Carlito's Way - Production

Production

Pacino first heard about Carlito Brigante in a YMCA gym in New York in 1973. Pacino was working out for his movie Serpico when he met New York Supreme Court Judge Edwin Torres (the author who was writing the novels Carlito's Way and After Hours). When the novels were completed, Pacino read them and liked them, especially the character of Carlito. Inspiration for the novels came from Torres' background, things that were most familiar to him: the East Harlem barrio where he was born and raised in an atmosphere of racial gangs, drugs and poverty. In 1989, Pacino faced a $6 million lawsuit from producer Elliott Kastner. Kastner claimed Pacino had gone back on an agreement to star in his version of a Carlito movie with Marlon Brando as criminal lawyer David Kleinfeld. The suit was dropped and the project was abandoned.

Pacino went to producer Martin Bregman with the intention of getting a Carlito film made. First thing on the list was to get a script written that would portray Carlito Brigante's world and provide a suitable showcase for Pacino's talents. David Koepp had just finished writing the script for Bregman's forthcoming The Shadow when producer Michael S. Bregman suggested him to write the script for Carlito's Way. The decision came that the screenplay would be based on the second novel After Hours. Carlito at this stage would match closer with Pacino's age. Although based primarily on the second novel, the title Carlito's Way remained, mainly because of the existence of Martin Scorsese's movie After Hours. Bregman would work closely with Koepp for two years to develop the shooting script for Carlito's Way.

Koepp wrestled with the voice-over throughout the writing process. Initially the voice-over was to take place in the hospital, but De Palma suggested the train station platform. The hospital scenes were written 25 to 30 times because the actors had trouble with the sequence, with Pacino even thinking that Carlito would not go to the hospital. With one final re-write Koepp managed to make the scene work to Pacino's satisfaction. In the novels Kleinfeld does not die, but De Palma has a huge sense of justice and retribution. He could not have Carlito killed off and have Kleinfeld live.

At one point, The Long Good Friday director, John Mackenzie, was linked with the film. When Carlito's Way and its sequel After Hours were optioned, Martin Bregman had Abel Ferrara in mind. However, when Bregman and Ferrara parted ways, De Palma was brought in. Bregman explained that this decision was not about "getting the old team back together", rather than making use of the best talent available. De Palma, reluctantly, read the script and as soon as Spanish-speaking characters cropped up he feared it would be Scarface all over again. He said that he did not want to make another Spanish-speaking gangster movie. When De Palma finally did read it all the way through, he realized it was not what he thought it was. De Palma liked the script and envisioned it as a noir movie. Bregman supervised casting throughout the various stages of pre-production, and carefully selected the creative team who would make the film a reality. This included production designer Richard Sylbert, editor Bill Pankow, costume designer Aude Bronson-Howard and director of photography Stephen Burum.

Initially, filming began on March 22, 1993, though the first scheduled shoot, the Grand Central Station climax, had to be changed when Pacino showed up on crutches. Instead, the tension-building pool hall sequence, where Pacino accompanies his young cousin Guajiro on an ill-fated drug deal, started the production. Because the film was heavily character based and featured little action, the early pool sequence had to be elaborate and set up right. A huge amount of time was spent setting it up and filming it. After the film studio had viewed a cut of the pool hall sequence, a note was passed onto the crew stating that they felt the scene was too long. De Palma spent more time adding to the sequence and with the help of editor Bill Pankow made it work. The producers came back saying "much better shorter."

Apart from the poster sequence, which was shot in Florida, the entire movie was filmed on location in New York. De Palma roamed Manhattan searching for suitable visual locations. A tenement on 115th Street became the site of Carlito's homecoming: the barrio scene. The courtroom, in which Carlito thanks the prosecutor, was shot in Judge Torres's workplace, the State Supreme Court Building at 60 Centre Street. The Club Paradise was initially in a West Side brownstone as the model for the book's postprandial premises. But this was considered too cramped for filming. A multi-level bistro club designed by De Palma took shape at the Kaufman-Astoria Studios in Long Island City, in a style of 1970's art deco disco.

Tony Taglialucci's escape from Rikers Island, a night shoot mid-river, was considered impossible. Instead, the production used a Brooklyn shipyard where Kleinfeld's boat was lowered into an empty "lock" into which river water was pumped. Smoke machines and towers of space lights were installed.

For a climactic finale, De Palma staged a chase scene from the platform of the 125th Street (IRT Broadway – Seventh Avenue Line) actual location was in Brooklyn at Smith–Ninth Streets (IND Culver Line) G and F trains, to the escalators of Grand Central Terminal. For the shoot, trains were re-routed and timed so that Pacino and his pursuers could dart from car to hurtling car. The length of the escalator scene during the climactic shoot out at Grand Central Station caused a headache for editor Pankow. He had to piece together the sequences so that the audience would be so tied up in the action that they would not be thinking about how long the escalator was running.