The New Yorker · 26 Oct 2026
A Pickpocket’s Guide to New York
“His hands—he’s like a concert pianist!” Turturro said. Robbins had tutored him at the movie’s production office, where they practiced techniques on a stunt guy and devised Harry’s steals. (“Like a fight choreographer,” Robbins said. “But I was a theft choreographer.”) They considered having Robbins act as a hand double, but Turturro wanted to bring off the grabs himself. Among other things, he had learned from Robbins that a pickpocket’s gait changes after a steal.
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