Godfather (64 page)

31
. “Video Classics:
Dementia 13” American Film
15, no. 6 (1990): 54.

32
. Gelmis,
Director as Superstar
, p. 180.

33
. Ibid., pp. 177, 186.

34
. Goodwin and Wise,
On the Edge
, p. 55.

35
. Johnson,
Francis Ford Coppola
, p. 39.

36
. Chaillet and Vincent,
Francis Ford Coppola
, p. 8.

37
. Johnson,
Francis Ford Coppola
, p. 89.

38
. Ibid.

39
. Ibid., p. 90.

40
. Robert Evans,
The Kid Stays in the Picture: A Memoir
(Beverly Hills: Dove, 1995), pp. 248, 255.

41
. Johnson,
Francis Ford Coppola
, p. 170.

42
. Ibid., p. 174.

43
. Chaillet and Vincent,
Francis Ford Coppola
, p. 41.

44
. Gene D. Phillips,
Creatures of Darkness: Raymond Chandler, Detective Fiction and Film Noir
(Lexington: University Press of Kentucky, 2000), pp. 221, 222.

1
. John Gallagher,
Film Directors on Film Directing
(New York: Greenwood Press, 1989), p. 25.

2
. Chaillet and Vincent,
Francis Ford Coppola
, p. 11.

3
. Goodwin and Wise,
On the Edge
, pp. 63–64.

4
. Johnson,
Francis Ford Coppola
, p. 57.

5
. Goodwin and Wise,
On the Edge
, pp. 63, 64.

6
. Chown,
Hollywood Auteur
, p. 23.

7
. Ibid., pp. 23–24.

8
. Ibid., p. 26.

9
. Lourdeaux,
Italian and Irish Filmmakers
, p. 176.

10
. Goodwin and Wise,
On the Edge
, p. 73.

11
. Chown,
Hollywood Auteur
, p. 23.

12
. Johnson,
Francis Ford Coppola
, p. 61.

13
. Biskind,
Easy Riders
, p. 36.

14
. Goodwin and Wise,
On the Edge
, p. 75.

15
. Gelmis,
Director as Superstar
, p. 183.

16
. Ibid., p. 184.

17
. Bergan,
Francis Ford Coppola
, p. 32.

18
. Ibid.

19
. Goodwin and Wise,
On the Edge
, p. 80.

20
. Chaillet and Vincent,
Francis Ford Coppola
, p. 17.

21
. Pauline Kael,
Going Steady: Film Writings
, 1968–1969 (New York: Boyars, 1994), p. 159.

22
. Goodwin and Wise,
On the Edge
, p. 82.

23
. Stephen Farber, “George Lucas Hits the Big Time,” in
George Lucas: Interviews
, ed. Sally Kline (Jackson: University Press of Mississippi, 1999), p. 36.

24
. Dale Pollock,
Skywalking: The Life and Times of George Lucas
, rev. ed. (New York: Da Capo, 1999), p. 74.

25
. Pye and Myles,
Movie Brats
, p. 82

26
. Jean Valley,
“The Empire Strikes Back
and So Does George Lucas,” in
George Lucas: Interviews
, ed. Sally Kline (Jackson: University Press of Mississippi, 1999), p. 96.

1
. Judy Stone,
Eye on the World: Conversations with Filmmakers
(Los Angeles: Silman-James, 1997), p. 642.

2
. Bergan,
Francis Ford Coppola
, p. 34.

3
. Gelmis,
Director as Superstar
, pp. 187–88.

4
. Ibid., p. 187.

5
. Gabriella Oldham,
First Cut: Conversations with Film Editors
(Los Angeles: University of California Press, 1995), p. 326.

6
. Chaillet and Vincent,
Francis Ford Coppola
, p. 21.

7
. Ibid., pp. 27–28.

8
. Dennis Schaefer and Larry Salvato,
Masters of Light: Conversations with Contemporary Cinematographers
(Los Angeles: University of California Press, 1984), pp. 85, 88.

9
. Goodman and Wise,
On the Edge
, p. 87.

10
. Johnson,
Francis Ford Coppola
, p. 73.

11
. Kristin Thompson and David Bordwell,
Film History: An Introduction
(New York: McGraw-Hill, 1974), p. 710.

12
. Goodwin and Wise,
On the Edge
, pp. 91–92.

13
. Pauline Kael,
5001 Nights at the Movies
(New York: Holt, 1991), p. 613.

14
. Chaillet and Vincent,
Francis Ford Coppola
, p. 21.

15
. Pollock,
George Lucas
, p. 85.

16
. David Briskin,
Inner Voices: Filmmakers in Conversation
, rev. ed. (New York: Da Capo, 1997), p. 15.

17
. Chaillet and Vincent,
Francis Ford Coppola
, p. 29.

18
. Pollock,
George Lucas
, p. 88.

19
. Chaillet and Vincent,
Francis Ford Coppola
, p. 30.

20
. Goodwin and Wise,
On the Edge
, p. 197; see Pollock,
George Lucas
, p. 99.

21
. Pollock,
George Lucas
, p. 92.

22
. Biskind,
Easy Riders
, p. 100. Pollock dates this meeting in November 1969, which is impossible since
THX 1138
was shot in 1969 and edited in 1970, at which point the rough cut was prepared for Warners-Seven (see Pollock,
George Lucas
, p. 99).

23
. Goodwin and Wise,
On the Edge
, p. 104.

24
. Pye and Myles,
Movie Brats
, p. 89.

25
. Over the years the film facility that Coppola originally named American Zoetrope has undergone various kinds of reorganization with attendant variations of name (e.g., it was temporarily called Omni Zoetrope in the 1980s). For the sake of consistency and to avoid confusion, I shall refer to Coppola's production company as American Zoetrope throughout this book, especially since that has become the permanent name.

26
. Schumacher,
Francis Ford Coppola
, p. 151.

27
. Gene Phillips,
Creatures of Darkness: Raymond Chandler, Detective Fiction, and Film Noir
(Lexington: University Press of Kentucky, 2000), p. 199.

28
. Gelmis,
Director as Superstar
, pp. 189–90.

29
. Stone,
Conversations with Filmmakers
, p. 717.

30
. Ibid., p. 643.

31
. Anita Busch and Beth Lasker, “United We Stand: The Directors Company,”
Premiere
15, no. 4 (2002): 36, 34.

32
. Bergan,
Francis Ford Coppola
, p. 44.

33
. Chaillet and Vincent,
Francis Ford Coppola
, p. 43.

34
. Goodwin and Wise,
On the Edge
, p. 151.

35
. Richard Blake,
After Image: The Catholic Imagination of Six Filmmakers
(Chicago: Loyola Press, 2000), p. 191.

36
. Foster Hirsch,
Detours and Lost Highways: A Map of Neo-Noir
(New York: Limelight, 1994), p. 171.

37
. Pye and Myles,
Movie Brats
, p. 99.

38
. Goodwin and Wise,
On the Edge
, p. 158.

39
. Vincent LoBrutto,
Sound on Film: Interviews with Creators of Film Sound
(New York: Praeger, 1994), p. 91.

40
. David Edelstein, “Gene Hackman,”
New York Times
, 16 December 2001, sec. 2, p. 29.

41
. Bill Desowitz, “A Still Topical
Conversation,” New York Times
, 2 January 2001, sec. 2, p. 28.

1
. Mario Puzo,
The Godfather Papers
(Greenwich, Conn.: Fawcett Crest, 1973), pp. 34–36.

2
. Robert Evans,
Kid Stays in the Picture
, pp. 223–24.

3
. Bernard Dick,
Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood
(Lexington: University Press of Kentucky, 2001), pp. 126–27.

4
. Evans,
Kid Stays in the Picture
, p. 225.

5
. Goodwin and Wise,
On the Edge
, p. 113.

6
. Marilyn Yaquinto,
Pump ‘em Full of Lead: Gangsters on Film
(New York: Twayne, 1998), p. 42.

7
. Biskind,
Easy Riders
, p. 143.

8
. Chown,
Hollywood Auteur
, p. 63.

9
. Puzo,
Godfather Papers
, p. 17.

10
. The DVD edition of the
Godfather Trilogy
has both a documentary about the making of the three films and an audio commentary track by Francis Coppola on each film. I will quote both the documentary (which includes interviews with cast and crew) and Coppola's commentary in discussing the films. I will identify in each case which is the source of a given citation.

11
. Edward Rothstein, “Chilling Balance of Love and Evil,”
New York Times
, 3 March 1997, sec. 2, p. 26.

12
. Pauline Kael,
For Keeps
(New York: Penguin, 1996), p. 434.

13
. Puzo,
Godfather Papers
, pp. 42–43.

14
. Ibid., pp. 60–63. See also Chown,
Hollywood Auteur
, pp. 66, 80.

15
. Dick,
Death of Paramount Pictures
, p. 144.

16
. Johnson,
Francis Ford Coppola
, p. 99.

17
. Michael Sragow, “Godfatherhood,”
New Yorker
, 24 March 1997, p. 48. See also Schumacher,
Francis Ford Coppola
, p. 100.

18
. Puzo,
Godfather Papers
, p. 63.

19
. Ibid., pp. 60–63.

20
. Karen Durbin, “Nonstop Perfectionist: Al Pacino,”
New York Times
, 12 September 1999, sec. 2, p. 52. See also Lebo,
Godfather Legacy
, p. 107.

21
. Durbin, “Al Pacino,” sec. 2, p. 52.

22
. Schumacher,
Francis Ford Coppola
, p. 113. See also Schaefer and Salvato,
Conversations
, p. 188.

23
. Biskind,
Easy Riders
, p. 156.

24
. David Breskin,
Inner Voices: Filmmakers in Conversation
, rev. ed. (New York: Da Capo, 1997), pp. 41–42.

25
. Peter Biskind,
The Godfather Companion
(New York; Harper-Collins, 1990), p. 76. See also Biskind,
Easy Riders
, p. 157.

26
. Sragow, “Godfatherhood,” p. 49. See also Michael Sragow, “
The Godfather
and
The Godfather
Part II
, “ in
The A List: One Hundred Essential Films
, ed. Jay Carr (New York: Da Capo, 2002), p. 128.

27
. Evans,
Kid Stays in the Picture
, pp. 230–31.

28
. Ibid., p. 232.

29
. Jon Lewis, “Francis Coppola, Paramount Studios, and the
Godfather Trilogy
,” in
Francis Ford Coppola's Godfather Trilogy
, ed. Nick Browne (New York: Cambridge University Press, 2000), p. 31. See also Lebo,
Godfather Legacy
, p. 122.

30
. Lebo,
Godfather Legacy
, pp. 105–6.

31
. Schumacher,
Francis Ford Coppola
, p. 114.

32
. Vincent LoBrutto,
Selected Takes: Film Editors on Editing
(New York: Praeger, 1991), p. 20. See Glenn Man, “Genre in the
Godfather
Films,” in
Francis Ford Coppola's Godfather Trilogy
, ed. Nick Browne, (New York: Cambridge University Press, 2000), pp. 115–16.

33
. Gene Siskel, “Celluloid Godfather,”
Chicago Tribune
, 5 October 1986, sec. 13, p. 5.

34
. Michael Jarrett, “Sound Doctrine: Walter Murch,”
Film Quarterly
53, no. 3 (2000): 5.

35
. Durbin, “Al Pacino.”

36
. Lebo,
Godfather Legacy
, pp. 62, 165.

37
. Francis Ford Coppola and Mario Puzo, “The Godfather: A Screenplay,” in
Best American Screenplays Three
, ed. Sam Thomas (New York: Crown, 1995), p. 54.

38
. Chaillet and Vincent,
Francis Ford Coppola
, p. 37. See also Lebo,
Godfather Legacy
, p. 170.

39
. Chaillet and Vincent,
Francis Ford Coppola
, p. 37.

40
. Ibid.

41
. Sragow, “Godfatherhood,” p. 51.

42
. Naomi Greene, “Family Ceremonies in the
Godfather Trilogy
,” in
Francis
Ford Coppola's Godfather Trilogy
, ed. Nick Browne (New York: Cambridge University Press, 2000), p. 144.

43
. Kathleen Murphy, “Dancing on the High Wire: Al Pacino,”
Film Comment
36, no. 2 (2001): 23.

44
. Lebo,
Godfather Legacy
, p. 190.

45
. Evans,
Kid Stays in the Picture
, p. xiv. See also Peter Bart, afterword to
The Godfather
by Mario Puzo (New York: Penguin, 2002), pp. 447ff.

46
. Evans,
Kid Stays in the Picture
, pp. 350–51.

47
. Biskind,
Easy Riders
, p. 159.

48
. See Julie Salamon, “A Hollywood Used-to-Be,”
New York Times
, 28 July 2002, sec. 2, p. 22.

49
. John McCarty,
Hollywood Gangland: The Movies' Love Affair with the Mob
(New York: St. Martin Press, 1993), p. 188. See also Jack Shadoian,
Dreams and Dead Ends: The American Gangster Film
, rev. ed. (New York: Oxford University Press, 2003), p. 271.