- 5 hours ago
The Offer (2022) Season 1 Episode 1
Category
🎥
Short filmTranscript
00:00:01Bella, bellina voi, veni alla vigna, e te l'ho preparata una cabanna, e tutto te lo fanno in cabanna,
00:00:26che polisio.
00:00:43What are you doing?
00:00:44What are you doing?
00:00:44What are you doing?
00:00:44Leave the fuck and come home.
00:00:46You're a compo, and you really need to be a boss.
00:00:49We gotta get you your own seat at the table.
00:00:52That's the only way we're gonna make change.
00:00:55Lucchese and Gambino,
00:00:56those tired fucks.
00:00:57I'm gonna get you your own seat at the table.
00:00:58That's the only way we're gonna make change.
00:00:58One of them gotta go.
00:01:03Did you want me to take care of him?
00:01:05When the time is right,
00:01:07where you and me empower,
00:01:08we can do things the way they should be fucking done.
00:01:14Mr. Colombo!
00:01:16Come in, Dominic.
00:01:17Yeah.
00:01:19Excuse me.
00:01:19Excuse me.
00:01:20I'm sorry to interrupt that.
00:01:21I saw you walk by.
00:01:22I thought these were you and your friends.
00:01:24That's beautiful.
00:01:25Francesca and I are so great.
00:01:26Good, good, good.
00:01:28I'm in a meeting right now.
00:01:30I'm sorry.
00:01:30No, no, no.
00:01:31God bless you, sir.
00:01:32God bless you, Mr. Colombo.
00:01:34Excuse me.
00:01:35Excuse me.
00:01:38What the fuck is that?
00:01:40Oh, he owes.
00:01:42He owns the bakery over on Grand.
00:01:44His grand kid's sick,
00:01:46so I suspended the interest for six months.
00:01:48Oh.
00:01:49He's from God, sir.
00:01:50If you wanna be a boss,
00:01:51you better start acting like one.
00:01:53You going soft on me?
00:01:54It sends the wrong message showing mercy right there.
00:01:56I told him he doesn't pay me in six months.
00:01:58I'll kill his whole family.
00:02:00I'll gut the kid first and make the family watch.
00:02:02That's what I'm talking about.
00:02:04It's a change we need.
00:02:06I still don't know about this seat, though.
00:02:09There's gotta be another way.
00:02:12You ain't exactly handing him out, Joey.
00:02:15You want that seat?
00:02:18You gotta take it.
00:02:47ócogalimited s Davion
00:02:47you got her as well.
00:03:02Can you talk about something?
00:03:02I don't know.
00:03:02I tell you now that the house is protected.
00:03:02With this truck that's changing.
00:03:03Don't worry about it.
00:03:07There's gotta be another מצ Fuel,
00:03:10you gotta stand for it.
00:03:10I'm a baby.
00:03:10I don't know.
00:03:11Ah, God.
00:04:19Hey, Bob.
00:04:20Those rushes were great last night.
00:04:22You're doing such a good job.
00:04:23You keep it up.
00:04:24Watch that budget, though.
00:04:25And then...
00:04:26Johnny potatoes!
00:04:27You're looking good, man.
00:04:28I like that, huh?
00:04:29I just came out to tell you,
00:04:30Hank can't fucking direct his way out of paper bag,
00:04:32but you, star,
00:04:34you're knocking it out of the park.
00:04:53Good morning, Bob.
00:04:54Well, it should be.
00:04:56And it will be, Peter,
00:04:57if I didn't have to watch the rushes
00:04:58with Tarzan and the Jungle Boy last night.
00:05:00My God, what a turd.
00:05:02But the song is shining.
00:05:04It's still a good day.
00:05:05What do we got?
00:05:05Hit me.
00:05:06Bluedorn is having trouble wrapping his head around Eastwood,
00:05:09starring in a musical.
00:05:10Wants to talk.
00:05:11Neil Simon called.
00:05:12He says it's got to be Lemon.
00:05:13But Lemon will only do it if Matthaus in it,
00:05:15and he wants $300,000 for the picture.
00:05:18And Bluedorn says,
00:05:19quote,
00:05:19under no circumstances
00:05:20are we paying anyone $300,000 to star in anything, unquote.
00:05:25He said a few other things.
00:05:27Don't be scared.
00:05:28What did he say?
00:05:30He said he's got a fire poker with your name on it
00:05:33if you need a better illustration of the studio's finances.
00:05:36Huh.
00:05:37All right.
00:05:38Take a deep breath.
00:05:39This is what you're going to do.
00:05:40Peter, you're going to send a copy of Clint's album,
00:05:42Cowboy Favorites, to Bluedorn.
00:05:43That's going to change his tune.
00:05:44Now, Sheila, you could tell him,
00:05:46you tell Charlie Bluedorn
00:05:47that he could save his poker for opening night.
00:05:50Because if that film is anything like the play,
00:05:52the odd couple is going to save the studio,
00:05:54and I'll bend over for him if it doesn't.
00:05:57Thank you, Sheila.
00:05:57Peter, you stay.
00:06:02I suppose so.
00:06:04Good morning.
00:06:05Good morning.
00:06:11Yeah, hey, please.
00:06:12Yeah.
00:06:21Hey, Ruddy.
00:06:23I'm not paying you to read.
00:06:25These contracts need to be on my desk by the end of the day.
00:06:28They were on your desk this morning.
00:06:31Good.
00:06:36Ruddy.
00:06:36You're making the rest of us look bad.
00:06:39Dave, you're doing a great job of that all on your own, buddy.
00:07:01Uh, nice car, sir.
00:07:04You could be surprised what a pain job will do.
00:07:06Oh, a blowtorch.
00:07:09Hey, Ruddy!
00:07:11Mitch, sorry I'm late, buddy.
00:07:12Had a hard time finding the place.
00:07:13After a year in L.A., who doesn't know where the Chateau is?
00:07:16Try not to impress too many girls with that shirt tonight, Ruddy.
00:07:19What?
00:07:19I came straight from work.
00:07:21It's the law telling me what you do.
00:07:23It's contracts or something, right?
00:07:25I've called you 13 times.
00:07:26You really think this is going to be the time it sticks?
00:07:28That's a good point.
00:07:30Let's grab a drink.
00:07:36I'm not content to be with you in the daytime.
00:07:43Girl, I want to be with you all of the time.
00:07:50The only time I feel all right is by...
00:07:54I was wondering where the beautiful, cool cats have gone.
00:07:57Here they are.
00:07:59How's it better?
00:08:00It's all right.
00:08:02Yeah, Bob.
00:08:03Nice to see you.
00:08:05Hey, who is that guy?
00:08:08Bob Evans.
00:08:09I had a Paramount.
00:08:10This guy's more connected than God.
00:08:13And yeah, he's always that tan.
00:08:16Nikita, you don't want to miss this bus, baby.
00:08:18Let's do it.
00:08:19Come on.
00:08:20Come on.
00:08:25Everyone, this is my neighbor, Al Ruddy.
00:08:28Hello.
00:08:28Okay.
00:08:30Any friend of my cheese is a friend of mine.
00:08:34Okay.
00:08:39You sure you're just a TV writer?
00:08:42I'm in the wrong fucking business.
00:08:48What am I doing wrong?
00:08:50Nobody came.
00:08:52Mario, this is the best thing you've written.
00:08:55Six years wasted.
00:08:59The fortunate pilgrim was my mother's story.
00:09:03You know, I...
00:09:05I thought the world would identify with it.
00:09:08Three people came, and no one bought a book.
00:09:12I don't even know what to write anymore.
00:09:15People perked up listening to the part about the mafia guy.
00:09:18Oh, yeah, great.
00:09:20That was like three paragraphs.
00:09:22Well, did you ever think about writing a mafia book with more than that?
00:09:26I spent my childhood hiding from those gangsters.
00:09:31I, I, I, you know, Al's Kitchen was chock full of them.
00:09:35So write what you know.
00:09:37What?
00:09:39So they could put a bullet in my head?
00:09:41Just think about it.
00:09:42Twenty-one club, please.
00:09:58Anthony.
00:10:01Yeah.
00:10:05You know, you owe our friend a thousand dollars.
00:10:08Yeah.
00:10:08Uh, uh, no, I, I, I have, uh, uh, I have, uh, uh, 40.
00:10:15Take that.
00:10:26How much do we owe?
00:10:29You don't want to know.
00:10:32I thought this book was the one.
00:10:35We'd be able to pay him back and...
00:10:41So what are we going to do, Mario?
00:10:46Candida wants me to write about the mafia.
00:10:49I married you because you're an artist, not a hack.
00:10:53Hacks sell books.
00:10:54They can pay for the education of their kids.
00:10:57Hacks don't borrow money from guys they shouldn't borrow money from.
00:11:02How much do we owe?
00:11:11Five G's to two bookies.
00:11:14A few grand in the bank.
00:11:17Not including what I owe my brother.
00:11:23Fuck art, Mario.
00:11:25Start typing.
00:11:27You want me to write about the mafia?
00:11:29Yeah.
00:11:30How do I tell that story any differently?
00:11:34Everybody knows.
00:11:35They steal.
00:11:36They control gambling.
00:11:38They run whores.
00:11:39Unions.
00:11:40Okay, so maybe it's not just a book about the mafia.
00:11:43What do you mean?
00:11:45Well, the guys you grew up with, they didn't start out so different from you.
00:11:49Immigrants.
00:11:50They eat.
00:11:51They drink.
00:11:52They love.
00:11:52They cry.
00:11:53They worry about their kids' futures just like us.
00:11:59They kill.
00:12:01Okay, so maybe we don't kill.
00:12:06But maybe this book is about finding the reason we would.
00:12:21Have a beautiful night.
00:12:23Good.
00:12:24Okay.
00:12:25Hi, guys.
00:12:26How are you?
00:12:27Nice.
00:12:28Enjoying?
00:12:28Hey.
00:12:30Back.
00:12:31I'm back.
00:12:31Whatever he said, he's lying.
00:12:35How are you doing?
00:12:37I'm good.
00:12:38Okay, so now you look interesting.
00:12:41Are you interesting?
00:12:42Depends on the company.
00:12:43Hmm.
00:12:44That's a good answer.
00:12:45Who's your friend, Mitch?
00:12:47Francoise Glazer.
00:12:48This is my neighbor, Al Ruddy.
00:12:52What do you do?
00:12:53Programming.
00:12:55Programming?
00:12:55What network?
00:12:57I program computers for the Rand Corporation.
00:12:59Still have no idea what that means.
00:13:01The Rand Corporation.
00:13:03I'm impressed.
00:13:05That's defense work.
00:13:06It's secret.
00:13:07It's not top secret.
00:13:10What about you?
00:13:10What do you do?
00:13:11She owns the ground you're sitting on, my friend.
00:13:14The hotel.
00:13:16You surprised?
00:13:18You think a woman can't run a business?
00:13:20I was raised by a single mother.
00:13:22She could run anything.
00:13:24You see?
00:13:24He doesn't hate his mother like all you comedy writers.
00:13:27Come on!
00:13:28Oh, you write comedy, too?
00:13:29Uh, no.
00:13:30You watch Sergeant Bilko?
00:13:32Yeah, I love Bilko.
00:13:33I play Gomez.
00:13:34You know, I thought you looked familiar.
00:13:36I'm a hell of a comedy fan.
00:13:37The way these shows tell their stories, it's like a formula.
00:13:40In a good way.
00:13:41Formula?
00:13:42Think about it.
00:13:44Bilko, McHale's Navy, even my favorite Martian, right?
00:13:46They're the same cast of characters in similar situations,
00:13:49but just enough difference to be interesting.
00:13:51That's kind of true, Mitch.
00:13:52If you really want to upset the apple cart,
00:13:55put your cast of characters where you least expect them to be in a comedy.
00:13:58Somewhere that isn't safe.
00:14:00That's how you make a standout.
00:14:02If it were really that easy, every Tom, Dick, and Ruddy would do it.
00:14:06I didn't mean any offense.
00:14:07Hey, uh, you seem to have a hell of an instinct for how these shows are made.
00:14:11You want to talk shop sometime?
00:14:12I could send you some scripts.
00:14:13You could see how they all lay out.
00:14:14That'd be great.
00:14:16But, hey, I'm just a guy who programs computers.
00:14:19All evidence for the contrary.
00:14:40You found it.
00:14:44Oh, boy.
00:14:46Mm-hmm.
00:14:49It's not about a gang.
00:14:52It's about a gangster's family.
00:14:54Oh.
00:14:54Mm-hmm.
00:14:56The oldest son is a hothead.
00:14:58The middle son is sweet, but he's weak.
00:15:02And the younger son is a war hero
00:15:06who wants nothing to do with the family business.
00:15:09Okay.
00:15:09But the Don wants this son, call him Michael.
00:15:13Mm-hmm.
00:15:13Mm-hmm.
00:15:14Wants him to rise above the family business
00:15:17and become a senator, you know, someone powerful.
00:15:21But Michael's destiny won't let him escape
00:15:25the power of Don Vito Corleone.
00:15:30Who is the Don?
00:15:31He's what Sicilians call the godfather of gangsters.
00:15:35Oh.
00:15:36Huh?
00:15:36He's the head of the family.
00:15:38Ooh.
00:15:39And my title.
00:15:43The godfather.
00:15:44Mm-hmm.
00:15:46I like it.
00:15:47Mwah!
00:15:50Okay.
00:15:51All right.
00:15:52It's not written yet.
00:15:54Mm-hmm.
00:15:58Mm-hmm.
00:16:10So come on, what do you want to pitch?
00:16:12We could do rags to riches, a fish out of water.
00:16:16I mean, Bernie, I don't even know what a pitch is.
00:16:18Don't even know what a pitch?
00:16:20We just go into the network, tell them about our idea.
00:16:22You know, what it's about, the characters,
00:16:24what stories we tell week to week.
00:16:25That's it.
00:16:26That's the pitch.
00:16:27Look, all these execs want to see
00:16:28is that they can put 100 episodes in the can.
00:16:31Okay.
00:16:32So maybe we go with what you've hit
00:16:33with the military comedy.
00:16:34There's already McHale's Navy, F Troop, Gomer Pyle.
00:16:38They're going to want to see something new.
00:16:39McHale and Gomer's are peacetime stories.
00:16:41Nobody's set a military comedy during wartime.
00:16:44Let's do something about what you know.
00:16:46Workplace comedy set at a defense contractor.
00:16:49It's not inherently funny, trust me.
00:16:50I live it.
00:16:51Not to you.
00:16:55Hey, you ever seen Stalag 17 with William Holden?
00:16:57Mm-hmm.
00:16:58American POWs.
00:16:59It's a Billy Wilder thing.
00:17:00It's great characters, man.
00:17:01I mean, it's set up for a comedy.
00:17:03Yeah.
00:17:04Yeah, yeah.
00:17:06No.
00:17:07War equals death.
00:17:08Hey, let's do this.
00:17:09Let's sell the Rand comedy.
00:17:11And after that, we can sell the Army comedy.
00:17:13Huh?
00:17:18Buddy, just relax.
00:17:20You're making me nervous.
00:17:22Yeah, well, we fucked this up.
00:17:23You go back to making TV.
00:17:24I go back to Rand, where the soul goes to die.
00:17:29Goodbye, Miss Taylor.
00:17:30Holy shit, that's Elizabeth Taylor.
00:17:38Gentlemen, Mr. Paley will see you now.
00:17:43Hey, so these two bachelors at the Rand Corporation, they're actually peaceniks.
00:17:47They're using company computers to program for peace instead of war.
00:17:51There's a lot of good stuff in here.
00:17:52People are going to love it.
00:17:53We call it modern warfare.
00:17:56Hmm.
00:17:57Interesting idea.
00:17:59You got anything else?
00:18:06Bilko swastikas.
00:18:08Swastikas Bilko.
00:18:10You think Nazis are funny?
00:18:13Imagine Bilko as a pilot, right?
00:18:15He's a colonel, and he's fighting the war.
00:18:18He gets shot down over Germany and taken prisoner.
00:18:20Mr. Righty, I don't think this is...
00:18:21Now, our colonel, he knows exactly how to escape, but he never does.
00:18:24None of the prisoners do because he's leading an allied group inside the camp to help the resistance.
00:18:29The camp commandant.
00:18:30He's a guy named Klink.
00:18:31Now, he's got a reputation of being the toughest guy in the SS, but actually, he's a fucking idiot.
00:18:38And there's this big fat sergeant, Sergeant Schultz.
00:18:41And he's always walking in on their plans, but he likes the guys that are nice to him, so he
00:18:45turns a blind eye.
00:18:45I see nothing, I hear nothing, I know nothing.
00:18:48There's a French prisoner, a guy's a gourmet chef, and he feeds the guard dogs so that they love the
00:18:53prisoners.
00:18:53This is for you, my little chien.
00:18:55That's a good boy. That's a good boy.
00:18:59Are there any women in the show?
00:19:01Oh, yeah. There's a woman.
00:19:03And not just any woman.
00:19:05Oh, boys, Helga, she is on Amazon, right?
00:19:09I mean, sexy German secretary.
00:19:12Oh, guten tag, my little boy.
00:19:16And she might even have an eye for our colonel.
00:19:19Yeah, so she's in on all their schemes.
00:19:21What do you call this thing?
00:19:23Hogan's Heroes.
00:19:25Have you pitched this anywhere else?
00:19:29Don't.
00:19:30We're buying it.
00:19:40I'll make him an offer he can't refuse.
00:19:43Great line.
00:19:44Yeah.
00:19:45It's fun, isn't it?
00:19:46It's special, Mario.
00:19:48The Frank Sinatra, Johnny Fontaine character, great.
00:19:52Maybe Sinatra will play him in the movie.
00:19:54Hmm?
00:19:55Should we call Paramount?
00:19:56Oh, Mario, just because they optioned it early,
00:19:59it doesn't mean it's going to get made.
00:20:02Let's make sure it gets published first.
00:20:05They say to me, you can make love story, which we agree,
00:20:08greatest love story of all time,
00:20:10but the girl has to live at the egg.
00:20:14Can you fucking believe that?
00:20:16Ah, the death is what makes it work.
00:20:17Yes!
00:20:18Look at Romeo and Juliet.
00:20:20Not the same story if they'd live.
00:20:22God, no.
00:20:23We feel the pain of the loss,
00:20:25feel the grief,
00:20:26we feel pity,
00:20:28we cry.
00:20:29I'll make the movie, Bob,
00:20:30but only if she dies.
00:20:32You are preaching to the choir, babe.
00:20:34Look, you make love story,
00:20:36and I will give you total creative control.
00:20:38And final cut.
00:20:39At a back end, it's real.
00:20:40We got a chance to make a huge hit here.
00:20:42I only make two decisions, all right?
00:20:45Hiring you, yes.
00:20:47Secondly, casting Allie McGraw.
00:20:51Bob, I don't know if I'm comfortable
00:20:53with hiring your girlfriend.
00:20:54One of the best actresses of our time.
00:20:57Trust me, my friend,
00:20:58I've seen her up close.
00:21:01And so should you.
00:21:02That's all I'm saying.
00:21:03Sheila, could you send it our guest, please?
00:21:05What is this?
00:21:08Allie McGraw meet Arthur Hiller.
00:21:12I am so excited to be working with you.
00:21:15Me too.
00:21:16You two have got to make magic together.
00:21:19I'll let you go to court here.
00:21:30Sheila, I'm good.
00:21:36Lucchese and Gambino got here about ten minutes ago.
00:21:46Sinatra's crying to everyone but the Pope
00:21:48about this book that's about to come out.
00:21:51The Godfather.
00:21:53Giving me a fucking headache.
00:21:55Because there's a character in it
00:21:56that's supposed to be a real fiatra.
00:21:58And everyone thinks it's him.
00:22:00How'd you know that?
00:22:02I read it somewhere.
00:22:08I just have to use the bathroom.
00:22:14What have we got here?
00:22:16He said it was important to the commission.
00:22:18I remember
00:22:19I remember
00:22:21I remember
00:22:22That night in May
00:22:23I remember
00:22:24The starting word night
00:22:28Oh, oh
00:22:29I remember
00:22:31I'll hold
00:22:33I remember
00:22:35And I'll pray
00:22:36I'm about to keep
00:22:40Your prayer
00:22:41She's loved
00:22:44Well, she's loved
00:22:47Oh, oh
00:22:49Oh, oh
00:22:50Oh, oh
00:22:50Oh, oh
00:22:51Oh, oh
00:22:52Oh, oh
00:22:52Oh, oh
00:22:52Come on
00:22:52Come on
00:22:53Come on
00:22:53Come on
00:22:53Come on
00:22:53Come on
00:22:55Come on
00:22:55Come on
00:22:55All of your mind
00:22:56In the still
00:22:58Sit down, Joe
00:22:59Have a drink
00:23:00You're making me nervous
00:23:01Standing like that
00:23:05Sit down, Joe
00:23:14I have an offer to see
00:23:16at the commission table.
00:23:19My own family.
00:23:22Nobody told me about that.
00:23:24Well, it's supposed to be the last thing you'll overhear.
00:23:32Bonanno.
00:23:34He came to me a while back, talking about making changes.
00:23:38That's what he thinks I'm doing here right now.
00:23:42But I'm here to tell you so you can deal with it
00:23:44the way the commission chooses.
00:23:47And then you take Bonanno's seat at the table.
00:23:54Well, that's not up to me. That's up to you.
00:23:58I'm an ambitious guy, but not at the price of my loyalty
00:24:01to what we do here, to you and the rest of the commission.
00:24:06I respect whatever you decide.
00:24:09Good night, gentlemen.
00:24:14Let's go.
00:24:16Bonanno.
00:24:17He's gotta go.
00:24:33You maniacs! You blew it up!
00:24:38Goddamn you!
00:24:41Goddamn you all to hell!
00:24:57Uh, uh, are we moving in?
00:25:01This.
00:25:03This is what it's all about.
00:25:07What, monkeys?
00:25:09No.
00:25:10The excitement.
00:25:11The thrill.
00:25:12I mean, did you hear them at the end?
00:25:14Yes.
00:25:15There was a great ending.
00:25:16No, no.
00:25:17It's not just about the ending.
00:25:18It's about the experience of it.
00:25:21You got 300 people all watching the same thing,
00:25:23reacting in real time, just feeding off each other.
00:25:29You can't get that experience in television.
00:25:32You're just in your living room looking at a small fucking box.
00:25:35Yeah, it's just a different game.
00:25:37Five years of Hogan's and you can make all the money you'd ever need.
00:25:40Five years of Hogan's, I'm gonna shoot myself in the face.
00:25:45They showed us the writer's room at CBS last week.
00:25:47It was like an exact fucking replica of Rand.
00:25:53It can't just be about the money.
00:25:56At first I thought it was, this whole Hollywood thing.
00:26:00My mother, she was a tough broad.
00:26:04And she never showed emotion, ever, about anything, except at the movies.
00:26:10That was the only time I ever saw my mother cry.
00:26:16I mean, you can't put a price on that experience.
00:26:20I mean, that's magic, baby.
00:26:25I need to be in the movies.
00:26:36So what do you know about producing film?
00:26:40What do I know about producing TV?
00:26:42Good point.
00:26:44Let's go.
00:26:47Are you coming?
00:26:56Sir?
00:27:07I'm having a party on Saturday night.
00:27:09And if you're not there, well, I'm just gonna send everybody home.
00:27:12Even Jack and Warren.
00:27:15Huh?
00:27:16Nicholson and Beatty.
00:27:18Ooh, you're gonna love them.
00:27:20And, uh, bathing suits are optional.
00:27:23Barry, what are you doing here?
00:27:25I hate to interrupt your little soiree, but we had a meeting.
00:27:28Oh, relax, Barry.
00:27:29Have a drink before you have a heart attack right now.
00:27:31It's nine in the morning.
00:27:34Coffee.
00:27:35Coffee.
00:27:35I'm sorry.
00:27:37Every party needs a pooper.
00:27:49How you doing, Barry?
00:27:50Bob?
00:27:54I got off the phone with Charlie.
00:27:56He's livid.
00:27:57Paramount has fallen back to eight out of nine.
00:27:59Well, let me guess.
00:28:00He's up your ass about picture-wagon-overages.
00:28:03Lee Bob and the Clint Eastman should be shooting people, not singing.
00:28:05That's entertainment.
00:28:07I bought for the love story.
00:28:08The girl dies at the end?
00:28:09Who wants to see that?
00:28:11It's his studio.
00:28:12Look, I'm not gonna beat around the bush.
00:28:14We need hits.
00:28:16We can't live off of Rosemary's baby forever.
00:28:19Barry, did you read love story?
00:28:23Yes.
00:28:24Why?
00:28:26Did it move you?
00:28:28What does that have to do with anything?
00:28:30The audience needs to be moved, Barry.
00:28:32That's how you make hit pictures.
00:28:34Times are changing, and we need to keep up.
00:28:36That's why I got the job in the ivory tower, and you don't.
00:28:40If you don't string together some hits, that ivory tower of yours is going to come crashing down.
00:28:51O ye of such middle faith.
00:28:55Bottom's up, Barry.
00:29:08Bob Evans, Al Ruddy. I wanted to talk to you. You got a minute?
00:29:12I'm fairly certain we don't have a meeting.
00:29:14But you knew that already, didn't you?
00:29:16How'd you get up the lot?
00:29:17It ain't exactly Fort Knox.
00:29:20Fair enough.
00:29:20What can I do for you, Mr. Ruddy?
00:29:22That's what I can do for you.
00:29:24I want to produce for Paramount.
00:29:25You told a good story once.
00:29:28Ballsy of you to walk away from Hogan's Heroes.
00:29:30So you do know who I am?
00:29:32I know who everyone is, kid.
00:29:33Look, you know what a producer does, Mr. Ruddy?
00:29:35They do whatever it takes to get their movie made.
00:29:37Now, what makes you think that you're qualified to do that, huh?
00:29:41You know, I read an article in Variety that said that you started out selling ladies' slacks and doing bit
00:29:44parts of movies,
00:29:45but you still figured it out.
00:29:46Don't, don't, don't call them bit parts when you're kissing someone's ass.
00:29:52I work with Jimmy fucking Cagney, my friend, toe-to-toe.
00:29:55So, unknown computer guy creates CBS's hit comedy about Nazis.
00:30:04Go figure.
00:30:05All right.
00:30:07All right.
00:30:08You do remind me of me, and I'm a sentimental guy, and you caught me on a good day.
00:30:11Let's settle lunch, Mr. Ruddy.
00:30:15Talk about your future.
00:30:20What producers have you worked for?
00:30:22You'll be my first.
00:30:24I worked in legal for three years and then saw this job posted.
00:30:28Well then, I guess we both have a lot to learn.
00:30:32Thanks.
00:30:36We'll let you know.
00:30:38I thought he just gave me the job.
00:30:40Oh no, sweetie.
00:30:42That was just his valium talking.
00:30:45You are dodging a bullet here.
00:30:47You can thank me later.
00:30:48Exit that way.
00:30:52Bye-bye.
00:30:57You're Albert Ruddy.
00:30:59Who are you?
00:31:01Benny McCart.
00:31:03Bernie Fine sent me.
00:31:07Bernie.
00:31:09It's nice to meet you, Betty, but I'm sorry I just hired somebody.
00:31:12That little mouse?
00:31:13Yeah.
00:31:14No.
00:31:14Yeah?
00:31:15No.
00:31:21Let me take you on a tour.
00:31:24Come on.
00:31:26I don't bite.
00:31:28That spot is hallowed fucking ground.
00:31:32You're not even paying attention to it.
00:31:35Look.
00:31:36The guard gate.
00:31:39That is where Gloria Swanson drove onto the lot in Sunset Boulevard.
00:31:47Because she thought Cecil B. DeMille wanted to make her a version of Solomon.
00:31:51And all he actually wanted was her fucking car.
00:31:52Fucking car.
00:31:55Oh, you see that door?
00:31:56That is the secret entrance where Adolf Zucker, who's the founder of Paramount.
00:32:01That's where he used to sneak his little starlets into his office.
00:32:05Oh.
00:32:06Oh.
00:32:08It's hallowed ground, man.
00:32:10Hallowed ground.
00:32:12Ladies.
00:32:13It's time.
00:32:14Come on, let's go.
00:32:15Seriously, what's your story?
00:32:16It's not terribly interesting.
00:32:17Worked for Rand Corporation before Hogan's.
00:32:19Architect before that.
00:32:21Those are both steady gigs.
00:32:23Why'd you walk away?
00:32:24Because I could, I guess.
00:32:29So, Betty, what's your story?
00:32:32It's not terribly interesting.
00:32:35I'm divorced.
00:32:37Opinionated.
00:32:38The latter most likely the cause of the former.
00:32:41Okay, let's get ready for picture! Lock it up!
00:32:44I love the movies.
00:32:46My mom used to take me every Saturday.
00:32:48Even when she couldn't make the rent.
00:32:50Single mother?
00:32:51Hmm.
00:32:53Yeah, me too.
00:32:56Still a girl every Saturday?
00:32:57Yes, I do.
00:32:59I wouldn't miss the world.
00:33:04How long is your deal here for, Al?
00:33:07A year.
00:33:08What? Really?
00:33:09That is not long enough to start from scratch.
00:33:11We have to find a script that's been overlooked.
00:33:15Well, then we better get started.
00:33:17Yeah?
00:33:20Let's watch this tape press.
00:33:23The New York Times, Dick Schaap, what Philip Roth did for masturbation, Puzo does for murder.
00:33:30The Post, a searing portrayal of the mafia underworld.
00:33:36I'll lay odds that you're going to be signing more than 30 books.
00:33:54Bob, I found something you're going to look at.
00:33:56Jesus, Ruddy. Doc!
00:33:58It's all right, Sheila.
00:33:59What was the best scene in The Great Escape?
00:34:01I don't have time for party games.
00:34:03It's McQueen's motorcycle jump.
00:34:05Yeah? True, so why?
00:34:06I found a great script. It's about motorcycle racers.
00:34:10And chicks?
00:34:11Yeah, and chicks.
00:34:12It's called Little Foss and Big Halsey. It's perfect for McQueen.
00:34:15Oh, forget McQueen, for Christ's sakes. He's making his own racing movie, Le Mans.
00:34:19Who else you got in mind?
00:34:21You need a star kid.
00:34:25Robert Redford.
00:34:26Redford? Yeah, great idea.
00:34:29You get me Redford.
00:34:31He's over a million and five all in.
00:34:34You got yourself a gold picture.
00:34:38Thanks, Bob.
00:34:39Sure, yeah, yeah.
00:34:41Evans is messing with you, Al.
00:34:42Redford will never do this for a million and five all in.
00:34:45How do you know?
00:34:46How is it that you don't?
00:34:47I don't know. I'm new at this. Work with me here.
00:34:49Well, if anyone knows what Redford's up to, it'll be Stevie Phillips.
00:34:52Who's he?
00:34:53She is his agent. You gotta know these things, Al.
00:35:00Stevie Phillips, please.
00:35:03This is Al Reddy calling from Paramount in regards to a project for Robert Redford?
00:35:11Yes.
00:35:15Okay.
00:35:16Yes, I'll tell him. Thank you.
00:35:20Stevie says to call back when you have more than Hogan's hair is under your belt. Pass.
00:35:23So we go around her.
00:35:25That's not how things are done, Al.
00:35:26I don't give a fuck how things are done.
00:35:28Ruffer's not in town. He's shooting Butch Cassidy outside San Pedro, Mexico.
00:35:32Find out. The most expensive hotel there. That'll be your Redford stain. And then book me a flight.
00:35:37You are certifiable.
00:36:04Hey, buddy. I'm looking for Redford. Who are you?
00:36:07The producer of his next film. He said he wanted to speak to you.
00:36:10Okay. Just wait right there.
00:36:15Action. Butch at Sundance. Go.
00:36:24And cavalry, go.
00:36:33All right. Cut. Cut. Cut.
00:36:36All right. Great.
00:36:44So this is the guy.
00:36:48The producer of my next film, huh?
00:36:50That's right.
00:36:51Who the hell are you?
00:36:52Al Ruddy with Paramount.
00:36:54Paramount.
00:36:55Okay, so?
00:36:57So?
00:36:58It's a great Charles Eastman script.
00:37:01Motorcycles and chicks. You're gonna love it.
00:37:03Oh, you didn't come all the way down here to tell me that?
00:37:06Yeah, Bob. I did.
00:37:08Well, you could have called. Paramount's suing me.
00:37:12That's why I didn't do Rosemary's baby.
00:37:15Could have saved you the hassle.
00:37:18What if I could get you out of that lawsuit?
00:37:29You have the authority to do that?
00:37:33Yeah, I do.
00:37:37You could do the movie.
00:37:44Well, first things first.
00:37:45How about you and I go get drunk later?
00:37:47You tell me who you are and why I should work with you.
00:37:51Great. I'm Bonnie.
00:37:54No shit.
00:37:58Yeah.
00:38:00Rudy.
00:38:05Little Faust, big house.
00:38:08Fawson Halsey.
00:38:14Well.
00:38:16Evans is in this for himself, not for Gulf and Western.
00:38:19I give you the reins and the problems that just magically disappear.
00:38:24Ah, there's my favorite, Austria.
00:38:26I miss this place. Nice touch, Evans.
00:38:29Asking you shall receive.
00:38:31Been a while since you visited the studio, Barry.
00:38:33Well, that's because I've been in New York actually making money for the company.
00:38:36Can you say the same?
00:38:37Very nice children.
00:38:38Charlie, you know I, Margaret, right?
00:38:39Of course. One of the greats.
00:38:42Good to see you, Charlie. A glass?
00:38:44From you? Sure.
00:38:45Thank you, honey.
00:38:46I would have loved to stay and chat, but I want it on set.
00:38:49I'll see you soon.
00:38:50You count on it.
00:38:53Ah.
00:38:54Evans, you are completely transparent.
00:38:57Well put.
00:38:58And I love it.
00:39:00Cheers.
00:39:00Help us out, Barry.
00:39:02Oh, and lighten up.
00:39:04Come on, cheese!
00:39:08Ann-Margaret and Two Flutes of Champagne is not going to erase ninth place, Evans.
00:39:13It's as if every new Paramount picture comes with its own death rattle.
00:39:17Newsflash.
00:39:18You approve them too, Barry.
00:39:20Jack Warner on line one for Mr. Blue Door.
00:39:23Jesus.
00:39:26Put him through.
00:39:29I don't pick up first.
00:39:32Jack Warner doesn't wait out of line.
00:39:35Neither do I.
00:39:36You wait for Jack Warner. Everybody does. He embedded this business.
00:39:40Uh, Paramount holding for Mr. Warder.
00:39:43Hold, please.
00:39:44Blue Lord.
00:39:46Are you there?
00:39:47Bob Evans, Mr. Warder.
00:39:49How you doing? I got Charlie here with me.
00:39:52Charlie.
00:39:52You own The Godfather.
00:39:55You doing anything with it?
00:39:57No.
00:39:58Yes.
00:40:00Well?
00:40:01We haven't decided.
00:40:03It's an uncut gem.
00:40:05Could it be a crown jewel?
00:40:07I've been making gangster movies since they were silent.
00:40:10We know how to make this work, Charlie.
00:40:12I'll buy it today for a million.
00:40:16Take it.
00:40:18We'll sing about it.
00:40:20You do that.
00:40:21I won't wait forever.
00:40:24What does he know that I don't?
00:40:26He knows that there's movie gold in that book.
00:40:30Which is why we took a cheap early option in the first 60 pages.
00:40:32$15,000.
00:40:34And that book has been at number one for the past year.
00:40:36Barry.
00:40:37Why didn't I know about this?
00:40:39Yeah, why Barry?
00:40:40Because our last gangster movie was A Sugarless Turd.
00:40:44Yeah.
00:40:45Because Kirk Douglas is a Goyish Jew playing in Italian.
00:40:49We're not gonna make that mistake again.
00:40:51Charlie.
00:40:52Gangster movies are dead.
00:40:54It's a new world.
00:40:56James Bond.
00:40:57Funny Girl.
00:40:58That's what people want to see.
00:41:00Jack Warner.
00:41:01He offers me a million, we can get three.
00:41:03Help cover some losses.
00:41:06Unless I'm missing something.
00:41:07Evans, what do you see in this book?
00:41:10I'll tell you what I see.
00:41:13I see...
00:41:15money.
00:41:15This picture can make power about number one, Charlie.
00:41:18I feel it.
00:41:18I feel it.
00:41:19My kissers are screaming.
00:41:20That book's all I was talking about.
00:41:22Now you get the right hands of the wheel.
00:41:23And this could become a cultural phenomenon.
00:41:25The likes we've never seen before.
00:41:26Like...
00:41:27Rosemary's Baby.
00:41:29But bigger.
00:41:31A million dollar return on an investment of 15 grand?
00:41:35We're not gonna get a better offer.
00:41:37Hmm.
00:41:41It's only a million.
00:41:43Thank you, Charlie.
00:41:46The bookstore in Little Italy, The Godfather.
00:41:48It's 58 weeks at number one.
00:41:50Because of the tourists.
00:41:51What makes us look stupid?
00:41:54Like...
00:41:54Like a joke.
00:41:55And that's bad for business.
00:41:57Sinatra isn't wrong about this one.
00:42:10We're here tonight to acknowledge Joseph Anthony Colombo.
00:42:14Capo to the Profaci family.
00:42:21In recognition for his loyalty to the commission,
00:42:25Joe, you have earned a seat at the table amongst us.
00:42:30To the Colombo family,
00:42:33may you live a long life with prosperity.
00:42:36Salud!
00:42:38Salud!
00:42:54Some opening weekend.
00:42:56It's the studio.
00:42:58They didn't spend enough on advertising.
00:43:00That's all.
00:43:01It's the movie, not the marketing.
00:43:03Trust me.
00:43:06All right.
00:43:07What are you in the mood for?
00:43:08I'll take you anywhere you want.
00:43:10Nah, honey, I can't.
00:43:11I gotta get home.
00:43:12I got a stack of scripts I need to go through
00:43:14if I'm gonna find my next project.
00:43:15Right now?
00:43:16I thought we were going to dinner.
00:43:19You okay if we got something to go?
00:43:22If you tell me what's really going on in the head of yours.
00:43:28I'm just scared to lose this.
00:43:32Producing, and...
00:43:34I've never really felt that before.
00:43:4010-10 has to go?
00:43:45Sure.
00:43:55Did the secretary say what Evans wanted to see me about?
00:43:58No.
00:43:58But he likes you, Al.
00:43:59He's probably just checking in to find out what's next.
00:44:01My film tanked.
00:44:02What if he fires me?
00:44:03No, I'm fired too.
00:44:04Shit, hey.
00:44:06Do not get fired.
00:44:09Yeah?
00:44:11Where's the chocolate, man?
00:44:13I mean, I don't see any chocolate.
00:44:14It's a chocolate factory, right?
00:44:15You see where I'm going with this?
00:44:17Absolutely.
00:44:18Where's the coolest?
00:44:18Where's the chocolate?
00:44:19Buddy, pack your bags.
00:44:19You're out of here.
00:44:21Fuck.
00:44:23New York.
00:44:24You got a meeting with Charlie Bluthorn first thing in the morning.
00:44:26What, you thought you were fired?
00:44:27That's sweet.
00:44:28You're not out of the woods, but...
00:44:29Okay.
00:44:30Yeah, whatever you need.
00:44:32But, uh, why am I doing this?
00:44:34You've read The Godfather, right?
00:44:36The Godfather.
00:44:37Sure.
00:44:37Who hasn't?
00:44:38I mean, you've read it.
00:44:39It's great.
00:44:40I love it.
00:44:40Well, you are officially now Paramount's low-budget specialist.
00:44:44We've been all over town.
00:44:45No one wants to make this movie for $4 billion,
00:44:46so I need you to produce it.
00:44:49Get going.
00:44:53Nice.
00:44:54Hey, Ruddy.
00:44:57Don't fuck it up.
00:45:00You get him?
00:45:00I can't believe you told me you read it.
00:45:03What else was I gonna say?
00:45:04You better read fast on the plane.
00:45:06Fuck, that's big.
00:45:18It's about an American family.
00:45:19Bluthorn is Austrian.
00:45:21Make it universal.
00:45:23The Godfather is a Greek tragedy about an Italian family.
00:45:27You say the word tragedy to Charlie,
00:45:28and he says the only tragedy of my life is that I bought Paramount.
00:45:31Okay.
00:45:32It's a story about immigrants.
00:45:34Everybody in America comes from immigrants.
00:45:35It's a universal story.
00:45:36You're overthinking it.
00:45:37Bluthorn is famous for being direct.
00:45:40He speaks like a telegram.
00:45:42So just be a telegram.
00:45:46Thanks.
00:45:59Al Ruddy for Charlie Bluthorn.
00:46:01This way.
00:46:07Al Ruddy.
00:46:11And the
00:46:12in the film.
00:46:14We have to be around the film.
00:46:21You look at the film.
00:46:24You look at the film.
00:46:26You look at the film.
00:46:26I'm not here, I'm not here.
00:46:30I can't either.
00:46:31You look at the film.
00:46:37I'm not sure you look at me.
00:46:47So, you're the genius that Evans wants to produce the film
00:46:51that we should not be making.
00:46:53Stay.
00:46:57Ah.
00:47:01So, tell me, El Ruddy,
00:47:03what are you going to do with this fucking book?
00:47:11What, is he deaf?
00:47:22I'm going to make an ice blue terrifying film about people you love.
00:47:33That is brilliant!
00:47:41What just happened?
00:47:44Congratulations.
00:47:47You're the producer of The Godfather.
00:47:55Ice blue, baby.
00:47:58Well, hello to the ice blue terrifying man of the hour.
00:48:03Nobody understands what that means, but he loved it.
00:48:07Well done.
00:48:07Now, I want to talk to you about writers.
00:48:11William Goldman, great.
00:48:13Wilder Salt, excellent.
00:48:14Look, Bob, they're great writers, but we need a fresh perspective.
00:48:17We need someone who understands Italians.
00:48:20I want to talk to Puzo.
00:48:21Oh, sweet Jesus.
00:48:23Puzo's never written a film.
00:48:24It's an unwritten law in Hollywood that you never hired the author.
00:48:27No, turn it up.
00:48:28500 page first draft, you're fucking late.
00:48:30Yeah, but he's the guy with the original idea.
00:48:32It's at least worth a meeting.
00:48:34Look, I'm going to talk to him while I'm here in New York,
00:48:36and if I think he's the guy, will you back me?
00:48:38Fuck no, but it's your call.
00:48:44Everything all right?
00:48:46When was the last time you made love of the pool?
00:49:03Al, I was born to write this screenplay.
00:49:08Well, the studio doesn't believe that an author can adapt his own novel.
00:49:12Then why are you here?
00:49:15Because I told him.
00:49:16I said, who knows it better than you?
00:49:18Now, look, the movie's in here, but you've got to carve it away.
00:49:21Can you do that?
00:49:27Mario, he asked you a question.
00:49:32All right, look.
00:49:37Fresh start.
00:49:39But I have to be the one to write this.
00:49:41This is my story.
00:49:43The Corleones are my family.
00:49:47Can you deliver a quick draft?
00:49:50What's quick?
00:49:51Three months.
00:49:55You let me do this.
00:49:56I'll do it in three days.
00:49:59Who can argue with that?
00:50:01Three days, I'm going to hold you to this.
00:50:02Hold on, hold on.
00:50:04Listen, I will let you take my husband, but you must promise me, Mario has diabetes.
00:50:08Ah, Erica, please.
00:50:10No.
00:50:11Stop.
00:50:11Now, come on.
00:50:12Listen, you must watch his diet.
00:50:14He eats crap.
00:50:15He needs to lose weight.
00:50:17Lock up the food.
00:50:18No pizza, no ice cream, no ice cream, no donuts.
00:50:22You must swear a blood oath to this.
00:50:25Come on.
00:50:26He's a Jew.
00:50:28Oh.
00:50:28He can't swear a Catholic blood oath.
00:50:31I volunteer to swear.
00:50:35See?
00:50:36Look at him.
00:50:46So the studio got me a whole house to write in?
00:50:49No.
00:50:49I got you the house.
00:50:50They're just paying for it.
00:50:51Mr. Ruddy, nice to see you again.
00:50:52Good evening, sir.
00:50:54Your table will be ready in a few minutes.
00:50:55Thanks, Marco.
00:50:58It's not a bad night.
00:50:59What'd I miss?
00:51:00What'd I miss?
00:51:00That's Frank Sinatra.
00:51:03Fucking Frank Sinatra.
00:51:05Amazing.
00:51:05I'm in the same room with Sinatra.
00:51:08Look, Puzo, Chasens is not a celebrity petting zoo, okay?
00:51:11Stay here.
00:51:11I gotta pee.
00:51:14Please, sir, this way.
00:51:22Sir?
00:51:25Mr. Sinatra.
00:51:27Yeah?
00:51:28You have given me and my family and my late sainted mother
00:51:33so much pleasure.
00:51:35That's very kind of you to say so.
00:51:37It's fans like you that keep me going.
00:51:40You know, from one artist to another,
00:51:42you teach the world about true emotion.
00:51:46You Mario Puzo?
00:51:48You know me?
00:51:49Yeah, I know who you are.
00:51:50You're the rat fink who wrote that fucking book
00:51:52about the degenerate singer.
00:51:55You know, I've been an admirer of yours
00:51:57since I was a kid.
00:51:58Well, I can't choose my fans,
00:52:00especially ones that make up a story
00:52:03that insults Italians
00:52:04and a singer, world famous,
00:52:06who's a disgusting pervert
00:52:08and a faithless friend of criminals.
00:52:09Johnny Fontaine is a fictional character.
00:52:12You find me one book review
00:52:14in any language in the world
00:52:15that does not refer to the singer Johnny Fontaine
00:52:18as having been based on Frank Sinatra.
00:52:20Now get the fuck out of my sight
00:52:21before I have Jilly here
00:52:22smack some respect into you.
00:52:24I will not be threatened by anyone, okay?
00:52:26Including you, Mr. Sinatra.
00:52:28Oh.
00:52:28You want to cross me, you fat fuck, huh?
00:52:32Hey, hey!
00:52:33Huh?
00:52:35No, no, no, no, no.
00:52:36No, not today.
00:52:38Hey, hey, come on.
00:52:39Get out of here, you fat fuck.
00:52:41Get the fuck out of here
00:52:42before I smack you myself.
00:52:44Get him the fuck out of here.
00:52:45Sorry, Frank.
00:52:46Take it easy.
00:52:46Choke on it.
00:52:48Sorry about that.
00:52:50Sorry, folks.
00:52:51Go back to Eden.
00:52:53Evans is fucking pissed.
00:52:55And he's got every right to be.
00:52:57Sinatra and Puzo are going to hit the trades.
00:53:01My greatest achievement so far as a producer
00:53:03is that Frank Sinatra's mad at me.
00:53:06Well, that's more than most people can say.
00:53:09No.
00:53:14I fucked it up, baby.
00:53:16Me, no.
00:53:18It was just starting to go well, too.
00:53:23You know what we're going to do?
00:53:26We're going to find our own great escape.
00:53:30So, we're going to start with breakfast
00:53:33at Les Demagots.
00:53:35Then we're going to do steak frites.
00:53:38Le Brassil de Ghiap.
00:53:41He likes steak frites.
00:53:45And then we're going to spend the afternoon making love.
00:53:48That's what we're going to do.
00:53:51Parasol.
00:53:52For one week.
00:53:55Babe, all of your problems,
00:53:57I can assure you,
00:53:58they're still going to be here when you get back.
00:54:01But your head will be clear.
00:54:08I can't, baby.
00:54:09I've got to stay.
00:54:13Okay.
00:54:35What the fuck?
00:54:40Mario.
00:54:41Oh, what's going on, man?
00:54:43I, uh...
00:54:46I can't do this.
00:54:48I'm a novelist.
00:54:49It takes me six years to write.
00:54:52What happened to Mr. Three Days?
00:54:54Every time I sit down
00:54:57to that typewriter,
00:54:58there's a blank page
00:55:01laughing at me.
00:55:02I don't know why I did this to myself.
00:55:07I'm a failure.
00:55:09Why not?
00:55:10At something that I already made
00:55:12a success.
00:55:15I don't even know where to begin.
00:55:19The book starts with a wedding.
00:55:22The movie probably should, too.
00:55:24Trust yourself and write that scene.
00:55:27All right.
00:55:30Movie scenes are abbreviations.
00:55:33They're snapshots.
00:55:35While the wedding's going on in the garden,
00:55:37the bride's father
00:55:38is in the office
00:55:39handing out favors.
00:55:42You want to write it?
00:55:49It's been weeks,
00:55:50and Puzo hasn't written
00:55:51a single word.
00:55:52Evans warned you
00:55:52about hiring the novelist.
00:55:54Peter,
00:55:54we couldn't find anybody else.
00:55:56The agencies won't touch us.
00:55:58Not for a writer,
00:55:58a director.
00:55:59Ah, the town wants this project to die.
00:56:01They humiliate Evans
00:56:02for taking the chance
00:56:03on the Rand guy
00:56:04who sold his first pitch
00:56:05in the room.
00:56:06Rand guy?
00:56:07It's not just you, buddy.
00:56:08Talent is scared
00:56:09of doing a gangster movie
00:56:10after the last three bombs.
00:56:11So how do we fix it?
00:56:18Francis Ford Coppola.
00:56:20He's brilliant.
00:56:21He wrote the script for Patton.
00:56:22He's probably going to be
00:56:23nominated for an Oscar.
00:56:24Now, he might do this,
00:56:26but he'll want to direct.
00:56:28Evans will need to be
00:56:28talked into it.
00:56:30So we'll take the shot.
00:56:31That's a great idea.
00:56:33Coppola owes Warner's money,
00:56:35and he has a very expensive
00:56:36set-up in San Francisco.
00:56:38How do you know that?
00:56:39A girl never reveals
00:56:40his secrets.
00:56:43You should give him a call.
00:56:45No.
00:56:47Send Coppola the book,
00:56:48tell him I'm on the way.
00:56:49Done.
00:56:51Did you tell him
00:56:53to come to me?
00:56:56It's a good idea.
00:56:57Yeah, I got a lot of those.
00:57:02How embarrassing for you.
00:57:03I left you a message
00:57:04not to come.
00:57:06I'm passing on the Godfather.
00:57:09I got the message.
00:57:10But I respect you
00:57:12and what you stand for,
00:57:12so I came to hear
00:57:13the reason why.
00:57:14Ah, okay.
00:57:16As an Italian,
00:57:17I don't want to glorify
00:57:18mafia violence.
00:57:20I agree with you.
00:57:22You're right.
00:57:22I mean, how do you glorify
00:57:24men who cut the head
00:57:25off a horse
00:57:25and put it in a producer's bed?
00:57:27Yes, that producer.
00:57:29Deserved it.
00:57:30Yes, he did.
00:57:31It was a hell of a scene.
00:57:33And Sonny,
00:57:34gunned down in the toll booth.
00:57:36Or Michael,
00:57:38seeing his wife's car
00:57:38bombed in Sicily
00:57:39after the wedding.
00:57:40I mean, priceless.
00:57:45Francis, let me be candid.
00:57:47You're in director jail.
00:57:49And the only movie
00:57:50I produced,
00:57:50like your last movie,
00:57:51didn't exactly
00:57:51set the world on fire.
00:57:54And in spite of that,
00:57:55here I am,
00:57:57producer of the hottest
00:57:57novel in the world.
00:57:58And I'm begging you
00:57:59to take it on.
00:58:01You're a true artist.
00:58:03We need that.
00:58:09You help Mario Puzo
00:58:10finish this script,
00:58:11we'll get you back
00:58:12on the floor.
00:58:14Are you telling me
00:58:15that Bob Evans
00:58:16is going to let me
00:58:16direct this film?
00:58:20It's not up to Bob,
00:58:21it's up to you.
00:58:23For instance,
00:58:23Ford Coppola
00:58:24will help Puzo
00:58:25finish the script.
00:58:26Well, you're a great writer, man.
00:58:27It's Bob Puzo.
00:58:29He didn't, um,
00:58:30hustle to let him direct?
00:58:31No, I hustled him.
00:58:33Look, we need Natan
00:58:34to do this.
00:58:35He's got a great vision,
00:58:36but, uh,
00:58:38he can tell you
00:58:38about it himself.
00:58:39Francis.
00:58:43Hello, Bob.
00:58:45Hey, Francis.
00:58:46How you been?
00:58:48He wanted to tell you
00:58:50a little bit about
00:58:50what he's got in mind
00:58:51for The Godfather.
00:58:52Oh, I'm listening.
00:58:53I'm all ears.
00:58:54Okay.
00:58:57So why is it
00:58:58that The Godfather
00:58:59is selling more copies
00:59:00than the Bible?
00:59:02You think it's about
00:59:03the drug trade,
00:59:041946, New York City.
00:59:05Not at all.
00:59:06It's a metaphor
00:59:08for American capitalism,
00:59:11the American dream,
00:59:13the mythic battle
00:59:14for control.
00:59:15Okay, what is our
00:59:16opening line?
00:59:17I believe in America.
00:59:21How perfect is that?
00:59:23And what is America
00:59:24to this undertaker?
00:59:26It's a land of opportunity,
00:59:29and it's a justice system
00:59:31that has failed him.
00:59:33It's Shakespeare.
00:59:35It's Greek.
00:59:37biblical, epic,
00:59:39evil versus evil fun.
00:59:42The Godfather
00:59:44is a story about men,
00:59:47and they come together,
00:59:48and they form a bond,
00:59:50and they find justice
00:59:51through loyalty.
00:59:54not a fucking law,
00:59:56but at its core.
00:59:59This is a story about family.
01:00:02That's the secret sauce.
01:00:03That is what has captured
01:00:05the hearts and minds
01:00:06of the whole world.
01:00:08You read it,
01:00:09and you say,
01:00:09that's my family.
01:00:11That's your family.
01:00:14For Paramount,
01:00:16it's a Corleone family.
01:00:18I know how to make this film.
01:00:19You need an Italian
01:00:20to tell his tale,
01:00:22four million all in,
01:00:23not including prints and ads.
01:00:25I can do that,
01:00:25and he told me
01:00:27to say that last part.
01:00:30So, that's it.
01:00:32That's my pitch.
01:00:33That's great, prices.
01:00:36That is great stuff.
01:00:39Cheers.
01:00:39Cheers.
01:00:41I'm going to leave
01:00:42you gentlemen to it.
01:00:43I'm sure that we
01:00:44will be talking soon.
01:00:45Thanks, buddy.
01:00:46Good stuff.
01:00:48Nice fucking ambush.
01:00:51Jesus.
01:00:52Taking a leaf out
01:00:53of my playbook.
01:00:54You don't like the rules,
01:00:55Batch, do you, Raheem?
01:00:56I don't know the rules.
01:00:59Well, I guess it looks like
01:01:01you got yourself a director.
01:01:03Nice work, kiddo.
01:01:05Nice work.
01:01:08Tommy, 100 H figures
01:01:10are wrong again.
01:01:11It's two weeks in a row.
01:01:13Send someone to see.
01:01:14All right, listen up.
01:01:17The fucking book
01:01:19is still number one,
01:01:21and now they're making
01:01:22a movie of it.
01:01:23Well, I ain't going
01:01:24to see you, boss.
01:01:25The Jews got the JDL.
01:01:27The blacks got the NAACP.
01:01:29But who defends us,
01:01:30the Italians?
01:01:31Nobody.
01:01:32Well, I'm starting.
01:01:34Beginning now,
01:01:36the Italian-American
01:01:38Civil Rights League.
01:01:40No good guts
01:01:41is going to push us
01:01:42around anymore.
01:01:45What the fuck
01:01:46are those flowers?
01:01:47It's from Sinatra.
01:01:49It says, hopefully,
01:01:50we can make this thing
01:01:52go away.
01:01:53It's a funeral wreath.
01:01:54The floor is fucked up.
01:01:57No, he didn't fuck up.
01:02:01Sinatra wants us
01:02:02to shut the picture down.
01:02:07Get me Mickey Cohen
01:02:08in Los Angeles.
01:02:11Time to send a message.
01:02:15It smells delicious, guys.
01:02:17Yeah.
01:02:18Beautiful piece of meat,
01:02:19huh?
01:02:19Mmm.
01:02:19It's the beginning.
01:02:21Where you going
01:02:22with that knife?
01:02:23I'm going to cut the fat
01:02:25so that I can brown it.
01:02:27Brown it?
01:02:28My mother never
01:02:29browned anything.
01:02:30She fried it.
01:02:32What's the difference?
01:02:36We have to put this
01:02:37in the picture.
01:02:38What?
01:02:39A scene about
01:02:40gangsters arguing
01:02:41over sauce?
01:02:41No.
01:02:43A scene about family
01:02:44arguing over sauce.
01:02:46Huh?
01:02:47Huh?
01:02:50Let's open another
01:02:51bottle of wine.
01:02:52I'll get it.
01:02:54You boys just
01:02:55keep on talking.
01:02:56The beginning
01:02:56of a love affair.
01:03:02I had a really lovely time.
01:03:04Yeah, that was love for me.
01:03:05Yeah.
01:03:05Oh, my God.
01:03:06They can eat a lot
01:03:07of food, though.
01:03:08I think Puzo's
01:03:09been around a kitchen
01:03:10once or twice.
01:03:11Yeah.
01:03:13I know.
01:03:14They're like this
01:03:15old married couple.
01:03:17Old married couple
01:03:18that needs to start
01:03:18turning in pages.
01:03:21You said your brains
01:03:23could secure you
01:03:25at the station.
01:03:30That one ticket
01:03:32restless diesel
01:03:34goodbye window.
01:03:38I walked into
01:03:40such a sad time
01:03:43at the station
01:03:47As I walked out
01:03:49felt my own need
01:03:52just beginning
01:03:56I wait in the queue
01:04:00when the trains
01:04:03come by
01:04:05fly with you
01:04:08where the shadows
01:04:11run from themselves
01:04:39You've read the Godfather, right?
01:04:40I knew only one thing
01:04:43about the making
01:04:44of the Godfather
01:04:45which is that
01:04:45Mario Puzo
01:04:46got into a fight
01:04:47with Frank Sinatra
01:04:47in Chazin's
01:04:48You know me?
01:04:49Yeah, I know who you are.
01:04:50Hey, hey!
01:04:51So I had five minutes
01:04:52and I only had to fill in
01:04:53nine hours and 55 minutes more
01:04:55and we'd have a show.
01:05:01The Godfather.
01:05:02Sure.
01:05:02Who hasn't?
01:05:03I mean, you've read it.
01:05:04It's great.
01:05:05I love it.
01:05:05The Godfather's always
01:05:06sort of just been
01:05:07the North Star for me.
01:05:08We approached the movie
01:05:09with reverence
01:05:10because it is definitely
01:05:12one of the greatest movies
01:05:13of all time.
01:05:13When we first were
01:05:14in the writer's room
01:05:15we said, okay,
01:05:16character arcs.
01:05:17What is this really about?
01:05:18What story are we telling?
01:05:19How do you tell 10 episodes
01:05:20about the making
01:05:21of the Godfather?
01:05:22So our take on it
01:05:23was always to
01:05:24respect the masterpiece
01:05:26that this is
01:05:27because the story
01:05:28is really about
01:05:28what's behind the scenes.
01:05:29It's really about
01:05:30how difficult it was
01:05:32to get this movie made.
01:05:33From early on
01:05:34we talked about
01:05:36the fact that
01:05:37the offer explored
01:05:39like three disparate worlds.
01:05:41Basically there are
01:05:42three families in the movie.
01:05:43Copeland and the family
01:05:44of the filmmakers.
01:05:45Robert Evans and the family
01:05:46of Goplin Western,
01:05:48the executives.
01:05:49And Joe Colombo
01:05:51and the family of the mafia.
01:05:52Oh!
01:05:53And bouncing
01:05:55between those three families
01:05:56is Al Ruddy.
01:05:58The story of Al Ruddy
01:06:00trying to get this movie made
01:06:01and what he and Coppola
01:06:02and everybody went through
01:06:04to get it made
01:06:05is just astounding.
01:06:06One of the joys
01:06:07of the script is
01:06:07is that there's
01:06:08so much tension.
01:06:10We know it was made
01:06:11and yet when you're doing it
01:06:12you're like
01:06:12it seems like it can fall down
01:06:13at any minute.
01:06:14We've been all over town.
01:06:15No one wants to make this movie
01:06:16for four billion dollars
01:06:17so I need you to produce it.
01:06:19Not only was he a producer
01:06:21that was having to battle
01:06:23the studio system
01:06:24but he was also battling
01:06:26the real life mafia.
01:06:27For every character in the story
01:06:29getting this movie made
01:06:30or stopping this movie
01:06:31for being made
01:06:32was a matter of life and death.
01:06:34Literally.
01:06:36What I really enjoy
01:06:37about this character
01:06:38and with Al
01:06:39is that he's such a man of action.
01:06:41These were some really serious situations
01:06:43that Al is in.
01:06:44Very dangerous.
01:06:45You don't like the rules,
01:06:46do you, Ruddy?
01:06:47I don't know the rules.
01:06:48You borderline have to be
01:06:49kind of insane
01:06:50to do the stuff
01:06:51that he did
01:06:52to get this movie made
01:06:54because he really did feel
01:06:55with every fiber of his being
01:06:57and that this script
01:06:59was worth it,
01:06:59that these actors
01:07:00were worth it,
01:07:01that it was all worth it.
01:07:03Nice work, kiddo.
01:07:05Nice work.
01:07:07We like to pay homage
01:07:08to the movie whenever we can
01:07:09and we do it
01:07:10in certain episodes.
01:07:12Hello, Bob.
01:07:13There's a specific scene
01:07:14where that really
01:07:15came home for me.
01:07:16Hey, Francis.
01:07:17How you been?
01:07:18He is pitching to Ruddy
01:07:20and Evans
01:07:21in the bar
01:07:22and he says,
01:07:24The Godfather
01:07:25is a story about men.
01:07:27Men, brothers,
01:07:29businessmen
01:07:30who come together
01:07:31and they form a bond
01:07:33and they find justice
01:07:34through loyalty.
01:07:36And I thought,
01:07:37oh, shit,
01:07:38that's exactly what we're doing.
01:07:40It's a metaphor.
01:07:41You have these three brothers
01:07:43coming from different places,
01:07:44coming together
01:07:45to try to get this made,
01:07:46arguing like a family,
01:07:48like the three brothers
01:07:49might be arguing
01:07:50in the Corleone family.
01:07:51To us,
01:07:52it was important
01:07:52to follow each of their arcs
01:07:54and have each of them
01:07:55have conflict.
01:07:56You read it
01:07:56and you say,
01:07:57that's my family.
01:07:59They fight.
01:08:00They yell at each other.
01:08:01They don't like each other
01:08:02sometimes,
01:08:02but at the end,
01:08:03they come back for each other.
01:08:04That is great stuff.
01:08:16They don't like each other.
01:08:16They don't like each other.
01:08:16They don't like each other.
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