Al Pacino

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I am Al Pacino. And I'm hopeful about being Conan
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O'Brien's friend.
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That's really nice.
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You want a friend who stutters?
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Yeah, I think I'm out, by the way.
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Fall is here, hear the yell.
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Back to school, ring the bell.
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Brand new shoes, walkin' blues.
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Climb the fence, books and pens. I can tell that
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we are gonna be friends.
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Yes, I can tell that we are gonna be friends.
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Hey there, welcome. Conor O'Brien needs a friend. The podcast
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that casts that pod like no one else... Doesn't mean anything,
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but if I say it with authority, we'll get away
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with it. Joined by Sonam of Session, loves to keep
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telling people she's from Armenia. And Matt Gourley. Matt, how
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are you? I'm fine, but she is from Armenia.
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I know.
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I'm not from Armenia. Oh, right, sorry. Oh my God,
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I was born in Montebello. Montebello is in Armenia. No,
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it's not. It's off the 60 freeway in Los Angeles.
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The 60 freeway goes that far? It crosses the oceans?
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Oh my God, you had me believing it. Oh no, it's, no,
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I mean, whatever. Okay, change your story, whatever you want
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to do. Have you guys watching? It's very popular these days,
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this chimp crazy documentary.
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I actually have it.
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Okay.
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It's this documentary that's on Netflix and it's by the
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same filmmaker that did Tiger King. And now it's about,
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basically it's about women that become enthralled with chimps and
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form these really strong relationships with them and coexist with them.
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And in some cases love them even more than their
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own children. They say as much. What's that?
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They say it.
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They say it. It's crazy. No, no, no. Don't take
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us down that road. No, no.
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I mean, there's a point where you kind of go,
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is it?
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No, no, no. It's, it's, um, listen, that's probably where
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your mind goes. Anytime you see a person, an animal,
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but I, what I will say is that it's just
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about this incredible attachment they have to chimps. And, um,
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so I watched the whole series with my wife lies
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and she went, Oh, that's like me. And I said, what?
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Oh, it's true.
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And she said, you're basically a chimpanzee. And I'm like, what?
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And then she sent to my kids, she sent like,
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there's the picture of the woman and the chimp. Incredible.
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There's the poster of the woman and the chimp, and
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she sent it to the kids, and she went, look,
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it's me and your dad. Oh, my God. And the
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kids are like, yes! And there's just total agreement that
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life with me is like life with a chimp, except
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the chimps show more self-control.
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Although that explains why I do kind of fear my
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face and genitals being ripped off every time I'm with you.
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I have taken a swipe.
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Oh, my God.
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I've tried to swing at your genitals several times, but... No,
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it's funny. She said it and I immediately thought, oh
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my God, she's not wrong. I'm constantly skimpering and skimpering
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around the house, making noise. I do throw feces occasionally
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for fun and when I'm angry. Not mine. I have
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it shipped in.
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They are going to.
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Do a documentary on this. on you at some point. Well,
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they did. Like as in, as in like, Oh, at home,
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not on tour.
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You know what I mean?
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Like what went wrong kind of thing? Yes. Sort of
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like that. Or it's going to be a snapped. Yeah. Yeah.
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One of those things where I'm just, but you'll see
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lots of footage of me going around the house. And
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Liza going, come on, let's go. Let's go get your
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diaper on.
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Yeah.
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We got to go, you know, but anyway, that was,
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that's the lens that, through which my wife viewed chimp crazy.
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Perfect.
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She saw it as the depiction of our marriage. It's perfect. Well,
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there you go.
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Oh, wow.
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Oh, what's this? Are you giving me like a- Oh,
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we gotta do this. You just, I'm gonna talk about this.
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I thought I just said, you know, having a conversation.
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And Matt Gourley just, his face just suddenly died.
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Well, cause you put a paw, you put a.
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Big, did he not, did he not lull?
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No, no, no.
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Did it not lull? It did kinda lull. No, no,
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it lulled for a second, but I saw your face go,
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all animation left your face. It went blank and you went,
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do this. And you handed me the introduction to Al Pacino.
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Oh my God.
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Which I'm thrilled to do. I'm glad he's here, but
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it was just chilling. You were like, yeah. If you
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look this up on, look up the video of this,
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all animation left. And you stared at me and you went,
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do this. And handed me a paper. No joy. Really?
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And no even attempt to go, okay, well, moving on. No,
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you could have done that, but you didn't. I think
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because I thought we were cut. No, no, no, no.
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People can see behind the scenes that I just turned
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into a bowl of sadness.
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Guess what? We're going to keep that in and people
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are going to know what it's like to work here.
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You're just a robot. You know, you might as well
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just be one of those things that cleans the bottom
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of a pool. Just, you know what I mean? You
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said we're going to keep that in.
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He edits it.
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He could take it out and change it. And there's
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nothing you can really do about it. Oh, I'm very
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much involved in the editing process in this show.
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You don't know what any of the final product is
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in this thing.
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You are cut from every episode. Hey, name a time
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I haven't met you when it's time for the audio
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editing of this podcast. A time when I haven't driven
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out to your studio at your home and sat there
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with you as we painstakingly make small audio trims and
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fix little audio bumps. That is hard to refuse. Yeah,
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I'm there too, remember? Oh yeah, you are there. We're
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all doing it together. You're there because you take the
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freeway from Armenia every day.
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Oh my God, okay.
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All right. Conan went too far. You should read that intro.
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Conan went too far. I should probably do it. And
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what an intro this is. This is a huge one
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for me.
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And me.
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Well, no, more for me. I idolize this man. I
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idolize him, I guess, today as a Hollywood legend. Sometimes people,
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you say that about people, and you go, yeah, maybe. No, no,
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this is maybe the Hollywood legend. He starred in movies
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like The Godfather and Scarface. Just even mentioning his movies
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is insane. That's crazy. He now has a new memoir,
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which I've read, and it is absolutely fantastic. Read this.
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It's entitled Sunny Boy... Honor of a lifetime to be
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in a room with this gentleman. He's here today. Al Pacino, welcome.
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All right, I got to tell you something. I've never
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said this before on the podcast. I've talked to everybody.
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I've talked to presidents. You, sir. Yes.
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Yes.
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You, sir, put your phone away for this. Put your
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phone away for this, because this is a huge honor
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for you, what I'm about to say.
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It is an honor.
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Yeah.
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This is no higher honor than what I'm about to
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say to you. You are my favorite actor, and this
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is the most excited I've been to talk to anybody.
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This is a big fucking deal for me. Al Pacino,
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I'm blessed that you are here.
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Oh, well, wow. Thank you for that. I'm taking my
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sunglasses off now.
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You did.
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That one got them off. Thank you so much.
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And I want to say this. So you've written this book,
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Sunny Boy. It is your story, your autobiography. And they
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got me an advance copy. I hold myself up in
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my room and I read this thing. And it is
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a spectacular book. This is the best biography I can
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remember reading. It is such an amazing story. I thought
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I knew everything about you. It's an incredible book. Congratulations.
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Oh, thank you. That's a wonderful compliment. Thank you.
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Yeah.
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And that's all the time we have.
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Yes.
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It's been nice having you here.
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I'm not having that kind of luck today.
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Let me tell you something. I'm hard-pressed to think of
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anyone who's had more iconic performances than you. It's just
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such elite company of actors, 20th century, 21st century actors.
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And I read this story, and there's so much despair
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in it. There are highs, but there are lows. To
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people like me, to think about Al Pacino, I just think, oh,
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it's just Ben. What a miraculous, never-ending series of successes.
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But your childhood in the South Bronx, I'm reading about it,
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and it could have been the 1890s. I mean, I
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know it's the 1940s, early 50s, but you're running around
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like one of the dead-end kids with a gang. Do
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you know what I mean? It's absolutely incredible. And you're
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constantly almost getting killed.
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Well, it still goes on, you know. On the way
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up here, you know.
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Yeah, it's a tough part of Central Hollywood right here.
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You know, Beverly Hills, there are some sections, but... Oh,
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we're going to dodge those lattes. But no, I mean,
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you're talking about this period of your life, and it is...
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it feels like it could be a hundred years ago.
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It's such a crazy experience. And what you went through,
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your father leaves when you're two years old.
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No, yeah, a little, yeah, two. Let's just go with two.
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Let's go with two, please.
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Okay, let's just go with two. It's an even number,
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you know. You were 1.9. Your father left and your
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mom has mental health issues and then she passes away
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when you're still a very young man. And you- live
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kind of a chaotic young life. It was a real
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surprise to me. I didn't know that.
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Really? Yeah. Had you ever heard of any part of
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my life at all?
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I knew that you had been in theater. It always
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felt to me that the Al Pacino story was young
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guy doing theater, gets the godfather, hits it out of
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the park, and then the rest is spectacular. I read
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this story, and it's almost miraculous that that you get
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out of childhood. Do you know what I mean? That's
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the feeling I had.
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Yeah, that's good. I didn't mean that for you to
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have that feeling, but it's great you had a feeling,
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you know.
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I haven't had a feeling in a very long time.
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I know.
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I try reading the first two chapters of my book.
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I'm doing the audio of it now. And it's really
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a knockout. It really knocks you out. I mean, you
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start seeing your life. And, you know, in order to
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read a book, you have to act the part because
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you just read a monotone. Some of the monotone readers
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are wonderful. I mean, I really get the great Sean
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Penn reads Bob Dylan. I read that. Did anybody hear
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that book?
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I haven't heard that one, no. I've heard Sean Penn
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sings Bob Dylan. I don't recommend it. I don't recommend it.
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He ends up punching the microphone.
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Oh, my God. Well, he got Bob Dylan. He really
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got his tone. And so I'm reading these stories, and
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of course I lived through them, so I'm sort of
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reliving them. And it's tough.
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I would think it's tough because You run around with
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this gang of kids in South Bronx, and you point
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out that your mom did keep an eye on you.
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You did feel that you were more supervised than some.
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A lot of your friends don't make it. They die.
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They die, they get into heroin. And it's very poignant
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because you start the book with them. And then at
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the end of the book, after this incredible career, you
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go back and kind of dedicate it to these guys
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that didn't get out of the South Bronx, which is
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very powerful.
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Yeah.
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I don't know if you felt like, and I might
264
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be reaching here, but was there a little bit of
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survivor's guilt there? Like, how did I get out and
266
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they didn't get out?
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Well, I always thought about that, yeah. The thing that
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was so interesting to me that I recalled was one
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of my friends dying and being buried and around it
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with these just, you remember the one I say about
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this sort of, cold January morning or something. Bleak. Bleak.
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And Bruce is lowered, and the mother's crying, who I knew,
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of course, and this aunt or somebody I never saw
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starts to relate her feelings about Bruce and what she
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thought happened to him.
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Yeah.
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And it was so profound. And this is someone I knew.
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I did comedy routines with her. We used to do
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that stuff. And she's so out of nowhere, like just
280
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read him so wonderfully. And I learned about him. And
281
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it was, that was shocking to me.
282
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You talk about it in the book. And it's interesting
283
00:14:13.190 --> 00:14:15.529
because obviously so many people are going to pick up
284
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this book and say, I want to hear about, and
285
00:14:18.129 --> 00:14:19.210
these are things, you know, I want to hear about.
286
00:14:19.769 --> 00:14:22.309
Godfather movies I want to hear about, you know, all
287
00:14:22.330 --> 00:14:24.750
these iconic roles, all the people you knew, all the
288
00:14:24.809 --> 00:14:29.129
people you met. But to me, in a way, the
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00:14:29.169 --> 00:14:33.759
most fascinating aspect of it is that you start with
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00:14:33.820 --> 00:14:37.679
these people, you get out. And when I say you
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00:14:37.700 --> 00:14:43.230
get out, you are, none of us understands why. I mean,
292
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I've had some crazy good fortune in my life and
293
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I don't understand why. And I stopped trying to figure
294
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it out a while ago. I was driving here today.
295
00:14:51.690 --> 00:14:55.190
I have a ritual with my brothers where we watch
296
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the Godfather movies religiously. We can quote them from beginning
297
00:14:59.509 --> 00:15:02.279
to end. We always quote them to each other. And
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I'm talking to my brother, Luke. And I said, guess
299
00:15:04.879 --> 00:15:06.580
where I'm going? I'm going to work today. I'm going
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00:15:06.600 --> 00:15:10.620
to talk to and interview Al Pacino. And my brother said,
301
00:15:10.639 --> 00:15:13.500
I'm very proud of you. But who the fuck are
302
00:15:13.519 --> 00:15:18.669
you to talk to Al Pacino? Why you? And I said, Luke,
303
00:15:19.980 --> 00:15:22.629
I don't know. But I'm just going to go with it.
304
00:15:22.659 --> 00:15:25.019
Well, I think he should be here. Let's bring him in.
305
00:15:25.039 --> 00:15:27.500
He's a criminal.
306
00:15:29.519 --> 00:15:30.549
He's welcome.
307
00:15:31.289 --> 00:15:33.230
He's in prison right now. Luke, we're thinking of you.
308
00:15:34.649 --> 00:15:38.490
You know, it's interesting because you're grabbed by the theater.
309
00:15:38.929 --> 00:15:42.659
You're this kid, as I said, who you start reading Chekhov.
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00:15:43.299 --> 00:15:47.000
You start reading the classics and it grabs you and
311
00:15:47.019 --> 00:15:50.399
you start seeing some productions. You get into theater. You
312
00:15:50.440 --> 00:15:55.320
have so many go nowhere jobs just to stay alive.
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I mean, you're delivering papers. You're, I'm trying to think
314
00:16:00.370 --> 00:16:02.389
what you're, you're a building superintendent for a while, but
315
00:16:02.450 --> 00:16:03.809
not a good one, I don't think.
316
00:16:03.870 --> 00:16:07.190
Never, never. The guy came out and started talking about
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00:16:07.230 --> 00:16:09.669
me a few years back. Yeah. Saying he was a
318
00:16:09.750 --> 00:16:15.259
terrible super or something like that. And I thought, Why?
319
00:16:15.340 --> 00:16:18.779
Why would he say that? Who's a terrible super? I'm
320
00:16:18.820 --> 00:16:21.360
sure there's a lot around. I mean, you know.
321
00:16:21.419 --> 00:16:24.019
No, I saw that. There's a really old man who
322
00:16:24.059 --> 00:16:27.230
was like, I remember him. He was a terrible super.
323
00:16:27.250 --> 00:16:31.110
And I'm like, okay, take his Oscar back. Fine actor,
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00:16:31.190 --> 00:16:39.870
terrible super. Christopher Walken, bad mechanic. Robert De Niro, just
325
00:16:39.889 --> 00:16:44.269
an awful substitute teacher. You know, it's like, what the fuck?
326
00:16:44.340 --> 00:16:47.679
What are you talking about? So you come along, you're
327
00:16:47.700 --> 00:16:51.860
doing theater, and then this thing that people dream about happens,
328
00:16:51.919 --> 00:16:56.399
which is you get noticed. Francis Ford Coppola is going
329
00:16:56.419 --> 00:17:02.009
to make The Godfather, and he says, I want this guy,
330
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Al Pacino.
331
00:17:03.090 --> 00:17:03.330
Hmm.
332
00:17:03.840 --> 00:17:06.240
And the studio says, fuck you.
333
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Of course.
334
00:17:08.509 --> 00:17:11.750
We want Robert Redford. We want, you know, we want,
335
00:17:12.210 --> 00:17:16.750
we want, you know, we want someone who's been a success.
336
00:17:16.789 --> 00:17:19.650
We want someone who looks a certain way. We want
337
00:17:19.710 --> 00:17:21.930
someone probably blonde hair, blue eyed, whatever.
338
00:17:22.539 --> 00:17:22.880
Sorry.
339
00:17:23.160 --> 00:17:24.559
Yeah, exactly.
340
00:17:24.940 --> 00:17:26.920
I'm looking at you when I say it. I'm sorry.
341
00:17:28.220 --> 00:17:31.880
They wanted me, actually. I was eight at the time.
342
00:17:32.470 --> 00:17:35.109
My grandmother on my mother's side has blonde hair and
343
00:17:35.130 --> 00:17:38.750
blue eyes. So just to note that.
344
00:17:39.329 --> 00:17:40.809
It's in there. It's in you somewhere.
345
00:17:41.349 --> 00:17:43.309
Yeah, it is. I had to put it in.
346
00:17:44.730 --> 00:17:49.000
They don't want you, and I've seen the screen tests
347
00:17:49.019 --> 00:17:52.009
where they're saying, okay, well, how about Jimmy Kahn is
348
00:17:52.200 --> 00:17:55.269
Michael Cole. How about, they're trying everybody. They're throwing everybody
349
00:17:55.329 --> 00:17:58.829
in there. But Francis Ford Coppola sticks with you. They
350
00:17:58.869 --> 00:18:03.490
start shooting and you can tell, you read in the
351
00:18:03.529 --> 00:18:05.470
book and it's riveting on the set. People are like,
352
00:18:05.690 --> 00:18:07.890
I don't know about this guy. I don't know about
353
00:18:07.930 --> 00:18:11.410
this guy. I don't know what, and you can feel it.
354
00:18:11.470 --> 00:18:12.730
Yeah, well, they were giggling.
355
00:18:14.009 --> 00:18:14.829
You heard giggling.
356
00:18:14.890 --> 00:18:15.150
Yes.
357
00:18:15.289 --> 00:18:18.089
So the, here's what's amazing to me. These scenes that
358
00:18:18.190 --> 00:18:21.230
I've watched and that everyone's watched in this room 100,000
359
00:18:21.230 --> 00:18:26.720
times that are now iconic masterclasses in how you play
360
00:18:26.740 --> 00:18:30.750
a character, you're doing it and people are going, oh man.
361
00:18:31.269 --> 00:18:33.250
Let's hope they get a real actor in here soon.
362
00:18:33.849 --> 00:18:35.670
Which is unbelievable to me.
363
00:18:35.829 --> 00:18:37.710
Was it that severe, Conan?
364
00:18:41.180 --> 00:18:44.779
I was an eight-year-old kid, but I was there. And
365
00:18:44.819 --> 00:18:46.519
I had a lot of pull with the studio. I
366
00:18:46.559 --> 00:18:48.680
called Paramount, and I was like, I don't think he's
367
00:18:48.720 --> 00:18:49.150
got it.
368
00:18:49.700 --> 00:18:50.309
Who is this?
369
00:18:50.849 --> 00:18:52.569
Eight-year-old Conan O'Brien.
370
00:18:52.630 --> 00:18:52.750
What?
371
00:18:53.549 --> 00:18:57.349
It'll be a big deal someday, you'll see. Why aren't
372
00:18:57.369 --> 00:18:59.029
you using a real phone? Why are you mining one
373
00:18:59.049 --> 00:19:08.039
with your hands? But no, and the thing is, which
374
00:19:08.119 --> 00:19:10.960
is to me, I look at that performance and as
375
00:19:11.200 --> 00:19:14.039
you say in the book, your concept, which was clearly
376
00:19:14.099 --> 00:19:17.740
the right one, which is you got to slowly see
377
00:19:18.339 --> 00:19:21.240
Michael come to this position. And then there's the iconic
378
00:19:21.339 --> 00:19:24.579
scene where they're all trying to figure out, after Vito's
379
00:19:24.599 --> 00:19:26.859
been shot, what to do, and you are sitting there
380
00:19:26.940 --> 00:19:29.980
with your broken jaw, and you say, okay, we arrange
381
00:19:30.029 --> 00:19:33.150
a meeting, and the camera's pushing in. I can't watch that,
382
00:19:33.170 --> 00:19:37.049
and I can't talk about it without tingling, because I
383
00:19:37.730 --> 00:19:40.150
think it is a beautiful way to tell a story
384
00:19:40.170 --> 00:19:45.589
through acting, but it takes patience. And the studio was saying.
385
00:19:46.109 --> 00:19:50.069
Well, they wanted to see something else, I guess, and both...
386
00:19:50.039 --> 00:19:53.119
Francis and I, I think, felt that way about it.
387
00:19:53.319 --> 00:19:56.109
But we were unable, or at least I was unable,
388
00:19:56.150 --> 00:19:59.950
to articulate what I was doing. But I was doing that.
389
00:20:00.660 --> 00:20:03.160
I thought about it on my long walks in Manhattan.
390
00:20:03.220 --> 00:20:04.670
You talk about it. You would take long walks. You'd
391
00:20:04.690 --> 00:20:06.509
get the film, but it hasn't started shooting yet. You
392
00:20:06.529 --> 00:20:07.269
took long walks.
393
00:20:07.349 --> 00:20:09.769
Yeah, I would go all the way from 91st to
394
00:20:09.789 --> 00:20:13.609
The Village and back. 91st and Broadway. And I'd just
395
00:20:13.730 --> 00:20:17.019
think about the part. Think about it. I still do
396
00:20:17.079 --> 00:20:21.900
that with roles. I just think about them. And it's fun.
397
00:20:22.599 --> 00:20:23.839
It gets me through.
398
00:20:24.319 --> 00:20:27.900
The walk. Yeah. You get your steps. I'm glad to
399
00:20:27.940 --> 00:20:31.509
know that in coming up with who Michael Corleone was,
400
00:20:31.549 --> 00:20:32.309
you got your steps in.
401
00:20:32.650 --> 00:20:36.029
Yeah, there it is. I managed not to get hit
402
00:20:36.069 --> 00:20:39.289
by a car. In those days.
403
00:20:39.309 --> 00:20:41.109
They should make a Fitbit that tells you, you have
404
00:20:41.150 --> 00:20:45.460
achieved the character. 10,000 steps. Stop.
405
00:20:45.700 --> 00:20:47.420
Stop walking. Stop.
406
00:20:47.460 --> 00:20:50.400
Stop now. You've nailed Michael Corleone.
407
00:20:50.420 --> 00:20:50.880
You've got it.
408
00:20:50.880 --> 00:20:52.700
I love it. But you know what's fascinating to me
409
00:20:52.720 --> 00:20:55.440
that I didn't know is that they... Coppola wants to
410
00:20:55.519 --> 00:20:58.140
show the studio, so it wasn't supposed to shoot yet,
411
00:20:58.180 --> 00:21:01.539
but he moves up the famous scene in the Italian restaurant.
412
00:21:01.680 --> 00:21:04.109
I think he said he didn't do that. So I
413
00:21:04.509 --> 00:21:06.450
corrected in the book a little bit.
414
00:21:07.170 --> 00:21:07.869
It's a good story.
415
00:21:07.890 --> 00:21:08.230
Let's go with it.
416
00:21:08.230 --> 00:21:08.509
But it is.
417
00:21:08.750 --> 00:21:12.450
I think it's true. I think he was sensing it.
418
00:21:12.450 --> 00:21:17.410
But the conversation in The Ginger Man. Do you remember
419
00:21:17.470 --> 00:21:19.859
The Ginger Man in Manhattan 64th?
420
00:21:19.980 --> 00:21:20.900
Yeah.
421
00:21:20.920 --> 00:21:24.000
That's where it. He called me in, and he was
422
00:21:24.039 --> 00:21:27.900
sitting there with his family and eating. And it's a.
423
00:21:29.859 --> 00:21:33.119
A bar and grill that I frequented and a lot
424
00:21:33.160 --> 00:21:35.339
of people did it beautiful. Did you ever go there?
425
00:21:35.420 --> 00:21:38.359
I didn't go there, but, uh, but I, you talk
426
00:21:38.400 --> 00:21:40.039
about it and it's kind of very well known. It's
427
00:21:40.079 --> 00:21:43.119
kind of iconic place. It was a hangout, a watering hole.
428
00:21:43.140 --> 00:21:46.190
I mean, uh, you know, uh, uh, Bernstein would go
429
00:21:46.230 --> 00:21:49.710
in there and great music because Lincoln center was across
430
00:21:49.750 --> 00:21:52.910
the street from him. So you'd see people who, you know,
431
00:21:53.529 --> 00:21:56.849
collaborated with on, on things. So I walked in there
432
00:21:57.250 --> 00:21:59.369
again and, That was a big thing for me to
433
00:21:59.410 --> 00:22:03.099
walk into Gingeman because I didn't go there because I
434
00:22:03.119 --> 00:22:06.799
didn't have money to buy the drinks. So I went
435
00:22:06.839 --> 00:22:10.940
in there and Francis was eating with his family and
436
00:22:11.539 --> 00:22:13.759
I was standing there and he says, we had a talk.
437
00:22:14.839 --> 00:22:16.519
So I thought, well, where are we going to go?
438
00:22:18.509 --> 00:22:20.509
we're not going to go anywhere. He didn't say that,
439
00:22:20.549 --> 00:22:22.490
but he's done. He didn't.
440
00:22:22.750 --> 00:22:26.210
Thing is you're standing, he's sitting and he doesn't invite
441
00:22:26.250 --> 00:22:27.150
you to sit.
442
00:22:27.990 --> 00:22:28.869
That's the first side.
443
00:22:28.890 --> 00:22:32.440
This is important. You're standing there and you've been shooting for,
444
00:22:32.460 --> 00:22:33.839
I mean, a couple of weeks now.
445
00:22:34.200 --> 00:22:34.299
Yeah.
446
00:22:34.319 --> 00:22:36.039
And he tells you, well.
447
00:22:36.079 --> 00:22:38.400
He tells me, uh, you know, I had faith in you.
448
00:22:38.680 --> 00:22:43.500
I believed in you. I said, yeah, I know. He says, well,
449
00:22:43.680 --> 00:22:46.940
you're not, uh, you're not cutting it. I thought, Oh,
450
00:22:47.019 --> 00:22:49.519
what do I do now? What do I say now?
451
00:22:49.640 --> 00:22:54.640
I said, well, I guess that would be a problem,
452
00:22:54.740 --> 00:22:57.359
I guess. I mean, so tell me, what do you mean?
453
00:22:57.380 --> 00:23:00.720
He says, I want to show you the rushes, meaning
454
00:23:00.799 --> 00:23:03.420
the footage that we had shot already and that I
455
00:23:03.460 --> 00:23:07.269
was going to see something. I said, well, can I
456
00:23:07.269 --> 00:23:16.220
have some of that hamburger? Misretrospect. I love to think
457
00:23:16.420 --> 00:23:20.339
what I might have done or wanted to do. So
458
00:23:20.400 --> 00:23:24.440
I went to the Paramount Theater that they had this screening,
459
00:23:24.480 --> 00:23:27.730
and I sat there. I wasn't used to looking at
460
00:23:27.789 --> 00:23:30.569
myself on screen. I just didn't want to do that.
461
00:23:31.359 --> 00:23:34.380
I had done Panic in Needle Park already, so I was,
462
00:23:34.400 --> 00:23:35.920
I don't know if you've seen that film.
463
00:23:36.240 --> 00:23:38.279
And you'd had a little bit of experience, but not much.
464
00:23:38.380 --> 00:23:40.940
Not much at all. That was my first film. Or
465
00:23:41.609 --> 00:23:44.910
a Patty Duke film. I have a couple of lines.
466
00:23:46.329 --> 00:23:49.329
But I went and saw The Rushes, and I'm looking
467
00:23:49.369 --> 00:23:52.410
at the screen, and I'm seeing the takes of different things,
468
00:23:52.430 --> 00:23:58.319
and I'm thinking, well, that is not spectacular. But why
469
00:23:58.359 --> 00:24:01.650
should it be? Because I'm trying to, See, I was
470
00:24:01.829 --> 00:24:06.029
hoping that I could blend in with the scenery and
471
00:24:07.109 --> 00:24:11.430
not be seen specifically or, you know, spotted and, wow,
472
00:24:11.529 --> 00:24:14.859
you know. Right. I just wanted to just blend and
473
00:24:14.910 --> 00:24:19.500
just be natural. And I thought, well, I know that's
474
00:24:19.779 --> 00:24:22.759
the way it looks now, but that's part of what
475
00:24:22.880 --> 00:24:26.160
is going to turn into Michael Corleone. And that's going
476
00:24:26.180 --> 00:24:30.500
to be the impact because where did this guy– Where
477
00:24:30.519 --> 00:24:34.160
did this guy come from? And he's an enigmatic kind
478
00:24:34.200 --> 00:24:38.329
of character anyway throughout The Godfathers, one and two especially.
479
00:24:39.390 --> 00:24:43.049
So I thought that was the way I was going
480
00:24:43.069 --> 00:24:46.710
to go. So, of course, I said to Francis, naturally,
481
00:24:46.849 --> 00:24:49.890
the actor's instinct, I just said, yeah, I see what
482
00:24:49.930 --> 00:24:55.460
you mean. Yeah, yeah. That always quiets everybody down. I
483
00:24:55.539 --> 00:24:57.099
see what you're saying.
484
00:24:57.140 --> 00:24:57.220
Yes.
485
00:25:09.019 --> 00:25:10.579
Good nights are about the people.
486
00:25:11.420 --> 00:25:11.880
The laughs.
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512
00:26:42.029 --> 00:26:45.210
Then I thought I was out, and I sort of
513
00:26:45.250 --> 00:26:47.599
wanted to be out in a way. Oh, my God. Yeah,
514
00:26:47.650 --> 00:26:50.519
I did. I thought, what am I doing in this place?
515
00:26:51.559 --> 00:26:54.299
And those guys in the restaurant with me, the great
516
00:26:54.440 --> 00:26:55.539
Sterling Hayden.
517
00:26:55.559 --> 00:26:56.539
Sterling Hayden, yeah.
518
00:26:56.980 --> 00:26:59.309
And little Al Letourne. I mean, they were amazing.
519
00:26:59.329 --> 00:27:00.269
Salazzo, yeah.
520
00:27:00.289 --> 00:27:00.950
Salazzo.
521
00:27:01.109 --> 00:27:04.529
I mean, the thing is, you shoot that scene, which is,
522
00:27:04.990 --> 00:27:07.750
you know, to this day, I can't watch that scene
523
00:27:07.809 --> 00:27:10.019
and not. have my eyeballs fall out.
524
00:27:10.039 --> 00:27:11.839
You're sitting across from him like Salazzo.
525
00:27:11.880 --> 00:27:14.420
Yeah, yeah, yeah. And don't let this man go to
526
00:27:14.440 --> 00:27:14.980
the bathroom.
527
00:27:15.339 --> 00:27:16.140
I know.
528
00:27:16.339 --> 00:27:18.440
We have an old chain flusher, too.
529
00:27:18.480 --> 00:27:20.680
This is bad. The old kind.
530
00:27:20.700 --> 00:27:27.859
Pull the chain. No, I don't like repeats. Then you're safe.
531
00:27:28.680 --> 00:27:32.420
You're all right. So you shoot that scene. They send
532
00:27:32.460 --> 00:27:37.059
that scene to Paramount, to the suits back in L.A.,
533
00:27:37.099 --> 00:27:39.599
and they go, Oh, okay.
534
00:27:40.599 --> 00:27:44.839
Well, you have to understand one thing because after I
535
00:27:45.039 --> 00:27:48.779
shoot these two guys, who I really love, by the way,
536
00:27:49.589 --> 00:27:52.490
and I shoot them and I'm running out and I
537
00:27:52.650 --> 00:27:54.789
sort of drop the gun and I go into the
538
00:27:54.829 --> 00:27:56.890
street and jump in the moving car.
539
00:27:57.150 --> 00:27:57.349
Right.
540
00:27:57.569 --> 00:28:00.430
So they didn't have a stuntman for me there or
541
00:28:00.549 --> 00:28:03.670
they didn't. They didn't want me to. Maybe they assumed
542
00:28:03.710 --> 00:28:05.609
that I would jump and get hurt and I'd be
543
00:28:05.650 --> 00:28:06.190
out of the film.
544
00:28:06.279 --> 00:28:06.670
Right.
545
00:28:08.029 --> 00:28:09.579
Just coming to me now, Conan.
546
00:28:10.579 --> 00:28:13.359
That's an old Coppola trick. He put me in a film,
547
00:28:13.400 --> 00:28:14.960
it wasn't working out, and he threw me out of
548
00:28:15.019 --> 00:28:15.400
a car.
549
00:28:16.119 --> 00:28:21.599
That's got to go into the box of resentment. But anyway,
550
00:28:21.660 --> 00:28:23.619
I did miss the car.
551
00:28:23.960 --> 00:28:24.180
What?
552
00:28:24.539 --> 00:28:24.740
Yeah.
553
00:28:25.019 --> 00:28:27.619
And I fell. It's in the book. We forget those things. No,
554
00:28:27.680 --> 00:28:33.029
I saw that, yeah. So I fell, and I was hurt.
555
00:28:33.529 --> 00:28:36.390
Kind of my ankle was hurt somehow. It slipped a little.
556
00:28:37.630 --> 00:28:40.500
The car had one of those side things that you
557
00:28:40.519 --> 00:28:44.059
could jump on and then jump in. So I was
558
00:28:44.480 --> 00:28:48.819
just looking up at the sky, and I said, thank you, God.
559
00:28:49.789 --> 00:28:53.490
This was my thought. I actually said, thank you, God.
560
00:28:53.930 --> 00:28:55.349
You're going to get me out of this film.
561
00:28:56.309 --> 00:28:56.710
Unbelievable.
562
00:28:56.730 --> 00:28:59.490
That's how much I wanted to leave it. I said,
563
00:28:59.529 --> 00:29:00.509
this is from heaven.
564
00:29:00.849 --> 00:29:01.009
Yeah.
565
00:29:01.730 --> 00:29:05.130
And people just all got around me. And they said,
566
00:29:05.170 --> 00:29:08.210
he's hurt. Yeah. So I said, oh, yeah. And then
567
00:29:08.250 --> 00:29:11.309
they put one of these big fat needles in my
568
00:29:11.529 --> 00:29:15.730
ankle so I could finish the day. And they kept me.
569
00:29:16.339 --> 00:29:20.440
They kept me because they saw the rushes of that.
570
00:29:20.500 --> 00:29:23.099
Of that scene. And they knew. And what's so amazing
571
00:29:23.279 --> 00:29:27.500
is movie comes out. And this surprised me. Movie comes out.
572
00:29:27.990 --> 00:29:31.170
It's a phenomenon. I remember it. It was 1972. I
573
00:29:31.190 --> 00:29:32.839
would have been nine years old at the time. All
574
00:29:34.299 --> 00:29:37.890
anybody did was talk about that movie. People quoted it.
575
00:29:37.950 --> 00:29:38.200
It was....
576
00:29:39.619 --> 00:29:43.200
I mean, it just, it's hard to describe today what
577
00:29:43.220 --> 00:29:46.259
a huge cultural moment it was. And you, in the book,
578
00:29:46.319 --> 00:29:50.410
talk about how uncomfortable you were. You know, it's the thing,
579
00:29:50.529 --> 00:29:52.549
we live in this society now where everybody wants to
580
00:29:52.589 --> 00:29:54.430
be famous and people would think, oh my God, if
581
00:29:54.470 --> 00:29:56.789
I could be a young Al Pacino who's just done
582
00:29:56.829 --> 00:29:58.750
The Godfather, oh my God, would I tear up the town?
583
00:29:58.769 --> 00:30:02.789
Would I, You hide. You don't love it. And you're
584
00:30:02.829 --> 00:30:03.660
drinking a lot.
585
00:30:04.369 --> 00:30:07.309
I think it was that period, that time of life,
586
00:30:07.509 --> 00:30:16.009
when this wasn't in our social understanding. We didn't care
587
00:30:16.029 --> 00:30:20.230
about fame. As a matter of fact, it was somewhat
588
00:30:20.349 --> 00:30:24.549
in the Hollywood, somewhat was frowned upon in the theater,
589
00:30:24.869 --> 00:30:28.390
by the way. And they gave us these This great entertainment,
590
00:30:28.450 --> 00:30:32.220
these great actors on the screen. But it was a
591
00:30:32.299 --> 00:30:35.660
kind of folklore for us. If you go to Hollywood,
592
00:30:35.680 --> 00:30:39.140
you lose your talent and something like that. That spread around.
593
00:30:39.160 --> 00:30:46.130
But also, I was extremely, I was a bit embarrassed.
594
00:30:46.809 --> 00:30:50.809
Because I heard something like, Kerouac, you know Jack Kerouac.
595
00:30:51.150 --> 00:30:54.769
So he goes and he drinks his life away because
596
00:30:54.970 --> 00:31:00.490
he felt this embarrassment. I don't know where that comes from, self-esteem, whatever.
597
00:31:01.069 --> 00:31:05.509
But I felt I didn't want to be noticed. Part
598
00:31:05.529 --> 00:31:08.089
of my thing was I just wanted to creep around,
599
00:31:08.130 --> 00:31:10.430
you know, and just do my thing. And so one
600
00:31:10.470 --> 00:31:15.289
time I'm at a light, actually. I'm at a traffic light,
601
00:31:15.490 --> 00:31:18.529
and I'm standing there across the street in this kind
602
00:31:18.589 --> 00:31:23.460
of gorgeous, you know, redhead. I'm sorry, it wasn't you, Conan, but...
603
00:31:24.539 --> 00:31:26.019
It was another redhead. I'm a man.
604
00:31:26.099 --> 00:31:30.200
Excuse me. I'm about as much man as it gets.
605
00:31:30.259 --> 00:31:32.559
You're still a gorgeous redhead. I'm a gorgeous redhead.
606
00:31:32.599 --> 00:31:35.140
Yeah. She didn't look like you. I'd just be straight
607
00:31:35.160 --> 00:31:35.420
with you.
608
00:31:35.460 --> 00:31:38.140
That ruins the story. It ruins the story if it
609
00:31:38.160 --> 00:31:38.720
looks like me.
610
00:31:39.460 --> 00:31:44.519
So she says hello to me. She says, hi. I thought, oh, wow.
611
00:31:45.180 --> 00:31:49.460
I said, wow, hi. She says, hi, Michael. And it
612
00:31:49.519 --> 00:31:49.900
was as.
613
00:31:49.960 --> 00:31:54.890
Though I said, this is crazy. She's calling me Michael
614
00:31:55.369 --> 00:31:58.890
because she knows me. She knows me from the film.
615
00:31:59.230 --> 00:32:03.890
And I just retreated. I couldn't understand that. Nobody did
616
00:32:04.269 --> 00:32:07.309
that to me my entire life. Nobody responded.
617
00:32:07.329 --> 00:32:08.450
Oh, Al.
618
00:32:09.910 --> 00:32:13.430
They never said that. No, they said get away, you know.
619
00:32:15.359 --> 00:32:19.700
So I was kind of shocked and I retreated. And
620
00:32:19.720 --> 00:32:22.670
then I start seeing it happen again. Throughout, you know,
621
00:32:22.690 --> 00:32:26.779
in these various pockets, there's people, a woman kissing my hand,
622
00:32:26.799 --> 00:32:33.940
people treating me. And my friend Charlie's there, and the
623
00:32:33.980 --> 00:32:36.059
woman comes up to me and says, is that Al Pacino?
624
00:32:36.380 --> 00:32:39.559
He says, yeah, yeah. She says, is that Al Pacino?
625
00:32:40.099 --> 00:32:42.720
He says, well, somebody's got to be, you know.
626
00:32:43.859 --> 00:32:47.119
Yeah, fame has freaked you out. It freaked you out.
627
00:32:47.160 --> 00:32:51.420
You Al Pacino? I said, yeah. He says, congratulations. You
628
00:32:51.440 --> 00:32:52.289
look like your order.
629
00:32:56.190 --> 00:32:59.450
You do look very Al Pacino-y. I thought so today.
630
00:32:59.509 --> 00:33:04.970
I was like, that guy reeks of Al Pacino. You know,
631
00:33:05.130 --> 00:33:08.450
it's funny because then you have what I think is
632
00:33:08.670 --> 00:33:12.079
any actor would give their left arm for this string of,
633
00:33:12.619 --> 00:33:17.640
you know, it's Serpico, it's Dog Day Afternoon. those performances,
634
00:33:17.700 --> 00:33:21.720
I watched those performances and they're so electric and you
635
00:33:21.759 --> 00:33:25.140
had this energy, there's this energy that comes off of you,
636
00:33:25.420 --> 00:33:29.640
which it still does by the way, but there's almost
637
00:33:29.700 --> 00:33:31.940
electrical manic energy that comes out of you, out of
638
00:33:31.980 --> 00:33:33.609
your eyes, out of your, I mean, I was watching
639
00:33:34.349 --> 00:33:37.990
Dog Day Afternoon the other day and just, you can
640
00:33:38.049 --> 00:33:40.789
tell that you're so inhabited by that role and by
641
00:33:40.829 --> 00:33:45.750
that moment. And after all these years, it's still spectacular.
642
00:33:46.099 --> 00:33:49.799
But you have this string, this string that's just unprecedented.
643
00:33:49.900 --> 00:33:51.220
And I'm reading about it in the book. And the
644
00:33:51.259 --> 00:33:55.019
whole time you're, you feel very detached from it. Like
645
00:33:55.400 --> 00:33:57.339
you're not reveling and going, yep. I mean, I'd be
646
00:33:57.359 --> 00:33:59.279
out on the street going, yep, that's me. See that
647
00:33:59.359 --> 00:33:59.980
guy up there?
648
00:34:00.000 --> 00:34:00.329
That's me.
649
00:34:00.339 --> 00:34:02.700
You frequently are. I'm frequently up. And the sad thing
650
00:34:02.720 --> 00:34:06.750
is I'm pointing at you. Al Pacino, that's me.
651
00:34:06.970 --> 00:34:07.289
See?
652
00:34:07.369 --> 00:34:10.750
And then I go to the hospital and I get treatment.
653
00:34:11.949 --> 00:34:17.119
But- You have this string, and it leads to more drinking,
654
00:34:17.440 --> 00:34:22.380
more drugs, more unhappiness, more feeling of being disconnected, which
655
00:34:22.559 --> 00:34:25.639
I have to say surprised me. I wasn't aware.
656
00:34:25.969 --> 00:34:30.610
Yeah. Well, it hit me. It just did. I felt
657
00:34:30.809 --> 00:34:35.369
the kind of isolation from it. I often talked about this,
658
00:34:35.409 --> 00:34:39.570
something like one has to earn one's relationships with friends
659
00:34:39.670 --> 00:34:42.880
and stuff. You're with people because you like being with them.
660
00:34:43.039 --> 00:34:47.719
You know, you share the same thoughts about things. But
661
00:34:48.300 --> 00:34:52.840
if I enter the room and all of a sudden
662
00:34:52.860 --> 00:34:56.559
what I had to say became important or, you know,
663
00:34:56.619 --> 00:35:00.389
they all were looking and letting me talk. And I
664
00:35:00.429 --> 00:35:04.050
sort of never had that experience. And it was uncomfortable.
665
00:35:04.750 --> 00:35:08.389
And I thought, well, we don't even know each other yet.
666
00:35:08.710 --> 00:35:14.630
And so— to adjust to that. I've heard it said before,
667
00:35:14.670 --> 00:35:20.530
people adjusting to being famous and being accepted wherever you go.
668
00:35:20.650 --> 00:35:25.570
And so I remember, I don't know if I told
669
00:35:25.590 --> 00:35:30.460
the story about Marty Bregman, of course, was my producer.
670
00:35:30.480 --> 00:35:31.000
He produced it.
671
00:35:31.000 --> 00:35:32.420
You guys did so much together.
672
00:35:32.440 --> 00:35:35.420
Yeah, we did. And so Oh, my God. I'm sorry
673
00:35:35.460 --> 00:35:36.480
about this. That's okay.
674
00:35:36.519 --> 00:35:37.260
That might be for me.
675
00:35:37.280 --> 00:35:44.289
No, it's not. So, hi, honey. Hi, baby. I can't
676
00:35:44.349 --> 00:35:48.230
talk now. I'm with Conan O'Brien. Yeah, hear it?
677
00:35:48.889 --> 00:35:49.329
Yes!
678
00:35:49.429 --> 00:35:52.909
I'll be finished in a minute. Sorry, Conan. No, I'm
679
00:35:53.349 --> 00:35:53.750
just joking.
680
00:35:53.829 --> 00:35:55.489
I can't believe you call Coppola honey.
681
00:35:57.570 --> 00:35:58.510
This is my daughter.
682
00:35:58.719 --> 00:36:01.239
Oh, that's your daughter. Okay, okay. I'm glad.
683
00:36:01.260 --> 00:36:03.800
She's in a new apartment.
684
00:36:05.579 --> 00:36:09.599
You're not the superintendent, are you? I fixed the pipe.
685
00:36:09.780 --> 00:36:12.139
I could be. I gotta talk to her first.
686
00:36:12.159 --> 00:36:14.380
There's still a couple of people in that building who
687
00:36:14.420 --> 00:36:16.820
still think Al is the superintendent.
688
00:36:19.239 --> 00:36:20.320
I'll be there. I'll be there.
689
00:36:21.119 --> 00:36:23.260
I'll fix it. It's steam heat. It takes a while.
690
00:36:23.800 --> 00:36:27.519
Give it a second. You know, what's crazy to me is,
691
00:36:29.119 --> 00:36:31.820
and again, I was unaware of this, but you have
692
00:36:31.909 --> 00:36:38.110
this Scarface. You make Scarface and it is, at the time,
693
00:36:39.510 --> 00:36:45.369
critics are savage about it. And it has since become,
694
00:36:45.949 --> 00:36:50.039
in a lot of ways, I mean, financially your biggest movie.
695
00:36:50.340 --> 00:36:53.300
It's huge. And it has a, it has this kind
696
00:36:53.340 --> 00:36:56.480
of enduring place in the culture, which nobody could have
697
00:36:56.500 --> 00:36:58.300
seen at the time. Is that, is that fair to say?
698
00:36:58.519 --> 00:37:02.559
That's fair to say. Yeah. It's, uh, you know, it
699
00:37:02.739 --> 00:37:06.119
seems like it is always there. There's a, there's a
700
00:37:06.159 --> 00:37:09.750
guy wrote the Scarface papers. I don't know if you've
701
00:37:09.789 --> 00:37:12.989
ever heard of that book, but it explains some of
702
00:37:13.030 --> 00:37:16.710
the stuff about its, uh, consistency and why it's still around.
703
00:37:16.929 --> 00:37:17.130
Yeah.
704
00:37:17.449 --> 00:37:19.940
And we got a lot of help from hip-hop and
705
00:37:20.039 --> 00:37:23.400
from the rappers early on and the college kids and
706
00:37:23.440 --> 00:37:26.559
then other things started happening. And then we went into
707
00:37:27.119 --> 00:37:30.840
that VHS and that's what blew it up.
708
00:37:30.860 --> 00:37:32.360
And then it went across the country.
709
00:37:38.630 --> 00:37:42.820
Ocean into Europe and Asia and everywhere. And so it's
710
00:37:42.960 --> 00:37:43.920
like this thing.
711
00:37:44.079 --> 00:37:47.139
It's, it's, it's fascinating because it's so, you know, Oliver
712
00:37:47.179 --> 00:37:48.599
Stone wrote this script. Yeah.
713
00:37:49.000 --> 00:37:54.030
Brian De Palma directed it and they, they hit something.
714
00:37:54.730 --> 00:37:57.070
Nobody could be more different than the three of us
715
00:37:57.250 --> 00:37:57.969
and Bregman.
716
00:37:58.010 --> 00:37:58.190
Yeah.
717
00:37:58.230 --> 00:38:02.659
We were just three different planets and, and there we were.
718
00:38:03.079 --> 00:38:10.190
And somehow it, it, just made it work for some reason.
719
00:38:10.650 --> 00:38:13.880
You know, Brian De Palma threw Oliver Stone off the set.
720
00:38:13.940 --> 00:38:17.099
He couldn't be there, you know, and having it was
721
00:38:17.139 --> 00:38:21.780
that kind of thing. But it's a beautiful script when
722
00:38:21.800 --> 00:38:24.360
you read it and when you see what Brian has
723
00:38:24.420 --> 00:38:25.250
done with it.
724
00:38:25.639 --> 00:38:28.679
You know, what's amazing is, because I didn't know this,
725
00:38:28.699 --> 00:38:32.960
this was in the book, one of your big contributions
726
00:38:32.980 --> 00:38:36.820
was you knew that Tony has to have He's Scarface.
727
00:38:36.840 --> 00:38:39.820
He's got to have a scar. And you said you
728
00:38:39.880 --> 00:38:43.119
thought of the idea that it should come across the eyebrow.
729
00:38:44.019 --> 00:38:46.260
And you said in the book you did that because
730
00:38:46.380 --> 00:38:50.079
you thought that that showed chaos. Yes. And I thought,
731
00:38:50.099 --> 00:38:52.219
I read that and I thought, yes, it does.
732
00:38:52.460 --> 00:38:54.940
That's fantastic. You don't know what you're going to get.
733
00:38:55.039 --> 00:38:55.820
This is chaos.
734
00:38:55.880 --> 00:38:58.320
It's disconcerting. I don't know how you thought of that,
735
00:38:58.360 --> 00:39:00.840
but the fact that an eyebrow is cut in two
736
00:39:00.860 --> 00:39:06.420
is is on a level very disconcerting in a subtle
737
00:39:06.460 --> 00:39:08.780
way that you didn't get a giant, you know, you
738
00:39:08.800 --> 00:39:11.400
didn't do that. And it led me back to, it's
739
00:39:11.460 --> 00:39:13.860
a theme in your book. I don't know if this
740
00:39:13.900 --> 00:39:16.010
is conscious or unconscious. I know you've done a lot
741
00:39:16.050 --> 00:39:18.389
of therapy, but it does feel to me like there's
742
00:39:18.409 --> 00:39:19.750
some part of you that likes chaos.
743
00:39:19.769 --> 00:39:22.210
I mean, theater- Oh, come on, of course. I mean,
744
00:39:22.250 --> 00:39:28.510
without chaos, where are we? Where are we floating? I
745
00:39:28.530 --> 00:39:33.610
just love to think, where are we? But the kind
746
00:39:33.650 --> 00:39:38.389
of chaos, you know, that's why I always ride the
747
00:39:38.389 --> 00:39:40.849
5 p.m. subway in New York.
748
00:39:41.769 --> 00:39:45.550
I'd like to go to a shower. Sit around, here
749
00:39:45.590 --> 00:39:49.130
they go, you know. When the door's open, you know.
750
00:39:49.369 --> 00:39:51.769
It sort of gives you a lift, you know. You
751
00:39:51.809 --> 00:39:55.610
just feel, oh, I'm alive and it's coming.
752
00:39:55.929 --> 00:39:58.070
I don't have anywhere to go, though. I shouldn't be
753
00:39:58.090 --> 00:39:58.760
doing this.
754
00:39:59.679 --> 00:40:01.780
I don't want you on the 5 o'clock subway anymore.
755
00:40:01.840 --> 00:40:04.940
I'm going to come with you. I'll be like, Al
756
00:40:05.059 --> 00:40:09.269
Pacino's with that gorgeous redhead. You know, it's funny, you
757
00:40:09.289 --> 00:40:11.719
know what shocked me is, again, and I think I
758
00:40:11.760 --> 00:40:14.559
speak for a lot of us when I think, type up,
759
00:40:15.320 --> 00:40:17.760
put your name in, and you're just gonna see one
760
00:40:17.820 --> 00:40:22.730
of the great, if not the most influential actors, blah, blah, blah, blah. You,
761
00:40:23.050 --> 00:40:26.250
in the 80s, hit a cold spot, and you talk
762
00:40:26.289 --> 00:40:29.489
about it in the book, and you think, well, my
763
00:40:29.530 --> 00:40:32.980
movie career is over. And you are kind of out
764
00:40:33.019 --> 00:40:34.920
of it for a little bit. You're trying to do
765
00:40:34.940 --> 00:40:37.340
some theater and stuff, but that's shocking to me now
766
00:40:37.400 --> 00:40:40.289
because that wasn't something, you felt it, you lived it.
767
00:40:40.650 --> 00:40:44.050
Well, I thought, I don't know what's going on. I thought,
768
00:40:45.230 --> 00:40:47.730
I don't want to be doing this anymore. There's something
769
00:40:47.789 --> 00:40:50.920
going on. Things are not working. Scarface was such a
770
00:40:50.989 --> 00:40:54.530
disaster when I thought it was, you know, it was a,
771
00:40:55.550 --> 00:40:57.789
a good film. I mean, it was going to work,
772
00:40:58.030 --> 00:41:01.340
but it didn't. And it actually made money. It was
773
00:41:01.360 --> 00:41:06.360
the critics sort of took a dislike to it. But
774
00:41:06.420 --> 00:41:11.829
at the same time, I just didn't know. I didn't
775
00:41:11.869 --> 00:41:15.510
want to do it anymore. I thought, well, let's refresh
776
00:41:15.909 --> 00:41:18.630
and let's go back and do some of the things
777
00:41:18.710 --> 00:41:23.019
that I started with. That fed you. Things like theater.
778
00:41:23.059 --> 00:41:23.480
Of course.
779
00:41:23.639 --> 00:41:27.559
Getting there, being connected to people, get away from this stuff.
780
00:41:27.659 --> 00:41:31.519
Yeah. Talking through things, pieces of work, you know, whether
781
00:41:31.579 --> 00:41:35.059
it's Oedipus or whatever, you know, because, you know, when
782
00:41:35.079 --> 00:41:38.239
you do those kind of plays, they're always in translation,
783
00:41:38.300 --> 00:41:42.760
of course. Translation means everything. Who's the translator? And so
784
00:41:43.320 --> 00:41:46.190
spending time with that stuff, whether you're doing Chekhov or
785
00:41:46.230 --> 00:41:51.949
Strindberg or some of the great plays, American plays, you know?
786
00:41:52.170 --> 00:41:56.150
So I liked getting involved and that's what happens at
787
00:41:56.190 --> 00:41:59.420
the actor's studio. You're able, that's what we do there.
788
00:41:59.519 --> 00:42:03.579
And so I did a movie called Looking for Richard.
789
00:42:03.599 --> 00:42:04.880
I was going to bring this, this is what I
790
00:42:04.900 --> 00:42:06.219
was going to bring up. And I was going to
791
00:42:06.239 --> 00:42:08.059
bring this up for a reason. You did this project
792
00:42:08.079 --> 00:42:11.340
called Looking for Richard. And it's about Richard III and
793
00:42:11.380 --> 00:42:14.070
it's a, it's so many things. It's a fascinating movie
794
00:42:14.110 --> 00:42:19.389
because you see different performances and for Richard III, interpretations
795
00:42:19.429 --> 00:42:21.869
of it throughout the film. But you do something that
796
00:42:21.889 --> 00:42:24.949
I have some familiarity with, which is a big part
797
00:42:24.989 --> 00:42:27.849
of my career has been leaving the studio, getting a camera,
798
00:42:28.449 --> 00:42:31.699
finding real people and trying to make something happen. And
799
00:42:31.719 --> 00:42:34.630
I love that part. It terrifies me, but I love it.
800
00:42:34.699 --> 00:42:38.500
And it's been, I don't know, maybe 70% of the
801
00:42:38.559 --> 00:42:41.019
work that I've done that people really like is that
802
00:42:41.059 --> 00:42:44.420
kind of work where I'm out there doing this stuff
803
00:42:44.980 --> 00:42:49.550
and things are happening in real time. A big part
804
00:42:49.949 --> 00:42:54.250
of looking for Richard, there's a thread that runs through
805
00:42:54.289 --> 00:42:57.110
it where it's you on the street talking to people
806
00:42:57.469 --> 00:43:00.090
about what does Shakespeare mean to you? And you are
807
00:43:00.329 --> 00:43:06.090
so quick and funny and vulnerable. And I was watching
808
00:43:06.110 --> 00:43:08.230
that part going like, damn it, he's good at that.
809
00:43:08.489 --> 00:43:10.590
You know, I mean, that's the one thing that I
810
00:43:10.630 --> 00:43:12.849
can relate to of all of your work is going
811
00:43:12.909 --> 00:43:15.820
out there with a camera. And I was blown away.
812
00:43:15.840 --> 00:43:19.400
You're talking to people, you're getting them to talk about Shakespeare.
813
00:43:19.420 --> 00:43:20.880
You're on the streets of New York. You talk to
814
00:43:21.219 --> 00:43:22.599
some young kid and you say, what do you think
815
00:43:22.659 --> 00:43:27.949
of Hamlet? He goes, Hamlet sucks. Hamlet sucks. But it's wonderful.
816
00:43:28.070 --> 00:43:31.389
It's fantastic. It's you out there. And what I love
817
00:43:31.530 --> 00:43:36.570
is you keep, stripping it all away and saying, let's
818
00:43:36.630 --> 00:43:41.469
lose all this. Yeah. Yeah. Yeah. Oscar iconic films. Well,
819
00:43:41.730 --> 00:43:43.210
let's lose all that. I'm going to put on a
820
00:43:43.210 --> 00:43:45.190
baseball cap backwards and I'm going to walk through the
821
00:43:45.230 --> 00:43:47.030
streets and talk to people about Shakespeare and we're going
822
00:43:47.050 --> 00:43:50.139
to get our hands dirty. And that, I mean, that
823
00:43:50.239 --> 00:43:51.519
I know that that project meant.
824
00:43:51.300 --> 00:43:53.000
A lot to you. I was sort of driven to
825
00:43:53.039 --> 00:43:57.440
that by having what you had just said that you, you, you,
826
00:43:57.519 --> 00:44:00.639
you want to have a piece of yourself in this.
827
00:44:00.679 --> 00:44:04.690
You want to, you, you're, tired of just doing stuff
828
00:44:04.730 --> 00:44:11.800
that's not giving you what you need in your creative
829
00:44:11.840 --> 00:44:14.380
gene we have. And it's just not being supplied with
830
00:44:14.400 --> 00:44:20.969
stuff because it happens to everybody. So other actors too.
831
00:44:22.230 --> 00:44:24.570
That's why some actors, I talk about that in the book,
832
00:44:25.050 --> 00:44:30.480
will repeat the repeat roles because they scored in them
833
00:44:30.519 --> 00:44:32.500
and they did well in them and they continue to
834
00:44:32.559 --> 00:44:35.079
do well in them, but they're capable of doing much more.
835
00:44:35.099 --> 00:44:39.079
And it's hard to grow if you don't keep challenging yourself.
836
00:44:39.099 --> 00:44:43.079
You got to challenge yourself. That's why I like chaos. Yeah.
837
00:44:43.659 --> 00:44:44.500
Well, you're in the right place.
838
00:44:44.559 --> 00:44:45.239
I certainly am.
839
00:44:46.619 --> 00:44:51.769
And that's why I looked at you when I said that. I,
840
00:44:52.110 --> 00:44:54.630
the other day, I wanted my son, who's 18, to
841
00:44:54.670 --> 00:44:58.400
see I wanted him to see real acting, real writing.
842
00:44:58.980 --> 00:45:01.320
So I said, come with me. My wife was out
843
00:45:01.340 --> 00:45:03.780
of town. It sounds like I'm going to show him pornography,
844
00:45:03.800 --> 00:45:06.719
but that was. I know. But no.
845
00:45:06.949 --> 00:45:08.989
She's out of town.
846
00:45:09.889 --> 00:45:12.889
This is an old, this is a movie. This is
847
00:45:12.949 --> 00:45:19.469
called Debbie Does Dallas. No, I showed him the movie,
848
00:45:19.570 --> 00:45:25.079
Glen Gary, Glen Ross. And he's riveted. I'm riveted. It's
849
00:45:25.219 --> 00:45:29.639
such an incredible cast, the whole thing. And the next
850
00:45:29.760 --> 00:45:33.389
morning I go and he's blown away and I'm like, okay,
851
00:45:33.530 --> 00:45:37.329
you get it? And he loved it. And the next
852
00:45:37.389 --> 00:45:39.329
morning I go to get breakfast and I run smack
853
00:45:39.369 --> 00:45:40.190
into David Mamet.
854
00:45:41.250 --> 00:45:42.550
Wow.
855
00:45:42.670 --> 00:45:46.929
Yeah. And I said, hey, last night, and he was like,
856
00:45:46.969 --> 00:45:51.849
please leave me alone. No, no, he's always been very
857
00:45:51.889 --> 00:45:53.670
wonderful when I run into him, but I could just
858
00:45:54.210 --> 00:45:56.610
tell All of you were so great in that film,
859
00:45:56.670 --> 00:45:59.969
but your character so intimidates me. He's charming, but he's
860
00:46:00.030 --> 00:46:03.769
intimidating at the same time, you know? And it's, you've
861
00:46:03.809 --> 00:46:07.710
got this, I don't know, that's one of my favorite
862
00:46:07.730 --> 00:46:10.210
performances too. Absolutely incredible performance.
863
00:46:10.230 --> 00:46:13.690
I thought Jack Lemmon, as time goes on, he really
864
00:46:13.750 --> 00:46:18.590
steps out in that part. Jack Lemmon. Yeah, absolutely. I
865
00:46:18.630 --> 00:46:22.670
tried doing that part in New York on Broadway. doing
866
00:46:22.710 --> 00:46:24.809
Jack's part because they did a production.
867
00:46:24.829 --> 00:46:26.210
You were Richie Roma.
868
00:46:26.349 --> 00:46:27.289
I was Richie Roma.
869
00:46:27.429 --> 00:46:29.610
Yeah, in the film, but then you switched and you
870
00:46:29.630 --> 00:46:30.909
did his part on Broadway.
871
00:46:30.929 --> 00:46:35.289
On Broadway. And I did his part and I thought
872
00:46:35.309 --> 00:46:37.769
I could do his part somewhat. It's a good part.
873
00:46:37.829 --> 00:46:40.969
Let me try that. It's so totally different than Richie Roma.
874
00:46:41.010 --> 00:46:45.989
So I started it, but I didn't realize this is
875
00:46:46.070 --> 00:46:50.309
Mamet and you have to have time to, you know,
876
00:46:51.849 --> 00:46:54.789
acquire the taste and be able to live through this part.
877
00:46:54.989 --> 00:46:58.590
And we had three weeks rehearsal, and I didn't have
878
00:46:58.679 --> 00:47:01.579
any lines that I was able to say, you know.
879
00:47:02.340 --> 00:47:05.900
But at the same time, I realized how great Jack
880
00:47:05.980 --> 00:47:09.019
Lemmon was in this role. And I thought, wow, I
881
00:47:09.059 --> 00:47:11.980
should have watched it before I did it. But I
882
00:47:12.000 --> 00:47:14.849
didn't know where I was on Broadway. And that's a
883
00:47:14.969 --> 00:47:18.079
tough thing. That's a tough thing to go through. But
884
00:47:18.239 --> 00:47:22.199
I did remember that I said, look, I don't know
885
00:47:22.219 --> 00:47:24.530
what to do here because there's times I don't know
886
00:47:24.610 --> 00:47:27.030
what the lines are. This is Mammoth now. It's like
887
00:47:27.090 --> 00:47:28.329
rewriting Shakespeare.
888
00:47:28.570 --> 00:47:28.750
Yeah.
889
00:47:29.269 --> 00:47:35.210
But I started saying things that came to me. That's
890
00:47:35.250 --> 00:47:38.260
my new thing, which— You know, we go through various
891
00:47:38.340 --> 00:47:40.980
phases where we go a little nuts and then we
892
00:47:41.019 --> 00:47:44.900
start doing nutty things. And sometimes things come out of that,
893
00:47:45.000 --> 00:47:45.260
you know.
894
00:47:45.320 --> 00:47:46.139
Oh, I'm familiar.
895
00:47:46.159 --> 00:47:47.530
You get a little cherry, you know.
896
00:47:47.840 --> 00:47:50.630
So, but you start ad-libbing Mamet.
897
00:47:50.789 --> 00:47:53.809
So now, yeah, I thought, I don't know why I
898
00:47:54.010 --> 00:47:56.760
can't get this monologue at all. I can't get it.
899
00:47:56.929 --> 00:47:59.530
And it's, I don't know what, how it's written in
900
00:47:59.639 --> 00:48:01.300
a certain way. So I said, I'm going to start
901
00:48:01.320 --> 00:48:04.440
saying my own words here. Santa Monica, the actors with
902
00:48:04.460 --> 00:48:06.679
me was so great. I mean, they were right with it.
903
00:48:06.679 --> 00:48:09.119
I didn't even say things on the stage. Then I
904
00:48:09.139 --> 00:48:10.460
started dancing.
905
00:48:10.019 --> 00:48:13.070
On the stage. You started doing soft shoe.
906
00:48:13.090 --> 00:48:15.909
Soft shoe in the middle of the play. Because I'm
907
00:48:15.949 --> 00:48:19.889
a real believer in we have things with acting that
908
00:48:20.070 --> 00:48:23.440
all of a sudden the unconscious comes out. You free
909
00:48:23.480 --> 00:48:28.519
yourself so your unconscious starts to, you know, express itself.
910
00:48:29.059 --> 00:48:31.679
And I was walking down the street after I realized
911
00:48:31.719 --> 00:48:34.219
that I did what I did. I said, what? Why
912
00:48:34.260 --> 00:48:38.699
did I do that? And then I said, wait a minute.
913
00:48:38.719 --> 00:48:42.460
My dad, who I didn't know much, you know that.
914
00:48:42.579 --> 00:48:43.260
He left early.
915
00:48:43.300 --> 00:48:46.880
But he was a salesman. He was a salesman, and
916
00:48:46.920 --> 00:48:49.139
he was a great ballroom dancer.
917
00:48:49.599 --> 00:48:51.099
So you think you maybe channeled him a little bit?
918
00:48:51.119 --> 00:48:52.909
I channeled him. Of course I did.
919
00:48:53.429 --> 00:48:54.090
Don't yell at me.
920
00:48:54.119 --> 00:49:00.710
How come you don't know.
921
00:49:00.250 --> 00:49:00.449
That?
922
00:49:00.489 --> 00:49:02.989
You see what I mean? You've got to get out there, Conan.
923
00:49:03.449 --> 00:49:05.150
Express yourself.
924
00:49:05.550 --> 00:49:10.190
No, but it was interesting. There's another thing. I'm doing
925
00:49:10.349 --> 00:49:14.599
a play, a Shakespeare play at the Public Theater. and
926
00:49:15.000 --> 00:49:17.989
I'm tired, and you know, all of a sudden you're
927
00:49:18.010 --> 00:49:21.610
doing eight performances a week. Who invented that? That's the
928
00:49:21.650 --> 00:49:24.590
worst thing that could ever happen to anybody. It ruins
929
00:49:24.710 --> 00:49:28.889
all actors. And I'm doing eight performances, and I'm not
930
00:49:28.969 --> 00:49:32.179
doing really well. So I'm doing it, but I'm getting
931
00:49:32.219 --> 00:49:34.960
through it. And with me, everything is time. I believe
932
00:49:35.280 --> 00:49:38.119
that's why I love the theater so much, because it's time.
933
00:49:38.619 --> 00:49:42.559
I mean, I did American Buffalo over four years. I
934
00:49:42.579 --> 00:49:45.599
did movies in between. But by the fourth year, I
935
00:49:45.599 --> 00:49:48.280
didn't have to do anything when I went on stage.
936
00:49:48.780 --> 00:49:50.739
It was in your bones.
937
00:49:50.860 --> 00:49:51.539
It was in your bones.
938
00:49:51.599 --> 00:49:55.449
It entered the bones. But I'm doing Shakespeare, and I
939
00:49:55.929 --> 00:50:00.929
have this huge monologue talking to a lot of people.
940
00:50:01.730 --> 00:50:06.289
And I'm tired, but it's maybe a matinee on Saturday
941
00:50:06.349 --> 00:50:06.949
or Sunday.
942
00:50:07.030 --> 00:50:07.389
I don't know.
943
00:50:07.789 --> 00:50:11.199
And I'm talking. And I'm talking, and I start thinking,
944
00:50:11.280 --> 00:50:16.840
wait a minute. I'm repeating myself. Every line I'm saying,
945
00:50:16.880 --> 00:50:21.000
I've said right before, so I'm saying it twice. And
946
00:50:21.039 --> 00:50:24.360
I said, oh, my God. And I'm saying the lines.
947
00:50:24.840 --> 00:50:27.260
To me, I'm saying them twice, and I'm thinking the
948
00:50:27.389 --> 00:50:31.170
audience is being friendly. They're sort of scared because they think,
949
00:50:31.590 --> 00:50:35.079
I think this actor is losing it. I think... We're
950
00:50:35.099 --> 00:50:36.860
going to have to carry him somewhere and take him
951
00:50:36.900 --> 00:50:42.030
to a hospital afterward. He's crazy. And I got really scared.
952
00:50:42.719 --> 00:50:45.989
And then it took me a while to recover. I
953
00:50:46.030 --> 00:50:48.449
don't know if I ever did, but at the end
954
00:50:48.489 --> 00:50:51.469
of the show, I wasn't doing that. But it felt
955
00:50:51.530 --> 00:50:57.150
like it. This is what exhaustion on the stage means.
956
00:50:57.230 --> 00:51:00.530
I mean, it really is, especially with the big roles.
957
00:51:01.159 --> 00:51:04.199
You know, so I just, I just refused to do that.
958
00:51:04.460 --> 00:51:07.860
And then I just said, don't pay me. Don't pay me.
959
00:51:07.900 --> 00:51:11.219
And I'll do six a week. Right. Now I do
960
00:51:11.280 --> 00:51:14.530
like three. Right. Don't tell anyone.
961
00:51:17.429 --> 00:51:19.929
You know, one of the things, uh, there is a
962
00:51:20.349 --> 00:51:22.789
thing that happened where, because Robert De Niro came along
963
00:51:22.809 --> 00:51:24.909
at the same time and he's in Godfather II, and
964
00:51:24.929 --> 00:51:26.960
you talk about it in the book, there was always
965
00:51:27.019 --> 00:51:31.179
this Pacino, De Niro, De Niro, Pacino. And you said
966
00:51:31.199 --> 00:51:34.760
you guys were always friendly. You admired each other's work.
967
00:51:35.199 --> 00:51:38.849
You boosted each other. But of course, the media likes
968
00:51:38.889 --> 00:51:40.429
to try and make it something. And you say in
969
00:51:40.449 --> 00:51:42.420
the book, I think it's just because both of our
970
00:51:42.639 --> 00:51:43.719
names ended in a vowel.
971
00:51:44.840 --> 00:51:49.480
That would help. They should throw in Dustin Hoffman, but
972
00:51:49.519 --> 00:51:53.119
his name didn't ring a bell.
973
00:51:53.659 --> 00:51:55.639
Well, they changed it at Ellis Island from Hoffman-O.
974
00:51:56.670 --> 00:51:57.369
Oh, yeah.
975
00:51:57.630 --> 00:52:01.190
But I'm just curious, like, you finally, the first time
976
00:52:01.230 --> 00:52:04.929
you work together, you have it is in heat and
977
00:52:04.969 --> 00:52:07.929
you have that scene. And I, God, that's another movie
978
00:52:07.969 --> 00:52:09.840
I've seen a thousand times and we'll see a thousand more.
979
00:52:10.440 --> 00:52:14.030
But you have that scene in the diner, which is
980
00:52:14.070 --> 00:52:17.570
such a great idea, where you just pull over De Niro.
981
00:52:17.889 --> 00:52:20.289
He's the bad guy. You're the good guy. You're the cop.
982
00:52:20.449 --> 00:52:21.190
He's the robber.
983
00:52:21.710 --> 00:52:22.170
Let's talk.
984
00:52:22.969 --> 00:52:26.800
And the two of you sit down, and it's such
985
00:52:26.820 --> 00:52:30.260
a spectacular scene. And in the book, you reveal that
986
00:52:30.559 --> 00:52:32.030
De Niro said, let's not rehearse it.
987
00:52:32.039 --> 00:52:33.039
Let's just do it.
988
00:52:33.440 --> 00:52:37.670
No rehearsal. And it's one of my favorite scenes.
989
00:52:37.710 --> 00:52:37.909
Wow.
990
00:52:38.599 --> 00:52:41.539
No, he was right thinking that way. It was perfect.
991
00:52:41.679 --> 00:52:45.380
I mean, to do it that way, these guys, yeah.
992
00:52:45.400 --> 00:52:48.349
And what a great idea to have the two characters,
993
00:52:48.829 --> 00:52:52.250
let's take a second, let's sit down and tell each
994
00:52:52.309 --> 00:52:55.599
other who we are. And then we will Shake hands
995
00:52:55.699 --> 00:52:57.139
and go back to trying to kill each other.
996
00:52:57.300 --> 00:52:57.539
Yeah.
997
00:52:57.760 --> 00:52:59.219
Which is a beautiful, you know what I mean?
998
00:52:59.239 --> 00:52:59.320
Yeah.
999
00:53:00.000 --> 00:53:04.059
It's a beautiful idea that I thought was just, and
1000
00:53:04.079 --> 00:53:05.880
the fact that you just did it, is that the
1001
00:53:05.960 --> 00:53:07.519
one take or do you did it many times?
1002
00:53:07.639 --> 00:53:09.800
Oh, many times. This is Michael Mann directing it.
1003
00:53:09.840 --> 00:53:10.340
Oh, okay.
1004
00:53:10.380 --> 00:53:12.039
You get to do it many times.
1005
00:53:12.059 --> 00:53:13.320
Yeah. You were there for six years.
1006
00:53:14.420 --> 00:53:14.519
Yeah.
1007
00:53:15.000 --> 00:53:16.260
You had long beards at the end.
1008
00:53:16.780 --> 00:53:17.679
They're doing a take later.
1009
00:53:19.559 --> 00:53:21.929
I'd like to do this again. When I come in,
1010
00:53:22.050 --> 00:53:25.590
can I do it? As Michael Chekhov said, the great
1011
00:53:25.789 --> 00:53:35.449
acting empresario, the actress comes in the door and says, oh, Dr. Maestro,
1012
00:53:35.949 --> 00:53:39.449
I really want to be an actress. I really want it.
1013
00:53:39.659 --> 00:53:41.000
I want it so much.
1014
00:53:41.559 --> 00:53:42.280
He says, yes.
1015
00:53:43.579 --> 00:53:47.639
Go outside, come in again, and do the same thing,
1016
00:53:47.659 --> 00:53:49.460
and I'll tell you if you could be an actress.
1017
00:53:50.739 --> 00:53:52.369
Wow. Can you do it?
1018
00:53:52.500 --> 00:53:52.659
Yeah.
1019
00:53:53.559 --> 00:53:55.940
I wouldn't slap him in the face for doing that.
1020
00:53:56.380 --> 00:54:02.219
That is so pompous and assholey. Don't do that.
1021
00:54:02.239 --> 00:54:06.880
I was thinking, yeah. But I'm kind of an asshole.
1022
00:54:06.900 --> 00:54:10.260
No, somehow it works. Asshole just came in my head
1023
00:54:10.300 --> 00:54:13.010
just now while I was saying it. I said, it sounds.
1024
00:54:13.449 --> 00:54:15.849
When I first heard it, I thought, a lot of
1025
00:54:15.909 --> 00:54:20.530
truth in that. But now I'm an old fellow, and
1026
00:54:20.550 --> 00:54:24.619
I think it's disconcerting. To be honest with you. I've
1027
00:54:24.659 --> 00:54:27.360
gone so far in my brain.
1028
00:54:27.380 --> 00:54:30.420
Are you able, after writing this book now.
1029
00:54:30.440 --> 00:54:31.760
To write another?
1030
00:54:31.780 --> 00:54:35.889
I am really ready.
1031
00:54:36.780 --> 00:54:42.670
It'll be about this show. How could I not? Yeah.
1032
00:54:42.889 --> 00:54:46.449
I'm just curious if you are able to now look back.
1033
00:54:47.550 --> 00:54:49.980
This process had... You have to be able to look
1034
00:54:50.019 --> 00:54:56.630
back now and go, Jesus Christ, what a ride. I mean,
1035
00:54:57.110 --> 00:54:59.769
and I'm Al Pacino.
1036
00:55:00.570 --> 00:55:04.110
I'll tell you the truth. I was doing it, doing it,
1037
00:55:04.210 --> 00:55:09.130
working on it, working with some good people, and I
1038
00:55:10.309 --> 00:55:14.269
devoted myself to whatever I did, but as soon as
1039
00:55:14.329 --> 00:55:18.230
I finished it, I didn't want to look at it anymore.
1040
00:55:18.630 --> 00:55:21.090
It was done. It was over. I said, you know,
1041
00:55:21.130 --> 00:55:24.030
it's like When I did Looking for Richard, I would
1042
00:55:24.090 --> 00:55:29.170
sit and they had these audiences would come in. I
1043
00:55:29.489 --> 00:55:30.610
don't know what you call them again.
1044
00:55:30.639 --> 00:55:31.199
Test audiences.
1045
00:55:31.219 --> 00:55:34.980
Test audiences. And they would write it. And I'd be
1046
00:55:35.039 --> 00:55:38.380
sitting there and I was thinking, I don't want them
1047
00:55:38.440 --> 00:55:42.710
to come. We're not ready. The film was at the
1048
00:55:42.769 --> 00:55:45.750
editing room, by the way. I thought somehow from the
1049
00:55:46.030 --> 00:55:49.150
editing room to the theater- where it was going to play,
1050
00:55:49.650 --> 00:55:51.909
someone would change it and make it better. You know?
1051
00:55:52.570 --> 00:55:54.409
And then I wanted to tell them, remember that in
1052
00:55:54.449 --> 00:55:56.340
the book, I wanted to tell them, uh, you know,
1053
00:55:56.380 --> 00:55:58.940
I was just, uh, listen, don't take this seriously. Uh,
1054
00:55:59.309 --> 00:56:01.889
I was just trying to put something together. I mean,
1055
00:56:01.929 --> 00:56:04.510
it's fine. I'm just trying. You don't have to stay.
1056
00:56:06.250 --> 00:56:09.750
You don't have to go. You don't say that to
1057
00:56:09.809 --> 00:56:14.269
a test audience. You shouldn't probably see this. This was
1058
00:56:14.329 --> 00:56:16.369
a mistake. You should go now.
1059
00:56:16.429 --> 00:56:20.670
I don't think this is for you.
1060
00:56:20.909 --> 00:56:24.690
There's a nugget in this book that is so, it's
1061
00:56:24.730 --> 00:56:27.880
such a great visual thing. that I just had to
1062
00:56:27.920 --> 00:56:30.039
bring it up to you, which is the moment where
1063
00:56:31.079 --> 00:56:34.590
you're making the Godfather and Coppola says, you should talk
1064
00:56:34.639 --> 00:56:37.429
to Brando. You guys should get to know each other
1065
00:56:37.449 --> 00:56:39.550
a little bit. And you're shooting the scene in the
1066
00:56:39.590 --> 00:56:42.730
hospital where you go and you end up saving Vito's life.
1067
00:56:43.469 --> 00:56:45.030
But he says, you should go talk to him. So
1068
00:56:45.329 --> 00:56:47.570
they arranged for you guys to have lunch together in
1069
00:56:47.690 --> 00:56:50.750
one of those hospital rooms. And you said, it's such
1070
00:56:50.789 --> 00:56:54.250
a great picture. You're not saying much. Brando's talking to you.
1071
00:56:54.690 --> 00:56:57.409
And the whole time he's talking, he's eating chicken cacciatore
1072
00:56:57.429 --> 00:57:00.750
with a lot of sauce with his hands. What? With
1073
00:57:00.789 --> 00:57:03.530
his hands. And he's talking to you and you.
1074
00:57:05.219 --> 00:57:07.159
And then at the end, he says like, kid, I
1075
00:57:07.179 --> 00:57:08.480
think you're going to be okay. I think you're going
1076
00:57:08.500 --> 00:57:10.619
to be all right. And then you describe what he...
1077
00:57:10.639 --> 00:57:12.820
You're wondering the whole time, he doesn't have a napkin.
1078
00:57:12.880 --> 00:57:13.579
His hands are covered.
1079
00:57:13.619 --> 00:57:16.050
I'm wondering what I should do with that chicken cacciatore.
1080
00:57:16.070 --> 00:57:16.550
I got mesmerized.
1081
00:57:16.610 --> 00:57:16.690
Yeah.
1082
00:57:19.309 --> 00:57:20.670
Didn't hear anything he said.
1083
00:57:20.730 --> 00:57:26.769
Yeah, yeah. He's probably giving you the greatest acting advice ever.
1084
00:57:26.889 --> 00:57:28.829
Of course he is, of course. And you're like, whoa.
1085
00:57:29.130 --> 00:57:29.469
He is.
1086
00:57:29.530 --> 00:57:31.309
That looks like it's got extra Parmesan.
1087
00:57:31.329 --> 00:57:31.530
It has.
1088
00:57:32.769 --> 00:57:34.789
But then you describe what he does. His hands are
1089
00:57:34.829 --> 00:57:37.210
covered in sauce, and you're like, he doesn't have a napkin.
1090
00:57:37.769 --> 00:57:40.489
Yeah, so he doesn't have a napkin, so he puts
1091
00:57:40.530 --> 00:57:43.570
his hands on the bed sheet of the hospital, white
1092
00:57:43.730 --> 00:57:45.449
bed sheet, and wipes them on that.
1093
00:57:45.650 --> 00:57:46.389
Oh, my God.
1094
00:57:47.099 --> 00:57:48.800
I mean, it's such a bad thing.
1095
00:57:48.820 --> 00:57:49.360
No, no, no, but it's funny.
1096
00:57:49.380 --> 00:57:50.219
You had to be there.
1097
00:57:50.300 --> 00:57:51.579
I would do it too today.
1098
00:57:51.619 --> 00:57:53.239
No, no, but you know what's so funny?
1099
00:57:53.320 --> 00:57:57.079
They send me to lunch, and you don't give me napkins?
1100
00:57:57.159 --> 00:57:59.340
That's simple. But you know what's so funny, Al? What's
1101
00:57:59.360 --> 00:58:02.260
so funny is in the book, you were like, you
1102
00:58:02.320 --> 00:58:04.219
see him, and he finishes, and he sees he's on
1103
00:58:04.239 --> 00:58:05.699
this white bed, and he does that, and you went,
1104
00:58:06.139 --> 00:58:07.530
that's a movie star.
1105
00:58:07.699 --> 00:58:08.090
Exactly.
1106
00:58:08.110 --> 00:58:09.730
That's a movie star. Well, this will work.
1107
00:58:10.070 --> 00:58:12.309
Is that what movie stars do? I'm going to be one. Yeah,
1108
00:58:12.409 --> 00:58:15.309
I'm going to be one of those. No, he was
1109
00:58:15.349 --> 00:58:17.230
the greatest person you ever.
1110
00:58:17.090 --> 00:58:17.469
Wanted to know.
1111
00:58:17.489 --> 00:58:18.889
Did you get to know him well?
1112
00:58:19.090 --> 00:58:20.949
Oh, well, of course. I was with him a lot.
1113
00:58:21.329 --> 00:58:24.719
You know, just being around him, there's such warmth to him.
1114
00:58:25.219 --> 00:58:28.480
I mean, he's so sensitive of how he sees you,
1115
00:58:28.559 --> 00:58:31.900
especially other actors. He was so wonderful to me and
1116
00:58:31.960 --> 00:58:34.900
everybody and funny, but he was particularly funny with Jimmy
1117
00:58:34.940 --> 00:58:38.199
Kahn because the two of them had done films together.
1118
00:58:38.780 --> 00:58:40.030
So he was.
1119
00:58:40.250 --> 00:58:41.469
Comfortable with Jimmy Kahn.
1120
00:58:41.510 --> 00:58:43.650
Yeah, yeah, yeah. Much more. And I was always sort of,
1121
00:58:44.159 --> 00:58:50.820
sulking somewhere. I never knew if I was coming or going.
1122
00:58:51.139 --> 00:58:55.690
You know, I was always just like there somehow saying, okay,
1123
00:58:55.829 --> 00:59:00.889
I got away with that. What's next? But I remember
1124
00:59:00.969 --> 00:59:03.449
one of the last things he said to me, I
1125
00:59:04.110 --> 00:59:06.269
was on 79th Street outside in, you know, the cemetery.
1126
00:59:10.239 --> 00:59:16.119
wherever it was, along Columbus Avenue. I don't remember the
1127
00:59:16.159 --> 00:59:18.239
restaurant or whatever, but I was out there by myself,
1128
00:59:18.300 --> 00:59:21.119
and he called me. And I said, well, you know,
1129
00:59:21.320 --> 00:59:24.099
he wanted something. I said, sure. And then he said, Al,
1130
00:59:24.739 --> 00:59:32.929
you know, Al, stay out of court. I say, no,
1131
00:59:33.210 --> 00:59:36.110
he knew me. I can't go to court. I can't
1132
00:59:36.159 --> 00:59:37.610
go to court. Now I'm going to go to court,
1133
00:59:37.679 --> 00:59:39.139
I'm sure. Just cut this out.
1134
00:59:39.159 --> 00:59:42.039
Stay out of court? What are you talking about? That
1135
00:59:42.059 --> 00:59:43.460
was his advice to you, was stay out of court.
1136
00:59:43.539 --> 00:59:46.840
It was like he meant divorce court. Oh, I see. See,
1137
00:59:46.860 --> 00:59:47.420
that's what he meant.
1138
00:59:47.659 --> 00:59:50.559
I see, yes, yes. Well, that's a good idea.
1139
00:59:50.639 --> 00:59:51.760
I think it's a good idea, yeah.
1140
00:59:52.119 --> 00:59:54.599
Here's the big tip from Marlon Brando.
1141
00:59:54.619 --> 00:59:54.840
I could.
1142
00:59:59.570 --> 01:00:01.949
Unfortunately for you talk to you for 40 hours and
1143
01:00:01.989 --> 01:00:03.670
never be happy, but I want to let you go.
1144
01:00:03.909 --> 01:00:04.750
Oh, you're throwing me out.
1145
01:00:04.909 --> 01:00:07.070
No, no, I'm not throwing you out. This reminds me
1146
01:00:07.170 --> 01:00:11.070
actually of, I said at the beginning, I don't really
1147
01:00:11.110 --> 01:00:17.260
get starstruck. I've met everybody not long ago. I'm, uh,
1148
01:00:17.380 --> 01:00:20.639
I'm in New York on business. Someone says, Hey, come
1149
01:00:20.659 --> 01:00:22.320
with me, go to dinner. I think we go to
1150
01:00:22.360 --> 01:00:26.710
polo bar and I'm walking out and I see I,
1151
01:00:28.059 --> 01:00:30.590
out of the corner of my eye, an iconic figure
1152
01:00:30.730 --> 01:00:33.090
and I look and you are sitting in a big
1153
01:00:33.130 --> 01:00:35.210
banquette and you're by yourself. I think you were with
1154
01:00:35.230 --> 01:00:37.510
people but they had just used the bathroom or something
1155
01:00:37.530 --> 01:00:40.940
and you're just sitting there and you point and I
1156
01:00:41.000 --> 01:00:44.400
think he's pointing at someone. And I do the classic
1157
01:00:44.440 --> 01:00:47.760
thing of I look behind me and you go, you, you,
1158
01:00:47.900 --> 01:00:48.840
and you go, come here.
1159
01:00:49.010 --> 01:00:50.329
And I go, me?
1160
01:00:50.389 --> 01:00:52.969
So I go over and you go, Conan, how are you?
1161
01:00:53.030 --> 01:00:53.750
I won't do you.
1162
01:00:53.769 --> 01:00:55.190
I don't want to tell you how much I love you.
1163
01:00:55.230 --> 01:00:55.949
I really do.
1164
01:00:55.989 --> 01:00:58.010
You know, it's so crazy. So I'm talking to you
1165
01:00:58.030 --> 01:01:01.219
and I'm just thinking the whole time, because you talk
1166
01:01:01.260 --> 01:01:02.820
about this a lot in your book, how you always
1167
01:01:02.860 --> 01:01:05.079
think I got to get out of here and no
1168
01:01:05.119 --> 01:01:08.559
one really wants to see me. So you're talking to
1169
01:01:08.599 --> 01:01:13.039
me and you're telling me, you know, about, you're going
1170
01:01:13.059 --> 01:01:14.860
to show The Godfather. You're going to show it up
1171
01:01:14.960 --> 01:01:18.599
at somewhere in Northern Manhattan. They're going to have a
1172
01:01:18.599 --> 01:01:20.860
big screening of it. And you're talking to me. And
1173
01:01:20.980 --> 01:01:23.820
I said, that's such an honor to see you, such
1174
01:01:23.840 --> 01:01:24.480
an honor to see you.
1175
01:01:24.559 --> 01:01:26.440
And I- You're talking too much, Al.
1176
01:01:27.139 --> 01:01:29.760
No, no, no, you weren't. I was just thought, Conan,
1177
01:01:29.909 --> 01:01:32.230
don't overstay your welcome. He just wanted to say, hi,
1178
01:01:32.309 --> 01:01:35.110
get out. So I say, such an honor. You take care, Al.
1179
01:01:35.150 --> 01:01:38.230
And I leave. The next day, by pure coincidence, I
1180
01:01:38.269 --> 01:01:39.769
run into one of the people who had just joined
1181
01:01:39.789 --> 01:01:42.219
you at the table. And they said, I just got
1182
01:01:42.260 --> 01:01:44.849
there and you were walking away and Al went, what happened?
1183
01:01:44.889 --> 01:01:49.289
He fled. And I was just thinking, I don't, it's
1184
01:01:49.389 --> 01:01:52.880
Al Pacino. Don't fuck this up. Get away. But the
1185
01:01:52.940 --> 01:01:55.239
next time I see you and I'm going to follow
1186
01:01:55.260 --> 01:01:57.639
you and see you and I'm going to haunt you,
1187
01:01:58.000 --> 01:01:59.739
I'm going to sit down. Okay.
1188
01:02:00.079 --> 01:02:00.570
Okay.
1189
01:02:01.070 --> 01:02:02.170
You don't seem thrilled about it.
1190
01:02:02.210 --> 01:02:03.170
No, you're going too far.
1191
01:02:03.190 --> 01:02:09.300
You're going to get salazzoed. I've got to use the bathroom.
1192
01:02:09.340 --> 01:02:13.199
I'll be back with a gun. The book is Sunny Boy.
1193
01:02:13.579 --> 01:02:15.579
It's the best thing I've read in a long time.
1194
01:02:15.719 --> 01:02:17.630
Everyone's going to read it. Everyone's going to buy it.
1195
01:02:17.860 --> 01:02:20.699
And I'm blessed to know you. I really am.
1196
01:02:20.719 --> 01:02:23.309
Thank you for being here. God bless. I'm so happy
1197
01:02:23.809 --> 01:02:25.989
I did your show. I really am. Thank you.
1198
01:02:26.230 --> 01:02:28.269
Oh, this is, I mean, I'm done now. This is
1199
01:02:28.309 --> 01:02:29.250
my last podcast.
1200
01:02:29.710 --> 01:02:32.800
Oh, no, don't go that far. Okay.
1201
01:02:32.820 --> 01:02:33.780
Please. Thank you, sir.
1202
01:02:45.070 --> 01:02:47.949
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1211
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01:03:45.409 --> 01:03:48.989
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01:03:49.030 --> 01:03:52.630
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1222
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1223
01:04:02.900 --> 01:04:04.519
Well, Al Pacino was just here.
1224
01:04:04.599 --> 01:04:05.659
Let's just.
1225
01:04:06.119 --> 01:04:06.780
That was incredible.
1226
01:04:06.800 --> 01:04:07.039
Yeah.
1227
01:04:07.300 --> 01:04:08.699
He's my favorite actor. Oh, he's an actor.
1228
01:04:08.719 --> 01:04:08.800
Yeah.
1229
01:04:13.449 --> 01:04:16.570
Who is this man? He is my favorite actor of
1230
01:04:16.610 --> 01:04:21.659
all time. And I was just so electrified that he
1231
01:04:21.699 --> 01:04:25.340
came in and he was so fantastic. It was so
1232
01:04:25.360 --> 01:04:29.480
much fun. And I remembered just before the interview, we
1233
01:04:30.119 --> 01:04:31.809
had this big talk because I think people were a
1234
01:04:31.889 --> 01:04:34.699
little on edge today. Well, it's a big day.
1235
01:04:34.719 --> 01:04:35.059
It's a big day.
1236
01:04:35.079 --> 01:04:38.179
You don't know what you're getting. Aaron Blair wore a blazer.
1237
01:04:38.219 --> 01:04:38.739
Whoa.
1238
01:04:38.920 --> 01:04:42.679
And look at him. Thank you. Which is... And listen,
1239
01:04:42.719 --> 01:04:45.059
to be fair, I read his book and loved it.
1240
01:04:45.800 --> 01:04:51.170
I was re-watching movies. I was thinking a lot about Mr. Pacino, Al.
1241
01:04:51.530 --> 01:04:54.449
I was really preparing for this.
1242
01:04:54.469 --> 01:04:54.539
And.
1243
01:04:56.630 --> 01:04:59.250
Yeah, it's called Preparing Summer. I was going to say, Preparing.
1244
01:05:00.349 --> 01:05:04.829
You didn't just walk in here and just wing it?
1245
01:05:04.969 --> 01:05:05.570
Okay.
1246
01:05:05.650 --> 01:05:06.289
I'm Conan.
1247
01:05:06.329 --> 01:05:08.679
I like to be prepared. It depends, you know, who
1248
01:05:08.719 --> 01:05:10.519
it is. You know, when it's the cast of Selling
1249
01:05:10.559 --> 01:05:13.179
the O.C., maybe I wing it.
1250
01:05:13.239 --> 01:05:14.699
Shocked.
1251
01:05:14.739 --> 01:05:17.019
Shocked you know that. Oh my God, you have no
1252
01:05:17.099 --> 01:05:19.699
idea what I know. But when it's Al Pacino, I
1253
01:05:20.659 --> 01:05:22.769
don't need to prepare because I feel like I know
1254
01:05:22.809 --> 01:05:25.219
his career cold, but I Really wanted to read the
1255
01:05:25.239 --> 01:05:27.480
book and think about it. And everyone was a little,
1256
01:05:28.079 --> 01:05:31.019
everybody was in a slightly different mode today, I could tell.
1257
01:05:31.079 --> 01:05:34.659
There was also 40 more people than is ever here too.
1258
01:05:34.840 --> 01:05:37.500
Yeah, it was really something. Suddenly people are here who've
1259
01:05:37.539 --> 01:05:40.179
never here before. Like, I'm here to fix the cigarette machine.
1260
01:05:40.619 --> 01:05:43.800
We don't have a cigarette machine. And that was De Niro. Yeah, yeah,
1261
01:05:43.840 --> 01:05:47.219
it was De Niro. And so we, but then we
1262
01:05:47.260 --> 01:05:50.340
get in here and we start talking about like, let's
1263
01:05:50.360 --> 01:05:53.599
not make him wear a head, you know, headset like,
1264
01:05:54.150 --> 01:05:57.010
we always do with people. Let's just, but then we
1265
01:05:57.050 --> 01:06:00.019
get into this classic conversation that we've had many times
1266
01:06:00.059 --> 01:06:03.219
with Eduardo, because these are directional mics. Eduardo, I give
1267
01:06:03.260 --> 01:06:05.860
it up for you. You're a brilliant guy. You built
1268
01:06:05.900 --> 01:06:06.480
this place.
1269
01:06:06.559 --> 01:06:06.820
Thank you.
1270
01:06:07.000 --> 01:06:10.230
You did a wonderful job. Sometimes you're a little, and
1271
01:06:10.409 --> 01:06:12.050
for a reason, these are directional mics.
1272
01:06:12.110 --> 01:06:12.329
Correct.
1273
01:06:12.650 --> 01:06:15.309
But you want everyone's lips to be on mic.
1274
01:06:15.369 --> 01:06:15.590
Yes.
1275
01:06:15.690 --> 01:06:17.690
No, he just wants people to be on mic. Yeah,
1276
01:06:17.769 --> 01:06:18.650
he just wants.
1277
01:06:18.469 --> 01:06:20.469
People to talk into the microphone.
1278
01:06:20.489 --> 01:06:24.630
I understand, but... Thank you, guys. When... the police are
1279
01:06:24.690 --> 01:06:28.250
trying to bug an apartment. They put a little bug,
1280
01:06:28.489 --> 01:06:30.469
you know, up in the lamp and then they hear
1281
01:06:30.510 --> 01:06:32.150
them saying, yeah, yeah, we'll kill him.
1282
01:06:32.190 --> 01:06:32.429
Yeah.
1283
01:06:32.449 --> 01:06:37.579
And then they arrest them. Um, it's very hard. Well,
1284
01:06:38.059 --> 01:06:41.360
they put plenty of mobsters away using the same technology. Anyway,
1285
01:06:41.679 --> 01:06:44.260
we have these microphones that you really need to be
1286
01:06:44.380 --> 01:06:47.199
close to them. And the fear is that maybe, uh,
1287
01:06:47.300 --> 01:06:49.440
you know, any of these actors that we have on
1288
01:06:49.460 --> 01:06:51.510
or anybody, uh, might just be talking and they may
1289
01:06:51.570 --> 01:06:53.829
lean back, they may drift from the mic. Billy Eilish.
1290
01:06:54.630 --> 01:06:57.449
Billy Eilish. It's happened plenty of times. So you were
1291
01:06:57.469 --> 01:07:01.050
saying that if they wear the headsets, they know when
1292
01:07:01.070 --> 01:07:03.690
they're wandering away from the mic. But I didn't want that,
1293
01:07:04.090 --> 01:07:05.789
so I was trying to think of a way that
1294
01:07:05.829 --> 01:07:08.630
we can not wear headsets, because I don't want to
1295
01:07:08.670 --> 01:07:11.809
talk to Al Pacino while he's wearing what like a
1296
01:07:11.889 --> 01:07:15.030
submarine sonar guy would have in a World War II movie.
1297
01:07:15.469 --> 01:07:17.949
I want to talk to Al Pacino. So I was hoping,
1298
01:07:17.969 --> 01:07:20.269
let's not do that. Let's just not do that. And
1299
01:07:20.289 --> 01:07:22.110
then I came up with an idea for a fix.
1300
01:07:22.449 --> 01:07:24.989
Which we thought was a real idea. And I told
1301
01:07:25.010 --> 01:07:27.980
these guys. You set this up so early. Guys, guys,
1302
01:07:28.000 --> 01:07:29.840
I have a way to fix this. It's a technological fix.
1303
01:07:29.880 --> 01:07:31.739
And you guys were actually looking at me like, well,
1304
01:07:31.840 --> 01:07:32.980
he probably does have something.
1305
01:07:33.000 --> 01:07:34.719
I knew you were. You probably knew. I knew you
1306
01:07:34.760 --> 01:07:38.320
were not serious. Okay, but I think Eduardo. I was intrigued.
1307
01:07:38.420 --> 01:07:38.639
Blay?
1308
01:07:38.659 --> 01:07:38.739
Yeah.
1309
01:07:39.250 --> 01:07:42.070
A thousand percent. And what about you? I just wasn't listening. Okay.
1310
01:07:42.699 --> 01:07:45.300
So anyway, I said, no, no, I'm really serious, guys.
1311
01:07:45.320 --> 01:07:47.579
This is what we should do. We should get a little,
1312
01:07:48.420 --> 01:07:51.380
just like a little clip, and it's tied to a
1313
01:07:51.420 --> 01:07:55.070
nylon cord, and we clip it to them, and it's
1314
01:07:55.110 --> 01:07:57.389
really secure. And you guys were still looking at me like, uh-huh,
1315
01:07:57.409 --> 01:07:59.849
where's he going with this? And then the clip attaches
1316
01:07:59.909 --> 01:08:02.389
to like a little wheel right here, and then it
1317
01:08:02.429 --> 01:08:06.090
runs underneath the table, and Eduardo has it. If someone
1318
01:08:06.110 --> 01:08:09.380
starts to drift off mic, he can pull- on it,
1319
01:08:09.469 --> 01:08:13.760
and they're like, anyway, I just think, and suddenly, we
1320
01:08:13.780 --> 01:08:16.060
should do that with him. So Al Pacino would be like,
1321
01:08:16.399 --> 01:08:18.239
and then I was saying, you know, I was talking
1322
01:08:18.279 --> 01:08:25.079
to him, when we shot the Godfather Part 2, I go, oh, oh, oh, oh, oh.
1323
01:08:26.140 --> 01:08:31.310
And then Eduardo would slowly let it out. Anyway, I
1324
01:08:31.329 --> 01:08:34.010
said to Coppola, I hope it works because I'm a
1325
01:08:34.050 --> 01:08:36.289
little worried. Now, the funny thing you got to remember
1326
01:08:36.329 --> 01:08:38.130
about Diane Keaton is.
1327
01:08:43.010 --> 01:08:46.189
And then Eduardo lets it out just a little bit
1328
01:08:46.229 --> 01:08:48.310
and then a tug to remind him who's boss.
1329
01:08:49.010 --> 01:08:49.770
I love the idea.
1330
01:08:49.850 --> 01:08:51.010
So I think we do this idea.
1331
01:08:51.149 --> 01:08:53.260
Can you do that, but it actually pulls him away
1332
01:08:53.319 --> 01:08:54.479
from the mic?
1333
01:08:54.579 --> 01:08:57.359
Even better. You know what? I'll have... So great. You
1334
01:08:57.420 --> 01:08:58.539
all have wires.
1335
01:08:58.560 --> 01:08:58.739
Yes.
1336
01:08:58.760 --> 01:09:04.470
So I'll start. So I have no wires, but I'll
1337
01:09:04.489 --> 01:09:05.970
be like, yeah, and another thing, Sona.
1338
01:09:10.239 --> 01:09:11.699
Or, oh, well, Gorley, I think.
1339
01:09:13.819 --> 01:09:14.390
I love it.
1340
01:09:15.960 --> 01:09:18.819
I'm just kidding. You guys are just yanking me around.
1341
01:09:19.100 --> 01:09:19.640
Oh, my God.
1342
01:09:19.659 --> 01:09:20.649
And all the people hear us.
1343
01:09:20.659 --> 01:09:28.560
Can we just talk about how personable he was, too,
1344
01:09:28.640 --> 01:09:31.890
and how he would talk and, you know. Listeners don't
1345
01:09:31.930 --> 01:09:33.369
know this, but there are two types of guests on
1346
01:09:33.390 --> 01:09:35.109
the show. Those that just kind of come in and
1347
01:09:35.140 --> 01:09:35.909
they're tunnel vision.
1348
01:09:35.949 --> 01:09:36.460
They look at you.
1349
01:09:36.819 --> 01:09:38.939
And then those that are like really talk to everyone
1350
01:09:38.960 --> 01:09:40.119
in the room. And he was one of those people
1351
01:09:40.159 --> 01:09:41.479
that would just make eye contact with people.
1352
01:09:41.500 --> 01:09:42.840
I don't know if you could tell, but I started
1353
01:09:42.859 --> 01:09:45.520
to build a brick wall so that he couldn't see
1354
01:09:45.539 --> 01:09:47.399
you guys. Yeah, yeah, yeah. I have, cause I keep
1355
01:09:47.460 --> 01:09:49.119
bricks here. Yes, I know that. And I have a
1356
01:09:49.159 --> 01:09:51.300
lathe and I was just quickly as that. No, he
1357
01:09:51.319 --> 01:09:55.970
was honestly comes from the fact that when you read
1358
01:09:55.989 --> 01:09:59.590
his book, yes, he's an iconic film star, but in
1359
01:09:59.630 --> 01:10:02.489
his heart, He's a guy who wants to go to
1360
01:10:02.529 --> 01:10:05.989
the theater and work with everybody and figure it out.
1361
01:10:06.350 --> 01:10:07.789
And you can tell that's what he loves, is he
1362
01:10:07.829 --> 01:10:11.029
loves this kind of communal... And I think that's his instinct,
1363
01:10:11.390 --> 01:10:14.409
is he's not here just to talk to me. He's
1364
01:10:14.449 --> 01:10:15.789
here to have an experience with us.
1365
01:10:15.880 --> 01:10:17.140
Well, you know how you can tell he's a man
1366
01:10:17.149 --> 01:10:19.399
of the people? When his phone rang in that interview,
1367
01:10:19.439 --> 01:10:22.680
I looked over and his phone case is all Shrek heads.
1368
01:10:22.699 --> 01:10:24.600
It's just.
1369
01:10:25.289 --> 01:10:29.170
printed multiple sized Shrek heads all over his phone.
1370
01:10:29.210 --> 01:10:30.880
Yeah, he's a dad with some kids.
1371
01:10:30.909 --> 01:10:31.479
I love it.
1372
01:10:31.529 --> 01:10:33.140
And he's got Shrek heads, yeah.
1373
01:10:33.560 --> 01:10:37.199
Yeah, unbelievable. Yeah, and then his phone went off midway
1374
01:10:37.239 --> 01:10:41.039
through the interview. That's happened before, maybe? I don't know,
1375
01:10:41.079 --> 01:10:43.300
but when it rang, my heart dropped because I was like,
1376
01:10:43.380 --> 01:10:45.560
please don't let it be my phone. It's usually Sona
1377
01:10:45.600 --> 01:10:48.739
when it's happened. What the fuck? No, no, to be fair,
1378
01:10:48.760 --> 01:10:51.539
it was Al Pacino's phone, but it was Sona calling.
1379
01:10:51.560 --> 01:10:51.640
Yeah.
1380
01:10:52.659 --> 01:10:56.329
Asking, who are you? Can you just tell me who
1381
01:10:56.350 --> 01:10:58.189
you are real quick?
1382
01:10:58.229 --> 01:10:59.550
What did you act in?
1383
01:10:59.689 --> 01:11:02.430
Which reality show were you in? Keep at it, buddy.
1384
01:11:02.510 --> 01:11:03.550
I'm sure you'll make it.
1385
01:11:04.149 --> 01:11:07.220
I definitely had a minor panic attack when a phone
1386
01:11:07.260 --> 01:11:10.340
went off because that's always something I'm constantly worried.
1387
01:11:10.079 --> 01:11:12.380
About or whatever. And then as soon as it was
1388
01:11:12.439 --> 01:11:13.720
his phone, relief.
1389
01:11:13.979 --> 01:11:15.239
Yes, I'm the same.
1390
01:11:15.800 --> 01:11:18.079
I love when it goes off and it's your phone.
1391
01:11:18.260 --> 01:11:20.920
That's hardly ever happened. That's how that's you. And then
1392
01:11:20.960 --> 01:11:23.399
you get mad. My phone is always on, but no
1393
01:11:23.460 --> 01:11:26.899
one's ever called.
1394
01:11:27.460 --> 01:11:30.000
You also were, had these glasses on the table, just
1395
01:11:30.039 --> 01:11:32.319
like Mo green and the godfather. And I kept expecting
1396
01:11:32.340 --> 01:11:33.239
you to put them back on.
1397
01:11:33.300 --> 01:11:37.239
And yeah, it's so, those movies are so seared into
1398
01:11:37.279 --> 01:11:39.680
my brain and not just those. So many of his
1399
01:11:40.159 --> 01:11:45.390
movies and, I know who he is. You guys are
1400
01:11:45.430 --> 01:11:49.909
making this. Matt looked at me like, Sona, do you know.
1401
01:11:49.810 --> 01:11:51.050
What the godfather is?
1402
01:11:51.130 --> 01:11:52.430
No, it was your mm-hmm.
1403
01:11:52.930 --> 01:11:54.449
It wasn't me being condescending.
1404
01:11:54.470 --> 01:11:55.109
I can't hear me.
1405
01:11:55.149 --> 01:12:01.119
I don't have headphones on. But I will say he's multi-generational.
1406
01:12:01.560 --> 01:12:04.180
Because Eduardo, you were saying for you it's Scarface. Scarface
1407
01:12:04.199 --> 01:12:11.010
for me. And I remembered when I was in college... yeah,
1408
01:12:11.029 --> 01:12:14.369
The Godfather 1 and 2 was a big thing, but
1409
01:12:14.550 --> 01:12:16.029
Scarface was huge.
1410
01:12:16.409 --> 01:12:20.029
Some of my best friends were, friendships were formed over
1411
01:12:20.069 --> 01:12:20.649
that movie.
1412
01:12:20.689 --> 01:12:22.170
Really? Yeah, it was special.
1413
01:12:22.189 --> 01:12:23.909
Oh, I thought you said some of your best friends
1414
01:12:23.970 --> 01:12:27.329
were dealing cocaine in Miami and shooting each other with
1415
01:12:27.369 --> 01:12:27.630
machine guns.
1416
01:12:27.649 --> 01:12:28.369
He did not say that.
1417
01:12:28.430 --> 01:12:32.109
Yeah. No, but it was, it's, and then it just
1418
01:12:32.149 --> 01:12:35.100
keeps going because I was talking to a friend of
1419
01:12:35.140 --> 01:12:37.949
mine who's like a workout fanatic and he's in his,
1420
01:12:37.989 --> 01:12:40.439
he'd be in his 30s and he was just saying like,
1421
01:12:41.090 --> 01:12:42.029
I said that I was gonna be talking to Al
1422
01:12:42.109 --> 01:12:43.989
Pacino and he said, that speech he gives in any
1423
01:12:44.029 --> 01:12:47.100
given Sunday. And I thought, oh my God, you can,
1424
01:12:47.479 --> 01:12:50.800
it just goes and goes and goes. It's incredible.
1425
01:12:50.859 --> 01:12:53.319
And then into the current day with the Irishman and
1426
01:12:53.460 --> 01:12:54.560
Once Upon a Time in Hollywood.
1427
01:12:54.640 --> 01:12:54.979
Yeah.
1428
01:12:55.720 --> 01:12:59.699
And he's the voice of the new Shrek. That makes sense.
1429
01:12:59.840 --> 01:13:03.359
Yeah. I get it. Donkey, what are you fucking doing?
1430
01:13:05.340 --> 01:13:06.659
Hey, donkey, why don't you go out in the rowboat
1431
01:13:06.680 --> 01:13:12.720
and say a Hail Mary? I killed the fucking donkey!
1432
01:13:12.739 --> 01:13:22.329
I've lost my soul! That's a Shrek turn I haven't seen. Oh,
1433
01:13:22.369 --> 01:13:26.109
my God. All right. Well, that was really. Wow. That
1434
01:13:26.149 --> 01:13:28.119
was fun. That's a high. It is pretty. That was
1435
01:13:28.140 --> 01:13:29.279
nice to experience that.
1436
01:13:29.720 --> 01:13:32.180
I hesitate to do this, but I have to thank
1437
01:13:32.199 --> 01:13:35.119
you for bringing these kind of crazy experiences into my life.
1438
01:13:35.220 --> 01:13:37.640
I mean, it's amazing to be able to sit by
1439
01:13:37.680 --> 01:13:38.680
and watch this happen.
1440
01:13:38.779 --> 01:13:41.500
Well, I think he was here to see all of us.
1441
01:13:42.779 --> 01:13:46.180
That's absolutely not true. We were waiting for the... I
1442
01:13:46.220 --> 01:13:47.659
was waiting for you to finish. I was going to
1443
01:13:47.680 --> 01:13:49.479
land you at the end, but he didn't give me
1444
01:13:49.640 --> 01:13:50.560
a chance.
1445
01:13:50.760 --> 01:13:51.159
Oh, yeah.
1446
01:13:51.180 --> 01:13:51.729
That's bullshit.
1447
01:13:51.770 --> 01:13:53.529
I think I wanted to cut it off.
1448
01:13:53.590 --> 01:13:56.670
It almost makes me... He outside was saying, like, I
1449
01:13:56.670 --> 01:13:58.449
don't want anyone else in the room. And I said,
1450
01:13:58.829 --> 01:13:59.810
it's kind of how we do it.
1451
01:13:59.810 --> 01:14:00.989
He went, I don't like Gourley.
1452
01:14:01.050 --> 01:14:04.130
I've heard his other podcasts. He does something about Bonanza.
1453
01:14:04.149 --> 01:14:07.189
And I was like, no, no, no, no. I love...
1454
01:14:07.210 --> 01:14:11.140
It's too niche. It's too niche what he does. Who
1455
01:14:11.159 --> 01:14:13.319
wants to listen to him and Andy Daly? Just puddle on!
1456
01:14:13.340 --> 01:14:16.010
And I said, Al, Al, just come on in.
1457
01:14:16.060 --> 01:14:17.310
And Sona, what's that all about?
1458
01:14:18.090 --> 01:14:20.369
I mean, did she land her ass in butter or what?
1459
01:14:20.689 --> 01:14:22.430
She's a bad assistant and now she gets a job
1460
01:14:22.449 --> 01:14:25.520
for life? And I said, Al, Al, just come on in.
1461
01:14:25.979 --> 01:14:28.319
And why is Play wearing a blazer? That's not who
1462
01:14:28.340 --> 01:14:30.659
Play is. Everyone turns into Nixon, too.
1463
01:14:30.699 --> 01:14:32.319
Let me tell you something else.
1464
01:14:33.100 --> 01:14:36.260
Let's get Haldeman and Ehrlichman. And let's start a mob.
1465
01:14:36.979 --> 01:14:38.229
And we'll take over.
1466
01:14:38.020 --> 01:14:39.060
The five families.
1467
01:14:39.090 --> 01:14:42.109
Everything is Nick's family.
1468
01:14:43.010 --> 01:14:43.170
Whee!
1469
01:14:43.229 --> 01:14:43.369
Whee!
1470
01:14:47.109 --> 01:14:50.869
Conan O'Brien Needs a Friend. With Conan O'Brien, Sonam Ovsessian,
1471
01:14:51.109 --> 01:14:55.229
and Matt Gourley. Produced by me, Matt Gourley. Executive produced
1472
01:14:55.289 --> 01:14:58.989
by Adam Sachs, Jeff Ross, and Nick Liao. Theme song
1473
01:14:59.029 --> 01:15:02.210
by The White Stripes. Incidental music by Jimmy Vivino.
1474
01:15:02.890 --> 01:15:03.770
Take it away, Jimmy.
1475
01:15:07.399 --> 01:15:10.579
Our supervising producer is Aaron Blair, and our associate talent
1476
01:15:10.600 --> 01:15:14.319
producer is Jennifer Samples. Engineering and mixing by Eduardo Perez
1477
01:15:14.399 --> 01:15:18.359
and Brendan Burns. Additional production support by Mars Melnick. Talent
1478
01:15:18.380 --> 01:15:21.579
booking by Paula Davis, Gina Batista, and Brit Kahn. You
1479
01:15:21.600 --> 01:15:24.140
can rate and review this show on Apple Podcasts, and
1480
01:15:24.180 --> 01:15:26.739
you might find your review read on a future episode.
1481
01:15:27.100 --> 01:15:30.779
Got a question for Conan? Call the Team Coco hotline
1482
01:15:31.119 --> 01:15:34.500
at 669-587-2847 and leave a message. It, too, could be
1483
01:15:34.539 --> 01:15:37.060
featured on a future episode. You can also get three
1484
01:15:37.119 --> 01:15:41.270
free months of SiriusXM when you sign up at SiriusXM.com
1485
01:15:41.350 --> 01:15:44.470
slash Conan. And if you haven't already, please subscribe to
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01:15:44.529 --> 01:15:48.029
Conan O'Brien Needs a Friend wherever fine podcasts are downloaded.
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01:15:48.109 --> 01:16:04.500
SiriusXM Good nights are about the people. The laughs.
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