BIAGGI: This picture is an assault
on Italian Americans everywhere.
If I have my way, you won't make this movie at all.
LAPIDUS: "The Godfather" is becoming a problem.
BLUHDORN: We wanna give you some help.
No.
One more thing. Pacino.
Give him another shot. No Pacino.
How many fucking times do I have to tell you?
RUDDY: I got a script the size of an encyclopedia,
a director in love with the shortest unknown actor
on the fucking planet,
and Biaggi's making waves.
Am I forgetting anything?
No.
I'm pretty sure that covers it.
COLOMBO: Joe Gallo's actions led to our last war.
If Gallo comes gunning for Colombo,
you get caught with a stray bullet.
THOMPSON: What do you got in mind for him?
I'm gonna light his whole fucking world on fire.
It's you and me now. Your enemies are my enemies.
Please, I don't want no trouble.
PUZO: The Marlon Brando's house.
Ever since your letter, I keep thinking about the Don.
Pacino and Brando in the same frame.
I'm working on it.
Side with Francis. Pacino's the guy.
BLUHDORN: Evans gave you your shot.
If I say yes, he's gonna be pissed.
You stabbed me in the back. I don't like Pacino!
FRANCOISE: I want to be with you.
All of you or none of you.
ANDREA: This is the life that we've chosen.
We can only be around other people who understand that.
You got the part, kid.
I'm doing "The Gang That Couldn't Shoot Straight."
I signed a contract.
* [Ty Karim's "I Ain't Lying"]
TY: * All right
*
* If to shed a tear
* Would bring a smile to your face *
* Then a tear I would shed, baby *
* Just every day
What are you doing? Come on.
I like this song. No.
You're sending the wrong message, kid.
What fucking message?
* [Dion and The Belmonts' "The Wanderer"]
Here we go.
That's good, no?
Whatever, old man, I like this too.
Ah, fuck you with the "old man."
DION: * With my two fists of iron and I'm going nowhere *
Would you look at this jamoke?
CAESAR: The fuck?
Fuck that.
[horn honks] Come on!
What the fuck is he doin'?
Hey, buddy, you gotta move this fuckin' car
before I move it for you.
Fuck.
*
Let him go.
*
JAMAR: What do you think's in the truck?
Don't matter.
*
DION: * Oh, yeah, I'm the type of guy *
* That likes to roam around
* I'm never in one place
* I roam from town to town
* And when I find myself a-fallin' for some girl *
* I hop right into that car of mine *
* Drive around the world
* 'Cause I'm a-
[soft dramatic music]
*
[upbeat dramatic music]
*
[knocking on door]
What the fuck are you doing here?
Oh, my God, you smell like a sick dog.
What the fuck?
I just got off a plane.
I need your help.
Boy, did you come to the wrong place.
You told me to do whatever it takes to get my movie made.
You said to color outside the lines.
I never told you to fuck me over.
That was never my intention, Bob.
Yeah, and Yoko Ono never intended
to break up The Beatles.
I don't give a fuck about your intentions.
It was for the movie.
It was for the good of the movie.
Keep saying that to yourself.
[clears throat]
Listen.
Pacino can't do the film.
He signed on to another project.
Problem solved then.
I need you to get him out of it.
[funky upbeat music]
You have got to be fucking kidding me.
Come on, Bob.
You've never even given him a shot.
He's got something special.
We need him.
What you need is a fucking shower.
Mush.
Now, Paramount is just one asset among dozens
in the Gulf and Western portfolio.
Now, by God's grace,
we have a record-breaking hit called "Love Story,"
but I won't pretend that we knew
it was gonna hit like this.
And that is actually my point.
Making movies has become too unpredictable.
Hollywood was founded by men who understood
that the bottom line of making movies
is to make money.
But gentlemen, that system is broken.
The men with their hands on the wheel now,
they are, quite frankly, bullshit artists
who like to think of themselves as the talent.
They know exactly what to say to us
to get our money,
but they can give a damn about making it back
because they are not businessmen.
Now that we have finally had some success,
we can get a much better price
if we offload Paramount now and cash out.
So that's why we're here today.
We are here to seek the board's approval
to begin the exploration process because
we have already had four suitors interested.
Charlie, anything to add?
Some of you think that
I have a sentimental attachment to Paramount.
I have a sentimental attachment to many things,
which is why when I sell them,
I sell them for a lot of money.
COPPOLA: Tessio, he's gotta be older.
He--he's like the oldest guy in the whole family.
ANDREA: So what you're saying is you want Clemenza to be
two or three years younger?
Yeah, that'd be good. You got anybody in mind?
Hello. Hi.
Where's Ruddy?
He's on his way back from LA.
His flight lands later tonight.
[sighs] Why's he in LA?
Doesn't he realize that the producer
is supposed to be here for pre-production?
We have a sit-down with Tavoularis and Gordy.
Did you tell him?
I was waiting until Ruddy got back.
Tell me what? What is wrong?
Pacino signed a contract for another movie.
[sighs] ANDREA: Come on, Francis.
Jimmy Caan's screen test was good and you know it.
We just set him for Sonny.
And now you want me to just make him Michael?
Francis, you know this shit happens all the time.
Andrea, this isn't musical chairs.
Caan is not even Italian. Okay.
You're making a movie with Marlon Brando.
And don't worry, we'll find another Michael.
EVANS: Will he just look at Pacino?
Roll it back, would you?
Again?
How many times do we have to watch "Panic in Needle Park"?
There's a scene in "The Godfather" script,
Michael tells his brother-in-law
he's not gonna kill him but we know he's lying.
It's a shocking scene.
But it's gotta be played in the subtext.
Pacino doesn't have to say a word
and I can't take my eyes off him.
"An ice-blue, terrifying film
about people you love."
Fuckin' Ruddy.
Hi. Hey, Bettye.
Ooh, you smell nice.
Fancy hotel, fancy soap.
Gotta love the Waldorf.
How'd it go with Evans? What did he say?
He said, "Do whatever it takes
to get your movie made, Ruddy. I support you."
So not well, I take it.
Have you--
have you seen this?
It's Carmine.
RUDDY: Fuck.
I liked that guy.
Al, this is really scary.
We're gonna be okay.
You got any good news for me?
Well, your buddy Jack Ballard
is waiting for you in your office.
Shit.
You and I are gonna need to have a little chat
about what exactly constitutes good news.
Just the man I want to see.
Jack, what are you doing here?
BALLARD: Anything you need, Mr. Producer.
Have you met our editor? Aram Avakian, Al Ruddy.
Aram, I thought you weren't getting in until tomorrow.
Uh, Jack called me.
He wanted to get acquainted a day earlier.
Oh, did he? Mm.
Glad to be aboard. Glad to have you.
Jack, did you see "The Miracle Worker"?
Nah, missed it. Aram cut it.
It's beautiful work.
Mm, thank you.
Al's gonna need a miracle to bring us in on budget.
Aram, tell you what.
We'll have a drink, take each other's temperature,
and solve the world's problems. Sounds good to me.
Where and when? Count me in.
RUDDY: For the second round, Jack.
I like to meet the team on my own first.
Oh, sorry. I wasn't sure about that
since you missed the meeting with your production designer
and cinematographer this morning.
[funky upbeat music]
Looking forward to that drink.
Charlie.
*
Question: why is Jim Aubrey seated at my regular my booth?
I'm so sorry, Mr. Evans.
Mr. Aubrey got here early.
He insisted on sitting at his usual table.
Aubrey runs MGM. I run Paramount.
MGM just had an auction to sell off
props and costumes to pay the mortgage.
Come on.
How long has he been here?
About six minutes. Son of a bitch.
You couldn't stall him for six minutes until I got here?
[sighs] Coffee.
Please.
*
Terry, looking good. You lost weight?
TERRY: Hi, Bob. How are you?
Anabelle.
ANABELLE: Hi, Bob. Hi, dear.
Nice to see you. Catch up later.
Jim, I'm so sorry I'm late. You're still early.
Well, I grew up under the rule
that if you're ten minutes early,
you're still late. [chuckles]
Hell of a job you're doing at MGM.
It's all anyone can talk about.
Last year, we were in the red.
This year we're seeing nothing but black.
How 'bout you? Well, we haven't started
selling our props and furniture just yet.
Nothing's too precious, huh?
Not even Dorothy's Ruby Red slippers?
Thank you.
So we got a small piece of business between us.
Let's make sure we're on the same page.
This is about swapping actors.
It's Pacino and De Niro.
Two guys starting out their careers,
getting paid scale plus ten. Come on.
You're treating them like we're trading an outfielder
for a shortstop. Why not?
It's for the good of both movies.
Each wants the other's part. Simple.
You know, you make fun of the MGM yard sale,
but I hear that Paramount's getting spun off.
The whole show.
Gulf and Western is getting tired
and they want out.
[soft tense music]
*
No.
If you didn't know, I just did you a favor
and that's on top of the favor you're here to ask me for.
I think I've done both of us a favor.
AUBREY: You want this more than I do.
Personally, I don't see such a difference
between Pacino and De Niro.
De Niro does "The Gang That Couldn't Shoot Straight."
Pacino does "The Godfather." Everybody wins.
Pass. What else?
You have a couple of Harold Robbins' books I want.
Can't do it.
Then we don't have a deal.
One book.
One book, my choice.
*
Wow.
That had to hurt.
You sure this is really worth it?
You know, I'm a production designer, not a magician.
Dean, what's the problem?
Well, having permits to build sets
where I'm supposed to build them would be nice.
We have permits. They got pulled.
Some congressmen is fucking with us.
Look, this should have been handled a long time ago.
Take it easy, okay? It's a misunderstanding.
Bettye, call that kid in the film office I talked to.
Kevin something. Yeah.
He'll sort this out.
Hi, I have Al Ruddy on the line for Kevin, please.
Since when?
Okay. Thank you.
Kevin's been fired.
Because he gave us the permits.
LENNY: We need to take Gallo out now.
No. No, not yet.
I gotta talk to Carlo and the rest of the Commission
to get the okay to rip this motherfucker's face off.
All right, in the meantime,
hit the streets, make your collections.
Everybody pays today.
I want 20% kickback to Carmine's widow.
FBI. Nobody move!
Keep your hands where we can see 'em.
Well, this is nice.
Family reunion. You bring presents?
RICHMAN: We got warrants. You know the drill.
COLOMBO: Okay, okay.
Tear this place up.
What's this? Go fuck yourself.
[grunts]
RICHMAN: Teach your people some respect.
I need that.
Congressman Biaggi sends his best.
[crickets chirping]
[phone ringing]
Hello? Listen to me.
You're still a putz,
but I got Pacino.
He's in the picture.
Oh, Bob, thank you. I can't tell you how much--
They can't breathe. Huh?
The leaves. Look, they're turning brown.
[funky upbeat music]
*
GORDY: See? Caravaggio has the light coming in from the top
and stopping on the edges.
I know. I love it. It's beautiful.
I love the shadows.
It doesn't give the actors much leeway
to move around though. That's right.
Well, they have to have freedom to move.
Well, they have to hit their marks.
They need to be free to move so we're gonna test it.
[scoffs] Sure. Yeah, if you want.
It's not an insult, Gordy, to work all this out
before we get on the set with 100 people.
You wanna test? We'll test. It's fine.
It's fine. Good. Great.
See it as an opportunity to show off.
What? Is that what you think that I'm doing here?
Uh-oh.
Are Mom and Dad fighting again?
Hello.
Can you give us a minute because we're working--
Yeah, sure. I just came by
because I had a little piece of news,
a very small piece of news to deliver...
COPPOLA: Ruddy, what?
And I wanted to do it in person.
COPPOLA: No. You got Pacino?
You got him!
Are you kidding?
You did it? How did you do it?
There's a certain shade of yellow
and we're not making this movie without it.
Oh.
Do I want to know how this happened?
Nothing my mother would be embarrassed by.
[chuckles] Okay.
What's with the suit? You--you never wear a suit.
I gotta see a guy about a thing.
Hey. [camera shatters]
PERSON: Oh, my God.
[camera snapping]
CAESAR: Thank you for coming. So good to see you.
Hey. Sorry for your loss.
Thank you.
He was like a brother to me.
It's a fucking shame.
* ["Ave Maria" playing softly]
*
[crying gently]
*
I'm sorry about Carmine.
Al.
They made it so he couldn't even have an open coffin.
That way, the people that--that love him
can't say goodbye the right way.
It's just not done.
You did the right thing by coming here.
I appreciate that.
Well, there's an old saying.
"Nobody should be invited to a funeral
and everyone should come."
Carmine would've liked that.
He had a great sense of humor.
He was a funny motherfucker.
Come on.
How's the movie going?
Actually, Biaggi's making more problems for us.
He pulled all the permits from the film office.
I'm taking care of it.
I got my own issues with that fuck.
I'm sorry to bother you on a day like this.
It is what it is.
[soft dramatic music]
*
BIAGGI: How's your son?
COLOMBO: He's good. He's really good.
He--he's thinking about politics.
Politics?
Yeah, he's a smart kid.
He's smarter than me.
He's lookin' for a less complicated life.
Well, what I do is hardly uncomplicated.
But I wish you and your family only the best.
Is that your way of apologizing for the raid?
The raid?
Think twice about lying to me, Congressman.
The League is now over 200,000 strong,
and as we both know, you have a campaign comin' up.
I got plenty of friends
who wouldn't mind taking a shot at your seat,
and with the full backing of every member in the League,
plus their big, fat Italian families.
Joe.
There's been a misunderstanding between us.
Oh. Maybe.
If I may,
I want a clean slate.
I'm listening.
We're both proud Italian Americans
who want what's best for our people.
So what can I do to heal this rift between us
so we can, you know, help each other?
Stronger together, is that the tune you're singing now?
Good, good.
Get the feds off my fucking back.
Consider it done.
And one more thing.
Film noir set in the '20s about city politics.
Bob Towne wrote it.
It's called "Chinatown."
I read it over the weekend, actually, in one sitting.
Is this the one with the winning combination
of incest and water rights?
BART: That's it.
I'll take a look at it.
Bob? Hmm?
Something going on?
When I was negotiating for Pacino,
Aubrey told me
that he heard that Paramount was being spun off.
You heard anything about that?
No. Nothing. Not since months ago.
I thought Bluhdorn said he'd keep you in the know.
Yeah.
He told me "Love Story" had to deliver.
It just passed $100 million. I'd say that qualifies.
Aubrey's just trying to get under your skin.
[soft dramatic music]
*
Ugh, it's too exposed. It's too open.
It needs to be protected.
Well, maybe we can build a wall.
RUDDY: How much?
Ballard's up my ass about the budget, guys.
Um, it's--it's--it's cheap.
You know, it's Styrofoam.
We just paint it to look like stone.
How tall is that wall? Eight feet?
Well, it's going to cast a shadow in the late morning.
TAVOULARIS: You can light that out.
Maybe, if I get the lighting package I asked for.
COPPOLA: The--the shadows, they help tell the story.
If that's the intention.
What the fuck is this?
A kitchen that costs $75,000? Is this a joke?
They gotta cook.
We're not opening up a restaurant, Francis.
They can pretend.
All department heads in the conference room now.
No gangster film,
since the beginning of recorded history,
ever needed a working kitchen.
It's not just about the cooking.
This is the scene
where Clemenza is talking to Michael
and he tells him that the families
have to go to war every ten years or so.
And while he's telling them that,
they just happen to be making tomato sauce,
and that's why the scene is so important.
I love this scene. You never see anything like it
in a gangster film. COPPOLA: It's essential.
You have to see them making the tomato sauce.
It humanizes them.
Remember, it makes them relatable?
If you want it so badly, you can pay for it.
Francis, is that a propane line with special effects?
It's practical gas.
Propane's fine. No.
Propane does not burn like practical gas.
It does now. [knocking on door]
BETTYE: Sorry to interrupt.
I just got off the phone with the film commission.
We've got our permits back.
Why was that ever in doubt?
You guys meeting about this budget?
Oh, God.
Yeah, we're making some cuts. Good.
Then my timing is perfect.
Anna, where are we at with costumes?
Over budget. We know, Jack.
That's why we're talking it through, buddy.
ANNA: There's just nothing quality in inventory
from the '40s,
so we're gonna have to do a build
on most of the major players.
That's at least two suits per player per scene.
And an additional 200 grand we don't have.
ANNA: Well, more because we still have to dress
everyone at the wedding.
BALLARD: What if it's a small, intimate affair,
maybe only family?
COPPOLA: Stop!
It can't be a small affair.
She's the daughter of the Don.
ANDREA: There are a lot of speaking parts.
Maybe you can combine some of them.
Oh, I forgot.
We're doing an off-off-Broadway play now.
Okay, look, everybody just relax.
We are still making the movie that we all set out to make.
Well, we're also still about $2 million over budget
so unless you know something, I don't know, Mr. Producer,
I suggest you grab your scissors
and start making cuts everywhere.
Where there's a will, there's a way.
[soft tense music]
*
Hey, Al. Got a sec?
Yeah.
ANDREA: So we've got a problem.
Look, Andrea, I just want to say I think
you're doing an incredible job casting this movie.
And it's obvious to me that Paramount,
they knew what they were doing when they hired you.
Thank you. You're welcome. It's true.
And, uh, listen,
about the other night.
We both had a lot to drink and I'm not--
I'm not saying I was drunk.
Obviously, I knew what I was doing,
but, you know, we're working together.
And for me personally, I just got out of a relationship,
so, you know, it's probably best if we just--
Al, stop.
[chuckles] That's not the problem
I was talking about.
Oh.
We still don't have an actor to play Luca Brasi.
It's the last big role we need to cast.
Don't worry about it. We'll find somebody.
Just so we're clear, I'm a grown woman.
We both know what it was and what it wasn't.
Relax.
You know how we said
that we can make this picture for 4 million?
Well, unless half the crew works for free,
we're never gonna get there. You gotta call Bob.
No, that's a check I can't cash.
I used it all up on Pacino.
What--so what? You just quit?
That's not fair.
What does fair have to do with anything?
[grunts softly]
What's this?
A script.
It's called "Chinatown."
Any good?
A lot of talk about water in the future.
You think it would be dull, but it's oddly compelling.
Anything for me in it?
No.
Can we talk about something that's important to me?
Yeah. What?
"The Getaway."
We passed on it.
Well, Warner Brothers didn't and they're making it.
Steve McQueen just signed on
and there's a part that I really want.
McQueen is in prison, helps a crook plan a heist.
The crook betrays Steve,
and they take off across Texas with the money,
running from the law and the criminals.
A strong woman, quick thinker.
Walter Hill wrote it, Peckinpah is directing,
and--and they want me.
It's not good enough for you, Al,
and I really don't have time for this right now.
I'm going to do it.
Starts shooting next week.
Do you want my opinion or my blessing?
I want you to support my opinion with your blessing.
How about I tell your agent I'm not gonna work with him
if they let you do this. How about that?
And destroy your marriage.
Ali.
Ali, come on. Come back.
Hey. What?
Look, I don't wanna fight,
but I'm under a lot of pressure right now.
Thanks to you, "Love Story" was a huge hit,
but if "The Godfather" doesn't follow, I'm fucked.
I can't give Bluhdorn a reason to sell, okay?
Bob still hasn't returned any of my calls.
Sheila says he's still pissed.
He needs time to cool off.
She said you should just go to Bluhdorn yourself.
Remind me never to cross the assistant pool.
It's more dangerous in the mafia.
You have no idea.
You made any headway with the budget?
Not unless you got a couple extra million lying around.
Do you want me to take a look at it?
The budget? Yeah, sure. Knock yourself out.
You gonna take Sheila's advice?
[sighs] Yeah.
[soft upbeat music]
*
How is he today?
[Bluhdorn screams]
Mr. Bluhdorn will see you now.
[whispers] We're going in.
*
You want more money.
RUDDY: Charlie, come on.
We just came by to see how your day was going.
Ah, it's all bullshit.
This being polite is a waste of at least an hour every day.
How are you?
How's your kids? How's your wife?
Well, what do you say?
She's got a suspicious mole. Who gives a shit?
You're being polite. That's your tell.
You want more money
and you agreed to do this film for 4.5.
It can't be done for 4.5.
BLUHDORN: Low budget specialist, my ass.
RUDDY: Look, Charlie, I got all the actors to work for scale,
including Marlon Brando.
I'm getting tax breaks from the city.
It's just still not enough money.
Have you spoken to Evans?
He's not returning my calls.
Oh, and who's fault is that?
I warned you.
You made this bed you're sleeping in, Ruddy.
I'm gonna make you an offer.
Take it or leave it.
Ruddy, you and Coppola can get 6 million,
but you both have to put up your fees
against any overages.
*
We'll have to talk about that.
We'll take it.
He spoke. We're done.
Get the fuck out of my office.
RUDDY: We could've gotten to 6.5.
He said take it or leave it.
Let it go, Al.
The Corleones are expecting us for dinner.
Hey.
We're in here. Yeah, here we go.
Very nice.
Hello. How you doing, Bob, Morgana?
Talia. Oh, look at you.
[Coppola chuckles] Hey.
John. How are you, sir?
Jimmy, come here.
Look who's decided to show up, huh?
I guess you're the boss. You're the boss.
How are ya? Good.
What's going on, buddy? Hey, boss.
Diane, Al, beautiful.
CAAN: Hey, look, it's Carlo.
The douchebag has arrived.
[laughs]
Here you go, Marlon.
Thank you. Thank you for being here.
Ladies and gentlemen. [indistinct chatter]
Ladies and gentlemen,
may I have your attention, please?
[glass clinking]
Oh, I want to thank you all for coming out tonight.
This is very exciting.
You all look wonderful.
And I just thought it would be really nice
to have the Corleone family come together
for a real Italian dinner, huh?
Before we all start shooting in a couple days.
That's it. Just enjoy yourself.
Sit wherever you want and let's eat.
Mangia.
[soft dramatic music]
*
Here you go.
I'm not the head of this family.
Right. I should help.
Oh, no, no, no, no. She's got it.
Stay here with me.
No, no. Your mother first. Always.
*
Are you gonna sit down or what?
You get any eggplant? No.
Well, you gotta try some.
You want me to get you some?
I--it's just I was gonna get some anyway, you know?
So I--I thought I--I can get you some.
*
I appreciate having the whole family together
for my birthday.
Many things happen in life.
Celebrations, tragedies, births, deaths.
But through it all,
what's right here is what's important.
Family.
May you live forever.
Ah, salud. ALL: Salud!
Ooh-hoo.
You make this? Mm.
Mom's recipe.
CAAN: Christ, it's the best thing I ever put in my mouth.
Mm-hmm. CAAN: Hey, stuggatz,
you know how lucky you are? [chuckles]
I think she's the lucky one.
CAZALE: You don't know what you're in for.
You're gonna need both hands
to deal with that one, right?
[laughter]
I only need one hand to enforce my rules.
[silverware clatters]
CAAN: What did you just say?
Did you just threaten her?
[tense music]
Everybody needs a smack once in a while.
Hey, hey.
Come on.
That's enough.
Who's this jamoke think he is?
*
Has this man laid a hand on you?
No, Pop. No, no.
It--it--it was my fault.
I didn't do nothing.
You know what the name "Corleone" means?
"Heart of a lion."
So if I were you, I wouldn't bring any attention
to the fact that I'm the slowest in the herd.
*
[grunts]
If I offended you, I'm sorry, godfather.
What do you have to be sorry for?
You said you never hit her.
I'm just happy to be in your family.
Kiss the ring.
Huh?
Kiss the fucking ring, you fucking idiot.
Kiss it.
CAAN: Kiss it. CAZALE: Kiss it.
ALL: Kiss it, kiss it, kiss it.
Hey, kiss it.
ALL: Kiss it, kiss it.
[laughs] Kiss it.
ALL: Kiss it, kiss it!
[laughter]
BRANDO: Everybody mangia.
CAAN: Can you believe this guy, huh?
You know what I'm thinking?
This is gonna be a great film.
Yeah.
And they need a stove.
You had to bring that up, didn't you?
Can't I just have one good moment
without it being taken away from me on this project?
[laughs] I'm sorry.
You're right. You're absolutely right.
But food is so important to this family.
Well, this family is gonna have to get by with one burner.
Yeah?
BETTYE: Hey! Al.
I heard last night went well.
Your friend Gianni didn't think so.
What a schmegege.
So I've been going through the budget.
Uh-huh.
And?
And there seem to be
three men with very Italian-sounding names.
They don't belong to any department.
They're on payroll,
but I can't find them on the crew list.
Al.
One of them is Caesar.
Caesar, I just saw him at the wake.
He didn't mention anything. Who hired him?
Probably one of the unions.
That's not weirdest part.
All three of these guys,
they have the same social security number.
Really?
I don't know why you find that funny.
Gulf and Western is a publicly-traded company.
If they find out we have mobsters on payroll,
it's over for all of us.
Look, get me Caesar. I'll talk to him.
Caesar.
What's this about?
You could have finished lunch.
That's not how I like to do things.
Never make the boss wait.
Right. Let me ask you something.
What exactly do you do here?
I am a production assistant.
And who do you assist?
The production.
And what does production do?
Like, if there's a problem with the unions,
I assist the unions to not be a problem.
Moving right along.
These guys down here, what do they do?
Those are my guys. They're, um...
production assistant's assistants.
Listen, you guys can't all
have the same social security number.
Al, you know who you gotta talk to about that.
You need anything else, boss?
'Cause, um, I gotta take a dump.
Good luck with that.
How you doing? Hi.
Al, there are two FBI agents waiting for you.
[playful music]
Thanks so much for seeing us on short notice.
I'm Agent Zabel. This is Agent Richman.
What can I do for you boys?
What exactly do you do here, Mr. Ruddy?
I'm the producer.
You mind telling us
why you were at Carmine Vispiciano's wake?
He was a friend. Where's this going?
Well, I guess we were just wondering
how a man with top security clearance
with the Rand Corporation
is now in bed with the mafia.
Well, fellas,
you know how they say that truth is stranger than fiction?
[in German accent] I see nothing, nothing!
[laughter]
Exactly. That's pretty good.
So why did you walk away from "Hogan's Heroes"?
TV's too limiting.
You can't tell real stories on TV.
It's fake.
And Marlon Brando doesn't do TV.
Al, you seem like a nice guy.
Let me give you some advice.
These guys are a lot more dangerous
than they first appear. Look, honestly,
I'm just trying to make my movie
and that's where the association ends.
So I gave one of them a job, hence the badge.
It's safer for him here than working out there.
Not safer for you.
And we'd feel a lot better
if we can keep a closer eye on you.
If you let us put a wire on you,
we can protect you.
*
I appreciate it, guys, but I'll take my chances on my own.
Yeah, she's gonna do "The Getaway" next.
Well, Peckinpah is a great director.
We just figured it was the best move after "Love Story"
so she doesn't get typecast as the shiksa goddess.
No, no, I--I've never worked with McQueen.
What do you know about him, Cary?
[clears throat]
Look, I gotta go, Cary.
Thank you so much for the info and I'll speak soon.
All right, bye.
It's Lapidus.
Barry!
How they hanging?
Guess what I'm calling about.
EVANS: Another sock sale at Brooks Brothers?
You were right about "Love Story."
Well, thank you, Barry.
Maybe I do know what I'm doing.
You have made the board very happy.
Gulf and Western's stock price is up.
Nice work, Bobby.
[dial tone]
[soft tense music]
*
Peter, I just had a wacko call from Lapidus.
Aubrey wasn't bluffing.
They're trying to sell Paramount.
And?
Tastes like fish bait.
But is too small to slip on a hook.
[chuckles] Ugh.
That's impossible.
It's $200 caviar from the Caspian Sea.
I don't care if it was $1,000 and came out of God's ass.
If I'm eating eggs, I want 'em cracked, fried,
and covered in cheese.
[chuckles]
I'm glad you could make some time for me.
I know Ruddy keeps you very busy.
Yeah.
Well, anything for a free drink.
[chuckles]
So tell me,
what does Bettye want?
I'm not sure what you mean.
What do you want for yourself?
What do you want to do with your life?
[scoffs] What is this?
Are you trying to be my mentor now or something?
Do you enjoy working as Ruddy's secretary,
pouring coffee, answering phones?
Ah, is that what you think I do?
Well, that's what all secretaries do.
That's what they're supposed to do.
I'm not all secretaries.
No, you're not.
No.
Come work for me.
Ah, for once, she has nothing to say.
I work for Ruddy. He works for me
so technically you already work for me.
With all due respect, Charlie,
I love where I am.
They say movies are magic,
but they don't care about magic.
They care about money.
And so do I.
You're selling Paramount.
I never said that.
I like you, Bettye.
Think about it.
RUDDY: Who else knows?
I assume the word is already out.
RUDDY: Did he say anything about the movie?
Not exactly.
You speak Charlie. What did he say exactly?
He offered me a job.
EVANS: I'll tell you what they're doing, Peter.
They are using my success against me.
Yeah. Nothing's set in stone.
They fought me tooth and nail.
They told me not to make "Love Story."
I put my balls on the line.
I knew people wanted a romance.
I knew that Ali was a star.
I knew people would fall in love with her.
I fucking delivered the biggest movie ever. Ever.
And now they're taking my baby away,
selling her off for spare parts?
I don't think so. Fuck that.
What the fuck?
Hey!
What are you doing here?
We've got to work order to map out the cemetery expansion.
Get the fuck off my lot.
Excuse me?
I said get the fuck off my lot!
Hey, hey, hey.
This is exactly what I said was gonna happen.
COLOMBO: I heard you were
asking Caesar a lot of questions.
No, no, Joe,
I was just curious about-- COLOMBO: Hey, look, Al,
I don't like to talk business over the phone.
Come by the League office.
We can talk about whatever you want.
RUDDY: Joe, I'm a little busy right now.
Great, I'll see you in an hour.
[grunts]
I gotta go see him. Hold down the fort.
In the middle of all this?
He called for me. I gotta go.
You sound like a gangster.
Be back in an hour.
If you're not, I'm gonna send for your special agents.
I'm sure they'll be around.
Big day tomorrow. You ready?
Yeah, I'm just going over the scene, like,
a million times in my head.
Is the weather gonna be bad?
RUDDY: Clear skies, 45 degrees.
Perfect weather.
I just can't believe that it's actually
beginning tomorrow. I know.
You made it happen.
We.
We made it happen.
It's a miracle.
Everything that we've been through.
They said that this was not going to succeed.
They did.
And now it's up to me to make sure that it does.
And it will.
And you're gonna make it happen, Francis.
It's gonna be great.
Hey. Good to see you, Al.
Come on. He's inside waiting for you.
COLOMBO: And it's because of courageous men
like Congressman Biaggi,
who's willing to fight for Italian Americans,
that we're able to make any progress with civil rights.
That's why the League wholeheartedly
throws its support
behind the Congressman for his re-election.
[applause] Yes. Thank you, thank you.
Oh, oh, oh.
I'd also like to announce that
after intense negotiations with Gulf and Western,
the League has decided to allow them
to make the movie, "The Godfather."
That's right.
And I--and I should say
that it's all because of this man right there, Al Ruddy.
Al, come up here. Come up here. He's the film's producer.
It's because of him that we were able
to come to this agreement.
It was his brilliant idea that Gulf and Western
donate the proceeds from the premiere
to the League's hospital fund.
We can't thank you enough, Al.
This is the man solely responsible
for the alliance between the Italian League,
Gulf and Western, and Paramount Pictures.
You're one of us.
Hey, come on, come up here.
Come on, take a picture.
REPORTER: How long have you been working with Mr. Colombo?
Come up. Come on.
REPORTER: And what are the details
of this financial relationship?
COLOMBO: Take a picture. Take a picture.
REPORTER: How does Paramount Pictures feel
about this, Mr. Ruddy?
REPORTER: Is it true that the movie is still about the mafia?
REPORTER: How does Gulf and Western feel
about being in business with Joe Colombo?
[compelling rock music]
*
[triumphant fanfare]
[resonant tone]
You're in bed with the mafia for the whole world to see.
I did what I had to do.
AL: They don't get it. So make them get it.
AL: You try to say no to Joe Colombo,
let me know how that works out for you.
We cannot have another war.
JOE: You should have stayed in prison.
It was safer for you there.
Action!
ROBERT: We know people want...
violence...
Where's Ruddy? Ruddy?
(GUNSHOTS)
CHARLES: It wasn't personal, it was business.
Just business, huh?
Unfortunate things present opportunities.
Sometimes it is personal.
Ladies and gentlemen, may I have your attention please?
RUSSELL: The Patsy's cast dinner.
It's just a favorite scene of mine.
It's a great scene.
Coppola had a dinner at Patsy's for the Corleone cast.
I just thought it would be really nice to have
the Corleone family come together for a real Italian dinner.
RUSSELL: And he didn't tell them
to play their characters or anything.
He just wanted to have a nice dinner
with all the main characters before they started shooting.
NIKKI: Bringing all of these actors together
allowed for a subtle alchemy to be present.
And at that dinner they all started, weirdly,
assuming their parts.
Let's eat. Mangia.
RUSSELL: Talia Shire started bringing platters over
to serve the table.
I'm not the head of this family.
RUSSELL: Brando sat at the head of the table.
No, no. Your mother first, always.
The three sons started to jockey
for position to sit next to Brando.
You get any eggplant?
No.
Well, you gotta try some. You want me to get you some?
NIKKI: I think that this was the place
where the Corleone family was born.
I appreciate having the whole family together
for my birthday.
MICHAEL: It's just a really great scene,
A great idea, to show them being loose with it.
To show the family becoming a family.
What's right here is what's important.
Family.
NIKKI: There was a very delicate balance
to allowing these people to come to life
in a way where we began to see
not Al Pacino but Michael Corleone.
You know what the name Corleone means? Heart of a lion.
NIKKI: Not Jimmy Caan, but Sonny.
The douche bag has arrived.
RUSSELL: There was something about that dinner
that always stood out to us
because you could see Coppola and Ruddy sitting there
watching the dynamics of the Corleone family play out
and understand that they had something special.
You know what I'm thinking?
This is gonna be a great film.
Yeah! DIRECTOR: Thank you, everybody.
(CHEERING, APPLAUSE)
You told me, do whatever it takes to get my movie made.
You said to color outside the lines.
I never told you to fuck me over.
From Bob's standpoint, he wanted a star.
He's like, "I don't like Pacino!"
MICHAEL: Ruddy goes to Bluhdorn behind his back
and says, "We need Al Pacino."
I'm gonna make you an offer.
It was just brutally difficult, but he had to do it.
He didn't want this unheard of kid.
He already had Brando.
He's like, you know, it was already exacerbating
going into a land of chaos.
But I suppose the sort of Shakespearean part of that is
he felt like he'd been stabbed in the back.
It was a sort of a Julius Caesar moment for him.
It was for the good of the movie.
MATTHEW: Then his sort of major confidante was Ali.
I love working with Matthew. It's really no acting necessary.
He is a consummate pro.
I think I'm doing both of us a favor.
MEREDITH: Watching Matthew create organically, take to take,
and his incredible range as an actor,
but also having all of that range fit so beautifully
inside of Robert Evans.
It's not good enough for you Al
and I really don't have time for this right now.
MEREDITH: So dependable as a scene partner.
Working with him did feel like I was always being held.
I'm going to do it.
MATTHEW: He goes and watches The Panic in Needle Park
and he sits in there with Ali.
Pacino doesn't have to say a word
and I can't take my eyes off him.
In the end, he's like, "Well, he is actually really good, this guy." (CHUCKLES)
Which is wonderful, and then--
Listen to me.
You're still a putz, but I got Pacino.
He's in the picture.
Bob. Thank you. I can't tell you how much--
(DIAL TONE DRONES)