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Today in History: Archduke Ferdinand Is Murdered in Sarajevo

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June 28, 1914: Murder in Sarajevo

There were seven of them—six Bosnian Serbs and one Bosnian Muslim—blending in with the crowds along Appel Quay, the promenade tracing the sluggish River Miljacka through downtown Sarajevo. Some were armed with pistols, some with grenades, each hoping to strike a blow against Austrian tyranny on the sunny morning of Sunday, June 28, 1914.

The first four—Muhamed Mehmedbašić, Nedjelko Čabrinović, Vaso Čubrilović, and Cvjetko Popović—lined both sides of Appel Quay in front of the Sarajevo police station. Another conspirator, Gavrilo Princip, stood at the intersection with Franz Josef Street, where the latter turned to cross the River Miljacka over the Latin Bridge. Beyond the intersection the ringleader, Danilo Ilić, was pacing back and forth along the Quay, overseeing the operation. Finally, the seventh plotter, Trifun Grabež, was posted near the intersection with the Kaiser Bridge, in the “last chance” position.

Their target, Archduke Franz Ferdinand, heir to the thrones of Austria and Hungary, had come to Bosnia to observe the empire’s annual military maneuvers, and only agreed to visit the provincial capital at the insistence of the Austrian governor, Oskar Potiorek. Actually, this wasn’t his first visit: Several days before, on Thursday, June 25, the Archduke and his beloved wife, Sophie Chotek, Duchess of Hohenberg, left their hotel in the nearby spa town of Ilidža to pay a surprise visit to the Sarajevo bazaar, where they did some shopping amid enthusiastic crowds. Then, on Friday and Saturday, while the Archduke was off observing the army maneuvers, Sophie returned on her own to visit various churches, mosques, and charitable institutions, again meeting with a warm welcome; on Saturday evening she gushed, “Everywhere we have gone here we have been greeted with so much friendliness,” even from Bosnian Serbs.

But today was the official event, the day for pomp and circumstance (and, coincidentally, the Archduke and Sophie’s wedding anniversary). Accordingly, the itinerary was planned more or less down to the minute: After attending a private mass in Ilidža, the Archduke and his wife arrived at the Sarajevo train station at 9:40am, then paid a visit to the local army barracks, where he reviewed the troops. By 10am they were on their way again, heading east on Appel Quay to City Hall to meet the local dignitaries.

Serbianna / Wikimedia Commons

They rode with Governor Potiorek in the back of a brand new Gräf & Stift “Double Phaeton” open-topped touring car owned by Lieutenant Colonel Count Franz von Harrach, who was serving as the Archduke’s bodyguard and sat in front with the driver, Leopold Lojka. Theirs was third in a motorcade of seven vehicles—the first carrying Sarajevo’s chief of special security and three policemen, the second the mayor and chief of police, and the rest various members of the Archduke’s entourage, as well as provincial officials and prominent local businessmen.

The motorcade proceeded at a leisurely pace so the crowds could see the Archduke, who was nervous about assassins but also felt compelled to appear casual and unconcerned. There were no troops lining the streets—Potoriek insisted, implausibly, that the populace was happy under his benevolent administration—and in fact most of the spectators seemed enthusiastic, shouting cheers of “Zivio!” (“long may he live!”) as the Archduke’s car passed. But the Archduke’s intuition was better than the governor’s.

The first conspirator, Mehmedbašić, lost his nerve—but the second, Čabrinović, was more determined: Around 10:15am, he threw a small bomb at the Archduke’s car. The device bounced off and exploded under the following vehicle, injuring two military adjutants, Count Erich von Merizzi and Count Alexander Boos-Waldeck. Čabrinović immediately took a cyanide pill and threw himself in the Miljacka, but the poison didn’t work, leaving him at the mercy of enraged onlookers, who fished him out of the shallow river and administered a severe beating before the police took him into custody.

Now the Archduke’s motorcade sped away to City Hall, too fast for any of the other would-be assassins to make an attempt; assuming that Čabrinović would crack under interrogation, their next priority was to avoid being rounded up—all except Princip who, coolheaded as always, meandered across the street to stand in front of Moritz Schiller’s delicatessen at the corner of Appel Way and Franz Josef Street, along the planned return route for the Archduke’s motorcade. (The story that Princip went to Schiller’s to order a sandwich is probably a myth.)

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Meanwhile, the motorcade proceeded to City Hall, where Franz Ferdinand couldn’t conceal his anger. When the mayor (who’d been riding in a lead car and was still unaware of the bomb attempt) tried to begin his official greeting, the Archduke interrupted, “Lord Mayor, what is the good of your speeches? I come to Sarajevo on a friendly visit and someone throws a bomb at me. This is outrageous!” However, Sophie whispered something in her husband’s ear and he regained his composure, bidding the mayor to finish his speech and then giving his own prepared speech in return. Next came the presentation of local worthies including Muslim, Christian, and Jewish community leaders, followed by an official reception, where Franz Ferdinand tried to make light of the assassination attempt, joking, “Today we shall get a few more little bullets.” By 10:45am, the meet-and-greet was over and they were on their way again.

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At this point, the itinerary called for the Archduke to attend another reception at a local museum, but instead he gallantly insisted on visiting the hospital to see the military adjutants, Merizzi and Boos-Waldeck, who were being treated for injuries sustained in the bomb attempt. The original plan had the motorcade turning right on Franz Josef Street, the shortest route to both the hospital and museum, but the Archduke’s security team, fearing more assassins might be lying in wait along this route, decided to change things up and take the long way round, back down Appel Quay. They also switched the order of the cars, with the mayor and chief of police in the lead car and the Archduke, Sophie, and Governor Potiorek in the second. Count von Harrach insisted on riding on the left running board to shield the Archduke from the south (river) side of the Quay, where the last attack had originated.  

Unfortunately, the driver of the lead car either wasn’t informed of the change in plans or simply forgot, and mistakenly turned right on Franz Josef Street, as called for in the original itinerary. Lojka, apparently confused, also began turning but Potiorek told him to stop, then called out to the lead car to turn around so they could resume their journey along the correct route. As the driver of the lead car began to maneuver about in the narrow street, Princip, still standing in front of Schiller’s delicatessen, was astonished to see his target sitting in the back of the second car, just five paces away. Without hesitation he stepped forward and fired two shots, hitting the Archduke in the neck and Sophie in the lower abdomen. Chaos ensued as a crowd of bystanders attacked Princip and wrestled him to the ground, while Lojka backed up to get away from the melee. Harrach, who was still clinging to the other side of the car, later recounted:

As the car quickly reversed, a thin stream of blood spurted from His Highness's mouth onto my right cheek. As I was pulling out my handkerchief to wipe the blood away from his mouth, the Duchess cried out to him, “For God's sake! What has happened to you?” At that she slid off the seat and lay on the floor of the car, with her face between his knees. I had no idea that she too was hit and thought she had simply fainted with fright. Then I heard His Imperial Highness say, “Sophie, Sophie, don’t die. Stay alive for the children!” At that, I seized the Archduke by the collar of his uniform, to stop his head dropping forward and asked him if he was in great pain. He answered me quite distinctly, “It is nothing!” His face began to twist somewhat but he went on repeating, six or seven times, ever more faintly as he gradually lost consciousness, “It’s nothing!” Then came a brief pause followed by a convulsive rattle in his throat, caused by a loss of blood. This ceased on arrival at the governor's residence. The two unconscious bodies were carried into the building where their death was soon established.

In the days to come, all the conspirators except Mehmedbašić were apprehended, and anti-Serb riots broke out in Bosnia, as Catholic Croats and Bosnian Muslims took the opportunity to loot their neighbors’ homes and businesses. Further afield European public opinion was sympathetic to the Archduke and Austria-Hungary: Then, as now, terrorist attacks or “outrages” were viewed as barbaric and counterproductive, and newspapers like Britain’s Daily Mirror stirred readers’ emotions by dwelling on the Archduke’s “pathetic last words to his wife” and the “poignant fate” of their three orphaned children following the “ghastly tragedy.” Kaiser Wilhelm II, who was hosting the British fleet’s visit to Kiel, blanched on hearing the news: He considered the Archduke and Sophie personal friends.

Wikimedia Commons / Chronicaling America 

But ironically, the first response in Vienna was a secret (or not so secret) feeling of relief. While no one was happy that Franz Ferdinand was dead, exactly, the court had long been perturbed by his plans to reform Austria-Hungary by either adding a third monarchy representing the Slavs or—even more radically—transforming it into a federal state. Both options would have met with bitter opposition in the Hungarian half of the Dual Monarchy, where the Magyar aristocrats would see their influence diminished, and this looming conflict threatened to tear the fragile empire apart. Thus, the elderly Emperor Franz Josef displayed a strange combination of horror and resignation when he was informed of his headstrong nephew’s demise:

On hearing the news… the Emperor collapsed into the armchair at his desk as if struck by a thunderbolt. He remained motionless for a long time. At the end he rose, paced the room a prey to the most violent agitation, his eyes rolling with terror. “Horrible!... Horrible!...” was the only word which escaped his lips. At last he seemed to have somewhat recovered his self control, for he exclaimed suddenly as if speaking to himself: “The Almighty is not mocked!... A Higher Power has restored that order which I, unfortunately, was not able to maintain.”

In the same vein, the Imperial ambassador to Berlin, Count Szőgyény, confided to the former German chancellor Bernhard von Bülow that the assassination was “a dispensation of Providence,” as the Archduke’s ascent to the throne “might have given rise to serious conflict, perhaps even civil war…”  

In keeping with this attitude, and the court’s contempt for the Archduke’s morganatic wife, the funeral arrangements were very modest: There were few signs of public mourning as the couple’s remains arrived back in Vienna on July 2, and practically no one attended the ceremonial lying-in-state in the Hofburg palace or the funeral at the Archduke’s rural retreat at Artstetten on July 3. In the crowning act of petty cruelty, Lord Chamberlain Prince Alfred of Montenuovo even forbade the Archduke’s three orphaned children (now stripped of all privileges, as the offspring of a morganatic union) from saying goodbye to their dead parents.

Wikimedia Commons / Wikimedia Commons

But this didn’t mean his death couldn’t serve some purpose. After years of Serbian defiance, the assassination provided a perfect opportunity to settle accounts with the Slavic kingdom by force, as the Austrian chief of the general staff, Conrad von Hötzendorf, had so frequently advocated. This wasn’t just about avenging a single crime: The time had come to reverse the tide of Slavic nationalism, which posed an existential threat to the multiethnic empire. In short, war was the only option, even at risk of a wider conflict with Serbia’s great Slavic patron, Russia. In a meeting with his staff on June 29, 1914, Conrad outlined the case he would shortly present to Emperor Franz Josef, Foreign Minister Count Berchtold, and Hungarian Premier Count István Tisza:

Austria-Hungary cannot let the challenge pass with cool equanimity nor, after the blow on the one cheek, offer the other in Christian meekness, neither is it a case for a chivalrous encounter with “poor little” Serbia, as she likes to call herself, nor for atonement for murder – what is now at issue is the strictly practical importance of the prestige of a Great Power… The Sarajevo outrage has toppled over the house of cards built up with diplomatic documents… the Monarchy has been seized by the throat and forced to choose between letting itself be strangled and making a last effort to defend itself against attack.

Two people were dead; millions more would soon follow.

See the previous installment or all entries.

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15 Things You Might Not Know About One Flew Over the Cuckoo’s Nest
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Warner Bros.

Milos Forman's One Flew Over the Cuckoo’s Nest, which premiered on this day in 1975, won critical acclaim, box office success, and a shelf full of Oscars. But even if you love the complex exploration of life inside a 1960s psychiatric hospital, there are a few things you may not know about its behind-the-scenes story. 

1. CUSTOMS NEARLY DOOMED THE PROJECT. 

Despite the middling success of the 1963 stage adaptation of Ken Kesey’s novel starring Kirk Douglas, Hollywood legend Douglas was dead set on adapting the story for the screen. Douglas contacted Czech director Miloš Forman about the project, promising to send Forman a copy of the book for his perusal. 

Douglas mailed Forman the novel, but the package was confiscated by Czechoslovakian customs and never reached the director. Unaware of the parcel’s fate, the filmmaker resented Douglas’ broken promise, and Douglas thought Forman rude for never bothering to confirm receipt of the novel. It took a decade to sort the mess out, and things only cleared up when Kirk’s son Michael Douglas took another crack at production and contacted Forman once more. 

2. ONE STUDIO WANTED TO CHANGE THE ENDING.

When producers were shopping the picture to studios, 20th Century Fox was interested, but with a catch. Fox would distribute the film, but only if the filmmakers would agree to rewrite the ending; the studio wanted McMurphy to live. Producers Saul Zaentz and Michael Douglas wisely considered this a deal breaker, and United Artists eventually distributed the film.

3. JACK NICHOLSON AND LOUISE FLETCHER WERE NOT THE FIRST CHOICES FOR THEIR CHARACTERS. 


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When Kirk Douglas spearheaded the first attempt to bring One Flew Over the Cuckoo’s Nest to life on the big screen in the 1960s, he had intended to play the Randle Patrick McMurphy role himself, just as he had on stage. When production began in earnest 10 years later, Douglas was too old for the part, leaving director Forman to consider and contact the likes of Gene Hackman, Marlon Brando, and (his personal favorite) Burt Reynolds before finally settling on Jack Nicholson.

A number of different actresses were considered for the role of Nurse Ratched, the film’s central antagonist, as well: Anne Bancroft, Colleen Dewhurst, Geraldine Page, and Angela Lansbury were all in the running, before Louise Fletcher ultimately got the part. 

4. LOUISE FLETCHER CHANGED FORMAN’S VIEW ON THE CHARACTER. 

Forman’s original view of Nurse Ratched was as “the personification of evil,” a characterization that made Louise Fletcher a bad fit for the part in the filmmaker’s mind. As Fletcher pressed for the role, Forman’s perspective of Ratched evolved: “I slowly started to realize that it would be much more powerful if it’s not this visible evil,” he said. “That she’s only an instrument of evil. She doesn’t know that she’s evil. She, as a matter of fact, believes that she’s helping people.” This new take on the character paved the way for the official casting of Fletcher. 

5. SEVERAL OF THE FILM’S STARS WERE NOT ACTORS. 

Following the production team’s decision to use Oregon State Hospital as its shooting location, the producers hit on the idea of casting facility superintendent Dr. Dean Brooks as Dr. John Spivey, the doctor charged with assessing R. P. McMurphy’s psychological health. Brooks agreed to play what turned out to be a sizable role, though it would be the only acting job he would ever take. He also helped secure employment for many of his hospital’s patients as extras and crew members during production. 

Mel Lambert, another non-actor, was wrangled to play the harbormaster who protested McMurphy’s ad hoc fishing trip. What’s more, Lambert—a respected area businessman who had a strong relationship with the local Native American community—introduced the production team to Will Sampson, the 6-foot-5-inch-tall Muscogee painter who would make his acting debut as the major character Chief Bromden. 

6. THE STARS LIVED ON THE WARD DURING PRODUCTION. 


Warner Bros.

All of the actors who played patients actually lived on the Oregon State Hospital psychiatric ward throughout production. The men personalized their sleeping quarters, spent their days on campus “get[ting] a sense of what it was to be hospitalized” (as actor Vincent Schiavelli put it), and interacting with real psychiatric patients. 

7. MANY SCENES WERE SHOT WITHOUT THE ACTORS’ KNOWLEDGE. 

To complete this realistic immersion, Forman led his performers in unscripted group therapy sessions in which he directed the actors to develop their characters’ psychological maladies organically. He would often capture footage of the actors, both in and out of character, without explicitly mentioning that the cameras were rolling. The film’s final cut includes a shot of a visibly irritated Fletcher reacting to a piece of direction fed to her by Forman. 

8. FORMAN AND NICHOLSON HAD A TREMENDOUS SPAT OVER THE FILM’S PLOT. 

While the intensity of the turmoil varies from rumor to rumor, reports from the set were consistent on one fact: The star refused to speak with Forman for a large chunk of the production process. Nicholson took issue with Forman’s suggestion that the hospital inmates would be an unruly bunch upon the initial arrival of McMurphy. Instead, the actor insisted that such disavowal of the medical staff’s authority should only begin after the introduction of McMurphy into their lives and routines. 

Although the version of the story that we see in the film today is more closely associated with Nicholson’s alleged reading, suggesting that Forman ultimately took his advice, Nicholson refused to interact with his director from that point forward. When the star and Forman needed to communicate with one another, they used cinematographer Bill Butler as a middleman. 

9. DANNY DEVITO CREATED AN IMAGINARY FRIEND DURING PRODUCTION. 


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Emotionally strained by a demanding shooting schedule that kept him 3000 miles from his future wife, Rhea Perlman, DeVito developed the coping mechanism of an imaginary friend with whom he would have nightly chats. Concerned that his own sanity might be slipping away, DeVito sought the advice of Dr. Brooks, who assured him that there was no reason to worry as long as DeVito could still identify the character as fictional. 

10. THE CREW WAS WORRIED ABOUT THE SANITY OF ONE CAST MEMBER.

While Dr. Brooks had no concerns about DeVito, he echoed the rest of the cast and crew’s apprehensions about the psychological state of Sydney Lassick, who played Charlie Cheswick. Lassick exhibited increasingly unpredictable and emotionally erratic behavior during his time in character, a pattern that culminated in a tearful outburst during his observation of the final scene between Nicholson and Sampson. Lassick became so overwhelmed during the scene that he had to be removed from set. 

11. FLETCHER TOOK OFF HER CLOTHES IN ORDER TO GET FRIENDLIER WITH HER CO-STARS.

Envious of the camaraderie her male costars had forged, and hoping to dispel any associations with her tyrannical character, Fletcher surprised the cast one evening by ripping off her dress on the crowded ward. Years later, the actress laughed about the display, saying, “‘I’ll show them I’m a real woman under here, you know.’ I think that must have been what I was thinking.” 

12. THE FISHING TRIP SCENE BARELY MADE IT INTO THE FILM. 

Initially, Forman was vocally opposed to including a scene that took place beyond the grounds of the hospital out of concerns that a temporary liberation would undercut the dramatic force of the film’s ending. In the end, Zaentz convinced Forman to shoot the fishing trip sequence. It was the final scene filmed and the only piece shot out of chronological order. 

One thing to look for in the fishing scene: A very subtle Anjelica Huston cameo. Huston, who was dating Nicholson during production, has a nonspeaking role as one of the spectators on the dock as McMurphy and his fellow patients steer the stolen boat back to shore. 


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13. ONE FLEW OVER THE CUCKOO’S NEST WAS THE FIRST FILM TO WIN ALL “BIG FIVE” ACADEMY AWARDS IN 41 YEARS.

Not since 1934's It Happened One Night swept the Oscars had a film walked away with awards for Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay. One Flew Over the Cuckoo’s Nest took home the lot, with Nicholson and Fletcher winning the top acting awards. The feat would not be matched again for another 16 years, with Silence of the Lambs becoming the next (and last to date) movie to earn the distinction. 

14. THE FILM ENJOYED ONE OF THE LONGEST THEATRICAL RUNS IN MOVIE HISTORY. 

One Flew Over the Cuckoo’s Nest was revered worldwide, but Swedish viewers developed an especially soft spot for the film. Cuckoo’s Nest remained a regular option for Swedish moviegoers through 1987—11 years after its initial release. 

15. KESEY REFUSED TO SEE THE FILM (BUT MAY HAVE BY ACCIDENT). 

The poster child for the “the book was better” movement, One Flew Over the Cuckoo’s Nest author Kesey disapproved of a big screen adaptation of his novel as soon as he found out that the filmmakers had abandoned the use of Chief Bromden as the story’s narrator. Kesey never intended to see the movie, but one story says he inadvertently caught a few moments during a bout of channel surfing one evening. Once Kesey realized what he was watching, he promptly changed stations.

According to fellow novelist Chuck Palahniuk (who has famously praised director David Fincher’s adaptation of his novel Fight Club, plot changes and all), Kesey once stated privately that he did not care for the material.

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30 Facts About Your Favorite Martin Scorsese Movies
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In the pantheon of iconic American film giants, Martin Scorsese gets to sit at the head of the table and carve the turkey. In a career spanning 50 years, he has created some of the most visually spectacular and quote-worthy material ever put on celluloid. To celebrate the auteur’s 75th birthday, here are 30 facts about some of your favorite Scorsese movies. Ready? Great… now go home and get your #@$%ing shinebox!

1. MUCH OF THE MEAN STREETS BUDGET WENT TO ITS SOUNDTRACK.

Clearing songs for 1973's Mean Streets ate up almost half of the film's $500,000 budget. Staying true to his well-documented love of rock, Scorsese used tunes by The Ronettes, Eric Clapton, and The Rolling Stones for the soundtrack. “For me, the whole movie was 'Jumping Jack Flash' and 'Be My Baby,'" the director said in Scorsese on Scorsese.

2. LAURA DERN HAD A TINY ROLE IN ALICE DOESN’T LIVE HERE ANYMORE.

Future Oscar nominee Laura Dern made one of her earliest, albeit uncredited, appearances toward the end of Alice Doesn’t Live Here Anymore. Working alongside her mother, Diane Ladd, Dern—who was seven years old at the time—played a little girl eating a banana-flavored ice cream cone at Mel’s Diner. It took 19 takes to get the shot, which required Dern to consume 19 ice cream cones. Impressed by the budding actress, Scorsese told Ladd that “if she doesn’t throw up after [19 takes’ worth of cones], this girl is ready to be an actress.”

3. THE “YOU TALKIN’ TO ME?” SCENE FROM TAXI DRIVER CAME FROM BRUCE SPRINGSTEEN.

Robert De Niro improvised that whole paranoid monologue, including what would become the movie’s most famous line. (The film's screenwriter, Paul Schrader, later said, “It’s the best thing in the movie, and I didn’t write it.”) De Niro got the line from Bruce Springsteen, whom he’d seen perform in Greenwich Village just days earlier, at one in a series of concerts leading up to the release of Born to Run. When the audience called out his name, The Boss did a bit where he feigned humility and said, “You talkin’ to me?” Apparently it stuck in De Niro’s mind.

4. MUCH OF NEW YORK, NEW YORK WAS IMPROVISED (WHICH MAY HAVE BEEN ITS DOWNFALL).

In 1977, Scorsese released New York, New York. What was meant to be an epic musical turned out to be one of the director’s biggest bombs, due partly to the fact that the normally very regimented director decided to take a more improvisational approach to the film. “I tried to have no idea at all what I was going to do, as much as possible, on the day of shooting—as opposed to having a fairly strong idea of what I was going to do,” he said. “I was really testing the limits … I had a very chaotic style, on purpose, on New York, New York. And I found it didn't work for me."

5. A LOT OF FAMOUS CINEMATOGRAPHERS WERE INVOLVED IN THE MAKING OF THE LAST WALTZ.

The seven 35mm camera operators who shot The Last Waltz, Scorsese's 1978 concert documentary, included Michael Chapman (Taxi Driver, Raging Bull), Vilmos Zsigmond (Close Encounters of the Third Kind, The Deer Hunter), and László Kovács (Easy Rider, Five Easy Pieces). Scorsese and Robbie Robertson (who also served as a producer) came up with a 300-page shooting script of diagrams and text that assigned the camera positions with the music lyrics and cues. According to the film's production notes, it was the first music documentary made on 35mm.

6. JOE PESCI WAS RUNNING AN ITALIAN RESTAURANT WHEN SCORSESE AND ROBERT DE NIRO APPROACHED HIM ABOUT RAGING BULL.

Joe Pesci had been a professional actor and musician (he sang and played guitar) off and on since childhood, but he called it quits in the 1970s. His 1975 Broadway show with comedy partner Frank Vincent (whom he would later recruit to play Salvy in Raging Bull) had closed after a week, and his first movie, 1976’s The Death Collector (also featuring Vincent), was a flop. But Robert De Niro happened to see that film in 1978, and was so impressed by Pesci’s performance that he pitched him to Scorsese. The two tracked Pesci down and called him at his restaurant to coax him out of showbiz retirement to co-star in Raging Bull.

7. SCORSESE INITIALLY DIDN’T SEE HOW THE SCRIPT FOR THE KING OF COMEDY WOULD WORK AS A MOVIE.

Robert De Niro passed Paul D. Zimmerman’s script for The King of Comedy on to Scorsese, hoping that he could interest him in directing it. "I didn't get it," Scorsese later admitted. "The script is hilarious. But the movie was just a one-line gag: You won't let me go on the show, so I'll kidnap you and you'll put me on the show.” Eventually, he came to see how it could be turned into a feature.

8. GRIFFIN DUNNE HAD TO GIVE UP, WELL, PRETTY MUCH EVERYTHING TO STAR IN AFTER HOURS.

In order to capture the desperation and paranoia to play word processor Paul Hackett in After Hours (1985), Scorsese gave star Griffin Dunne some very specific instructions. “I was at a symposium with Marty Scorsese and he said, ‘I really had to be hard on Griffin for this part. I said, no sex, no going out, none of it,’” Cher told People at the movie’s after-party. “It must have worked,” she added. “He’s so good at being frustrated.”

9. IT WAS PAUL NEWMAN WHO APPROACHED SCORSESE ABOUT THE COLOR OF MONEY.

Walter Tevis had written the book The Hustler and its sequel, The Color of Money, yet Paul Newman didn’t care for the adapted screenplay to the latter. So Newman went to Scorsese, as he was a fan of his work, particularly Raging Bull, which he felt had a similar tone to what The Color of Money should be.

10. SCORSESE GOT THE IDEA FOR GOODFELLAS WHILE SHOOTING THE COLOR OF MONEY.

In a rare moment of downtime on The Color of Money set, "I read a review of [Nicholas Pileggi's] Wiseguy ... and it said something about this character Henry Hill having access to many different levels of organized crime because he was somewhat of an outsider," Scorsese told Rolling Stone. "He looked a little nicer. He was able to be a better frontman and speak a little better. I thought that was interesting, because you could get a cross section of the layers of organized crime—from his point of view, of course. So I got the book, started reading it and was fascinated by the narrative ability of it."

11. THE FAMOUS “FUNNY HOW?” SCENE IN GOODFELLAS WASN’T IN THE SCRIPT.

The most famous (and certainly the most quoted) scene in Goodfellas comes at the beginning, when Pesci's Tommy DeVito jokingly-yet-uncomfortably accosts Henry Hill (Ray Liotta) for calling him "funny." In addition to being the driving force behind the scene on screen, Pesci is also responsible for coming up with the premise.  

While working in a restaurant, a young Pesci apparently told a mobster that he was funny—a compliment that was met with a less-than-enthusiastic response. Pesci relayed the anecdote to Scorsese, who decided to include it in the film. Scorsese didn't include the scene in the shooting script so that Pesci and Liotta’s interactions would elicit genuinely surprised reactions from the supporting cast.

12. STEVEN SPIELBERG TRADED CAPE FEAR TO MARTIN SCORSESE FOR THE RIGHTS TO SCHINDLER'S LIST.

Scorsese was set to direct Schindler's List, but was apprehensive about making it after the controversy surrounding his previous two films, Goodfellas and The Last Temptation of Christ. At the same time, Steven Spielberg was set to make Cape Fear, but decided that he "wasn't in the mood" to make a movie about a "maniac." So they traded projects. Spielberg had Bill Murray in mind to play Max Cady. Scorsese had other ideas.

13. THE CASINO OPENING TITLES WERE DESIGNED BY THE LEGENDARY SAUL BASS.

Saul Bass is certainly the most famous (and possibly the only) well-known designer of opening credit sequences, with more than 50 to his name. If there was a movie in the '50s or '60s with distinctive opening titles, odds are good that it was Bass's work, often in conjunction with his wife, Elaine. (Among them: Vertigo, Psycho, North by Northwest, West Side Story, Spartacus, and It's a Mad, Mad, Mad, Mad World.) Bass did the titles for Scorsese's Goodfellas, Cape Fear, The Age of Innocence, and Casino, which turned out to be the final film of his career. He died five months after the film opened, at the age of 75. 

14. GANGS OF NEW YORK WAS 32 YEARS IN THE MAKING.

Scorsese read Herbert Asbury’s 1928 nonfiction book The Gangs of New York: An Informal History of the Underworld in 1970 and immediately thought it would make a good movie. He didn’t have any money or clout yet though, so he had to wait. He bought the movie rights to the book in 1979, and even got a screenplay written around that time, then spent the next 20 years trying to get the project off the ground.

15. THE DEPARTED IS A REMAKE.

While Scorsese and screenwriter William Monahan claim they did not watch the 2002 Hong Kong action movie Infernal Affairs before making The Departed, the two films share more than a few similarities. Infernal Affairs director Andy Lau unsurprisingly prefers his own film, saying of The Departed, “Of course I think the version I made is better, but the Hollywood version is pretty good too.” 

16. “GIMME SHELTER” IS SCORSESE’S UNOFFICIAL GANGSTER THEME SONG.

Before The Departed, Scorsese had previously used the Rolling Stones song in Goodfellas and Casino. It seems Billy Costigan loves the Stones, too; the CD that he mails to Sullivan is housed in the case for the Rolling Stones album Exile on Main Street.

17. MEAN STREETS TOOK ITS TITLE FROM A RAYMOND CHANDLER ESSAY.

Originally titled Season of the Witch, the film’s name was changed to Mean Streets from a line from Raymond Chandler’s 1944 essay “The Simple Art of Murder.” Writing about the art of storytelling and plumbing the depths of humanity, Chandler wrote. “In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.”

18. DE NIRO WANTED TO MAKE RAGING BULL AS A PLAY, TOO.

This was in early 1978, before it was even written as a movie yet, when De Niro was collaborating with Mardik Martin to adapt LaMotta’s memoir, while simultaneously trying to convince a noncommittal and increasingly drug-addled Scorsese to take on the project. De Niro’s idea was to stage it as a Broadway play (to be directed by Scorsese), and then, during the run of the show, spend the daylight hours shooting the movie. De Niro liked the idea of the day’s filming influencing the way they performed the play that night. But Martin’s script wasn’t yet ready for either medium, and Scorsese was in no shape to do it then anyway. 

19. SCORSESE WAS WORKING ON NEW YORK, NEW YORK AT THE SAME TIME HE WAS MAKING THE LAST WALTZ.

Scorsese was supposed to be in New York editing the Liza Minnelli/Robert De Niro musical drama when he was in San Francisco preparing and shooting The Last Waltz. According to Scorsese, New York, New York producer Irwin Winkler was "very upset" when he learned this.

20. CHANDELIERS FROM GONE WITH THE WIND WERE USED ON THE LAST WALTZ.

The performance recorded for The Last Waltz was designed by Boris Leven, who has served as production designer on West Side Story (1961) and The Sound of Music (1965). Leven created a backdrop inspired by the films of Luchino Visconti (Death In Venice, The Leopard), borrowing props from the San Francisco Opera's production of La Traviata and chandeliers designed for Gone with the Wind. Robertson wasn't sold on the elaborate decor. He told Leven, "Chandeliers? I don't think that's going to go over with Neil or Bob or the rest of the musicians. These people don't do chandeliers, Boris."

21. THE FIRST SCENE SHOT FOR GOODFELLAS WASN’T DIRECTED BY SCORSESE. 

As you might know, the business of filming is rarely chronological—directors tend to jump scenes for cost, scheduling, and efficiency reasons. For Goodfellas, the scene that broke shooting ground was the intentionally low-budget Morrie’s Wigs commercial, which plays just before Henry and Jimmy hassle Morrie about a debt near the beginning of the film. To get the feel of the commercial right, Scorsese contacted Stephen R. Pacca, who had created his own ultra low-budget ads for his replacement window company, to write and direct the Morrie’s Wigs ad. 

22. REESE WITHERSPOON BLEW HER CAPE FEAR AUDITION. SO DID DREW BARRYMORE.

"It was my second audition ever," Witherspoon said in 1999. "My agent told me I'd be meeting Martin Scorsese. I said, 'Who is he?' Then he mentioned the name Robert De Niro. I said, 'Never heard of him.' When I walked in I did recognize De Niro, and I just lost it. My hand was shaking and I was a blubbering idiot.''

Drew Barrymore auditioned for the role, too, but believed she overacted for one of Scorsese's assistants. In 2000, she called the audition "the biggest disaster" of her life and said that Scorsese thinks she's "dog doo-doo" because of it.

23. GEORGE LUCAS HELPED WITH SCORSESE OUT WITH AN ELEPHANT PROBLEM FOR GANGS OF NEW YORK.


ROBYN BECK/AFP/Getty Images

The Star Wars creator, then working on Attack of the Clones, had visited the massive set in Rome and told Scorsese that it was probably the last of its kind, that such large re-creations would be done on computers now to save money. Lucas’s know-how in such matters came in handy later, when Gangs needed an elephant and none of the animal wranglers in Italy were able to produce one in time. So Scorsese called his old friend Lucas and asked for help: “We’re effed," Scorsese told Lucas. "We don’t have [an] elephant! Tell us how to shoot it!” Lucas, an old pro at such things, guided them through the process of filming without the elephant and having it digitally created later. It’s the only thing in the movie that’s completely computer-generated. 

24. SCORSESE WAS INSPIRED TO CAST GWEN STEFANI IN THE AVIATOR AFTER SEEING HER PICTURE ON THE SIDE OF A BUS SHELTER.

The Marilyn Monroe-inspired pictures, taken by Herb Ritts for a Teen Vogue cover, caught Scorsese's eye. Stefani told MTV the story, as she heard it from DiCaprio. “Martin Scorsese’s driving in New York City and he sees my Teen Vogue cover on the side of a bus stop shelter. And he’s like, ’Who’s that girl? Let’s get her!’ I had Leonardo DiCaprio tell me the whole story in Martin Scorsese’s voice, so it was pretty bizarre.” Stefani portrayed Jean Harlow; it was her first film role. 

25. BERNARD HERRMANN DIED JUST A FEW HOURS AFTER RECORDING THE MUSIC FOR TAXI DRIVER.

Scorsese was lucky to get Bernard Herrmann, a Hollywood legend who had scored Citizen Kane, Psycho, Cape Fear, North by Northwest, and dozens of others. Herrmann wrote the Taxi Driver score and conducted the recording sessions himself, finishing in Los Angeles on the evening of December 23, 1975. He retired to his hotel and died sometime during the night, officially Christmas Eve morning, at the age of 64. He was posthumously nominated for an Oscar. 

26. DANIEL DAY-LEWIS WAS TRAINED BY REAL BUTCHERS FOR GANGS OF NEW YORK, BECAUSE OF COURSE HE WAS.


Miramax

Ever the Method actor, Day-Lewis first took lessons from two Argentine brothers with a butcher shop in Queens, then from a master butcher specially flown in from London.

27. SCORSESE THREATENED TO TAKE HIS NAME OFF OF RAGING BULL OVER ONE MINOR SOUND ISSUE. 

Very late in the post-production process, when the film was due to premiere soon and Scorsese was still tinkering with the final sound mix, producer Irwin Winkler gave him a drop deadline: All work would cease at midnight on a certain night, and that would be it. When the hour arrived, Scorsese was obsessing over one minor line of dialogue someone says to a bartender —“Cutty Sark, please”—which he didn’t think was audible. Winkler told him too bad, we’ve got to send this thing out. Scorsese declared that if Winkler released the film this way, he wanted his name taken off it as director, because it no longer reflected his vision. Winkler said, “So be it.” Like all good producers, he knew that sometimes you have to let an overtired director throw a tantrum and say things he doesn’t really mean. Sure enough, Scorsese recanted sometime later.

28. SCORSESE AVOIDED AN X RATING ON TAXI DRIVER BY MAKING THE BLOOD LOOK MORE BROWN THAN RED. 

Scorsese desaturated the color in the film’s gorier scenes, rendering the blood less realistic and more like a black-and-white tabloid newspaper (without actually being black-and-white). Not only did it fit the lurid tone he was going for, it soothed the nerves of the ratings board. 

29. CATE BLANCHETT DID HER HOMEWORK FOR THE AVIATOR.


Miramax

At Scorsese's request, Blanchett watched all of Hepburn's first 15 movies for The Aviator. Blanchett also screened Hepburn's 1973 interview with Dick Cavett, read a memoir about her, took golf and tennis lessons, and took cold baths just like Hepburn. On June 29, 2003—the same day that Blanchett arrived on set for the first time—Hepburn passed away. "I picked up the paper thinking, 'Isn't it odd that Katharine Hepburn's on the cover?'" Blanchett recalled. "She had such a remarkable life, and then with her death, she was even more present in everyone's mind."

30. WE MAY NEVER KNOW WHAT THE REAL SAM “ACE” ROTHSTEIN ACTUALLY THOUGHT OF CASINO.

Lefty Rosenthal—the inspiration for Sam Rothstein, who died in 2008—said he only ever saw Casino once. If that's true, it was the screening of a rough cut that was also attended by Nicholas Pileggi. Pileggi sat with Rosenthal—they were the only ones in the screening room—and said Rosenthal's reaction was positive. But near the end of his life, when an interviewer mentioned that, "You only saw Casino once—and you don't like the movie," Rosenthal replied that "It lacked the detail of what I did. There are scenes where the Rosenthal character repeated the same thing twice. I would only tell you to do something one time—that's all I needed. And there was that scene that still angers me when I think of it—I never juggled on The Frank Rosenthal Show. I resent that scene. It makes me look foolish. And I only did that TV show [at] the behest of the chairman of the board of the Stardust so that the public would realize I was a decent guy and not a mobster as portrayed by the media covering us at the time.” Did Rosenthal change his mind over time? Did Pileggi misinterpret his initial reaction? We'll never know.

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