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They called me out six times after I bowed.” After the show, he added, “I would bawl my eyes out.
(It’s there for Pacino’s son; when I asked Pacino if he used it, he said, “Like Oscar Wilde, whenever I get the urge to exercise I lie down until it passes.”) Pacino usually spends weekends with the twins, because “their mother knows I’m a slacker at the homework.” At one point, Olivia came in to ask a favor: Pacino’s father left him and his mother when he was two, and he carries the shadow of that abandonment with him. “I remember feeling a focus I never experienced before—intense, so riveting that I directed my performance to that space,” he said.
” But, with two new movies waiting in the wings (Martin Scorsese’s “The Irishman,” about the man who supposedly killed Jimmy Hoffa, and a Brian De Palma bio-pic about Joe Paterno), and a David Mamet play, “China Doll,” in the works for Broadway in 2015, the answer is not soon. The den is a sort of Camp Pacino, overflowing with toys: a pinball machine, a drum kit, electric guitars, dolls, a mound of games, balls, rackets, and swimming gear crammed into baskets against the back wall. “There are more demands put on you when it is on the stage,” he said.
A low table holds a sprawling Lego construction in progress. To Pacino, there is no such thing as a fourth wall.
Green canvas has been woven through the bars of the long iron fence to hide the place from street level; low-hanging Indian laurel trees seal off any visible signs of life from above. Pacino was dressed for the bright day in his usual sombre getup: black jacket, shirt, slacks, and shoes, with a long gray cravat loosely knotted at the chest.
Nonetheless, the buses stop, the guides burble, and the tourists crane for a sign of the actor or his children. He keeps a well-pressed assortment of these dark camouflage outfits on a wardrobe rack in the alcove off his living room, alongside his infrequently used barbells and a folded-up running machine.