“[A] disgrace”: “The Current Cinema,” Rafferty, Terrence, The New Yorker, December 2, 1991.
“Pronounced the director’s name ‘Scor-seeze’”: You’re going to have to trust my word and my memory on this one, kids.
“I wrote it as an Amblin thriller”: Levy, p. 377.
“It was based on actual events Bob had researched”: Douglas, p. 140.
“Kind of a commission”: Schickel, p. 203.
“Definitely Casino is the final one”: Schickel, p. 210.
“That’s where I got off the bus”: Author interview with De Fina, June 19, 2019.
“More willing to get input from crew members”: Author interview with Griffon.
“Call me a prude”: “The Wolf of Wall Street Is a Douchebag’s Handbook,” Zuckerman, Esther, The Atlantic, December 18, 2013.
“My attitude as a film director has always been...provocation”: Ehrenstein, David, The Scorsese Picture, 1992, New York: Birch Lane Press, p. 70.
“Shea Serrano’s 15 Best Gangster Movie Moments”: Help yourself: https://www.youtube.com/watch?v=j-k3aESXPQA
EPILOGUE
“The careers of Robert Mitchum and Jimmy Stewart”: Scorsese’s Premiere essay titled “The Men Who Knew Too Much.”
“‘Big Red Son’”: The essay originally appeared in Premiere, and was reprinted in Consider the Lobster and Other Essays, 2006, New York: Little Brown and Company. I appear in the essay, in not-all-that thinly disguised form, as the character “Dick Filth.”
“Take Scorsese to task at a ‘meeting’”: “Bob Iger Planning to Meet with Martin Scorsese Over Marvel Comments,” Kilkenny, Katie, The Hollywood Reporter, December 12, 2019.
“He would leave his position”: “Bob Iger steps down as Disney CEO. Bob Chapek replaces him,” Pallotta, Frank, and Brian Stelter, CNN Business, February 26, 2020.
“Monty Python term”: You may read the script for “The Woody Sketch” here: http://www.montypython.net/scripts/wood.php
“Coffee table book”: Shone, Tom, The Irishman: The Making of the Movie, 2019, New York: Assouline.
“Parkinson’s disease”: “When Marty Met Helen,” Susan Cheever, Talk magazine, February 2, 2000.
“There were so many legal problems”: “Inside the Quiet Legal Battles Over Martin Scorsese’s Silence,” Gardner, Eriq, The Hollywood Reporter, September 28, 2016.
Acknowledgments
Joseph Veltre was a friend before he became my agent, and for as long as we’ve worked together he’s shown me great kindness and dispensed a lot of wisdom. He and his assistant, Tori Eskue, were instrumental in making this book a reality. While I’m thanking him I should thank another wonderful friend, and a great and inspiring writer, Adrienne Miller, who is married to Joe.
Peter Joseph at Hanover Square Press, and his wonderful staff, brought the book to where it is now. Peter is a pleasure to know and a spectacular collaborator, as is his assistant, Grace Towery.
Scott Feinstein and Jenna Chasanoff at 42 West helped me a great deal with access to interview subjects and more.
Steven Wilson, Michael Gilmore, and the entire staff of the Ransom Center at the University of Texas were superb guides in my exploration of Robert De Niro’s papers. Thanks to Gibby Haynes for recommending the magnificent Austin Tex-Mex restaurant El Caribe, a highlight of my trip.
R. Colin Tait, Tom Shone, Jason Bailey and Shawn Levy, gentlemen and film scholars all, were generous in sharing their own discoveries about the films under examination here.
Tony Scott, Manohla Dargis, Nicole Herrington, Mekado Murphy, Stephanie Goodman, Edward Marks, and all the individuals I work with reviewing films at the New York Times are treasures. Brian Tallerico, Matt Zoller Seitz, Nick Allen, Nell Minow, and Chaz Ebert at Ebert.com have had my back for a long time and it’s a good feeling.
I saw New York, New York at Manhattan’s Ziegfeld Theatre on opening day with my friend Joseph Failla, a film-going buddy since third grade. I saw Raging Bull on opening night at The National in Times Square with Ron Goldberg. I don’t get to see many movies with these fellows nowadays, but they will always be my favorite film-going companions.
I thank my family: my father, Allan, and his wife, Marjorie Kenny, my brother, Michael, my sister, Kathleen. My uncle Bob Relovsky, who we lost this year, and Cathy Relovsky, younger sister of my mother, Amelia, who’s not around for this occasion. Jack Kenny. Richie and Chris Petrosino. There are a lot of you around and about—which I’m grateful for. Thanks, too, of course, to my loving and generous second family, Mary Alice Evans, Joe Evans, Jonathan Evans, Sarah Legg.
For friendship and moral support I thank Davitt Sigerson, Brian Koppelman, David Levien, Zach Barocas, Farran Smith Nehme, Jay Cocks, Kip Myers, Patrick Kyle, Brian Balderston, Rubina Hussain, Colleen McMillen, Nancy Chuang, Audra Gorman, Joe Mulligan, Colin Ungaro, Stewart Wolpin, John Fahey, Keith Uhlich, Dan Callahan, Christopher Risco, Ethan Iverson, Sarah Weinman, Tom Bissell, Owen King, Michelle Dean, Doug Brod, Ed Hulse, Jim Meigs, Kathy Heintzelman, Tim Apello, Tom Carson, Adam Hocker, Kate Kelly. David Koll kindly offered to proof a draft, and provided me with crucial corrections and perceptive and useful notes. I owe him a lot. I thank Doug Harvey, Tom Santamassino, and Daniel Burwasser for years of musical fellowship. Doug and Dan facilitated a particularly therapeutic jam session near the end of the writing of this book.
I especially thank all of my interview subjects. Particularly generous with her time and encouragement was Barbara De Fina. Another subject who was extraordinarily accessible and tolerant was Irwin Winkler. Go figure. Gillian Spear in Robert De Niro’s office was especially helpful. And the great Joe Reidy’s contribution was invaluable. At Sikelia, thanks to Lisa Frechette, Jana Heaton, my former student Luis DeJesus, and my old friend Gina Telaroli. Lisa Caserta and Joe Hill also have my undying appreciation. And a special thanks to Marianne Bower for assistance beyond the call of obligation or even reason with respect to illustrations.
In the process of writing this book, my admiration for Martin Scorsese—his artistry and his commitment, and during our interview, his consideration and his candor—only increased. I feel similarly toward Nicholas Pileggi.
This book’s dedicatee, my wife, Claire, has blessed my life in every way possible, and is a paragon of brilliance, kindness, good humor, patience, and affection.
To paraphrase Nick Tosches at the end of his splendid book Dino: without Henry Hill we would be holding about a pound of blank pages right now. Rest in peace, wiseguy.
Index
The pagination of this digital edition does not match the print edition from which the index was created. To locate a specific entry, please use your ebook reader’s search tools.
Abdul, Paula, 14
Academy Awards, 275–277, 311, 322–323
actors. See also individual
authenticity of, 63–64
casting of (See casting, Goodfellas)
Admiral, Virginia, 79, 132
Adonis, Joe, 26, 84–85
Advise and Consent, 68
African Americans, racism, film treatment of, 78–82, 124, 138, 142, 165, 166, 181
After Hours
Michael Ballhaus and, 59
proto-indie, guerrilla filmmaking, 15
success of, 46
Age of Innocence, The, 47, 69, 139, 293, 296, 305, 340
A Goodfellas Guide to New York (Hill and Schreckengost), 289, 350–351
A Guy’s Guide to Being a Man’s Man (Vincent and Priggé), 354–355
“Ain’t That a Kick in the Head,” 126, 240, 261
Alice Doesn’t Live Here Anymore, 42, 270–271, 281
Allen, Dede, 258
Allen, Woody, 15, 47, 86,92
American Cinema, The (Sarris),
271–272
American Graffiti, 232, 233, 237
Amis, Martin, 27
8
ammunition on set, 148–149
Analyze This, 98, 279
Anastasia, Albert, 26, 73
Anders, Allison, 122
Anderson, Paul Thomas, 61
“And Then He Kissed Me,” 102, 128, 239
Anger, Kenneth, 230, 231–232, 238
Anka, Paul, 252, 253–254
antiheroes, 280–281
anti-Semitism, 116, 121
Antonelli, Vincent “Vinnie,” 32–33
Apalachin, 29, 72–73
Arquette, Rosanna, 47, 118
“Atlantis,” 131, 241
audience surrogate, Hill as, 281–282
Avery, Tex, 155
Aviator, The, 113, 126, 310, 340–342
“Baby I Love You,” 243
Baby It’s You, 46, 60
Baker, Ginger, 247–248
Baker, Russell, 274
Ballard, J. G., 14
Ballhaus, Michael
about, 59–61, 62–63
on killing of Tommy, 195
meat truck scene, 188–190
opening scene, 21
Quiz Show and, 306
Scorsese on, 325–326
zoom/dolly camera work, 221
Bamboo Lounge, 82–90, 97–100
Bamboo Lounge, continuity error, 259–260
Barbara, Joseph, 73
Barry, 279
Barry, Jeff, 239, 240
basketball point-shaving, 167, 169, 185, 223, 245
Bass, Elaine, 22, 68–69
Bass, Saul, 22, 68–69
Batts, Billy (Frank Vincent). See Vincent, Frank (Billy Batts)
Beatles, the, 166, 187, 238, 246, 247
Bennett, Tony, 235, 242, 244
“Beyond the Sea” (“La mer”), 158, 243–244, 252
Big Easy, The, 256
Big Heist, The (Stefano), 356–357
bigotry, film treatment of, 78–82, 124, 138, 142, 165, 166, 181
Big Shave, The, 231, 332
Black, Mikey (Freddie No Nose), 87
black fields, technique, 180
“blaxploitation,” 165, 166
Bonfire of the Vanities, The, 274–275
Bono, Joseph (Mikey Franzese), 88
“Boulevard of Broken Dreams,” 244
Bowie, David, 252–253
box-office take, Goodfellas, 274
Bracco, Lorraine (Karen)
on aiming gun at Henry, 148–149
casting of, 41–42
as Karen
assault by Henry, 110–111
discovery of Henry’s mistress, 147–149
flushing the cocaine, 219
as Henry’s accomplice,
161–162
jail time discussion, 123–124
mob attempt to kill Karen, 220
relationship with Henry,
100–103, 105
role of as mob wife, 105
in scenes with Edward McDonald, 225
visiting Henry in prison,
160–162
wedding and married life, 111–115
Brando, Marlon, 164, 335
Brickman, Marshall, 92
Bride of Frankenstein, The, 17
Brooks, Mel, 117–118
Brown, Pete, 247
Bruce, Jack, 247–248
budget, Goodfellas, 43, 48, 65, 104, 156, 274
Bunz, Sonny (Tony Darrow). See Darrow, Tony (Sonny Bunz)
Burke, Catherine, 53, 145, 146, 286
Burke, Jimmy “the Gent,” 30
Cahiers du Cinéma, 23, 51, 155, 187
camera techniques, 83–84, 87,
103–105, 134, 180, 188–190, 221
Cameron, Julia, 210
Canaan, Christopher, 172
Canby, Vincent, 270
“Can’t We Be Sweethearts,” 236
Capeci, Jerry, 271
Cape Fear, 303–305
the Basses and, 68–69
Illeana Douglas and, 122
Robert De Niro and, 122
Scorsese and De Niro and, 43
success of, 40
Caracappa, Stephen, 86
Carroll, Kathleen, 271
Caserta, Clem (Joe Buddha), 169, 188
Caserta, Lisa, 291, 299
Casino, 18–19, 100, 306–309
casinos, secret, 95
Cassavetes, John, 100
casting, Goodfellas
Chuck Low, 42
extras and smaller roles, 63–64, 84–90
Joe Pesci, 41
Lorraine Bracco, 41–42
Paul Sorvino, 42–43
Ray Liotta, 41
Robert De Niro, 43, 47–48
secrecy of, 119
Chapman, Michael, 39–40
“Chariot,” 238–239
Chasanoff, Jenna, 321
Chase, David, 278
Chinese Roulette, 60
“Christmas (Baby Please Come Home),” 246
Cicale, Peter (Pete the Killer), 87
Cicero, Paul “Paulie” (Paul Sorvino). See Sorvino, Paul (Paul “Paulie” Cicero)
Cicero, Tuddy (Frank DiLeo). See DiLeo, Frank (Tuddy Cicero)
Clapton, Eric, 186–187, 188, 233, 247, 248–250, 251
Clooney, Rosemary, 235
“Cocaine Decisions,” 196
cocaine usage, 196–197, 210–212
Cocks, Jay, 23, 44, 293, 309, 316, 336, 342, 345
college sports betting, 167, 169, 185, 223, 245
Colombo, Joseph, 73
Color of Money, The, 15, 31, 36, 39, 40, 46, 47, 56, 59, 201, 233–234, 326–328, 338
“Come On-a My House,” 235
Comfort of Strangers, The, 13
comic performance, Goodfellas, 279
Coming Clean (Stern), 289–290
continuity errors, 258–260
Conversations with Scorsese (Schickel). See Schickel, Richard
Conway, Jimmy “the Gent”. See De Niro, Robert
Coolidge, Rita, 187–188, 248–250
Cooperman, Sandy, 166
Copacabana, scenes in, 102–105, 137–138, 234, 239–240, 242–243, 278, 320
Cop Land, 308
Coppola, Francis Ford, 15, 47, 58, 163, 165, 310
Corrigan, Kevin (Michael Hill), 111–112, 114–115, 119, 200, 215
Costello, Frank, 26
Costner, Kevin, 276–277
Crazy Joe, 72–73
Creative Artists Agency (CCA), 39
crimes and gangsters, portrayals of, 18–19, 264–267
Cruise, Tom, 15, 39, 42, 95, 234
Crystals, the, 231
Daly, Bob, 156, 268
Damon, Matt, 311
Dances with Wolves, 259, 276–277
Darrow, Tony (Sonny Bunz), 89, 98–99, 194, 259
Davis, Marvin, 330
Davis, Miles, 247
Dear Mr. Wonderful, 60
Death Collector, The, 92, 93, 94,
128–130
De Fina, Barbara
on discovering Wiseguy, 36–37
on Harvey Weinstein, 297
on Hawaii Kai, 83
interview of, 292–295
on Irwin Winkler, 294–295
on Michael Ballhaus, 61
on Mike Ovitz, 296–297
on place in film history, 297–298
on previews, 267
on production delay, 43
on Scorsese and Lumet, 54–55
on Tampa City Zoo scene, 96
on Terry Semel, 15
6–157
Dellacroce, Aniello “the Tall Guy,” 28
Denby, David, 31–32, 116
De Niro, Robert
about, 49–50, 79, 175–178
in Analyze This and Analyze That, 279
camera synchronization and, 183–184
Cape Fear and, 122, 303–304
collaborations with Scorsese, 43–48
Henry Hill on, 286
Irishman, The, 317–320, 321
as Jimmy Conway
in Bamboo Lounge, 84–85
casting of, 43, 47–48
filming, first day, 54
on Morrie’s death, 185–186
on Morrie’s demand for payment, 182–184
pink Cadillac and, 174–175
sending Henry to Florida, 221–222
wig commercial, 110
young Henry scene, 74
on killing of Tommy, 195
in Mean Streets, 24–25
movie star looks of, 265
in New York, New York, 81
opening scene, 20–22
Oscars and, 275
on Raging Bull, 338
Ray Liotta on, 308
role preparation, 50, 51–53, 197
as violent tough guy, 132
De Niro, Robert Sr., 132
De Palma, Brian, 18, 23, 32, 44, 117, 274, 275, 310
Departed, The, 310–311, 342–343
De Sica, Vittorio, 237
DeSimone, Tommy. See D’Onofrio, Joseph (young Tommy); Pesci, Joe (Tommy DeSimone)
Devil’s Candy, The (Salamon),
274–275
DeVito, Tommy, 92
DiCaprio, Leonardo, 127, 153–154, 309–311, 312, 317, 320, 341
Dietl, Bo, 216, 218
DiLeo, Frank (Tuddy Cicero),
69–70, 71, 98, 192–193
Dino (Tosches), 95
directors, first assistant, 57–58
Di Stefano, Guiseppe, 237
divorce, mob treatment of, 149–150, 165
D’Onofrio, Joseph (young Tommy), 75, 147
Douglas, Illeana (Rosie), 83,
115–123, 147, 175–176, 177,
304–306
Down by Law, 22
drug dealing, 159–160, 163–164
drug usage, 196–197, 210–212
Dunne, Griffin, 46, 60, 281
Ebert, Roger, 60, 256, 273, 336, 338
Edelstein, David, 271
editing film, Schoonmaker and, 256, 258–259
Edwards, Stacks. See Jackson, Samuel L. (Stacks Edwards)