Pacino Reveals Surprising Favorite Role

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Al Pacino recently caught up with some longtime companions, attending a 50th anniversary showing of “Dog Day Afternoon” at the American Cinematheque’s Aero Theatre. These friends were his fellow collaborators he’s been missing since they worked together on the iconic bank-heist film half a century ago.

At the Aero, Robert De Niro’s affectionate cousin (Robert Pacino) gained numerous new acquaintances. On Tuesday, a packed audience delighted not only in his stories about producing “Dog Day Afternoon,” but also in various anecdotes from other parts of his career.

Pacino humorously suggested that every year is like a 50-year anniversary for him. After all, he starred in ‘The Godfather’ and it marked its 50th year, people celebrated, and now it’s time for another celebration since he also played a role in ‘The Godfather Part II.'”

This version retains the essence of the original while using simpler, more conversational language to make it easier to read.

As an 84-year-old actor, I found myself immersed in what has become my most cherished role to date – one that surprisingly wasn’t among the top three I mentioned last year during a similar question. Moreover, I couldn’t help but share a tantalizing glimpse into a part that remains unseen: my leading performance in an upcoming adaptation of “King Lear.

Refreshingly watching “Dog Day” once more stirred up a mix of emotions for the audience in Santa Monica, as Pacino shared. “Many of the people I acted alongside, my co-stars, have sadly passed away,” he said, moments after the end credits finished. “Seeing it on such a grand scale brings a sense of greatness,” Pacino continued. “Sidney (Lumet) was an exceptional director, and his work continues to amaze me. The performances, particularly those by the actresses in the bank, John Casale, and of course Judith Malina, who played my mother, are truly remarkable. Reuniting with these old friends… it’s both heartwarming and bittersweet,” Pacino added, admitting that the film holds a melancholic tone at times.

During the main topic of “Dog Day,” Pacino was also posed a few broader questions by the crowd.

He declared that his most enjoyable character to play was ‘Dick Tracy’, a tribute to the movie’s director and lead actor, Warren Beatty, without providing any additional details.

After finding his initial response unsatisfying, another participant inquired about his preferred character. Quite expectedly, he didn’t stick with “Dick Tracy” as his answer, and even more unexpectedly, he didn’t select one of the three films he mentioned when asked this question in 2024. Back then, he had chosen “Serpico,” “The Local Stigmatic,” and “Looking for Richard.” At the Cinematheque, however, he opted for a more mainstream selection.

Originally hesitating with “I couldn’t say,” he soon changed his mind and enthusiastically shared his top pick. “Right away, I simply state that nothing surpasses ‘Scarface,'” Pacino declared. “The reason I feel this way is, I recall seeing a cinema in Los Angeles, the Tiffany (in West Hollywood) – it no longer exists – where they played classic films, and they were screening the 1931 version of ‘Scarface.’ I watched it with my friends because I’d heard about Howard Hawks’ Scarface, starring Paul Muni, who was a remarkable actor in his time. I said, ‘I must be part of this film; this performance is having such an impact on me.’ So I contacted (my frequent producer, Martin Bregman) and said, ‘I think we have a chance with Scarface.’ ‘Scarface?’ he replied. ‘I’ve never seen it.’ I suggested he watch it. Therefore,” he continued when explaining why this was his favorite, “probably that’s the reason: I feel accountable for it, you understand? I felt personally responsible for bringing it to life.

I recently completed a role for a film titled “Lear Rex,” directed by Bernard Rose, which might become one of my favorites. It’s an adaptation of Shakespeare’s King Lear, and I had the privilege of playing Lear. Working alongside Peter Dinklage and Jessica Chastain was quite an experience!

We started writing this adaptation over a year ago and are still working on it even after we finished filming. The process took us around 18 months, but it was worth every moment. Now that we’ve wrapped up shooting, we’re busy editing the film, which will take another four to five years, I joked.

I could sense some laughter from the audience when I mentioned the lengthy editing phase, and someone called out, “He means it! He means it!” But rest assured, my colleagues, I was just having a bit of fun. Bernard is in the audience… I think. I don’t mean to cause any confusion.

Pacino was not interested in answering every “best” question. When it came time for a thoughtful final question, someone asked Pacino to identify his “toughest” role. After the moderator humorously commented, “I said ‘good’ question,” the actor jokingly replied: “I suppose these lectures, that’s somewhat challenging.” Later on, he admitted that roughly half of the roles he had taken on were difficult for him – “Dog Day” was definitely one of them.

Later on, he playfully mentioned one of his easiest roles: a self-mocking appearance in the 2011 Adam Sandler movie “Jack and Jill.” He chuckled, “People often think I did a Dunkin’ Donuts commercial!” he said. “They assumed I really played that part (in real life) in the Adam Sandler film. I don’t earn any royalties from it, but they show it frequently, and it’s one of the most popular films featuring me!

As a passionate cinephile, I eagerly anticipated Al Pacino’s visit to Aero Cinema. The screening of “Dog Day Afternoon” had been an instant sellout, but it was postponed twice to accommodate the actor’s schedule, finally settling on this particular date. Amongst the distinguished attendees were Jeff Goldblum, who discreetly entered and exited through the back door along with other Cinematheque members, and Jenny Lumet, the director’s daughter, who was just a pre-teen when the film was being made in 1974.

Jenny stood up during the Q&A and shared, “I really miss my father. His voice wasn’t widely known, but when I heard him improvising in this movie, it immediately brought back memories. You may not realize this, but before becoming a dad, he was an actor.

“Sidney, he was a really good actor!” Pacino agreed.

She wondered if it was alright to come over for a quick embrace, as she yearned to experience her father’s presence momentarily.

Pacino asked the moderator, ‘What’s her plan?’ To which he replied playfully, ‘I adore giving hugs! Let’s do it!’

Following their public display of affection, Pacino jokingly asked, “Does anyone else fancy a hug?” However, before anyone could respond affirmatively, he reminisced about his experience in a children’s theater production titled “The Adventures of High Jump” from 1962. He recounted saying to the audience, “‘Well, you know, I miss my girlfriend, so I gotta get back home; I wonder what she’s thinking. But hey, look, we live at such-and-such location, and when you have a chance, come visit us.’ A spectator shouted, ‘I’m coming now!’ which prompted the children in attendance to act upon it.” (It seems that this memory may have triggered an old sense of apprehension in Pacino, causing him to inquire, “Am I finished?” and make a hasty exit through the side door once the Q&A session with Aero concluded.)

The performer shared anecdotes about the close call he experienced during “Dog Day Afternoon,” notably the rumor that Dustin Hoffman was considered as a possible replacement for him, following reports that Al Pacino initially declined participation in the film.

He assured us there’s an authentic backstory to this, he declared. ‘I actually declined the role in “Dog Day Afternoon,” hard as that may be to believe,’ he reminisced. ‘At the time, I was navigating a lot of personal challenges, as I was adapting to the film industry for the first time.’ He attributed his decision to the crime-focused nature of the script, having just finished working on the “Godfather” films. ‘I decided I wasn’t going to take it. I didn’t want to do this anymore – associating with guns and bank robberies. I felt I had already experienced enough of that,’ he explained. ‘Someone else ended up playing the role, and I was perfectly content with that.’

Marty Bregman reached out to me and inquired, ‘Al, are you clean?’ To which I responded, ‘Indeed, I am… at this very moment.’ He then pleaded, ‘Al, please,’ and I retorted, ‘No, I won’t pull heists, Mr. B. It’s just not in me.’ But he persisted, ‘Do it for me. Give the script another look, will you?’ I agreed, saying, ‘For you, I’ll do it.’ Then, as I delved into the script, I thought, ‘Wait a minute! I have to be a part of this movie! Frank Pierson won an Oscar for it!’

Working with Sidney, who previously directed Pacino in “Serpico,” is always an exhilarating experience for me. His dedication to rehearsals sets him apart from many directors today – we spent three weeks going over every detail of the bank robbery scene together. His direction was precise and clear: “I’m a director, so I direct,” he’d say, pointing out where each of us should move. We simply followed his instructions, and it felt as if we were truly participating in a real-life bank robbery. His understanding of geography is remarkable, making the scene feel incredibly immersive. It was a privilege to work with him, and I can honestly say I admired and loved him.

However, in the filming of “Dog Day,” Pacino didn’t simply follow Lumet’s instructions. Instead, he claimed that the fundamental portrayal was a product of his personal interpretation. Moreover, he admitted that he approached Method acting to a degree that made his co-workers feel intimidated on set.

He mentioned that they had practiced for three weeks beforehand, but when he arrived on set to film, much of what they’d prepared seemed to be irrelevant as he shifted his focus to immersing himself in the role. Although the robbery and characters were inspired by real-life events and individuals, he didn’t feel the need to do extensive research. Instead, this character resonated with him on a personal level and emerged naturally. He couldn’t explain how these creative insights often arise. When filming began, he felt detached from the character, so he spent a restless night consuming a large amount of white wine (which isn’t his preference), and it was through this process that he discovered the character within the script himself. Eventually, he arrived on set in an unconventional state, causing concern among his fellow actors and director Sidney Lumet, who wondered if they would need to find a way to work with him amidst his apparent emotional turmoil.

Reflecting on my recent film experience, I found myself returning to the set several months after initial filming. My task? To re-record lines that hadn’t quite hit the mark during the first take, lines that echoed silently in the void.

However, as I stepped back into the role, I encountered an unexpected challenge. The character I had so deeply embodied seemed to have flown away, leaving me bereft of him. It was as if he had become a part of me, and without him, it proved arduous to speak in his voice or embody his essence once more.

Al Pacino shared tales about some iconic improvisations on set during the movie’s production. “A director like Lumet, who is more open, creates opportunities for such moments because he keeps the scene flexible,” Pacino explained. “One day, as we were filming, Burtt Harris, Sidney’s assistant director, called me over and whispered, ‘Al, say ‘Attica.'” I was puzzled, but he urged me to go ahead and do it. As I stepped out, I began talking about the police and before I knew it, I found myself shouting, ‘Remember Attica? Attica?’ The extras reacted wildly. It had been a tragic event that had recently occurred at Rikers, and everyone was still shaken by the news. That sparked their emotions. And over the years, the phrase has lived on, with people still saying ‘Attica’ today… In essence, moments like these arise unexpectedly, and it’s beneficial to allow for such spontaneity, especially in a film that aims for realism.

In this movie, Pacino discussed how they improvised one of its most memorable scenes with Chris Sarandon. Despite never appearing together on screen, their characters shared a powerful phone conversation. Sarandon portrayed one of Pacino’s two simultaneous wives, who was a gay woman before same-sex marriage was legalized. This character was brought in to help diffuse the tense situation, but instead, it led only to a heartbreaking goodbye. Throughout rehearsals and filming, Pacino and Sarandon developed a relationship that translated onto the screen. Lumet chose three tapes of their improvised sessions and edited them together to create the scene that made it into the final movie.

A viewer inquired about the relevance of the film, given its groundbreaking portrayal of a bisexual protagonist falling in love with a transgender woman, which mirrored real-life events depicted on screen in 1975.

Although I’m relatively new to this, I might be off base, but it appears to me that we are more accustomed to and comprehend it better than we did in the past. Yet, it continues to resonate with the issues we face today. As I watched it, I couldn’t help but feel that it was less shocking now than it was 50 years ago. Back then, such language was uncommon. Part of the film’s impact, too, is its reflection of a different time, and it’s fascinating to see how far we’ve progressed. We truly have.

Speaking of my acting journey, I had the privilege to star in ‘Cruising,’ a trailblazing film that tackled themes central to the LGBTQ+ community. Let me tell you, it was an immersive experience!

The questioner stated, “You need to return for it!” However, Pacino didn’t give a guarantee, but that particular event is just five years off according to his semi-centennial planner.

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2025-03-09 06:18