Michelle pfeiffer and al pacino dating
I don’t know how I’d eat.”) Frankie and Johnny is an adaption of Terrence Mc Nally’s Frankie and Johnny in the Clair de Lune, which ran fro a year and a half off-Broadway and is still on the boards in Boston.
(Marshall lopped off the end of the title: “Too long.”) The story of two middle-aged lonely souls who find each other, Mc Nally’s play was first performed at the Manhattan Theatre Club on June 2, 1987, with Kathy Bates and F. Indeed, they were the only two characters, and the entire play took place in Frankie’s one-room apartment.
So I felt I was in very good hands.” To open up the work for the screen, Mc Nally says he “basically put the play in a drawer and rethought the whole thing.” As executive producer Alexandra Rose describes it, “You see their back story instead of just hearing them talk about it, and you see the other characters in their lives instead of just hearing about them.” “Very little dialogue from the play is in the movie,” Mc Nally observes.
“I was shocked how little I used—I’d say no more than 15 percent—but this is a different kind of writing; it’s more naturalistic.” The most memorable speeches are still there but rearranged, and there are far-flung additions: Johnny is seen coming out of jail; Frankie goes home to Altoona, Pennsy Ivania; and they both stroll the streets of New York. While he was at it, Mc Nally created parts for two of his favorite actors—Lane, a star of Mc Nally’s latest play, Lips Together, Teeth Apart, and Nelligan, who appeared in a revival of Mc Nally’s Bad Habits.
Even Pacino—an Actors Studio votary who’s notoriously no-nonsense about his work.—was not spared. The first month or so of shooting, every day I would stop and say, ‘I can’t believe these are the same two people working together.’ Because we both have come to such different places.” Pacino laughs when asked about it. “On Scarface, I didn’t speak with Michelle much,” he concedes.
“It came out quite a good scene,” he says in the pungent Bronx accent that can make him sound like a kind of vaudevillian rabbi. “I’ve warned him that I was going to tell people that he had become much nicer and I had become much meaner,” she says, grinning.
Paramount gave the go-ahead last fall, and Pacino and Pfeiffer were signed within a few weeks for salaries estimated at million and million respectively. “Nobody will ever really be able to figure out why you love certain people, or why you don’t.