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16 Movies That Almost Starred Al Pacino

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Though he’s often been referred to as one of the greatest actors of his generation, Al Pacino—who turns 75 today—will no doubt be remembered as one of the greatest actors of all time. After making his movie debut opposite Patty Duke in 1969’s Me, Natalie, Pacino would go on to become one of the most seminal figures in the “New Hollywood” movement of the 1970s (the pre-blockbuster era in which the counterculture became the mainstream) with starring roles in The Godfather trilogy, Scarecrow, Serpico, Dog Day Afternoon, Bobby Deerfield, and …And Justice for All.

Though he’s racked up more than 50 credits in his near-50-year career, Pacino has also turned down plenty of roles (including several in truly great movies). When asked about his track record for saying no in 2013, Pacino explained: “I’m not a very good judge of what’s good.” Here are 16 roles that could have been.

1. THE GANG THAT COULDN’T SHOOT STRAIGHT (1971)

Super-producer Robert Evans needed to call in a lot of favors to get Pacino out of the commitment he had made to playing Mario in James Goldstone’s Mafia comedy. The reason for the change of heart? Two days after agreeing to the part, he was offered the role of Michael Corleone. Eventually, Robert De Niro played the part that was meant for Pacino.

2. LENNY (1974)

In 2010, Pacino told Larry King that turning down the title role in Bob Fosse’s Lenny Bruce biopic is one of his biggest regrets. Though he didn’t originally think it was for him, after seeing a comic perform live, “I suddenly saw what I would want to do with this part.” At that point, it was too late—though Pacino calls Dustin Hoffman’s Oscar-nominated performance in the part “amazing.”

3. STAR WARS (1977)

For years, rumors have swirled about the many actors who turned down the role of Han Solo, opening the path for Harrison Ford to make it his own. In 2013, Pacino spoke out on why he passed on the part, telling a crowd during a Q&A that, “Star Wars was mine for the taking but I didn’t understand the script.”

4. CLOSE ENCOUNTERS OF THE THIRD KIND (1977)

Speaking of classic sci-fi flicks that Pacino declined: Steven Spielberg had a host of actors on his wish list before offering the role to Richard Dreyfuss—Steve McQueen, Dustin Hoffman, Jack Nicholson, Gene Hackman, James Caan, and Pacino among them.

5. SLAP SHOT (1977)

In Al Pacino, journalist Lawrence Grobel’s extended interview-turned-semi-autobiography of the actor, Pacino cites Slap Shot as a movie he still wishes he had been able to make. “But because George Roy Hill was doing it, I couldn’t do it,” he explained. “I should have made that movie. That was my kind of character—the hockey player. Paul Newman is a great actor, it’s not a matter of that. I read that script and passed it on to George Roy Hill that I wanted to talk to him about it, and all he said was, ‘Can he ice skate?’ That’s all he was interested in, whether I could ice skate or not. That was a certain kind of comment. He didn’t want to talk about anything else. It was like he was saying, 'What the hell, it could work with anybody.’ The way in which he responded said to me he wasn’t interested.”

6. DAYS OF HEAVEN (1978)

In Grobel’s book, Pacino cites Days of Heaven as one of the roles that he was truly conflicted over, saying: “I love Terrence Malick, and I love the picture.” According to Peter Biskind’s Easy Riders, Raging Bulls, Dustin Hoffman also turned down the lead, which eventually became a breakthrough role for Richard Gere.

7. COMING HOME (1978)

Alongside Days of Heaven, Pacino also told Grobel that saying no to the lead role in Coming Home (the role that won Jon Voight an Oscar), was a tough call. But he had his reasons: “I was hoping to make Born on the Fourth of July at that time,” he said. “It was too close.”

8. BORN ON THE FOURTH OF JULY (1989)

Do the math and it’s pretty obvious that the version of Born on the Fourth of July that Pacino was hoping to make back in the late 1970s was a bit different from the late 1980s film that earned Tom Cruise his first Oscar nomination. Yes, Oliver Stone was still involved, but only as the screenwriter. William Friedkin was set to direct, but when he dropped out, Pacino wanted out, too. “I had an interest in making it with Billy,” Pacino says in Al Pacino. “So, suddenly, Friedkin is out of the picture—now what? I wasn’t going to make that movie.”

9. KRAMER VS. KRAMER (1979)

Pacino didn’t even have to read the script for Robert Benton’s Oscar-winning divorce drama to know it wasn’t right for him. “There were times in my life when I didn’t even read what was being offered me,” he told Grobel. “Sometimes I can smell something that’s not right for me … I had a feeling it was not for me … I didn’t feel, at this point, it would be useful.” (Dustin Hoffman won his first Oscar playing the role of Ted Kramer.)

10. APOCALYPSE NOW (1979)

After two successful Godfather go-arounds with Francis Ford Coppola, Pacino knew enough about the director’s work habits to know that he would not be a good fit to play Willard (Martin Sheen’s part) in Apocalypse Now. “I know what this is going to be like,” Pacino told Coppola. “You're going to be up there in a helicopter telling me what to do, and I'm gonna be down there in a swamp for five months.” Pacino balked at the idea of five months of shooting, but the film actually took 16 months to be completed.

11. FIRST BLOOD (1982)

Based on David Morrell’s 1972 book, and optioned quickly, First Blood is one of those movies that had a number of director-star configurations attached before finally making it into production. Martin Ritt wanted Paul Newman to do it, Sydney Pollack wanted Steve McQueen, and by 1975, Martin Bregman was attached with Pacino to star as John Rambo, when it was a much different movie. “People would have understood the character, but they wouldn’t have had empathy,” original screenwriter David Rabe explained of his script in Douglas Robinson’s book, No Less a Man: Masculist Art in a Feminist Age. “There is a kind of violence that excites an audience and makes them feel that it’s a lot of fun. Mine was not.” Many sources say that Pacino eventually opted out because he wanted Rambo to be more of a “madman.”

12. BEVERLY HILLS COP (1984)

Before it became a showcase for the comedic stylings of Edddie Murphy, Beverly Hills Cop was a much edgier crime thriller, that at different times was offered to Martin Scorsese and David Cronenberg to direct. Plenty of big-name actors besides Pacino turned down the role of Axel Foley, too (Mickey Rourke, Sylvester Stallone, and James Caan apparently among them).

13. DIE HARD (1988)

During a freewheeling crowd Q&A in 2013, when confronted with the list of major movies that he turned down, Pacino had only this to say about Bruce Willis’ iconic role in Die Hard: “I gave that boy a career.”

14. JOHNNY HANDSOME (1989)

Though Pacino would later go on to work with director Harold Becker in Sea of Love and City Hall, in Grobel’s book, the actor explains that he first met Becker while they were developing Johnny Handsome. “Harold and I were trying to find a third act, and we couldn’t. The first half of that movie is great. That was my favorite role ever in movies. I loved the whole idea of someone who’s been grotesque-looking and has made a life having to cope with that kind of deformity, to then have it lifted from him, and to have to cope with the world now … I loved the role. Loved it. But once again, one of those roles that just go down the drain if they couldn’t fix the last act. Mickey Rourke did a great job on it, but that didn’t matter; the movie didn’t have the finish.”

15. SNAKE EYES (1998)

In 1997, Pacino was set to re-team yet again with his Scarface and Carlito’s Way director Brian De Palma on the Nicolas Cage film Snake Eyes. Until he wasn't. On July 11, 1997, Variety reported that, “After months of talks between filmmaker Brian De Palma, Paramount execs, and Al Pacino about starring opposite Nicolas Cage in Snake Eyes, Pacino officially has passed. The studio now is eyeing a handful of other actors, including Gary Sinise, to star the action thriller written by David Koepp.” (Sinise did take the part.)

16. PRETTY WOMAN (1990)

Before you try and picture Pacino in the role made famous by Richard Gere, it’s key to remember that Pretty Woman was originally a much darker tale. Still, in 2010, Pacino explained to Larry King that, “Sometimes it's just not the right role for you and you don't feel you belong in that part.”

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15 Supercalifragilisticexpialidocious Julie Andrews Quotes
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With her saccharine movies and sugary voice, it would be easy for Julie Andrews to cross the line from sweet to cloying. Yet for more than 60 years, the Oscar-winning actress/singer/author has managed to enchant audiences of all ages with her iconic roles in everything from Mary Poppins to The Sound of Music to The Princess Diaries.

Yet just because she sings about raindrops on roses and whiskers on kittens doesn’t mean that Andrews doesn’t have an edge. “I hate the word wholesome,” she once declared. In celebration of the beloved movie star’s 82nd birthday, we’ve assembled some of Andrews’s most memorable quotes on everything from being typecast to Mary Poppins's personal habits.

1. ON MAKING THE TRANSITION FROM STAGE TO SCREEN

Mary Poppins was the first movie I made and The Sound of Music was the third. I was as raw as I could be. God knows I did not have the right or the ability in those days to say anything like a mentor. The only thing I did feel was that I could contribute to helping the kids feel natural, making them laugh off the set so that they were easy with me on the set. We had some good times." — From a 2015 interview with HitFix

2. ON THE FRIGHTFUL NATURE OF SUCCESS

“Success is terrifying. Like happiness, it is often appreciated in retrospect. It’s only later that you place it in perspective. Years from now, I’ll look back and say, ‘God, wasn’t it wonderful?” — From a 1966 interview with This Week

3. ON SMILING THROUGH CHALLENGING TIMES

“I was raised never to carp about things and never to moan, because in vaudeville, which is my background, you just got on with it through all kinds of adversities.” — From a 2010 interview with The Telegraph

4. ON AVOIDING TYPECASTING

“I think the hardest thing in a career even as lovely as I’ve had is not to go on being typecast, to keep trying new things. As much as possible, I do try to do that.” — From a 2015 interview with HitFix

5. ON BEING A BADASS

“I’ve got a good right hook.” — From Julie Andrews: An Intimate Biography, by Richard Stirling

6. ON BEING GRATEFUL

“A lot of my life happened in great, wonderful bursts of good fortune, and then I would race to be worthy of it.” — From a 2004 interview with The Guardian

7. ON THE CHANGING DEFINITION OF “SUCCESS”

“You never set out to make a bad movie. You always hope that you’re making a good one. We’re sad about them, inasmuch as they damage the career. In those days it was important, but not as important as it is today, to keep making success after success after success. It’s terrifying today. You can maybe have one so-so movie but you’ve got to come back with another that’s huge, if possible, and that must be very, very difficult for young talent.” — From a 2004 interview with the Academy of Achievement

8. ON THE COLLABORATIVE NATURE OF FILMMAKING

“It is a collaborative medium. If you’re lucky, everyone wants to do just that. You never set out to make a failure; you want a success. In the case of The Sound of Music, everyone was willing to bond and make it work. That is the best kind of working conditions. You don’t want to go in feeling that something’s wrong or that you’re not connecting. Thus far I’ve been really blessed.” — From a 2015 interview with HitFix

9. ON HOW THE PROS DO IT

“Remember: the amateur works until he can get it right. The professional works until he cannot go wrong.” — From Julie Andrews’s autobiography, Home: A Memoir of My Early Years

10. ON BELIEVING IN MIRACLES

“I do think that’s true [that miracles are happening every day]. If you can take the time to look. It took me a while to learn that, though some children know it instinctively and they do have wonder when they are kids. But the trouble is, as we grow older, we lose it.” — Interview with American Libraries Magazine

11. ON LOSING CONTROL

“I can’t drink too much without getting absolutely silly. And drugs have, mercifully, never worked, so I think I’m far more frightened of being out of control.” — From a 2004 interview with The Guardian

12. ON FINDING INSPIRATION

"It comes from anyplace. Truthfully, once the antennae are kind of up I’m always thinking or looking or feeling." — From an interview with American Libraries Magazine

13. ON THE REALITY OF “HAPPILY EVERY AFTER”

"As you become older, you become less judgmental and take offense less. But marriage is hard work; the illusion that you get married and live happily ever after is absolute rubbish." — From a 1982 interview with The New York Times

14. ON LUCK AND LONGEVITY

“When careers last as long as mine—and it’s been a lot of years now—I’m very fortunate that I’m still around. All careers go up and down like friendships, like marriages, like anything else, and you can’t bat a thousand all the time. So I think I’ve been very, very lucky.” — From a 2010 interview with The Telegraph

15. ON HOW MARY POPPINS IS JUST LIKE US

“Does Mary Poppins have an orgasm? Does she go to the bathroom? I assure you, she does." — From a 1982 interview with The New York Times

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6 Memorable Letters From Neil Armstrong
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Neil Armstrong, who would have turned 87 years old today, is remembered as both a "reluctant American hero" and "the spiritual repository of spacefaring dreams and ambitions." He was a man of few words, but those he chose to share were significant and, occasionally, tongue-in-cheek. Here are some notable letters and notes written by the first man on the moon.

1. ITS TRUE BEAUTY, HOWEVER, WAS THAT IT WORKED.

There was little certainty about what to expect once Armstrong and Buzz Aldrin left the relative safety of the Apollo 11 spacecraft. This was not lost on Armstrong, who sent a letter of thanks to the crew who designed his spacesuit.

2. AMERICA MUST DECIDE IF IT WISHES TO REMAIN A LEADER IN SPACE.

It's no secret that NASA's budget has all but disappeared in recent years. Neil, along with James Lovell and Eugene Cernan, had a few things to say about that. The three wrote an open letter to President Obama, urging him not to forfeit the United States' progress in space exploration and technology. It ends with a sobering prediction, and some advice:

For The United States, the leading space faring nation for nearly half a century, to be without carriage to low Earth orbit and with no human exploration capability to go beyond Earth orbit for an indeterminate time into the future, destines our nation to become one of second or even third rate stature. While the President’s plan envisages humans traveling away from Earth and perhaps toward Mars at some time in the future, the lack of developed rockets and spacecraft will assure that ability will not be available for many years.

Without the skill and experience that actual spacecraft operation provides, the USA is far too likely to be on a long downhill slide to mediocrity. America must decide if it wishes to remain a leader in space. If it does, we should institute a program which will give us the very best chance of achieving that goal.

(Here's the letter in full.)

3. ALL OF THIS KNOWLEDGE IS YOURS FOR THE TAKING.

In 1971, the children's librarian of Troy, Michigan's new public library wrote dozens of letters to notable figures across the globe, asking them to address the children of Troy and speak about the importance of libraries, books, and reading. Among the replies was this note from Armstrong:

Through books you will meet poets and novelists whose creations will fire your imagination. You will meet the great thinkers who will share with you their philosophies, their concepts of the world, of humanity and of creation. You will learn about events that have shaped our history, of deeds both noble and ignoble. All of this knowledge is yours for the taking… Your library is a storehouse for mind and spirit. Use it well.

4. I FIND THAT MYSTIFYING.

After NPR's Robert Krulwich wondered aloud on-air why the astronauts stayed so close to the landing site (less than 100 yards from their lander), a helpful Armstrong sent over a lengthy letter of explanation, which ended with a little insight about the importance of space exploration (emphasis added):

Later Apollo flights were able to do more and move further in order to cover larger areas, particularly when the Lunar Rover vehicle became available in 1971. But in KRULWICH WONDERS, you make an important point, which I emphasized to the House Science and Technology Committee. During my testimony in May I said, "Some question why Americans should return to the Moon. "After all," they say "we have already been there." I find that mystifying. It would be as if 16th century monarchs proclaimed that "we need not go to the New World, we have already been there." Or as if President Thomas Jefferson announced in 1803 that Americans "need not go west of the Mississippi, the Lewis and Clark Expedition has already been there." Americans have visited and examined 6 locations on Luna, varying in size from a suburban lot to a small township. That leaves more than 14 million square miles yet to explore.

I have tried to give a small insight into your question “Who knew?”

I hope it is helpful.

(Read the full transcript here.)

5. IT CERTAINLY WAS EXCITING FOR ME.

On the 40th anniversary of the Apollo landing, Armstrong wrote a personal letter of tribute to the Canberra Deep Space Communications Complex, which provided the communications between Apollo 11 and mission control. In part, it reads:

We were involved in doing what many thought to be impossible, putting humans on Earth’s moon.

Science fiction writers thought it would be possible. H. G. Wells, Jules Verne, and other authors found ways to get people to the moon. But none of those writers foresaw any possibility of the lunar explorers being able to communicate with Earth, transmit data, position information, or transmit moving pictures of what they saw back to Earth. The authors foresaw my part of the adventure, but your part was beyond their comprehension.

All the Apollo people were working hard, working long hours, and were dedicated to making certain everything they did, they were doing to the very best of their ability. And I am confident that those of you who were working with us forty years ago, were working at least that hard. It would be impossible to overstate the appreciation that we on the crew feel for your dedication and the quality of your work.

The full text is available on the Honeysuckle Creek Tracking Station website.

6. NEXT TIME, BUTT OUT OF OUR BUSINESS!

After a surprise appearance in "Mystery On the Moon," issue #98 of The Fantastic Four, wherein our intrepid explorers are saved by four mutants in space, this brief note arrived in Stan Lee and Jack Kirby's mailbox. Was it real? Who knows. But the sentiment remains: We don't need your superheroes to get to the moon—we have science

This post originally appeared in 2012.

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