The rough cut of the scar face is a disaster in the eyes of the stone Oliver

In the memoir “Chasing the Light”, Stone remembers being asked by producer Martin Bregman to watch the film in a “small, shabby New York theater.” Bregman, anticipating a negative reaction from Stone, was worried that he might share his frustration with Pacino, so he warned the writer to share an opinion with him first. Indeed, Stone was not satisfied with the cut, which, at 169 minutes (a minute away from the release version), was far more complete than your usual four-hour rough cut.

On the one hand, this is not surprising. De Palma usually doesn’t shoot covered – ie footage shot from different angles for the director to make choices in post-production. I once watched the last 20 minutes of “Blow Out” with editor Paul Hirsch in the back of a New Beverly theater, and he said the scenes were pretty much shot as they were being set up. De Palma knew exactly what he wanted.

“Scarface” was a new challenge for De Palma as it was a huge studio gig that didn’t originate with him (Sidney Lumet was the first director hired), so he worked a bit loose. looser than usual. For example, he let his close friend Steven Spielberg, who was visiting the set, direct a second shot of gunmen deploying grappling hooks to infiltrate Montana’s mansion in the epilogue of the series. movie. However, De Palma, who possesses an unusual sense of camera placement and miserable setting, can only stray so much from his traditional filmmaking style. He almost certainly cut most of this movie in his head before editing. So what Stone opposes – and, boy, does he object – is De Palma’s visualization of “Scarface”. The rough cut of the scar face is a disaster in the eyes of the stone Oliver

Fry Electronics Team

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