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He’s really trying to get into it, so he can do his best work.So it’s a ruse, of a sort.” Of Pacino and Pfeiffer, Marshall says, “Probably these were two of the most serious actors I’ve ever worked with, as far as craftsmen. “Al will say, ‘I think I got it on take 4 of take 5,” and I’ll say, ‘Yeah, between 4 and 5.’ And then we do a few more.
Marshall had expressed interest in film rights to the play early on—producer Scott Rudin hoped to set it up as a project for them at Twentieth Century Fox—but Marshall and Rudin were outbid by Paramount Pictures, which bought it for director Mike Nichols.Barreling into the room on the next go-round, Pacino was startled to see that Marshall had indeed replaced the mirror—with one that stretched clear across the wall. Later, in the gag reel, Marshall used the shot of Pacino breaking up, cut to a clip of him and Pfeiffer in Brian De Palma’s Scarface (1983), and then cut back to him laughing. Now she’s full of ideas and contributions.” Echoes Marshall: “I think she means that when she was in Scarface, she was a young ingenue who was afraid to speak. She speaks right up.” That was fine by Marshall, whose last film, Pretty Woman, was the second-high-est-grossing film of 1990; his unfettered, improvisational directing style can be overwhelming to the uninitiated—such as Pfeiffer.“With Garry, you’re ready for it,” Pacino says amiably. “It was a little shocking initially, working with Garry,” she admits, smiling. When you’re doing something that is well written, it has a certain rhythm to it, and for me, it’s like music. “We played music, and I gave out T-shirts that said I SURVIVED SCENE 105,” he reports. “I would say fifteen members of the crew then put on the robe and shot the robe scene for the gag reel,” the director says. And I’m asking you to open your robe so I can look at it. At this point in Frankie and Johnny, Frankie the waitress (Pfeiffer) is about to expose rather more than her emotions to Johnny (Al Pacino), a short-order cook in the same diner. When the scene was finally in the can, produce-director Garry Marshall figured some kind of celebration was called for.