"This country, you gotta make the money fiîrst." "Then when you get the money, you get the power." "Then when you get the power, then you get the woman." "That's why you gotta make your own moves." "The most defiîning experience about Scarface... was it was my fiîrst opportunity to work with a truly great actor... and a truly great script." "And I'd never done anything like that before." "From that, I grew as a director." "You know, it was, as I say, a very kind ofcombative collaboration... but I think we made a really fiîne fiîlm out of it." "HowardHughes, millionairegenius... wasapioneerin aviation andmotionpictures." "He defiedconvention, set newpatternsforothers to follow... madestars ofunknowns... andleft the world a legacyoffilm classics." "This is one ofthem.:" "Starring PauIMuniasScarface..." "Ann Dvorak..." "George Raft... andKaren Morley." " Face the wall." " The crimescenes in this film... are basedon events that actuallyhappened." "Don'tyou know it's Valentine'sDay?" "The reason I did Scarface... how it came to my attention... is I was watching the old Paul Muni fiîlm... about 3:00 one morning when I couldn't sleep." "It occurred to me that a fiîlm like that... a fiîlm like Scarface... the rise and fall ofan American gangster... had not been done, certainly not been done recently... hadn't been done since Scarface." "Having had done a number offiîlms with Pacino..." "I'd always wanted to do a large gangster fiîlm... where he could-- where he would have a part to play in this genre." "It occurred to me that this was not the old Scarface... because the old Scarface had to do with Prohibition." "But the rise and fall ofa gangster, an American gangster, ofa dynasty." "So I was one day walking along Sunset Boulevard, ofall places." "There was the-- I believe it's the Tiffany Theater now." "It was playing on a double bill with something else" " I forget." "It was Scarface, and there was a few of us." "So I said, "Well, why don't wejust go in and take a look at it?" "We'll watch it ten minutes, see what it was like."" "And we went in, and it was, you know, an astounding movie." "Astounding." "And the performance of Paul Muni's was astounding... and inspiring." "I thought after that... that I just wanted to, uh" "I wanted to imitate him." "I wanted to do something." "I was inspired by that performance." "Hey, look at the monkeys there!" "They think they're gonna get Tony Camonte, eh?" "I started working on Scarface with David Rabe." "That was the fiîrst screenwriter on it." "David and I were working on it... and the screenplay was not exactly... going like everybody wanted it to." "And ultimately, I felt that... we couldn't all agree on what we were trying to do... and, uh, David and I left the project." "Then Marty went and got Sidney Lumet and Oliver Stone." "Sidney, who I'd done two fiîlms with... thought about it and immediately came up, he says..." ""Why don't you do this about the cocaine world?"" "It occurred to me that that's it." "That's it." "I enlisted Oliver, who I'd known for a long, long time." "Oliver, who was-- we were very good friends." "We embarked on this venture... this quest... to explore the cocaine world." "I was approached originally by Marty Bregman... who I had written Born on the Fourth ofJuly for." "And he had optioned-- he had developed that movie... for Pacino in the late '70s." "He came to me after the failure of my picture I directed called The Hand... and wanted my services back as a writer." "And he paid the enormous amount of money for 1 982, '83... probably one ofthe top salaries ever received by a script writer." "So I needed money and I was in a tough place." "I was leaving America." "He said he wanted to do Scarface." "I said, "l'm not really interested in remakes." "I'm not interested." l looked at the movie." "I'm going to say something probably that's sacrilegious to fiîlm buffs... but I didn't care for Paul Muni's Scarface that much." "It was not until Sidney Lumet came into the picture" "Shortly thereafter, we had another conversation." "He told me Sidney Lumet was very anxious to do the movie... and wanted to do it Cuban Miami, 1 980, '81 ... the Marielboat lift to Miami." "It wasagoodidea, lthought." "I wanted to leave America." "I moved to Paris for the winter." "I wrote Scarface in Paris, actually... in a place called Rue de Lanchant not far from the Boite de Loin... where l ran every day." "I loved just spending the winter in Paris and sort offeeling Europe again." "Also, it got me away from that world ofcocaine... 'cause France was very clean then." "I needed to be free ofcocaine, 'cause I was doing cocaine myself." "It was interfering with my thought process... and my brain cells were being damaged, you know." "I needed to get away from America 'cause too many people here were doing coke." "It was a time ofcocaine and excess." "So, in a sense, I broke the habit by writing about cocaine." "That was my farewell to cocaine." "They say cocaine always kicks your ass." "But-- Andit certainly kickedmyass." "But at least Igot backat it andlmade a film about it." "So lfeelgoodabout" "At least llearnedfrom that awful fucking experience ofbeing on coke." "When Sidney read the screenplay, he didn't quite like it." "He felt it should take more ofa political direction... and I thought that it not only wouldn't work, it wasn't true." "The direction he wanted to go." "There was really a creative difference." "There was an artistic difference." "I backed away and went out and looked for another director... and ultimately found De Palma... who saw the fiîlm as I saw it, as Oliver had written it." "When I fiîrst started with David Rabe, we had more or less tried to... start with the original Scarface-- Italian, Chicago." "But the script that came to me ultimately... that Bregman had developed with Stone, was completely different... nothing I had ever envisioned." "I liked it so much 'cause it was a whole new way ofapproaching this material." "Those elements were in the original script." "I liked the material specifiîcally because... it was sort of like a modern metaphor for The Treasure ofSierra Madre... where cocaine becomes gold... and it's kind of the American dream gone crazy... where you have this product... that you can turn into millions ofdollars... but in the process, you destroy your life." " That Bogart, huh, Chico?" " He's fucking crazy, man." "Shit." "All that gold dust blowing in the wind." "Huh?" "You see, Manny?" "He's always looking over his shoulder." "Like me." "Don't trust nobody." "Man, I guess all that gold just gonna make you so fucking crazy... that you don't trust nobody no more." "Never happen to me, Chico." "Never be crazy like that." " Oh, no?" " No." " How do you know this, eh?" " Because I know." "Oh, yeah?" "I thinkyou're a little crazy already, you know." "On the fiîrst reading ofthe script, I realized how, you know... how Oliver had captured that world and made it his own... and brought out that-- the wonderful texture and nuance... and power." "He really captured something." "It was clear when I read it that it was one ofthose scripts that work." "I think the direction that we chose, that Oliver chose... was pretty much embodied... in the original Scarface." "I thinkyou will see a kind of a resemblance, a faint resemblance... to the story there, and also a faint resemblance to some ofthe characters." "That's a nice way to catch you." " "Catch me"?" "I wasn't doin' nothin'." " You was kissin' him." " Sure." "What of it?" " I don't like it." "You're missin' lots offun." "I don't want anybody kissing my sister." " You're hurtin' my arm!" " I don't want anybody touching' you." " What do you thinkyou're doing?" " I'm your brother." "You don't act it." "You act more like-- Sometimes I think" " I don't care." "You do what I say." " And never have any fun." "You call that fun?" "Running around with guys like that." "That's fun?" "Tony!" " What are you doing?" " Shut up!" "What the hell!" "We wasn't doing nothing!" "Fernando, wait!" "Get out!" "What" " Damn you!" "Get out!" " What, you think he's cute?" " What?" "I saw him putting his hand all over your ass." "My kid sister in the toilet." " It's none ofyour business." " The fuck it ain't!" "You can't tell me what to do!" "I'm telling you what to do!" "Listen to me." "Come here." " I catch you here again" " Mm-hmm." "I catch you here again, I'm gonna wipe you all over the fucking place." "Oh, yeah?" "Go ahead!" "Do it now." "I wanna see it." " I wanna see it now, big shot." " Don't push me, baby." " I wanna see it now!" " Don't push me!" "Get outta here!" "Hello, Tony." "Tony, l" " To" "Tony, don't!" "Tony!" "Gino!" "It was his sister, the mother, the Manolo-- the Manny character... his love affair with his competitor's girlfriend." "I mean, all ofthese things were in the original Scarface." "Oliver, being the brilliant writer that he is... invented the rest of it." "Oliver gave us the, you know, cocaine, Cuban... drug dealer tour ofSouth Florida." "A lot of it was quite interesting." "We're sort of looking around at these seedy places." "Is that a dope dealer?" "is that a dope dealer?" "I remember once sitting with AI and Oliver... and we fiînally looked at these guys and they looked like dope dealers." "And then, ofcourse, we discovered they were the band." "So there was" "We saw a lot of people, especially the narcotics cops... and, you know, these corrupt lawyers... that were representing these guys." "We had some meetings with, I'd say, a lot ofshady individuals." "We got a big assist from the U.S. Attorney's Offiîce down there." "They showed us their fiîles and they showed us their tapes... their videotapes ofcrime scenes." "They were magnifiîcent." "The organized crime bureau down there headed by a guy named Nick Navarro... who later became the sheriff of Broward County, was a Cuban... was essential in making this fiîlm." "They were very helpful." "They opened up fiîles for us." "They were consultants to us." "They were very anxious to have this fiîlm made." "It was an anti-drug fiîlm, very much so." "They wanted this fiîlm made, and I think we pleased them." "But all ofthe violence in this fiîlm... are terrible things that happened." " Your turn." " I kill you!" "Die!" "All ofthe fiîlms that I have made with Al..." "I have created for him... specifiîcally for him... specifiîcally for the things I thought he could do best playing." "I have a long and old relationship with Pacino." "I represented him when he fiîrst started." "I helped start him." "I helped start his career." "I didn't give him his ability." "His ability's there." "I think he encouraged me." "He certainly encouraged me to work when I didn't want to." "He encouraged me to make some ofthese movies... that turned out to be very-- I'm very glad I did." "He was there, in a way" "His capacity as a producer was also important to me... because he made me aware ofwhat a producer does... and what it is to put together a movie." "Montana!" "Tony Montana!" "Ven aca, man." "Come here." "Come here, man." "I gotta talk to you." "Come on, man." "It's important." " So close, man." " Come on." " Come on, man." "I gotta talk to you." " Where are you going, man?" " Leave him alone." " I got better things to do." " Go play with yourself." " You're chicken." "You almost made it." "The group we surrounded Pacino with in the fiîlm... were all Cuban-- basically all Cuban." "Maybe there was one exception." "Anytime there was a problem in the accent... they had the right to interfere." "I was trying more-- not to be as authentic... because I don't believe you can really be authentic... unless it's really you." "I mean, you can mimic very well." "But if I could take the accent and the mannerisms... and sort ofjust heighten them in a way... for this approach to this movie." "Because I think Brian De Palma was going to take... a larger-than-life approach to this fiîlm." "Say hello to my little friend!" "Okay, you wanna play rough?" "Okay!" "There !" "Okay." "You like that?" "But AI did a lot of interesting things." "When I fiîrst met him, prior to starting the picture, we were doing screen tests." "We were testing Michelle Pfeiffer and other ladies." "After we fiînished that day, he said, "Johnny, can I askyou a big favor ?"" "I said, "Yeah." He said, "Only speak Spanish to me once we start the movie."" "I said, "Really?" "Why?"" "He said, "l want to hear Spanish." "Maybe I don't understand it." "Just talk to me in Spanish."" "So I did." "For the entire picture, AI Pacino and John Alonzo spoke Spanish." "Al's was more broken Spanish." "That's part of his preparation." "That's part ofwhat makes him one ofAmerica's fiînest actors." "AI and the rest ofthe actors wanted to be very sure... that they were correct... in their pronunciations ofwords and their mannerisms." "So we had a lot oftechnical help... and, uh... a lot of playing the scenes back and forth." "AI and the other actors would fiînd-- they would improvise things... fiînd things to build into the scenes." "We would" " Oliver would come back and rewrite them." "There was a lot ofthat." "What'd you tell him?" "I told him what you told me." "Told 'em we were" " I was in sanitation." "They didn't go for it." " Sanitation?" " Yeah." "I told you to tell 'em you was in a sanitarium... not sanitation." "Steven Bauer was chosen to play, you know... the second male lead in this... after he had read for us." "His background didn't indicate he could stand up on screen next to Al... because most of his scenes were with Pacino." "Look at any of Pacino's work, it's very diffiîcult to watch any other actor... if he's on the screen." "Steven, in a reading, convinced us very quickly... that he was the right person for this." "He helped me with the accent." "He helped me with some ofthe gestures, the Latino gestures." "Also, some ofthe mind-set which he knew so well." "It was good" " It was kind of infectious to be with him... to watch him in his delivery." "I want you to meet a friend of mine." "Come on." "Tony Montana." "Elvira." " Hello." " Manny Ribera." "Elvira." "So, there are fiîve of us." "Where are we having dinner?" "I thought we'd go to the Babylon Club." " Again?" " Again." "Michelle Pfeiffer was a young actress that nobody had heard of." "Michelle Pfeiffer's agent called me... and suggested I meet with her." "I said, ifshe would be good enough to fly herself in" "We wouldn't pay for her transportation." "Ifshe would fly herself in, I would see that she would get a reading." "And she did." "She paid for her own transportation in." "For me, that was important." "I had every intention of paying for her transportation, which we did... before we hired her, because we didn't hire her until a couple of months later." "But ifa young actor is that committed... is that interested in doing that role that they would take the dollars... which are hard-earned dollars at that point in their careers-- and come in and make that kind ofan effort... we always pick up the tab." "She did." "And we auditioned her-- we read her with Al... with a lot ofotheryoung ladies." "I think we auditioned every young actress in the business at that point." "At the theater that we used as a casting-- to cast this particular role this particular day" "When she got up on stage, she brought AI to life." "He was magnifiîcent." "I mean, he was" "It's interesting because I don't think even he was aware of it." "But it happened." "The relationship happened." "It was right then and there." "Don't get confused, Tony." "I don't fuck around with the help." "Okay." "You wanna play that way with me, I play with you." "Shit." " Would you kiss me if I wear the hat?" " No!" "Playtime is over, okay?" "Okay." "Michelle Pfeiffer was-- was very interesting because it was one of her earlier movies." "I think she was... very attentive and committed, as she always is." "I made another picture with her later on." "She is a very involved working person." "She's involved all the way." "I think, with this picture-- I didn't know her." "She seemed like she wanted to discuss a lot ofwhat was going on." "Oh, man, look at you." "Hey, you're beautiful." " I didn't" " Mama, look at those eyes, huh?" "Look at that." "She looks like me." "You know, that last time I saw you, you was like that." "Mary Elizabeth Mastrantonio is a wonderful young actress... was a very wonderful younger actress when I fiîrst met her." "We picked her like we picked Michelle Pfeiffer." "We read her, and she was magic." "She was Gina." "She was clearly Gina." "Come on, come on!" "Okay, it's our turn." "What's the score?" "It's paradise." "This is paradise, I'm telling you." "We scouted locations in Florida and we were gonna shoot the movie in Florida." "The Cuban community became so outraged at how we were representing them." "They basically ran us out oftown." "We thought it would be best ifwe moved the production-- this is after we started the production, the pre-production-- from Miami to California." "We shot several weeks in Miami... and then moved the rest of it to Los Angeles." "We made it look like Miami." "Okay." "So what do you call yourself?" "Antonio Montana." "My star at that time wasJoe Montana." "I was a big 49er fan and I was looking around for a good name." "I thought "Montana," the mountain." "Montana." "What you call yourself?" " Where'd you learn the English, Tony?" " Uh, in a school." "And my father, he was, uh, from the United States." "Just like you, ya know?" "He was a Yankee." "I think the most... stunning thing about AI is his face." "He's the kind of guy that can hold the screen with his face." "When you start a movie, you sort of want to give the lead character... a very impressive entrance." "And that face, that character... that crazy shirt he's wearing... the scar... the way he moves, the way he talks." "You want to really hit them with something they've never seen before." "Where'd you get the beauty scar, tough guy?" "Eatin' pussy?" "How am I gonna get a scar like that eating pussy?" "This was when I was a kid, ya know?" " Mm-hmm." " You should see the other kid." "Having the scar-- one there and one here-- gave a kind ofchaos to the man... whereas one scar here would put the man like this." "I liked the different places... because I think it was evocative of... a chaotic wildness in this guy." "He was all over the place." "He had one here and one there." "Brian hasan affinity fordoing the high craneshot... thestraight down shot, the bird's eye viewofthings." "Andsome ofthe things in Scarface were born out ofnecessity." "Forinstance, the opening internment camp... that was underthe freeways andso on." "Ifwe had leveled off, you would have seen that it was Los Angeles, not Miami." "His idea ofwanting to shoot straight down, then getting down deep enough... so that when you came up on a two-shot of Bauer and Pacino... you were not aware that you were not in Miami." "We had to shoot that here in Los Angeles." "Also, he was giving you that sort of introduction... as ifyou're coming from heaven just to come down to take a look... at these people that are interned." "We usedthe billboard to suggest the dreamy Miami." "Theygot out ofjail andnowthey're in Miami." "It's representedby thesort ofdreamyposter." "Thenyou crane down andrealize, theseguysarejust dishwashers." "We used a similar poster in Carlito's Way because, uh..." "Carlito is dreamingaboutgoing to thisJamaicanparadise." "Andhe's there in a train station." "There the poster is, and it's a place that he's never gonna get to." "Why don't you try sticking your head up your ass?" "See if it fiîts." "Yeah?" "Okay." "The chain saw scene was based on an event I heard about in Miami." "Right at that time the Colombians were starting to come into the game." "They were really open about the murders at that point." "They were using Uzis at that time." "They were using them in the streets to kill." "There'd been several daylight killings." "The Colombians were famous, ofcourse, for the necktie killing... where they cut your throat and they pull the tongue through the throat." "It was a way ofsaying, implying that the person who had been killed... had been talking too much." "I defiînitely heard that story... 'cause I hung out with county of Miami and Dade County... and also with Fort Lauderdale, which had another history." "I hung out with three different departments in that area." "The case histories were pretty thick on murders." "Defiînitely, the saw had been used." "Watch what happens to your friend." "You don't want this to happen to you, gimme the money." "I wanted to establish a level of violence nobody had ever seen before." "Because this is a whole different level of... of mob, uh, interaction." "Not the sort of pleasant shootouts of The Godfather... or stranglings or people being stabbed in the hand." "Now we're into really terrible ways... of killing each other." "And I wanted to get it over early in the movie to say... this is what it is-- we're in a whole different world here." "But ultimately, again, it was all done with suggestion." "I always sort of get penalized... because I do this stuffvery well." "Though people think there's a lot of graphic violence, there really isn't." "The fact is that... we always panned offthe saw... as it was about to cut... into Angel, who was hanging." "Then you saw the blood hitting Al's face." "Now the leg, huh?" "Well, that is a vintage De Palma... technique." "You can feel it when you're doing it... that he set things up in such a way... with such a strong visual understanding ofwhat he wanted to do... and how he wanted to build it" "H-He" " It's, uh-- It's beyond my grasp." "So I, uh, I just, uh, I just marvel at it." "I was in the scene... and I felt as though, uh... it was so laid out and so completely mapped out... that it, uh, it wasn't diffiîcult to do... because he had made it easy for us all." "You can die too." "It makes no difference to me." "The shower scene... was picked on by almost every major reviewer in this country... as something that was extremely violent... that was disgusting." "But ifyou take a look at that scene very closely, we show nothing." "All it is is sound-- sound and a man's face... uh, and some indication ofa spray of blood... a small indication." "But there's nothing that goes on in that scene." "It's very similar to the shower scene that Mr. Hitchcock did... many, many years ago in Psycho." "You saw nothing." "It was something that permeated the audience's imagination." "All your enemies are gone." " How are you?" " Hello, boss." "The Babylon Club in Scarface" "The set-- an extraordinary set that Nando Scarfiîotti designed." "He warned me before I saw the set." "He asked me, "Do you mind mirrors?"" "I said, "No, I don't mind mirrors." l fiîgured one or two mirrors." "I walk on there and there's 1 5 panels of mirrors all the way around." "To add to the dilemma..." "Brian says, "l'd like to shoot two and three cameras."" "So that made it even funnier... because lhadto check each camera to makesure... the mirrors were not reflecting itselforthe othercamera... andthat when they were to be destroyed withgunshot... we wouldn't get an accidental reflection of Brian, myselfor anything else." "In my opinion, Brian De Palma didn't want to duplicate... the original Scarface." "I think that Oliver Stone's script is very far from that." "And, uh, when Brian and I would talk..." "I always had the feeling it was like a fiîlm noir." "He said, "No, no, I don't want to do the obvious thing for a piece like that."" "He said, "What I told you at the beginning." "You light it as beautifully as you can." "Nando's got the most beautiful sets that he has, that he's designed." "The fiîlm noir will come out ofthe performances, the script, not the look."" "I think he achieved it." "Yeah, I just wanted to go completely the opposite direction." "I wanted to do a kind of high-tech, neon, acrylic... vibrant pastels... instead ofyour usual dark fiîlm noir." "'Cause you looked at South Florida, and this was what it was all about." "These guys dressed in white, not black." "You'll never see me again." "Tony, please, I don't want to die." "I never did nothing to nobody." "No, no, you never did nothing to nobody." " You had somebody else do it foryou." " Tony, I am begging you" " Get up!" "Get up now!" "Jesus!" "No!" "God!" "Look." "Tony, no, don't kill me, please." "I won't kill you." " Oh, Christ, thankyou." " Get off my foot." " Thankyou." "Thankyou." " Manolo, shoot that piece ofshit!" "He likes to move the camera a lot, but he doesn't do it arbitrarily." "I don't think he does itjust-- what I call "cinematic gymnastics."" "He does moves that are an integral part ofthe story, that tell the story." "I am not one ofthose voices." "I know that." "But you know why, Vic?" "'Cause you got your head up your culo, that's why." "That fuckin' guy, he never tells the truth." "...splendor ofour city at its best." "It's those guys, man!" "It's the fuckin' bankers, the politicians-- they're the ones that wanna make coke illegal!" "So they can make the fuckin' money, and they get the fuckin' votes!" "They fiîghtin' the bad guys." "They're the bad guys!" "They fuck anything and anyone" "Can't you stop saying "fuck" all the time?" "Can't you stop talking about money?" "It's boring, Tony." "Where's this comin' from, man?" "The humor was a part ofwhat I thought right from the start... would be necessary... in order to get this guy... so that you could laugh at him also." "Because if not, it wasjust going to be, you know-- it was a one-way street." "So you needed to fiînd those odd things... those twists, those ironies... to give the character... some intelligence too... so that there was something else going on also." "Otherwise, it would be too blunt and hard to take, I think." "So say good night to the bad guy!" "Come on." "The last time you gonna see a bad guy like this again, let me tell you." "Well, yeah, I think it's gotta have its funny moments, 'cause it's crazy." "I mean, the cocaine world is a crazy world." "It's not all, you know, grim death and murder." "I mean, you know, it's fun." "The clubs should be fun." "The girls should be fun." "There's a price to pay for all this, but you gotta show that why they're there." "Money and excess and wealth." ""Luxury corrupts far more ruthlessly than war..."" "Juvenal said in the fiîrst century." "Luxury is corruptive." "Tony gets the American dream, but it's hollow... because there's nothing going on spiritually." "He can't love." "He can't love Michelle Pfeiffer." "He can't reach across." "He can't connect." " You don't know how to be a husband!" " Sit down before l" "Do we ever go anywhere without having six thugs hanging around all the time?" " It's okay." " I have Nick the Pig as a friend." " What kind of life is that?" " Come on." "Can't you see... what we're becoming, Tony?" "We're losers." "We're not winners." "We're losers." "Go home." "You're stoned." "All he can love is his sister... his blood." "He" " His concept of love is blood... which is why he wants a child." "But his ability to imagine sympathia... a Greek form of love outside himself... is gone as the materialism that surrounds him is destroyed by it." "Okay!" "You whores!" "Stan ParksandKen Papiou were the mechanicaleffectsmen." "The problem we were having all through the picture... was that when we were using these weapons... we'd have an act offiîre and the operator would say..." ""l'm sorry." "The camera didn't capture the flash." "Do it again."" "You can see there's a little wear and tear on actors when that happens." "They feel that they were performing perfectly... and now they have to do it again because the damn flash didn't show." "Kenny Papiou and Stan Parks were clever enough... to come up with a solution for that dilemma on their own." "Nobody asked them to do it." "One day they showed up with this synchronizer." "They said, "This is the way you synchronize TV sets to the cameras." "Test it out and see if it works." l said, "Sure."" "They hooked it up to this gun and rolled the camera." "And sure enough, the gun would not fiîre... until the shutter was open in the camera, so that we'd see that flash." "We had time to shoot that because AI burned himself badly on one ofthe guns." "When he's up on the top ofthesteps andhe's on theground... feelingaroundforthegun afterhe'sbeen knockeddown." "Hepickedit up bythe barrel, andthe barrelis white-hot." "He really burned himself very badly on his hand." "He grabbed it like this." "So we couldn't shoot with him for, I think, it was almost two weeks." "Go ahead!" "Come on!" "Hey, how'd you like that?" "Huh?" "You fuckin' maricon!" "You thinkyou can take me?" "As I say, once you fiînd that you get into a rhythm... and ifyou're relaxed when you're doing it... you can take anything." "You get Zen about it." "Because ifyou for once take a look around you... it's-- it'sjust unendurable." "But I think by doing that, I was able to cope." "The ending of the Paul Muni Scarface... has probably a lot to do with the codes ofthe time... that the bad guy had to repent or crawl on his knees and beg and be a coward... so he could be killed or punished." "Don't shoot me." "D-Don't shoot." "I told you you would show up this way." "Get you in a jam without a gun, and you'd squeal like a yellow rat." "Come on." "Climb into this." "I thought the ending would have been corny in the 1 980s." "That ending would have been corny, I think." "I think it was more interesting to let AI Pacino..." "Tony Montana, destroy himself, to bring himselfdown." "Which seemed to be the case ifyou study the history... the profiîles ofthe drug lords maintained by law enforcement." "You will see a pattern where most ofthem kind offuck up... in the stupidest and simplest ways." "Who you thinkyou fuckin' with, huh?" "I Tony Montana!" "You fuck with me, you fuckin' with the best!" "I'm still standin', huh!" "Fuck !" "Come on!" "I take your fuckin' bullet!" "Come on!" "I take your fuckin' bullet!" "You thinkyou kill me with bullets?" "I take your fuckin' bullets!" "Go ahead!" "The gentleman that was head ofthe MPAA at that point... had a very strong negative feeling about this fiîlm... in terms of its violence and in terms of its language." "It was no more violent... than most ofthe other action-adventure fiîlms that were released at that time." "It was a lot less violent than some of the television shows that you see now." "But the language was a big problem too." "He not only threatened us, but he stamped an "X" rating on this fiîlm." "There was no way we could get him off." "The man's name was" "Well, the man's name was Mr. Heffner... who felt he was protecting the public, and this was his right to do." "This was hisjob to do." "Wejust didn't agree with him." "Then we discussed what they thought was bothering them." "Then I made an adjustment and I sent it back to them a second time." "They gave us an "X" again." "Then I cut it back a third time." "They were fiîxated on how many gun hits were in the clown." "I was thinking, "They're worried about the gun hits in the clown?"" "So I said, "l'm not doing this anymore."" "Then everybody said, "You have to do something."" "I said, "l'm not going to do this anymore." "We're gonna hurt the movie."" "Then I basically got on the phone... and I called some of my reporter friends." "Nobody knew about it." "I said..." ""This is an outrage." "They're cutting this movie, and I don't want to do it."" "I basically went to the press." "I went to arbitration on this." "Except I went prepared for, literally, a court case." "I brought in three psychiatrists, three experts in this fiîeld." "I brought in Time magazine, their feature writer." "I brought in the police offiîcer, head of the organized crime bureau from Miami... who was very helpful in making this fiîlm." "In terms of how this would affect children... the fact that it was an anti-drug fiîlm... and how important it was for it to be made." "We conducted this like a trial." "We beat 'em." "We beat 'em hands down." "The vote was 1 8 to 2... in favor ofour getting a "R" rating, which we did." "Which did not create a wonderful relationship with Mr. Heffner... although I'm sure he was doing what he thought was right at the time." "Now, there's something that gets completely confused all the time." "Because I cut the picture back three times... everybody assumes they saw the third cut." "But I called the head ofthe studio and said..." ""lf l have an 'X' on the third version, I have an 'X' on the initial version." "They're all 'X's." "Why don't I just go with the fiîrst version?"" "They said, "No, you can't do that."" "I said, "Why not?" "An 'X' is an 'X', isn't it?"" "He said, "No, no, you can't do that."" "So the version you see in Scarface is the original version I cut." "It's not changed." "It has not been cut back." "I put everything back in... from everything that they thought would make it an "R."" "That's what we fought over." "That's what we won with." "That was a great moment when we won it." "I was on a television show once, and the interviewer came out-- when Scarface came out" "I didn't know he didn't like the picture." "But he came to me and the fiîrst thing he said on the television thing was..." ""How could you make a movie that was so violent?"" "It stopped me because I never thought of it as a violent picture... as much as I don't think ofa Shakespearean play as" "How could you do RichardIll ?" "It's so violent." "But it's how-- So I couldn't connect the two." "When Scarface was reviewed and released... we did very well business-wise... but review-wise, we did terribly." "There wasn't a major reviewer in this country... with the exception ofVincent Canby ofthe New York Times... who thought this wasn't garbage." "These same reviewers" " I not only remembered, we listed their names." "These same reviewers, down the line... have then pointed 1 0, 5, 1 5 years later... have pointed to Scarface... as the consummate gangster fiîlm... as the landmark gangster fiîlm." "They point to it as a perennial." "They point to this as a landmark fiîlm." "Same reviewers" " I have some oftheir reviews." "I have all oftheir reviews." "It's amazing how people have changed their minds." "We were destroyed by the press." "But the fiîrst Scarface was also brutalized by the media." "A lot of people really hated the movie because they were so shocked by it." "It's one ofthose movies where everybody is so shocked by it." "The publicity had scared everybody away, the fiîghting with the ratings board." "Ofcourse, years later they all say how good it was." "At the time, it was not well-liked." "When Harry Tattleman... the gentleman that converts Universal's fiîlm... into television fare... taking out the language, some violence, nudity... came to me and told me that they had plans to release this on network..." "I told him, "Harry, you're crazy." "How are you going to get around the 1 60 'F' words?" "How are you going to get around all ofthe other profanity?"" "He says, "l will be able to do it."" "It was shocking." "He did it." "And it works." "It works as television." "Where'd you get the beauty scar, tough guy?" "Eatin' pussy?" "How am I gonna get a scar like that eating pussy?" "Where'd you get that beauty scar, tough guy?" "Eating pineapple?" "How am I gonna get a scar like that eating pineapple?" "This town like a great, big pussy waiting to get fucked." "This town like a great, big chicken waiting to be plucked all the time." " Causing trouble like that." "Come on." " Bitch!" " What I try to tell you?" " Lesbian!" " Causing trouble like that." "Come on." " Pig!" " What I try to tell you?" " Lamebrain." "Hey, Frank, you're a piece ofshit." " What are you talking about?" " You know what I'm talking about... you fucking cockroach." "Hey, Frank, you're a piece ofdirt." " What are you talking about?" " You know what I'm talking about... you fiîlthy cockroach." "Every actor I ever met does Tony Montana." "Whether it's Bruce Willis, who does an incredible Tony Montana... or Tom Cruise, who does an incredible Tony Montana... or Alec Baldwin." "They all do him." "It's like we used to do Marlon Brando in On The Waterfront." "It's such an audacious character... with such wonderful lines." "And AI did such an incredible performance... that, you know, every actor in the world..." "loves to play that part." "Fuckyou, man!" "Who put this thing together?" "Me!" "That's who!" "Who do I trust?" "Me!" "Fuck him." "Trust." "Asshole." "He wasa man that climbed veryquickly... basedupon his intelligence and his toughness... to become, you know... a king ofindustry, ifyou will." "His industryjust happened to be cocaine and was illegal." "But he was a dynamic character." "He was a-- certainly an exciting character... a romantic character." "He was all the things a good gangster fiîlm should be in terms of leading men." "You can't really see it objectively." "But I could say that ofthe movies I've made... it is one of my favorite fiîlms... in terms of memory-- when I remember it." "In that sort of traditional Hollywood way... where you have a great producer and a great actor... a great director and a great screenwriter..." "I think we made a really great movie." "And everybody did the best they could... in a very-- kind ofvery controversial material." "We got our heads handed to us at the time." "The movie sort of scandalized everybody." "In retrospect, AI talks about it as one of his favorite movies." "When you look back, you say, this is really good." " Me, I want what's coming to me." " What's coming toyou?" "The world, Chico, andeverything in it." " Marker." "Action." " But you, Manny, I can never" " Come on." "Wait, wait." "I never request it ofyou, man." " You know why?" " What are you doin', man?" "'Cause I love you, man." "You're like my little brother." "They're gonna see." "Back, back!" "Sugar, what are you doing?" "Do you want to party tonight?" " Whose cock?" "Yours or mine?" " Yours." " Mine?" "Oh, it's not working." " Yes." "It's very tired." "See you later." "Cut." "Good." "Backgroundaction!" "It's okay." "It's okay." "I thought I didn't have any money." "I got something." "Okay?" "Let me do it." "6, 4... 6, 8, 2." "Wait a minute." "Don't hang up." "Action!" "I changed my mind, okay?" "I changed my mind." "Cut!" "Marker." "Hello." "Yes, I'd like to speak to my brother Paulo." "Yes, it-- This is Angel Fernandez." "Hello." "Yes." "Don't ha-- Hey, don't hang up on me!" "Don't hang up!" "Shit." "You know how many goddamn Fernandez are living in fucking Union City?" "I'm gonna call every fucking one ofthem to fiînd my brother, man... to get me the hell out of here, man." " Don't waste your money." "He hates you." " Fuckyou." "What you talking to that creep for?" "He's okay, man." "He hears things, you know." "What's he hear that I don't?" "He hears that we got big problems, man." "The Immigration had those hearings and they decided... that nine out often of us are bad news, and they're gonna ship us back." " Oh, yeah?" " Yeah." "At the other camp, the Indian town camp in Pennsylvania?" "They had the riots, man." "Fires, broken heads, man." "The same thing's gonna happen here any day." "So, what do you think they'll do to us ifwe riot?" "You think they're gonna be happy, they're gonna let us out?" "They're gonna take the fuckin' key and throw it over the freeway, man." " We'll never get out of here." "Never." " Aw." " We're stuck right here." " Shit, man!" "What did I say?" " We'll never get out." " This is gonna end bad." "Where do you thinkyou are?" "Cuba?" " This is the United States." " Yeah." "They got nothing but lawyers." "We're on the television every day, the newspapers." "Where they gonna send us?" "Cuba?" "Yeah?" "How they gonna do that?" "Castro-- he's not gonna take us back." "He sent us here to get rid of us." "He don't want us." "Nobody nowhere wants us." "So you tell me." "What are they gonna do?" "Put us in a gas chamber?" "So all the people on television gonna watch?" "They stuck with us, man." "They gotta let us go." "Okay." "Well, what if it takes six months, man, to get out of here?" "What if it takes six months before they let us go?" "What you complaining?" "You sound like my mother." "You got 'em by the balls, okay?" "Like that guy says, when you got 'em by the balls... their hearts and their minds follow." " Okay, Chico?" " Oh." "I love United States." "I love it." "You better forget it, man." "You know, live your life!" "You got one life!" "You gotta live it!" "I love America, cono!" "United States for me!" " Uncle Sam!" "He can do it, man!" " That's a little" "He do it for all ofyou!" "What?" "That's nasty, man." "Look at that ass." "She begging' for it." "You crazy, man." "She's 1 03 years old." "Not her, man." "The young one, man, with the" "Drive the fuckin' car." "Man, just try and stay loose, okay?" " You gonna have a heart attack." " What's-a matter with this guy?" "What" " Look at this guy." "Look at Angelito, man." "Look at that face." "What is that for, eh?" "It's okay." "I just" "I forgot to make an offering." "I was supposed to go by the madrina today." "What, you're still going to that madrina, man?" "She knows her shit." "She talks to you like nobody you ever heard." "Chango with us today, man?" " You gonna tell us that?" " Chango is with all the bandidos." "You gotta pay him his dues." "You gotta show him some respect." "Ifyou don't, Chango gets pissed off." " Show some respect, man." " Don't like that fuckin' mystical shit." "That bullshit." "Come on." "That for the old ladies waving rooster cocks in some dark alley." "Not for me." "Bullshit." "There no gods." "There nothing." "There no Chango." "That's bullshit." "You want your luck, you make your luck." "That's how it go." "So why don't you shut up with that." "This is the United States." "Act like you're in the United States." " That right." "Miami Beach." " That's where we are." " i Cono!" "Wait." " All the girls, man." " Over there." " Senora" "Pull over." "We're going over here?" "Very good." "Okay, andaction!" " You like?" " Yeah, it's okay." " Okay?" " Okay." "You guys able to do anything foryourselves?" "Don't worry about Frank." "What he don't know don't hurt him." "I got Quaaludes, cheap." "I got 26,000 ofthem I gotta move." "I give you all ofthem for a buck a piece." "You'd be doing me a favor." " What else you got?" " I got everything." "I got bennies, I got black beauties..." "I got pink hearts, yellowjackets, reds, grass, speed... acid, Percodan, dexies, Valium..." "Atarax, dragon eggs, Chinese ladies." "I got everything." "You name it, I got it." "I got a pill make you throw up and die." "I got another pill make your dong so hard... you could fuck halfof Hong Kong." "But the deal ofthe day is these 'ludes, man." "26,000 ofthem." "Swiss, like the clocks." "A buck a piece." "You can't lose." "Okay, okay." "Ninety-seven cents." " How much you got on you?" " Six, seven thousand." " I got about fiîve." " Okay, I like your face." "You give me 1 2, and you can owe me." "You help me sell the rest ofthis shit, and we get rich together." "Let me see what you got." "Jesus fucking Christ!" "Who built this fucking chair?" "You see that chairjump up and bite me in the ass, man." " Fucking shit." " Cut." "That'sa cut." "You know why, uh, they say that Cuba is all screwed up?" "Why's that?" "'Cause the country's in the Caribbean... the government is in Russia... the army's in Angola... and all the people's in Miami." " All they got is a beard with a cigar." " You he'll move here too." "Gabriella, my rose, how was the ride this morning?" "Lovely." "We went to the north pastures." "You should change your sheep." "The grass is ugly over there." " I'll see to it personally." " Good." "I want you to meet an associate of mine from Miami, Tony Montana." " My fiîancee, Gabriella Matini." " Good to meet you." "See you later." "Oh, and don't forget we have the Renaldis tonight at 8:00." "Ofcourse not." "From a fiîne family in Brazil." "Nice." "I'll tell you something." "You got everything here a man could want." "You did good, Mr. Sosa." "You did okay." "I like you, Tony." "There is no lying in you." "Unfortunately, I cannot say the same about the rest ofyour organization." "Action." "What can I do foryou, Montana?" "This is my partner, Manny Ribera." "George." "They tell me you're the best lawyer in this town." "Did they also tell you how expensive I am?" "Sure." "But like that guy J.P. Morgan says..." ""lfyou gotta ask the price, you're out ofyour league."" "I see you been reading your American history." "What have you done lately to earn a place in it?" "I'm trying to stay out of it, you know?" "You know what I mean?" "I'm looking to, uh, you know, expand my operations... to branch out... diversify my interests." "And I could use somebody like you... to advise me... eh, be on my payroll... starting now." "Start with 1 00,000." "Cash on the table." "Sure." "Here's some more." " Okay?" " Okay." "You want this?" "You might want to keep it for the next installment." " You're thinking ahead, huh?" " Thinkin' ahead." "I like this bag anyway." "My pleasure, gentlemen." "Action!" "Hello, William." "I think I fiîrst really thought I was a reporter... starting out in Fort Lauderdale." " I had a radio talk show." " Vic!" " I watch you every day on TV." " That's very nice." "Thankyou very much." "You know that 200 kilo DEA bust you was congratulating the cops for..." " on the tube the other night?" " Aren't you Tony Montana?" " We have a table." " All right." "I'm eatin'." "Hi, folks." "Don't get up." "It's okay." "Anyway, Vic, check it out." "I heard it was 220 kilos went down." "That means 20 is missing, right?" "Askyour friends the cops about that." "And keep up the good work." "Only don't believe everything you hear." " Good meeting you." "Have a nice dinner." " That's not too fucking smart." " Fuckyou." " Do you believe that?" "That's Tony Monta-- Do you know who Tony Montana is?" "He's one ofthe biggest cocaine kingpins in southern Florida." "Those guys are doing-- They're taking over the whole town." "Tony, the cops." "Right behind me." "Offiîcer, you didn't see a little dog, huh?" "A little white poodle?" "No?" "I lost it." "It was in a park, and then I had him" "My kid is gonna go crazy." "Boy, am I in trouble." "You didn't see anything like that?" " Check the ASPCA." " ASPCA?" " They can handle that stuff." " They drop offthe dog there?" "Look it up in the Yellow Pages, okay, buddy?" "Okay." "Thankyou." "Hey, Smiley." "Come on, you're under arrest." "Put that fucking thing away." "That was close, huh?" "Okay, so what do you call yourself?" "Antonio Montana." "And you, what you call yourself?" " Where'd you learn to speak English ?" " Uh, in a school." "And my father, he was, uh, from the United States." "Just like you, ya know?" "He was a Yankee." "Uh, he used to take me a lot to the movies." "I learn." "I watch the guys like Humphrey Bogart..." "James Cagney." "They, they teach me to talk." "I like those guys." "I always know one day I'm comin' here, the United States." "1980, Miami." "Theycalledit "Little Havana. "" "Where theAmerican dream hadaprice tag... andonlyone man in a million washungryenough topay." "In this country, yougotta make the money first." "Then when you get the money, you get the power." "Then when you get the power, then you get the woman." "Scarface." "Forone briefmoment... the world washis." " That chickhe's with, she like me." " You must be kidding." "What you talking about?" "That's a Cadillac." " How do you know?" " The eyes, Chico." "Theyneverlie." " Man, that's the boss's lady." " I am the boss." " That guy's soft." " Ilikeyou." "There isno lying inyou." "Here's to the land ofopportunity." "We do business together a long time." "I know the street, and I'm making all the right connections." "Remember, I told you when you started, the guys who last in this business... are theguys who flystraight." "With the right woman, there's no stopping me." "I could go right to the top." "The word on the street, Tony, is you're not a small-time punk anymore." "Supreme Courtsays that yourprivacycan be invaded." "We sweep the house this month?" "You're spendinga lot ofmoney on this countersurveillance." "We're doing 1 0 million, 1 5 million a month." "That'sseriousmoney, you know?" "You bankboysgotta come down a bit." "Who else canyou trust?" "That's why youpay us whatyou do." "You trust us." "You're in good hands with us." "AIPacino is..." "Scarface." "He lovedtheAmerican dream... with a vengeance." "Court ofAppeals' decision." "Now devolve upon me the painful duty... of unleashing upon society a reputed assassin." "The prisoner is discharged." "You Carlito Brigante, man." "You a legend." "He's one ofus." "Putsmoney in everybody'spocket, big time." " He wasbig." " This isa toughguy." "Hejustgot out ofLewisburg, man." "Charlie." "There I am sittin' in jail, wonderin' where you are, what you're doin'..." " who you're with." " What was it like inside, Charlie?" "It gets ya." "Carlito, these new kids, they shotgun you just to see you fly up in the air." " Who are you workin' with?" " I'm retired." " Retired ?" "Retired ?" " That's right." "I got a good feeling about this club." "We're gonna make some real money." "As soon as I make my 75, I'm splittin'." " Maybe you don't remember me." "My name" " Maybe I don't remember the last time I blew my nose either." " If I ever see you here again, you die." " Did you ever kill anybody, Charlie?" "Guys went down, yeah." "You just do what you gotta do to survive." "Now I give you a million bucks to make a simple payoffand nothin' happens." "The contract's already down on you, pal." "You're gonna end up in that river there." " I'm asking foryour help." " I ain't dealing'." "I ain't goin' back to prison, no matter what!" "You said you would break my heart." "I gotta dojust this one thing, and then I'm out." "Every instinct you've got won't do anything but get you killed." "He saved my life, Gail!" "Whatever he wants you to do, don't do it." "That's what I am, right or wrong." "I can't change that!" " Never give up your friends, Dave." " Only one rule." "You save your own ass." " Didn't you ever have a dream?" " Yeah, I had a dream, Charlie." "But now I'm awake." "You thinkyou're big time?" "You gonna die big time! 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