Director Sidney Lumet noted that Pacino stayed in character throughout the day. His mood on set reflected his character’s state in the scene; if the scene was happy, he was joking; if it was tense, he was angry and lashed out.

To better inhabit the character of a plainclothes officer, Pacino often roamed New York City neighborhoods in character. In one famous incident, he was so deep in the role that he actually pulled over a truck driver and threatened to arrest him for exhaust pollution. Pacino spent significant time with the real Frank Serpico to prepare, even inviting him to stay at his home in Montauk. However, Serpico was eventually asked to stay away from the set by producer Martin Bregman to avoid making Pacino self-conscious or becoming a distraction. 

The production was incredibly rushed, with only five months between the start of filming and the film’s release. Despite the film’s focus on police corruption, the NYPD was surprisingly cooperative. Two officers were assigned to the production and reportedly became more helpful once they saw that Lumet was aiming for an authentic, non-Hollywood portrayal.

Filmed entirely on location in New York, the production captured the raw energy of the city during the early 1970s, contributing to the “gritty realism” for which the film is known.

On its release, Serpico became a critical and commercial success. At the same time, the film drew criticism from police officers. It received nominations at the Academy Awards and BAFTA Awards. Pacino earned the Golden Globe Award for Best Actor – Motion Picture Drama, while Salt and Wexler received the Writers Guild of America Award for Best Adapted Screenplay.

She was “discovered” by legendary director F.W. Murnau. After serving as a stand-in for Lil Dagover, she was cast as Gretchen in the silent masterpiece Faust (1926). This single role made her an international overnight sensation. Following her success in Germany, she moved to Hollywood in the late 1920s. She starred in several major United Artists productions, most notably opposite John Barrymore in Tempest (1928) and Eternal Love (1929).

Unlike many silent stars, she maintained her popularity into the sound era. She returned to Europe and became a staple in German, British, and Italian cinema. Some of her notable later works include The Great Desire (1930) and the award-winning Schloß Königswald (1988), which was her final film.

Horn’s life was as dramatic as her films. She was married four times and was known for her independent spirit; during the Nazi era, she reportedly refused to strictly follow the official party line and was eventually prosecuted for monetary offenses. In her autobiography, she detailed her interactions with figures like Joseph Goebbels and her time in Hollywood. She is remembered today as one of the most striking faces of the Weimar-era cinema.

They dated for a short period when Fox was starring in Back to the Future and Hoffs was rising to fame with The Bangles. In a 2023 interview with The Sunday Times, Fox mentioned, “I mean, I dated Susanna Hoffs from the Bangles, and I can’t even remember it.”

By 1988, Fox married his Family Ties co-star Tracy Pollan, and they have been together ever since. The “Manic Monday” singer married Austin Powers director Jay Roach in 1993.

The 1960s were the breakout decade for Barbra Streisand, during which she transformed from a teenage nightclub singer into a global superstar across music, Broadway, and film. Often referred to as her “golden voice” period, she became known for her clear, powerful vocals and an “unconventional” beauty that she refused to change for industry standards.

In the early 1960s, Streisand stood out by defying the “cookie-cutter” pop star mold. Her voice was technically flawless, but it was her dramatic phrasing, treating every song like a three-minute play, that captivated audiences.

In 1962, she stole the show in the Broadway musical I Can Get It for You Wholesale, playing Miss Marmelstein. In 1964, she landed the role of Fanny Brice in Funny Girl. The show was a massive hit, and the song “Don’t Rain on My Parade” became her definitive anthem. Her 1965 CBS special, My Name Is Barbra, was a landmark event. It was monochromatic, artistic, and proved she could carry a massive production entirely on her own.

Streisand’s move to Hollywood in 1968 was legendary. She reprised her role in the film version of Funny Girl, which resulted in a rare tie for the Best Actress Oscar with Katharine Hepburn. She followed this with the big-budget musical Hello, Dolly! (1969). Although she was technically “too young” for the title role, her performance solidified her status as the new queen of the movie musical.

Streisand’s 1960s look was a masterclass in leaning into one’s unique features rather than hiding them. She popularized the dramatic “Egyptian” or “Cleopatra” winged eyeliner, often paired with pale lipstick and heavy lashes. She cycled through iconic 1960s styles, from the sleek bob with flipped ends to elaborate, sculptural beehives. She frequently wore Mod-inspired silhouettes, sailor suits, and sophisticated gowns designed by Arnold Scaasi. Her most famous (and controversial) look of the decade was the sheer, sequined Scaasi bell-bottom jumpsuit she wore to accept her Oscar in 1969.

Streisand represented a shift in the “American Beauty” standard. By refusing to change her nose or her name, she became a symbol for authenticity. She was also one of the few artists who could move seamlessly between the “Old Guard” of show tunes and the burgeoning “New Hollywood” energy.

During the filming of The Children’s Hour, MacLaine portrayed Martha Dobie, a role that remains one of the most emotionally raw performances of her career. On set, she and her co-star Audrey Hepburn shared a close camaraderie and mutual respect that was noted by the production crew.

MacLaine later recalled that director William Wyler, “trepidatious” about the film’s controversial subject matter, cut several intimate scenes, such as her character lovingly brushing Hepburn’s hair, fearing they would be too much for audiences at the time.

MacLaine deeply admired Hepburn, describing her as a “healer” who tried to take on others’ pain. Despite the heavy themes of the film, they reportedly never explicitly discussed the underlying subtext of their characters’ sexualities while filming.

The set was a hub for Hollywood elite; notable figures like Frank Sinatra and Dean Martin visited the cast and crew at Paramount Studios during production.