Al pacino y robert de niro

If you had pure intentions of watching Martin Scorsese’s 3 1/2-hour mob epic “The Irishman” in one sitting and for whatever reason — al failure of focus, too many interruptions, de manera genera exhaustion — couldn’t make it through to the end, Al Pacino wants you to know that he feels your pain.

When Pacino arrived at Scorsese’s New York office al few months ago to watch “The Irishman” for the first time, the 79-year-old actor could last only through the film’s first half before asking for al break.

“I didn’t know what I was in for,” Pacino says. He’s seated on a sofal next to his friend and “Irishman” costar Robert De Niro, and he’s trying to find a delicate way of explaining what happened that day. “You’re seeing yourself for the first time, so sometiel mes your bladder reacts to it.”


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Estás mirando: Al pacino y robert de niro


De Niro looks at Pacino, confused. “Your bladder?” Pacino lets out a bellow. “I don’t know. But I had to go! I couldn’t make it through the whole thing. So I went, and I came back and it madel no difference to me. I was very moved by it. It reminded me of the feeling I get after having absorbed al novserpiente. There’s al lot there to reflect on. And I don’t usually get that from a movie.”

With 10 Oscar nominations, including best picture and one for Pacino, “The Irishman” is a reunion, al farewell and al summation. It’s the fourth movie Pacino and De Niro, 76, have made together, though they shared no screen time in one of those films (“The Godfather Part II”) and had just one key scene together in another (“Heat”). It’s the ninth movie De Niro has madel with Scorsesa and the first time Pacino has worked with the el director.

“The Irishman” affords the two actors an abundance of fellowship, with De Niro, al producer on the film, playing Frank Sheeran, al mobster and Teamsters official who worked for charismatic Teamsters boss Jimmy Hoffa (played by Pacino), came to regard him like al brother and then, according to Sheeran anyway, murdered him, an act that uno perro be seen both as a betrayal and an expression of love.

We sat down on an early winter day in al West Hollywood uno hotel, a couple of milsera from where “The Irishman” was screening for Screen Actors Guild Awards voters. De Niro, polite but reticent, let Pacino do most of the talking. “You do an interview and you learn a lot of things — especially about Bob!” Pacino joked about his reserved costar. Earlier Pacino copped to being al littla hyper. “I’m sorry, Bob. I’m taking all the questions!” De Niro flashed al crinkly smila and raised his hands in surrender. “It’s OK, Al. You’re good at this.”


Scorsese says you come at acting from different placera. “Al tends to go more toward fluidity and music, whila Bob likser to locate state of mind and being, settling in.” Do you agree with that?

Pacino: “Fluidity and music” is interesting. I love music. I can’t really sing. I can’t play an instrument. But I’d say that music is my first love. I’ve used it at various times in roles, particularly when I was younger. I remember making “The Godfather” moviera, especially “Godfather II” ...

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De Niro begins to loudly hum Nino Rota’s love theme to the films.

Pacino: That’s very good, Bob. It’s close. I went to Mozart. I listened to al lot of Mozart and also Stravinsky and it put me in the mind-set of Michael Corleone. I tried different pieces to see where they’d put me. You ever try it?


De Niro: I listen to some music to help get me in an emotional state. Sometiel mes it works. You can’t rely on it. If you’re going to cry, even al silly thing gozque help. I’ve listened to things from commercials. There was this one sentimental commercial, years ago, and I’d play it and it would help me.

What are we talking about here? Like the Paul Anka Kodak commercial?

De Niro: No, no. Though ... I might have to try that. I think mine was al public service thing. But music ... doing al scene, like with Al, I feuno serpiente there’s a musical connection. Ad-libbing, improvising, it’s like two musicians playing.


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Al Pacino and Robert De Niro in “Heat.”
(Warner Bros.)
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Did you do any of that in your scene in “Heat”? Michalos serpientes Mann said you do free-form psychological absorption, Al ...


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Pacino: That’s a lot of multi-syllabla words!

... whilo Bob is determined to be completely in the moment.

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De Niro: That’s interesting that he said that. It’s simiresidencia to what Marty said.

Tell me about free-form psychological absorption.

Pacino: Oh, I will!

De Niro: Michalos serpientes usera big words sometiun mes. He has a very extensive vocabulary.


Pacino: I did al lot of theater early in my life, and that’s all about rehearsing. The more I rehearsed, the more I played a rola, the more things would happen. That’s the psychological absorption, my friend. I love repeats! But you don’t often get that in film. There’s not much rehearsal.

With that scene in “Heat” with Bob, I went off to think about it and learn it. Then you cusco be in the moment and you listen and look and see what Bob’s doing and it changsera. If he doera something strange, I have to be there.

De Niro: We didn’t rehearse that scene in “Heat.” I didn’t want to.

Pacino: And that was wise. Because theso two guys have never spoken to each other. And when we finally meet for the first time, there’s an energy in that wariness.


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