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EASY DEPOSITS Take advantage of our easy to use, secure deposit system. In , he goes to jail, sorrowfully questioning his misfortune and crying in despair.
Upon returning to New York City in , he happens upon Joey, who forgives him but is elusive. Again in , Jake now recites the "I coulda been a contender" scene from the film On the Waterfront , where Terry Malloy complains that his brother should have been there for him but is also keen enough to give himself some slack.
After a stagehand informs him that the auditorium where he is about to perform is crowded, Jake starts to chant "I'm the boss" while shadowboxing.
Raging Bull came about when De Niro read the autobiography upon which the film is based on the set of The Godfather Part II. Although disappointed by the book's writing style, he became fascinated by the character of Jake LaMotta.
He showed the book to Martin Scorsese on the set of Alice Doesn't Live Here Anymore in the hope that he would consider the project.
Never a sports fan, when he found out what LaMotta used to do for a living, he said, "A boxer? I don't like boxing Even as a kid, I always thought that boxing was boring It was something I couldn't, wouldn't grasp.
The book was even shown to producers Robert Chartoff and Irwin Winkler by De Niro, who were willing to assist only if Scorsese agreed.
Scorsese began to relate very personally to the story of Jake LaMotta, and in it he saw how the boxing ring can be "an allegory for whatever you do in life", which for him paralleled moviemaking, "you make movies, you're in the ring each time.
One night when the footage was being shown to De Niro, Michael Chapman , and his friend and mentor, the British director Michael Powell , Powell pointed out that the color of the gloves at the time would have only been maroon, oxblood, or even black.
Scorsese decided to use this as one of the reasons to film Raging Bull in black and white. Other reasons would be to distinguish the film from other color films around the time and to acknowledge the problem of fading color film stock—an issue Scorsese recognized.
When he saw the blood-soaked sponges being dipped in a bucket, he recalls thinking to himself, 'And they call this sport. Under the guidance of Chartoff and Winkler, Mardik Martin was asked to start writing the screenplay.
De Niro was unimpressed when he finished reading the first draft, however. The character of LaMotta's brother, Joey, was finally added, previously absent from Martin's script.
However, its chief executives, Steven Bach and David Field, met with Scorsese, De Niro, and producer Irwin Winkler in November to say they were worried that the content would be X-rated material and have no chance of finding an audience.
According to Scorsese, the script was left to him and De Niro, and they spent two-and-a-half weeks on the island of Saint Martin extensively re-building the content of the film.
Other changes included the removal of Jake and Joey's father; the reduction of organized crime 's role in the story and a major re-write of LaMotta's fight with Tony Janiro.
One of Scorsese's trademarks was casting many actors and actresses new to the profession. De Niro was watching a low budget television film called The Death Collector when he saw the part of a young career criminal played by Joe Pesci then an unknown and struggling actor as an ideal candidate.
Prior to receiving a call from De Niro and Scorsese for the proposal to star in the film, Pesci had not worked in film for four years and was working at an Italian restaurant in New Jersey.
The role of Vikki renamed to Vickie in the final film , Jake's second wife, had interest across the board, but it was Pesci who suggested actress Cathy Moriarty from a picture he once saw at a New Jersey disco.
The duo had to prove to the Screen Actors Guild that she was right for the role when Cis Corman showed 10 comparing pictures of both Moriarty and the real Vikki LaMotta for proof she had a resemblance.
Joe Pesci also persuaded his former show-biz pal and co-star in The Death Collector , Frank Vincent , to try for the role of Salvy Batts.
Following a successful audition and screen test, Vincent received the call to say he had received the part. While in the midst of practicing a Bronx accent and preparing for his role, De Niro met both LaMotta and his ex-wife, Vikki , on separate occasions.
Vikki, who lived in Florida , told stories about her life with her former husband and also showed old home movies that later inspired a similar sequence to be done for the film.
The actor found that boxing came naturally to him; he entered as a middleweight boxer, winning two of his three fights in a Brooklyn ring dubbed "young LaMotta" by the commentator.
According to Jake LaMotta, De Niro was one of the top 20 best middleweight boxers of all time. According to the production mixer, Michael Evje, the film began shooting at the Los Angeles Olympic Auditorium on April 16, Grips hung huge curtains of black duvetyne on all four sides of the ring area to contain the artificial smoke used extensively for visual effect.
On May 7, the production moved to the Culver City Studio, Stage 3, and filmed there until the middle of June.
Scorsese made it clear during filming that he did not appreciate the traditional way in films of showing fights from the spectators' view.
A punching bag in the middle of the ring was used by De Niro between takes before he aggressively came straight on to do the next scene. According to Scorsese, production of the film was then closed down for around four months with the entire crew being paid, so De Niro could go on a binge eating trip around northern Italy and France.
According to Evje, Jake's nightclub sequence was filmed in a closed-down San Pedro club on December 3.
The jail cell head-banging scene was shot on a constructed set with De Niro asking for minimal crew to be present—there was not even a boom operator.
The final sequence where Jake LaMotta is in front of his mirror was filmed on the last day of shooting, requiring 19 takes, with only the 13th being used for the film.
Scorsese wanted to have an atmosphere that would be so cold that the words would have an impact as he tries to come to terms with his relationship with his brother.
The editing of Raging Bull began when production was temporarily put on hold and was completed in Their main decision was to abandon Schrader's idea of LaMotta's nightclub act interweaving with the flashback of his youth and instead they just followed along the lines of a single flashback where only scenes of LaMotta practicing his stand-up would be left bookending the film.
Also, there was the issue of trying to balance the quality between scenes featuring dialogue and those involving boxing which were done in Dolby Stereo.
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