"I remember seeing things that Bob had done in the past, and very recent times, and have been taken with the work so much that I even wrote [him] about it. Some of his great work -- which is plenty -- I was staggered by the subtlety of his portrayal and the warmth, which is what we often talk about with Bob among us actors who admire him so. It is the warmth and the way he approaches things." - on his friend and Heat (1995) co-star Robert De Niro
"Gene and I are two people not very similar. We had to play a very close relationship, but I just didn't think we were as connected as we should have been. We seemed apart. We didn't have altercations, we didn't hate each other. But we didn't communicate, didn't think in the same terms. Gene and I were thrown together,but under ordinary circumstances we'd never cavort or be friends. It was two worlds - but I have to say that I was as much responsible as he was." - on doing Scarecrow (1973) with Gene Hackman
"The challenge? It's always a challenge of a sort. It's a challenge to get up and go and leave your family and go out there in all different parts of the world and do a picture and try to make it come alive...You're still challenged for that. I mean, it's the same story. It's just not changed. It seems to be the same thing it always was. It's this effort. If you get excited about a thing then things are generally a little easier. If you get enthusiastic and you want to do something and you feel you are into something then things start to come. But usually to find the enthusiasm and the appetite, that's the challenge." - On whether or not acting is still challenging for him
"'Coffee' is done, I got a couple of little important things to do about it, like little tiny things, and THEN I will unveil it. It's not a movie that you put in a...It needs a certain environment to flourish in. It's just the way it is. It doesn't make it better or worse than the picture. It's just the way it is, the nature of it." - On why his film Chinese Coffee (2000) has yet to be released
"I've always believed, I always hoped...I don't think I know what I'm saying when I say this, but I was hoping that we could have a museum where we had films. That there was a museum where films were, like, hung. Like paintings. And you went to the museum. I got the movie _Local Stigmatic, The (1989)_ that I made. It's 52 minutes and everybody has seen it now because I've personally got them in to see it, to show it to them and I paid them for it, too. But it's over at the Museum of Modern Art and I love saying...This is really pretentious of me, this is what I really like. I love to say: 'Oh, it's at the Museum of Modern Art. Isn't that great?' 'Have you released it?' 'No, I never did.' I love saying that, you know? 'How come?' 'Because I didn't feel like it.' It's fun to do that."
The Godfather: Part III (1990)
The Godfather: Part II (1974)
$500,000 and 10% of the gross after break-even
The Godfather (1972)
Where are they now
(April 2003) Starring in "Salome: The Reading" with Marisa Tomei on Broadway
Biography from Leonard Maltin's Movie Encyclopedia:
He first galvanized movie audiences as quiet Mafia scion Michael Corleone in Francis Coppola's 1972 The Godfather (for which he was Oscar-nominated). He returned to the character twice more, playing it in The Godfather, Part II (1974, nominated again) as a steely, paranoid, implacably heartless don, and then in The Godfather, Part III (1990) as an aging, infirm, and tragic figure. For these three films, if for nothing else, Pacino will always be remembered. Debuting on film in 1969's Me, Natalie (the same year he won a Tony Award for Broadway's "Does a Tiger Wear a Necktie?"), Pacino brought unique integrity to many roles, from a sexually confused would-be bank robber in Dog Day Afternoon (1975) to an incorruptible maverick cop in Serpico (1973). He had a way of commanding the screen, whether as a junkie in The Panic in Needle Park (1971) or a quiet drifter in Scarecrow (1973). He virtually defined screen intensity, and brought it with him even to projects that were unworthy, like Bobby Deerfield (1977) and a controversial look at the gay netherworld, Cruising (1980). He fared better as an idealistic lawyer in And Justice For All (1979, earning another Oscar nomination) and was quite likable in the critically savaged comedy Author! Author! (1982). His explosive performance as Cuban drug kingpin Tony Montana in Brian De Palma's Scarface (1983, a latterday cult favorite) was followed by a deadly costume drama, Revolution (1985), in which his Colonial Noo Yawk accent prompted widespread derision.
Pacino took a layoff from Hollywood, going back to his first love, the stage, and working for a long time (as both actor and producer) on an independent film adaptation of British playwright Heathcote Williams' The Local Stigmatic His excellent work as a hard-drinking, emotionally disconnected detective in 1989's Sea of Love heralded a triumphant return to the screen, and his hammy, often improvised antics under heavy makeup in Warren Beatty's 1990 Dick Tracy revealed a heretofore unseen comedic talent (and netted him a Supporting Actor Oscar nomination). In 1991 he reteamed with Scarface costar Michelle Pfeiffer in Frankie and Johnny in his warmest and most appealing screen role in years. The following year he had an unbeatable parlay, as shark-like real estate salesman Ricky Roma in Glengarry Glen Ross which earned him a Best Supporting Actor Oscar nomination, and in a bravura turn as the blind, blustery former lieutenant colonel in Scent of a Woman which won him a Best Actor Oscar, at last. His stardom reconfirmed, Pacino has kept busy both on stage (in such unexpected projects as "Richard III" and "Salome") and screen, where he reteamed with Brian De Palma for another riveting performance in Carlito's Way (1993), as a streetwise Puerto Rican ex-con trying to go straight. In 1995, he played a corrupt New York mayor in City Hall. In the wake of The Local Stigmatic he has been working on a documentary about Shakespeare.