him two, three hours. Then he asked me to come again, and I stopped by there. But there was a shooting in Chicago, so they said that he couldn’t come because he was hiding out in Atlantic City or something. Then he came to see me when I was working in Hollywood, and the cops came and arrested him right on the set. Interviewer: So he did see 'Scarface'? Hawks: Five or six times. He had his own print of it. He thought it was great. He’d say, “Jesus Christ, you guys got a lot of stuff in that picture! How’d you know about that?” I said, “Look—you know how somebody can’t testify if he’s a lawyer? Well, I’m a lawyer.” And he laughed. He didn’t give a damn. Another famous gangster brought two very lovely daughters out to watch the movie and introduced himself to me. He said, “Where’d you get that stuff in that killing?” I asked him, “Why? Are you mad?” He said, “No, I’m just curious.” I told him, and he laughed, and he said, “That’s the way we did the shooting. Why hasn’t the picture played in Chicago?” I said, “They won’t let me.” He said, “Do you want it to play?” I said yeah. And he said, “Can I use your phone a minute?” When he finished he said, “You can play it any time you want.” ('Hawks on Hawks', Joseph McBride, 1982) P.S: On this day, 94 years ago, 'Scarface' (1932) premiered in New Orleans, Luisiana.

DepressedBergman

67,676 Aufrufe • vor 5 Monaten

When Brian De Palma was casting the role of Holly in Body Double (1984), Melanie Griffith helped him get in touch with her friend Jamie Lee Curtis, who was being considered for the part. After Curtis turned it down, Griffith asked De Palma if she could try for the role herself. He initially hesitated, telling her that Steven Bauer, her then-boyfriend, who had also co-starred in De Palma's Scarface (1983), probably wouldn't want her to take on a role like Holly. Griffith insisted that the decision was hers to make and after a screen test and three auditions, she landed the role. Reflecting on her experience, Griffith later said: “The most honest fear an actor has is that he'll make a fool of himself. So you try and forget about being embarrassed. You try to remember that it's not you doing it, it's your character. And you remember who you're working with. Some people say that role was an exploitation, but the thing is, working with Brian De Palma was the first time I was acknowledged as having an opinion.”
1:11

When Brian De Palma was casting the role of Holly in Body Double (1984), Melanie Griffith helped him get in touch with her friend Jamie Lee Curtis, who was being considered for the part. After Curtis turned it down, Griffith asked De Palma if she could try for the role herself. He initially hesitated, telling her that Steven Bauer, her then-boyfriend, who had also co-starred in De Palma's Scarface (1983), probably wouldn't want her to take on a role like Holly. Griffith insisted that the decision was hers to make and after a screen test and three auditions, she landed the role. Reflecting on her experience, Griffith later said: “The most honest fear an actor has is that he'll make a fool of himself. So you try and forget about being embarrassed. You try to remember that it's not you doing it, it's your character. And you remember who you're working with. Some people say that role was an exploitation, but the thing is, working with Brian De Palma was the first time I was acknowledged as having an opinion.”

Remnants of the Past

23,732 Aufrufe • vor 20 Tagen

The subway sequence in "Carlito's Way" (1993) took many months to film. It was started in winter & finished in the middle of summer. The shoot went on for hours everyday. Al Pacino's black coat started causing him issues. One hot summer night, during the filming, Al Pacino was sweating a lot while moving from carriage to carriage. At around 4 in the morning, De Palma saw the train leaving and couldn't find Al Pacino. De Palma asked the Cinematographer, "Where's Al?" and he replied, "Al took the train home." He had left the set without informing De Palma as he had enough of it. ("The untouchable Brian De Palma", Scott R. Garceau, The Philipine Star, 2016, "A gangster movie with heart: how Al Pacino and Brian De Palma made the criminally underrated Carlito's Way", Tom Fordy, The Telegraph, 2018 & IMDb)
2:11

The subway sequence in "Carlito's Way" (1993) took many months to film. It was started in winter & finished in the middle of summer. The shoot went on for hours everyday. Al Pacino's black coat started causing him issues. One hot summer night, during the filming, Al Pacino was sweating a lot while moving from carriage to carriage. At around 4 in the morning, De Palma saw the train leaving and couldn't find Al Pacino. De Palma asked the Cinematographer, "Where's Al?" and he replied, "Al took the train home." He had left the set without informing De Palma as he had enough of it. ("The untouchable Brian De Palma", Scott R. Garceau, The Philipine Star, 2016, "A gangster movie with heart: how Al Pacino and Brian De Palma made the criminally underrated Carlito's Way", Tom Fordy, The Telegraph, 2018 & IMDb)

DepressedBergman

52,399 Aufrufe • vor 1 Monat

For his role of Al Capone in Brian De Palma's "The Untouchables" (1987), Robert De Niro, insisted on wearing the same type of silk underwear that Capone wore, even though they'd never be seen on screen. He also tracked down the gangster's original tailors and had them make identical clothing for the film. To physically recreate Capone, De Niro watched footage of the gangster and tried to gain as much weight as he could and shaved his head more so that he would look as round as he could in the time that he had to prepare for it. (Source 1: "30 years later, The Untouchables is still, well, untouchable", Steve Spears, Tampa Bay Times, 2017) (Source 2: "The stars of The Untouchables look back, 30 years later", Mary Sollosi, Entertainment Weekly, 2017)
1:05

For his role of Al Capone in Brian De Palma's "The Untouchables" (1987), Robert De Niro, insisted on wearing the same type of silk underwear that Capone wore, even though they'd never be seen on screen. He also tracked down the gangster's original tailors and had them make identical clothing for the film. To physically recreate Capone, De Niro watched footage of the gangster and tried to gain as much weight as he could and shaved his head more so that he would look as round as he could in the time that he had to prepare for it. (Source 1: "30 years later, The Untouchables is still, well, untouchable", Steve Spears, Tampa Bay Times, 2017) (Source 2: "The stars of The Untouchables look back, 30 years later", Mary Sollosi, Entertainment Weekly, 2017)

DepressedBergman

151,756 Aufrufe • vor 6 Monaten

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 Aufrufe • vor 4 Monaten

Before James Toback's screenplay for "The Gambler" (1974) was accepted by the studio, he had met Robert De Niro on the suggestion of his friend, Lucy Saroyan who said that "De Niro was a genius & the only actor on earth who was going to be as great as Marlon Brando". Immediately, Toback set up a meeting with him & both of their visions matched the character. De Niro started to become the character after reading the script in real life by dressing and having the same haircut. He started to mimic most of the writer's characteristics. After Karel Reisz agreed to direct the movie, Toback made changes to the screenplay, which he said made it a "Widely expanded and deepened movie". Reisz interviewed Richard Dreyfus and Chris Sarandon and others for the lead role, but inexplicably resisted meeting De Niro. Finally, he agreed to meet De Niro after relentless pressure but insisted that Toback should not come for the dinner meet. Toback spoke to De Niro, who told Toback to call him after speaking with Reisz after the meeting. Reisz called Toback and firmly said, “Jim, I want to make your movie. And I want you — I need you — to be with me every day until the end. In fact, I can’t make this movie without you. But if you are going to insist on my using De Niro I will not make the movie.” Toback, who was stunned, replied, “He’s the guy! How can you not see that?” Reisz said, "I’m sorry. I won’t discuss it. He’s simply wrong for the part. He has the wrong temperament." While Toback kept on pressuring, Reisz harshly said, "If you continue trying to persuade me, I’ll have to resign from the movie tomorrow. We can talk about anything else. I will not talk about him." Toback told De Niro what had occurred. An agitated De Niro replied, "Jim, the guy didn’t even let me read. You’ve gotta get him to let me read.” De Niro kept pressuring Toback and asked him to insist that he the movie won't work well without De Niro & to inform Reisz that Toback won't work on the movie if De Niro isn't allowed to read for the part. He felt that Reisz was just bluffing about quitting the movie. Finally, De Niro said, "I’ll tell you something else. The changes you made are all wrong. He got you to turn a great script into something not nearly as good." ("James Toback On 'The Gambler' Remake: “Not Possible… Rudeness And Disrespect”", Nikki Finke, Deadline, 2011) P.S: Remembering the great Czech born British filmmaker, Karel Reisz, on his 100th birthday!
1:35

Before James Toback's screenplay for "The Gambler" (1974) was accepted by the studio, he had met Robert De Niro on the suggestion of his friend, Lucy Saroyan who said that "De Niro was a genius & the only actor on earth who was going to be as great as Marlon Brando". Immediately, Toback set up a meeting with him & both of their visions matched the character. De Niro started to become the character after reading the script in real life by dressing and having the same haircut. He started to mimic most of the writer's characteristics. After Karel Reisz agreed to direct the movie, Toback made changes to the screenplay, which he said made it a "Widely expanded and deepened movie". Reisz interviewed Richard Dreyfus and Chris Sarandon and others for the lead role, but inexplicably resisted meeting De Niro. Finally, he agreed to meet De Niro after relentless pressure but insisted that Toback should not come for the dinner meet. Toback spoke to De Niro, who told Toback to call him after speaking with Reisz after the meeting. Reisz called Toback and firmly said, “Jim, I want to make your movie. And I want you — I need you — to be with me every day until the end. In fact, I can’t make this movie without you. But if you are going to insist on my using De Niro I will not make the movie.” Toback, who was stunned, replied, “He’s the guy! How can you not see that?” Reisz said, "I’m sorry. I won’t discuss it. He’s simply wrong for the part. He has the wrong temperament." While Toback kept on pressuring, Reisz harshly said, "If you continue trying to persuade me, I’ll have to resign from the movie tomorrow. We can talk about anything else. I will not talk about him." Toback told De Niro what had occurred. An agitated De Niro replied, "Jim, the guy didn’t even let me read. You’ve gotta get him to let me read.” De Niro kept pressuring Toback and asked him to insist that he the movie won't work well without De Niro & to inform Reisz that Toback won't work on the movie if De Niro isn't allowed to read for the part. He felt that Reisz was just bluffing about quitting the movie. Finally, De Niro said, "I’ll tell you something else. The changes you made are all wrong. He got you to turn a great script into something not nearly as good." ("James Toback On 'The Gambler' Remake: “Not Possible… Rudeness And Disrespect”", Nikki Finke, Deadline, 2011) P.S: Remembering the great Czech born British filmmaker, Karel Reisz, on his 100th birthday!

DepressedBergman

218,751 Aufrufe • vor 2 Monaten

Robert De Niro originally wanted to play Max Cherry in Jackie Brown, the role that eventually went to Robert Forster. However, Quentin Tarantino had written the role with Forster in mind and had already promised him the part. Tarantino explains… “I wrote Jackie Brown, and I decided at some point in writing the script that Robert Forster would be terrific as Max Cherry. So, while I’m still writing the script, I bump into Robert Forster - we go to the same coffee shop. ….so I decided I’m gonna give him the part, because I figure, look, this would be a big, big deal part. So if I don’t give him the part, then once I’m done with it and it gets out in the town, then it’s gonna be Gene Hackman and Paul Newman and people like that, and it would be pretty hard to say no to. But if I just give him the part right now, I’ve got the juice to get it through, and now I can’t take it back because I wouldn’t be a man of my word. So to lock myself into that decision, I give it to him before I finish writing it. And then now comes the time to do it. Robert De Niro reads it, and he wants to be in it, but he wants to play Max. And I go, “Well, look, you would be a fantastic Max, but I’ve already given that to Robert Forster, and I’m a man of my word. I can’t take it back.” Now, De Niro is very much a man of his word, so he understands that. He gets that. And he’s just like, “Yeah, yeah. That’s just disappointing. It’s just regretful.” I go, “What?” “Well, just because, you know, you were thinking about him, so you wrote it for him. But if we had had more dinners and hung out a little bit more, then you would have been thinking about me and you would have written it for me. And I understand what happened, but that could have been changed if we had spent more time with each other before this.” And so he kind of gives me the – “just think about it for a couple of days, all right? - and then let’s talk again. Maybe Bob (Robert Foster) could play Louis, the other guy.” So then I actually have Bob read Louis with me, and then read Max. And if that could work, maybe that could work. But no, everything that made him perfect for Max made him wrong for Louis. And so I get on the phone with De Niro — and I go, “Yeah, you know, I explored that. But no, everything about him that makes him perfect for Max makes him wrong to play this ex-convict guy.” And he goes, “Yeah, yeah, I get that. I get that, I get that, I get that. Okay, so tell me about this Louis character.” And I go, “You would consider playing Louis?” “Yeah, it’s a good character. It’s a good movie. I wanna be part of it. It’s a good character. I wanted the other character, but yeah, this is a good character. I’d be happy to play it.” I go, “Well, you didn’t let me know that before.” He goes, “Well, I didn’t wanna let you off the hook. I wanted you on the hook. But now if that ship has sailed, then let’s talk about Louis.” And then it was a done deal.”
5:57

Robert De Niro originally wanted to play Max Cherry in Jackie Brown, the role that eventually went to Robert Forster. However, Quentin Tarantino had written the role with Forster in mind and had already promised him the part. Tarantino explains… “I wrote Jackie Brown, and I decided at some point in writing the script that Robert Forster would be terrific as Max Cherry. So, while I’m still writing the script, I bump into Robert Forster - we go to the same coffee shop. ….so I decided I’m gonna give him the part, because I figure, look, this would be a big, big deal part. So if I don’t give him the part, then once I’m done with it and it gets out in the town, then it’s gonna be Gene Hackman and Paul Newman and people like that, and it would be pretty hard to say no to. But if I just give him the part right now, I’ve got the juice to get it through, and now I can’t take it back because I wouldn’t be a man of my word. So to lock myself into that decision, I give it to him before I finish writing it. And then now comes the time to do it. Robert De Niro reads it, and he wants to be in it, but he wants to play Max. And I go, “Well, look, you would be a fantastic Max, but I’ve already given that to Robert Forster, and I’m a man of my word. I can’t take it back.” Now, De Niro is very much a man of his word, so he understands that. He gets that. And he’s just like, “Yeah, yeah. That’s just disappointing. It’s just regretful.” I go, “What?” “Well, just because, you know, you were thinking about him, so you wrote it for him. But if we had had more dinners and hung out a little bit more, then you would have been thinking about me and you would have written it for me. And I understand what happened, but that could have been changed if we had spent more time with each other before this.” And so he kind of gives me the – “just think about it for a couple of days, all right? - and then let’s talk again. Maybe Bob (Robert Foster) could play Louis, the other guy.” So then I actually have Bob read Louis with me, and then read Max. And if that could work, maybe that could work. But no, everything that made him perfect for Max made him wrong for Louis. And so I get on the phone with De Niro — and I go, “Yeah, you know, I explored that. But no, everything about him that makes him perfect for Max makes him wrong to play this ex-convict guy.” And he goes, “Yeah, yeah, I get that. I get that, I get that, I get that. Okay, so tell me about this Louis character.” And I go, “You would consider playing Louis?” “Yeah, it’s a good character. It’s a good movie. I wanna be part of it. It’s a good character. I wanted the other character, but yeah, this is a good character. I’d be happy to play it.” I go, “Well, you didn’t let me know that before.” He goes, “Well, I didn’t wanna let you off the hook. I wanted you on the hook. But now if that ship has sailed, then let’s talk about Louis.” And then it was a done deal.”

Gangster Cinema Central

89,214 Aufrufe • vor 2 Monaten

The release of "The Long Good Friday" (1980) was delayed due to political fears. Having been made in 1979 for £900,000 with backing from Black Lion, a subsidiary of Lew Grade’s ITC Entertainment behemoth, the film hit festivals in 1980, but was delayed when Grade and others balked. There were concerns that the IRA might blow up cinemas that screened it, and another version was prepared with the Irish references and violence heavily excised. Additionally, out of fear that Americans wouldn't understand Bob Hoskins' accent in "The Long Good Friday" (1980) & as they thought Brummie accent would be better, an actor from Wolverhampton had dubbed Bob Hoskins' lines in the movie. Hoskins was incandescent when he found out about it. Hoskins and others members of the crew threatened to sue. A great list of people including Richard Burton, Alec Guinness, and Warren Beatty were ready to stand as expert witnesses. According to John Mackenzie, Grade organisation feared the bad publicity and didn't want to annoy establishment figures like Guinness. So they agreed to sell it to Handmade Films. Because of this fiasco, the released of the film was delayed well over a year. ("Hanging around in the hood: the legacy of The Long Good Friday", The Guardian, 2000 & "The uncanny predictions of The Long Good Friday", Lou Thomas, BFI, 2015) P.S: On this day, 46 years ago, "The Long Good Friday" (1980) premiered in Cannes, France.
2:12

The release of "The Long Good Friday" (1980) was delayed due to political fears. Having been made in 1979 for £900,000 with backing from Black Lion, a subsidiary of Lew Grade’s ITC Entertainment behemoth, the film hit festivals in 1980, but was delayed when Grade and others balked. There were concerns that the IRA might blow up cinemas that screened it, and another version was prepared with the Irish references and violence heavily excised. Additionally, out of fear that Americans wouldn't understand Bob Hoskins' accent in "The Long Good Friday" (1980) & as they thought Brummie accent would be better, an actor from Wolverhampton had dubbed Bob Hoskins' lines in the movie. Hoskins was incandescent when he found out about it. Hoskins and others members of the crew threatened to sue. A great list of people including Richard Burton, Alec Guinness, and Warren Beatty were ready to stand as expert witnesses. According to John Mackenzie, Grade organisation feared the bad publicity and didn't want to annoy establishment figures like Guinness. So they agreed to sell it to Handmade Films. Because of this fiasco, the released of the film was delayed well over a year. ("Hanging around in the hood: the legacy of The Long Good Friday", The Guardian, 2000 & "The uncanny predictions of The Long Good Friday", Lou Thomas, BFI, 2015) P.S: On this day, 46 years ago, "The Long Good Friday" (1980) premiered in Cannes, France.

DepressedBergman

109,025 Aufrufe • vor 4 Monaten

Robert De Niro and Tarantino couldn’t get along before Jackie Brown. De Niro wanted to play Max Cherry. He lobbied for it. But Tarantino already promised that part to Robert Forster. He handed him the script in a restaurant and said, “You will do this, that’s all there is to it.”
0:55

Robert De Niro and Tarantino couldn’t get along before Jackie Brown. De Niro wanted to play Max Cherry. He lobbied for it. But Tarantino already promised that part to Robert Forster. He handed him the script in a restaurant and said, “You will do this, that’s all there is to it.”

Emir Han

365,495 Aufrufe • vor 3 Monaten

Brian De Palma asked Melanie Griffith to introduce him to her friend Jamie Lee Curtis, so that he could cast her for the role of Holly in "Body Double" (1984). Jamie Lee Curtis rejected as she didn't want to be typecast as a s€x worker, having just done a similar role in "Trading Places" (1983). After Curtis rejected, Melanie Griffith told De Palma that she want to audition for the role. De Palma told Griffith that her boyfriend at the time, Steven Bauer, would never let her take on a role like Holly. Griffith told him right away that Bauer had no say in her career. It was her choice, not his. So De Palma sent her the script and she ended up getting the part. (Source: Qwipster & IMDb) P.S: Happy 69th birthday, Melanie Griffith!
1:53

Brian De Palma asked Melanie Griffith to introduce him to her friend Jamie Lee Curtis, so that he could cast her for the role of Holly in "Body Double" (1984). Jamie Lee Curtis rejected as she didn't want to be typecast as a s€x worker, having just done a similar role in "Trading Places" (1983). After Curtis rejected, Melanie Griffith told De Palma that she want to audition for the role. De Palma told Griffith that her boyfriend at the time, Steven Bauer, would never let her take on a role like Holly. Griffith told him right away that Bauer had no say in her career. It was her choice, not his. So De Palma sent her the script and she ended up getting the part. (Source: Qwipster & IMDb) P.S: Happy 69th birthday, Melanie Griffith!

DepressedBergman

246,011 Aufrufe • vor 1 Monat

It’s been 37 years, and I still can’t rewatch Casualties of War. It annoyed the crap out of me, and it’s all down to casting Michael J. Fox... but not for the reason you’d assume. Columbia green-lit the film, but the money was contingent on securing Fox. De Palma had a reason: he wanted to weaponise him. Fox was (and is) one of the most lovable actors on camera. De Palma used our affection for him as a psychological tool. Watching the kidnapping and repeated rape of a young girl by US soldiers through Fox’s eyes strips your emotional defences. You experience the sudden, visceral horror alongside him. De Palma used us against us… the bastard. It wasn’t just on screen. De Palma pushed the other actors to alienate Fox during the shoot. Sean Penn would taunt him, calling him a “television actor” right before cameras rolled. De Palma shaped it so we’d feel Fox’s frustration, and want to jump through the screen to protect him. By turning Fox’s persona into an emotional lightning rod, De Palma makes it impossible to watch with clinical distance. The tragedy isn’t abstract; it’s intimate. The bridge scene almost demands, because of our Fox conditioning, that he saves the girl. De Palma builds that expectation, then shatters it. As Fox screams and tries to save Oanh, you wait for the “movie star hero moment.” Instead, De Palma denies you that catharsis, forcing you to watch a beloved icon fail in the face of systemic brutality. I’ve never been so annoyed watching a film, not because it’s bad; it's great. My love for Michael J. Fox simply won't allow me to watch him go through that again.
2:25

It’s been 37 years, and I still can’t rewatch Casualties of War. It annoyed the crap out of me, and it’s all down to casting Michael J. Fox... but not for the reason you’d assume. Columbia green-lit the film, but the money was contingent on securing Fox. De Palma had a reason: he wanted to weaponise him. Fox was (and is) one of the most lovable actors on camera. De Palma used our affection for him as a psychological tool. Watching the kidnapping and repeated rape of a young girl by US soldiers through Fox’s eyes strips your emotional defences. You experience the sudden, visceral horror alongside him. De Palma used us against us… the bastard. It wasn’t just on screen. De Palma pushed the other actors to alienate Fox during the shoot. Sean Penn would taunt him, calling him a “television actor” right before cameras rolled. De Palma shaped it so we’d feel Fox’s frustration, and want to jump through the screen to protect him. By turning Fox’s persona into an emotional lightning rod, De Palma makes it impossible to watch with clinical distance. The tragedy isn’t abstract; it’s intimate. The bridge scene almost demands, because of our Fox conditioning, that he saves the girl. De Palma builds that expectation, then shatters it. As Fox screams and tries to save Oanh, you wait for the “movie star hero moment.” Instead, De Palma denies you that catharsis, forcing you to watch a beloved icon fail in the face of systemic brutality. I’ve never been so annoyed watching a film, not because it’s bad; it's great. My love for Michael J. Fox simply won't allow me to watch him go through that again.

The Sting

956,292 Aufrufe • vor 1 Tag

Jennifer Lawrence Says She Accidentally Sent Robert De Niro Home From Her Wedding. Jennifer Lawrence: “He’s amazing on set. He’s just… the sweetest man in the world.” “Still very intimidating.” “I invited him to my rehearsal dinner for my wedding, obviously expecting him not to come.” “And when he came, I said, ‘Bob, you really don’t have to be here.’” “You can go home.” Robert De Niro: “Thank you so much.” “And left.”
0:24

Jennifer Lawrence Says She Accidentally Sent Robert De Niro Home From Her Wedding. Jennifer Lawrence: “He’s amazing on set. He’s just… the sweetest man in the world.” “Still very intimidating.” “I invited him to my rehearsal dinner for my wedding, obviously expecting him not to come.” “And when he came, I said, ‘Bob, you really don’t have to be here.’” “You can go home.” Robert De Niro: “Thank you so much.” “And left.”

Murna Elisa

2,430,653 Aufrufe • vor 1 Monat

Brian De Palma originally wanted Andy Garcia to play Capone's enforcer Frank Nitti in The Untouchables, but Garcia turned it down and lobbied for the role of George Stone instead - partly because he wanted to work alongside Sean Connery. Garcia explains... "Obviously I wanted to work with Connery. He was one of my childhood heroes, so I lobbied immediately to play the other part. I had to be firm about it —I wanted to roll the dice. Eventually I met with Brian, and I auditioned for George Stone, and they gave me the part…. The dynamics in the film were basically the dynamics on set. We all became very close, but the hierarchy stayed the same — he (Connery) was the older, wise guy, always jabbing at us, and it was my job, as my character, to push back. Respectfully, but to keep the exchanges going. I love Sean Connery. I’ll tell you a quick story — I’ve told it before, but it’s funny.... (1/2)
1:28

Brian De Palma originally wanted Andy Garcia to play Capone's enforcer Frank Nitti in The Untouchables, but Garcia turned it down and lobbied for the role of George Stone instead - partly because he wanted to work alongside Sean Connery. Garcia explains... "Obviously I wanted to work with Connery. He was one of my childhood heroes, so I lobbied immediately to play the other part. I had to be firm about it —I wanted to roll the dice. Eventually I met with Brian, and I auditioned for George Stone, and they gave me the part…. The dynamics in the film were basically the dynamics on set. We all became very close, but the hierarchy stayed the same — he (Connery) was the older, wise guy, always jabbing at us, and it was my job, as my character, to push back. Respectfully, but to keep the exchanges going. I love Sean Connery. I’ll tell you a quick story — I’ve told it before, but it’s funny.... (1/2)

Gangster Cinema Central

1,194,686 Aufrufe • vor 3 Monaten

Kristen Bell reveals Dax Shepard broke up with her, then called her back just four days later. “ He did break up with me very early on. I may have scared him a little because I wanted to spend all our time together. I was very excited, and he had just gotten out of a relationship and wanted more freedom. I don’t think he wanted everything I was presenting to him.” “ He sat me down and said, ‘I don’t think we’re in the same place. I really, really enjoy you.’ At that point, I was definitely in love with him. We were a month and a half in, and I was heartbroken. Even thinking about it breaks my heart.” “ He said, ‘I’m still casually dating other people.’ I definitely wasn’t. But he was very upfront. He said, ‘That’s not what you deserve, and I’m not going to give you anything half-assed.’ In a way, he was extremely responsible with my heart, even though he broke it.” “Then, four days later, he texted me: ‘I’m just joking. I can’t do this. I really would like to be with you again.’” “I went over to his house, but I was a little guarded. He had planned a trip to the Bahamas for New Year’s and said, ‘I should probably let them know if you’re going to come on the trip.’” “I said, ‘If you want to invite me on a trip, you can ask me like a lady.’” “I gave him some grief after that, and I think it set the tone for our relationship.” “My therapist had said, ‘Maybe make him earn you back just a little bit. Don’t play a game, but don’t go back like some happy, dumb puppy dog.’” “So he did. He said, ‘I would really like it if you would accompany me to the Bahamas for New Year’s. Would you like to come?’” “And I said, ‘Yes, I would love to.’”
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Kristen Bell reveals Dax Shepard broke up with her, then called her back just four days later. “ He did break up with me very early on. I may have scared him a little because I wanted to spend all our time together. I was very excited, and he had just gotten out of a relationship and wanted more freedom. I don’t think he wanted everything I was presenting to him.” “ He sat me down and said, ‘I don’t think we’re in the same place. I really, really enjoy you.’ At that point, I was definitely in love with him. We were a month and a half in, and I was heartbroken. Even thinking about it breaks my heart.” “ He said, ‘I’m still casually dating other people.’ I definitely wasn’t. But he was very upfront. He said, ‘That’s not what you deserve, and I’m not going to give you anything half-assed.’ In a way, he was extremely responsible with my heart, even though he broke it.” “Then, four days later, he texted me: ‘I’m just joking. I can’t do this. I really would like to be with you again.’” “I went over to his house, but I was a little guarded. He had planned a trip to the Bahamas for New Year’s and said, ‘I should probably let them know if you’re going to come on the trip.’” “I said, ‘If you want to invite me on a trip, you can ask me like a lady.’” “I gave him some grief after that, and I think it set the tone for our relationship.” “My therapist had said, ‘Maybe make him earn you back just a little bit. Don’t play a game, but don’t go back like some happy, dumb puppy dog.’” “So he did. He said, ‘I would really like it if you would accompany me to the Bahamas for New Year’s. Would you like to come?’” “And I said, ‘Yes, I would love to.’”

𝓢𝓵𝓪𝓶 👁️⃤

2,084,164 Aufrufe • vor 1 Monat

In Taxi Driver, Harvey Keitel became so panicked that he would ask prostitutes how to play a pimp. “I was looking to meet a pimp because I didn’t know what to do about being a pimp.” “I would hang out on 10th Avenue, Ninth Avenue. I walked over to one of the girls and I said, ‘I’m looking for someone to help me to understand what it’s like to be a pimp’ “And she looks at me and goes, ‘No one’s going to talk to you.’ “Then in New York, in the Hell’s Kitchen quarter, I had been walking past pimps and girls of the night, and so I asked this guy to help me.” “He said he was an ex-pimp, but I always thought he was lying.” “We spent two weeks working in the basement of Actors Studio.” “He taught me how to dance with the girl. First I played the girl and he was the guy, and then we switched roles.” “He taught me how to be a pimp.” “At one point he says, ‘Oh, and you love the girl.’ I said: ‘Yeah, but you don’t really love her.’ He said: ‘No, you love her.’
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In Taxi Driver, Harvey Keitel became so panicked that he would ask prostitutes how to play a pimp. “I was looking to meet a pimp because I didn’t know what to do about being a pimp.” “I would hang out on 10th Avenue, Ninth Avenue. I walked over to one of the girls and I said, ‘I’m looking for someone to help me to understand what it’s like to be a pimp’ “And she looks at me and goes, ‘No one’s going to talk to you.’ “Then in New York, in the Hell’s Kitchen quarter, I had been walking past pimps and girls of the night, and so I asked this guy to help me.” “He said he was an ex-pimp, but I always thought he was lying.” “We spent two weeks working in the basement of Actors Studio.” “He taught me how to dance with the girl. First I played the girl and he was the guy, and then we switched roles.” “He taught me how to be a pimp.” “At one point he says, ‘Oh, and you love the girl.’ I said: ‘Yeah, but you don’t really love her.’ He said: ‘No, you love her.’

Emir Han

465,721 Aufrufe • vor 3 Monaten

Samuel L. Jackson says Quentin Tarantino originally didn’t want to tell him he wasn’t playing Django. “He sent me the script without telling me I wasn’t going to be Django.” “He just said, ‘Read it. The character is Stephen.’” “I called him back and said, ‘So you want me to play the most despicable Black man in the history of cinema?’” “He said, ‘Well… yeah.’” “I told him, ‘Okay, let’s do it.’” “He actually toned Stephen down because he said, ‘I don’t want anybody to kill you.’” “People call Quentin racist because of his scripts.” “But every character he’s written for me has been intelligent, respected, and in control.” “It would be impossible for a racist to consistently write characters like that for me.”
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Samuel L. Jackson says Quentin Tarantino originally didn’t want to tell him he wasn’t playing Django. “He sent me the script without telling me I wasn’t going to be Django.” “He just said, ‘Read it. The character is Stephen.’” “I called him back and said, ‘So you want me to play the most despicable Black man in the history of cinema?’” “He said, ‘Well… yeah.’” “I told him, ‘Okay, let’s do it.’” “He actually toned Stephen down because he said, ‘I don’t want anybody to kill you.’” “People call Quentin racist because of his scripts.” “But every character he’s written for me has been intelligent, respected, and in control.” “It would be impossible for a racist to consistently write characters like that for me.”

KΞRL_✂️

1,845,577 Aufrufe • vor 2 Monaten

Trump was reportedly furious over Noem’s assertion during a hearing that he had approved that $200+ million ad campaign but she actually had told this story before and based on what the former DHS Secretary says here, it allegedly was his idea. Noem: He said, “Do you know those ads that you did in South Dakota?” Oh, and I said, “Yes sir, you mean my ‘Freedom Works Here’ ads?” And he said, “Yeah, those ones where you — those beautiful ads, you know, those beautiful ads, beautiful — you did about South Dakota. They had Mount Rushmore, all those things.” He said, “I want you to do those for the border..” And I said, “Well sir, I don’t know how that works. You mean the ones where I was a plumber and where I was an electrician? I don’t know if I can do those for the border.” And he said, “No, I want you to do those for the border, and I want you to do those everywhere — not just in the United States, but I want them around the world. I want you to tell people not to come to this country if they’re going to come here illegally.” And I said, “Well sir, we can do press conferences. You know, we can tell people what we’re doing.” And he said, “Nope. We’re not going to let the media tell this story because the media will never tell the truth. A marketing campaign to make sure the American people know the truth of what you’re doing.” And I said, “Well sir, do you want to be in those ads?” And he said, “Nope, nope, I want you to do them.” He said, “I want you in the ads.” He said, “I want you in the ads, and I want your face in the ads. But I want the first ad — I want you to thank me. So I want you to thank me for closing the border.” And I said, “Yes sir, I will thank you for closing the border.” So if you notice in that ad, we thanked him for closing the border.
1:39

Trump was reportedly furious over Noem’s assertion during a hearing that he had approved that $200+ million ad campaign but she actually had told this story before and based on what the former DHS Secretary says here, it allegedly was his idea. Noem: He said, “Do you know those ads that you did in South Dakota?” Oh, and I said, “Yes sir, you mean my ‘Freedom Works Here’ ads?” And he said, “Yeah, those ones where you — those beautiful ads, you know, those beautiful ads, beautiful — you did about South Dakota. They had Mount Rushmore, all those things.” He said, “I want you to do those for the border..” And I said, “Well sir, I don’t know how that works. You mean the ones where I was a plumber and where I was an electrician? I don’t know if I can do those for the border.” And he said, “No, I want you to do those for the border, and I want you to do those everywhere — not just in the United States, but I want them around the world. I want you to tell people not to come to this country if they’re going to come here illegally.” And I said, “Well sir, we can do press conferences. You know, we can tell people what we’re doing.” And he said, “Nope. We’re not going to let the media tell this story because the media will never tell the truth. A marketing campaign to make sure the American people know the truth of what you’re doing.” And I said, “Well sir, do you want to be in those ads?” And he said, “Nope, nope, I want you to do them.” He said, “I want you in the ads.” He said, “I want you in the ads, and I want your face in the ads. But I want the first ad — I want you to thank me. So I want you to thank me for closing the border.” And I said, “Yes sir, I will thank you for closing the border.” So if you notice in that ad, we thanked him for closing the border.

Acyn

577,039 Aufrufe • vor 6 Monaten