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“He throws those things at you all the time.” FRANKIE: You don’t know me. I find that rhythm, [and] I don’t like it disrupted.” She laughs at herself. Al’s a little looser, so it wasn’t so upsetting for Al.“Garry directs a movie much like you would make a stew,” she continues.Frankie and Johnny, the film, has a cast of 96, a budget that ended up at about million, and locations in Los Angeles, Sacramento, and New York City.
“It came out quite a good scene,” he says in the pungent Bronx accent that can make him sound like a kind of vaudevillian rabbi. “I’ve warned him that I was going to tell people that he had become much nicer and I had become much meaner,” she says, grinning.Barreling into the room on the next go-round, Pacino was startled to see that Marshall had indeed replaced the mirror—with one that stretched clear across the wall. Later, in the gag reel, Marshall used the shot of Pacino breaking up, cut to a clip of him and Pfeiffer in Brian De Palma’s Scarface (1983), and then cut back to him laughing. Now she’s full of ideas and contributions.” Echoes Marshall: “I think she means that when she was in Scarface, she was a young ingenue who was afraid to speak. She speaks right up.” That was fine by Marshall, whose last film, Pretty Woman, was the second-high-est-grossing film of 1990; his unfettered, improvisational directing style can be overwhelming to the uninitiated—such as Pfeiffer.“With Garry, you’re ready for it,” Pacino says amiably. “It was a little shocking initially, working with Garry,” she admits, smiling. When you’re doing something that is well written, it has a certain rhythm to it, and for me, it’s like music.He’s really trying to get into it, so he can do his best work.
So it’s a ruse, of a sort.” Of Pacino and Pfeiffer, Marshall says, “Probably these were two of the most serious actors I’ve ever worked with, as far as craftsmen. “Al will say, ‘I think I got it on take 4 of take 5,” and I’ll say, ‘Yeah, between 4 and 5.’ And then we do a few more.
Marshall’s secret with actors, Nelligan suggests, is his disarming eccentricity: “He doesn’t scare them.” “He’s a walking caricature,” says Hector Elizondo, who plays the owner of the diner. ’ He’s sort of the Casey Stengel of directions.” Marshall has a similar problem with proper nouns.