Made Men
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Ephron, Nora, 31–32, 33
Eppolito, Louis (Fat Andy), 85–86, 348–349
ethics, mob code of, 29
Evans, Bill, 196
Evans, Robert, 36
“Even a Fool Learns to Love,” 252
extras, casting of, 63–64
Family Enforcer. See Death Collector, The
Fassbinder, Rainer, 59–60
Fat Andy (Louis Eppolito), 85–86, 348–349
Felker, Clay, 29
female roles, with male protagonists, 106–108
Ferrara, Theresa, 171–172
fields of black, technique, 180
15 Best Gangster Movie Moments (Serrano), 314–316
film, as 2D image, 104
film, camera techniques for, 83–84, 87, 103–105, 134, 180, 188–190, 221
film editing, continuity errors,
258–260
film editing, Schoonmaker and, 256, 258–259
films, audience gender and, 313–314
“Firenze sogna,” 237
first assistant directors, 57–58
Foster, Jody, 277
Four Seasons, 92, 95
Friedman, Robert, 275
“Frosty the Snowman,” 174, 246
Gallo, Joseph “Joey,” 73
Gallo, Vincent, 183
Gangs of New York, 297, 309–310
“The Gangster as Tragic Hero” (Warshow), 264
gangsters and crimes, portrayals of, 18–19, 264–267
Gangsters and Goodfellas (Hill and Russo), 151, 155, 285, 287, 289, 302, 351–352
Garfield, Julie, 177, 178
Gaudio, Bob, 92
Geffen, David, 330
Gerber, Billy, 96
Gigante, Vinnie “the Chin,” 27
“Gimme Shelter,” 166, 244, 245, 311
Godard, Jean-Luc, 153, 154, 155, 256, 307, 326
Godfather, The, 29–30, 163–166, 179, 193–194
Good Advice from Goodfellas (Ferris), 357–358
Goodfellas
about, 18–19
Academy Awards and, 275–277
attraction/repulsion dynamic, 77
audience response to, 303
authenticity of actors, 63–64
box-office take, 274
budget for, 43, 48, 65, 104, 156, 274
casting (See casting, Goodfellas)
comic performance and, 279
duration of filming, 57
and The Godfather, 163–166
as a Hollywood film, 266–267
home video release, 277–278
locus of power, 25
name change, 13, 34
opening scene, 20–23
payment to Hill, 285–286
previews, 266–268
principal photography of, 54,
64–65, 109, 285
realism in, 64
rehearsals, 56–57
reputation of, 313–314
reviews of, 269–274, 278–279
scenes in (See scenes (in scene order))
Scorsese and Pileggi, on concept for, 34–35
treatment of racism, 78–82, 124, 138, 142, 165, 166, 181
world premiere, 269
Gordon, Jim, 187–188, 248–251
Gotti, John, 72, 74, 86, 288–289, 291, 333, 355–356
Grace of My Heart, 122
Green Book, 87
Greenwich, Ellie, 239
Griffon, Bob, 64, 114, 148, 160–161, 311
Gross, Terry, 320
gun fetishization, 198
Hader, Bill, 279
Harrison, George, 186, 209, 246, 250, 251
Hartley, Hal, 217
Hawaii Kai, 83
Hawks, Howard, 23–24, 264, 311
Heard, John, 173
Heist, The (Volman and Cummings), 171
Helprin, Mark, 330
heroin usage, 196–197
“He’s a Rebel,” 231
“He’s Sure the Boy I Love,” 127, 240
Hill, Gina, 124
Hill, Gregg, 124, 282
Hill, Henry (in Goodfellas). See Liotta, Ray (Henry Hill)
Hill, Henry (real-life)
arrest for conspiracy to sell narcotics, 284–285
on cooking as pastime, 204–205
criminal enterprises of, 167
Ed McDonald on, 282–283,
287–289, 290–291
Gregg and Gina Hill on, 352–354
incarceration of, 157–159
Joe Hill on, 300–302
Lucille Hill on, 301
Nicholas Pileggi on, 30–31, 33
payment for Goodfellas, 285–286
payment for Wiseguy, 283
Ray Liotta on, 290–291
on Robert De Niro, 286
substance abuse recovery in witness protection, 287
in witness protection, 284–285
Hill, Henry Sr., 301
Hill, Joe, 300–302
Hill, Karen. See Bracco, Lorraine (Karen)
Hill, Michael. See Corrigan, Kevin (Michael Hill)
Hill, Lucille (Lucille Chrisafulle), 301
Hitchcock, Alfred, 68, 102, 180, 221, 228, 257, 272
Hollywood films, Goodfellas,
266–267
Hollywood Godfather (Russo and Picciarelli), 358–359
“home movie” footage, usage of, 153
home video release, Goodfellas,
277–278
Hugo, 342
humor, Scorsese and, 116, 118, 121, 270
Hustler, The, 15, 46
“I Can’t Get Started,” 231
Iger, Bob, 323
“Il cielo in una stanza,” 238
“I Looked Away,” 232
Imperioli, Michael (Spider), 119, 141–147, 278, 279, 333
improvisation, 121, 130–131, 135, 150, 236
internecine murder, 194
Irishman, The, 43, 60, 73, 82,
193–194, 317–320, 321–322
Italianamerican, 31, 134, 136
Italian Americans, prejudice toward, 71–72
Italian Americans, the mob and. See mob, the
“It’s Not for Me to Say,” 238
It’s Not Just You, Murray!, 133–134
“I Will Follow Him,” 238–239
Jackson, Michael, 15, 70–71
Jackson, Samuel L. (Stacks Edwards), 124, 147, 169–170, 172–173,
178–182
Jacobs, Mark (Bruce), 109
Jagger, Mick, 245, 250
Janice. See Mastrogiacomo, Gina (Janice); Rotondi, Linda (real-life Janice)
Jarmusch, Jim, 22
The Jazz Singer, 126
Jersey Boys, 92, 93, 95
Jones, Brian, 245
Jones, Jack, 244–245
Jones, Kent, 16
Judge, Julia, 14–15
Jules et Jim, 154, 332
“Jumpin’ Jack Flash,” 232
“Jump into the Fire,” 196, 250
Kael, Pauline, 272–273
Katz, Paul, 145–146
Kazantzakis, Nikos, 15
Keaton, Diane, 179
Keitel, Harvey, 24, 42, 44, 106, 107, 143, 183, 198, 231, 277, 308
Kelly, Mary Pat, 96, 125, 134, 135, 255
Kid Stays in the Picture, The (Evans), 36
Killers of the Flower Moon, 320, 323, 344, 345
King of Comedy, The, 45–46, 329, 338
Kovacs, Ernie, 154–155
Kubrick, Stanley, 61, 68
Lady Sings the Blues, 165
“La mer” (“Beyond the Sea”), 158, 243–244,
252
Last Temptation of Christ, The
controversy and, 15
Michael Ballhaus and, 60–61
pacing of, 17–18
Paul Schrader and, 13
Scorsese on, 327–328
Last Waltz, The, 210–211, 337–339
“Layla,” 186–188, 191, 248–250
“Leader of the Pack,” 115, 240
Lee, Spike, 146–147
Leitch, Donovan, 241–242
Leonard, David, 258, 260–261
Levy, Shawn, 50
Lewis, Ellen, 63–64, 74, 112, 143, 201, 214
Lewis, Jerry, 95
A Life in Movies (Winkler), 37
“Life is But a Dream,” 240
Life Lessons, 47, 118, 304
“Life on Mars,” 253
Lilienthal, Peter, 60
Liotta, Ray (Henry Hill)
casting of, 41
Copacabana scene, 103–105
on De Niro, 308
as Henry Hill
assault on Karen, 110–111
on being killed by the mob, 221
building paranoia, 199–204
cocaine usage, 196–197, 210
cooking dinner, 204, 208, 212
in courtroom, final scenes, 226–228
having a mistress, 137–138
Henry goes to jail, 157–162
jail time discussion, 123–124
on Karen flushing the cocaine, 219
Karen’s discovery of mistress, 147–149
and Lois transporting drugs, 212–214
lying to Paulie, 139, 163
prison visit from Karen,
160–162
relationships with women, 107–108
relationship with Karen,
100–103, 105
sentencing of, 157
unravelling of Henry,
196–204, 208–210, 212
wedding and married life, 111–115
young Henry, 69–77
on Henry Hill (real-life),
290–291
movie star looks of, 265
opening scene, 20–22
locus of power, 24–25
Lonergan, Kenneth, 309
“Look in My Eyes,” 234, 240
Lord, Sterling, 38
Low, Chuck (Morrie), 42, 109–110, 167, 169, 176–177, 182–185
Lucas, George, 232
Lufthansa heist, 169–174
Lufthansa Heist, The (Hill and Simone), 291, 355–356
Lumet, Sidney, 54–57, 257, 292
Maas, Peter, 27, 29
Mafia Cop (Eppolito and Drury), 86, 348–349
“Magic Bus,” 199, 251, 261
Mahoney, John, 172
male protagonists, with women, 106–108
Manca, John (Nickey Eyes), 87–88, 347–348
Mancuso, Frank, 335
“Mannish Boy,” 210, 251, 252
Manoogian, Haig, 256, 338
Marker, Chris, 153
Marshall, Garry, 235, 237
Martin, Dean, 95, 240, 242
Martin, Steve, 32, 227, 279
Martin Scorsese: A Journey (Kelly), 96
Mason, James, 61–62
Mastrogiacomo, Gina (Janice), 137
Mazar, Debi (Sandy), 140, 147, 152, 166, 170, 209–210, 218, 244–246, 252
McBride, Jim, 256
McCarey, Leo, 179
McCarthy, Todd, 269–270
McConkey, Larry
Bamboo Lounge, 88
Copacabana scene, 103–105
“step-off” shot, meat truck scene, 189–190
McDonald, Edward
about, 222–225, 291
on college sports betting, 167
in Goodfellas, 222, 225, 226
on Henry Hill, 282–283,
287–289, 290–291
on mob-as-neighborhood protectorate, 72
McLaughlin, John, 247
Mean Streets
about, 24–25
Catherine Scorsese and, 133
as gangster picture, 23
male protagonists, relationships with women, 106–107
reviews of, 272
Robert De Niro in, 24–25
score of, 231–233
Scorsese and De Niro, 44
treatment of racism, 79
“Memo from Turner,” 199, 250
men’s films, 313–314
Michael’s Favorite Ziti with Meat Sauce, 206–207
Miller, Mitch, 235, 244
Million Dollar Movie (Powell), 276, 298
mob, the
on being made, 191–192
betrayals in, 193–194
code of ethics and, 29
divorce and, 149–150, 165
drug dealing, 163–164
mistresses and, 137–138
as movie extras, 63–64
as neighborhood protectorate, 71–72
normality of mob life, 123–127
portrayal of, 264–265
show business and, 94–95
wives and, 105–106, 120–121
mob wives, 105–106, 120–121
monetary crime, causes of, 71–72
“Monkey Man,” 209, 245–246
Moonves, Les, 122–123
Morrie (Chuck Low). See Low, Chuck (Morrie)
Morris, Helen, 324–325
“movie brats,” 23
Movies (And Other Things) (Serrano), 314
movie star looks/charisma, 265–266
MPAA ratings, 268
Mummy, The, 17
Muni, Paul, 23–24
murder, internecine, 194
music industry, 70, 84
music selection, Scorsese on,
230–231, 246–247, 261
“My Baby’s in Love with Another Guy,” 234
My Blue Heaven, 32–33, 34
Myers, Kip, 324
“My Way,” 228–229, 252, 253–254
Nehme, Farran Smith, 345
Newman, Paul, 15, 46, 56, 201, 202
Newman, Phyllis, 117
New Wave techniques, 100, 154, 337
New York, New York, 270–271, 337
male protagonists, relationships with women, 107–108
treatment of racism, 81
New York Stories, 15, 47, 118
Nitzsche, Jack, 239
No Direction Home, 297
Norblatt, Kelly, 284–285, 286–287
Onorati, Peter (Florida bookie), 152
On the Run: Escaping a Mafia Childhood (Gregg and Gina Hill), 282, 352–354
opening scene, 20–23
Ophüls, Max, 61–62
Ordinary People, 275–276
organized crime, American movies and, 18–19, 22
Oscars, the, 275–277
Ovitz, Michael, 37–40, 95–96, 294, 296–297, 327–328, 335
Pacino, Al, 179, 265, 318
Palmer, Robert, 234
“Parlami d’amore Mariù,” 237
Pastore, Vincent, 89
Peckinpah, Sam, 228
Pellegrino, Frank (Johnny Dio), 158–159
Penn, Sean, 48
Perry, Frank, 117
Pesci, Joe (Tommy DeSimone)
about, 92–94
and Best Gangster Movie Moments, 315–316
and Christopher Serrone, 75
in Dear Mr. Wonderful, 60
in The Death Collector, 128–130
and Frank Vincent, 129–130
in The Irishman, 60, 318
in Moonwalker, 70
Oscars and, 277
singing talent, 138
as Tommy DeSimone
in Bamboo Lounge, 85
being made, 182, 190–192
casting of, 41
final scenes, 227–228
“How am I funny?,” 90–92
killing of, 192–195
killing of Spider, 141–143
opening scene, 20–22
preparing for role, 96–97
racism and, 138
Pileggi, Nicholas
about, 25–30
on casting, 84
on concept for Goodfellas, 34–35
on Henry Hill, 30–31, 33
on real-life Janice, 150–152
on rights to Wiseguy, 31–32, 37–39
on Scorsese as the filmmaker for Wiseguy, 32
Pinter, Harold, 13
Pitt, Brad, 296
“Playboy,” 238
Pollock, Tom, 40, 335, 339
Powell, Michael, 84, 260, 261–262, 276, 298, 336
power, locus of, 24–25
Powers, Anthony (Jimmy Two Times), 88
premiere, Goodfellas, 269
Preminger, Otto, 68
Pressburger, Emeric, 84
“Pretend You Don’t See Her,” 138, 243
previews, Goodfellas, 266–268
principal photography, Goodfellas, 54, 64–65, 109, 285
prison, cooking in, 158–159
prison, drug dealing in, 159–160
profit, Goodfellas, 274
Prophet, Melissa (Angie), 122
props on set, 146, 148–149
protagonists, male, with women, 106–108
Psycho, 68
Pustin, Bruce, 56, 295
Puzo, Mario, 29
Quiz Show, 305–306
racism, film treatment of, 78–82, 124, 138, 142, 165, 166, 181
Raging Bull
as gangster picture, 23
male protagonists, relationships with women, 107
Paul Schrader and, 13
reviews of, 272
Robert De Niro, physical transformations for, 51
Scorsese and De Niro, 45
Thelma Schoonmaker and, 255, 257–258
treatment of racism, 81–82
“Rags to Riches,” 22, 69, 235
ratings board, 268
Ray, Nicholas, 310
Redford, Robert, 275–276, 305–306
Reed, Lou, 235–236
Reed, Rex, 273
rehearsals, Goodfellas, 56–57
Reidy, Joseph
about, 58–59
on authenticity of actors, 63–64
Copacabana scene, 103–105
on duration of Goodfellas filming, 57
on first assistant directors, 57–58
on Hawaii Kai, 83
on Martin Scorsese, 62–63
on May 11 scene shooting, 217
on Michael Ballhaus, 61, 62–63
on Robert De Niro, 54
on Scorsese and Lumet, 55–57
Scorsese on, 325–326
on shooting scenes of Henry and Karen, 140–141