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Monday, September 15, 2014
PACINO: 'JOE PATERNO IS A MAJOR SUBJECT'
SAYS THEY NEED TO FIND WAY TO TELL THE STORY WITH THE POWER & TRAGEDY IT DESERVES
Vulture's Jada Yuan talked to Al Pacino last week at the Toronto International Film Festival, and asked him about his plans to play Joe Paterno. Here is his reply to her:
"Well, for instance, Joe Paterno is a major subject. I really love that documentary they did [Happy Valley]. I found it really powerful. It wasn’t about Paterno, it was about us, our world. And I was responsive to it. So this movie about Paterno, and Brian De Palma is my friend and I love him as a director, I’ve made movies with him. But yeah, we need to find a way to tell this story in a way that has the power and the tragedy that it deserves. So in order to do that, one has to come up with the text. And that’s what we’ve been working toward. There’s other things: I’m working with David Mamet now on a new play. A live play. He did the Spector [movie] with me, I’ve known him a long time, and he’s just great to work with. And he’s a collaborator, too, at the same time. So there’s things to do."

Posted by Geoff at 12:09 AM CDT
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Wednesday, September 10, 2014
PACINO TALKS 'HAPPY VALLEY', SCARFACE, DE PALMA
SAYS THEY'RE WORKING ON PATERNO STORY, DISCUSSES THE DOCUMENTARY
Several outlets have published interviews with Al Pacino this week. The September 15th issue of The New Yorker includes a profile on the actor by John Lahr, who mentions that Pacino has "two new movies waiting in the wings (Martin Scorsese’s The Irishman, about the man who supposedly killed Jimmy Hoffa, and a Brian De Palma bio-pic about Joe Paterno), and a David Mamet play, China Doll, in the works for Broadway in 2015." Interesting to note that Lahr never mentions the title Happy Valley, which has been used as the title of Amir Bar-Lev's documentary, which premiered at Sundance earlier this year, and is also the title of an otherwise unrelated BBC One TV Series, a cop drama that has gained some popularity now on Netflix. In the following excerpt, Lahr's article delves a bit into Francis Ford Coppola's The Godfather and De Palma's Scarface:
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After Pacino got the "Godfather" role (for which he was paid a flat fee of thirty-five thousand dollars), he walked from his apartment, on Ninetieth Street and Broadway, to the Village and back, thinking about how he’d play it. “I didn’t see Michael as a gangster,” he said. “I saw his struggle as something that was connected to his intelligence, that innate sense of what’s around and being able to adjust to things.” He added, “The power of the character was in his enigmatic quality. And I thought, Well, how do you get to that? I think you wear it inside yourself, and you find a way to avoid, as much as you can, the obvious.” However, after his first week of avoiding the obvious, according to Pacino, “they wanted me fired—they didn’t see what I was doing. Luckily for me, the Sollozzo scene”—in which Michael earns his Mafia spurs by executing two men in a Bronx restaurant—“was the next day. When they saw that scene, they kept me.”

Pacino’s performance in “The Godfather” put him at the center of one of the great cinematic sagas of the century and on a first-name basis with the world. He was showered with accolades and offers. (Coppola asked him to star in “Apocalypse Now,” but he declined. “You know, sometimes you look into the abyss?” Pacino said. “I’m, like, this is the abyss. I’m not gonna go there.” He also turned down “Star Wars,” “Die Hard,” and “Pretty Woman.”) But perhaps the most satisfying response came from [Mario] Puzo, who wrote, “It was, in my eyes, a perfect performance, a work of art. I was so happy . . . I ate crow like it was my favorite Chinese food.” [Puzo had said Pacino was "terrible" in his screen test.]

Pacino’s other great early successes—“Serpico,” “The Godfather, Part II,” and “Dog Day Afternoon”—only added to his momentum. But, of all his performances in those years, the sleeper was his embodiment of the garish, vulgar, sensationally violent Tony Montana, an impoverished Cuban refugee who becomes the most powerful drug trafficker in Miami, in “Scarface.” The role was dismissed as “macho primitivism” at the time, but, over the years, it has emerged as a challenger to Michael Corleone as Pacino’s most popular creation. The director, Brian De Palma, designed “Scarface” as a kind of hyperbolic pageant. “The picture had a fire to it,” Pacino said, in “Al Pacino: In Conversation with Lawrence Grobel.” “The violence blown up, the language blown up. The spirit of it was Brechtian, operatic.” To play Montana, Pacino drew inspiration from the swagger of the Panamanian boxer Roberto Duran and from Meryl Streep’s committed rendering of the traumatized Polish immigrant Sophie, in “Sophie’s Choice.” As an actor, Pacino said, “you’re always looking for that thing that’s going on besides the words.” In “Scarface,” he connected with Montana’s raging ambition and the rebelliousness in his epigrammatic lines: “All I have in the world is my balls and my word, and I don’t break them for no one”; “You know what capitalism is? Getting fucked!”; “You wanna play rough? O.K. Say hello to my little friend!”

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PACINO: PATERNO STORY IS "DANGEROUS, SO ONE HAS TO UNDERSTAND IT, EXPLORE IT"
Variety's Scott Foundas mentions one other movie (besides Manglehorn and The Humbling) that Pacino has "in the can," Dan Fogelman’s Danny Collins, "where he plays an aging rock musician opposite Jennifer Garner and Michael Caine." Foundas then writes, "and just ramping up is Happy Valley, a reunion movie with his Scarface and Carlito’s Way director Brian De Palma in which he’ll play embattled Penn State football coach Joe Paterno." Of the latter, Pacino tells Foundas, “It’s dangerous. So one has to understand it, what happened, and explore it and try to find the tragedy in it.”

And Pacino also talked to The Daily Beast's Alex Suskind about Happy Valley, as well as Scarface, its upcoming remake, and some other things. It's a great conversation-- here's an excerpt:

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When you were at Venice promoting The Humbling, you said the best advice you ever got was from Lee Strasberg telling you to constantly “adjust,” or live for the present and avoid reflecting on past failures or glories.

Yeah, I am one of many who live by that! Live in the moment. Seize the day. Sometimes it’s not a bad idea to look at both of them [failures and glories]. I mean, all bets are off.

The reason I bring that up is, aside from the parallel to this film, when it comes to past glories, so many of your earlier projects—The Godfather, Serpico, Scarface—are completely entrenched in pop culture. I feel like it would be very hard to not reflect on them in some way. Do you agree?

Well the truth is, I still sort of don’t [talk about them]. I must say, I am very grateful that I was around, especially in the ’70s, which were kind of a renaissance. But man, I have no memory of the ’70s! You have to understand, I was in another world! I didn’t know what was going on. But I am glad it worked out. So when you meet somebody who met you once—because I meet a lot of people and they know you because you’re an actor—it’s nice to know that when you meet that someone they say, “You were nice to me.” It’s just interesting. I’ve always appreciated the journey. They say it’s not the destination but the journey. So it still means something to me to be able to have an opportunity to be involved with something that I feel I have something to say with. It’s a form of communication. I still love the stage. I like doing that, but I wish I could define how it’s changed, because it has changed.

Acting in general?

Acting in general. I just want to do things that I feel would be in some way part of what I am going through or have some sense of. What you really do as an actor is you try to find in the role something that you can relate to that you feel can ignite you and give you the appropriate energy to commit to it in that way. Some of the movies I did early on I had that in general. Now I would find that it would be hard to do something that I couldn’t say something with.

And the roles you’ve chosen in the last few years definitely reflect that. You played Phil Spector and Jack Kevorkian. You also have Joe Paterno coming up for Happy Valley…

Yeah, we’re working on that.

How’s that going?

It’s developing. I see [the story] as a major fall—it’s a fall of a person.

It’s Shakespearean, Paterno’s story.

It is! Did you see the documentary Happy Valley?

I did. It was very good.

Stunning movie. And I kept thinking, it’s not the story of Paterno—that’s part of it, but it’s about Happy Valley. And it’s about all of us. It’s the way it’s sort of depicted and the intensity and the thought and how it makes you think. You go feeling one way and you leave and you sort of don’t know what to do.

How’s it being back with Brian de Palma [who’s directing Happy Valley]?

I love Brian. You know that. I love that guy. There’s a few things I am working on now. I am doing a new play with David Mamet.

Are you still doing The Irishman?

The Irishman. Wow. Oh yeah, Steve Zaillian script.

Yeah, and Martin Scorsese directing.

Yeah, [Joe] Pesci, [Robert] De Niro, Bobby Cannavale.

You’ve never done anything with Scorsese, which is interesting because you would assume you would have at this point.

Isn’t that something?

Have you guys gotten close to doing anything together?

I don’t think I’ve gotten close to doing something with Marty. I know him. He’s such a great director. But I am sure there are other actors who Marty hasn’t worked with.

Of course. But you’re very much associated with that community of actors and filmmakers.

Yeah, I know. But at that period [in the 1970s] we were sort of split. Scorsese made movies with De Niro and I was making movies with [Sidney] Lumet. But I can’t think of a Scorsese movie that I would have been right for.

I assume it will be nice working with Robert De Niro again.

Oh, I love Bobby. I love him. Getting the opportunity to work with him, especially on something that is with one of the greatest directors ever.

Critics weren’t too kind to you and De Niro’s last project, Righteous Kill.

Well, that one was not [pauses]… You want to do something again that you feel good about.

Do you pay attention to critics at all? In the last decade, they have been pretty brutal about the films you’ve done.

Well, something happened, because it’s all about the Internet. How do you not pay attention and then how do you pay attention, is the question. Because you get a sense of things and you get a sense of where it’s going. That’s why you try to just keep going. I have always been aware [of the bad reviews]. It’s not wise to stick [with them]. Unless you can find good criticism, which is hard to do, because you get too subjective.

So, like, constructive criticism?

Yeah, I mean, I love that. I especially like it in live theater. If you know what you’re doing, it’s fulfilling something in yourself, then it doesn’t matter as much. It still matters. We’re all sensitive to it. It’s when you feel a little bit on the fence about what you’ve done and you’re concerned about it. It’s like Tennessee Williams said, “You can always depend on the kindness of strangers.” You can’t do that here [laughs]. You know what I mean?

I mentioned Scarface earlier. Have you heard about this remake Universal is doing?

I’ve heard of it!

What are your thoughts on that? They are kind of changing the story apparently. It’s going to be set in LA.

Well, if it’s inspired by the movie, I think that’s good.

I think it’s inspired by both. The original and yours.

That’s what we were doing. I saw the Scarface with Paul Muni on Sunset Boulevard at the… whatever the name of that theater is, the Tiffany. I said, “Oh I love this Paul Muni so much, I just want to make a movie and imitate him. That’s all I want to do.” And I called [my agent] and said “There is a movie here for us to do now.” It was 50 years old but it says so much. So we got De Palma, we got Oliver Stone to do the screenplay…

I think it’s fascinating the second life the film has taken on, especially in hip-hop.

Yeah, it still goes on. And the fact that it was so eviscerated when it first came out was a bit surprising, because we thought Brian deliberately tried to make it operatic. There was a whole thought in the 1980s, that Wall Street greed thing and this sense of avarice was in the air. And this movie sort of covered it, and it was Brian’s vision, which I went along with completely. I thought it was the way to go. And I think critics didn’t quite follow that. But audiences kept coming and stayed around. And they just kept coming and it had this resurgence. We always felt there was something there. But at the time, like all things, it wasn’t in fashion. The fashion was more in naturalism in films. Low-key stuff. There were so many wonderful movies being made during that. But this came out in a different fashion and it didn’t belong in the pantheon of things.

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Posted by Geoff at 4:36 AM CDT
Updated: Wednesday, September 10, 2014 4:44 AM CDT
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Tuesday, March 18, 2014


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Thursday, March 13, 2014




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Monday, January 27, 2014


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Tuesday, January 21, 2014
'HAPPY VALLEY' DOC PREMIERES AT SUNDANCE
SCREEN DAILY: "TROUBLING" ; SALT LAKE TRIB: "LEAVES STOMACH IN KNOTS"


Amir Bar-Lev's documentary about the Penn State scandals premiered at the Sundance Film Festival on Sunday, with Jerry Sandusky's adopted son, Matt, who appears in the film, appearing at the fest in support of Bar-Lev and the film. A review by Screen Daily's David D'Arcy calls the film "troubling," and suggests that it "should get strong play on cable sport channels." The Salt Lake Tribune's Brennan Smith states that the doc "takes the viewer back to the first time the story broke in 2011, complete with a mix of emotions that leaves the stomach in knots for the entirety of the 100-minute film." Smith adds, "The narrative is less about Sandusky and more about a framing of American and sports culture, where distraction trumps all and serious issues are swept under the rug."

D'Arcy describes the way the film captures events as they unfold at Penn State:

"Bar-Lev watches the university community witness news of Sandusky’s 2012 conviction on multiple counts of sexual abuse. Soon head football coach [Joe] Paterno (Sandusky’s boss), is sacked, along with the university president and other officials. The youth response on campus is a riot in which news trucks are overturned and property is destroyed.

"The mob reaction to disturbing news is at the core of Bar-Lev’s film, in which football fever fuels group fenzy in Happy Valley. Critics of Joe Paterno (nicknamed ‘JoePa’) are insulted and threatened when they express concerns publicly, as police stand by. This is extreme football fervor. It would be hard to find a Catholic congregation in the US that rallied behind a bishop who turned the other way after seeing evidence of sexual abuse. Football, as we see, is another story.

"Football as religion is a truism in the US. In Bar-Lev’s film, football as identity and profit takes over. The university searches for life beyond the revered Paterno, who dies in 2012 of a cancer that’s diagnosed the day after his firing. A popular statue of Paterno – a bronze figure of sports kitsch that was a tourist destination – is destroyed by the university, which also expunges the former coach’s name from the university’s history, like that of a purged Soviet official under Stalin. As the crowds pour back into the football stadium, Penn State is busy marketing a cult of personality for its new coach.

"Bar Lev’s scenes of crowd melees are frightening, but his film contains intimate poignant testimony that is equally troubling. Jerry Sandusky’s stoic adopted son, Matt, tells a sad story of growing up in the squalid digs of a desperately poor family and gravitating toward a program for poor boys headed by the coach, who gave the children food, gifts, and mandated sex."


Posted by Geoff at 12:52 AM CST
Updated: Tuesday, January 21, 2014 5:13 PM CST
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Wednesday, December 11, 2013
'HAPPY VALLEY' DOC TO PREMIERE AT SUNDANCE
SHARES WORKING TITLE WITH UPCOMING DE PALMA/PACINO PATERNO FILM
The Sundance Film Festival this week announced its documentary premieres for its upcoming 2014 edition (January 16-26), and one of them is a film called Happy Valley, directed by Amir Bar-Lev, who also directed 2010's The Tillman Story. The Sundance description of Bar-Lev's Happy Valley is as follows: "The children of 'Happy Valley' were victimized for years, by a key member of the legendary Penn State college football program. But were Jerry Sandusky’s crimes an open secret? With rare access, director Amir Bar-Lev delves beneath the headlines to tell a modern American parable of guilt, redemption, and identity."

It appears that while Brian De Palma's film (also called Happy Valley) will focus on the life and career of Joe Paterno, Bar-Lev's documentary takes a head-on approach to the Sandusky scandal, and how it has affected the Penn State community. The News & Observer's Lewis Beale interviewed Bar-Lev this past April. Here's a passage in which they discuss Happy Valley:
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“I’m not interested in stories with very clear white hats and black hats,” says Bar-Lev. “Those stories just reassure me my values are all in place. I’m interested in stories that provoke thorny questions, and cause me to evaluate and poke and prod at my belief system. That’s what good documentary filmmaking does.”

And that’s a good reason why Bar-Lev’s next film, “Happy Valley,” is about the Penn State/Jerry Sandusky pedophilia scandal. But it’s not that Bar-Lev is particularly interested in Sandusky.

“I’m more interested in how we relate to Jerry Sandusky, the mythological nature of Sandusky and (former Penn State football coach) Joe Paterno,” he says. “We call the film ‘Happy Valley’ because we’re interested in how the town is reckoning with itself in the aftermath of the scandal.”

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(Thanks to Rado!)

Posted by Geoff at 5:25 PM CST
Updated: Wednesday, December 11, 2013 5:27 PM CST
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Tuesday, November 19, 2013
MCKENNA STILL RESEARCHING 'HAPPY VALLEY'
HOPES TO TALK TO PATERNO FAMILY, VISIT SANDUSKY IN PRISON
Onward State's Jessica Tully got an update on Happy Valley from screenwriter David McKenna, who told her the film, which will be about the life of Joe Paterno (of which the Jerry Sandusky scandal will be a tragic part), is still in the research stage. McKenna visited State College back in February for initial research, and he tells Tully that he and others working on the project plan to go back there again closer to the start of production.

Tully writes, "The research phase has included searching Paterno archives at libraries, reading several books, and evaluating all the independent reports, such as the Freeh Report and the Paterno Report. While on his trip to State College in February, McKenna met with [Paterno author Joe] Posnanski, who gave him a two-day tour of the town; longtime assistant coach Dick Anderson, who was 'very gracious and informative;' and Scott Paterno, which was more of a 'get to know you' session rather than a gathering of information, McKenna said."

McKenna, who as a child had greatly admired Paterno, tells Tully, "This project is too important not to be as well informed as possible. Not unexpectedly, what I’ve found is there’s three sides to every story. There is no black and white. JoePa was a great, great man, who did so much good for a such a long period of time. But that greatness turned out to hurt him in the end because he set the bar so incredibly high in everything that he did. And that’s where the tragedy lies."

Here are the last few paragraphs of Tully's article:

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McKenna said Jerry Sandusky will be a part of the movie, although he will only play a supporting role. The Sandusky scandal will be included, but the focus of the film will be on Paterno. McKenna doubts he will ever be able to talk to the Sandusky family, but he does wish to visit Sandusky in prison.

While he said he couldn’t talk specifically about what will be included in the film, McKenna said “the crazy thing” about Sandusky is how much good he did for kids. McKenna acknowledges he might be “crucified” for saying that, but he believes it’s the truth.

“Second Mile was a huge endeavor that raised hundreds of millions for disadvantaged kids,” McKenna said. “That’s what makes this scandal so sad and heartbreaking.”

On the other hand, McKenna said he hopes he will be able to talk extensively with the Paterno family. He believes the family will one day open themselves up to him and his Hollywood team, “once they see how fair we’ve been to Joe’s incredible legacy.”

McKenna said he will always have the highest respect for Paterno and his wife, Sue. One quote that McKenna often thinks about is when Paterno, who raised five kids in a modest home a few blocks from campus, told his children they can swim just as well in the community pool as a private one.

“They were on a first-name basis with everyone in town — Joe even knew the cheerleaders’ names. They built a library — giving $3 million of their own money,” McKenna said. “Their love and generosity inspires me as I raise my three children. Because that’s what life is all about, isn’t it?”

--------------------------

Posted by Geoff at 5:14 PM CST
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Wednesday, August 28, 2013
DE PALMA ON 'HAPPY VALLEY'
IDEA IS TO FAIRLY REPRESENT DIFFERING VIEWS ON WHAT HAPPENED
At last week's Summer Talks discussion at the Lincoln Center, our old friend Brett was in the audience, and got to ask Brian De Palma a question about Happy Valley. Here is my transcription of the exchange from the video of the event:

Brett: I know you’ve worked with Al Pacino in Scarface and Carlito’s Way, and as I understand, you’ll be working with him again in a new film about Joe Paterno. And I’m just curious, the first two being sort of tragic American stories, do you see your next film as like the completion of a trilogy of tragic American stories? And maybe, can you tell us a little bit more about this new production?

De Palma: Well, it’s indeed a tragic story, and it’s a part Al wants to play. I mean, that’s how it all started. You know, and it’s a great honor to direct Al. He’s, you know, one of the greatest actors of his generation. So, in order to tell it in a fair way, I mean, it’s sort of like Lawrence Of Arabia. Everybody has a different view on what happened. So the idea of the script is to try and represent each view equally, and let the audience try to figure out what exactly happened and who’s culpable.

On August 29, Vanity Fair posted an interview with De Palma by Jason Guerrasio, who also asked De Palma about Happy Valley, and about working with Pacino again. "It’s a fantastic part for him," De Palma told Guerrasio. "It’s almost like a King Lear–type of part. When you look at something like Scarface you see the incredible performance he gives. It’s always exciting for a director to work with someone like that." Guerrasio then asked if he and Pacino had talked yet about how he's going to play Paterno. "Oh yeah," De Palma replied, "we've exchanged extensive e-mails. It has begun."


Posted by Geoff at 9:43 PM CDT
Updated: Wednesday, September 4, 2013 12:19 AM CDT
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Thursday, July 11, 2013


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