Two of Hollywood’s most iconic filmmakers and one of its most celebrated actors converged Sunday, as Al Pacino, Francis Ford Coppola and Martin Scorsese chat it up backstage at the 23rd Annual Hollywood Film Awards.
It was a busy night for the men, as Pacino was presented with Best Supporting Actor honors for The Irishman at the event by Coppola, who directed in him in The Godfather trilogy.
The Irishman director Scorsese presented Emma Tillinger Koskoff with the Hollywood Producer award at the event, amid the film’s limited theatrical release and ahead of its streaming release on Netflix November 27.
Kings of film: Two of Hollywood’s most iconic filmmakers and one of its most celebrated actors converged Sunday, as Al Pacino, 79, Francis Ford Coppola, 80, and Martin Scorsese, 76, chat it up backstage at the 23rd Annual Hollywood Film Awards
In his acceptance speech, Pacino opened up about how the motion picture marks his first collaboration with Scorsese amid their storied careers, and how Robert De Niro was responsible for bringing the pair together.
‘Bob said, “How about Al as Hoffa,” and Marty said, “Yeah, OK. Is he OK?”‘ Pacino said. ‘And Bob said, “He’s a sweetheart.” So I didn’t have to audition – they gave me the part.’
He added: ‘I like being called a sweetheart. So Bob got me the role in The Irishman.’
The men are among the most celebrated in Hollywood history, linked with some of the most venerated films over the past 50 years.
Feted: The Irishman director Scorsese presented Emma Tillinger Koskoff with the Hollywood Producer award at the event
Highest honors: Scorsese collected Oscar gold in 2007 for The Departed
Classics: Scorsese is responsible for classics such as Goodfellas, Casino and Cape Fear
Pacino reached the mountaintop in 1993 winning the Best Actor Oscar for his role in Scent of a Woman, and was past nominated for it for his parts in …and justice for all, Dog Day Afternoon, Serpico The Godfather: Part II, in addition to supporting nods for The Godfather, Glengarry Glen Ross and Dick Tracy.
Coppola collected five Academy Awards in his career including Best Director and Best Picture in 1974 for The Godfather: Part II, Best Writing, Screenplay Based on Material from Another Medium in 1972 for The Godfather, and the Irving G. Thalberg Memorial Award in 2011.
Scorsese collected Oscar gold in 2007 for The Departed, and boasts past several Best Director nods for films such as Raging Bull, The Last Temptation of Christ, Goodfellas, Gangs of New York, Hugo, The Aviator and The Wolf of Wall Street.
All-time greats: Coppola collected five Academy Awards in his career including Best Director and Best Picture in 1974 for The Godfather, in which Pacino played Michael Corleone
Crossing paths: The Irishman marks the first time Pacino has worked with Scorsese
The famed directors were linked last month after they expressed their views on the ongoing trend of superhero films flooding the box office.
Asked about the onswell of Marvel films, Scorsese told the magazine Empire, ‘I don’t see them; I tried, you know? But that’s not cinema.’
He noted, ‘Honestly, the closest I can think of them, as well made as they are, with actors doing the best they can under the circumstances, is theme parks,’ adding that the blockbusters aren’t ‘the cinema of human beings trying to convey emotional, psychological experiences to another human being.’
Coppola, speaking on the topic in Lyon, France at the Lumiere Festival, said that ‘Martin was kind when he said it’s not cinema … he didn’t say it’s despicable, which I just say it is.’
Coppola later clarified to Deadline his differences with what he feels to be ‘a formulaic approach’ to cinema.
‘Personally I don’t like the idea of franchises, the notion that you can keep repeating what is essentially the same movie for financial gain — in other words, what is a formulaic approach,’ he said. ‘I feel that approach is taken to reduce the economic risk of movies, and I feel the “risk factor” is an element that makes movies sometimes be great.
‘Also, the formulaic film draws most available resources to them, leaving little for more daring productions, reducing diversity. In some ways I think the cinema is like food; certainly you can add things to make it tempting, tasty and enjoyable but it must also be nutritious to qualify as real food.’