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We were all shitting ourselves and trying to pretend it was no big deal. I’m gonna lose a ton of parts to this dude.”It might be interesting for people to know what a serious artist your grandfather, Costantino Nivola, was.
We went through the rehearsal, and were really experimenting, and it got kind of crazy. I’ve seen a lot of your grandfather’s art and it’s tremendous. NIVOLA: Yeah, he was an Italian immigrant who came to America in the late 1940s.
We were spending a lot of time together and it was obviously very emotionally charged.
The thing that I remember more than anything in the whole experience of doing , was we had rehearsed for a couple of weeks and Sam Shepard had said he wanted nothing to do with the production. We’ve always been generous that way with each other, but it’s not a normal thing.
Then one day out of nowhere he showed up in the middle of our rehearsal—walked in and sat down in the back of the room. HAWKE: I’ll never forget Philip Seymour Hoffman calling me up one day and saying, “Did you see , I was like, “Ahh, fuck!
In fact, there’s a photograph that I have of my grandfather sitting in this chair with his back to the camera and his hands behind his head, staring at the Pollock painting up on the wall.
The painting sat there for a week, and at the end of the week he brought it back to Pollock and gave it back.