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New York, New York (1977) Poster

Trivia

Robert De Niro learned to play the saxophone for this film, to make his performance look more authentic.
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.
Liza Minnelli and Martin Scorsese have said that virtually all of the dialogue in the film was improvised. This created later difficulty during editing, as Scorsese and the editors struggled to create a streamlined narrative.
The added "Happy Endings" musical fantasy cost an extra three hundred fifty thousand dollars to make.
According to Steven Prince, Liza Minnelli became romantically involved with Robert De Niro and Martin Scorsese during filming.
Martin Scorsese called this picture a "film noir musical" and he encouraged his lead cast members to improvise in many scenes.
Steven Prince directed a scene himself when Martin Scorsese walked off the set after a dispute with Robert De Niro.
The blonde woman observed by Robert De Niro dancing with the sailor under the subway tracks at night, is Liza Minnelli in a wig.
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.
Originally four and a half hours long. Director Martin Scorsese cut it to two hours and thirty-three minutes, then to two hours and sixteen minutes. In 1981, some material (mainly the "Happy Endings" sequence) was restored, and the film became two hours and forty-three minutes long.
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.
Producer Irwin Winkler said that during filming, Robert De Niro would constantly be walking around with a copy of the book "Raging Bull". Raging Bull (1980) became the next film that De Niro and Martin Scorsese made together. It was also produced by Winkler and Robert Chartoff.
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 Martin Scorsese.
Liza Minnelli used her mother's (Judy Garland's) old dressing room, her mother's old hairdresser (Sydney Guilaroff), and worked on Garland's old MGM soundstages during the filming of this movie. Additionally, during interviews, she did her mother's famous "oh-uh, ah, ohs" with hand gestures.
Much of the movie was shot on the same soundstages 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.
The nightclub that exits at the end of the film is the façade of The Harmonia Gardens that was built for Hello, Dolly! (1969).
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.
Martin Scorsese originally wanted to shoot the movie in the 1.33:1 full screen aspect ratio.
The entire film was shot with a 32mm lens. Martin Scorsese did this to equate the old 1946-53 style of framing.
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A fight scene in a taxi between Liza Minnelli and Robert De Niro got so out of hand, that not only the two stars, but Martin Scorsese ended up in an emergency room as well.
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Jack Haley (the Tinman in The Wizard of Oz (1939)), Liza Minnelli'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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The film cost fourteen million dollars to make, but only made 13.8 million dollars at the box-office. The poor reception that the film received drove Martin Scorsese into depression.
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Along with The King of Comedy (1982) and After Hours (1985), this is one of only three feature films directed by Martin Scorsese not to receive at least one Academy Award nomination.
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Martin Scorsese's drug addiction and lack of control over the dialogue was a contributor to the film's failure, according to Peter Biskind's book "Easy Riders, Raging Bulls".
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Martin Scorsese called this "his valentine to Hollywood."
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Martin Scorsese was inspired by such films as The Man I Love (1947) and My Dream Is Yours (1949).
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