on working on Goodfellas, 65–66
Reiner, Carl, 117–118
“Remember (Walking in the Sand),” 243
reviews, Goodfellas, 269–274,
278–279
Robbins, Missy, 208
Robert De Niro: Anatomy of an Actor (Kenny), 51
Robertson, Robbie, 211–212
Robinson, Amy, 46, 60
Rolling Stones, 166, 183, 209, 231, 232, 244, 245, 250, 342
“Roses Are Red,” 109, 240
Rosie (Illeana Douglas). See Douglas, Illeana (Rosie)
Ross, Diana, 165
Ross, Herbert, 32–33
Rossellini, Isabella, 211
Rotondi, Linda (real-life Janice), 150–152
Salamon, Julie, 270, 274–275
Sandow, Nick, 173–174
Sandy (Debi Mazar). See Mazar, Debi (Sandy)
Sarris, Andrew, 271–272
Saul Bass: A Life in Film and Design (Bass and Kirkham), 68
Sayles, John, 46, 60
Scarface, 23–24, 264, 311
scenes (in scene order)
opening scene, 20–22, 67–69
young Henry Hill, 69–77
Idlewild, 77–82
Bamboo Lounge, 82–90
“How am I funny?,” 90–92
Bamboo Lounge, torching of, 97–100
Karen and Henry, double-date, 100–101
Karen confronting Henry, 101
Karen and Henry, Copacabana, 102–103
Air France robbery, 108
Henry at country club with Karen, 108–109
introduction of Morrie, 109–110
wig commercial, 109
Henry’s assault on Bruce,
110–111
wedding and married life,
111–115
hostess party, 115–116, 121–122
Karen and Henry, jail time discussion, 123–124
Billy Batts, in The Suite Lounge, 127–128, 130–133
Tommy’s mother’s house, after Batts killing, 133–137
Friday night at the Copa,
137–138
reburial of Batts, 138–140
Killing of Spider, 141–143
Karen’s discovery of Henry’s mistress, 147–149
Henry told to return to Karen, 149–150
Tampa City Zoo, 152–157
Henry goes to jail, 157–162
cooking in prison, 158–159
Karen visits Henry in prison, 160–162
after prison, 162–163
Lufthansa heist, 169–170
Christmas party, 174–179, 246
Stacks shooting, 179–182
Morrie demanding payment, 182–184
killing of Morrie, 184–185
pink Cadillac under overpass, 186–187
meat truck scene, 188–190
Tommy being made, 190–192
killing of Tommy, 192–195
unravelling of Henry, 196–205, 208–212
Henry cooking dinner, 204, 208, 212
Lois transporting drugs, 212–214
arrest of Henry, 216–217
courthouse and final scenes,
217–228
end credits, 229
Schickel, Richard, 39-40, 262, 280, 303, 304, 306, 307, 308–309, 310–311
as collaborator with Scorsese, 255
on continuity errors, 258–260
editing of Goodfellas, 19
film editing and, 256, 258–259
Grace of My Heart, 122
meeting Scorsese, 255–256
Oscars and, 275–276
on previews, 267
Raging Bull and, 255, 257–258
Scorsese on, 262–263
Woodstock and, 256–257
Schrader, Paul, 13, 44, 80, 198, 338
scores, composition of, Scorsese on, 230
scores, jukeboxes and live performers, 234
Scorpio Rising, 230, 238
Scorsese, Catherine (Tommy’s mother), 113, 133–134, 215
Scorsese, Charles (Vinnie), 113, 139, 158
Scorsese, Martin
on 1991 Oscars, 277
acquiring rights to Wiseguy, 31, 327–329
on actor dialogue, 131
antiheroes and, 280–281
on Armani commercials, 331–332
on “Atlantis,” 242
on Ballhaus, 325–326
on camera movement and framing, 326, 332
on Casino, 306, 308–309
cocaine usage and, 210–212
collaborations with Robert De Niro, 43–48
on concept for Goodfellas, 34–35
evolution of as director, 311–312
fields of black, technique, 180
on gangster movies, 335
on Goodfellas, 333–334
on Harvey Weinstein, 340
on his reputation, 329–330
humor and, 116, 118, 121, 270
influence of Kenneth Anger on, 230–232
interviews with, 13–18
as involved in all aspects of filmmaking, 257, 260–261
on The Irishman, 320
on Jerry Vale, 242–243
on Joseph Reidy, 325–326
on killing of Tommy, 194
on King of Comedy, 329
on The Last Temptation of Christ, 327–328
Leonardo DiCaprio and, 310
on Lufthansa heist, 331
Lumet and, 54–57
marriage to De Fina, 38,
296–297
Martin Ballhaus and, 62–63
on New York, New York, 328, 337
opening scene and, 21
planning for ratings board approval, 268–269
on provoking audience, 303, 307, 312–313
in Quiz Show, 305–306
on Raging Bull, 328
sex scenes, 125
on song selection, 230–231,
246–247, 261
stills, usage of, 153–154
on Thelma Schoonmaker,
262–263
treatment of racism, 79–82
on usage of guns, 198
on voice-overs, 154–155
Wiseguy, discovery of, 24
on working in the film industry, 340–342
youth of, 24
Scorsese on Scorsese (Christie and Thompson), 18
secret casinos, 95
Serrano, Shea, 314–316
Serrone, Christopher (young Henry Hill), 69, 74–76
sex scenes, 125
Shutter Island, 342
Silence, 316–317, 342–343
Silver, Casey, 335
Simmons, Bill, 314
Sinatra, Frank, 35, 94, 228, 242, 252–254
“Sincerely,” 236–237
“Sing Along with Mitch,” 235
Siskel, Gene, 273, 336, 338
Sivero, Frank (Frankie Carbone), 85, 188–190
Smith, Liz, 273
Smith, Margaret, 75–76
sneak previews, 267
song selection, Scorsese on,
230–231, 246–247, 261
Sonnenfeld, Barry, 63
“Son of Sam” laws, 283
Sopranos, The, 89, 98, 130, 144, 147, 278–279, 357
Sorvino, Paul (Paul “Paulie” Cicero), 42–43, 66, 71, 76, 112, 149–150, 158–159, 182, 259
Spector, Phil, 127, 174, 239–241, 243, 246, 251–252
“Speedo,” 236–237
Spider (
Michael Imperioli). See Imperioli, Michael (Spider)
Spielberg, Steven, 15, 304, 310
“Stardust,” 77, 237
Starr, Beau, 113
Starr, Mike (Frenchy), 90, 172, 188
Steadicam techniques, 83–84, 88, 103–105, 134, 188–190
“step-offs,” 189–190
stills, usage of, 153–154, 155
Stranger Than Paradise, 22
Strick, Wesley, 304
The Suite Lounge, 127–128
“Sunshine of Your Love,” 183, 187, 234, 247–248, 249
Sutherland, Donald, 173
Talese, Gay, 26, 358
“Tall Guy” (Aniello Dellacroce), 28
Tashlin, Frank, 155
Taubin, Amy, 47
Taurog, Norman, 269
Taxi Driver
De Niro in, 265
male protagonists, relationships with women, 107
Paul Schrader and, 13
reviews of, 272
Scorsese and De Niro, 44
treatment of racism, 79–81
Ten Million Dollar Getaway, The (Feiden), 170–171
Tillinger, Emma, 343
Tin for Sale (Manca and Cosgrove), 347–348
titles, opening, 22–23
“Toot Toot Tootsie,” 126, 240
Tosches, Nick, 95
Truffaut, François, 154, 326, 329
Ufland, Harry, 40–41, 46, 294
“Unchained Melody,” 246
Valachi, Joe, 27, 29
Valachi Papers, The (Maas), 29
Vale, Jerry, 242–243
Vallelonga, Tony (Frankie the Wop), 86–87
Valli, Frankie, 92
Vario, Paul “Paulie,” 30, 42
Vario, Paul Sr., 171–172
Vario, Vito “Tuddy,” 70
Vicious, Sid (John Richie), 253–254
Vidal, Gore, 269
video release, Goodfellas, 277–278
Vincent, Frank (Billy Batts), 85, 128–130, 132–133, 139–141, 147
Wadleigh, Michael, 256–257
Ward, Billy, 237
Warshow, Robert, 264
weapons, gun fetishization, 198
Weinstein, Harvey, 297, 309, 340
Wenders, Wimm, 211
Whale, James, 17
“What Is Life,” 209, 250, 251
White, Welker (Lois Byrd), 212–218, 245, 252
Whitlock, Isiah Jr., 181, 200–204
Who’s That Knocking at My Door, 106, 133, 143
Williams, Johnny, 174–175
Williams, Otis, 236
Winkler, Irwin
Barbara De Fina and, 294–295
on casting, 43
discovery of Wiseguy, 37–38
“How am I funny?,” 95–96
on previews, 267–268
on Scorsese, 266
Winkler, Margo, 41, 167–168
Wiseguy (Pileggi), 346–347
Barbara De Fina, discovery of, 36–37
Irwin Winkler, discovery of, 37–38
payment to Hill for story rights, 283
Scorsese’s discovery and acquisition of, 31
Wiseguy Cookbook, The (Hill and Davis), 205–207, 289, 350
“Wives and Lovers,” 168, 245
Wolf of Wall Street, The, 18–19, 127, 153, 215, 218, 280–281, 312, 316, 332
women, as mob wives, 105–106, 120–121
women, male protagonists with, 106–108
women’s films, 313–314
Woodstock, 256–257
world premiere, Goodfellas, 269
Young, Damian, 217
Zaillian, Steven, 309, 318
Zappa, Frank, 196, 236
Zea, Kristi, 55–56, 83, 102, 104, 168, 314
zoom/dolly camera technique, 221
Photos
Scorsese’s annotated script; the movie’s original opening had the killing of Billy Batts as the starting point; the completed film begins with Henry, Tommy, and Jimmy driving out to bury Batts.
Photo credit: Martin Scorsese Collection, NY.
The “meet the wiseguys” scene in Scorsese’s annotated script.
Photo credit: Martin Scorsese Collection, NY.
He’s got the money, and he’s not giving it back: Scorsese with the prop cash from the Air France heist.
Licensed By: Warner Bros. Entertainment Inc. All Rights Reserved.
Scorsese with cinematographer Michael Ballhaus, an ingenious, fast shooter and a source of constant reassurance for the director.
Warner Bros. Entertainment Inc./Photofest.
Scorsese on the set with his father, Charles Scorsese.
Licensed By: Warner Bros. Entertainment Inc. All Rights Reserved.
Scorsese confers with Robert De Niro.
De Niro: “Marty just had a shot, and then he explained what he wanted to do, and that’s pretty much what it was, you know, he’s gonna come in slow, and...that’s it.”
Photo credit: Warner Bros. Entertainment Inc./Photofest.
The complexities of the wedding scene in Scorsese’s breakdown of shots.
Photo credit: Martin Scorsese Collection, NY.
Scorsese with first assistant director Joseph Reidy, shooting the wedding scene.
Licensed By: Warner Bros. Entertainment Inc. All Rights Reserved.
Scorsese’s handwritten song suggestions, including one that fell by the wayside, Billy Joel’s “Only the Good Die Young.”
Photo credit: Martin Scorsese Collection, NY.
ISBN-13: 9781488059131
Made Men
Copyright © 2020 by Glenn Kenny
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