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Q&A: Emily Hagins and AJ Bowen, director and star of Grow Up, Tony Phillips

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Emily Hagins is just 20 years old, but she’s already written and directed four feature films (the first, Pathogen, she made when she was 12), all shot in Austin. Her latest feature, Grow Up, Tony Phillips, had its world premiere tonight at the SXSW film festival. We sat down with Hagins and Tony Phillips star AJ Bowen (who plays Pete) to talk about collaborating with the Austin film community to make the movie, how the music itself is a character, and why this movie is different from everything else Hagins has done so far.

mental_floss: In your other films, you’ve tackled everything from zombies to vampires to ghosts. But Grow Up, Tony Phillips is a totally different kind of movie. What made you want to put aside genre?
Emily Hagins: My last two features, they were both…[The Retelling] is very dark and depressing and it made me kind of depressed to be working on it. And then my last movie [My Sucky Teen Romance] has some comedic elements to it, but teenagers are still dying, and it’s kind of sad. So I really wanted to make a movie that had no genre at all—but I really loved this Halloween aesthetic. I thought it to would be interesting to use something that may [make it] inherently feel like a genre film but to use it for a sweet, coming-of-age movie.

m_f: The Austin film community is extremely close-knit. You got notes from your star’s brother, Eric Vespe, who is a film writer for Ain’t It Cool News, and a few Austin-based writers and filmmakers appear in this movie and in your other movies. Can you talk a little bit about the collaborative process that went into making the film?
EH: I’m a really big fan of getting a lot of feedback on things. I’m very self-conscious when I’m writing and directing and editing. I’m afraid of this Emperor’s New Clothes thing when everyone just tells you it’s fine when it’s not. So when I know people are going to be very blunt and honest, I feel like I’m just going to make an even better movie. And I really trust Eric’s sensibilities, so he’s one of the people I like to [get notes from]. I usually go to the same few people for notes on the script along the way as we’re making the movie, and with people like AJ and Tony [Vespe], who knew their characters very well. And when, if there was a problem with the script when we were on set and we had to kind of adjust it, they had really, really good feedback on what their characters would do or say. Now I don’t even remember how those scenes were originally written, because they really made them better.

m_f: AJ, what was it like working with Emily as a director?
AJ Bowen: It was a terrible work experience for me, having to work for Emily Hagins. [Laughs] It was great, because I already knew Emily. And when one of the producers called me before the script was even written, and started trying to sell me, I stopped him mid-sentence and said, “Emily is writing a script, and she’s going to direct and she would like me to be involved? That’s a firm yes from this end.” Because I already knew that Tony was also going to work on it, and Tony is kind of like a little brother to me. In an independent film, there’s not a lot of money and not a lot of time, and people—there can kind of be a cynical outlook, and people can become jaded to the magic of the process. You’re getting to collaborate on a story with a group of people, and it’s only going to exist at that time—but then at the end of it you have a journal that will live forever, and people will hopefully be able to get some entertainment out of it. Because that’s ostensibly what the final product is. It’s our journal of us going away to camp together, and putting on a production.

m_f: How did Tony Phillips compare to some of the other movies you’ve made?
AJB: I’ve made 15 or 16 movies at this point, and of any of the movies that I’ve worked on, this is the most fully realized product. All of the elements that are in the movie that weren’t about the movie—like the heart—it was all there. I’ve worked on films where we’ve dramatically changed the story structure and did complete 180s on characters. And I didn’t want to do that on this movie. I wanted to advocate for Emily and be there to support Tony, who I knew was going to have a pretty large responsibility—the film, in terms of performers, is squarely on his shoulders. So I wanted to help out in whatever way I could. I felt bad for them that I was what they had to go to, in terms of work experience. [Laughs] But it was great—we had a lot of conversations before we would start shooting, and we’d have conversations after the day about what we were going to do next.

m_f: In the instances where you realized that a scene wasn’t working as it was written, how did you guys collaborate to make the changes happen?
AJB: My main mission was to try to not get in there and change things—it was to stay out of the way of what Emily had already written. So the few times that there were tweaks, it would be after we were shooting a scene—the energy’s always going to change, once we’re actually in the process of doing something. I was very reluctant to engage in that element of it. So when we did that it was conversations between Emily and I, or Emily and Tony and the people that were there in the scene, trying to get at the best answer to the creative storytelling problem. And it was great, because it was so collaborative. There was no sense of ego. It was just: We’re all trying to make the same movie.

m_f: What scene was the most difficult to shoot?
EH: There was one scene of just Tony picking up a box under his bed—I had nightmares about it the whole shoot. All we had to do was just get this box out from under his bed, and we had to do 14 takes of it. The bed wouldn’t be right, and then the box wouldn’t be right, and it was like everything was going wrong. We moved the shot somewhere else in the finished movie, so now he’s wearing the wrong clothes for that one shot. It’s the only continuity error. When I asked them to go back and re-shoot it, they were like “You’re kidding, right?” [Laughs] That stupid shot. But that’s the most takes we did, really. Everyone was very on top of what they were doing and on the same page.

m_f: When it came time to shoot, how did you pick your locations?
EH: Our whole team looked for locations. We had this color palette that our production designer, Griffon Ramsey, was working from. We were really trying to find things that fit within that scheme, and make sure the locations weren’t too old-fashioned or too modern. We wanted everything to feel very timeless. There are no cell phones or computers in the movie, really. We shot in a high school, and there was a whole section of that had been remodeled—it looked like the Jetsons. And they were like, “Do you want our new classrooms with our cool computers?” And we were like, “no, we want the old side.” So that’s kind of the way we approached technology in this movie, just to keep it about the relationships in a way that applied to the production design and finding locations that fit that same theme.

m_f: How did the production of this one differ from your other movies?
EH: We had a bigger crew and more time to shoot, which was nice. We shot My Sucky Teen Romance in like about two weeks, 15 hours a day, and we were running on enthusiasm and it was very difficult—we didn’t even know if we were getting good takes sometimes. On this movie, all of the problems were mostly “Oh I wish we could’ve gotten another angle, but everything we have is what we planned for.” So it was like a very easy process in a way.

m_f: Why did you make the decision not to edit this movie?
EH: I guess I really wanted some distance from it, because I wrote and directed it. I’m a big fan of editing, and I think more like an editor sometimes. I cut the trailer, and I guess I had very specific editing notes for the movie, but because of the timeline, we had to split up the work between several people, so that we could get it all done. We met every couple of days to go over all the cuts, so I was very, very involved in the editing process. But we were working with editors who were good and understood what we were trying to do.

m_f: My Sucky Teen Romance had an incredibly catchy song that was written by one of the stars of the film. Tony Phillips has great music, too. Did you do something similar and go to a friend?
EH: Yes! It’s the same guy—Santiago Dietche! [It’s a totally different sound], because he’s a prodigy. He has 12 songs in the movie, and they’re all him. Even the rock songs—that’s his rock band—and then all the sweet guitar songs, that’s just him. He’s younger than me; he can do anything. He wrote the opening credits song in like 12 hours, and had a solid recording of it, and he was like “Does this work? Is this what you guys want?” And we were like, “yes!”

AJB: It’s great because it’s an iconic character of the movie. And in independent and small-budget films, people miss how important specific departments are. When it comes to this movie, [the music is] an integral character of the film. It’s the gateway into the vibe of the film. And without that there, it would strip the film of a substantial part of its identity. So, it’s awesome.

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Samsung’s Star Wars Vacuums Offer Everything You Want in a Droid
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Hate housecleaning but love Star Wars? Samsung’s got the solution. In anticipation of December’s Star Wars: The Last Jedi, the newest film in the Star Wars saga, Samsung has transformed a limited number of its VR7000 POWERbot robot vacuum cleaners into two familiar faces from George Lucas’s legendary space opera: a Stormtrooper and Darth Vader (which comes with Wi-Fi connectivity and a remote control).

In order to create a unique device that would truly thrill Star Wars aficionados, Samsung consulted with fans of the film throughout each stage of the process. The result is a pair of custom-crafted robo-vacuums that fill your home with the sounds of a galaxy far, far away as they clean (when you turn Darth Vader on, for example, you'll hear his iconic breathing).

“We are very pleased to be part of the excitement leading up to the release of The Last Jedi and to be launching our limited edition POWERbot in partnership with Star Wars fans,” B.S. Suh, Samsung’s executive vice president, said in a press statement. “From its industry-leading suction power, slim design, and smart features, to the wonderful character-themed voice feedback and sound effects, we are confident the Star Wars limited edition of the VR7000 will be a big hit.”

Be warned that this kind of power suction doesn’t come cheap: while the Stormtrooper POWERbot will set you back $696, the Darth Vader vacuum retails for $798. Who knew the Dark Side was so sparkling clean?


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30 Facts About Your Favorite Martin Scorsese Movies
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In the pantheon of iconic American film giants, Martin Scorsese gets to sit at the head of the table and carve the turkey. In a career spanning 50 years, he has created some of the most visually spectacular and quote-worthy material ever put on celluloid. To celebrate the auteur’s 75th birthday, here are 30 facts about some of your favorite Scorsese movies. Ready? Great… now go home and get your #@$%ing shinebox!

1. MUCH OF THE MEAN STREETS BUDGET WENT TO ITS SOUNDTRACK.

Clearing songs for 1973's Mean Streets ate up almost half of the film's $500,000 budget. Staying true to his well-documented love of rock, Scorsese used tunes by The Ronettes, Eric Clapton, and The Rolling Stones for the soundtrack. “For me, the whole movie was 'Jumping Jack Flash' and 'Be My Baby,'" the director said in Scorsese on Scorsese.

2. LAURA DERN HAD A TINY ROLE IN ALICE DOESN’T LIVE HERE ANYMORE.

Future Oscar nominee Laura Dern made one of her earliest, albeit uncredited, appearances toward the end of Alice Doesn’t Live Here Anymore. Working alongside her mother, Diane Ladd, Dern—who was seven years old at the time—played a little girl eating a banana-flavored ice cream cone at Mel’s Diner. It took 19 takes to get the shot, which required Dern to consume 19 ice cream cones. Impressed by the budding actress, Scorsese told Ladd that “if she doesn’t throw up after [19 takes’ worth of cones], this girl is ready to be an actress.”

3. THE “YOU TALKIN’ TO ME?” SCENE FROM TAXI DRIVER CAME FROM BRUCE SPRINGSTEEN.

Robert De Niro improvised that whole paranoid monologue, including what would become the movie’s most famous line. (The film's screenwriter, Paul Schrader, later said, “It’s the best thing in the movie, and I didn’t write it.”) De Niro got the line from Bruce Springsteen, whom he’d seen perform in Greenwich Village just days earlier, at one in a series of concerts leading up to the release of Born to Run. When the audience called out his name, The Boss did a bit where he feigned humility and said, “You talkin’ to me?” Apparently it stuck in De Niro’s mind.

4. MUCH OF NEW YORK, NEW YORK WAS IMPROVISED (WHICH MAY HAVE BEEN ITS DOWNFALL).

In 1977, Scorsese released New York, New York. What was meant to be an epic musical turned out to be one of the director’s biggest bombs, due partly to the fact that the normally very regimented director decided to take a more improvisational approach to the film. “I tried to have no idea at all what I was going to do, as much as possible, on the day of shooting—as opposed to having a fairly strong idea of what I was going to do,” he said. “I was really testing the limits … I had a very chaotic style, on purpose, on New York, New York. And I found it didn't work for me."

5. A LOT OF FAMOUS CINEMATOGRAPHERS WERE INVOLVED IN THE MAKING OF THE LAST WALTZ.

The seven 35mm camera operators who shot The Last Waltz, Scorsese's 1978 concert documentary, included Michael Chapman (Taxi Driver, Raging Bull), Vilmos Zsigmond (Close Encounters of the Third Kind, The Deer Hunter), and László Kovács (Easy Rider, Five Easy Pieces). Scorsese and Robbie Robertson (who also served as a producer) came up with a 300-page shooting script of diagrams and text that assigned the camera positions with the music lyrics and cues. According to the film's production notes, it was the first music documentary made on 35mm.

6. JOE PESCI WAS RUNNING AN ITALIAN RESTAURANT WHEN SCORSESE AND ROBERT DE NIRO APPROACHED HIM ABOUT RAGING BULL.

Joe Pesci had been a professional actor and musician (he sang and played guitar) off and on since childhood, but he called it quits in the 1970s. His 1975 Broadway show with comedy partner Frank Vincent (whom he would later recruit to play Salvy in Raging Bull) had closed after a week, and his first movie, 1976’s The Death Collector (also featuring Vincent), was a flop. But Robert De Niro happened to see that film in 1978, and was so impressed by Pesci’s performance that he pitched him to Scorsese. The two tracked Pesci down and called him at his restaurant to coax him out of showbiz retirement to co-star in Raging Bull.

7. SCORSESE INITIALLY DIDN’T SEE HOW THE SCRIPT FOR THE KING OF COMEDY WOULD WORK AS A MOVIE.

Robert De Niro passed Paul D. Zimmerman’s script for The King of Comedy on to Scorsese, hoping that he could interest him in directing it. "I didn't get it," Scorsese later admitted. "The script is hilarious. But the movie was just a one-line gag: You won't let me go on the show, so I'll kidnap you and you'll put me on the show.” Eventually, he came to see how it could be turned into a feature.

8. GRIFFIN DUNNE HAD TO GIVE UP, WELL, PRETTY MUCH EVERYTHING TO STAR IN AFTER HOURS.

In order to capture the desperation and paranoia to play word processor Paul Hackett in After Hours (1985), Scorsese gave star Griffin Dunne some very specific instructions. “I was at a symposium with Marty Scorsese and he said, ‘I really had to be hard on Griffin for this part. I said, no sex, no going out, none of it,’” Cher told People at the movie’s after-party. “It must have worked,” she added. “He’s so good at being frustrated.”

9. IT WAS PAUL NEWMAN WHO APPROACHED SCORSESE ABOUT THE COLOR OF MONEY.

Walter Tevis had written the book The Hustler and its sequel, The Color of Money, yet Paul Newman didn’t care for the adapted screenplay to the latter. So Newman went to Scorsese, as he was a fan of his work, particularly Raging Bull, which he felt had a similar tone to what The Color of Money should be.

10. SCORSESE GOT THE IDEA FOR GOODFELLAS WHILE SHOOTING THE COLOR OF MONEY.

In a rare moment of downtime on The Color of Money set, "I read a review of [Nicholas Pileggi's] Wiseguy ... and it said something about this character Henry Hill having access to many different levels of organized crime because he was somewhat of an outsider," Scorsese told Rolling Stone. "He looked a little nicer. He was able to be a better frontman and speak a little better. I thought that was interesting, because you could get a cross section of the layers of organized crime—from his point of view, of course. So I got the book, started reading it and was fascinated by the narrative ability of it."

11. THE FAMOUS “FUNNY HOW?” SCENE IN GOODFELLAS WASN’T IN THE SCRIPT.

The most famous (and certainly the most quoted) scene in Goodfellas comes at the beginning, when Pesci's Tommy DeVito jokingly-yet-uncomfortably accosts Henry Hill (Ray Liotta) for calling him "funny." In addition to being the driving force behind the scene on screen, Pesci is also responsible for coming up with the premise.  

While working in a restaurant, a young Pesci apparently told a mobster that he was funny—a compliment that was met with a less-than-enthusiastic response. Pesci relayed the anecdote to Scorsese, who decided to include it in the film. Scorsese didn't include the scene in the shooting script so that Pesci and Liotta’s interactions would elicit genuinely surprised reactions from the supporting cast.

12. STEVEN SPIELBERG TRADED CAPE FEAR TO MARTIN SCORSESE FOR THE RIGHTS TO SCHINDLER'S LIST.

Scorsese was set to direct Schindler's List, but was apprehensive about making it after the controversy surrounding his previous two films, Goodfellas and The Last Temptation of Christ. At the same time, Steven Spielberg was set to make Cape Fear, but decided that he "wasn't in the mood" to make a movie about a "maniac." So they traded projects. Spielberg had Bill Murray in mind to play Max Cady. Scorsese had other ideas.

13. THE CASINO OPENING TITLES WERE DESIGNED BY THE LEGENDARY SAUL BASS.

Saul Bass is certainly the most famous (and possibly the only) well-known designer of opening credit sequences, with more than 50 to his name. If there was a movie in the '50s or '60s with distinctive opening titles, odds are good that it was Bass's work, often in conjunction with his wife, Elaine. (Among them: Vertigo, Psycho, North by Northwest, West Side Story, Spartacus, and It's a Mad, Mad, Mad, Mad World.) Bass did the titles for Scorsese's Goodfellas, Cape Fear, The Age of Innocence, and Casino, which turned out to be the final film of his career. He died five months after the film opened, at the age of 75. 

14. GANGS OF NEW YORK WAS 32 YEARS IN THE MAKING.

Scorsese read Herbert Asbury’s 1928 nonfiction book The Gangs of New York: An Informal History of the Underworld in 1970 and immediately thought it would make a good movie. He didn’t have any money or clout yet though, so he had to wait. He bought the movie rights to the book in 1979, and even got a screenplay written around that time, then spent the next 20 years trying to get the project off the ground.

15. THE DEPARTED IS A REMAKE.

While Scorsese and screenwriter William Monahan claim they did not watch the 2002 Hong Kong action movie Infernal Affairs before making The Departed, the two films share more than a few similarities. Infernal Affairs director Andy Lau unsurprisingly prefers his own film, saying of The Departed, “Of course I think the version I made is better, but the Hollywood version is pretty good too.” 

16. “GIMME SHELTER” IS SCORSESE’S UNOFFICIAL GANGSTER THEME SONG.

Before The Departed, Scorsese had previously used the Rolling Stones song in Goodfellas and Casino. It seems Billy Costigan loves the Stones, too; the CD that he mails to Sullivan is housed in the case for the Rolling Stones album Exile on Main Street.

17. MEAN STREETS TOOK ITS TITLE FROM A RAYMOND CHANDLER ESSAY.

Originally titled Season of the Witch, the film’s name was changed to Mean Streets from a line from Raymond Chandler’s 1944 essay “The Simple Art of Murder.” Writing about the art of storytelling and plumbing the depths of humanity, Chandler wrote. “In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.”

18. DE NIRO WANTED TO MAKE RAGING BULL AS A PLAY, TOO.

This was in early 1978, before it was even written as a movie yet, when De Niro was collaborating with Mardik Martin to adapt LaMotta’s memoir, while simultaneously trying to convince a noncommittal and increasingly drug-addled Scorsese to take on the project. De Niro’s idea was to stage it as a Broadway play (to be directed by Scorsese), and then, during the run of the show, spend the daylight hours shooting the movie. De Niro liked the idea of the day’s filming influencing the way they performed the play that night. But Martin’s script wasn’t yet ready for either medium, and Scorsese was in no shape to do it then anyway. 

19. SCORSESE WAS WORKING ON NEW YORK, NEW YORK AT THE SAME TIME HE WAS MAKING THE LAST WALTZ.

Scorsese was supposed to be in New York editing the Liza Minnelli/Robert De Niro musical drama when he was in San Francisco preparing and shooting The Last Waltz. According to Scorsese, New York, New York producer Irwin Winkler was "very upset" when he learned this.

20. CHANDELIERS FROM GONE WITH THE WIND WERE USED ON THE LAST WALTZ.

The performance recorded for The Last Waltz was designed by Boris Leven, who has served as production designer on West Side Story (1961) and The Sound of Music (1965). Leven created a backdrop inspired by the films of Luchino Visconti (Death In Venice, The Leopard), borrowing props from the San Francisco Opera's production of La Traviata and chandeliers designed for Gone with the Wind. Robertson wasn't sold on the elaborate decor. He told Leven, "Chandeliers? I don't think that's going to go over with Neil or Bob or the rest of the musicians. These people don't do chandeliers, Boris."

21. THE FIRST SCENE SHOT FOR GOODFELLAS WASN’T DIRECTED BY SCORSESE. 

As you might know, the business of filming is rarely chronological—directors tend to jump scenes for cost, scheduling, and efficiency reasons. For Goodfellas, the scene that broke shooting ground was the intentionally low-budget Morrie’s Wigs commercial, which plays just before Henry and Jimmy hassle Morrie about a debt near the beginning of the film. To get the feel of the commercial right, Scorsese contacted Stephen R. Pacca, who had created his own ultra low-budget ads for his replacement window company, to write and direct the Morrie’s Wigs ad. 

22. REESE WITHERSPOON BLEW HER CAPE FEAR AUDITION. SO DID DREW BARRYMORE.

"It was my second audition ever," Witherspoon said in 1999. "My agent told me I'd be meeting Martin Scorsese. I said, 'Who is he?' Then he mentioned the name Robert De Niro. I said, 'Never heard of him.' When I walked in I did recognize De Niro, and I just lost it. My hand was shaking and I was a blubbering idiot.''

Drew Barrymore auditioned for the role, too, but believed she overacted for one of Scorsese's assistants. In 2000, she called the audition "the biggest disaster" of her life and said that Scorsese thinks she's "dog doo-doo" because of it.

23. GEORGE LUCAS HELPED WITH SCORSESE OUT WITH AN ELEPHANT PROBLEM FOR GANGS OF NEW YORK.


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The Star Wars creator, then working on Attack of the Clones, had visited the massive set in Rome and told Scorsese that it was probably the last of its kind, that such large re-creations would be done on computers now to save money. Lucas’s know-how in such matters came in handy later, when Gangs needed an elephant and none of the animal wranglers in Italy were able to produce one in time. So Scorsese called his old friend Lucas and asked for help: “We’re effed," Scorsese told Lucas. "We don’t have [an] elephant! Tell us how to shoot it!” Lucas, an old pro at such things, guided them through the process of filming without the elephant and having it digitally created later. It’s the only thing in the movie that’s completely computer-generated. 

24. SCORSESE WAS INSPIRED TO CAST GWEN STEFANI IN THE AVIATOR AFTER SEEING HER PICTURE ON THE SIDE OF A BUS SHELTER.

The Marilyn Monroe-inspired pictures, taken by Herb Ritts for a Teen Vogue cover, caught Scorsese's eye. Stefani told MTV the story, as she heard it from DiCaprio. “Martin Scorsese’s driving in New York City and he sees my Teen Vogue cover on the side of a bus stop shelter. And he’s like, ’Who’s that girl? Let’s get her!’ I had Leonardo DiCaprio tell me the whole story in Martin Scorsese’s voice, so it was pretty bizarre.” Stefani portrayed Jean Harlow; it was her first film role. 

25. BERNARD HERRMANN DIED JUST A FEW HOURS AFTER RECORDING THE MUSIC FOR TAXI DRIVER.

Scorsese was lucky to get Bernard Herrmann, a Hollywood legend who had scored Citizen Kane, Psycho, Cape Fear, North by Northwest, and dozens of others. Herrmann wrote the Taxi Driver score and conducted the recording sessions himself, finishing in Los Angeles on the evening of December 23, 1975. He retired to his hotel and died sometime during the night, officially Christmas Eve morning, at the age of 64. He was posthumously nominated for an Oscar. 

26. DANIEL DAY-LEWIS WAS TRAINED BY REAL BUTCHERS FOR GANGS OF NEW YORK, BECAUSE OF COURSE HE WAS.


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Ever the Method actor, Day-Lewis first took lessons from two Argentine brothers with a butcher shop in Queens, then from a master butcher specially flown in from London.

27. SCORSESE THREATENED TO TAKE HIS NAME OFF OF RAGING BULL OVER ONE MINOR SOUND ISSUE. 

Very late in the post-production process, when the film was due to premiere soon and Scorsese was still tinkering with the final sound mix, producer Irwin Winkler gave him a drop deadline: All work would cease at midnight on a certain night, and that would be it. When the hour arrived, Scorsese was obsessing over one minor line of dialogue someone says to a bartender —“Cutty Sark, please”—which he didn’t think was audible. Winkler told him too bad, we’ve got to send this thing out. Scorsese declared that if Winkler released the film this way, he wanted his name taken off it as director, because it no longer reflected his vision. Winkler said, “So be it.” Like all good producers, he knew that sometimes you have to let an overtired director throw a tantrum and say things he doesn’t really mean. Sure enough, Scorsese recanted sometime later.

28. SCORSESE AVOIDED AN X RATING ON TAXI DRIVER BY MAKING THE BLOOD LOOK MORE BROWN THAN RED. 

Scorsese desaturated the color in the film’s gorier scenes, rendering the blood less realistic and more like a black-and-white tabloid newspaper (without actually being black-and-white). Not only did it fit the lurid tone he was going for, it soothed the nerves of the ratings board. 

29. CATE BLANCHETT DID HER HOMEWORK FOR THE AVIATOR.


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At Scorsese's request, Blanchett watched all of Hepburn's first 15 movies for The Aviator. Blanchett also screened Hepburn's 1973 interview with Dick Cavett, read a memoir about her, took golf and tennis lessons, and took cold baths just like Hepburn. On June 29, 2003—the same day that Blanchett arrived on set for the first time—Hepburn passed away. "I picked up the paper thinking, 'Isn't it odd that Katharine Hepburn's on the cover?'" Blanchett recalled. "She had such a remarkable life, and then with her death, she was even more present in everyone's mind."

30. WE MAY NEVER KNOW WHAT THE REAL SAM “ACE” ROTHSTEIN ACTUALLY THOUGHT OF CASINO.

Lefty Rosenthal—the inspiration for Sam Rothstein, who died in 2008—said he only ever saw Casino once. If that's true, it was the screening of a rough cut that was also attended by Nicholas Pileggi. Pileggi sat with Rosenthal—they were the only ones in the screening room—and said Rosenthal's reaction was positive. But near the end of his life, when an interviewer mentioned that, "You only saw Casino once—and you don't like the movie," Rosenthal replied that "It lacked the detail of what I did. There are scenes where the Rosenthal character repeated the same thing twice. I would only tell you to do something one time—that's all I needed. And there was that scene that still angers me when I think of it—I never juggled on The Frank Rosenthal Show. I resent that scene. It makes me look foolish. And I only did that TV show [at] the behest of the chairman of the board of the Stardust so that the public would realize I was a decent guy and not a mobster as portrayed by the media covering us at the time.” Did Rosenthal change his mind over time? Did Pileggi misinterpret his initial reaction? We'll never know.

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