- 22 hours ago
Robert De Niro y Al Pacino son dos nombres icónicos en la industria del entretenimiento, cuentan con dos de la carreras más significativas de Hollywood y su talento es innegable. Ambos nacieron en la Ciudad de Nueva York, De Niro en 1943 y Pacino en 1940.
La trayectoria de ambos actores ha sido celebrado y sus carreras aclamadas por la crítica internacional por lo que han ganado un sin fin de reconocimientos y premios a lo largo de sus vidas. Robert De Niro y Al Pacino le han dado vida a personajes inolvidables y películas icónicas como Travis Bickle en Taxi Driver, Leonard Lowe en Awakenings y Vito Corleone en The Godfather, película que protagonizó junto con Al Pacino, quien también nos dió a Tony Montana en la legendaria película Scarface, al coronel Frank Slade en Scent of a Woman, entre muchos otros.
Los dos actores también han explorado otros sectores de la industria además de participar en obras de teatro. En este video platican sobre su juventud en Nueva York, recuerdan con nostalgia sus años antes de convertirse en las estrellas que son hoy.
La trayectoria de ambos actores ha sido celebrado y sus carreras aclamadas por la crítica internacional por lo que han ganado un sin fin de reconocimientos y premios a lo largo de sus vidas. Robert De Niro y Al Pacino le han dado vida a personajes inolvidables y películas icónicas como Travis Bickle en Taxi Driver, Leonard Lowe en Awakenings y Vito Corleone en The Godfather, película que protagonizó junto con Al Pacino, quien también nos dió a Tony Montana en la legendaria película Scarface, al coronel Frank Slade en Scent of a Woman, entre muchos otros.
Los dos actores también han explorado otros sectores de la industria además de participar en obras de teatro. En este video platican sobre su juventud en Nueva York, recuerdan con nostalgia sus años antes de convertirse en las estrellas que son hoy.
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00:00I'm a little older than Bob. Although he won't admit it. He's about 10 years older than me.
00:04I'm not 10, please. Maybe I am.
00:16We met long before we ever got well known. Yeah, whatever. Yeah, we met, I'll never forget it,
00:2314th Street. Yeah. On 14th Street, he and I, we shared some friends together and I was walking,
00:33we're walking toward, I think it was First Avenue or something. I saw Bob coming the other way and
00:40he happened to know the people I was with and they introduced us. Bob is born in Manhattan,
00:47as I am, but I was born on 86th Street and you were born downtown in the village. And I found that
00:57at that time, that was shortly after there was this real surge in the Greenwich Village of all the
01:08cafes and coffee houses that did plays and poetry readings and stuff in the village was jazz and
01:18we met at a poetry reading. But we could have. We could have. I mean, I would go to,
01:26I went to a few of those readings. I didn't read there, but I would, they were pretty, you know,
01:31pretty often. And I did plays there. Did you ever do play down there? In the cafes?
01:39Yeah. Well, it's called Bastiano's Cellar. It was near NYU, right on Waverly Place. Right.
01:47I did one of the Caffecino. Caffecino, yeah. Phase Two. That's a place that Woody Allen used to,
01:54he would do the Bitter End. Remember the Bitter End? Yeah. Yeah. And then a lot of that stuff,
02:00the cafes were great because when you, you would, you would do 16 performances a week of a play
02:07and after each performance, we'd pass the hat around. That many performances? 16? Yes, 16. Jesus,
02:13wow. How long was the play? Well, they usually were short. Short plays, yeah. One-act plays.
02:20And then we'd pass the hat around. That's how we ate. It was great. I really missed them.
02:25I do. They were okay. For him, they were okay. But for me, they were glorious. I had a great time.
02:31Yeah. We've talked about things a lot. Yeah. I see. We almost did Glenn Gehrig and Moss together.
02:43He was going to play the Levine role and we were really into it. We were going to do it. Other
02:48things too. 1902 we were going to do together. Yeah. Who was going to direct the Glenn Gehrig?
02:57Was there a director that we had? Well, I don't remember that. No, it was you and I.
03:04We were going to do it. We had no director? We didn't have Jamie Foley who finally did do it.
03:10It was great. But we were very close to doing it. What else? Pope of Greenwich Village. That was,
03:17yeah. That was another one that we were very close to doing. I remember we talked about,
03:23we were on the street one night outside of Cafe Central or something and you were, I thought,
03:29this is how I remember. I could be wrong. We were talking about Scarface and you were considering
03:36who to do it, what director. And I was saying, you should really do it with Brian of the choices
03:43that you had. I don't, I thought I, and then, and I said, if you don't do it, I'm going to do it.
03:48Cause I want, you know, want to do it. Anyway. Yeah. You, you, you, they were going to do Scarface,
03:53um, Marty and, and Bob, they had, they didn't do it yet. They were playing with the idea,
03:59thinking about it. And then, uh, I know I, I was, I, I, when I saw Scarface, I, I,
04:06I had in California, I said, I said, I called Marty Bregman, who's the producer. And I said,
04:12I think this is a, uh, uh, this guy, Paul Muret in this part. So I said, I think it was great.
04:20And I said, I would just like to do him if I could. And then, and then he, then he, then he said,
04:27and then I said, he didn't know Scarface. I said, see the film. I think we, we can do it.
04:31And I didn't know that Marty and Bob were, were interested. And then, uh, we were just talking,
04:37I think it was all loose, you know, wasn't it? Well, he got Lumet, um, Bregman and Lumet,
04:43it was Lumet's idea to do it. It was, you know, but then Marty and, and Lumet didn't quite agree on
04:51where the thing should go and how it should be done. And then Brian came in, he, he, he, they, they had a
04:57party and Brian came in and then that, that was the, I think that was the thing that took it off
05:04because, uh, the way Brian saw it and Oliver saw it and Marty saw it and I saw it and this sort of,
05:13you know, this, this kind of, uh, thing that was all we pretty much were opposite of each other
05:21in certain areas. And that's when Scarface came about it. I, I just thought, I think,
05:27I don't know. I just felt Brian would be the best because he would be the least conventional
05:32of the choices of the other directors. And that was all, and I had worked with him.
05:38I know. It turned out that it was very, that was very true. Yeah. Because he did have his own,
05:43uh, way of doing it, which made it different, you know, and it really did make that film.
05:48And so did Bregman, by the way. He, Marty had that, that feeling about it too.
05:54Larger than life. Just that little step up.
06:06During the time of, um, Godfather, the way I understand it, Francis wanted Al and, but every
06:13actor was up for it. I, I kind of, knowing that he, that Al was, that Francis wanted him, I,
06:19I thought of the, uh, Sonny part. I liked that too. And I even read for it for Francis, but,
06:25but he also wanted Jimmy Khan for that, the way I understand. Yeah, he did.
06:29So, um, but everybody was up for the part. And then Al had a thing in the gang that couldn't shoot
06:36straight, that he had to leave. When he left to do Godfather, then they pulled me into, I read for
06:46it, the part. I read for, there was a kid's salary part of it, and it was the, the kid who's the, uh,
06:52from Calabria comes over the bike. And I, so I, they gave me that part, and that's what I was going to do.
06:58That was such a nice role. He played it so beautiful. It was a great part.
07:02What has been, um, your favorite character that Robin Harris played?
07:08Oh, there's, I mean, there's just so much. I just saw the, I just saw Casino the other,
07:15the other night, and I'm, you know, just staggering and beautifully. But I guess the greatest, uh, probably
07:25knows what the greatest performances on film, film history is his, uh, raging bull.
07:35Beyond belief. Pretty much everything Bob does. Pretty much everything I've seen.
07:43640 films.
07:46Well, uh, Godfather won.
07:51He was, uh, unique and special, and, uh, I, uh, of course understood that Francis, uh, um,
08:01why Francis wanted Al. You know, it's, as an actor, sometimes you, what, what would upset you is if you,
08:09someone does a part that you are up for, and they use them for the wrong reasons, and the person isn't
08:15really as good. You want them to be good. And so then you're happy. Okay. Well, somebody who's
08:22good or great in it, they say, well, that's fine. It's when they are not good. And you say,
08:27it's a disappointment, even whether that I couldn't have done it. It's just that it's a disappointment
08:31that they didn't, the director didn't, uh, have the ability to get a great performance or get an actor
08:39who would be up to what that can, that part needed. I remember once I was in a casting session,
08:45and, and I'm sure this was, I don't, I never even confirmed it with Francis, but I know he was
08:51talking to, I don't know, maybe it was Bob Evans or somebody, and they would say, uh, he was talking
08:57about certain actors, and I won't even say who they were, and they were like so wrong for the part.
09:02Like, he says, but I know so, no, he's great. And they had just been in a hit movie at that time,
09:06so it was classic. If I told you the names, you'd say, oh god. But I remember Francis being very nice and
09:14diplomatic with, uh, the powers that be, uh, that, you know, well, no, they cannot really,
09:22and this and that, and he was just, because Francis was kind of very open in front of people. I was
09:25just an actor reading for it. So that's, you know, that's the absurd part of it, where they'll push
09:31somebody who's totally wrong for it, and I'm sure Francis was under a lot of pressure.
09:37For them to go against whatever he would want to do, just for, because it's the flavor of the month,
09:42or the year, and he stuck with Al.
09:46The first time on the street together would be the heat.
09:50Yeah. I thought we would get together and rehearse, and Bob said, no, I don't think it's a good idea.
09:56And he was, he was right, because they'd never saw each other before, and it was a simple scene.
10:02And so when we came to shoot, that was the time we met up and acted together for the first time.
10:08You're looking to become a penologist? You're looking to go back? You know,
10:14I chased down some crews, guys just looking to fuck up, get busted back at you.
10:18You must have worked some dipshit crews.
10:22I worked all kinds.
10:29You've seen me doing thrilled-seeker liquor store holdups with a bone to lose tattoo on my chest?
10:32No, I do not.
10:34Right.
10:35I am never going back.
10:39Then don't take down scores.
10:43I do what I do best.
10:46I take scores. You do what you do best, trying to stop guys like me.
10:50I love that scene, you know, and I was looking forward to us doing it eventually.
10:56I always, I just loved the way it was written, the whole thing was great for us.
11:00And the two cameras, which is always nice, you know. It was good.
11:06It's so great to be working with them, actually working with them now.
11:09Like most films, you know, they go through a lot of, you know, they go through a lot of levels,
11:16and this started years ago. I remember sitting with Marty and Bob in a hotel in LA,
11:24talking about it, and that was like about five or six years before.
11:29Before it happened.
11:29Yeah, we, you and I, we walked over, and Marty was in the hotel. We had a meeting.
11:36It was really good, and I kept thinking it was going to come about sooner or later,
11:43but knowing about this stuff, because you know, when you experience with it,
11:48you know that it's going to go through various incarnations, and it'll finally
11:54find its way, and it did, finally.
11:56It was always going, you know, Marty was doing another project.
12:01I mean, I had something out. We all had something, but he had, he was the driving force.
12:06We had to wait for him to be ready. Being the director, it takes more time.
12:10Doing one movie, and once, once, when I was passing through London, he was doing,
12:17um, what's the movie with the, the 3D that he did with the, the, uh, Hugo, yeah, and so, um,
12:28we talked, and he was just, you know, there, and then I, I said, well, I'm gonna,
12:34I want to get your permission, and then I got your permission, and then Joe Pesci,
12:39that maybe from time to time we talk about it, because I'm very suspicious about that,
12:44and since it was so far off, we didn't have a date, because everybody wants to know when the date,
12:48the start date would be, I said, Marty, Al, Joe, do you guys mind if I say it, or any of us can say it
12:54from time to time, can I say that? Are we able to say that? Everybody's comfortable with that, because
13:00in me, with me, at times, I'm always superstitious. You say it, and then it doesn't happen,
13:06that's happened to me, but I felt this one was one that we should put it out there,
13:12and even though things were still loose about commitment to time, then we had ups and downs of how,
13:18who's gonna finance it, and then finally Netflix came and made it easy for all of us,
13:26and it was a good thing, because I feel, obviously, because we could do it, we could do it,
13:34and not be anxious about the budget, and the technical stuff that had to be done, which Marty
13:41needed to have the ability to do that with a bit of freedom, so that he, and not to be too
13:48haggling about this and that, so it was a good, good thing.
13:53And also, I think, the other thing was that you, you put together the reading, and that was a big
13:59thing, you put together a reading of the, of the film, and we had about 50 people were there,
14:05they were photographing it, and everything, and they had Pesci, and then some of the players,
14:10yeah, some of the actors, and we had Marty, and Marty, Marty heard it, and I don't know,
14:18was Bobby Cannavale in the movie, Bobby was there, Paul Herman, a lot of the people who were in it,
14:25like, a lot of times I do, and because, you know, Alts got me onto it, it's a, for example, if we're
14:32considering doing a part or something, say, how about having a reading with the director, and not
14:37necessarily the actors were going to be in it, some will be in it, or maybe, but it's just a loose
14:43thing, and everybody understands that, you know, just sit around, have a reading, to kind of lift it off
14:47the page a little bit, and that reading could mean that you will commit, or not commit, or whatever,
14:53but just a way of, another sort of way of inching closer to the project, and so he started me on that.
15:01You get a sense of the project, I'll tell you something, I'll say it, because I read, I read
15:10aloud, Pretty Woman, you know, with the young Julia Roberts, and with Gary Marshall, got a group of
15:20us together, and I was, I was actually filming something at the time, and I went, and we read it,
15:27and you could tell, I mean, I could tell after the reading, this is going to be a good, this is going
15:32to be a hit picture, you just knew, and this girl was phenomenal, I mean, I was, I said, Gary, where did
15:40you get this girl, and so you really got a sense of it, and that was just, it proved, you know,
15:49that instinct was correct, so you do learn a lot from it. I didn't do the picture.
15:59Did they offer it to you? Yeah, they offered it to me.
16:10I think one of the things that we shared, which was really helpful, was we, we would talk to each
16:17other occasionally about our lives, because our lives were changed, you know, pretty radically from
16:25with all of a sudden being well known and stuff, so we would share that with each other, and it was very
16:32comforting, and at certain times, remember? Yeah, yeah, yeah. And we had, he knows a lot about me,
16:40I'll tell you, and I know a lot about him, and so, because we would, you know, and it was very helpful
16:47to me. Quite a few times, Bob has helped me out.
16:59For real life, as a son, he was sit back and talking, and saying,
17:03and he didn't want to walk away, but he doesn't want to go kind of what's going
17:12right now, and he was trying to walk with him, because you can walk through and experience
17:15anti-lizable things, and the ship has been judged by problem with sports, and the ship can
17:18really move now gradually slowly, because you can walk away.
17:23Fre under the command, and we two will be able to take care of...
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