"TONY:" "Every dog has his day." "DE PALMA:" "Scarface was hated right from the beginning." "Hated by the industry." "I remember screenings where people were walking out and cursing our names, up and down the aisles." "Hollywood didn't want to acknowledge it as," ""This is representative of our filmmaking," ""of what our great filmmakers are doing."" "It's not a human story that everybody can relate to." "It's fucking Dante's Inferno." "I take you all to fucking hell!" "BREGMAN:" "The audience responded as we had hoped they would respond." "At that point I knew we had something special." "I'm Tony Montana, a political prisoner from Cuba." "I want my fucking human rights, now!" "REYNOLDS:" "When I was watching it, I knew I was watching something special." "I loved it." "I don't Know what about it made me love it so much." "I was like, "Oh, my God." ""l wanna watch this movie again and again and again."" "It really does feel like the best of Brian De Palma combined with the best of Oliver Stone and the best of Al Pacino, these three icons of American filmmaking." "CORBEN:" "The movie came out in 1983, really in the middle of the cocaine wars in Miami." "So it was very much about contemporaneous history." "It was a time when this country was immersed in cocaine." "Scarface gave you the license to experience it as a grand, operatic, over-the-top movie." "This film pushed the borders of outrage on every single level." "It was shocking in its day, and I'm sure if you see it for the first time today, it's shocking." "It influenced me 100%, no question about that." "That reality, that fast-turning ugliness..." "I can remember the feeling of shockwaves, that this is something that you don't feel that often in movies." "I'll bury those cockroaches!" "It has embodied that kind of cult following, it rivals that of a rock band that's been around for 40 years, just that one movie." "TONY:" "So say good night to the bad guy!" "The last time you gonna see a bad guy like this again, let me tell you." "Blown away, man." "Blown away." "SALAMON:" "When Scarface came out," "I had just started reviewing movies for The Wall Street Journal." "And I was very excited, a Brian De Palma movie, and I was going to be the one to pass judgment on it." "And as it turned out, at the time there was a big controversy over whether the movie should have been rated X for violence." "And so, my review reflected the controversy, it reflected my own feelings about the movie, which were mixed." "I thought it was incredible." "I thought it then went crazy." "It just felt like it had blown apart at the end." "It was very funny, because people read my review and either denounced me for praising the movie or denounced me for not liking the movie." "TUCKER:" "In The New York Times, Vincent Canby was a pretty mixed to positive review." "He saw a moral lesson in the movie." "Pauline Kael, who's a great champion of De Palma, did her best to tease out as much praise as she could from a movie that she felt was a compromised version of De Palma's vision." "I do remember the critics making this big deal about the violence in the movie and going after De Palma with charges of misogyny and too much violence in movies." "I always admired De Palma as a kid for sticking to his vision and literally sticking to his guns." "SALAMON:" "I think that, to a certain extent," "Scarface was about the film industry." "And I think that, in his depiction of the gangsters around Tony Montana..." "We're doing this one deal." "That's it." "Fuck you." "How's that?" "...I think that's how he looks at studio executives." "Fuck you." "Fuck you." "DE PALMA:" "I'd just made a very difficult, very unsuccessful picture, Blow Out." "I kind of wanted to move into a different world." "I was hoping to make a more commercial picture by making a gangster picture." "I'd never done one before." "And this was such a great script that I thought, "Hey, I can do this."" "I have always been a fan of Brian De Palma's." "He truly was a storyteller." "And I thought he could do this story better than anybody else." "Are you ready for some good news?" "Sure." "What you got, man?" "ROTH:" "When the movie opened, there were all these articles about how this is going to be the most violent movie ever made." "And I begged my dad, I said, "We have to go see this."" "And my father took me to see it opening weekend." "And my jaw was on the ground, I was completely mesmerized." "I gonna carve him up real nice." "It was such a beautifully made film, and a beautifully acted film that I just sat there as a wannabe filmmaker sort of watching the processes that they brought to this thing." "You know something about cocaine?" "You kidding me or what?" "I'm Cuban." "So growing up in a Cuban community and everything, it had the working class Cuban really upset." "Even just giving up a hint that we wanted to see it could get you slapped by my dad." "But I think that it's something that had to be shown, it had to be seen." "It was real." "You got good stuff here." "I went and I saw Scarface in the hood." "I was in the black neighborhood, it was west Philadelphia, on the big screen, and it was one of those movies where you could yell back at the screen." "And people went, "Oh, no!" You know." "Everybody was engaged in the movie." "I remember everything about Scarface." "I was too young to get in the theater." "Up in Canada, it was restricted." "And it was all anyone was talking about, was this movie Scarface, that people were walking out of the theaters, that critics panned it." "And I thought, "I've got to see this movie."" "(SPEAKING ITALIAN)" "We had a friend of ours that somehow got a copy of Scarface on VHS." "We would ditch school when their parents would go to work." "We would ditch school and get a bunch of 40-ouncers and stuff and go over to her house and watch Scarface and..." "Wow, man, we watched it every day for two, three months." "REYNOLDS:" "It was everything that I thought it would be and more." "Because I came from another country, it was the dream, the American dream." "And it represented all of that for me." "And I had no idea that six years later" "I would be living in Miami Beach, living my dream." "This is paradise, I'm telling you." "Antonio Montana." "And you, what you call yourself?" "The image of Al Pacino in one of those bright, colorful, tropical tourist shirts, but then the sneer and the scar was a perfect symbol." "That was the Jekyll and Hyde character of Miami and its reputation at that time." "There's nothing you can do to me that Castro hasn't done..." "OFFICER 3:" "Get him out of here!" "DOG:" "Watching it, you believe Pacino is Cuban." "As you go through it, you're not looking at the actor, you're looking at Tony Montana the person, and he's "cubano"." "And he just captured so many things, you know, them working in the sandwich spot and making Cuban sandwiches and medianoches drinking the little espresso shots." "There 's just so many elements in there, you know, what it is to be a "cubano", and the whole experience that went on in those years." "You're pushing your luck." "Don't worry." "That was dumb." "You worry too much." "You'll have a heart attack." "BAUER:" "I used to bug Al." ""All the performances," ""all the characters you've done," ""as great and incredible as they are," ""what are they gonna think of fucking Tony Montana?" ""Have you thought about it?" And he'd be like..." ""They're either gonna hate or they're gonna love it."" "Now you're talking to me, baby." "That I like." "REYNOLDS:" "You cannot take your eyes off him when he's onscreen, it's impossible." "He is never in the moment, he's always a step ahead of everybody else." "...she likes me." "MANNY:" "How do you know?" "The eyes, "chico"." "They never lie." "I think my favorite scene in the movie might be when he's in the car with Steven Bauer, and Steven says, "What about the boss?" "" He says, "The boss." "He's soft." ""That guy's soft." Fucking love that." "That guy's soft." "And I grew up like that." "Look in his face." "If a guy like that smells weakness, it's a wrap." "They're gonna eat your ass up." "And when I saw that moment between those two," "I fell in love with that guy there." "Me, I want what's coming to me." "What's coming to you?" "The world, "chico", and everything in it." "BAUER:" "Every actor that was chosen made a really conscious effort to attack the story with absolute truth." "And here we are, the performances stand." "All of them." "I mean, bang, bang, bang, all of them." "When I was younger, watching the movie, I just wanted the hot chick." "Michelle Pfeiffer who's just like, "Yeah, that's what you want."" "TUCKER:" "Michelle Pfeiffer she's almost like a kind of Barbie doll that's still in its case when she comes out there." "And she was initially just used as a beautiful object." "LOGGIA:" "She was a thing of beauty." "Marvelous." "And she was high on her own supply, all right." "CORBEN:" "There's a shot, that slow zoom on Michelle Pfeiffer where she's sitting at her makeup table there in front of the mirror." "And she's doing cocaine, and by time the shot settles she's had a cocktail and taken a hit off a cigarette." "And you lived like that." "And a lot of people did in Miami at the time, it takes its toll." "Mary Elizabeth Mastrantonio was incredible as Gina." "You got some nerve, Tony!" "You think you can come in here now and tell me what to do?" "She represented the innocence." "That's all she wants, is to have Tony's love and affection and be part of the ride." "I'm all yours now." "I think you and me, we can work this thing out..." "Also, I liked the actor that said, "Whatever you do, Tony, don't fuck me, Tony."" "Don't you ever try to fuck me." "I did a movie a while ago where I played a Colombian drug dealer, and I took that guy's accent." ""Don't ever fuck me, Tony."" "Even the very small parts, people with one or two lines in that movie are wonderful." "Hello, Tony." "Every day above ground is a good day." "SALAMON:" "They're all archetypes in some way, every character." "In some movies, all you want to look at is the star and in Brian's movies, everybody to a certain extent becomes a star." "When you're dealing with actors at this level, you basically set them on the road and just get the hell out of the way." "OFFICER 2:" "Where'd you learn to speak the English, Tony?" "I watch the guys like Humphrey Bogart, James Cagney." "They teach me to talk." "I like those guys." "BILLY CORBEN:" "The first three-and-a-half minutes of the movie are a documentary." "That is what happened in Miami from April to October of 1980s is what plays out between the credits." "And I remember being extremely young but sitting at the kitchen table watching the local news at night seeing these events unfold." "(SPEAKING SPANISH)" "MARIA ALONSO:" "Fidel Castro mocked the government of this country by sending criminals." "But among those bad people, there were great people, too." "Which I knew a few of them." "You know, like, a few of my songs that I recorded and have been very big hits were written by these two sisters that came in the "Marielitos"." "SEN DOG:" "You know, myself being a Cuban refugee, knowing what the Cuban has to go through to get away from the clutches of communism as my father did and my mother did." "As a kid, I still remember going through all the immigration offices and meetings and stuff like that, so that scene is in there, too." "I always know one day I'm coming here, United States." "Just similar stuff." "Like, I remember the day that we went to the office and they gave my dad all of our green cards and stuff and boom, you know?" "And watching my mom start crying because, you know, we got to America." "(WHOOPING)" "ANGEL SALAZAR:" "It was funny that me and Steven Bauer, Manolo, we both Cuban." "Let's do it, man." "Come on." "Personally, I was approached by some Cubans saying," ""You got to told the producer at Universal Studio," ""and who's the producer?" "Marty Bregman."" ""You got to told them that this movie," ""they got to go easy on the Cubans." ""That, that's not right, you know?"" "I said, "Sure, I will." "I will."" "But, me and Steven, we know that it was a movie and did not represent all the Cubans." "KEN TUCKER:" "Martin Bregman said when they began to get death threats, they realized it was time to shut this thing down and go to L.A. to film the rest of it." "We weren't anti-Cuban, we weren't anti anything." "We were looking to tell a story." "And as time went on, the threats seemed to fade off into the distance." "And rm glad it did." "I know my people." "We're not all a bunch of killers and dope dealers, so just watch the movie, man, for what it is." "It's a movie about some shit that really happened." "(GREETING IN SPANISH)" "Scarface is full of tension." "And it's a movie that shows you how quickly violence can happen in that atmosphere." "I think in Scarface, the most visually designed was the whole motel sequence." "Okay." "You want me to come in?" "We start over again?" "There's a lot of little humor touches that add to the tension in the room." "You gonna get to know me when start doing business with me and stop fucking around, Hector!" "These are played for almost comic touches in the beginning so that when the chainsaw is pulled out, your initial reaction is to laugh because it's like," ""A chainsaw in the middle of this tiny motel room?" You're like," ""How is that even gonna work?"" "ELI ROTH:" "What De Palma did was actually quite controlled." "And in that chainsaw scene, the way he leaves the motel, and goes down to the car and you're watching Manny talking to this girl and you're just like," ""No, no, no!" "Your friend's getting up there."" "Just slowly, he really, really, really teases you." "The scene with the chainsaw, for me, when I saw that in the theater, was arguably one of the most frightening things I'd ever seen in a movie, because it was so real." "(CHAINSAW WHIRRING)" "KEITH GORDON:" "It certainly was a violent movie." "Although, again, it's so ironic." "You look at that movie now, and we've done things on Dexter that were more graphic than the chainsaw scene in Scarf ace, which was, at the time, people were running out of the theater was what we were being told." "Now the leg, huh." "(SPEAKING ITALIAN)" "Chi Chi." "Chi Chi, get the "yeyo"." "That word, "Yeyo" messed me up forever 'cause everywhere I walk, any nightclub, any bar," "I have to hear 20 times a night," ""Chi Chi!" "Get the 'yeyo'."" "(SPEAKING SPANISH)" "The end of the chainsaw scene, this incredible act of violence, this vicious act of violence right there outside the Beacon Hotel which is..." "All those buildings are still there." "They're all restored." "Beautiful art deco structures right there on Ocean Drive, it's this sleepy retirement village." "It's God's waiting room." "I kill you!" "Die!" "CORBEN:" "Episodes like that happened on an almost daily basis in Miami Beach at the time." "Another great night here at the Babylon, right?" "Okay!" "(DRUMS BEATING)" "BELZER:" "Wherever I go, virtually, people will mention Scarface." "Ls that coke in your bra, or are you just glad to see me?" "Of all the things I've done, that's one of the things where people just..." "You know, they nod their head, you know?" ""Babylon Club" or..." "You Know." "So, please give a warm Babylon welcome to the one and only, Octavio!" "I remember when I was a kid, my favorite scene was the scene in the Babylon Club where Octavio gets shot." "I was obsessed with Octavio and I think," ""This poor guy." ""He just went to work that day, he just went to entertain," ""and now he's just getting shot up for absolutely no reason."" "(ALL SCREAMING)" "A Federal Judge was quoted as saying at the time, a very prominent one, that" ""Miami was on the ragged edge of anarchy."" "And that was because we were being stretched to our limits with respect to crime, with respect to corruption and murder." "No!" "(GROANING)" "TUCKER:" "After Loggia's killed, there's a kind of stopping point." "The film fades to black and then we see the rise of Tony." "Part one was an impressionistic film, part two was an expressionistic film." "They were totally different." "CORBEN:" "I mean, everybody likes an underdog story." "As sinister as he is, it's part of what makes Tony Montana as likeable as he is." "America's built an entire country and culture on the concept of," ""You can come here with nothing, and the world is yours."" "When people that come from nothing all of a sudden have a lot, you overdo things." "You overdress, you go and buy everything 'cause you never had anything." "So, that's the way I saw it." "I mean, yeah, it was ridiculous, but they would do that." "TUCKER:" "It's a very interesting, very quickly done portrait of a marriage." "The idealism of the romance fades." "The Michelle Pfeiffer figure, she's thoroughly disgusted with Tony." "Can't you stop saying "fuck" all the time?" "Where's this coming from?" "There were very funny lines in there." "I was only kidding!" "And it's just this portrait of decadence, and yet, also, a man who's become very paranoid." "Who put this thing together?" "Me!" "That's who!" "Who do I trust?" "Me!" "GORDON:" "I've always seen the movie as much as a satiric comment on capitalism and success and what it means to succeed, what happens to you when you succeed." "He happens to be doing it as a killer drug dealer, but is he really that different from the banker in the movie who's laundering his money?" "Is he really that different from that shadowy government guy who's in that last meeting that they all have?" "It's really talking about American society a lot." "Is this what it's all about?" "Forget it." "This what I work for?" "One of my favorite scenes though was the dinner scene when he's saying, "Your womb is polluted."" "Her womb is so polluted," "I can't even have a fucking little baby with her!" "And she says, "I got Nick 'The Pig'..."" "...as a friend." "What kind of life is that?" "Oh, my God, you're so embarrassed, you're freaking out, but it's the demise and there it is, right there at the restaurant." "FUQUA:" "And even now when I watch the movie, that's the hardest part of the movie to watch." "Because that's the downfall of a guy you like." "He's violent but he's like the everyman in a weird way." "What're you looking at?" "GORDON:" "That whole speech that Pacino gives to the restaurant full of people saying," ""You need the bad guys." ""You can hide behind it because you're not different from me."" "And to me, in some ways, that's the core of the movie." "You need people like me so you can point your fucking fingers and say, "That's the bad guy."" "He pulls the covers off of polite society and he says that polite society cannot exist with all of its extravagances and its luxury unless there is an influx of money coming in from the backdoor and the seedy side of town." "Me, I always tell the truth." "Even when I lie." "He was a bad guy, let's face it." "He was a bad guy, but one of the things that people like, especially the young kids nowadays, the young gangsters is that he had morals, some morals." "Like that time he didn't want to kill a wife and kids in the car with a bomb." "Scenes like that." "Hey." "No fucking way." "That's it!" "CORBEN:" "There's no code, per se, among the cocaine cowboys." "They made it up as they went along." "This fucking guy." "Meaning, it wasn't a code that was shared or traded among the cocaine criminals." "But one of the things that turned out to be true was that whenever possible, you wanted to avoid killing children." "You die, motherfucker!" "FUQUA:" "He drew the line and that's honorable, you know?" "I mean, it's a great character to see him do that and draw the line." "And, of course, you can't do that in that game." "You got to go all the way." "You go all the way or not at all." "And he didn't go all the way." "I told you a longtime ago, you fucking little monkey, not to fuck me!" "Who the fuck you think you're talking to, huh?" "You want to fuck with..." "That's the beginning of the "face down in a mountain of cocaine" downfall." "His face comes up and it's almost like a clown 's mask of cocaine." "It's laughable and the first time I saw it I thought," ""Am I supposed to laugh?" "Should I laugh at this?"" "DE PALMA:" "There's nothing about this that's unreal." "I mean, I've seen piles of cocaine like that on tables." "I've seen people with coke on their noses," "I've seen them do incredibly silly things in the process of being stoned for 36 or 72 hours, so why people say, "This mountain of..."" "Please. (CHUCKLES)" "You want to fuck with me?" "You're fucking with the best!" "Al's one of those great actors who is never finished with his work." "You cockroaches." "So I imagine, on Scarface, there was a constant experimentation." "Okay, I play with you." "I bet he tried things every which way." "A mark." "DIRECTOR:" "Action!" "Say hello to my little friend here!" "Say hello to my little friend here!" "Say hello to my little friend here!" "Counter marker." "DIRECTOR:" "And action!" "Say hello to my little friend!" "(SCREAMING)" "Tony Montana at the top of the stairs with those guns." "I mean, that is one of the most badass scenes from one of the most badass characters in cinema history." "I'm Tony Montana!" "You fuck with me, you fucking with the best!" "Just being shot up. "Come on, Come on." "" And just taking the bullets and daring them to shoot him again." "Come on!" "I take your fucking bullet!" "That was what we all waited for." "It was this incredible "dénouement", this amazing climax." "Go ahead!" "Ultimately, the message of all these stories is the same, which is that, if you were in the drug trade in Miami at that time or you're a criminal, you wind up either dead or in jail." "When it came out, people hated it, some people loved it, but the only way you can judge what the real significance of movies are, is anybody looking at them, 10, 20 years hence?" "TONY:" "This country, you gotta make the money first." "Then when you get the money, you get the power." "Then when you get the power, then you get the women." "When the movie came out," "I went to 42nd Street to watch the movie with the regular crowd, to see what their reaction was." "Remember that lady, Marta, in the bed?" "She's the one that said, "No te muevas, Cabroncito!"" "(SHOUTING IN SPANISH)" ""Don't you move, you little shithead."" "Some people go, "That ugly bitch, shoot that bitch!"" "BANKS:" "People laughed out loud at this film." "Okay." "It was like the collision of emotions." "And you would laugh one minute and the next minute, you're going," ""Oh, my God!"" "And then, the next minute, you're laughing again, because it was just so outrageous." "Well, I didn't think we would be quoted as much as we are quoted." "Wordsmith to wordsmith, Oliver Stone. (LAUGHS)" "His one-liners are just fabulous." "This town's like a great big pussy just waiting to get fucked." "There are just so many lines that became kind of instantly repeated and memorable." "Don't get high on your own supply." "I'll bury those cockroaches!" "You know what a "chazer" is, Frank?" "That's a pig that don't fly straight." "Another Quaalude, she gonna love me again." "Say hello to my little friend!" "JILLIAN REYNOLDS:" "I think my favorite line is when Tony meets Sosa." "You got everything a man could want." ""l like you, Tony." "There is no lying in you."" "And he says, basically back, "l have two things in this world," ""l have my balls and my word." "And I don't break them for nobody."" "You want to go on with me, say it." "You don't, then you make a move." "And it's kind of Tony's mantra." "It's like, "The shit happens and you gotta move forward," ""and I'm a loyal guy and if you don't wanna be part of this team," ""then fuck you."" "It's kind of like, no bullshit." "And I love that." "I'm..." "How do you say?" "Paranoid." "In seventh grade, I saw Scarface 56 times." "I recorded the movie, and I would go home every single day, and watched it, and my goal was to have the entire film memorized and I did it." "And kids at school would test me." "They were like," ""Do the scene where Tony kills Frank."" ""And I could do the entire scene." "Don't kill me, please." ""Don't worry, Frank, I'm not gonna kill you."" ""Tony, thank you." "" "Manolo, shoot this piece of shit!"" "You know what I mean, and then," "Manolo walks up just like nothing..." "(IMITATES GUNSHOT)" "All right." "And then, there's..." "When he first shoots Mel in the gut, and he's like..." ""You can't shoot a cop!"" ""Whoever says you was a cop?"" "Son of a bitch!" ""So long, Mel." "Have a good trip."" "Fuck you!" "Flavor Flav says that in one of the Public Enemy songs." "You want a job, Ernie?" "Man, you got a job!" "RICHARD BELZER:" "The movie grew over time and the audience expanded overtime, and then, I can't think of many other films that had this kind of trajectory." "TUCKER:" "De Palma was kind of just ahead of the curve, tapping into the criminal element down in Florida at the time." "Michael Mann was also very interested in that." "Just a year or so later, he's developed Miami Vice." "Eddie?" "No!" "Every time I've gotten within 20 blocks of this Colombian," "I've had the pavement pulled right out from under me." "I know that." "But you know why?" "'Cause you got your head up your "culo", that's why." "TUCKER:" "Over the years, Scarface began acquiring this kind of cultural power that I became very much drawn to." "I began to see its influence in music, in pop culture and on television." "You couldn't watch an episode of MTV Cribs at the house of some hip-hop star, that didn't have a Scarface poster, that didn't have a Scarf ace DVD on their shelves." "It was watching things like that, that you realize," ""Okay, this has taken on a life of its own."" "The rap artists, they got Scarface, they owned Scarface." "It was part of their thing." "So when they started expressing their lives in rap," "Scarface was part of it." "DOG:" "Around the late '80s," "I started hearing a lot of people bringing in" "Tony Montana lines into their rhymes." "And then, you see a lot of cats..." "I mean, a few oats that even portrayed themselves as Tony Montana in pictures and videos." "To this day, some guys are still busting out a little Tony Montana, here and there, in their rhymes." "You listen to the lyrics of rap, it's all about coming up from nothing, balling, and making yourself known." "I come from the gutter." "And I'm making all the right connections." "I could go right to the top." "The only thing Tony Montana needed was a rap career." "You know what I mean, it would have been perfect." "The time has come." "We gotta set our own mark and enforce it." "The movie itself became a part of the American culture, and then American culture reflected back parts of the movie." "And so, it began popping up in references on TV snows." "The very first episode of The Sopranos has a reference to Scarface." "Cartoons like The Simpsons and South Park have parodies of Scarface." "You need people like me so you can point your (BLEEP) fingers and say, "That's the bad guy."" "So say good night to the bad guy!" "A South Florida teenager used his father's credit card to run away from home and back to Cuba." "For more on this story, watch Scarface in reverse." "TUCKER:" "You can turn on something like Law  Order, and see Chris Noth talk about a doctor who performs operations..." "He does plastic surgery." "He stitches cops when they don't wanna look like Scarface." "Just those constant little references that made Scarface something that became part of the common language." "I got ears, you know." "I hear things." "The novelization of Scarface was written by Paul Monette, who was a respected writer of gay fiction." "And it was not something that he would normally do." "Yet, it was a paperback original that sold very well." "BANKS:" "For me, being invited to do a novelization is such an honor." "They asked me to not do Tony Montana once he was here in America, but to go back two years before he came to America, and decide how was it that he wound up in that boat drop." "So, one of the first questions I asked, was," ""Can I determine how he got his scar?"" "OFFICER 3:" "Where'd you get the beauty scar, tough guy?" "Eating pussy?" "And then, when they told me, "Yes,"" "I just went nuts." "You should see the other kid." "You can't recognize him." "For me, as an author, Scarface worked its way into my other work." "For example, I do the Vampire Huntress Legend series." "And it's a 12-book series that's about vampires, but the main character, Carlos Rivera, is a young, updated version of Tony Montana." "And he became a vampire, because he wanted to come up." "(SHOUTING IN ITALIAN)" "(SPEAKING ITALIAN)" "ROTH:" "You look at the poster, that poster is probably in more college dorm rooms than any other poster from that period." "How much?" "43,000, fully equipped." "That all?" "The Scarface merchandise was also a kind of product of the fans, originally." "People made their own Scarface T-shirts before they even began to be manufactured." "And then, a whole kind of industry built up around it, where you could buy Scarface toy figures." "I own a pair of Scarface shoes that have the image of Al Pacino on them." "T-shirts with Pacino's face, Scarface lighters, Scarface... it's just crazy." "Who wouldn't want to walk around in Scarface slippers?" "Eventually there were even video games." "Scarface:" "The World Is Yours sold over two million copies the first year it was released." "Come on, die!" "REYNOLDS:" "The video game they were putting out, what would have happened to him if he didn't die." "And it gave fans and enthusiasts of Scarface a way to channel that energy." "And I was one of the molls, the "chicas", and when I got asked to do it, it was just, like, incredible!" "Did you find that in a fortune cookie?" "DOG:" "Yeah, they called us up one day, to come down and do some voiceover stuff so I was like, "Yeah, cool, man." "For Scarface, yeah, whatever."" "So I went, and basically, all they wanted me to do was to sit there and curse a bunch of stuff in Cuban slang." "So I was like, "Yeah, no problem, man."" "(CURSING IN SPANISH)" "And that's basically, "Go to hell, shithead." "You don't know shit."" "If you look at the Internet, there are many versions of Scarf ace edited in different ways." "There are three minute YouTube videos that tell the entire story of Scarface solely through the use of the word "fuck."" "Fuck." "Fucking." "Fuck." "Fuck you." "Fuck me." "Fuck!" "Fucking!" "Fucking!" "Fuck!" "We fucked up." "You fucked up." "I don't give a fuck!" "Fucking!" "Fucking!" "Fuck!" "Fuck!" "Fuck!" "Can't you stop saying "fuck" all the time?" "Fuck you!" "To me, it's like, everything goes back to Scarface." "Come here." "Give me a kiss." "When you're looking at other films, too, like Inglourious Basterds, you can see just a slight nod to the De Palma film." "ROTH:" "I never spoke specifically with Quentin about Scarface, tying into the ending of Inglourious Basterds." "But now that you think about that ending with Tony Montana just shooting and going down in flames..." "I know that De Palma is Quentin 's idol, so there's no way that that doesn't seep into there somewhere." "SUAREZ:" "You still got the money?" "Yeah." "And I got the "yeyo"." "There's a level on which Scarface spawned the documentary that was made," "Cocaine Cowboys." "And it's because of the incredible success and popularity of Scarface that we were able to make Cocaine Cowboys, a documentary that told the real story of Scarface and Miami and the cocaine wars in the 1980s." "You stay loyal in this business, you're gonna move up." "You're gonna move up fast." "(SPEAKING ITALIAN)" "The world, "chico", and everything in it." "BAUER:" "This is a happy ending, that it is now, where it's gotten to, to that place of approval." "I mean, it just lives on its own, forever." "Forever." "And that's the great thing, is that they can't take it away from us." "Because the movie's great and it lived through time." "That's why you gotta make your own moves." "You have to live through the rejection, people not understanding, people not seeing, and survive it and hope you can go on to make another movie." "In all the films that I've made, there've been 30-some-odd films, this was, probably, the most interesting film I've made." "Oh, Tony!" "BELZER:" "You can empathize with another character, who in real life, you would never go near, but recognize elements of your own humanity, your psychology, in this depiction." "So it's this kind of collective unconscious thing that the whole audience shares." "All I have in this world is my balls and my word." "I don't break them for no one." "TUCKER:" "I think there is e Scarface nation." "There is a whole culture that has grown up around Scarface, and it brought that ethos and hip-hop culture and pop culture all together." "JULIE SALAMON:" "The one thing that you have to say about Scarface is that it is exciting." "And that, in and of itself, is a huge accomplishment." "REYNOLDS:" "At 17, it was my favorite movie." "And to this day, it's still my favorite movie, with all of the movies I've seen in between, because of what it represented to me." "Here's to the land of opportunity." "And to this day, whenever I get a little depressed in this business, things like that, I don't always go back and watch the little artsy-f artsy movie," "I'll go watch Scarface." "Because Scarface would fuel me to want to make movies like that, and tell those type of stories about those type of guys." "You need people like me." ""Say goodbye to the bad guy!"" ""You'll never see a bad guy like this, ever again."" "I'm Tony Montana!" "You fuck with me, you fucking with the best!"