New York, New York (1977) Poster


The original song titled "Theme from New York, New York" was scrapped at the insistence of Robert De Niro. Grudgingly, John Kander and Fred Ebb wrote a new version, which has since become one of the most famous and often recorded songs in history. Kander and Ebb have often expressed extreme gratitude to De Niro for his influence.
Robert De Niro learned to play the saxophone for this film to make his performance look more authentic.
According to Steven Prince, Liza Minnelli became romantically involved with both Robert De Niro and Martin Scorsese during filming.
Both Liza Minnelli and Martin Scorsese have said that virtually all of the dialogue in the film was improvised. This created later difficulty during the editing phase, as the director and editors struggled to create a streamlined narrative.
The added "Happy Endings" musical fantasy cost an extra $350,000 to make.
When Robert De Niro tries to book into a hotel, he uses the name of "Michael Powell" . Michael Powell had long been an influence on director Martin Scorsese.
The director called this picture a "film noir musical" and he encouraged his lead actors to improvise in many scenes.
Steven Prince directed a scene himself. Scorsese walked off the set after a dispute with Robert De Niro.
The cast and crew enjoyed a private concert from the famous Soviet bard Vladimir Vysotsky, who was making his only trip to the United States.
The blonde woman observed by Robert De Niro dancing with the sailor under the subway tracks at night is Liza Minnelli in a wig.
Originally four and a half hours long. Director Martin Scorsese cut it to 153 minutes, then to 136 minutes. In 1981 some material (mainly the 'Happy Endings' sequence) was restored and the film became 163 minutes long.
Liza Minnelli's "And The World Goes Round", which takes place in a recording studio, is the only song in the movie performed live as filmed, as opposed to lip-synched to a pre-recorded soundtrack.
Much of the movie was shot on the same sound stages as the great musicals of the 1940s. As a result, Liza Minnelli was haunted by memories of her mother, Judy Garland, throughout the shoot.
Although Robert De Niro did learn the basic technique of how to play the saxophone, the sax music on the soundtrack was dubbed in by cast member Georgie Auld. This movie introduces the song "New York, New York" that later became a pop music standard.
Liza Minnelli used her mother's (Judy Garland's) old dressing room, her mother's old hairdresser (Sydney Guilaroff) and worked on mother's old MGM sound stages during the filming of this. Additionally, during interviews she did her mother's famous "oh-uh, ah, ohs" with hand gestures.
Producer Irwin Winkler said that during the filming of New York, New York, Robert De Niro would constantly be walking around with a copy of the book Raging Bull. Raging Bull became the next film that Martin Scorsese and Robert De Niro made together. And Raging Bull was also produced by Irwin Winkler and Robert Chartoff, both of whom produced New York, New York.
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The nightclub that Robert DeNiro that exits at the end of the film is the facade of The Harmonia Gardens that was built for Hello, Dolly!
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Martin Scorsese originally wanted to shoot the movie in the 1.33:1 full screen aspect ratio.
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Hollywood producer Julia Phillips has a silent bit part in the opening sequence, flirting with Robert De Niro in a nightclub. When the scene was finished she asked to keep her costume, (a black evening gown), and was put out when Scorsese made her write a check for it.
The initial length of New York, New York was four and a half hours.
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Jack Haley (the Tinman in The Wizard of Oz) and Liza's father-in-law at the time is the man next to her in the "Happy Endings" sequence when she is singing to the table full of men.
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