Scarface The Story

Retro Kid

Documentary about the making of an 80s pop culture phenomenon

Transcript

00:00:00It was an explosion of a film Scarface reinventing the gangster movie as a

00:00:17coke-fueled pop masterpiece larger than life in every way it's operatic it's

00:00:23outside the box you can't take your eyes off it there's something so primal about

00:00:29they pull out the chainsaw I'm like oh my god what we about to see here pushing

00:00:36the mob epic to the edge and beyond a team of movie superstars with careers on

00:00:41the line set out to do it big Pacino Al Pacino was a real movie star

00:00:47De Palma De Palma's made a lot of great movies but that was his masterpiece

00:00:51Oliver Stone he was like a caged tiger but along the way there was almost as

00:00:58much drama behind the camera as in front and Scarface looked as if it might

00:01:03collapse under the weight of its own ambition the production costs were

00:01:08skyrocketing there was a movement to fire Brian the filmmakers took on the

00:01:12city of Miami but the violence was real the ratings board we need to get the

00:01:16damn thing rated we need an R the reviewers the critics basically said

00:01:21that it was the worst film of all time I thought it would be controversial oh god

00:01:26we got destroyed and each other Oliver Stone every day he would say that

00:01:32they're killing my script Brian didn't want Oliver at Daily's again it got to

00:01:36be that contentious with so many people gunning to take it down no one had a

00:01:41clue this film would endure quite the way it did Scarface is running 24-7

00:01:47somewhere that's a phenomenon Scarface it's so over-the-top grotesque people

00:01:52see it and they'll repeat all the lines number one don't underestimate the other

00:01:58guys greed it was an epic film and then it just kind of went insane it grabs you

00:02:04by the throat it holds you in place this is the inside story of Scarface

00:02:22Oh

00:02:36it was the 1980s the era of big money big hair and big appetites when a film

00:02:44exploded under the screen in a barrage of bullets and blood Scarface

00:02:53an operatic tale about the rise and fall of an immigrant gangster in drug-fueled

00:02:58Miami this country you've got to make the money first then when you get the

00:03:04money you get the power then we get a power then you get the woman when

00:03:10Scarface premiered in the winter of 1983 audiences were stunned all I have in

00:03:17this world is my boss and my word and I don't break them for no moviegoers

00:03:23walked out of the theater and reviewers called it trash the film critics saw a

00:03:28movie there was dangerous there was dangerous to society there was dangerous

00:03:33to cinema itself they hated it they they thought it was the worst thing there

00:03:39would be this silence in the screening room where people were like whoo they're

00:03:43gonna put that out they thought it was horrible they thought it was

00:03:45irresponsible attacked is too violence

00:03:50too vulgar I'm not alright I missed it all and when I get back there I'm gonna

00:03:57kick some ass all over the place too flashy and flamboyant Scarface seemed

00:04:03destined to be written off you need people like me so you can point your

00:04:07fingers I say that's the bad guy over the years though the film grew into a

00:04:15kind of cult hit gaining a whole new generation of fans huge huge when I was

00:04:2212 years old we go to the video store and rent it and watch it at my friend's

00:04:25house because my parents wouldn't allow me to see it I remember I went to Vegas

00:04:28with Quentin Tarantino Chris Tucker and Paul Serena and they did Scarface from

00:04:32the beginning to the end every single scene one by one and did all the dialogue

00:04:37from each scene I saw it on cable when I was probably a junior in high school was

00:04:43hands-down my favorite film of all time even in my likes in my yearbook I have

00:04:48Tony Montana so that's how important the film was to me I work hard for this in

00:04:53time Scarface became a kind of phenomenon embraced by the hip-hop

00:04:58generation a primer for gangster life a reinvention of crime on film it had a

00:05:04big big impact Tony was doing it big the film did it big and that I think made it

00:05:10appeal to a lot of people because it was on such a grand scale it took the

00:05:15thriller gangster medium and it took it up a full notch

00:05:26over three decades Scarface captivated viewers with its charismatic antihero

00:05:32the Cuban refugee Tony Montana on his one-way trip to the top and beyond me I

00:05:39was coming to me oh well what's coming to you the world Chico and everything in

00:05:46it Al Pacino's performance is enormous Pacino and Scarface volcanic Al is

00:05:54outside the box with the exception of maybe Jack Nicholson in The Shining

00:05:59there are very few performances that achieve that level of avant-garde larger

00:06:05than life magnificence he seemed almost like a renegade in all of this which was

00:06:12an attractive thing in his character to play Tony's story the dark side of the

00:06:21American dream a classic tale of rags to riches to ruin Tony Montana was a guy

00:06:28just fresh off the boat he was gonna get his he didn't care they didn't expect to

00:06:33live too long so he was just gonna live on the on the edge it was hot it was

00:06:38tense and it was unafraid to make the heroes really despicable he's ballsy real

00:06:46real cocky you know it was an evil scumbag who killed everything around him

00:06:51and you can begin from nothing and by making money you can make something of

00:06:56yourself that's that's the good side of it the tragic part is that you can

00:07:00overreach when you become excessively greedy it causes your downfall

00:07:07along for the ride on Scarface a gallery of gangsters and memorable supporting

00:07:18characters best friend many Ribera the elusively beautiful Elvira Hancock

00:07:28Frank Lopez the boss Tony's little sister Gina a girl who just wants to

00:07:39have fun and a handful of vividly drawn thugs and gunmen with a series of

00:07:48classic images and catchphrases Scarface became a part of pop culture

00:07:58an ode to the shimmering decadence of the 1980s it's a big movie in every way

00:08:06and it's excessive it's loud it's obnoxious it's rude well that's what's

00:08:11so great about it one of the adjectives that you hear most often applied to

00:08:14Scarface is operatic operatic is a classy way of saying that it's just so

00:08:20incredibly hyperbolic and over-the-top that you end up shaking your head going

00:08:25oh this could never have possibly happened it's messy modern over-the-top

00:08:33but its themes were timeless ambition pride lust a man who rises high and is

00:08:48brought low it's Shakespearean it's biblical it's literary it's

00:08:52philosophical it's all these things at once because it speaks to I think the

00:08:58human condition Tony Montana wasn't the only one with ambitions for its creators

00:09:09a trio of Hollywood stars this was a film with high stakes screen supernova

00:09:15Al Pacino hotshot writer Oliver Stone and daring director Brian de Palma each

00:09:24was at a career crossroads and each had a lot riding on this movie as they

00:09:30struggled to deliver a blockbuster Pacino was in search of a hit after a

00:09:35string of flops and misfires Stone was trying to propel his career to the next

00:09:41level trying to show he could be more than just a writer and De Palma was

00:09:46attempting to make a really big-budget Hollywood film for the very first time

00:09:50no wonder that behind the scenes the making of Scarface would have its own

00:09:56tensions its own battles let's just say that at every conceivable turn Scarface

00:10:01was a prickly and difficult enterprise as the budget skyrocketed and the

00:10:07schedule went haywire there was a lot of chaos on that set and De Palma has

00:10:11talked about it as being a really difficult difficult experience even the

00:10:18executives started getting truly nervous and they're going like why haven't you

00:10:23shut that thing down why don't you get rid of him why don't you get a real

00:10:25director add in a storm of protests from the Cuban community howls of outrage

00:10:30from Hollywood itself and the clash with the MPAA ratings board that endangered

00:10:35its release at every twist and turn in the narrative saga of Scarface there was

00:10:42an opportunity for a car crash and we never missed that opportunity to create

00:10:47a modern-day gangster classic this team was about to face on and offset turmoil

00:10:53they never expected it would be a battle they never saw coming this is the inside

00:11:00story of Scarface

00:11:03you want to go on with me to say it you don't and you make a move it was the

00:11:09early 1980s and Al Pacino a major Hollywood star was suddenly and

00:11:15unexpectedly at a tipping point in his career as a New York character actor he

00:11:20had shot to stardom with leading roles in the first two installments in the

00:11:24Godfather saga Pacino was renowned even revered after five Oscar nominations in

00:11:31seven years I consider Pacino one of the greatest living American actors

00:11:37he's considered one of the greatest actors of his generation after the

00:11:41Godfather films and Serpico and Dawn of the Afternoon but as the 1980s dawned

00:11:47Pacino had chosen a string of lesser projects Cruising, Author, Author, Bobby

00:11:52Deerfield and gotten slammed Cruising in which he plays a cop that goes you know

00:11:58undercover in the gay leather world the film was just reviled then he goes and

00:12:02makes a film called Author, Author it's very sappy and sentimental and that

00:12:06film didn't do particularly well either I don't think Al Pacino fans knew what

00:12:09to make of it with his career on the line Pacino and his manager friend and

00:12:14producer Martin Bregman were looking for a new role a big role to shoot him back

00:12:20to the top Marty Bregman is very responsible for Al's career Bregman and

00:12:26Pacino were really sort of father-son kind of relationship it was around this

00:12:32time that Al Pacino wandered into an art house on Sunset Boulevard and saw a

00:12:37remarkable film Marty told me one day that he got a call from Al Pacino and Al

00:12:43said he had just seen Scarface at the Tiffany Theatre in Hollywood and he

00:12:49suggested that we take a look at it because he thought it might be a great

00:12:52movie to remake

00:12:55there's only one thing that gets orders and gets orders and this is it

00:12:59the 1932 classic Scarface was the gold standard of gangster films tracing the

00:13:06rise and fall of mobster Tony Comante based on Al Capone Scarface was one of

00:13:13the defining movies about the Prohibition era now listen you what kind

00:13:18of mug you think I am I don't know nothing I don't see nothing I don't hear

00:13:23nothing it boasted a remarkable team from star Paul Muni in a riveting

00:13:29intense performance to the legendary writer Ben Hecht and director Howard

00:13:34Hawks the original 1932 Scarface is impeccably done from start to finish I

00:13:40think it is absolutely brutal and frank and lyrical and amazing best of all

00:13:46Universal Pictures had just purchased the rights to Scarface from the Howard

00:13:51Hughes estate Hughes estate had the five films that mr. Hughes owned personally on

00:13:56the block and I reached out and bought them on behalf of Universal Bregman and

00:14:01Pacino told the Universal execs of their interest I went back to New York and

00:14:06Marty and I went up to his office late one night and we looked at the movie and

00:14:11it was really electrifying all I had to do was say you know Bregman and Pacino

00:14:20want to do a remake and the next thing we knew we were in business on on

00:14:26remaking Scarface to get things rolling Bregman turned to a director with a

00:14:31background in radical film and theater our tour and provocateur Brian De Palma

00:14:37Brian De Palma he was known for making these huge Baroque films these very kind

00:14:42of pulpy but very fun very stylish very over-the-top thrillers De Palma at that

00:14:48point was really known as a master of suspense he'd had dress to kill

00:14:53obsession and then of course Carrie which is still a huge movie for

00:14:57teenagers I think people either loved him or made fun of him because he paid

00:15:03homage or copied Hitchcock so much De Palma and playwright David Rade set down

00:15:09to work but after months they couldn't agree on a focus and both left the

00:15:14project undeterred Bregman took the concept to Oliver Stone Oliver was in

00:15:20the same place Francis Coppola had been just before Godfather he was a hot

00:15:25screenwriter maybe one of the top ten maybe in the top five Stone had won an

00:15:32Oscar for writing Midnight Express but what he really wanted to do was direct

00:15:36his one attempt the horror film The Hand had bombed and at the time he couldn't

00:15:43get anyone to make his two other scripts Platoon and Born on the Fourth of July

00:15:49as for Scarface Stone had no interest he said he wanted to do Scarface I said I'm

00:15:55not really interested in remakes when Stone was first presented with the idea

00:15:59of Scarface he said you know I don't really want to do this you know there's

00:16:03too many you know Italian gangster movies but Bregman got Stone's attention

00:16:08with his choice of director Sidney Lumet three-time Oscar winner Sid knew Marty

00:16:14Sid knew Al they'd done Dog Day there was a long history Lumet had an idea a

00:16:19brainstorm that would change the entire direction of Scarface what if they

00:16:25updated the story from Prohibition Chicago to modern-day Miami and set

00:16:32Scarface against the cocaine wars their main character would be a Mario Lito a

00:16:38Cuban refugee 135,000 of them had recently arrived and many of them had

00:16:45criminal records we had Marielle which was 135,000 human beings supposedly 40%

00:17:01out of jails and insane asylums that were dumped into Miami over a 90-day

00:17:08period crime shot up it was a disaster when the boat people came in the Cubans

00:17:14all of a sudden had had soldiers they had soldiers that they could put on the

00:17:19street it was not unusual for somebody would walk into a mall and shoot up a

00:17:26bunch of people having lunch for someone who wanted to live in a in a nice quiet

00:17:30American community Miami was not the place

00:17:37Oliver Stone plunged into this dangerous city to research the story like a

00:17:42journalist he flew down to Miami to investigate the world of the cocaine

00:17:46cowboys. Oliver Stone really did a lot of investigative reporting he talked to a

00:17:53lot of DEA agents. Kind of soaked up the atmosphere learned all the gruesome

00:17:57details of everything that was going on. I was assigned to the organized crime division

00:18:02Mr. Oliver Stone wanted to come and visit where drug dealers hang around. Stone

00:18:07wanted to see the backstreet world of the dealers and the users as it turned

00:18:12out he had a way in. Stone has made no secret that he had dabbled in cocaine he

00:18:19was perceived as safe by some of the people who are on the illegal side of

00:18:23this because he was willing to buy small amounts of cocaine to kind of keep the

00:18:27conversation going. Soon Miami dealers welcomed him into their homes and

00:18:32mansions. But after all that research Stone had a problem he had become more

00:18:42and more caught up in cocaine and needed to change something fast. To escape a

00:18:49growing addiction he decided to head to Paris. Stone said that cocaine was

00:18:55kicking his ass and he wanted to kind of clear his head but he needed to get

00:18:59away needed to separate himself from the whole scene. 8,000 miles from

00:19:04Hollywood 5,000 miles from Miami Stone pulled out the DEA case files and

00:19:10created his mayoralito Tony Montana. A man with a shady past moving up to the

00:19:16world of the Cuban mafia. Ruthless, ambitious, street smart, ready to grab

00:19:23the world with both hands and run over anyone who gets in his way. We got to

00:19:28expand. That's what you call a tough son of a bitch you know. Watch your step. His

00:19:36mother hated him. He killed his own best friend. He destroyed his his love life.

00:19:41This is a man who doesn't take no for an answer. This is a man who was born into

00:19:45nothing and he comes to America and he and he sees what he wants and he he

00:19:48reaches out and he grabs it. Stone's storyline borrowed heavily from the

00:19:52original. Themes, plot points, even dialogue. That's Poppy. I don't want to

00:19:58see her tonight. I'll tell her you ain't here. You must be Elvira. She got mad after we left the club you know. I'll tell her you're not here okay.

00:20:05On the first reading of the script I realized how Oliver had captured that

00:20:10world and made it his own and brought out that the wonderful texture and

00:20:16nuance and power. But when Stone delivered the script to Sidney Lumet, the

00:20:24director wasn't thrilled. Lumet thought it was too cliched, too lurid. So it

00:20:30wasn't entirely comfortable with the way this was going. Lumet didn't feel it

00:20:35was political enough. He wanted a more politically oriented script. Lumet he was

00:20:39very much a liberal and wanted to work in the idea that the Reagan era politics

00:20:44had allowed for the drug trade to thrive. Bregman was much more kind of

00:20:48conservative guy. This sent off bells in his head. Politics is the kiss of death

00:20:53in big commercial movies. No. Lumet dropped out. The film was hanging in the

00:20:59balance. To save the project Bregman asked Brian De Palma to jump back in. To

00:21:09bring his eccentric vision to a big-screen epic. Scarface was a very

00:21:14different kind of movie for him. It was gonna be big, big budget. Not some you

00:21:21know quirky weird film made by a New York filmmaker but a real Hollywood

00:21:25movie with big big stars. Brian by the time he was making Scarface had really

00:21:31developed his cinematic language and I knew that there would be a lot of

00:21:37risk-taking in terms of how he interpreted a scene and that the degree

00:21:43of difficulty of some of the shots would be you know exciting. Bregman was

00:21:48thrilled. The studio not so much. From the minute Brian signed on there was always

00:21:54the worry that Brian would be become eccentric or narrow or arty. And with

00:22:06casting just about to start everyone was a little nervous. My head of

00:22:11distribution, oh God, threw the script across his desk and he said you'll get

00:22:15fired. Why not?

00:22:19You got nothing on me. You know it, I know it. After months of working to develop a

00:22:25script for Scarface it was finally time to begin the audition process. But right

00:22:31from the start the producers struggled with the casting. Trying to decide

00:22:35between established stars and unknown actors. There were a lot of egos

00:22:39involved in the casting of Scarface. I mean Pacino had a certain muscle. He

00:22:44definitely had a say in this. Besides Pacino himself the key role to cast was

00:22:49Tony's friend and sidekick Manny Ribera. A Cuban Casanova with a quick trigger.

00:22:55De Palma's first choice was John Travolta. The two had just worked

00:22:59together on Blowout. And if the star could be an Italian-American why not the

00:23:04co-star? But then an actual Cuban walked in the door. We're gonna be out of this

00:23:09place in 30 days. Not only that but we got a green card and a job in Miami, man.

00:23:14Esteban Ernesto Echavarria Sampson. Better known as Steve Bauer. Born in

00:23:21Havana he had taken on his grandfather's last name in Hollywood in order to seem

00:23:25less ethnic. Now he was a young actor on the rise. Appearing in a handful of TV

00:23:32shows. One Day at a Time, The Rockford Files, Hill Street Blues. Brian De Palma

00:23:39thought he might be just right for the role. Brian De Palma was like hmm yeah

00:23:43yeah I see it. I definitely see it. Are you really Cuban? You could prove that

00:23:48right? I said yeah because we'd like to get a real Cuban actor. I said yeah

00:23:53and I can do it. I am absolutely Cuban. Producer Marty Bregman also liked Bauer.

00:24:00Marty Bregman looked right at me and he said kid you're gonna do this movie. I

00:24:06guarantee you. I guarantee? Like I haven't auditioned yet. Bregman's guarantee wasn't

00:24:13enough. Bauer still had to audition for Pacino and the studio execs. All voicing

00:24:18different opinions on who should play the role. My agents, you're not gonna get

00:24:23Scarface. You're deluding yourself. Everybody knows when dust settles it'll

00:24:27be John Travolta or Eric Roberts. There's no reason why they would cast a

00:24:30nobody you know. But when the dust did settle it was Bauer who got the part.

00:24:35We're not the only dopers living on the block okay? Remember that. The process was

00:24:41no easier when it came to the role of Elvira Hancock. The ice-cold beauty who

00:24:46embodies Tony's American dream. Bregman wanted a lot of kind of big-name stars

00:24:51or at least actresses whose careers are sort of on the rise. There was everybody

00:24:56from Carrie Fisher to Sharon Stone mentioned. Pacino was really pushing for

00:25:01Glenn Close to to take the role. But the studio wanted a 24 year old whose

00:25:07biggest roles had been in Grease 2 and Charlie Chain and the Curse of the

00:25:11Dragon Queen. Michelle Pfeiffer she was a virtual unknown. We thought she could be

00:25:17a star. When Michelle Pfeiffer was screen tested people were kind of mixed. They

00:25:22didn't know she could sustain the role. If she could really hold the screen

00:25:25against Pacino. Bregman said he would see her but she needed to pay her own way

00:25:30from New York to LA for the screen test. He wanted to see how hungry she was. It

00:25:37was a long and difficult process for her and she fought her way into the movie.

00:25:40What Michelle had was again this incredible instinctive intelligence also

00:25:45you know that allowed her to to go there to go to that that very very dark and

00:25:50very fragile person that that Elvira is. A 24 year old unknown was up for the

00:25:56role of Gina Montana. A lovely young party girl who falls under her brother's

00:26:01shadow. Mary Elizabeth Master Antonio had no film credits but Bregman thought she

00:26:07was perfect for the part and so did Steve Bauer. You happen to be the best

00:26:12thing in his life. The reason that I knew she would be chosen is because besides

00:26:18being like so fresh and beautiful physically beautiful she had this

00:26:23quality of openness naturally affectionate and loving you know and and

00:26:29so innocent. Gina represents purity and this is something that Tony Montana

00:26:35who's who's tainted from from the moment we lay eyes on him desperately once in

00:26:40his life he wants something pure. But not all the filmmakers were in sync about

00:26:45that relationship. I was present at a at a meeting there was a point of contention

00:26:51with a sister relationship. Al really felt strongly about his point of view

00:26:56which was there was nothing weird about it. He was protective and possessive so

00:27:01nothing incestual nothing incestual. I never thought I'd see you again you know.

00:27:07You think they're gonna keep a guy like me down? Well no. But both Oliver and Brian had

00:27:13like they're like I think it should be there it's part of the weirdness of your

00:27:17character and he was like no it's no it's not there it's not there and that

00:27:23and that's how it ended up. You're my blood. As the rest of the cast was rounded up the

00:27:30auditions were long and grueling. There were six actors for every part so you got

00:27:35to perform it with six different actors. I auditioned for it six different times

00:27:39including going to New York to go audition with Al. For the New York

00:27:44sessions the producers rented the theater of actress Miriam Cologne the

00:27:48Puerto Rican traveling theater in Times Square without realizing she was up for

00:27:53the part of Tony's mother. I said where where is it going to be this at 304

00:27:58West 47th or they rented my theater. What are you saying? That's your son! Son! I wish I had one.

00:28:08Other key roles included Miami drug lord Frank Lopez Tony's mentor boss and

00:28:15eventual competitor. You stay loyal in this business you're gonna move up. You're gonna move up fast.

00:28:22Robert Loggia was called in a veteran character actor who had just finished

00:28:27playing Richard Gere's father in an officer and a gentleman. Other

00:28:33established actors rounded out the cast. F. Murray Abraham Pepe Serna Gino Silva.

00:28:42The supporting cast that they put together was really incredible. I've been

00:28:47acting for 50 years now and I've had some some success but the film that I'm

00:28:53most remembered for is Scarface. So many of these characterizations in this film

00:28:59even for one scene are completely memorable performances. All right big man

00:29:06you want to make some big bucks. Brian just looked up at us and just said what

00:29:12a troupe. What a troupe. With the casting complete preparations could begin. Pacino

00:29:19with his clout and a stage background demanded that weeks of rehearsal be

00:29:24built into the schedule to prepare theater style. Al and Brian insist on doing a

00:29:30rehearsal of the whole film as a play. They would block out the scenes they

00:29:35would put tape on the floor and show us where basically what the rooms you know

00:29:38what the locations were like and then we'd walk through it like with our

00:29:42scripts in hand and rehearse it like a play. We did like two and a half weeks of

00:29:47that and we were all like we could take this on the road. This is like ready to

00:29:52open on Broadway. That was I think a big contribution to the success of the film

00:29:57because there's a real cohesion. Meanwhile Pacino was building his

00:30:01character. He believed that one key to creating Tony Montana was the accent. So

00:30:07what do you call yourself? Antonio Montana. And you what you call yourself?

00:30:13After working with a dialect coach he spent as much time as he could with

00:30:17Cubans to get the right sounds. He will ask you a question. How do you say this?

00:30:22Let me let me hear it one more time. To some the accent was a caricature. I told

00:30:27you to tell him it was in a sanitary, not sanitation. But Pacino was dead serious

00:30:34about capturing the Cuban-American sound. It's my dad's accent that I was working

00:30:40with Al on. I tried to convey that as much as possible for us the way that we

00:30:44speak you know the way that Cubans would speak when they know a little bit

00:30:48of English you know and they're just basically getting along you know. I think

00:30:51Brian De Palma was going to take a larger-than-life approach to this film

00:30:56and I was trying more not to be as authentic but if I could take the accent

00:31:01and the mannerisms and and sort of just heighten them in a way I think that was

00:31:07incorporated into my interpretation. The accent plays a little over-the-top but

00:31:12you know you needed that for that movie. While Pacino labored over his

00:31:18character, De Palma and his crew were prepping the complicated camera moves

00:31:22and intricate action scenes that are the hallmarks of a De Palma film. If you

00:31:27think of directing this in cinema as a language he was the kind of director

00:31:33that would not choose the easy vocabulary. You know he would use big

00:31:39words. Brian he loves to move the camera and make it mean something and he's very

00:31:44operatic in that sense. I want that here I want them here now. Every scene every

00:31:51sequence was storyboarded out. Well there's no question that Brian is a

00:31:54student of Hitchcock and if you know anything about Hitchcock you know that

00:31:58the entire film was planned out before they got to the set before you know a

00:32:02foot of film was exposed. He always does storyboards which are kind of like

00:32:08little stick figures. Just literally stick objects and it gave all the camera

00:32:13angles exactly what he was looking at. Once you understand the code you can

00:32:18figure it out and he pretty much sticks to the to the storyboards. Together with

00:32:23De Palma, ace cinematographer John Alonzo of Chinatown fame and production

00:32:29designer Ferdinando Scaffiati established the now iconic Miami color

00:32:34palette of pastel and neon a year before Miami Vice. But as key decisions

00:32:40were being finalized and the production prepared to roll cameras in Miami, the

00:32:45filmmakers were unaware of one key fact. They were about to be run out of town.

00:32:50I heard that someone got Pacino's private number and called him and said

00:32:55if you make this film you're gonna have problems.

00:33:00Man, we just stay loose up here, okay? Miami Beach, man. Miami Beach, man.

00:33:05Principal photography on Scarface was scheduled to begin in November of 1982

00:33:11and the team was impatient to get started with the filming in Miami. But

00:33:17despite weeks of meticulous planning they had no idea of the problems they

00:33:21would encounter there. Everyone knew Miami had an edge. The city was a

00:33:29washing cocaine. Miami in the early 80s was pretty drug-infested. The violence

00:33:34was real. It was a scary time. What the filmmakers hadn't counted on was

00:33:38opposition from the city itself. When the local Cuban community heard that a film

00:33:44about a Cuban refugee drug lord was in the works they began to protest. That's

00:33:50when things really went off the rails with a city commission. One man made it

00:33:54his mission to shut Scarface down, Commissioner Demetrio Perez Jr.

00:34:00The reaction of the community was of indignation because they tried to present the

00:34:08Cuban-American community associated to the drugs dealers, to the criminal

00:34:15activity. There were negotiations going on between the production company and

00:34:18the city about where they could film and, you know, in city locations where

00:34:21they needed permits, etc. And Perez began making a lot of threats about that he

00:34:26would withhold his consent. The guy went like, that's just great that the first

00:34:31movie that deals with Cubans in America has to be about criminals. That's not

00:34:36fair, blah, blah, blah, blah, blah. Nobody could shut him up. Perez was adamant and

00:34:41other factions in Miami were prepared to take things further still. There was

00:34:46concerns that people might take some kind of hostile action against the

00:34:53company or Al Pacino himself. I wound up carrying a sidearm down there because

00:34:59the police told me to. We had threats and it really got serious and I heard that

00:35:04someone got Pacino's private number and called him and said if you make this

00:35:09film you're gonna have problems. I think that was kind of the beginning of the

00:35:12end. They basically, I think, they figured it was just gonna be too much of a

00:35:15hassle to to make Scarface in Miami. They packed up the entire production and

00:35:20moved it back to California. It would be just the first of many issues to push

00:35:25the film off schedule and over budget.

00:35:30Back in Los Angeles, the filmmakers scrambled to replace Miami with West

00:35:36Coast locations. Cinematographer John Alonzo and production designer

00:35:40Ferdinando Scarfiotti had their hands full. Fernando Scarfiotti, he had the

00:35:46hardest job because we switched everything from Miami back to LA. He came

00:35:50up with brilliant ideas. The posh mansion where Tony gets married wasn't in Coral

00:35:55Gables but Santa Barbara, a home once owned by novelist Thomas Mann. The

00:36:02Bolivian drug lord's estate was in Montecito and Montana Travel and Montana

00:36:08management company were actually on Sunset Boulevard. The locations weren't

00:36:14the only thing holding up the schedule. With the first day of the shoot fast

00:36:18approaching, the production team was juggling several crises but one loomed

00:36:24largest. We were about to start shooting on Scarface and there was a bit of

00:36:32eleventh-hour drama. I remember when I first come on the movie the whole

00:36:37debate was not, it wasn't the movie, it wasn't the story, it was the scar. They

00:36:43had makeup people coming in and they were doing all these scars, all these

00:36:48film tests on Al. It was all about the scar. Pacino liked having the scar cross

00:36:53his eye. He came up with his own backstory about a knife fight. I felt

00:36:59this character was good with a knife and had fought with a knife and I thought

00:37:03it would be interesting if it got through the eyebrow and the action

00:37:07pulled my head away and it went down even further into this part of the face

00:37:11so there's one up here and here but none of the test scars worked. It was the

00:37:18Thursday before the Monday we were starting to shoot and we still did not

00:37:23have a scar applied prosthetic that looked anyway realistic. In a movie

00:37:32called Scarface that was a problem. So basically on the Friday before the

00:37:37Monday we started shooting the makeup artist was changed and we did an

00:37:43emergency eleventh-hour makeup test Friday afternoon. It really went right

00:37:48down to the wire with the scar. Finally, scar in place. The first scene of the

00:37:54movie began shooting in November of 1982. Tony's arrival and interrogation.

00:38:01Been in a mental hospital? Oh yeah and the boat coming over. In a way it was a

00:38:07microcosm of the entire film. We did many many many takes that day. We shot 15,000

00:38:16feet of film. Now that's almost three hours of film. I think that everyone was

00:38:21just so hyped up to get going. As Tony Montana was introduced in a series of

00:38:26close-ups, Al Pacino served notice that he was about to throw himself into one

00:38:32of the bravura performances in American film. Flashy, some would even say hammy,

00:38:37but absolutely fearless. He didn't just chew the scenery, he demolished it.

00:38:49Al immerses himself in character in a way that's uncanny and sometimes

00:38:54terrifying. It was amazing how Al Pacino stayed in character all the time, day and

00:38:59night. Always talking like Tony Montana, man. Al Pacino comes prepared and he's

00:39:06focused and you know who that character is and as soon as he comes out of his

00:39:11trailer. De Palma too was serving notice of his stylistic intentions. With a

00:39:16flashy 360 move, the camera circles Tony. Always focused on his face, never on the

00:39:23other actors. Brian already had that reputation of moving the camera ever so

00:39:29slowly so it's always in motion you know and and you're brought into the world of

00:39:34characters. From the start there was no question Pacino and De Palma were intent

00:39:40on building something special. It was clear that Al Pacino and and Brian had a

00:39:45very very unique bond going and they worked very very closely together. Brian

00:39:50trusts his actors, he casts them, works with them and then lets them go. I think

00:39:55it's probably part of the reason why the movie was so good. After the initial

00:40:00setbacks, the production was finally going full speed but a scare about the

00:40:04star would give everyone a nasty shock. A bodyguard or something grabbed Al out

00:40:10from under the chair and said call an ambulance, he's been hurt and his face

00:40:15was all bloody.

00:40:17You thought fine, I'm keeping this guy on ice for him. It was the end of 1982 and as Scarface

00:40:28entered its first week of shooting, director Brian De Palma was grappling

00:40:32with the details of how to film this ultra-violent movie. His plan was high

00:40:37energy and high risk, a virtuoso style jammed with intricate camera moves and

00:40:44dangerous stunt work. Tony Montana's story gets underway in the refugee camps of

00:40:50Little Havana as a sweeping crane shot swoops down into the Muriel refugees. To

00:40:57get out, Tony will have to commit a murder. You tell your guys in Miami, your

00:41:05friend, it'd be a pleasure. I kill a communist for fun, but for a green card,

00:41:12I'm gonna carve him up real nice. Tony slashes his way out of the camps and

00:41:18into a better world.

00:41:24But as Tony makes his way up the ladder, director De Palma kept amping up the

00:41:29violence. When he meets a Bolivian drug lord, he's treated to the killing of a

00:41:35supposed snitch.

00:41:40A jaw-dropping demonstration. I only fell about four feet into a cushion and it

00:41:46was clear it wouldn't hurt me, but when they put that rope on me, I was really, I

00:41:52got really scared and I told them let's let's shoot this first one because I'll

00:41:59never be as frightened as I am right now. It was a midair execution 400 feet up. We

00:42:05get up to Santa Barbara and they throw me out of the helicopter. I hit the end

00:42:11of the cable so hard it almost pulled the helicopter out of the sky. You

00:42:16can't just let the full body weight come to the end of the rope. So we

00:42:20developed a ratchet, and a ratchet means that you have bungee cord wrapped around

00:42:25it. That was the first time anything like that had ever been done. Never been done.

00:42:29People weren't even doing bungee jumps in those days off bridges, so it was kind

00:42:34of an exciting, very frightening thing. I had black and blue marks everywhere. I'm

00:42:39going, I will never do that again as long as I live. When we get back to the screening

00:42:45room and I'm sitting next to the palm and he's going, something's not right

00:42:50here, something's not right. I said, what? It looks brilliant, you know. The next

00:42:53morning I get a call from the palm of bright and early. He says, I figured out what's

00:42:57wrong. His hands were not tied behind his back. Luke Stroller calls, hey Dick, what

00:43:03are you doing? I'm going, uh, nothing. What are you doing? He said, Brian wants you to do

00:43:09it again. He goes, what? I'm going, I don't, I won't use the proper words, but I said,

00:43:14no, no, I'll never do that again. I said, yeah, we got to throw you out of the helicopter

00:43:19again. And he said, why? And I said, because we want to tie your hands. This time we're

00:43:24going to do it at Universal Studios over the pond there. And we're only up about three

00:43:28or 400 feet. So if I, the rope broke or anything, I'd still get killed, but they could find

00:43:33the pieces. And every time I see it, there's a difference. Absolutely in the top 10 of

00:43:42stunts I've ever done in my whole life, as far as fear factor, probably in the top one

00:43:47or two. Seriously, as the filming went on to PAMA would up the difficulty factor even

00:43:54further in the scene where Tony now a newly minted Kingpin enters the decadent world of

00:44:00the Babylon nightclub and gets attacked. It was a tough shot from the glittering set dressing

00:44:09of the Babylon to the thousands of reflections in the club's funhouse mirrors that explode

00:44:15in the vicious attack. The Babylon club was a set that just took a tremendous amount of

00:44:22time. The mirrors, it was a real problem. You're looking almost 360 degrees. So where

00:44:27do you have the cameras? Where do you have the lighting? Where do you, how do you pick

00:44:30up the action? Obviously that is a cameraman's nightmare because you have the reflection,

00:44:35you know, if you don't shoot it just right, you'll actually end up seeing, you know, the

00:44:39cameraman or God forbid the director behind the camera or something. We had those sections

00:44:44of mirrors behind their heads and they were built on pivots so that if the camera is behind

00:44:49it, so you don't see the camera in it, we would angle the mirrors. It was brilliantly

00:44:53thought out. And then they had to blow it all up, which was even harder. Well, you've

00:45:00got an actor sitting in the front of real mirrors and that's very dangerous. You can't

00:45:05really ever put a squib behind real glass because it's going to shoot shards of glass

00:45:10out. And the only way to really make them work was to shoot a wax plugs at the mirrors.

00:45:23It wouldn't kill a person to get hit with one of those, but it would really ruin your

00:45:28day. Pacino had to look as if he took a shot to the arm, but ducked quickly out of the

00:45:33way so he wouldn't be injured by the wax bullets. Al sitting in his booth and, uh,

00:45:39and the deal is they're going to shoot him and he's going to take some hits. We rehearsed

00:45:43it to the point where it was almost like a choreograph, like a dance in a way. We blew

00:45:48everything off the table and then boom, he's down below cut, right? Like a bodyguard or

00:45:53something grabbed Al out from under the chair and said, call an ambulance. He's been hurt

00:45:59and his face was all bloody. Steve says, well, Al's been hit. And I go, I went right into

00:46:06his dressing room, which normally you don't do. And he opened the door and says, Ken,

00:46:11that was wonderful. Well, he had gotten blood on his hand. So when he went and wiped his

00:46:16nose, he put blood on his nose. That was that studio blood. It was a false alarm, but it

00:46:23pointed to a real problem. Wrangling each one of these elaborate scenes took time and

00:46:29multiple takes for cast and crew alike. Pacino and DePalma, two perfectionists, worked hard

00:46:38to get the perfect shot, the perfect performance, no matter how long it took. We do like 20

00:46:45takes sometimes because I would say, let me just, let me just try another version of that.

00:46:51And we'd end up doing 25 takes of the same setup.

00:46:54Brian DePalma did more takes than any director I've ever worked with on film. We'd be into

00:46:59the 16th, 18th, 20th, 30th take, because that's the way he liked to do it.

00:47:03I said to Brian, Mr. DePalma, how many times do I have to die?

00:47:11More takes meant more expense, and reports of the overages began to filter back to the studio.

00:47:18So halfway through the shoot, I knew we were going to have a giant problem on length.

00:47:22Each day raised new issues on set.

00:47:25I got a phone call very early in the morning. Al won't come out of his trailer. How long has this been going on?

00:47:30A little over an hour.

00:47:31Tom was getting upset with the amount of money we were going over and the amount of time.

00:47:37Every hour is about $60,000 to $70,000 an hour, something like that.

00:47:42He said, when I get up there, I'm going to tell Pacino this, and I'm going to tell Pacino that.

00:47:46Go to Santa Barbara. Now Al's been in his trailer for two and a half, three hours.

00:47:52Go knock on the door.

00:47:55Hey, Al, it's Tom.

00:47:57No answer.

00:47:58Then I realized I'm banging on the door and talking to the wrong person.

00:48:02I wait a few minutes. I go back. I bang on the door and go, yo, Tony, what the f*** you doing?

00:48:08And he says, huh?

00:48:10I go, Tony, it's Tom. Man, I got to talk to you. It's important. Come on.

00:48:16Door opens.

00:48:17The crew is like, oh my God, thank God people are running and jumping and stuff, and go to work.

00:48:22The next time I saw Pacino, I said, hey Al, how did it go with Tom Al?

00:48:26He said...

00:48:27He's the nicest guy in the world.

00:48:29Just another day.

00:48:33But on the lot, an even bigger issue was beginning to arise.

00:48:38A growing tension between the writer and director.

00:48:41Oliver Stone was a real up-and-coming guy who saw himself as the hotshot director that he would indeed become in a couple of years.

00:48:50Trying to flex his muscle. He was not shy.

00:48:53Oliver Stone was browbeating Brian De Palma to let him come to Dailies.

00:48:58Oliver's talking through the whole screening, and Brian's getting more and more ticked off.

00:49:02And we got into this whole screaming match that Brian didn't want Oliver at Dailies again.

00:49:09Oliver Stone wanted to protect the vision of his script.

00:49:12And he was upset that De Palma was cutting dialogue and scenes he loved to include more elaborate camera shots.

00:49:19Oliver Stone was very, very passionate about it.

00:49:22And because he was a filmmaker himself, he felt strongly about each page and each scene.

00:49:28The guy just won an Academy Award and he was feeling his oats.

00:49:31But more importantly than that, he cared about the damn thing.

00:49:34There was a lot of tension about that because Oliver, he wanted to be the director.

00:49:37And the attitude was Marty Bregman said, listen, we pay you for the script.

00:49:42You know, let it go. It's not yours anymore.

00:49:45Oliver Stone had imagined Scarface as a gritty, realistic view of crime in the streets, like Pacino's Serpico or Dog Day Afternoon.

00:49:55Now it seemed to be turning into a high gloss cartoon.

00:49:58It was becoming more and more operatic and less and less a grounded reality movie.

00:50:04Oliver Stone felt that the dramatic arc that he had built into the script was different from De Palma's.

00:50:10And that they were kind of losing the kind of story that that Stone wanted to tell.

00:50:15Because of budget, because of just logistics, there were scenes that had to be cut.

00:50:19That was kind of a blow to him already.

00:50:22Felt like, wow, man, no respect.

00:50:24You know, how could they do this, you know, to the story?

00:50:28Stone wrote a five page memo of his concerns and sent it off to everyone from the studio executives to Al Pacino.

00:50:36Oliver Stone, every day he would say that they cut out my whole whatever scene.

00:50:41They got rid of the cigarette boat scenes.

00:50:44They're killing my script.

00:50:45Then he would come to the set, like with the manuscript, you know, and he would be like, Steve, Steve, Steve, come here.

00:50:50Have you shot this scene yet?

00:50:52I'd be like, no.

00:50:53He goes, when are you going to shoot it?

00:50:54I go, I think they're dropping that scene.

00:50:56He'd be like.

00:50:57He was like a caged tiger, man.

00:51:02I could see he wanted to be directing this.

00:51:04Finally, he was banned from the set, basically.

00:51:06They just said, please don't, please don't come around.

00:51:09It got to be that contentious.

00:51:12From the writer to the director to the studio execs, the tension on the set was just beginning to escalate.

00:51:18They're going like, why haven't you shut that thing down?

00:51:21Why don't you get rid of him?

00:51:22Why don't you get a real director?

00:51:23And one unforgettable scene was about to take the shoot to the breaking point.

00:51:32No, don't kill me, please.

00:51:34I won't kill you.

00:51:35Oh, Christ, I will.

00:51:37One more.

00:51:38Two.

00:51:38Half a piece.

00:51:42One month into the Scarface shoot, the tension was building.

00:51:47It didn't help that the set pieces got trickier and trickier as the filming rolled on.

00:51:52One scene in particular would push boundaries of movie making.

00:51:56The scene that would come to define the film, the infamous Chainsaw Massacre.

00:52:02When Tony and his crew get sent to make an exchange with a Colombian drug dealer, things get a little nasty.

00:52:09Watch what happens to your friend.

00:52:11At the time, it was the bloodiest, goriest scene ever shot in the history of Hollywood.

00:52:22As soon as that scene starts, you know something very bad is going to happen.

00:52:27And just when you think it's going to happen, the camera wanders out the window down into the street to see what Manny and Chi-Chi are up to.

00:52:36They're hustling a couple of girls and then meanders all the way back up and into the window.

00:52:43I mean, that is brilliant.

00:52:45While the exterior of the motel was on a Miami beach location, the bathroom itself was built 2,700 miles away on an L.A.

00:52:53soundstage. In fact, there were two because they knew it would get messy.

00:52:58I said, you know, we're going to probably go through five gallons of blood.

00:53:02We're going to need another set.

00:53:04And he says, well, what do you mean?

00:53:05I said, we can't clean that blood up in time.

00:53:09You know, we're going to spend all day cleaning.

00:53:10So why don't we just build two sets?

00:53:17To achieve the visual impact, cinematographer John Alonso had to get the details right.

00:53:23John Alonso, he said, whatever you do, you've got to make the chainsaw yellow.

00:53:28And I said, why?

00:53:30He goes, because nothing reads blood like yellow.

00:53:35Brian asked me, he said, can you get something to splatter in with blood?

00:53:38And I said, sure, you know, grab a paintbrush, put some bony blood in it.

00:53:42And I sit back and I was flipping blood on his face.

00:53:49It doesn't take much to let your imagination go when the blood starts hitting you in the face.

00:53:56And Al Pacino is there wide eyed.

00:53:59And it was like trying to save my soul because my body was gone.

00:54:03We actually did a lot more that didn't make the movie.

00:54:06I literally cut an artificial leg that was charged with blood at high pressure with a chainsaw.

00:54:18For De Palma, the early scene played a key role in the film.

00:54:23From carry, to blowout, to dress to kill, De Palma had never been afraid of a little blood.

00:54:29Brian likes blood. More blood, more blood.

00:54:31Remarkably, the violence is entirely in the viewer's mind.

00:54:35That scene is a horrifying scene.

00:54:38But if you watch it very closely, you never actually see the chainsaw touch flesh.

00:54:46A little bit of blood splattering and great expressions and acting from the actors sell it.

00:54:55To temper the horror, De Palma cut against the violence with the sly edge of his wit.

00:55:01The humor was a part of what I thought right from the start would be necessary.

00:55:06Otherwise, it would be too blunt and too hard to take, I think.

00:55:10Like the time Manny shows him his idea of how to pick up women.

00:55:14Ooh, look at that f***ing thing. That looks like a lizard.

00:55:17Like a bug coming out of your mouth.

00:55:19He's always horny. In every scene, he's horny.

00:55:21Oliver wanted Manny to be a real contrast to Tony Montana's intensity and focus.

00:55:29He says, Steve, I want you to try this thing.

00:55:31Have you ever seen these hustlers try to pick up women by sticking their tongue out?

00:55:34And he goes, because I saw this guy, it was the funniest thing I've ever seen.

00:55:37He tried to pick up this girl and she just hauled off and slapped him.

00:55:41Oh, look at that.

00:55:44When it came time to shoot the scene, the young woman picked for the pickup was just a little too nice when it came to the slap.

00:55:51Well, we did 22 takes.

00:55:57By the end, I'm going, please, please just concentrate.

00:56:00Just hit me. Just slap me.

00:56:03And she goes, but I don't want it to leave. It's leaving a mark already anyway.

00:56:08They're like putting makeup on me and stuff.

00:56:10And Brian's like, I think it's just doing it on purpose.

00:56:13He was just like, one more time, Steve.

00:56:14If you don't get it to slap you, we'll just cancel the scene.

00:56:17You know, we'll just throw it out.

00:56:21You see what happened to him?

00:56:23But despite the occasional flashes of humor, Universal executives weren't finding a whole lot to laugh at.

00:56:29As the weeks went on, they were getting increasingly worried.

00:56:33The curve, the arc of the experience of making Scarface was fraught with problems at virtually every turn.

00:56:42With all the takes and all the complicated shots, the film was getting further and further behind schedule.

00:56:49He is a very good director, but he's not a super professional on top of it, totally organized director.

00:56:57Production on Scarface began to exceed its budget when De Palma started slowing things down to make these kind of elaborate camera movements that he wanted.

00:57:08It was a schedule that was condensed to the point of, you know, silliness.

00:57:13There was no way we were going to do that movie in 66 days.

00:57:18Supposed to be a two-month shoot. It went on seven months.

00:57:21The budget grew. As the budget grew, the pressure on me from my boss at the studio, Mr. Wasserman, grew.

00:57:26There was a movement inside my company to fire Brian.

00:57:29And they're going like, why haven't you shut that thing down?

00:57:32Why don't you get rid of him? Why don't you get a real director?

00:57:35But despite all the pressures, De Palma wasn't letting up.

00:57:40He was still planning a grand finale that would push everyone, including the film's star, right to the edge.

00:57:47We heard the screaming, like agony, pain, screaming.

00:57:51And we thought, wow, he's really going for it there.

00:57:53But he was actually in pain and screaming.

00:57:59What are we going to do now? We're going to eat that salsa for breakfast.

00:58:04As the shoot moved into the spring of 1983, and the shooting schedule expanded from two months to six,

00:58:11there was plenty of pressure to go around, from the studio level on down.

00:58:16And yet somehow, the team just kept rolling.

00:58:20We never fired a director in the making of a picture.

00:58:25We did the best we could under the circumstances.

00:58:28And somehow, for all the tension and all the overages, De Palma and Pacino had found a real rhythm together,

00:58:35working in lockstep as the filming went on.

00:58:38By the time the grand finale rolled around, the cast and crew were firing on all cylinders.

00:58:44But this sequence would be the true test for the Scarface team,

00:58:48when production designer Ferdinando Scarfiotti proudly took De Palma to see the stage for the first time.

00:58:54Before the first frame was shot, the elaborate set almost burned down.

00:58:58And we walked on the stage, and as soon as the lights went on, a spark flew from one of the lights,

00:59:04hit a silk, and raining, dropping, fiery silk started falling all over this newly completed, never-been-shot set,

00:59:16followed, like, in five minutes by the Universal Fire Department coming in with hoses, extinguishing the fire.

00:59:24So Nando's beautiful set within, you know, 15 minutes was like a wet mess.

00:59:30But the set would be rebuilt, more lavish than ever.

00:59:34And shooting on this extravagant scene would soon be underway,

00:59:37as a coked-up Tony Montana is attacked by a Bolivian hit squad.

00:59:43You can imagine how, with seven cameras, how long that sequence took to shoot,

00:59:47with all the extras, and it's the whole thing, it was days and days.

00:59:51That scene alone, it took about two weeks to shoot.

00:59:54Every time you pull the trigger and shoot up the room,

00:59:58the effects guys redress the entire set, while you'll sit there for maybe an hour and a half or two hours.

01:00:04The scene starts with Tony at a desk full of cocaine, an entire mountain of nose candy.

01:00:10Many have speculated exactly what substance was being snorted by Pacino.

01:00:14Everybody has that, was that cocaine real?

01:00:17It's still a secret as to actually what the powder was.

01:00:23I have no idea.

01:00:24I don't like to give away that secret, because it takes away from somebody's belief.

01:00:31As the hit squad begins their assault, Tony Montana doesn't settle for a standard-issue rifle.

01:00:37His little friend had to be something special.

01:00:41Say hello to my little friend!

01:00:43It's called an M203, it's an M16 with a grenade-launching attachment on it.

01:00:47Back in the 60s, you know, I guess they were using them in the military,

01:00:51but they were not released for the public at all,

01:00:54so only military at the time would know, because Colt wouldn't even release pictures of it.

01:01:01To make it look more dramatic, stunt coordinator Ken Peppio and Stan Parker

01:01:05had to invent a system that synced gun flashes to the camera frames.

01:01:10John Arlonzo came to me and he said,

01:01:12Ken, we've got a problem with the machine guns.

01:01:14If you have a camera that's running at 24 frames,

01:01:17there's going to be a time when the shutter is actually closed,

01:01:21it's not open, and the gun's firing, so you won't pick that up.

01:01:25If they were out of phase, it wouldn't be on film.

01:01:27What we fell upon was taking a semi-automatic gun,

01:01:31we triggered the camera so that the camera was in phase with our device.

01:01:38It's the flashing that they needed to get.

01:01:42The gun was a mechanical marvel, but it claimed a very real casualty.

01:01:47The shells that were coming out of those guns were hot.

01:01:51Well, what happened with Al was he grabbed the end of the barrel,

01:01:55which was red-hot, because he couldn't see it,

01:01:57and what happened with Al was he grabbed the end of the barrel,

01:02:00which was red-hot, because he had just fired a half a clip through it.

01:02:03And we heard this screaming, like agony, pain, screaming,

01:02:07and we thought, wow, he's really going for it there.

01:02:09We just all thought that he was acting.

01:02:12And somebody yelled cut that was not Brian.

01:02:15There's a lot of people screaming and all that.

01:02:17Brian was fuming as to, who's yelling cut on my set?

01:02:20It was just one of those sort of crazy, crazy moments.

01:02:24Brian had fallen on a palm on the barrel

01:02:27and got second and third degree burns on his hand,

01:02:31and he was actually in pain and screaming.

01:02:34Al had to go to the hospital.

01:02:35He couldn't film again for another two or three weeks.

01:02:38Waiting for Pacino to heal, they worked on the shots with the assassins.

01:02:42But the first hit squad didn't satisfy De Palma.

01:02:46They were pro-stuntmen, but they were too Anglo.

01:02:49Brian goes, this isn't going to work.

01:02:52I need Colombians.

01:02:53I need the real thing.

01:02:55Yeah, but the Colombians can't act.

01:02:57He goes, I don't care.

01:02:58He goes, get me some Colombians.

01:03:00When the Colombians arrived on set, there was only a couple that spoke English,

01:03:05and most had never done this kind of work before.

01:03:08Normally, a stunt guy is trained, and they know what they're doing,

01:03:11and they can get it done.

01:03:13Well, these guys had to run in with these guns,

01:03:14and then Al's going to kill them, right?

01:03:16He's got his machine gun.

01:03:17He's just mowing them down.

01:03:20They'd run in, and they'd have their gun, and they'd try and shoot their gun,

01:03:24and then you'd see them in camera going, you know, firing their hits off.

01:03:28Brian would go nuts.

01:03:29He goes, get that guy out of here.

01:03:31They'd forget their performance.

01:03:32They'd forget to shoot the gun.

01:03:34With up to five cameras running in the massive shootout scene,

01:03:37De Palma needed a lot of help.

01:03:40To pull it off, he invited a special visitor.

01:03:43One day, Brian's friend Steven Spielberg came to the set

01:03:46and actually guest-directed one camera setup.

01:03:49And I remember it was kind of funny because now I have two directors on the set,

01:03:54two big directors at the set,

01:03:56and I was discussing something with Steven

01:03:58to make sure he was getting whatever he wanted and everything,

01:04:01and I look over, and Brian's looking at me, and he goes,

01:04:04hey, remember me? I'm over here.

01:04:06He told Spielberg, just do a shot wherever you want,

01:04:09and Spielberg did a thing where he had one of the extras

01:04:15come right up to his camera lens and die in foreground,

01:04:19and I think that shot's in the movie.

01:04:23It was fun. It was fun.

01:04:25It was just one of those moments in film history, I guess,

01:04:28to have the two of them on the set working together.

01:04:31It was a massive sequence in every way.

01:04:34The capper, the last shot, a bullet-ridden Tony Montana,

01:04:38is finally taken out by Sosa's supreme assassin.

01:04:42I had to come up behind Tony Montana,

01:04:44like I'm this very silent kind of angel of death,

01:04:48and then just boom.

01:04:52Brian just kept saying, no, Gino, slow down, slow down.

01:04:56I was barely moving, and he wanted it to be slower and slower and slower.

01:05:02I didn't understand why until I saw the film.

01:05:05The apocalyptic ending, like the larger film,

01:05:08was violent, bombastic, troubling, and yet blessed with a bit of genius.

01:05:13Tony ends face down, spread-eagled, Christ-like in the fountain.

01:05:18As the camera does a slow pullback, the stuntman holds his breath,

01:05:22and the globe gleams ironically.

01:05:26Elaborate camera work, larger-than-life performances,

01:05:30imagery bloody and epic,

01:05:32they all came together in this last sequence.

01:05:38And as the shoot came to an end,

01:05:40an exhausted team believed that all the fighting and tension had in fact paid off.

01:05:46That all the working and reworking

01:05:48had led to something greater than the sum of its parts.

01:05:52You know, at the end of the day,

01:05:53the making of any motion picture is a kind of elegant car wreck

01:05:58characterized by the sort of ultimate politics of compromise.

01:06:04Sometimes that kind of infighting creates a bad film that's just chaotic,

01:06:09and sometimes somehow it explodes into something.

01:06:13What was happening was a lot of electricity between a lot of talented people.

01:06:21But while these talented people felt they had made something special,

01:06:25they were about to learn that the critics had a much different opinion.

01:06:29We got killed.

01:06:30They went personal on Brian De Palma and on Oliver's screenplay,

01:06:34and on Al Pacino.

01:06:36They attacked him personally, like,

01:06:37how could you allow yourself to do something so grotesque?

01:06:44So say goodnight to the bad guy.

01:06:47The last time you're going to see a bad guy like this again, let me tell you.

01:06:51After months of production challenges,

01:06:53Scarface moved into the edit room in the summer of 1983.

01:06:58And the editors found they had their hands full

01:07:01with more than double the footage of a normal film.

01:07:04The editing schedule was very short,

01:07:06but there was a huge amount of footage coming in.

01:07:08Brian covered it with several cameras from all different angles

01:07:12and take after take after take.

01:07:15Now all that shooting would come home to roost.

01:07:18I think my initial pressure was,

01:07:20am I ever going to be able to do this?

01:07:23The editors' first plan was to cut a film that was fast and furious.

01:07:27But that style didn't work at all.

01:07:29This is a totally different type of film.

01:07:31The scenes played a lot better, a lot more powerful.

01:07:34If we just kept the pace very slow,

01:07:36certainly more slow than anything produced today.

01:07:39De Palma, adding even more material,

01:07:41decided to include documentary footage of the Marielle boatlift at the top

01:07:46to give the film a rip from the headlines immediacy.

01:07:49I copied about 100 hours of actual news material

01:07:55from the aftermath of all those people coming over,

01:07:59not only the boats and the landings, but the crime and the tent cities.

01:08:03As gritty and real as the story was,

01:08:06De Palma chose another direction when it came to music.

01:08:10High gloss composer Giorgio Moroder,

01:08:13famed producer of disco hits like Donna Summer's I Feel Love

01:08:16and Love to Love You Baby,

01:08:18was brought in to do the score with his trademark synthesizers.

01:08:22This was the era of Studio 54

01:08:24and people doing cocaine in the bathroom.

01:08:28And so he kept that in mind with the kind of music that he wanted.

01:08:32First time I heard the music, I wondered whether it would work

01:08:35because it was a synthesized score.

01:08:37But it was absolutely right for the film.

01:08:39Tony Montana's totally false synthesized world that he'd created.

01:08:43And the music helped that.

01:08:45To many, Moroder's score summed up the era.

01:08:49To others, it was already old-fashioned.

01:08:52Scarface captures the 1980s in a very specific way.

01:08:57Money is free-flowing, the gangster trade is flourishing,

01:09:01and you have Giorgio Moroder's soundtrack,

01:09:04which was very much of the disco era.

01:09:06How can you watch this film and listen to the score and not laugh?

01:09:10I mean, you know, it's hilarious. It's so dated.

01:09:13But editing and music did come together,

01:09:16and the cuts started coming out of the edit room.

01:09:19That was when Universal and De Palma began to spar.

01:09:23Some execs thought it was too violent.

01:09:26It was gruesome, literally and figuratively. It was gruesome.

01:09:30Some felt it was too long.

01:09:32I argued with Brian that the picture could work better

01:09:36by losing 15 to 20 minutes.

01:09:38Some didn't know what to make of it at all.

01:09:41It was like an oh-my-God reaction. What do we have here?

01:09:44This is a different kind of movie exponentially on every level

01:09:48than anything we had ever attempted.

01:09:51Then a cut was presented to the ratings board,

01:09:55and the blood really hit the fan.

01:09:57My feeling when I first saw Scarface was, oh, my God.

01:10:02The violence combined with the language was just absolutely extraordinary.

01:10:08The MPAA board recommended an X rating

01:10:11for excessive and cumulative violence and for language.

01:10:15F*** you, man. F*** you.

01:10:17Remember, the movie has several deficits.

01:10:21One is that it uses the word f***

01:10:23in a way that's never been heard on American screens.

01:10:26What do you think, I have a f***ing worm like you?

01:10:29Not once or twice, but 4,000 times.

01:10:33I don't know, how many times did they say f***?

01:10:36Okay, let's see how many times I can say this before you give me an X.

01:10:42Don't be calling me no f***ing dishwasher.

01:10:44I'll kick your f***ing monkey ass.

01:10:46You're not going to do that to nobody.

01:10:48Joan Collins, famous for Dynasty at the time,

01:10:51came out of a screening and said,

01:10:54there are over 100 f***s in this film.

01:10:56That's more than most people have in a lifetime.

01:10:59The studio and the media were both very excited

01:11:03The studio and the filmmakers started to battle back,

01:11:06trying to get the X knocked down.

01:11:09We need to get the damn thing rated, we need an R.

01:11:12Bregman, our first conversation, I remember very well.

01:11:16Threatening me, he was going to drag me through the mud in the press, etc.

01:11:22In those days, no newspaper would run an ad for an X-rated picture.

01:11:25What are you going to say, put a guy on a sandwich board on a street corner?

01:11:28Scarface opens tonight?

01:11:30There was a full press attack upon the board.

01:11:35I got calls from all over the place, from reporters, writers.

01:11:39The rating board is a kind of sacrosanct organization.

01:11:42You can't overrun them.

01:11:44You can't bully them into submission.

01:11:46All you can do is negotiate, negotiate, negotiate, negotiate, negotiate.

01:11:50But after two more revised submissions,

01:11:52after trims and cuts of language and bloodshed,

01:11:55they still had the X.

01:11:57You're all a bunch of a*****.

01:12:00In a last-ditch effort, Bregman called for a hearing

01:12:04and decided to treat the half-hour appeal like a full-day court case.

01:12:08Bringing in witnesses to testify the movie was an important commentary

01:12:12on a major social issue, taken straight from real case files.

01:12:17They brought in journalists.

01:12:20There was the sheriff of Broward County

01:12:23who said this is a wonderful anti-drug film

01:12:27It had all of the propaganda before, all of the press before,

01:12:32all of those people who appeared.

01:12:34And I do believe that the fix was in,

01:12:38that the people who were there had economic interests

01:12:42in that film being an or.

01:12:44I think the vote was 17 to 3 to wampus.

01:12:47Victory in hand, his appeal won.

01:12:50De Palma would end up undoing the trims

01:12:53and releasing the film in its original form.

01:12:56With the hard-won new R rating in place,

01:12:59Universal set out to sell Scarface, their big Christmas movie.

01:13:03But the studio was unsettled.

01:13:06They weren't sure exactly what they had

01:13:09or how it would do at the box office.

01:13:11And as the movie headed into its premieres,

01:13:14they had no idea how the film would be received.

01:13:17I think people went into Scarface expecting to see

01:13:21something a little more genteel.

01:13:24And what they got was 160 F-bombs,

01:13:28a ton of blood and guts,

01:13:31and not a lot of redeeming messages.

01:13:34You know what a harsher is, Frank? That's a pig.

01:13:37That don't fly straight. Neither do you, Frank.

01:13:40At the New York premiere, when I came out with my friends and family,

01:13:43there were not a lot of slaps on the back,

01:13:45and, hey, that was a great film.

01:13:47People didn't really know what to make of it.

01:13:50The screening of the film in New York,

01:13:52the grand opening, was a horrible thing.

01:13:55Maybe, like, 40 minutes into it,

01:13:5730, people are getting up and walking out.

01:13:59I remember sliding down in my seat

01:14:02because I was so embarrassed.

01:14:04It was so depressing.

01:14:06The Scarface screening for critics was chaos.

01:14:09There was a moment when you thought,

01:14:11well, this is not gonna get rave reviews.

01:14:13And it's the scene where Tony's sitting at the desk

01:14:16and there's a big pile of cocaine in front of him

01:14:18and his face just goes down into it.

01:14:21And he gets cocaine all over his face.

01:14:24And it's supposed to be this sort of serious moment,

01:14:26and everybody in the theater burst into laughter.

01:14:30They were mocking it.

01:14:33The next day, the critics basically said

01:14:37that it was the worst film of all time.

01:14:39Oh, God, we got destroyed.

01:14:41Wow.

01:14:42The media, the critics destroyed us.

01:14:44They went personal on Brian De Palma

01:14:46and on Oliver's screenplay and on Al Pacino.

01:14:50And they attacked him personally.

01:14:52Like, how could you allow yourself

01:14:54to do something so, so grotesque?

01:14:58I thought that the first half of the film,

01:15:00it was an epic film.

01:15:02It was building up.

01:15:03And then it just kind of went insane.

01:15:05It just seemed to go so far over the top

01:15:08that it lost the narrative.

01:15:10I was reeling, like, for days and days

01:15:12and then for years.

01:15:13It was really like this movie should just be forgotten,

01:15:16and these artists will go get back to the drawing board

01:15:19and do something else.

01:15:20This was a grand mistake for everyone involved.

01:15:23It looked as if Scarface was doomed to a shallow grave,

01:15:26just like its hero.

01:15:28But as it turned out,

01:15:29that was just the start of the Scarface journey.

01:15:32I gotta tell you, nobody had this in mind.

01:15:35And if anyone says they did,

01:15:37they are making it up.

01:15:40On December 9, 1983,

01:15:43after all the drama,

01:15:44Scarface opened nationwide in 996 theaters.

01:15:49And the response was far from inspiring.

01:15:52It's got Al Pacino.

01:15:54It's got this classy pedigree.

01:15:56And then it just kind of flops.

01:15:59This is not exactly the typical Christmas movie.

01:16:02There's a tradition for Christmas,

01:16:04and it uses a lot of the same elements

01:16:06There's tremendous expectations for it.

01:16:08It brings in about $4 million

01:16:11in its first initial wave of release.

01:16:14Ending up 16th on the year's box office list,

01:16:17the film barely recouped its costs.

01:16:20At the box office level,

01:16:21Scarface never made a dime.

01:16:23The guys in my distribution company

01:16:25just beat the hell out of me

01:16:27for the underperformance of the movie.

01:16:29I was in the box office,

01:16:30and I was like,

01:16:32just beat the hell out of me

01:16:34for the underperformance of the movie.

01:16:36I was expecting that the sheer controversy

01:16:38would generate bigger grosses,

01:16:39and that just didn't happen.

01:16:41But then something strange did.

01:16:44The movie began popping up at late-night theaters,

01:16:47and the audience just kept coming.

01:16:49It was a movie that Hollywood did not create as a hit,

01:16:53but the audience did.

01:16:54It was one of the first sort of cult movies

01:16:56that was discovered by people

01:16:58where audiences of all kinds,

01:17:00kids, blacks, whites, Latinos,

01:17:03would come and see that movie over and over again.

01:17:06It's like the Rocky Horror Picture Show.

01:17:08People see it, and they'll sit there,

01:17:10and they'll repeat all the lines.

01:17:11Say hello to my little friend.

01:17:13Say hello to my little friend.

01:17:14Say hello to my little friend.

01:17:16Say hello to my little friend.

01:17:18And then a booming technology

01:17:21changed the fate of Scarface.

01:17:24A new audience discovered the film on videotape,

01:17:28who perhaps ignored it at the theaters,

01:17:30and over time, it made the film into a phenomena

01:17:34almost exclusively because of its run on videotape.

01:17:38The tapes started disappearing off the shelves.

01:17:40People would record tapes and pass them around,

01:17:44sort of like video word of mouth, you know?

01:17:46This thing sold hundreds of thousands of VHS units.

01:17:50VHS units, boom, and then continued to sell.

01:17:54By the mid-'80s, the film started getting picked up

01:17:57by the hip-hop generation.

01:17:59It had a big, big impact on me.

01:18:01What it is to be a hip-hop artist is to want to be a boss,

01:18:04and Tony Montana, love him or hate him, he was a boss.

01:18:07Bottom line.

01:18:09It's a movie about rags to riches, you know?

01:18:11It's a movie about going from nowhere to somewhere.

01:18:14The American Dream wasn't intended for us,

01:18:17so we took Tony Montana

01:18:19and made that into our version of the American Dream.

01:18:22Hip-hop songs and videos were soon packed

01:18:25with Scarface references.

01:18:27Scarface became this touchstone for gangster culture.

01:18:31Every rapper in the world

01:18:33has their Scarface posters inside their house.

01:18:3650 Cent posed for the cover of Vibe

01:18:38in an exact reproduction of the Scarface poster.

01:18:42I did a Mariah Carey video, Heartbreaker,

01:18:45and Jay-Z was in the jacuzzi playing, of course, Tony Montana,

01:18:48and Mariah was playing Michelle Pfeiffer's role.

01:18:51Snoop Dogg sang that he'd seen the movie hundreds of times,

01:18:54and P. Diddy sang that he watches the movie once a week.

01:18:58It's so common throughout hip-hop

01:19:00that you almost can't be a rapper

01:19:04without at some point having paid proper respects

01:19:08to the altar of Scarface.

01:19:10Scarface became a kind of guidebook to ghetto life.

01:19:14Tony Montana becomes this kind of

01:19:16very odd moral compass for what he represented.

01:19:19You had to be loyal, you had to be hard,

01:19:22you had to be somebody who didn't betray your friends.

01:19:25Oliver Stone's lines became the law of the street,

01:19:29not just catchphrases, rules to live by.

01:19:32Who put this thing together? Me!

01:19:34Who do I trust? Me. That's who.

01:19:37All I got is my balls and my work,

01:19:40and I don't break them for no one.

01:19:42Do you know what the problem with the film is?

01:19:45I've become a role model for young hoodlums.

01:19:48These guys that come up to us and say,

01:19:50Hey, man, you guys are my hero.

01:19:52It's because of you guys I became a drug dealer.

01:19:55It's because of you I got shot five times.

01:19:58And we're supposed to say, Wow, we're proud?

01:20:02The fascination took the filmmakers by surprise.

01:20:06They saw their movie as a cautionary tale

01:20:09of ambition and self-destruction.

01:20:11Now it was seen as a glorification of thug life,

01:20:15unfortunate as that might be.

01:20:17It always surprised me a little bit and confused me

01:20:20that that entire culture embraced Tony Montana,

01:20:23even though his ending is horrific.

01:20:25Bregman and DePalma, they almost still to this day

01:20:29seem puzzled by that whole kind of

01:20:32street-level acceptance of the movie,

01:20:34and they still had no real sense of why

01:20:37hip-hop music musicians and producers

01:20:40and young black actors really saw this as a real touchstone.

01:20:45In a certain way, it was a movie that baffled its own creators.

01:20:49And it wasn't just street culture.

01:20:52A much wider audience began embracing Tony Montana.

01:20:56And the actors in the film found they were being

01:20:59treated with a brand new respect.

01:21:01I go to Home Depot or to Lowe's or anywhere,

01:21:05and the first thing I ask,

01:21:07did you see the movie Scarface? Yeah.

01:21:09Well, I'm the guy that had the arm shot off.

01:21:13Boom, man!

01:21:14You go to the front of the line, people just flip out.

01:21:17They go, oh my God, you're that guy that killed Scarface?

01:21:21Every other week, I squabble with girls because of the movie.

01:21:24I've had people who recognize me in the subway.

01:21:27They say Mama Montana, and right then and there,

01:21:30they bit the seat.

01:21:31Guys in the street, if they pass you by,

01:21:33throw the dialogue at you.

01:21:35Coming up to me, going, hey, Chichi, get the yo-yo.

01:21:37Chichi, Chichi, get the yo-yo.

01:21:39I don't want your money.

01:21:41I don't need your money.

01:21:43He comes down for one thing, for one thing.

01:21:46Lesson number one, don't get on your own supply.

01:21:48Lesson number two, don't underestimate the other.

01:21:51Other guys greed!

01:21:55And so it was the audience itself that changed the fate of Scarface.

01:21:59Taking it from being a sort of box office disappointment

01:22:02to making it into a cult classic

01:22:04demonstrates the power of audiences

01:22:07to give meaning to films

01:22:09that perhaps didn't exist in the first place.

01:22:12In a way, over the decades,

01:22:14the movie left its creators behind

01:22:16and went on to its own stardom.

01:22:19I gotta tell you, nobody had this in mind.

01:22:22You know, and if anyone says they did,

01:22:26they are making it up.

01:22:28Today, Scarface has gone from a film

01:22:31to a cultural touchstone.

01:22:33References to it are everywhere,

01:22:35from South Park...

01:22:37Do you know what you are?

01:22:38You're a bunch of f***ing cockroaches.

01:22:40...to The Sopranos.

01:22:42This is Scarface, final scene,

01:22:44f***ing bazookas under each arm.

01:22:46Say hello to my little friend.

01:22:48Before Scarface, you saw Mexico in a white suit,

01:22:50he was a waiter.

01:22:51You know, now he's a badass.

01:22:53When I was first talking to the companies

01:22:54who produce Breaking Bad,

01:22:56I told them that what I intended to do

01:22:58was to tell the story of a Mr. Chips

01:23:01who transforms himself into a Scarface.

01:23:03Amazingly enough, even in Iraq,

01:23:06Saddam Hussein was a fan,

01:23:08hiding his money in a company he named

01:23:10the Montana Management Company.

01:23:13No wonder a marketing blitz

01:23:15has generated Scarface coasters,

01:23:17Scarface clothes,

01:23:19Scarface action figures.

01:23:21I brought my Scarface doll.

01:23:23It looks like something between

01:23:24Frankenstein and Tony Montana.

01:23:26Scarface as a brand itself,

01:23:29man, I see it all the time.

01:23:31I mean, I own a pair of boxers

01:23:32that has Scarface on them.

01:23:33Once you have underwear made out of your film,

01:23:35you fall into the cult category.

01:23:37I don't know if they make underwear out of,

01:23:39you know, It's a Wonderful Life.

01:23:41And the DVD releases have been pure gold,

01:23:44selling over 12 million copies

01:23:47to become Universal's top-selling DVD title

01:23:49of all time.

01:23:52Even the critics were eventually won over,

01:23:54as Scarface was placed on AFI's list

01:23:57of top ten gangster films of all time.

01:24:00When I first saw the movie,

01:24:02I thought that it was the movie

01:24:03Brian set out to make.

01:24:05And I thought he achieved it.

01:24:06I was pleased.

01:24:07Its creators continue to thrive.

01:24:10Al Pacino won a Best Actor Oscar

01:24:12for Sin of a Woman.

01:24:14He remains a superstar of stage and screen.

01:24:18Michelle Pfeiffer has gone on to be

01:24:20nominated for Best Acting Oscars

01:24:22on three separate occasions.

01:24:24Oliver Stone has become the acclaimed director

01:24:27of such films as Wall Street and JFK,

01:24:30winning directing Oscars for Platoon

01:24:33and Born on the Fourth of July.

01:24:35And Brian De Palma teamed up in 1993

01:24:38with Pacino again to film a second crime movie,

01:24:41Carlito's Way.

01:24:43He continues to direct blockbusters,

01:24:45from The Untouchables to Mission Impossible.

01:24:49And today, the movie and all the performances

01:24:52are as popular as ever.

01:24:54Al's performance is so bravura

01:24:57and in places way over the top.

01:24:59I find him to be like a fine wine.

01:25:02The older he gets,

01:25:04the more delicious his performance is.

01:25:07That guy's just going into the darkest place

01:25:08you can imagine,

01:25:09so I think everybody loves to see that.

01:25:10That's probably why it holds up.

01:25:11Scarface is running 24-7 somewhere.

01:25:15My great-grandchildren will be getting the residuals.

01:25:18It's a true classic.

01:25:20The movie just sort of seems

01:25:21to have this life of its own.

01:25:23When you think of great movies,

01:25:24you don't see a lot of people

01:25:25walking down the street

01:25:26quoting last year's Marienbad

01:25:28or Rules of the Game.

01:25:29No, they're quoting Scarface.

01:25:31That's why people are still watching it

01:25:3230 years later.

01:25:34You can't get rid of it, you know?

01:25:36It grabs you by the throat.

01:25:37It comes at you in such bursts.

01:25:39It's the movie that won't die.

01:25:41Scarface is a mother----.

01:25:43That's what it is.

01:25:45And so a film that looked destined to implode

01:25:48shot down just like its hero.

01:25:50Yet somehow, year after year,

01:25:53it keeps coming,

01:25:54keeps taking the hits,

01:25:56like Tony himself.

01:26:01Unstoppable.

01:26:02Indestructible.

01:26:04Going out in a blaze of glory.

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