Al Pacino – Opens Up, and Then Some

By Philip Berk  1999

Al Pacino (he’ll be sixty next year) still roars like a lion.

At least in his screen performances.

In person, he’s gentle, soft spoken, and gracious.

On screen, in The Insider, he’s giving the same performance he’s given in every film since Scent of a Woman.

Which isn’t bad, but no match for his early work, in The Godfather, Serpico, and Dog Day Afternoon, which influenced a generation of actors.

At his press conference for the film he’s relaxed and eager to please.

But that wasn’t always the case.

For years he refused to meet the press. and when occasionally he did, he insisted on photo and editorial control even from such bastions of free speech as the New York Times and Rolling Stone magazine.

But in l985, he changed his mind and began courting the press.

And it paid off. 

Seven years later, after six nominations, he finally won his well deserved Oscar for Scent of a Woman

In The Insider he plays a real life “60 Minutes” producer who fought both the tobacco industry and CBS to get the truth told on the air.

CBS refused to run the story (that the CEOs had perjured themselves) when Brown and Williamson (the manufacturers of Marlboro cigarettes) threatened  to sue. 

Eventually the story was aired, but at a great cost.

Does he smoke? I asked him. 

“No, I don’t, but I was a smoker. I gave it up ten, eleven years ago. I’m glad I stopped, but at the same time, if somebody wishes to smoke knowing the outcome that’s their right.”

Pacino has played real life characters before, in Serpico, Dog Day Afternoon, and Scarface, and in The Insider he plays Lowell Bergman, who is still active as a television producer.

Is there a difference in playing a real person as opposed to a fictional character ?

“With a real character, you take the actual person and you mimic him subliminally, sometimes consciously. But then your imagination takes over. It’s like a painter, you don’t actually paint what’s there but how it affects you. Invariably it becomes your own.  

“With a fictional character,  you gather all these things up, they stay in the back of your head and they come out. Ultimately I approach every part as though I don’t know anything about acting. I try to maintain that it’s all new. Hopefully the experience of forty years comes into play. The rigors of stage, doing things job after job, night after night, enables you to develop a way of coping with different roles.

“But as I said to someone the other day, and this may sound strange, I said, ‘You know, really, I’m not an actor until I get something to act.’ And it’s true. It’s only when I get something to act that I become an actor.”

Unlike Brando and DeNiro he’s done a lot of theatre. 

Which does he prefer?

“Stage acting I find more challenging. For the two hours when you’re on stage you’re always focused. You feel comfortable. The experience is much more private. You’re alone in your dressing room, and you have that period of time before the curtain goes up where you can prepare. Then you go out, and you’re like a tightrope-walker . There’s no turning back. You change. The adrenaline, the energy produces a chemical change in you, which in a strange way is also very draining. Movies of course because of its long hours and long shoots, tires you in a different  way.” 

Does he still take the character he’s playing home with him?

“When I was younger, I was more or less in character all the time, but you learn as you get older. You still stay in a general state throughout the day, although at certain moments it’s not quite as intense. This doesn’t necessarily mean that if the scene calls for you to be cranky, you’re cranky all day. Sometimes you go in the opposite way, but in character. You develop a way of getting in and out of a character. You need an escape so you learn to keep yourself and the part you’re playing separate.”

Does he prefer playing a character who’s not at all like him?

“Lee Strasberg, who pioneered method acting, believed you learn from the parts that aren’t really right for you. You challenge yourself and you grow in those roles. The focus is on you, and you have to deliver a performance because it’s expected of you. Because of that pressure, you tend not to do these roles, you shy away from them in fear of falling or failing. That’s one of the reasons I do experimental work on my own. There should be a place where you can work these things out, but in the world of commerce it’s difficult.”

Which is why he made The Local Astigmatic

Will we ever see that film?

“I didn’t think many people had heard of it. It only took twenty years to make. But the good news is it’s only fifty-two minutes long, or short. It’s going around to different places, a few museums, which seems to be the right context for it.”

What possessed him to devote twenty years to it?

“I’ve always been fond of the play. It was written in the early 60’s by a fellow named Heathcote Williams. I decided to film it, to find out, while filming, what moviemaking was all about. I think that is what started me onto that experimental path. 

“At the time I wasn’t really involved with movies. I never ever thought of it as something I’d be doing my whole life. I felt very lucky it was happening to me, but what I really was concerned with was plays. That’s what I wanted to do, and that’s where I kept running after each film. 

“I would do movies once every couple of years. Then it went four years without doing a picture. With Astigmatic, I found something that talked to me about movies in a way that was encouraging. I finally understood movies, so I went to the drawing board and started working on these experimental things.” 

So directing has given him a new understanding of movies?

“But the strange thing for me is, I don’t think of myself as a director. I’m not comfortable calling myself a director. I like to make films. I like the idea of experimenting on film. I want to play with it. I call them experiments, so I look forward to the next thing that interests me on that level.”

Looking for Richard must have been very gratifying.

“So far that’s the only thing that’s come out, although I’ve done a couple of other things that I have not released. I’ll probably release Chinese Coffee. It’s finished editing. I’m trying to get the right music. It too is a very experimental low budget movie.” 

In spite of his legendary status, he hasn’t won many awards.

How does he feel about awards in general? 

“I’ve never met a person who was either nominated or given an award who didn’t feel good about it. If there is such a person, I’d be afraid to meet him. For anyone who works in this industry, it’s kind of a dream. You try to play it down. What I do is, I don’t speculate. I try to keep my expectations to a minimum; then the disappointment factor never comes into play.”

Is he ever bored on the set?

“When you’re working every day fourteen, fifteen hours a day, four or five months at a time, it takes endurance. Sometimes it’s laborious, and if your personal life isn’t going very well, it too can work its way into your work.”

What does he do between takes?

“I’m always doing something, whether it’s reading or thinking about the movie,  there’s always something to do.”

Can he relax and not do anything?

“It’s wonderful to be in a position where you don’t have to punch a clock. You don’t have to be in a certain place at a certain time. I recommend it. It’s cool.”

He once called Sydney Lumet his favorite director.

Why?

“He tells you what to do, where to go, how to go, how far to go. For instance, with Dog Day Afternoon, he set the bank robbery in such a way you knew exactly what you were doing. All you had to do was go there and rob a bank.”

And yet he’s never worked with him again.

On the other hand, he’s worked twice with Insider director Michael Mann (they worked together previously on Heat.)

What makes him so special?

“Well. I trust him. You have a lot of faith in his intelligence and in his gifts. It’s a lot easier to deal with someone like that. I just let him do his thing. 

“I remember I once had a director who got me in a car. We were doing a scene where I was driving at night. We’d do the scene  — we’d gone maybe fifteen twenty minutes, and we needed another take. ‘Let’s drive back,’ he said. So I said, ‘Why don’t we do the scene as we’re driving back?  because it’s night and nobody would know the difference. And he said, ‘No we have to get back to the spot.’ I still haven’t figured out why, and I’ve seen the picture. 

“A lot of directors have quirks and when you’re in one of those situations, you just sort of put yourself into a trance. What else can you do? You can’t quit, so you learn to think about other things.”

I once asked him if he was happy? 

“There is no such thing as happiness,” he replied. “There is only concentration.

 Three years later we met again, this time  for Simone, in which he  plays a frustrated Hollywood director whose leading lady walks out on him, just as a computer programmer offers him a chance to work with a virtual simulation, an actress who combines the qualities of Garbo and Audrey Hepburn, and who won’t demand a bigger trailer or a private jet or special meals.

Obviously the film satirizes actors like John Travolta whose demands are legendary.

Pacino has never been one to make such demands

But surely he’s worked with actors who have.

Can he recall any? I ask him.

“I have seen people in that position of stardom behave outrageously. Probably I’ve been guilty of some of it myself, only I don’t know it, right? Somebody else would have to tell you. But when you’re in a position of power, power corrupts, and you have to learn how to deal with it, which says about why some people endure and others don’t. I’ve been around for 40 years, so I must have done something. But when I look back at it, it’s always been related to the work. Even the moods I get in. If I’m short tempered it’s something to do with the scene I’m shooting that day.” 

But then he adds,“Here’s what’s started to happen. When you’re making movies you’re working fourteen hours a day, ten of which is waiting. Where am I waiting?  In my dressing room which is a trailer; so I need a decent sized trailer. Recently I did something, and I had a dressing room that had no windows. I could never do that again. It’s hard to be in a room without windows. Now if you’re talking about those perks, you negotiate them. You take less money for a certain perk.” 

At his press conference in New York,  he’s as unassuming as ever.

Gracious and gentle, he answers every question thoughtfully.

And he’s looking particularly good thanks to a barely discernible hair piece.

And a happy union with actress Beverly D’Angelo.

They are the proud parents of twins, a boy and a girl, born January of last year.

In Simone, which for some strange reason has been sitting on a shelf for two years, his character has a daughter who’s easily the smartest person in the film.

How about his own daughter —  the same age — is she as smart ?

“She’s so smart, I can’t even learn from her. Everything she says goes over my head. I say, ‘Could you say that again?’ and she’s, ‘Oh, Dad.”

Her mother is acting teacher Jan Tarrant.

They never married.

Besides D’Angelo, he’s also had relationships with (other costars) Jill Clayburgh, Marthe Keller, Diane Keaton, Kathleen Quinlan, and Penelope Ann Miller, but he’s never married any of them.

Which he won’t talk about.

But he proudly discusses his twins.

When asked his relationship to computers — in the movie he sits behind a  computer controlling Simone —  he professes total ignorance.

“My 18 month old son is better at a computer than me. Far better. I give him a video and say, ‘You put it in there.’  He can’t talk yet, but he knows how to do that. I have to admit it just passed me by. I have no need for it. Perhaps if I were alone on an island somewhere and had to do it. I recommend it. It’s great for people who can’t get out the house, older people. It opens a world. The internet is fantastic. I know people who spend countless hours there. It’s wonderful. I know I’m missing something but I just have no need to do it at this point.”

How has his life changed with all of them living under one roof? (In the past he lived apart from his daughter and her mother.)

“That’s the whole thing. It really changes because there’s always issues with the kids especially in these early stages. It’s a whole new experience. And it deepens the relationship, and it gives it such a variety; it makes it more interesting and more intimate because you’re working things out. More reality, less fantasy. I recommend it. Especially to people who are older. It’s a little more difficult for women when you’re past forty, but mid forties is a good time to start.”

And then humorously he adds, “But you’ve gotta be in shape, man, because I’m out to dinner with people, I’m talking to somebody, a very interesting person, and I’m falling asleep. I said to the guy, ‘Look I don’t do this. I never fall asleep. I really love what you’re saying. Can I tape it?’ I’ve never been tired like this before. Fourteen hours of filming is nothing.”

How much of a hands-on father is he?

“I’m more hands on now than I was before. I now realize the value of being there, what it means to me, and hopefully what it will mean to them. That’s what you start to see. When you’re not there, there’s just so much you can do. And then when you are there, there is so much catch-up stuff  to do, which doesn’t work. So you’ve got to be there. That’s what I found out.”

But then quickly he adds, “But I have to say, I’m very lucky. My thirteen year old, so far, she’s doing okay.”

Which is his modest way of saying she’s doing great.

What does family mean to him now?

“It’s the major part of my life. It’s the value of it. As Tolstoy said, it’s relative to who you are and how you’re doing. There’s a comfort factor in that. Being at home gives you that feeling of belonging, which I’ve never had before. My children make me feel the realest I’ve ever felt. And to think I’ve gone so long in my life without it. But I don’t look at age chronologically. I don’t think about it in terms of years. Maybe I’m delusional. However old you are, it doesn’t matter. I just try to stay thin.”

His own childhood is another thing he rarely talks about, but this time he opens up.

“I had a complicated childhood.”

(His father left home when he was two, and both his mother and grandmother who brought him up died before he achieved success.)

“The theatre was my family, still is. It’s been my family my whole life. It’s what saved my life when I came to the village at sixteen and lived in Greenwich Village. Getting together with all the actors, being part of a troop that were like Gypsies, we were together, and that sort of saved me. The theatre saved me and became my family for many years. And it’s still my family. I still feel the same even though I have this real family. But it’s a different kind of thing.”

Did he always want to be an actor?

“When I was in school, junior high school, elementary school even, I knew I would be an actor. I didn’t know what kind of actor I’d be, but I knew it was something I could do. I saw what others were doing, and I said, ‘I can do that.”

He’s looking so good, what does he do to stay fit. Does he exercise?

“Once in a while I get up and I walk to the chair on the other side of the room. It’s daunting.”

And diet?

“I just eat less. I don’t recommend any diets. One thing I heard once is that it takes the stomach five minutes to tell the brain it’s had enough. So if you eat slowly, you stop in the middle of a meal, and if you bear it out three or four minutes, you have no desire to eat.”

One thing you can depend on when interviewing Al Pacino, he’ll come up with a wonderful anecdote.

Like the time he was driving with a friend whose car had a flat tire.

“He asked me if I could help him. I said,  ‘I didn’t think I was dressed right for it,’ and then I thought, I’d better do a movie about someone who fixes flat tires so I can learn how to do it.”

He remembers doing a play in Philadelphia that was Broadway bound.

“Everyone worked so hard on this play. We worked and worked and it was freezing. So we’re going to the airport one day, and I looked out the window and I thought, ‘Oh Gee,’ and I turned to my friend and said, ‘Look at that person. He doesn’t have a coat on.’ And my friend said, ‘Well, it’s spring, Al.’ A season had passed, and I wasn’t aware of it.”

Does he use a different approach when playing comedy?

“Even when I play drama, I find it’s always a good idea to find something humorous if you can. To give an example, in Dog Day Afternoon, in the opening when he comes into the bank and takes the gun out of the box and the box sticks on the gun for a second, well from that point on the audience is ready for anything. I think humor in drama is almost like the breath you take before you dive in the water. So I don’t find any difference.”

Next up for him is the film version of Angels in America with Meryl Streep.

“If it were possible I’d like to be in every Meryl Streep movie or play or whatever she does for the rest of my life.”

Why?

“Because she’s not only a great actor, she’s a great person to be around.”

And so is he!

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