Editing Serpico (section)

==Production==
Sidney Lumet organized the 107 speaking parts that took place in 104 different locations.{{sfn|Cunningham, Frank|2014|p=216}} The longest scenes took up two-and-a-half pages of the screenplay, while the average was one page.{{sfn|Sharples, Win Jr.|1974|p=34}}

A budget of $3.3 million (equivalent to ${{Inflation|US|3.3|1973|r=1}}&nbsp;million in {{Inflation/year|US}}) was assigned.{{sfn|Knoedelseder, William Jr.|1987|p=2 (partIV)}} Two weeks of rehearsals were held. Pacino had learned Salt's screenplay, and he agreed with Lumet that Wexler's revised version improved the structure, but that the dialogue was impoverished.{{sfn|Spiegel, Maura|2019|p=160}} Lumet allowed the actors to improvise certain dialogues, and he also allowed their creative input for the scenes.{{sfn|Cunningham, Frank|2014|p=216}} The cast selected dialogues from both scripts as the filming progressed.{{sfn|Spiegel, Maura|2019|p=160}} Although he already had a good knowledge of New York locations, Lumet considered the work "physically brutal, and emotionally tough".{{sfn|Yule, Andrew|1992|p=80}}

The [[principal photography]] on ''Serpico'' began in early July 1973. The film was planned to be released before Christmas, with four-and-a-half months for the crew to complete the movie.{{sfn|Nixon, Rob|2020}} Filming took place in July and August.{{sfn|Sharples, Win Jr.|1974|p=33}} The story of the film encompassed 11 years, from 1960 through 1971.{{sfn|Sharples, Win Jr.|1974|p=30}}

[[File:Pacino as Serpico in 1973.jpg|thumb|upright|Pacino as Frank Serpico in a publicity portrait]]
To accommodate the scenes around Pacino's facial hair, the film was shot in reverse. Pacino started with long beard and hair. He was shaved to a mustache, and eventually, his hair was cut and he was clean-shaven for the beginning of the film.{{sfn|Spiegel, Maura|2019|p=160}} Lumet decided each day if Pacino was to be further shaven, and the crew prepared fake beards in case they were required.{{sfn|Sharples, Win Jr.|1974|p=31}} Winter conditions were simulated, as the team had to defoliate trees and cut shrubs.{{sfn|Sharples, Win Jr.|1974|p=31}} Special makeup was used to absorb the sweat, and to keep the actors' skin dry.{{sfn|Associated Press staff|1973|p=7-C}} The cast wore winter coats, and their skin was made to look bluish, while their breath had to be visible.{{sfn|Sharples, Win Jr.|1974|p=31}}

The director followed Serpico's desire for the winter to look "cold and heavy", and the summer "idyllic and hazy".{{sfn|Sharples, Win Jr.|1974|p=33}} The team had difficulty to find locations suitable for the scenes set in the 1960s, since graffiti did not become common until 1970.{{sfn|Sharples, Win Jr.|1974|p=30}} Lumet shot up to 35 different setups daily.{{sfn|Cunningham, Frank|2014|p=216}} The team had to move three times a day on average. Each location had to be cleared of cars that did not belong to the particular period, and extras could not feature long hair nor non-period wardrobe. Hairdressers were present with the crew.{{sfn|Sharples, Win Jr.|1974|p=31}} Multiple locations in the city including [[Harlem]], the [[South Bronx]], [[Bedford–Stuyvesant, Brooklyn|Bedford–Stuyvesant]], [[Downtown Brooklyn|Brooklyn]] and [[Astoria, Queens|Astoria]], Queens, were used.{{sfn|Yule, Andrew|1992|p=80}} [[Lewisohn Stadium]] was featured shortly before its demolition.{{sfn|Harlem World Magazine staff|2019}} The party scene was shot at [[Sidney Kingsley]]'s Fifth Avenue loft.{{sfn|Yule, Andrew|1992|p=80}} The NYPD cooperated with the director and allowed him to film in four active police stations.{{sfn|Yule, Andrew|1992|p=80}}

Serpico's apartment had to be built by the crew. It featured a fixed ceiling and movable walls.{{sfn|Sharples, Win Jr.|1974|p=32}} As with Serpico's original apartment, it was located in [[Greenwich Village]].{{sfn|Schoell, William|1995|p=74}} Through lighting, Lumet and cinematographer [[Arthur Ornitz]] chose to maintain a "warm look" on the location. Different techniques were used to reflect moods, and the changes of the years through which the character went.{{sfn|Sharples, Win Jr.|1974|p=33}}

Lumet focused on portraying Serpico's struggle to balance his work and personal life, and his increased isolation and alienation, as his efforts produced slow results.{{sfn|Cunningham, Frank|2014|p=217}} The director decided to portray him "darker and darker". As the film progressed, the cast costumes became darker in color, until the courtroom scene in which all the actors wore dark tones.{{sfn|Schwartz, David|2005}} Lumet told [[Charles Champlin]], "I was trying to negate color, to make a picture in color that was not colorful." Meanwhile, he wanted Serpico's fellow officers to be "men with charm, who were all the more evil for being human and understandable".{{sfn|Champlin, Charles|1974|p=26}} Lumet finished shooting the film in 51 days, on budget.{{sfn|Yule, Andrew|1992|p=80}}

The film is edited by [[Dede Allen]]. Allen received the scenes from Lumet directly after they were shot. She had a limit of 48 hours to finish her work for its delivery to the sound department.{{sfn|Nixon, Rob|2020}} Lumet did not want to add a [[Film score|score]] to the picture, but he decided that he would do it before De Laurentiis commissioned one. He learned that [[Mikis Theodorakis]] was released from prison in Greece.{{sfn|Schwartz, David|2005}} He was able to locate him in Paris, as the composer quickly left his country of origin. Theodorakis accepted Lumet's offer, and flew to New York City the next day. He met with the director, who played the movie for him the day of his arrival. Theodorakis agreed that it should not have a soundtrack, but he offered a composition of his to add to the film. Theodorakis had arranged a tour of the United States with a Greek orchestra and told Lumet that he could not be present for the [[Spotting (filmmaking)|spotting session]]. Lumet offered the help of [[Bob James (musician)|Bob James]], who would sit with the director for the spotting. To inform of the progress of the sessions and possible changes on the arrangements, James flew to the cities where Theodorakis appeared to work the details.{{sfn|Schwartz, David|2005}}