Again the skill here is in the arriving at a point where you aren't as much working up to the anger as you are simply arriving there as if transported, and to do without showing the work. After all that is maybe the most sincere way that anger…well…works. Sure while in many cases we do tend to work ourselves into a lather with anger, that is not to say that the work always shows. There is always a foundation to our anger, but we are not always building up from it. Sometimes many times the feeling is sudden and without warning. You were going one way and in an instant you just find yourself there. Times where we are simply there, and then we are not, with not much clue how we got there so quickly - as indicated by the fact that most times we forget what we were angry about in the first place. Aiello let’s anger overtake him suddenly and then it's gone, and it’s as if it were never there at all. As supremely difficult as this is, it is still not his greatest skill or attribute. Both of those were in the heart he brought to characters, and through that the patience. He focused with it, he listened with it, he reacted with it, and it colored and informed the great bulk of his performances. It’s why despite the fact that he could and would play despicable, disreputable, or even as dullards, you never (or I at least never) disliked an Aiello character. Many times you loved him. In “The Professional” he loves Leon, and through that love expresses frustration, loyalty, and kindness. In “Moonstruck” he loves his mother, and through that comes his confusion, ignorance, sweetness, and again loyalty. In “Do The Right Thing” he loves the neighborhood, despite his own racist tendencies and attitudes, and through that comes his dedication, service, wisdom, and his condescension, and paternalism. So that even when expressing a subliminal level of racism and disgust for black people, it comes off as fatherly…