- I still, I look at it now and I can't believe
that I'm in that scene.
(upbeat music)
Can you believe this weather, Frank?
I'm Tony Provenzano and you have Jimmy Hoffa, obviously,
and Frank and my cousin, and we've come for the meeting.
Because Hoffa needs my endorsement to run again,
so he can get re-elected for the teamsters.
People freezing to death in New York and look at us.
- Luigi, hey.
- Why we don't live here all year round
is what I wanna know.
- Oh.
- Beautiful.
- It's summer.
- What?
- It's summer.
People aren't freezing to death in New York.
It's summer.
- In my mind it's always eight degrees
in New York, I'm making a point.
We're two egos that clash, do you know what I mean?
We just shouldn't be in the same room together, basically.
And in this particular meeting,
it goes against everything that Jimmy stands for
because he doesn't, you know he's like I've just said,
he's a very stubborn man and to make
an apology for him would, he just doesn't do that.
So he needs my endorsement to be able to run again
in the elections, so this meeting's been called
for him to be able to ask me.
- Making a point.
Making a point dressing like that?
This how you dress for a meeting?
- This is how you dress in Florida?
In a suit?
- For a meeting?
Anywhere, Florida, Timbuktu, I dress in a suit.
For a meeting.
- I mean the shirt's so loud, it's so brilliant.
We found an original shirt.
He's got a pair of Gucci loafers on, cream Gucci loafers.
And we sprayed a bit of fake tan on me and all that
and he, you know he's loving while he's out there,
cause he's from New York, so he's loving it in Florida.
The shirt, it was an original pattern.
I've still got one actually in my wardrobe at home.
Never to be worn again, but it's for nostalgia,
do you know what I mean?
- I never waited for anyone who was late
more than ten minutes in my life.
- I'd say fifteen, fifteen's right.
- No, ten.
- On the page, it's very much, it's a much more,
it's very condensed that particular scene,
and it's just dialogue between me and him.
And Monty just, he kinda took me aside
and he just went,
"Just play with it a little bit more, just free it up."
We did a couple of takes and that,
and Stephen popped into my head,
my own voice popped into my head and I was like,
I'm in a scene with Robert De Niro.
And he doesn't say nothing on the page,
so my head went, Oh, I can't have that, that it's just.
And then it was about, you know, being late
and I just turned to him and I just went,
What do you think, Frank?
And to just watch him go, hm, and then he comes up with
that brilliant line of twelve and a half.
Ten's not enough, you have to take traffic into account.
- That's what I'm doing, I'm taking traffic into account.
That's why it's ten.
- I still say fifteen.
- No, ten.
- Fine, we disagree on that.
- How bout twelve and a half minute?
- [Tony] There we go, twelve and half.
- The middle, right in the middle.
- [Tony] It's a compromise. - Beautiful.
- And to just watch him pop into the scene then
and then we carried on and that bit
where I stand up and go to walk away that,
you know that it wasn't scripted.
- I asked for your endorsement
and you're giving me all this crap.
- I asked for your apology.
- Who the fuck are you to apologize to?
- Jimmy, Jimmy.
- Who the fuck are you?
- Kids be gentle. - I don't need this, Jimmy.
- Let's just sit down, Tony.
- I need this, I need you?
- Yeah, you need me. - Tony, please.
- After we done one of the takes,
I went, is it all right that I got up to make?
Still to these, because these are two legends,
you know what I mean, they're two masters.
They're the reason, part of the reason
why I'm an actor today.
I went, is it all right when I got up to walk away?
I went back in to Stephen, and they were like,
"No no, it was great, it was fine!
"You know it comes alive!"
Marty creates this playground where you're,
you know you don't have to stick
to everything that's on the script.
You're allowed to play with it and create it
and make it as real as possible.
Me and Al just really started to improvise,
so it become like a real battle between these two egos.
And then it goes into that scene as well,
but this time he comes at me, do you know what I mean?
So, and then we just roll around on the floor.
It's handbags at dawn
and it's meant to be slightly pathetic.
- (laughs) Are you out of your fucking mind?
- I'll apologize for being late
after I kidnap your granddaughter, rip her guts out
and send them to you in a fucking envelope!
- Ah. (slams into table)
(yelling) (chair crashes to floor)
- Get him off, get him, come on Tony!
- And we've had and altercation before
when we met in prison.
I was owed two million quid,
which is a lot of money, do you know what I mean?
Especially back then.
- You lost it.
You forfeited it, when you came in here.
That's it, you know.
- So yours forfeited too?
In the altercation we had,
he said something derogatory,
do you know what I mean, about Italians.
So I've got the (foreign language)
- You people, you people.
- What'd you say?
- Oh my god.
- What did you say?
- Ah come on what I said.
What the fuck did I say, I don't know what I said?
- You people, you said you people.
I'd already come up with an idea
at home when I was reading through.
Whenever I had I little idea to do something,
I didn't tell Marty and I didn't tell Al.
I told the camera man and I asked
the props department how many
bowls of ice cream did they have and they said, "loads."
And then I knew it was gonna be the last
take of the wide so I knew I had to get this in before
otherwise you know what I mean
it wouldn't work if it wasn't on the wide as well.
So, he's eating the ice cream really slowly really
and his last little bit he took,
his last little mouthful
and he puts his spoon down in the bowl
and he just kinda leans back.
What does that fucking mean, you people?
- I'm done talking about this!
- You people?
- I'm done.
- As he did that, I just leaned across
and I just lashed his ice cream bowl right across the room,
and I went to jump across the table and I went you!
And he just went "Whoa!"
You done?
I'll rip your fucking head off!
(ice cream bowl crashing on the floor)
Marty went, "and cut."
And he went, "(gasp) did you see that Marty,
"the kid frightened me?
"He frightened me!"
So, we had this little you know
and then we got on like a house on fire,
do you know what I mean?
I'd come across and then we'd stop
and then the stunt man would come in.
- Fucking
(yelling) (loud punching)
(screams)
- I think I really caught the fellow once in the ribs,
accidentally, completely.
I know they're stunt men, it's what they get paid for
do you know what I mean.
(yelling)
- Hey, get off him.
- I'll fucking kill you!
I'll fucking kill you!
But that moment where I did smash his ice cream away,
he really got frightened,
you know what I mean as the character.
So that was fantastic.
And we just kind of carried that
into those little spats that we had really.
He'd just lean across and he'd touch me hand
a couple of times, and he'd just he'd just give me this
little nod and this little smile,
which made me feel really comfortable
and you know it's that little recognition
of well done, well done, well done.
He called me the "kid" which was lovely,
do you know what I mean.
(upbeat Jazz music)