Marlon Brando, Jr. was one of the most famous and influential actors of the second half of the 20th century. The student-turned-face of Method acting, as taught to him by Stella Adler, first gained attention for his performance as Stanley Kowalski in the Broadway run of A Streetcar Named Desire in 1947. Ever since, the seemingly tall tales of Brando clashing with actors, writers, and directors have only multiplied over the years. In honor of the legendary actor’s birthday, here are 16 stories about his just-as-legendary antics.
1. HE WAS EXPELLED FROM TWO SCHOOLS.
Brando was expelled from high school, allegedly for riding a motorcycle down the hallway, which forced his father to send him to Shattuck Military Academy in Faribault, Minnesota. Once there, Brando wrote that one night he climbed the bell tower, removed the 150-pound clapper, then carried the clapper 200 yards and buried it. In a stroke of genius, Brando then organized a committee to find out who was responsible. He was never caught, but got himself expelled anyway for other infractions. After that, in the spring of 1943, he moved to New York to live with his sister in Greenwich Village.
2. HE WORKED AS AN ELEVATOR OPERATOR.
In New York, Brando worked as an elevator operator at Best & Co., a department store. In Brando: Songs My Mother Taught Me, he wrote that he followed that gig with brief stints as a waiter, a short-order cook, and a sandwich man. Brando was also a night watchman in a factory.
3. HE WOULD SPEND HOURS WATCHING AN AGENT MAKE DEALS.
Agent Irving Paul "Swifty" Lazar helped Brando get a $10 raise, from $65 to $75 a week, for his Broadway debut in I Remember Mama. Lazar recalled how in 1945, Brando and his then-girlfriend, Blossom Plumb, would sit silently for hours at a time listening to Lazar make deals over the phone.
4. HE FIXED TENNESSEE WILLIAMS' HOUSE BEFORE AUDITIONING FOR A STREETCAR NAMED DESIRE.
The playwright was living in Provincetown, Massachusetts when his plumbing flooded. The light fuse was also broken. A few days after he was scheduled to arrive for his audition, Brando showed up at Williams' house, asked him why the lights were out, and then proceeded to fix the fuses and unclog the overflowing toilet bowl. Then he gave his audition. Williams wrote that it was "the most magnificent reading" he had ever witnessed.
5. HE BROKE HIS NOSE DURING A PERFORMANCE OF STREETCAR WHEN HE WAS BOXING WITH SOMEONE BACKSTAGE.
To alleviate the boredom of playing Kowalski on stage for, at that time, over one year, Brando started to fight with one of the stagehands, who was an amateur boxer. The stagehand took it easy on Brando until the actor insisted he fight for real. The stagehand then popped him in the nose, and blackened his eyes. Having just been punched in the face, and with his nose bleeding, Brando stepped back on to the stage. His co-star, Jessica Tandy, hid her surprise at his appearance by ad-libbing the line "You bloody fool" and playing it off as if Stanley had just been in a street fight.
After the performance, Brando walked to the nearest hospital to get himself fixed up. Irene Selznick, the show's producer, told Brando to get his nose reset. She was glad he did not to listen to her. "I honestly think that broken nose made his fortune," she said. "It gave him sex appeal. He was too beautiful before."
6. HE SCREEN TESTED FOR REBEL WITHOUT A CAUSE.
This was in 1947, when the film project was just a planned screen adaptation of Rebel Without a Cause: The Hypnoanalysis of a Criminal Psychopath, a 1944 book by Robert M. Lindner, about an inmate who admitted under hypnosis that he witnessed his parents having sex when he was just a baby and had been rebelling ever since. Brando turned down a $3000 per week offer from Warner Bros. and continued to work the stage. When the movie was finally made in 1955, The New York Times critic Bosley Crowther wrote that James Dean was “imitating Marlon Brando in varying degrees."
7. BRANDO INITIALLY TURNED DOWN ON THE WATERFRONT, AND DIDN'T CARE FOR HIS PERFORMANCE IN IT.
After Brando returned the unread script—twice—Frank Sinatra was cast as Terry Malloy. While costumes were being fitted for the crooner to star, Brando changed his mind after producer Sam Spiegel convinced the actor to put his politics aside and re-team with his A Streetcar Named Desire director Elia Kazan, who had testified as a witness before the House Committee on Un-American Activities in 1952.
When Brando first saw the movie, he was "so depressed" by his performance that he left the screening room without saying a word. Brando won his first (of two) Best Actor Oscars for the role.
8. SOMEONE STOLE HIS ON THE WATERFRONT OSCAR.
Brando wrote that he honestly did not know what happened to his Oscar. He did not notice its disappearance until 1994, when his lawyer informed him a London auction house was planning on selling it.
9. BRANDO AND SINATRA FEUDED DURING GUYS AND DOLLS.
Still upset over having the role of Terry Malloy taken away from him, Sinatra held a grudge, and repeatedly referred to Brando as "Mumbles." Sinatra also declared that he didn't go for Brando and "that Method crap."
The two ended up starring in Guys and Dolls (1955) together, with Sinatra as Nathan Detroit and Brando as Sky Masterson. To get back at Sinatra for his adamant dislike of rehearsing, Brando purposely screwed up at the end of scenes to necessitate a retake. In one scene, Brando reportedly messed up nine times in a row because Sinatra had to eat a piece of cheesecake every time. After the ninth mistake, Sinatra threw his plate to the ground, jammed his fork on the table, and screamed at the director, "These f**king New York actors! How much cheesecake do you think I can eat?"
10. HE BOUGHT HIS OWN ISLAND.
While filming Mutiny on the Bounty (1962), Brando first saw Tetiaroa, a 2.3-square-mile atoll located about 30 miles north of Tahiti's main island. Six years after falling in love with it, he bought it. Today, it operates as a resort: The Brando.
11. HE WAS NOT A FAN OF BURT REYNOLDS.
When Brando learned that Burt Reynolds was being considered for the role of Michael Corleone in The Godfather (1972), he said that he would drop out of playing Vito if Reynolds was cast. Brando said Reynolds was "the epitome of something that makes me want to throw up."
12. HE CAME UP SHORT WHILE SHOOTING LAST TANGO IN PARIS.
While filming Bernardo Bertolucci's controversial, X-rated movie, Brando became embarrassed one very cold day when, according to him, his member shrank to the "size of a peanut." Unfortunately for Brando, it was on a day when several nude scenes were set to be filmed.
13. BRANDO THOUGHT HIS SUPERMAN CHARACTER WOULD WORK BETTER AS A GREEN BAGEL.
After being cast as Jor-El, Superman's father in Richard Donner's 1978 superhero flick, Brando suggested that it might be better if he simply provided the voice of the character. "He suggested—strongly—that Jor-El could be a suitcase or a green bagel that spoke with Brando's voice," producer Ilya Salkind recalled. "I was really young and I was sweating it out. I said 'My God, this is finished, the movie will not happen ... The man will destroy everything. This is impossible. Jor-El will be a bagel.'" Fortunately, Donner stepped in: "Marlon, I think that people want to see Marlon Brando playing Jor-El. They don't want to see a green bagel."
14. BRANDO READ HIS SUPERMAN LINES OFF OF SUPERMAN'S DIAPER.
TIMEinitially reported that Brando made $2.25 million for 12 days work on Superman, but over the years his salary has gone up to $3.7 million for his 10 minutes of screen time. In a scene where Brando—as Jor-El, Superman's father—put his infant son into an escape pod, Brando read his lines off the baby's diaper. (Similarly, he had asked Bertolucci if he could read his lines off of co-star Maria Schneider's backside in Last Tango in Paris. In that case, he was turned down.)
Brando starred in The Score (2001), directed by Frank Oz, a noted puppeteer who operated and voiced Miss Piggy, Fozzie Bear, Cookie Monster, Grover, and Yoda. The trouble began when Brando played his homosexual character "way over the top" on the first day of shooting, according to Oz—who also admitted to being "too tough" on Brando when he told him to tone it down.
In response, Brando began referring to Oz as "Miss Piggy." Co-star Robert DeNiro ended up serving as a sort of mediator, and would deliver Oz's directions to Brando. For one scene, shot over two days, Brando was so upset that he refused to act with Oz in the room, so the director had to watch outside with a monitor.
30 Facts About Your Favorite Martin Scorsese Movies
BY mentalfloss .com
November 17, 2017
Tim P. Whitby/Getty Images
In the pantheon of iconic American film giants, Martin Scorsese gets to sit at the head of the table and carve the turkey. In a career spanning 50 years, he has created some of the most visually spectacular and quote-worthy material ever put on celluloid. To celebrate the auteur’s 75th birthday, here are 30 facts about some of your favorite Scorsese movies. Ready? Great… now go home and get your #@$%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 Moneyshould 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," ScorsesetoldRolling 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, Goodfellasand 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 ofThe 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.
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.
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.
Georgia O’Keeffe’s enchanting floral still lifes are now a deeply ingrained part of American culture—so much so that they often eclipse her other colorful accomplishments. For a more complete portrait of the artist, who was born 130 years ago today, brush up on these 15 little-known facts about her.
1. FLOWER PAINTINGS MAKE UP A SMALL PERCENTAGE OF O'KEEFFE'S BODY OF WORK.
Though O'Keeffe is most famous for her lovingly rendered close-ups of flowers—like Black Iris and Oriental Poppies—these make up just about 200 of her 2000-plus paintings. The rest primarily depict landscapes, leaves, rocks, shells, and bones.
2. SHE REJECTED SEXUAL INTERPRETATIONS OF HER PAINTINGS.
For decades, critics assumed that O'Keeffe's flowers were intended as homages—or at the very least, allusions—to the female form. But in 1943, she insisted that they had it all wrong, saying, “Well—I made you take time to look at what I saw and when you took time to really notice my flowers you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower—and I don’t.” So there.
3. SHE WAS NOT A NATIVE OF THE AMERICAN SOUTHWEST.
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O'Keeffe was actually born on a Wisconsin dairy farm. She'd go on to live in Chicago; New York City; New York’s Lake George; Charlottesville, Virginia; and Amarillo, Texas. She first visited New Mexico in 1917, and as she grew older, her trips there became more and more frequent. Following the death of her husband in 1946, she moved to New Mexico permanently.
4. HER FAVORITE STUDIO WAS THE BACKSEAT OF A MODEL-A FORD.
In an interview with C-SPAN, Carolyn Kastner, curator of the Georgia O'Keeffe Museum, explained how the artist customized her car for this use: "She would remove the driver's seat. Then she would unbolt the passenger car, turn it around to face the back seat. Then she would lay the canvas on the back seat as an easel and paint inside her Model-A Ford."
Painting inside the car allowed O'Keeffe to stay out of the unrelenting desert sun, where she painted many of her later works. The Model-A also provided a barrier from the bees that would gather as the day wore on.
While in New Mexico O’Keeffe spent summers and falls at her Ghost Ranch, putting up with the region's hottest, most stifling days in order to capture its most vivid colors. (The rest of the year she stayed at her second home, located in the small town of Abiquiu.) When she wasn't painting in her Model-A, O'Keeffe often camped out in the harsh surrounding terrain, to keep close to the landscapes that inspired her.
7. …WHATEVER THE WEATHER.
The artist would rig up tents from tarps, contend with unrelenting downpours, and paint with gloves on when it got too cold. She went camping well into her 70s and enjoyed a well-documented rafting trip with photographer Todd Webb at age 74. Her camping equipment is occasionally exhibited at the Georgia O'Keeffe Museum in Santa Fe.
8. SHE MARRIED THE MAN BEHIND HER FIRST GALLERY SHOW.
"At last, a woman on paper!" That’s what modernist photographer and gallery owner Alfred Stieglitz cried when he first saw O'Keeffe's abstract charcoal drawings. He was so enthusiastic about this series of sketches that he put them on display—before consulting their creator.
When O'Keeffe arrived at his gallery, she wasn't pleased, and brusquely introduced herself: "I am Georgia O'Keeffe and you will have to take these pictures down." Despite their rocky beginnings, Stieglitz and O'Keeffe quickly made amends, and went on to become partners in art and in life.
9. O'KEEFFE AND STIEGLITZ WROTE 25,000 PAGES OF LOVE LETTERS TO EACH OTHER.
When the pair met in 1916, he was famous and married; she was unknown and 23 years his junior. All the same, they began writing to each other often (sometimes two or three times a day) and at length (as many as 40 pages at a time). These preserved writings chart the progression of their romance—from flirtation to affair to their marriage in 1924—and even document their marital struggles.
10. SHE SERVED AS A MUSE TO OTHER ARTISTS.
Thanks in part to Stieglitz, O'Keeffe was one of the most photographed women of the 20th century. Stieglitz made O'Keeffe the subject of a long-term series of portraits meant to capture individuals as they aged, and she made for a striking model. Though he died in 1946, the project lived on as other photographers sought out O'Keeffe in order to capture the beloved artist against the harsh New Mexican landscapes she loved so dearly.
When I look over the photographs Stieglitz took of me—some of them more than sixty years ago—I wonder who that person is. It is as if in my one life I have lived many lives. If the person in the photographs were living in this world today, she would be quite a different person—but it doesn't matter—Stieglitz photographed her then.
11. SHE QUIT PAINTING THREE TIMES.
The first break spanned several years (the exact number is a matter of debate), when O'Keeffe took on more stable jobs to help her family through financial troubles. In the early 1930s, a nervous breakdown led to her hospitalization, and caused her to set aside her brushes for more than a year.
In the years leading up to her death in 1986, failing eyesight forced O'Keeffe to give up painting entirely. Until then, she fought hard to keep working, enlisting assistants to prepare her canvas and mix her oil paints for pieces like 1977's Sky Above Clouds/Yellow Horizon and Clouds. She managed to use watercolors until she was 95.
Although her vision eventually made painting impossible, O'Keeffe's desire to create was not squelched. She memorably declared, "I can see what I want to paint. The thing that makes you want to create is still there.” O'Keeffe began experimenting with clay sculpting in her late 80s, and continued with it into her 96th year.
13. SHE'S THE MOTHER OF AMERICAN MODERNISM.
Searching for what she called “the Great American Thing,” O'Keeffe was part of the Stieglitz Circle, which included such lauded early modernists as Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, Paul Strand, and Edward Steichen. By the mid-1920s, she had become the first female painter to gain acclaim alongside her male contemporaries in New York's cutthroat art world. Her distinctive way of rendering nature in shapes and forms that made them seem simultaneously familiar and new earned her a reputation as a pioneer of the form.
14. SHE BLAZED NEW TRAILS FOR FEMALE ARTISTS.
In 1946, O’Keeffe became the first woman to earn a retrospective at the Museum of Modern Art. Twenty-four years later, a Whitney Museum of American Art retrospective exhibit introduced her work to a new generation. Fifteen years after that, O'Keeffe was included in the inaugural slate of artists chosen to receive the newly founded National Medal of Arts for her contribution to American culture.