- 5 hours ago
The Offer (2022) Season 1 Episode 5
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🎥
Short filmTranscript
00:01This picture is an assault on Italian-Americans everywhere.
00:05If I have my way, you won't make this movie at all.
00:07The Godfather is becoming a problem.
00:09We want to give you some help.
00:11No. One more thing. Pacino.
00:13Give him another shot.
00:14No Pacino!
00:15How many fucking times do I have to tell you?
00:17I got a script.
00:18Besides an encyclopedia.
00:19A director in love with the shortest unknown actor on the fucking planet,
00:22and Biassi's making waves.
00:24Am I forgetting anything?
00:26No. I'm pretty sure that covers it.
00:28Joe Gallo's actions led to our last war.
00:31If Gallo comes gunning for Colombo,
00:33you get caught with a straight bullet.
00:35What do you got a mile for him?
00:36I'm gonna light this whole fucking world on fire.
00:39You with me now.
00:40Your enemies are my enemies.
00:41Please. I don't want no trouble.
00:44The Marlon Brando's house.
00:47Ever since your letter, I keep thinking about the Don.
00:50Pacino and Brando in the same frame.
00:52I'm working on it.
00:53Side with Francis. Pacino's the guy.
00:55Heavens gave you your shot.
00:56If I say yes, he's gonna be pissed.
00:59You stab me in the back.
01:00I don't like Pacino!
01:01I want to be with you.
01:03All of you.
01:04Or none of you.
01:05This is the life that we've chosen.
01:07We can only be around other people who understand that.
01:10You got the part, kid.
01:12I'm doing a game that couldn't shoot straight.
01:14I signed a contract.
01:39What are you doing? Come on. I like this song.
01:41No. You're sending the wrong message, kid.
01:43What fucking message?
01:45Here we go.
01:47That's good, no?
01:49Whatever, old man. I like this too.
01:50Fuck you with the old man.
01:56Would you look at this, Jamoke?
01:58What the fuck?
02:00Fuck that.
02:02Come on!
02:05What the fuck is he doing?
02:12Hey, buddy, you gotta move this fucking car before I move it for you.
02:16Fuck.
02:22Let him go.
02:27What do you think's in the truck?
02:28Don't matter.
03:03The ride would go forward quite some more.
03:04The on top.
03:19The tra Mod Caesar.
03:19There must have learned a lot of advice.
03:21That's interesting to know.
03:21I know it's hard.
03:23Whenever I run away, your tab won't go away.
03:23Can't give such a weapon.
03:24We have certainty.
03:24Do you have a better job?
03:27It's beautiful.
03:28I knew your computer Collins possibly.
04:28What the fuck are you doing here?
04:29Oh my God, you smell like a sick dog. What the fuck?
04:31I just got off a plane.
04:34I need your help.
04:35Boy, did you come to the wrong place.
04:37You told me to do whatever it takes to get my movie made.
04:39You said the color outside the lines.
04:41I never told you to fuck me over.
04:44That was never my intention, Bob.
04:45Yeah.
04:46And Bill Cuono never intended to break up the Beatles.
04:48I don't give a fuck about your intentions.
04:51It was for the movie.
04:52It was for the good of the movie.
04:54Keep saying that to yourself.
04:59Listen.
05:00Pacino can't do the film.
05:01He signed on to another project.
05:03Problem solved then.
05:06I need you to get him out of it.
05:09You have got to be fucking kidding me.
05:13Oh, come on, Bob.
05:13You've never even given him a shot.
05:15He's got something special.
05:16We need him.
05:17What you need is a fucking shower.
05:20Mush.
05:24Now, Paramount is just one asset among dozens in the Gulf and Western portfolio.
05:29Now, by God's grace, we have a record-breaking hit called Love Story,
05:34but I won't pretend that we knew it was going to hit like this.
05:38And that is actually my point.
05:41Making movies has become too unpredictable.
05:43Hollywood was founded by men who understood
05:46that the bottom line of making movies is to make money.
05:51But, gentlemen, that system is broken.
05:55The men with their hands on the wheel now,
05:58they are, quite frankly, bullshit artists
06:00who like to think of themselves as the talent.
06:03They know exactly what to say to us to get our money,
06:06but they can give a damn about making it back
06:09because they are not businessmen.
06:12Now that we have finally had some success,
06:15we can get a much better price if we offload Paramount now and cash out.
06:20So that's why we're here today.
06:22We are here to seek the board's approval
06:24to begin the exploration process
06:26because we have already had four suitors interested.
06:34Charlie, anything to add?
06:39Some of you think that I have a sentimental attachment to Paramount.
06:43I have a sentimental attachment to many things,
06:46which is why when I sell them,
06:50I sell them for a lot of money.
07:06Tessio, he's got to be older.
07:09He's like the oldest guy in the whole family.
07:12So what you're saying is you want Clemenza
07:13to be two or three years younger?
07:15Yeah, that'd be good.
07:16You got anybody in mind?
07:19Hello.
07:19Hi.
07:21Where's Ruddy?
07:22He's on his way back from L.A.
07:24His flight lands later tonight.
07:28Why is he in L.A.?
07:29Doesn't he realize that the producer
07:31is supposed to be here for pre-production?
07:33We have a sit-down with Ty Valoris and Gordy.
07:37Did you tell him?
07:38I was waiting until Ruddy got back.
07:40Tell me what? What is wrong?
07:41Pacino signed a contract for another movie.
07:48Come on, Francis.
07:49Jimmy Conn's screen test was good,
07:51and you know it.
07:53We just set him for Sonny.
07:54Now you want me to just make him Michael?
07:57Francis, you know this shit happens all the time.
07:59Andrea, this isn't musical chairs.
08:02Conn is not even Italian.
08:04Okay, you're making a movie with Marlon Brando.
08:07And don't worry, we'll find another Michael.
08:10Will he just look at Pacino?
08:21How many times do we have to watch Panic in Needle Park?
08:26There's a scene in the Godfather script.
08:27Michael tells his brother-in-law he's not going to kill him,
08:30but we know he's lying.
08:30It's a shocking scene,
08:32but it's got to be played in the subtext.
08:34Pacino doesn't have to say a word,
08:35and I can't take my eyes off him.
08:39An ice-blue, terrifying film
08:43about people you love.
08:46Fuck it, Ruddy.
08:52Hi.
08:53Hey, Betty.
08:54Oh, you smell nice.
08:56Fancy hotel, fancy soap.
08:57Gotta love the Waldorf.
08:59How'd it go with Evans?
09:00What did he say?
09:01He said,
09:02do whatever it takes to get your movie made.
09:04Ruddy, I support you.
09:05So not well, I take it.
09:08Have you, uh...
09:10Have you seen this?
09:13It's Carmine.
09:15Fuck.
09:17I liked that guy.
09:20Al, this is really scary.
09:23We're gonna be okay.
09:30You got any good news for me?
09:32Well,
09:33your buddy Jack Ballard
09:34is waiting for you in your office.
09:37Shit.
09:39You and I are gonna need
09:40to have a little chat
09:40about what exactly
09:41constitutes good news.
09:44Yeah, that's what I meant.
09:45Go on, son.
09:46Just the man I want to see.
09:47Jack, what are you doing here?
09:49Anything you need,
09:50Mr. Producer.
09:52Have you met our editor,
09:53Aram Avakian, Al Ruddy?
09:55Aram, I thought you weren't
09:56getting in until tomorrow.
09:57Uh, Jack called me.
09:58He wanted to get acquainted
10:00the day earlier.
10:00Oh, did he?
10:02Mm.
10:02Glad to be aboard.
10:03Glad to have you.
10:05Jack, did you see
10:06the miracle worker?
10:06No, I missed it.
10:07Aram cut it.
10:08It's beautiful work.
10:09Mm.
10:11Al's gonna need a miracle
10:12to bring us in on budget.
10:14Aram, tell you what,
10:15we'll have a drink,
10:15take each other's temperature,
10:17and solve the world's problems.
10:18Sounds good to me.
10:19Where and when?
10:19Count me in.
10:20For the second round, Jack.
10:22I'd like to meet
10:22the team on my own first.
10:23Oh, sorry.
10:24I wouldn't be sure about that
10:25since you missed the meeting
10:25with the production designer
10:26and cinematographer this morning.
10:32Looking forward to that drink.
10:35Got it.
10:42Question.
10:43Why isn't Jim Aubrey
10:44seated at my regular booth?
10:46I am so sorry, Mr. Evans.
10:48Mr. Aubrey got here early.
10:50He insisted on sitting
10:51at his usual table.
10:52Aubrey runs MGM.
10:53I run Paramount.
10:54MGM just had an auction
10:55to sell a props and costumes
10:56to pay the mortgage.
10:57Come on.
10:58How long has he been here?
11:00About six minutes.
11:01Son of a bitch.
11:02You couldn't stall him
11:02for six minutes
11:03until I got here?
11:06Coffee.
11:08Please.
11:11Terry.
11:12Looking good.
11:13You lost weight?
11:13Hi, Bob.
11:14How are you?
11:15Atta Val.
11:16Hi, Bob.
11:17Nice to see you.
11:19I'll catch up later.
11:20Jim, I'm so sorry I'm late.
11:21You're still early.
11:22Well, I grew up under the rule
11:23that if you're 10 minutes early,
11:24you're still late.
11:27I love the job you're doing
11:28at MGM.
11:29That's all anyone
11:30can talk about.
11:31Last year we were in the red.
11:33This year we're seeing
11:34nothing but black.
11:35How about you?
11:35Well, we haven't started
11:36selling our props
11:37and furniture just yet.
11:39Nothing's too precious, huh?
11:40Not even Dorothy's
11:41ruby red slippers?
11:44So, we got a small piece
11:45of business between us.
11:46Let's make sure
11:47we're on the same page.
11:48This is about swapping actors.
11:49Pacino and De Niro.
11:50Two guys starting out
11:52in their careers
11:52getting paid scale plus tech.
11:53Come on.
11:54You're treating them
11:54like we're trading an outfielder
11:56for a shortstop.
11:57Why not?
11:57It's for the good of both movies.
11:58Each was the other's part.
11:59Simple.
12:01You know, you make fun
12:03of the MGM yard sale,
12:05but I hear that Paramount's
12:07getting spun off.
12:08The whole show.
12:09Golf and Western's getting tired
12:10and they want out.
12:17No.
12:18If you didn't know,
12:18I just did you a favor
12:19and that's on top of the favor
12:20you're here to ask me for.
12:23I think I'm doing
12:24both of us a favor.
12:25You want this more than I do.
12:28Personally,
12:28I don't see such a difference
12:29between Pacino and De Niro.
12:31De Niro does the gang
12:32that couldn't shoot straight.
12:33Pacino does the godfather.
12:35Everybody wins.
12:37Pass.
12:38What else?
12:40You have a couple
12:41of Harold Robbins books I want.
12:44Can't do it.
12:45Then we don't have a deal.
12:53One book.
12:55One book.
12:56My choice.
13:11Wow.
13:12That had to hurt.
13:14You sure this is really worth it?
13:19You know,
13:19I'm a production designer,
13:20not a magician.
13:21Dean, what's the problem?
13:22Well, having permits
13:23to build sets
13:24where I'm supposed to build them
13:25would be nice.
13:26We have permits.
13:27They got pulled.
13:28Some congressman
13:29is fucking with us.
13:30Look, this should have been
13:31handled a long time ago.
13:33Take it easy, okay?
13:34It's a misunderstanding.
13:35Betty, call that kid
13:36in the film office
13:37I talked to.
13:38Kevin something.
13:38Yeah.
13:40He'll sort this out.
13:44Hi.
13:45I have Al Reddy
13:46on the line
13:46for Kevin, please.
13:50Since when?
13:53Okay.
13:56Kevin's been fired.
13:59Because he gave us
14:00the permits.
14:03We need to take
14:04Gallo out now.
14:06No.
14:07No, not yet.
14:09I'm gonna talk
14:10to Carlo
14:10and the rest
14:11of the commission
14:11to get the okay
14:12to rip this
14:12motherfucker's face off.
14:14All right,
14:15in the meantime,
14:16hit the streets,
14:17make your collections.
14:18Everybody pays today.
14:20I want 20%
14:21kicked back
14:21to Carmine's widow.
14:23FBI!
14:24Nobody move!
14:25Keep your hands
14:25where we can see them.
14:27Well, this is nice.
14:29It's a family reunion.
14:30You rigged presents?
14:31We got warrants.
14:32You know the drill.
14:33Okay, okay.
14:34Tear this place up!
14:40What's this?
14:41Go fuck yourself.
14:42Teach your people
14:43some respect.
14:44I need that.
14:47Congressman Biagi
14:48sent his best.
15:11Hello.
15:12Listen to me.
15:13You're still at Putz,
15:15but I got Pachito.
15:17He's in the picture.
15:20Bob, thank you.
15:21I can't tell you how much...
15:23because we must believe
15:25something turning wrong.
15:32See?
15:33Caravaggio has the light
15:34coming in from the top
15:34and stopping on the edges.
15:36I know.
15:36I love it.
15:37It's beautiful.
15:37I love the shadows.
15:38It doesn't give the actors
15:39much leeway
15:40to move around, though.
15:41That's right.
15:42Well, they have to
15:43have freedom to move.
15:44Wow.
15:45They have to hit their marks.
15:46They need to be
15:47free to move.
15:48So we're gonna test it.
15:51Sure.
15:52Yeah, if you want.
15:53It's not an insult, Gordy,
15:54to work all this out
15:55before we get on the set
15:55with a hundred people.
15:56You want to test?
15:56We'll test.
15:57It's fine.
15:58It's fine.
15:58Good.
15:59Great.
15:59See it as an opportunity
16:00to show off.
16:01What?
16:01Is that what you think
16:02that I'm doing here?
16:03Uh-oh.
16:04Our mom and dad
16:05fighting again.
16:06Hello.
16:07Can you give us a minute
16:08because we're working...
16:09Yeah, sure.
16:10I just came by
16:12because I had
16:12a little piece of news,
16:14a very small piece of news
16:15to deliver.
16:16Roddy, what?
16:17And I wanted to do it
16:18in person.
16:19No.
16:21You got Pacino?
16:22You got him!
16:23What are you kidding?
16:25You did it?
16:26How did you do it?
16:27There's a certain
16:28shade of yellow.
16:29And we're not making
16:30this movie without him.
16:32Do I want to know
16:33how this happens?
16:34Nothing my mother
16:34would be embarrassed by.
16:36What's with this suit?
16:38You never wear a suit.
16:39I gotta see a guy
16:40about a thing.
16:47Hey!
16:48Don't worry.
16:49Oh, my God.
16:52You're in this.
16:55Hi.
16:57Hi.
16:57Thank you for coming.
16:58So good to see you.
17:02Hey.
17:02Sorry for your loss.
17:05He was like a brother to me.
17:08It's a fucking shame.
17:10It's a fucking shame.
17:11It's a fucking shame.
17:40I'm sorry about
17:41Cormone.
17:45I don't know.
17:54They made it so he
17:55couldn't even have
17:56an open coffin.
17:58That way the people
17:59that love him
18:00can't say goodbye
18:00the right way.
18:03It's just not done.
18:06You did the right thing
18:07by coming here.
18:08I appreciate that.
18:11Well, there's an old saying.
18:14Nobody should be
18:14invited to a funeral
18:16and everyone should come.
18:20Cormone would have liked that.
18:22He had a great sense of humor.
18:25He was a funny motherfucker.
18:31Cormone.
18:32Cormone.
18:34How's the movie going?
18:36Actually,
18:37Biazzi's making
18:38more problems for us.
18:39He pulled all the permits
18:40from the film office.
18:41I'm taking care of it.
18:42I got my own issues
18:43with that fuck.
18:46I'm sorry to bother you
18:47on a date like this.
18:49It is what it is.
19:02How's your son?
19:03He's good.
19:04He's really good.
19:05He, uh,
19:06is thinking about politics.
19:08Politics?
19:09Yeah, he's a smart kid.
19:12He's smarter than me.
19:14He's looking for
19:15a less complicated life.
19:16Well, what I do
19:17is hardly uncomplicated.
19:21But I wish you
19:22and your family
19:23only the best.
19:24Is that your way
19:25of apologizing for the raid?
19:28The raid?
19:31Think twice about
19:32lying to me, Congressman.
19:34The league is now
19:35over 200,000 strong.
19:37And as we both know,
19:38you have a campaign
19:39coming up.
19:40I got plenty of friends
19:41who wouldn't mind
19:42taking a shot at your seat.
19:44And with the full backing
19:45of every member
19:46in the league.
19:47plus their big,
19:49fat Italian families.
19:52Joe,
19:54there's been
19:55a misunderstanding
19:56between us.
19:58Oh.
19:59Maybe.
20:00If I may.
20:03I want a clean slate.
20:06I'm listening.
20:07We're both proud
20:09Italian-Americans
20:10who want what's best
20:11for our people.
20:14so what can I do
20:16to heal this rift
20:16between us
20:17so we can,
20:17you know,
20:18help each other.
20:19Stronger together.
20:20Is that the tune
20:21you're singing now?
20:22Good.
20:23Good.
20:24Get the feds
20:25off my fucking back.
20:27Consider it done.
20:33And one more thing.
20:35Film noir.
20:36Set in the 20s.
20:38About city politics.
20:39Bob Town wrote it.
20:40It's called Chinatown.
20:42I read it over the weekend.
20:43Actually, in one sitting.
20:44This is the one
20:45with the winning combination
20:46of incestive water rights.
20:48That's it.
20:50I'll take a look at it.
20:55Bob.
20:56Hmm?
20:57Something going on?
21:00When I was negotiating
21:01for Pichito,
21:02Aubrey told me
21:04that he heard
21:04the power of I was
21:05being spun off.
21:06You heard nothing
21:06about that?
21:07No.
21:08Nothing.
21:09I mean,
21:09not since months ago.
21:10But I thought
21:11Bluedo and City
21:11would keep you in the know.
21:12Yeah.
21:13He told me
21:14the love story
21:15I had to deliver.
21:16It just passed
21:16a hundred million dollars.
21:18I'd say that qualifies.
21:21No,
21:21Aubrey's just trying
21:22to get under your skin.
21:30It's too exposed.
21:32It's too open.
21:33It needs to be protected.
21:35Well,
21:36you know,
21:37we can build a wall.
21:38How much?
21:40Ballard's up my ass
21:40about the budget, guys.
21:42Um,
21:43it's,
21:44it's,
21:44it's cheap.
21:45You know,
21:46it's styrofoam.
21:48We just
21:49paint it to look like stone.
21:51How tall is that wall?
21:53Hey,
21:53Pete.
21:54Well,
21:54it's gonna cast a shadow
21:55in the late morning.
21:56You can light that out.
21:57Maybe.
21:57If I get the lighting package
21:58I asked for.
22:00The shadows,
22:01they help tell the story.
22:02If that's the intention.
22:03What the fuck is this?
22:05A kitchen that costs
22:06$75,000.
22:07Is this a joke?
22:09They gotta cook.
22:10We're not opening up
22:11a restaurant, Francis.
22:12They can pretend.
22:14All department heads
22:15in the conference room now.
22:18No gangster film
22:19since the beginning
22:20of recorded history
22:21ever needed
22:21a working kitchen.
22:23It's not just about
22:25the cooking.
22:26This is the scene
22:27where Clemenza
22:28is talking to Michael
22:29and he tells him
22:30that the families
22:30have to go to war
22:32every 10 years or so
22:33and while he's telling them
22:34that they just happen
22:35to be making tomato sauce
22:36and that's why
22:37the scene is so important.
22:38I love this scene.
22:40You've never seen
22:40anything like it
22:41in a gangster film.
22:42It's essential.
22:42You have to see them
22:43making the tomato sauce.
22:45It humanizes them.
22:46Remember?
22:46It makes them relatable.
22:47If you want it so badly,
22:48you can pay for it.
22:50Francis,
22:50is that a propane line
22:51with special effects?
22:52It's practical gas.
22:53Propane's fine.
22:54No, propane does not
22:55burn like practical gas.
22:57It does now.
22:58Sorry to interrupt.
22:59I just got off the phone
23:00with the film commission
23:01and got our permits back.
23:02Why was that
23:03ever in doubt?
23:04You guys meeting
23:04about this budget?
23:06Oh, God.
23:07Yeah, we're making some cuts.
23:08Good.
23:09Then my timing is perfect.
23:11Anna, where are we at
23:12with costumes?
23:12Over budget.
23:13We know, Jack.
23:14That's why we're
23:14talking it through, buddy.
23:16There's just nothing
23:17quality in inventory
23:18from the 40s,
23:19so we're going to have
23:20to do a build
23:20on most of the major players.
23:22That's at least
23:22two suits per player
23:24per scene.
23:25And an additional
23:25$200,000 we don't have.
23:27Well, more,
23:27because we still have
23:28to dress everyone
23:29at the wedding.
23:30What if it's a small
23:31intimate affair, maybe?
23:32Only family.
23:33Stop!
23:33It can't be a small affair.
23:35She's the daughter
23:35of the Don.
23:36There are a lot
23:37of speaking parts.
23:38Maybe you can combine
23:39some of them.
23:40Oh, I forgot.
23:41We're doing an off-off-Broadway
23:42play now.
23:43Okay, look,
23:43everybody just relax.
23:44We are still making
23:46the movie that we all
23:47set out to make.
23:48Well, we're also still
23:49about $2 million
23:50over budget,
23:50so unless you know
23:51something I don't know,
23:52Mr. Producer,
23:53I suggest you grab
23:54your scissors
23:54and start making cuts
23:56everywhere.
23:58Where there's a will,
23:59there's a way.
24:11Hey, Yael,
24:12got a sec?
24:14Yeah, come in.
24:15So, we've got a problem.
24:18Look, Andrew,
24:19I just want to say
24:19I think you're doing
24:20an incredible job
24:21casting this movie.
24:23And it's obvious to me
24:24that Paramount,
24:25they knew what they were
24:26doing when they hired you.
24:30You're welcome.
24:30It's true.
24:32And, uh, listen,
24:34about the other night,
24:36we both had a lot to drink.
24:37And I'm not,
24:38I'm not saying
24:39I was drunk, obviously.
24:40I knew what I was doing.
24:42But, you know,
24:42we're working together.
24:44Um, and for me personally,
24:46I just got out
24:46of a relationship,
24:47so, you know,
24:49it's probably best
24:50if we just...
24:51Al, stop.
24:52That's not the problem
24:53I was talking about.
24:55Oh.
24:56We still don't have
24:57an actor to play
24:58Luca Brazzi.
24:58It's the last big role
24:59we need to cast.
25:02Don't worry about it.
25:03We'll find somebody.
25:08Just so we're clear,
25:10I'm a grown woman.
25:11We both know what it was
25:12and what it wasn't.
25:13Relax.
25:21You know how we said
25:23that we could make this picture
25:25for four million?
25:26Well, unless half the crew
25:28works for free,
25:29we're never gonna get there.
25:30You gotta call Bob.
25:31No.
25:31That's a check I can't cash.
25:32I used it all upon Pacino.
25:34So what?
25:35You just quit?
25:37That's not fair.
25:38What does fair have to do
25:39with anything?
25:50What's this?
25:52A script.
25:55It's called China Town.
25:58Any good?
25:59A lot of talk
26:01about water
26:01and the future.
26:03You think it will be dull,
26:04but it's oddly compelling.
26:05Anything for me in it?
26:07No.
26:12Can we talk about something
26:14that's important to me?
26:16Yeah.
26:17What?
26:19The getaway.
26:20We passed on it.
26:22Well,
26:23Warner Brothers didn't
26:24and they're making it.
26:26Steve McQueen
26:26just signed on
26:27and there's a part
26:28that I really want.
26:29McQueen is in prison,
26:30helps a crook
26:31plan a heist,
26:32the crook betrays Steve
26:34and they take off
26:34across Texas
26:35with the money,
26:36running from the law
26:37and the criminals.
26:38A strong woman,
26:39quick thinker,
26:41Walter Hill wrote it,
26:42Peck and Pa is directing
26:43and they want me.
26:45It's not good enough
26:46for you, Al,
26:47and I really don't have time
26:48for this right now.
26:53I'm going to do it.
26:56Start shooting next week.
26:57Do you want my opinion
26:58or my blessing?
26:59I want you to support
27:00my opinion
27:00with your blessing.
27:02How about I tell your agent
27:02I'm not going to work with them
27:03if they let you do this?
27:04How about that?
27:05And destroy your marriage.
27:07Ali.
27:09Ali, come on.
27:09Come back.
27:10Hey.
27:11What?
27:12Look, I don't want to fight.
27:14I'm under a lot of pressure
27:15right now.
27:16Thanks to you,
27:16Love Story was a huge hit,
27:17but if The Godfather
27:18doesn't follow,
27:19I'm fucked.
27:20I can't give
27:20boot-horted reason to sell.
27:22Okay?
27:27Bob still hasn't returned
27:28to any of my calls.
27:29Sheila says he's still pissed.
27:31He needs time to cool off.
27:32She said you should just
27:33go to Bloodhorn yourself.
27:34Remind me never
27:35to cross the assistant pool.
27:36It's more dangerous
27:37than the mafia.
27:38You have no idea.
27:41You made any headway
27:42with the budget?
27:43Not unless you got
27:44a couple extra million
27:44lying around.
27:46Do you want me
27:47to take a look at it?
27:48The budget?
27:49Yeah, sure.
27:50Knock yourself out.
27:51You're going to take
27:52Sheila's advice?
27:54Yeah.
28:01How is he today?
28:03Charlie!
28:07Mr. Woodhorn,
28:07I'll see you now.
28:09We're going in.
28:13You want more money?
28:15Charlie, come on.
28:16We just came by
28:17to see how your day
28:18was going.
28:18Ah, it's all bullshit.
28:20This being polite
28:21is a waste of at least
28:22an hour every day.
28:23How are you?
28:24How's your kids?
28:25How's your wife?
28:27Well, what do you say?
28:28She's got a suspicious mole?
28:29Who gives a shit?
28:30You're being polite.
28:31That's your tell.
28:32You want more money.
28:33And you agreed to do
28:34this film for 4.5.
28:35It can't be done
28:36for 4.5.
28:37Low budget specialist.
28:38My ass.
28:39Look, Charlie,
28:40I got all the actors
28:41to work for Scale,
28:41including Marlon Brando.
28:43I'm getting tax breaks
28:44from the city.
28:45It's just still
28:46not enough money.
28:47Have you spoken to Evans?
28:49He's not returning
28:50my calls.
28:51Oh, and whose fault
28:52is that?
28:53I warned you.
28:54You made this bed
28:55you're sleeping in,
28:55Roddy.
29:04I'm going to make
29:05you an offer.
29:07Take it or leave it.
29:09Roddy, you and
29:10Karbala can get
29:11$6 million.
29:13But you both have
29:15to put up your fees
29:15against any overages.
29:21We'll have to talk
29:22about that.
29:22We'll take it.
29:25He spoke.
29:26We're done.
29:27Get the fuck
29:28out of my office.
29:29What could have
29:30got to 6.5?
29:31He said take it
29:32and leave it.
29:32Let it go, Al.
29:34Corleons are expecting
29:34us for dinner.
29:43Hey.
29:45We're in here.
29:46Yeah, here we go.
29:48Very nice.
29:50Hello.
29:51How you doing, Bob?
29:52Morgana?
29:53Talia?
29:55It's you.
29:56Hey.
29:57John, how are you, sir?
29:58Jimmy, come here.
29:59Just decided to show up.
30:01I guess we're the boss.
30:02We're the boss.
30:02How are you?
30:04What's going on, buddy?
30:05Hey, boss.
30:06What's going on?
30:07Diane?
30:08Al?
30:08It's beautiful.
30:10Hey, look.
30:11It's Carlo.
30:12The douchebag has arrived.
30:15Here you go, Marlon.
30:19Thank you for being here.
30:22Ladies and gentlemen.
30:26Ladies and gentlemen.
30:28May I have your attention, please?
30:34Oh, I want to thank you all
30:36for coming out tonight.
30:37This is very exciting.
30:39You all look wonderful.
30:40And I just thought it would be
30:42really nice to have
30:43the Corleone family
30:44come together
30:45for a real Italian dinner.
30:46Huh?
30:47Before we all start shooting
30:49in a couple days.
30:50That's it.
30:50Just enjoy yourselves.
30:51Sit wherever you want.
30:52And let's eat.
30:55Mangia.
31:27I'm not the head of this family.
31:30Right. I should help.
31:32Oh, no, no, no, no. She's got it. Stay here with me.
31:35No, no, your mother first, always.
31:46Are you gonna sit down or what?
31:50You get an airplane?
31:51No.
31:52Well, you gotta try some.
31:52You want me to get you some?
31:55I, it's just I was gonna get some anyway, you know,
31:59so I thought I could get you some.
32:15I appreciate having the whole family together for my birthday.
32:20Many things happen in life.
32:23Celebrations, tragedies, births, deaths.
32:27But through it all, what's right here is what's important.
32:30Family.
32:32May you live forever.
32:33Salute!
32:44You make this?
32:45Hmm.
32:46Mom's recipe.
32:48Of course, it's the best thing I ever put in my mouth.
32:50Mm-hmm.
32:50Hey, Stugatz, you know how lucky you are?
32:52Ha, ha, ha.
32:53I think she's the lucky one.
32:54You don't know what you're in for.
32:56You're gonna need both hands to deal with that one, right?
32:58Ha, ha, ha.
32:59I only need one hand to enforce my rules.
33:03What did you just say?
33:05Did you just threaten her?
33:09Everybody needs a smack once in a while.
33:11Hey, hey, hey.
33:13Come on.
33:16That's enough.
33:19Who's your jamuk tiki is?
33:24Does this man lay the hand on you?
33:25No, Pop.
33:26No, no.
33:26It was my fault.
33:29I didn't do nothing.
33:30You know what the name Corleone means?
33:34Part of a lion.
33:36So if I were you,
33:38I wouldn't bring any attention to the fact
33:40that I'm the slowest in the herd.
33:44Hmm.
33:47Ah.
33:51If I offended you,
33:52I'm sorry, Godfather.
33:54Why do you have to be sorry for him?
33:55You said you never hit her.
33:57I'm just happy to be in your family.
34:00Kiss the ring.
34:01Huh?
34:03Huh?
34:04Kiss the fucking ring,
34:05you fucking idiot.
34:06Kiss it.
34:07Kiss it.
34:08Kiss it.
34:09Kiss it.
34:12Kiss it.
34:13Kiss it.
34:14Kiss it.
34:15Kiss it.
34:16Kiss it.
34:17Kiss it.
34:18Kiss it.
34:19Kiss it.
34:19Kiss it.
34:19Kiss it.
34:20Kiss it.
34:22Everybody monges.
34:26Can you believe this guy, huh?
34:29You know what I'm thinking.
34:31This is going to be a great film.
34:33Yeah.
34:34And they need a stove.
34:36You had to bring that up, didn't you?
34:38Can't I just have one good moment
34:40without it being taken away from you on this project?
34:43I'm sorry.
34:44You're right.
34:44You're absolutely right.
34:45But food is so important to this family.
34:47Well, this family's going to have to get by with one burner.
34:50You know?
34:54Hey, Al.
34:58I heard that night went well.
34:59Your friend Gianni didn't think so.
35:01What a schmagegi.
35:02What a schmagegi.
35:08So, I've been going through the budget.
35:11Uh-huh.
35:12And?
35:13And?
35:14There seem to be three men with very Italian-sounding names.
35:18They don't belong to any department.
35:21They're on payroll.
35:22But I can't find them on the crew list.
35:25How?
35:26Well, one of them is Caesar.
35:29Caesar.
35:30I just saw him at the wake.
35:31He didn't mention anything.
35:32Who hired him?
35:32Probably one of the unions.
35:34That's not the weirdest part.
35:36All three of these guys,
35:38they have the same social security number.
35:43Really?
35:44I don't know why you find them funny.
35:46Gulf and Western is a publicly traded company.
35:49If they find out we have mobsters,
35:51I'll pay roll.
35:52It's over.
35:53For all of us.
35:54Look.
35:55Get me Caesar.
35:57I'll talk to him.
36:04Caesar.
36:09What's up, Al?
36:10You could have finished lunch.
36:12That's not how I like to do things.
36:14You never make the boss wait.
36:16Right.
36:17Let me ask you something.
36:19What exactly do you do here?
36:21I am a production assistant.
36:24And who do you assist?
36:27The production.
36:29And what does production do?
36:32Like, if there's a problem with the unions,
36:35I assist the unions to not be a problem.
36:40Moving right along.
36:42These guys down here,
36:44what do they do?
36:46Those are my guys.
36:47They're, um,
36:48production assistants' assistants.
36:52Listen,
36:52you guys can't all have the same social security number.
36:56Al, you know who you gotta talk to about that.
37:00Anything else, boss?
37:02Cause, um,
37:03I gotta think of dumb.
37:04Good luck with that.
37:10How you doing?
37:12Hi.
37:17Al.
37:18There are two FBI agents waiting for you.
37:25Thanks so much for seeing us on short notice.
37:27I'm Agent Zabel.
37:28This is Agent Richmond.
37:29What can I do for you boys?
37:31What exactly do you do here, Mr. Ruddy?
37:33I'm the producer.
37:34You mind telling us why you were at Carmine Vispiciano's wake?
37:38He was a friend.
37:40Where's this going?
37:41Well, I guess we were just wondering how a man with top security clearance with the Rand Corporation is
37:46now in bed with the mafia.
37:50Well, fellas,
37:52you know how they say that
37:54truth is stranger than fiction.
37:57I see nothing!
37:59Nothing!
38:00Exactly.
38:01That's pretty good.
38:02So, why did you walk away from Hogan's Heroes?
38:04TV's too limiting.
38:06You can't tell real stories on TV.
38:08It's fake.
38:10And Marlon Brando
38:11doesn't do TV.
38:13Al,
38:14you seem like a nice guy.
38:15Let me give you some advice.
38:16These guys are a lot more dangerous than they first appeared.
38:19Look, honestly,
38:19I'm just trying to make my movie.
38:21And that's where the association ends.
38:23So I gave one of them a job, hence the badge.
38:26It's safer for them here than working out there.
38:28Not safer for you.
38:29And we'd feel a lot better if we can keep a closer eye on you.
38:32If you let us put a wire on you, we can protect you.
38:39I appreciate it, guys, but
38:41I'll take my chances on my own.
38:48Yeah, she's gonna do the getaway decks.
38:52Well, Peckinpah's a great director.
38:54We just figured it was the best movie after Love Story,
38:56so she just got typecast as the Shooks of Goddard.
39:01No, no, I've never worked with the Queen.
39:03What do you know about her, Carrie?
39:07Look, I gotta go, Carrie.
39:09Thank you so much for the info, and I'll speak soon.
39:11All right, bye.
39:12It's the penis.
39:16Barry, how'd they hang it?
39:18Guess what I'm calling about.
39:20Another sock sale at Brooks Brothers.
39:23You were right about Love Story.
39:26Well, thank you, Barry.
39:27Maybe I do know what I'm doing.
39:29You've made the board very happy.
39:31Golf and Western stock price is up.
39:34Nice work, Bobby.
39:50Peter, I just had a wacko call from Lepidus.
39:53Aubrey wasn't bluffing.
39:54They tried to sell Parabot.
39:57And?
40:00It tastes like fish bait,
40:02but it's too small to slip on a hook.
40:05That's impossible.
40:06It's $200 caviar for the Caspian Sea.
40:09I don't care if it was $1,000 and came out of God's ass.
40:12If I'm eating eggs, I want them cracked, fried,
40:15and covered in cheese.
40:20I'm glad you could make some time for me.
40:22I know Ruddy keeps you very busy.
40:24Yeah.
40:26Well, anything for a free drink.
40:31So tell me,
40:33what does Betty want?
40:36I'm not sure what you mean.
40:38What do you want for yourself?
40:40What do you want to do with your life?
40:44What is this?
40:45Are you trying to be my mentor now or something?
40:47Do you enjoy working as Ruddy's secretary,
40:50pouring coffee,
40:52answering phones?
40:53Oh, is that what you think I do?
40:56Well, that's what all secretaries do.
40:58That's what they're supposed to do.
40:59I'm not all secretaries.
41:03No, you're not.
41:04No.
41:07Come work for me.
41:11Ah, for once she has nothing to say.
41:15I work for Ruddy.
41:16Who works for me,
41:17so technically you already work for me.
41:20With all due respect, Charlie,
41:23I love where I am.
41:29They say movies are magic,
41:32but they don't care about magic.
41:33They care about money.
41:36And so do I.
41:42You're selling Paramount.
41:45I never said that.
41:48I like you, Betty.
41:51Think about it.
41:54Who else knows?
41:55I assume the word is already out.
41:57Did he say anything about the movie?
41:59Not exactly.
42:01You speak Charlie.
42:02What did he say exactly?
42:08He offered me a job.
42:12I'll tell you what they're doing, Peter.
42:14They are using my success against me.
42:17Yeah.
42:18Nothing's set in stone.
42:19They fought me tooth and nail.
42:20They told me not to make love story.
42:22I put my balls on the line.
42:24I knew people wanted a romance.
42:25I knew that Ali was a star.
42:26I knew people would fall in love with her.
42:28I fucking delivered the biggest movie ever.
42:30Ever.
42:31And now they're taking my baby away?
42:33Selling her off with spare parts?
42:35I don't think so.
42:36Fuck that.
42:41What the fuck?
42:43Hey.
42:45Hey.
42:47What are you doing here?
42:49We got a work order to map out the cemetery expansion.
42:52Get the fuck off my lot.
42:55Excuse me?
42:56I said get the fuck off my lot.
43:00Hey, hey, hey.
43:02This is exactly what I said was going to happen.
43:04I heard you were asking Cesar a lot of questions.
43:07No, no, Joe.
43:08I was just curious about...
43:09Hey, look, Al.
43:10I don't like to talk business over the phone.
43:12Come by the legal office.
43:13We can talk about whatever you want.
43:14Joe, I'm a little busy right now.
43:16Great.
43:16I'll see you now.
43:24I got to go see him.
43:25Hold down the fort.
43:27In the middle of all this?
43:28He called for me.
43:29I got to go.
43:30You sound like a gangster.
43:33Be back in an hour.
43:35If you're not, I'm going to send for your special agents.
43:37I'm sure they'll be around.
43:44Big day tomorrow.
43:46You ready?
43:47Yeah, I'm just going over to the scene like a million times in my head.
43:50Is the weather going to be bad?
43:51Clear skies, 45 degrees.
43:53Perfect weather.
43:55I just can't believe that it's actually beginning tomorrow.
43:59I know.
44:00You made it happen.
44:01We.
44:02We made it happen.
44:05It's a miracle.
44:07It's everything that we've been through.
44:11They said that this was not going to succeed.
44:14They did.
44:15And now it's up to me to make sure that it does.
44:18And it will.
44:19And you're going to make it happen, Francis.
44:21It's going to be great.
44:26Hey, good to see you, Al.
44:28Come on, he's inside waiting for you.
44:32And it's because of courageous men, like Congressman Biaggi,
44:36who's willing to fight for Italian Americans,
44:38that we're able to make any progress with civil rights.
44:40That's why the League wholeheartedly throws its support
44:43behind the congressman for his re-election.
44:47Yeah, thank you.
44:51Oh, oh, oh.
44:53I'd also like to announce that
44:56after intense negotiations with Gulf and Western,
44:59the League has decided to allow them to make the movie The Godfather.
45:04That's right.
45:05And I should say that it's all because of this man right there, Al Ruddy.
45:10Al, come up here.
45:11Come up here.
45:11He's the film's producer.
45:12It's because of him that we were able to come to this agreement.
45:15It was his brilliant idea that Gulf and Western donate the proceeds
45:19from the Premier to the League's hospital fund.
45:21We can't thank you enough, Al.
45:23This is the man solely responsible for the alive people
45:27in the Italian League, Gulf and Western, and Paramount Pictures.
45:31You're one of us.
45:32Hey, come up.
45:33Come up here.
45:34Come up.
45:34Take a picture.
45:36How long have you been working with Mr. Colombo?
45:39What are the details of this financial relationship?
45:42Take a picture.
45:42Take a picture.
45:42How does Paramount Pictures feel about this, Mr. Ruddy?
45:45Is it true that the movie's still about the mafia?
45:47How does Gulf and Western feel about being in business with Joe Colombo?
45:51Oh, no, no, no, no, no.
47:08You're in bed with the mafia for the whole world to see.
47:10I did what I had to do.
47:13They don't get it.
47:14So make them get it.
47:15You try to say no to Joe Colombo.
47:17Let me know how that works out for you.
47:18We're going to die for another war.
47:19You should have stayed in prison.
47:21It was safer for you there.
47:24Action!
47:24You know what people want?
47:26Violence.
47:28Where's Ruddy?
47:29Ruddy!
47:30It wasn't possible.
47:32It was a business.
47:33Just business, huh?
47:34Unfortunate things present opportunities.
47:37Sometimes it is possible.
47:46Ladies and gentlemen, may I have your attention, please?
47:50The Patsy's cast dinner.
47:52It's just a favorite scene of mine.
47:54It's a great scene.
47:55Coppola had a dinner at Patsy's for the Corleone cast.
47:59I just thought it would be really nice to have Corleone family come together for a real Italian dinner.
48:05And he didn't tell them to play their characters or anything.
48:08He just wanted to have a nice dinner with all the main characters before they started shooting.
48:11Bringing all of these actors together allowed for a subtle alchemy to be present.
48:20And at that dinner, they all started, weirdly, assuming their parts.
48:25Let's eat.
48:26Manja.
48:31Talia Shire started bringing platters over to serve the table.
48:35I'm not the head of this family.
48:36Brando sat at the head of the table.
48:38No, no, your mother first, always.
48:39The three sons started a jockey for position to sit next to Brando.
48:43You get an eggplant?
48:44No.
48:45Well, you gotta try some.
48:46You want me to get you some?
48:46I think that this was the place where the Corleone family was born.
48:51I appreciate having the whole family together for my birthday.
48:54It's just a really great scene, a great idea to show them being loose with it.
48:58To show the family becoming a family.
49:00What's right here is what's important.
49:02Family.
49:03There was a very delicate balance to allowing these people to come to life in a way where we began
49:11to see not Al Pacino, but Michael Corleone.
49:15You know what the name Corleone means?
49:16Part of the Lion.
49:18Not Jimmy Conn, but Sonny.
49:20The douchebag has arrived.
49:21There was something about that dinner that always stood out to us because you could see Coppola and Ruddy sitting
49:27there,
49:27watching the dynamics of the Corleone family play out and understand that they had something special.
49:33You know what I'm thinking?
49:34This is going to be a great film.
49:36Yeah!
49:37Thank you, everybody.
49:42You told me, do whatever it takes to get my movie made.
49:45You said the color outside the lights.
49:46I never told you to fuck me over.
49:48From Bob's standpoint, he wanted a star.
49:51He's like, I don't like Pacino.
49:53Ruddy goes to Bluthorn behind his back and says, we need Al Pacino.
49:58I'm going to make you an offer.
49:59It was just brutally difficult, but he had to do it.
50:01He didn't want this unheard of kid.
50:04He already had Brando.
50:06He's like, you know, it was already exacerbating going into a land of chaos.
50:09I suppose the sort of Shakespearean part of that is he felt like he'd been stabbed in the back.
50:14It was a sort of a Julius Caesar moment for him.
50:15It was for the good of the movie.
50:17Then his sort of major confidant was Ali.
50:20I love working with Matthew.
50:22It's really no acting necessary.
50:24He is a consummate pro.
50:26I think I'm doing both of us a favor.
50:28Watching Matthew create organically, take to take, and his incredible range as an actor,
50:33but also having all of that range fit so beautifully inside of Robert Evans.
50:37It's not good enough for you, Al.
50:38And I really don't have time for this right now.
50:41So dependable as a scene partner.
50:43Working with him did feel like I was always being held.
50:47I'm going to do it.
50:48He goes and watches Panic! and Needle Park, and he's sitting there with Ali.
50:51Pacino doesn't have to say a word, and I can't take my eyes off him.
50:55And yeah, he's like, you know, he's actually really good, this guy.
50:59Which is wonderful.
51:00And then, listen to me.
51:01You're still a putz, but I got Pacino.
51:05He's in the picture.
51:06Bob, thank you.
51:07I can't tell you how much damage.
51:10The horse is cold.
51:14You
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