AL: Bob Evans? Al Ruddy.
I wanted to talk to you. You got a minute?
What can I do for you, Mr. Ruddy?
It's what I can do for you.
I want to produce for Paramount.
JOE: "The Godfather."
It's 58 weeks at number one. Makes us looks stupid.
And that's bad for business.
Buddy, you've read "The Godfather", right?
I need you to produce it.
The Corleones are my family.
I have to be the one to write this.
Puzo's never written a film.
It's an unwritten law in Hollywood
that you never hire the author.
I can't do this.
AL: Evans warned you about hiring the novelist.
So how do we fix it?
BART: Francis Ford Coppola.
He's brilliant, but he'll want to direct.
Jews got the JDL. The Blacks got the NAACP.
Well, who defends us, the Italians?
Nobody.Well, I'm starting.
The Italian-American Civil Rights League.
You're the rat fink who wrote that fucking book
about the degenerate singer.
JOE: Sinatra wants us to shut the picture down.
Get me Mickey Cohen in Los Angeles.
Time to send a message.
[gunshot]
[soft dramatic music]
♪
[upbeat dramatic music]
♪
[crowd chanting] One! One! One! One!
One! One! One! One!
There's a conspiracy in this country...
against Italian-Americans!
The President,
the Vice-President,
the Attorney General,
all conspiring against
the hard-working Italian people.
CROWD: Yeah! JOE: We must unite!
[cheers and applause]
And the media,
they carry the water
for the corrupt politicians in the government
that tries to hold us down!
[crowd booing] Give me the book.
And books like this trash
only fuel the fire of hatred for our people.
And now the papers say they're making a movie of it.
[crowd booing]
This, my friends, is a book of lies,
and Mario Puzo is a traitor!
[cheers and applause]
Well, my friends, this stops today!
Our organization, your organization,
the Italian-American Civil Rights League will fight back.
We will snuff out the hatred and the prejudice!
[loud cheers and applause]
[crowd chanting "Columbo"]
Columbo, Columbo!
[dramatic music]
♪
Hey, boys. Can I help you?
Is this your car? You Al Ruddy?
Yeah, that's me.
FBI.
I'm Agent Hale, this is Special Agent Moran.
FBI?
And, uh, and you are?
Bettye McCartt. Mr. Ruddy's secretary.
Oh, right.
So you were in the car last night as well?
That's right, yeah.
Look, what's this all about?
I already gave a statement to the LAPD.
So what are you guys doing here?
Well, we have reasons to believe
that you may have been targeted by Mickey Cohen.
The gangster?
Can you think of any reason
why Cohen might have wanted to scare you?
Now, think real hard, hmm?
Maybe something to do with your business?
Your personal life? Huh?
Scare us?
He tried to kill us.
No.
That was a warning.
When Mickey Cohen fires a shot...
He doesn't miss.
Is there a reason why you guys are here right now with us
and not arresting him?HALE: Again...
Just a suspicion.
How fucking comforting.
[engine starts]
It's not about murder, it's about family.
Vito Corleone is like King Lear,
except he has sons instead of daughters.
He is searching
for who is going to be his legacy.
And yes, in the meantime, he's gonna do whatever he can
to provide, to protect his family,
and, yes, as a last resort, maybe a little bit of murder.
Did you eat my ham?
No.
There was a ham sandwich in the refrigerator.
I did not eat the ham sandwich, Mario.
You ate the ham sandwich. I watched you eat it.
It's not something I will soon forget.
What the hell was I saying?
The Don wants peace. Yes.
He's ruthless when he chooses to be.
Yes. Yes. And that-- that is why he inspires fear,
because of his confidence.
He has immense power.
He doesn't have to flaunt it.
Unlike every single studio exec I've ever met
who can't wait to tell you how well-endowed he is
or better yet, that he has the great idea
that's gonna save your picture.
You're gonna see.
Evans, he's gonna want to cast
Steve McQueen as the Don.
No, I don't see anybody but Brando in that role.
Ugh, Brando.
Brando is...
Brando is the golden goose.
He's--he's Brando.
You wouldn't have to write any character to stand up and say,
"Ooh, that's the Godfather."
You would see him and you would just know it.
I wrote him a letter.
I sent him a signed copy of the book.
Huh. You never know.
Fingers crossed, right?
Fingers crossed.
What's wrong, Francis? W--what's going on?
I mean, this is all good stuff.
This is great stuff.
This is all great stuff.
But I can't kid myself.
We are trying to write a movie about an American family
that happens to be in the crime business.
And, yes, it's a commentary about
how greed will often lead to murder
under the guise of business.
I don't think that's gonna sit very well
with Evans and his bunch
because at the end of the day, no matter what he pretends,
he is that capitalist.
And we're gonna walk into this little creative meeting,
I have no idea why.
They want their typical little gangster flick.
[sighs]
I'm loving you, Mario,
but I have to keep reminding myself
that this is just a payday, and I hate that.
Just, uh, keep--keep working.
BETTYE: I think this is the part
where you're supposed to ask me if I'm all right.
Listen, I won't judge you
if you need to walk away from this.
I'll help you find another gig,
make sure you land on your feet.
You're still gonna try and make this thing?
When I was a kid, I was small.
I mean, like really small.
Like a full head shorter than all my classmates.
And there was this one guy who just had it out for me.
His name was Marcus Anderson.
I don't even know why he didn't like me but--
but he didn't.
This one day, he comes up to me and he says,
"I'm gonna kick your fucking ass today after school."
And I was--I was scared.
And I could've told a teacher,
I could've went a different way home, but I didn't.
I waited for him right out front.
I didn't hide.
Let me guess--you beat the crap out of him?
No.
He kicked my fucking ass.
[laughs]
[both chuckle]He was a big guy.
You should've seen him.
[laughs]
Oh, fuck that guy.
That's a--that's a real uplifting story, Rud.
Yeah. No, he did. He kicked my fucking ass.
But I put up a good fight.
And you know what?
After that, he never fucked with me again.
I can't go back to that cubicle at Rand.
But I understand if you need to cut and run.
I'm not running either.
So what's the move now then?
You gonna go punch Mickey Cohen?
No.
But I am gonna talk to him.
[The Rolling Stones' "Can't You Hear Me Knocking"]
♪
[indistinct chatter]
Happy, eh? That suit's not Czech,
that is Yugoslavian.
JAGGER: ♪ Yeah, you got satin shoes ♪
♪
♪ Yeah, you got plastic boots ♪
I'm so glad you came.I've missed you.
Would you watch him? Just watch him.
Jesus Christ, guy's an animal.
JAGGER: ♪ Y'all got cocaine eyes
You're talking about franchise?
I was, like, "What the fuck is he talking about?"
But he goes, "Like I wouldn't throw your ball?"
BAND: ♪ Can't you hear me knockin' on your window? ♪
I broke my own rule. I started talking shop.
Goddamn it!
BAND: ♪ Can't you hear me knockin' on your door? ♪
I kind of like it. It's like gladiators.
When are you gonna put me in the movies, Bob?
Christy, you're already in the movies.
Shh. I'm just saying.
BAND: ♪ Help me, baby
I love your work, girls.
BAND: ♪ Ain't no stranger
♪ Help me, baby, ain't no stranger ♪
♪ I've been begging on my knees ♪
♪ I've been kickin'
♪ Help me please
♪ Hear me prowlin'
♪ I'm gonna take you down
♪ Hear me growlin'
♪ Yeah, I've got flatted feet now, now, now, now ♪
♪ Hear me howlin'
♪ And all, I'm all around your street now ♪
♪ Hear me knockin'
♪ I'm all around your town
Where are you right now?
In the best dream I've ever had.
You're so full of shit.
You're hiding something.
If you don't want to tell me, you don't have to.
It's work stuff.
Maybe I can help.
I'm putting together budgets, and nobody will give me
a straight answer on union requirements.
Everyone's all nervous about some guy, Mickey Cohen.
Mickey Cohen?
You know him?
Cohen's a criminal.
He's a--he's a-- he's a low life.
A thug.
He, um-- [clears throat]
he came to the Chateau a few years ago.
It was-- [exhales]
It was right after my divorce.
He said he would do me a favor and--and--
and bring his business to the Chateau.
All it would take was for me to use him as my kitchen supplier.
I said "No, no, thank you." Very nicely.
And then he said, "You need friends now."
He threatened you?
I ordered two glasses of a very nice champagne,
I handed him one.
I looked at him
and then I told him, "I faced the Nazis and survived.
Do you think I'm afraid of you?"
We clinked glasses, we drank,
and he never came back to the Chateau.
He prefers the Oyster House.
Baby, you are a fucking badass.
A badass who still thinks you're hiding something.
[suave music]
Okay, pack 'em up and get 'em out of here.
Make sure they're on time.
You got it, Mickey.
Is that him?
You got some balls coming in here.
I just want to understand what I did to offend you.
Me? No, no, it's not me.
I can give a fuck about what you do.
But they...
they don't want you making this movie.
They say it's disrespectful.
Who's they?
The Italians back east.
You're making a movie about 'em
and you don't know who they are?
The movie's fictional.
It's not about anybody in real life.
Except Sinatra, right?
Listen, Al,
I ain't here to tell you what to do,
but here's the story.
My friends asked me to deliver a message,
and I delivered that message.
Anything beyond that, I got no part of.
How do I deal with your friends?
You want my best advice?
Make a different movie.
And if I don't want to make a different movie?
[laughing]
Oh, well, then eventually,
you're gonna have to deal with them directly, Al.
And when that time comes, and it will,
above all, be a straight shooter.
They don't fire warning shots.
♪
He just had to handle something, but he will be here.
Christ!
Are these, uh, for everyone?What?
Hello, everybody.
Uh, where's Ruddy?
Oh, he's just running a little behind.
But he said we can go ahead and start.
All right. All right, yes.
Well, we're all very excited to be here.
Francis, you know Peter.
And this is Andrea Eastwood, head of casting.
Now, I know that you and Mario are deep into the process,
but we just all wanted to make sure
that we're on the same page creatively.
Why don't you tell us what you're thinking?
Sure.
Okay, um-- [clears throat]
It's actually coming along really well.
That's one hell of a paperweight you got there.
[Coppola] Okay, um-- [clears throat]
So tonally, thematically,
this whole picture,
it's about light and darkness.
You have the bright celebration of Connie's wedding
against the dark underbelly of Don Corleone's business.
I love that. Mm.
Then we introduce Michael.
And Michael, he's straddling the two worlds.
When we first meet him, he's very much in the light.
And then, when he comes to the wedding,
I think that he should be in full uniform, okay?
He's got the colorful medals, it's, like, uh, he's glowing.
It's just after World War II,
and Michael represents hope again
after a time of great depression.
Excellent, Peter. Thank you.
Yeah, I can think of a dozen actors
that would love to sink their teeth into that.
Oh, hell, yeah.
I think that when we eventually shoot this
that, uh, the whole look of the film
should reflect this opposition of the light and the dark.
Make it feel real.
None of these caricatures of what a gangster is.
Yeah, they're family men,
they're--they're-- they're businessmen, you know,
they could be your neighbor.
I'm pretty sure one of them is.
[laughter] [door opens]
BOB: Hey, Barry.
I'm sorry, I thought you were on the way to the airport.
Do you need something?
Oh, no, thanks, Bob.
Appreciate you asking though.
Everyone, this is Barry Lapidus,
Gulf and Western's shining star,
and Jack Ballard, who runs physical production.
Hey, Jack.
Look, uh, I'm a little tied up right now.
Can I come and see you after?
BARRY: Oh, no. That won't be necessary.
This meeting is the reason why I'm here.
Look, I know that the last thing we all want
is this production to go off the rails
and become another disaster like "Waterloo,"
so I've come to present you with a reality check.
My team has done some financials.
First off, shooting in New York is way too expensive.
Excuse me. You can't shoot LA
for New York.JACK: No. No.
Of course not.
Uh, Kansas City or St. Louis could help bring costs down,
especially if we don't shoot this period.
Hold on.
This entire story, it takes place
in a very specific time during post-war America.
It doesn't make sense any other way.
So Michael comes home from Vietnam
instead of World War II.
That makes it even more relevant.
Keep it contemporary.
It's not like crime no longer exists, right?
Look, this is how it's going to be
if you want to make this movie.
Wow.
It's very, very interesting, Barry.
Thank you very much for bringing
that imagination to the party.
You know what, a lot of food for thought, huh?
A lot of food for thought.
Yeah. Well...think hard.
BOB: Oh, yeah.
What'd I tell you?
[whispers] Fuck.
BETTYE: Francis, listen to me.
Hey, where you going?Hey, nice to see you.
What the fuck just happened?Lapidus.
♪
Hey, Francis.
Where were you?
I was handling something important for us.
Trust me.Oh, okay.
Well, was it more important
than setting this in modern times?
Was it more important than shooting
"The Godfather" in St. Louis?
What? Evans said that?
No, he didn't say anything. He just sat there!
You know what? You said--
you said that he was gonna be a standup guy.
You said that he was gonna support my vision,
and that empty suit folded like origami.
Listen to me, I'm gonna take care of it, okay?
But the best thing you can do to help
is just to write an undeniable script.
You're lucky that I need this paycheck
to keep my business afloat,
otherwise you'd be seeing my taillights
for the last time.
AL: So now, Barry Lapidus is dictating
what "The Godfather" is gonna be?
Ruddy, Ruddy. Stop being so emotional.
Of course I support Francis' vision.
But, you know, you gotta read the room, kid.
And nothing good would've come from
me confronting Barry right then.
Fucking Barry.
Barry is mad at the world
because it sees him for what he truly is:
a no-talent prick.
But he feels like he got a win,
like he's the big man on campus.
Let him think that for now. It keeps him out of our way.
I don't know how you're being so relaxed about this.
Francis, he's about to quit.
Said every director
who eventually finished their picture.
Trust me, Francis isn't going anywhere.
So we don't have to set this in present day?
Ruddy-- [sighs]
How did you get into my office? Hmm?
What do you mean?
You got in
because you did something that's not done.
You saw something that you wanted
and you went it for it. Woof!
You and I are not like these corporate fucks.
We don't play by the book. We write the fucking book.
Now, you want to be a great producer?
You do whatever it takes to get your movie made
the way you want to do it. Now, you want New York?
Go there, make some deals,
prove that you can do it for the money.
Beg, borrow-- I don't give a fuck.
Steal. You do whatever it takes.
Now...
you don't have a long track record,
but you got brains, and you got balls.
Try using both.
Preferably at the same time.
On behalf of the Mangia America Food Company,
please allow us
to lend the financial support you requested.
The League, it's very important to us.
$10,000. What is that? An insult?
No, sir, it's--
it's just the beginning of what we're prepared--
Here's the beginning.
Put another zero on the end there
and then we're straight.
You want a $100,000?
You don't think I know how much fucking money
you make a year, you greedy fuck?
You're--you're lucky, I ain't making you kick in personally.
Now, be a good boy and add the zero.
I'll take this fucking pen
and I'll stab you in the fucking throat.
Add the fucking zero.
Go over to the bar.
David. [chuckles]
I hope you're bringing me something better.
Not like this fucking meatball.
Danny Thomas?
He's not anybody's first choice
but he likes the book.
He's a comedy actor and he's Lebanese.
Quinn is a great actor.
He's half Mexican.
He's played Arabian, Greek...
Olivier is being treated for prostate cancer.
How do you know that?
Okay, they're all wonderful actors
but the Don is so specific.
He's explosive,
and he's charismatic, and he's warm.
And I really think that we should be talking
about Brando for this.
World's greatest actor.
That's not happeningAL: Why not?
Because we have no budget,
and so why the hell are we even doing this?
In my experience, if you get them excited
about who you want,
they'll find breakage.
What's breakage?It's more money.
But not for Brando.
Jesus Christ, Andrea.
The director, the writer, and the producer
are all on board with this thing.
So why not give it a fucking try?
Brando's an amazing actor,
but he's notoriously difficult, very expensive,
and his last four movies bombed.
So there's no way in hell
you're gonna get Bob Evans to approve him.
Let me worry about Bob.
Why don't we start with some low hanging fruit?
Johnny Fontane, Vic Damone.
That's a great idea. Can we even get him?
He's interested. He just wants to meet you guys.
BOTH: Where is he?
BOTH: Vegas.
[laughter]
He says, "Today, I'm an alligator."
[giggling]
Mr. Damone.
Al Ruddy.
It's great to meet you, man. Really, pleasure.
This is Francis Ford Coppola.Good to meet you.
You must be Mario Puzo.
In the flesh.
I loved your book, man. Good stuff.
Tom Collins times four.WAITRESS: Yes, sir.
Take a seat, guys.
FRANCIS: Mr. Damone?Oh, Vic, please.
Vic, my mother was such a huge fan.
"The Lively Ones," she'd listen to it over and over again.
She wore out the vinyl. I had to go to film school
just to get a little peace and quiet, you know?
With me, flattery will get you everywhere.
So Fontane...
he's Sinatra, right?
MARIO: No.
Fontane is you.
FRANCIS: Vic, what do you say?
You want to talk about the character--
I'm gonna stop you right there, Francis.
I'm in.
I loved "Patton," I love the book.
And I'm sure I'll find something to love about you.
Hey, I'm the guy with the credit card.
See? I knew he was lovable.
All right, listen,
let's talk more tonight after the show.
I have a great table for you right in front.
Enjoy.FRANCIS: Oh, great.
Looking forward to it, Vic.
Here you go.Okay.
Salute.
Come on. Come swim with me.
Not--not now, sweetie.
Go take a swim. We'll go eat later.
JILLY: Frank. Hey.
[sighs]
I just got word.
That producer checked in at The Sands.
Fucking Damone. Bad enough he steals my act.
Now he's gonna try to embarrass me?
You know, I bailed his old man out of a big debt.
This is how he repays me.
No fucking loyalty.
You, uh, want me to take care of this, Frank?
Mm.
Not yet.
Get me the phone.
LENNY: Hey, boss.
What?
It's Sinatra.
Oh, fuck.
Frank, how they hanging?
Don't give me that bullshit.
Look, that thing you were supposed to take care of,
it ain't been taken care of. I know.
I know. I'm in the middle of it right now.
Don't worry.Don't worry?
Joe, go fuck yourself.
Frank, I said I'm on it.
You got nothing to worry about. Trust me.
Listen to me. Get it done.
I will not be humiliated.
This is my legacy these fuckers are fucking with.
Fuck this guy.
[singing in Italian]
Where is everybody?
I told them not to come.
I need to talk to you about something.
I told that fucking crooner I'd handle the goddamn movie.
If he's trying to go around my back,
he's gonna get his vocal chords broken.
It's not about the movie, Joe.
It's the League.
Well, uh--
[sighs] What about it?
We all think you're bringing too much heat.
It's not the right time for this nonsense.
The League is my thing, Carlo.
I--I ain't asking for help.
Your thing is bringing us too many problems.
You should've used Biaggi as the face of this thing.
He's pissed.Oh, fuck that crook.
What?
We answer to corrupt politicians now?
We don't answer to nobody.
But sometimes we listen.
That Congressman picks up the phone and calls the FBI,
the storm falls on all of us.
Be reasonable, Joe.
What I'm doing is a long time coming, Carlo.
The Jews got the JDL.
The--the--the Blacks got the NAACP.
Shit, even the Irish got the PBA.
We need our own thing.
We have our own thing.
JOE: You know what I'm saying.
CARLO: Joe.
Listen to me.
Do the smart thing here.
Back away.
Put a politician, or a judge,
or an entertainer in the front of this.
You don't need the headache.
Oh, that's a good idea.
Maybe we should get the guy with the blue eyes to step up,
is that what you're saying?
No. Fuck that guy.
I'm just saying,
as the new guy at the table,
you should take it slow.
[soft dramatic music]
Well, you delivered the message, Carlo.
I'll think about what you said.
♪
Stay in the shadows.
It's how things are done.
♪
Okay.
♪
VIC: ♪ Just on the street where you live ♪
♪ And oh, the towering feeling ♪
Thank you very much.
♪ Just to know No.
♪ Somehow, you are near
♪
♪ The overpowering feeling
♪ That any second you may suddenly appear ♪
♪ People stop and stare
♪ They don't bother me
♪ For there's nowhere else on Earth ♪
♪ That I would rather be
♪ Let the time go by
♪ I won't care if I
♪ Can be here
♪ On the street
♪ Where you
♪ Live
[cheers and applause]
Thank you.
Thank you, ladies and gentlemen.
Thank you.
You know, I've played theatres all over the world--
JILLY: Hey, Vic!Hah, who is that?
You a big movie star now?
Rumor has it you're gonna play Johnny Fontane
in "The Godfather."
[indistinct muttering]
I was approached for the role,
but I turned them down.
I would never lend my name
to something with such an extreme bias
against my Italian heritage.
[clapping]
[applause]
What the hell?What just happened?
Sinatra happened.
Fuck. VIC: Maestro?
Now, one of my favorite songs.
This is one I recorded in 1957.
AL: Damone's gone already.
What a wimp.
We're never going to make this movie.
Yes, we are. Fuck Damone.
No.
It's just--it's a cancer, it's going to--
it's going to eat our souls a piece at a time.
No. No.
Francis, listen to me.
We are making this movie, okay?
And it's gonna be great.
It's gonna be better than anybody ever had
a right to expect.
Because you've got a real vision for this,
and I'm gonna get you what you need, okay?
But you gotta fucking trust me.
If I say I'm gonna handle something,
I'm gonna handle it.
Might not be right away or the way you wanted,
but I will fucking get it done.
You're there for me, I'm there for you.
You respect the budget, you don't go over,
and I will fucking kill for you, man.
We're a team.
[taps table]
[suave music]
Hey, I want in on this.
♪
This movie's gonna be fucking great.
[laughs] Okay? All right.
Okay, okay.
♪
Sorry. No.
Were you here long?
No, not at all.
Good, then I can stop pretending I feel bad.
[chuckles]
Is it true that John Bonham
drove his Harley Davidson through the lobby here?
Well, it's the same carpeting. See for yourself.
Were you here that night?Yup, I was.
Same night I found my ex-husband
fucking Tura Satana in the bungalow.
At the time, I thought it was the worst night of my life.
But now I own this place, and he's in Ohio,
so turns out it was the worst night of his life.
Mm-hmm.
Best part of marriage is divorce, I guess.
In my case, yes.
Bourbon. Mm.
It's good, eh?
It's made in Kentucky.
You know that, per capita, Kentucky had
the most American men serve in the war?
I didn't know that. Yes.
That's why I drink it.
Don't ask for Irish whiskey at my bar.
I don't carry it.
Do you want to know why?
Mm-hmm.
During the war, Ireland didn't let
Allied troops use their ports.
Not for munitions, not for soldiers, not for--
not for fucking food.
They just stayed on the sidelines
while millions were exterminated.
and you-- you know what I say to them?
Fuck them.
I like rum anyway.
The reason why I'm telling you this
is so you understand the...
the type of grudge-holding woman I am
before I ask you what I'm about to ask you.
Okay.
What's Al hiding?
Françoise, I-- [laughs]
I'm not sleeping--I don't mean other women.
I--I'm not worried about that.
I know where his dick goes every night.
[chuckles]
I mean something else.
There's something heavy around him
that he's not telling me.
What is it?
I'm not gonna sit here and lie to you.
I'm also not gonna say anything if he hasn't.
So you're Ireland.
I'm an ally. I'm just not yours.
Touché, mon ami.
I get why Al likes you.
Let's have another drink.
Adam, uh, can we get two glasses of Mount Gay?
[mellow music]
♪
Andrea, how many Redford knock-offs must we see
before you realize that none of them are right?
You know, it would be easier to narrow it down
if we had a script.
FRANCIS: I don't need a script.
We're just gonna be another second.
Andrea, I know who Michael is.
Who? Al Pacino.
Has he done any film?
He's about to go do "Panic in Needle Park,"
he just won an Obie for "The Indian Wants the Bronx."
Off Broadway.
What's the difference? He's--he--he's terrific.
I saw it. I agree.
But the studio will never approve him.
Why not?
He's not Bob Evans' type.
He doesn't have to date him, he just has to approve him.
He has the quiet intensity that I want.
And he's Italian.
It's not gonna happen.Listen to me,
I can't sit through another WASP mispronouncing Corleone.
Core-lay-o-knee, Core-lay-own.
Hi, guys. Thanks for waiting...
Are you sure he's your guy?
Yes. Yes. Yes.
He's the only Michael.
I'll get you Pacino.
So where is the old bastard?
I'm sorry, Mr. Evans,
I tried to tell you on the phone.
Mr. Bluhdorn is in Europe,
and he won't be back until Monday.
Hmm. Fair enough.
Well, that'll teach me
to try to go around you and schedule a meeting.
I'm sorry, sir.
Don't worry, beautiful.
I'll catch him next time.
TRACY: Excuse me, Mr. Evans. Sir--
Evans.
Certainly wasn't expecting you.
Weren't expecting what?
Me to barge into your office
the way you barged into my creative meeting?
I'll give you two a minute.No, don't move.
Listen here, Bob--No, no.
You listen to me, you fucking accountant.
I run the studio.
Now, you want to visit,
next time you call me and you ask my permission.
Stop thinking with your ego,
and think with your goddamn head.
Paramount is both of our business.
Bob Evans is the movies, you prick.
Why don't you stick to what you know best?
Numbers and stocks, watered-down cocktails
with your Wharton groupies at the Carlyle,
whatever the fuck it is you do!
But you stay off my lot.
Have a nice day, Jack.Bob.
Tracy!
I am so--Close the fucking door.
BETTYE: I don't know how you stay comfortable
in that skirt all day.
It's a skirt.
What's not comfortable about it?
I mean, doesn't it restrict your movement?
What if you want to cartwheel or something?
I mean, I'm not doing a lot of cartwheels.
Are you doing a lot of cartwheels around here?
I just think that an everyday skirt
is a symbol of the past, that's all.
So, uh, how'd you start working with Ruddy?
I've never seen an assistant this involved in the process.
Did you know him from before or--
I didn't fuck him, if that's what you're asking.
That's not what I meant. No, no, no.
It's just that, you know, Ruddy gives you autonomy,
and not every producer's like that.
BETTYE: So tell me, how did you become head of casting?
I'd like to think it's 'cause I have a real eye for talent.
But it might have been the skirt.
I don't know, you know?[laughs]
God, I wish I could tell these actors
the truth, you know?
Like, "Hey, you're talented but, uh,
"getting this part has nothing to do with talent,
"it has to do with, um, the size of your nose,
"and your height, and who you know,
"who you fucked, the rumors about who you fucked.
If you're open to fucking."[laughs]
There is--literally, it has nothing to do with talent.
It has to do with the opinions of a bunch of old men in suits.
[typewriter clacking]
Look, maybe Sonny should show Michael what to do.
You know, the older brother
showing the younger brother the ropes.
No. No.
I love what you did in the novel.
It has to be Clemenza.
Clemenza's like your uncle.
He--he's got the warmth.
He can stand in for Michael's father.
Instead of the uncle teaching you how to tie a tie,
he's teaching him how to kill two guys.
Yes. Yes, yes.
And why is your detail so magnificent?
Because the repetition, okay?
When Clemenza says to Michael--
he says it over and over again to him.
"Michael, when you kill Solozzo you have to remember
you let your hand go down by your side,
and you drop the gun."
That's perfect.
Follow me. Okay.
So we cut to Michael,
he kills Solozzo. [imitates gunshot]
He kills McCluskey [imitates gunshot]
But then,
he holds on to the gun.
He doesn't let it drop.
He hangs on for too long. He does not listen to Clemenza.
Why?
Why aren't you listening to Clemenza, Michael?
Why are you hesitating?
And the tension, the tension is building.
Why? Why? We're wondering why.
Why are you not listening to Clemenza, Michael?
And just when we can't take it anymore,
that's when he lets it fall,
and we're okay again.
We know that Michael's gonna be fine.
Why is this scene beautiful?
Because it's not just the death of Solozzo and McCluskey.
It's the death of who Michael could have been.
He goes all the way
from being the total outsider of his family,
and the transformation to becoming the leader
of the Corleone family has begun
right here in this scene.
Say all of that again.[chuckles]
[indistinct chatter]
Congressman Biaggi.
Thank you for seeing me on such short notice.
Françoise always takes care of me
when I'm on the West Coast, so here we are.
Everyone says you're the guy I need to see
to shoot here in New York.
I know you have some reservations
about "The Godfather."
I told Françoise I'd keep an open mind.
Now, I understand that there are a lot of people
who think this book is anti-Italian.
That is not the story that we are looking to tell.
We're making a movie about society,
not just Italians.
This is not just some gangster film,
it's about family,
and the price that children pay for the sins of their fathers.
Look,
we want to make a movie
that all Italians will be proud of.
Mr. Ruddy,
I have the greatest respect for Françoise,
but I must say no to you.
And I'll give you my reason.
It's true, I have a lot of friends
in the mayor's film office,
but this book, this potential movie,
no matter what you say,
is and would be an insult to my heritage.
But Congressman, there's a lot--
I understand you're disappointed.
But you will not make this movie in New York.
Hmm.
And if I have my way,
you won't make this movie at all.
Mario Puzo is a traitor
and in this town, my word still means something, so--
Thank you for coming to see me
but again, I must say no.
Mr. Pacino--All right. All right.
Thank you very much.
Thanks for setting me up with Biaggi.
Of course.
I'm sorry it didn't work out.
I mean, you came all the way to New York.
It's ridiculous.Oh, look, it's all right.
I got a lot of fish to fry here anyway.
Well, you know, I'll always do anything I can to help you.
I know, baby.
Al!
Hey. Great stuff, man.
You hungry?
I could eat.
Thank you.
Where do you put it?
Not sure I'm a starving artist,
but I'm definitely a starving actor.
[both chuckle]
I hope you don't mind I ordered the menu, Al.
Listen, you agree to read for Michael,
I'll take you to Chasen's once a week until you die.
[laughs] Um, um--
uh, I read the book.
Uh, it's not bad.
But, uh, I don't know.
Michael's the lead, right?
One of them, yeah.
He's the Don in waiting.
You see, that's my problem, Al.
I, uh, I guess I just don't see myself as a lead.
Really? But you're such a talent.
[scoffs] You're very kind.
Thank you.
Um, how about Sonny, hmm?
Now--now that's a role I'd be interested
in taking a real big swing at.
Sonny's a great character.
He's certainly a big impact player in this,
but we really want you for Michael.
Who's "we"?
Well, it's myself and Francis Ford Coppola.
Coppola?
I thought you said Puzo was writing.
What's--what's Coppola doing?
Francis is co-writing and directing.
I'll be straight with you, Al, you're all he talks about.
[laughs] Coppola knows who I am?
He thinks you're the only person alive
that can pull this off.
Ah, he said that?
He did.
He also said I cannot let you leave this dinner
until you agree to read for Michael.
Those were his orders.
[chuckles softly]
Here's what I'll do.
I'm gonna order three desserts...
and then, I'll agree to read for you.
How's that sound?
It's music to my ears.
All right.Uh, excuse me.
Can we have the dessert menu, please?
[soft dramatic music]
♪
What the fuck?
Jesus! Fuck!
God, man, what the fuck?
[phone rings]
[ringing]
Hello?
LENNY: You get my little gift?
Now you know what you gotta do.
Who is this?
[dial tone]
I mean, I thought he was pretty good.
Yeah.
He's a little short, but...[laughs] Yeah.
He's got that thing, you know?
Charisma.
I mean, when he-- when he looks at you,
it's like--it's like you lose yourself in him.
Don't hold back, honey.
I never hold back with you, Al.
You, on the other hand...
Me on the other hand, what?
Well, I'm just wondering when you're gonna tell me
about what happened with Mickey Cohen.
I just didn't want to upset you.
Just always be honest with me
and you'll never have to worry, all right?
You're right.
Message received.Good.
I'm sorry.
The truth is, there are a lot of people here in New York
who don't want us to make "The Godfather."
Apart from the Congressman?
Mickey Cohen was delivering their message.
But don't worry, I handled it.
It's not gonna happen again, I promise.
[soft music]
♪
[phone rings]
[ringing]
Fuck.
[ringing]
I might need to get that.Oh, no.
[ringing]
All right.No! No! No.
Baby. Baby, come on.
[giggles]
[ringing]
Hello.Hello? Oui, bonjour?
Wait, Bob?
Okay, okay, all right.
Calm down, calm down. What?
Uh-huh.
Yeah, yeah.
Yeah, I'll be right there. Bye.
Five minutes.He all right?
Yup, everything's good.
BOB: Hey, there he is. There he is.
Hey! Ruddy! Ruddy!
Get in the car.
You okay?Get in the car!
I've got a flight to catch.
And, no, I'm not fucking okay.
Hey.
Bob, tell me, what's going, man?
The goddamn mafia put a fucking rat
in my fuckin' bed.
A what?A fuckin' rat.
Wrapped in your book, "The Godfather."
All right. Look, just relax.
Fuck you! "Relax." Fuck you.
I don't know what the fuck you got me into,
but I am not getting killed
for some gangster movie, all right?
Now, this is your fucking job.
You deal with it or I swear to God,
I will shut this picture down, understand?
I mean, what was I thinking?I'm gonna handle it, okay?
I'm gonna handle it.Good.
You do that. [sniffs]
Comfortable? Get the fuck out of my car.
I just wanted to make sure you're okay.
Get the fuck out.
Fucking amateur. Hit it, Michael.
[soft dramatic music]
♪
You look like shit.
Still prettier than you, bubbie.
I'm assuming you haven't read the trades today.
Hmm? We're in trouble.
Paramount being on the losing team
in Hollywood is hardly a secret.
You know, "Variety" needs to find
a new fucking story, man.
Paramount's not the story.
You are.
♪
Fucking Lapidus.
[grunts]
How long have you been up?
A little while.
I need coffee.
Why don't we get breakfast sent up?
Can't, baby. I gotta figure this New York shit out
if we're gonna shoot here.
Would you at least get me one of those croissant I like
from the cart on the corner before you desert me?
You are at one of the nicest hotels in the world
and you want me to get you a croissant
from a cart on the street?
Yes.
That's my girl.
I'm very fancy, you know.
Yes, you are. You are very fancy.
And a coffee as well.And a coffee.
[door shuts]
Hey, you're Al Ruddy, right?
Yeah, look, there's somebody important
who wants to talk to you.
Get in the car.
Yeah, look, I'm a-- I'm a little busy right now.
Get in the car.
I'm not gonna ask you again.
[sinister music]
♪
[Jimi Hendrix's "All Along the Watchtower"]
♪
CARMINE: Take the bridge.
♪
JIMI: ♪ There must be some kind of way out of here ♪
♪ Said the joker to the thief ♪
♪ There's too much confusion
♪ I can't get no relief
♪ Businessmen, they drink my wine ♪
♪ Plowmen dig my earth
♪ None will level on the line ♪
♪ Nobody offered his word
♪ Hey
♪
♪ No reason to get excited
♪ The thief, he kindly spoke
What's Al hiding?
There's something heavy around him
that he's not telling me.
I'm not gonna sit here and lie to you.
I'm also not gonna say anything if he hasn't.
NIKKI: It was very important to us
that in a story primarily dominated by males,
that the female characters had their own agency
and were not just props in the men's story lines.
Touché, mon amie.
It was very important to highlight
how ahead of their time these women were.
I'm an ally, I'm just not yours.
They succeeded in spite of the challenges
that were in front of them.
I get why Al likes you.
Bettye, I think ultimately in my perception of it,
she really handles herself in a way
that I think is quite inspirational
for past, present, and future females
because she does it with grace,
and also I think she's incredibly loyal.
You see that with the relationship between her and Ruddy.
I understand if you need to cut and run.
I'm not running either.
Bettye was like a relative of mine.
And the minute I met her,
I knew this was the right person for me.
So what's the move now then?
ROBERT: This is Andrea Eastman, Head of Casting.
She's one of the only women
that had such a high power position.
She's a big deal at Paramount.
I agree.
It was such a boys' club back then.
How do you know that?
I thought it was really well-written
to show how she kind of exerts herself in that world,
and how she does it in such a feminine way.
She's really fun,
and she shows it in her outfits and her makeup and her hair.
BETTYE: I don't know how you stay comfortable
in that skirt all day.
It's a skirt, what's not comfortable about it?
I could talk about that scene forever.
I have so many good things to say about that scene.
I loved it, first and foremost,
for the relationship between Bettye and Andrea,
how they're kind of sussing each other out.
So how'd you start working with Ruddy?
I've never seen an assistant this involved in the process.
We're both kind of like, "Did you?"
I didn't fuck him, if that's what you're asking.
They were two women that are navigating the world
in a very, very different way,
but are still fierce in their own right,
not just because they were women doing these jobs,
but because they were incredible people doing these jobs.
BETTYE: How did you become head of casting?
I like to think it's 'cause I have a real eye for talent,
but it might've been the skirt. I don't know.
STEPHANIE: That scene,
I think it was supposed to be in a casting office,
and Dexter Fletcher was like, "Oh no, no, no, no.
We're gonna blow the scene out.
It's gonna be driving through the Paramount lot.
There's gonna be welders, there's gonna be gladiators."
JUNO: We got to zip around the Paramount lot
on a Sunday when it was empty.
So you fully were transported into their universe.
It was a pinch-me moment.
I just-- It makes all my hair stand up, you know?
[TYPEWRITER CLICKING]
We had another scene where Coppola
and Puzo were working on the script.
PATRICK: They were artists, at the end of the day.
They existed based on their imagination.
Telling stories, creating a world.
DAN: I'd just met Patrick in rehearsal,
and he was like, "Yeah, I'm looking for a place to live."
[LAUGHS] And I was like,
all right, I'll take a risk here
out of, you know, the love of the game.
Let's get method here, man.
You never know.
Fingers crossed, right?
DAN: He was my roommate for the first two
or three weeks of shooting.
It's not something I will soon forget.
That connection when you meet someone who you connect with,
creatively and artistically,
it's a rare thing and it's a really special thing.
Did you eat my ham?
So I think that gave such a wonderful rhythm
to their relationship very quickly.
I'm loving you, Mario.
And I think it shows, I think that on the screen,
you see that we genuinely really get along.
Salute.
That was a big risk. He could have been a real jerk...
[LAUGHS] ...you know, but he was great, he was great.
PATRICK: How lucky are we to have been able
to develop a relationship
that is gonna effortlessly bring itself to set?
It's a beautiful gift.
Hey, I want in on this.