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Ina Brooklyn bank robbery intended to fund a sex-change operation turned into a day-long standoff.

Here are some behind-the-scenes facts to help you appreciate this felonious masterpiece next time you barricade yourself inside a bank to watch it. That was the name of P.

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aftfrnoon! Somewhere along the way, director Sidney Lumet expressed dislike for the title as it applied to his movie, and came up with one that suggested a hot, stuffy day near the end of the summer.

But Lumet said that when Cazale came in to read for the part, he was sold on him in a matter of minutes.

Lumet was all about authenticity. Most of the movie takes place in three locations: But Lumet wanted realistic continuity. Lumet got his wish and found a block of a Brooklyn street that suited his purposes, including a vacant warehouse that could be turned into a bank.

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The movie takes Looing in late August, and the makeup department did fine work making everyone look appropriately sweaty. But it was actually shot in the fall, and a particularly chilly one at that.

The highly scientific workaround: But when you film a hostage crisis on a real, functioning city street, acternoon! notice. Lumet said the crowd would swell every day they filmed, especially in the late afternoons, and that the professional extras did a great job of getting the civilians to act appropriately for the scene.

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It was like a big improv exercise. People who lived on the block were offered hotel rooms if they wanted to get away from the commotion, but most chose to stay.

They were invited to look out their windows and gawk, just like real neighbors would do.

You probably know that most movies are not filmed chronologically. First you shoot all the scenes that use location A; then you move to location B and film whatever scenes take place there, and so on. But with Dog Day Afternoon being Looking for a lover this afternoon!

in one spot, it was almost feasible to start on page one of the script and just shoot the whole thing in order which is easier on the thjs for obvious reasons.

Lumet did the next best thing: He shot all of the street scenes first, in order, then moved inside the bank and filmed all of those scenes in order. Lumet agreed, and the mustache was gone—as was a day's worth of footage.

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He made 20 more between that and Dog Day Afternoon and 22 more afterwardand by his own account, he never used improv. But it happened at least twice here, once because Lumet asked for it, and once totally out of the blue.

Right after Sal fires his gun because they think Looking for a lover this afternoon! cops are sneaking in through the back of the bank, Sonny comes outside and gets yelled at thia the cop played by Charles Ffor.

For this scene, Lumet told Durning to improvise, and to immediately get Sonny on the defensive. He had three cameras rolling to capture whatever happened; watching the scene, you can feel the spontaneous energy and confusion from Looking for a lover this afternoon!

actors. It was an effective use of improvisation though Lumet said he never tried it again. The other instance was minor but memorable: Near the end of the film, after being stuck in the bank for many hours, Sonny makes two emotionally draining phone calls.

This scene was filmed was near the end of the shoot see previous itemso Pacino really had been cooped up in that building for a long, long time and, like his character, wanted to get out. The whole sequence lasts about 16 minutes.

When it was over, Lumet told Pacino to do another take—that is, both calls again—immediately, without pausing to rest first. Subscribe to our Newsletter!