- 5 hours ago
The Offer (2022) Season 1 Episode 4The Offer (2022) Season 1 Episode 4
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Short filmTranscript
00:00:02Joe Gallo's actions led to our last war.
00:00:04My family is now the Columbo family.
00:00:07And I have a right to handle these matters as I see fate.
00:00:09What do you got a mile for him?
00:00:11I'm gonna light his whole fucking world on fire.
00:00:13And burn everything he ever loved to the fucking ground.
00:00:16I'm a serious man and I'm committed to making a serious movie.
00:00:18One that family men like yourself can be proud of.
00:00:20If you want me to change your script, I'll change your script.
00:00:22I know who Michael is.
00:00:24Who?
00:00:25Al Pacino.
00:00:26That shrimp never gets the part.
00:00:29He's a beautiful actor.
00:00:30Hey director, take a visual cue.
00:00:31Doesn't get this part.
00:00:33These scripts, they come into your office and just sit there.
00:00:36It's just money burning.
00:00:37So let me help you.
00:00:38We can do this together.
00:00:40If that's what you want.
00:00:41Hi, bub.
00:00:42Hey, gorgeous.
00:00:43I will find me a producer who knows not to shit where he sleeps.
00:00:48Mr. Levano, is Al Reddy, the producer of the film?
00:00:50Nice to meet you.
00:00:51This is perfect.
00:00:53We can shoot the whole wedding sequence right on the lawn here.
00:00:56You like it?
00:00:56I like it.
00:00:57Do you want to know why I'm happy?
00:00:59Yes.
00:01:00He wants to do it.
00:01:02He wants to play the Don.
00:01:04We need hits.
00:01:05Did you read Love Story?
00:01:06What does that have to do with anything?
00:01:08The audience needs to be moved, Barry.
00:01:09That's how you make hit pictures.
00:01:12Love Story Chains.
00:01:13Thanks, bro.
00:01:13Let's ask you that.
00:01:14Make sure you read it to us.
00:01:21Yours.
00:01:23Are you rolling it?
00:01:25All day, my.
00:01:31It seems okay.
00:01:32It's okay.
00:01:32Because I'm sharing this.
00:01:32Oh, my.
00:01:32Amen.
00:01:33I'm sharing your life.
00:01:33I am having a present passion.
00:01:34I'll see you.
00:01:35Yes, slick of mine.
00:01:35How will it be.
00:01:36You're a great place.
00:02:40All of Hollywood turned out for the premiere of Love Story, starring Allie McGraw and Ryan O'Neal.
00:02:45Audiences across the country are flocking to theaters to see the adaptation of the best-selling novel.
00:02:51Could this finally be the hit that turns around Paramount's fate?
00:02:57It's fucking ridiculous. We should have never gone to that premiere.
00:03:00I had to go.
00:03:01No, you didn't.
00:03:03I had to support Bob. Love Story is his baby.
00:03:05Well, it's his baby, not yours.
00:03:07You didn't want to go. You should have stayed home.
00:03:08Oh, but then I would have missed everyone looking over your shoulder for someone better to talk to.
00:03:12You need to learn how to read a room out.
00:03:14I don't give a shit about reading a room.
00:03:16I wouldn't have gotten to where I am if I did.
00:03:18And where exactly is that, huh?
00:03:20Getting embarrassed by your peers?
00:03:21Were we invited in the first place? I don't think we were.
00:03:24You don't know what it takes to be a producer.
00:03:26You've been one for all the seven seconds.
00:03:27This is the kind of shit that you have to do.
00:03:29Yes, don't fool yourself, Al.
00:03:31You haven't been one for much longer, all right?
00:03:32This is coming from a woman who's never built anything by herself in her life.
00:03:37And what do you call the chateau?
00:03:38A divorce settlement.
00:03:44Let's drop it.
00:03:45No, no, no, no, no, no.
00:03:46Let's talk about this.
00:03:47You always do this.
00:03:48It's all, baby, it's okay, or it's a joke, or whatever vapid remark that gets you out of having a
00:03:54real conversation.
00:03:55So I want to have a real conversation now.
00:03:59We're talking now, aren't we?
00:04:02The fact that you think so is the fucking problem.
00:04:12I already live on a mountaintop.
00:04:14Hey, last night was out of sight, right?
00:04:16I'm with those reviews.
00:04:18Reviews?
00:04:19The critics were raving about it.
00:04:21Stop it.
00:04:22I'm not useless.
00:04:23Please, stop it.
00:04:23It's crazy.
00:04:24It's too loud.
00:04:25Well, give it a little.
00:04:32Bob, what a film.
00:04:34You made the classic tearjerk.
00:04:36I mean, if Louis B was still alive, he'd be jealous of you.
00:04:39What a great party.
00:04:40Sorry we had to leave early.
00:04:41Well, to be honest, I was surprised you could make it at all.
00:04:43But with literally zero cast and more budget concerns as a fan.
00:04:48Look, producer's tip, what a one.
00:04:51If your movies are shaky ground, do not bring that vibe to another man's premiere.
00:04:56Just no.
00:04:58Thank you very much.
00:04:58Got it.
00:04:59I'm in town for casting meetings.
00:05:01Luca Bronsi, Fontaine, a lot of actors want in on this picture.
00:05:05You don't cast Michael or the Don.
00:05:06You don't have a picture.
00:05:07Seriously, don't give Blued one a reason to pull the plug on this one.
00:05:11Speaking of the Don, I got good news.
00:05:15Marlon Brando was interested.
00:05:17Brando?
00:05:18Yeah.
00:05:19Now I got your attention.
00:05:21Yeah.
00:05:21For all the wrong reasons.
00:05:23Brando's a fucking nightmare.
00:05:24Box up his poison, just a very difficult human being.
00:05:27Look, do you want my advice?
00:05:30Always.
00:05:31Don't waste your time.
00:05:32There's plenty of other good actors out there.
00:05:34Just move on to someone realistic and use Andrea.
00:05:37She knows what she's doing, man.
00:05:38I know.
00:05:41One more thing.
00:05:41Don't do Peter Falk.
00:05:42It hurts my head.
00:05:43It's about Pacino.
00:05:45Give him another shot.
00:05:47Francis loves him.
00:05:47No.
00:05:48No Pacino.
00:05:49How many fucking times do I have to tell you?
00:05:51You trust my taste.
00:05:52Hey, stop it.
00:05:53All right?
00:05:54Look, Love Story is poised to be one of the biggest, grossing movies of all time,
00:05:58and The Godfather needs to follow suit.
00:05:59Do you hear me?
00:06:00Do you understand?
00:06:01Do not fuck up my street.
00:06:04All right?
00:06:06I don't think one movie in a row constitutes a streak.
00:06:10He needs to have his head examined.
00:06:12I should have my head examined for what we're about to do.
00:06:15Why?
00:06:16You didn't say you wouldn't go after Brando.
00:06:19You just said it was a waste of your time.
00:06:21So Bob appreciates that distinction.
00:06:22I mean, Brando has canceled this meeting four times, so maybe he won't have to.
00:06:27Hey, boys.
00:06:28Morning.
00:06:30So this is the Marlon Brando's house.
00:06:37I imagined it differently in my head.
00:06:42I mean, I'm not going to be able to do this.
00:07:13Mario, when I, uh, got your letter, I thought this you could do, Marlon, so thank you for allowing me
00:07:20to come into your life.
00:07:22Well, you're Marlon Brando.
00:07:25That's it.
00:07:31So, um, thank you so much for having us.
00:07:40Have you, uh, have you seen my movie Burn?
00:07:46No, not yet.
00:07:48I've never heard of it.
00:07:53They call me Burned Out Brando.
00:07:56I haven't heard that.
00:07:58I don't know who they is, but they're morons.
00:08:03You two, you two are good actors.
00:08:07Because acting is a social lubricant.
00:08:11People like constantly by not saying what they think or by saying what they don't think.
00:08:17By not saying what they mean.
00:08:20But saying what they think you want to hear.
00:08:27Yes.
00:08:28And the difference with acting is that you're given the words.
00:08:33Well, dialogue changes.
00:08:35Motivation doesn't.
00:08:41You'd like to know my motivation for, for being here, sitting with you?
00:08:53Sinatra hated that I sang Luck Be A Lady and Guys and Dolls.
00:08:56He hates The Godfather.
00:09:01So, I thought I'd piss him off.
00:09:04That's the real reason.
00:09:06It's not for the money.
00:09:15I see you.
00:09:19Come on.
00:09:23Hello?
00:09:25Come on, Betty.
00:09:26She works for me.
00:09:32Uh, you know, ever, ever since your letter, I keep thinking about the Don.
00:09:39It's, it's all I see anymore.
00:09:43Uh, I was, I was thinking maybe, maybe the Don got shot in the throat.
00:09:51Uh, which, uh, which affected his voice.
00:09:56Maybe, maybe his child's droop like a bulldog.
00:10:01Huh.
00:10:04Kai, bring me the black shoe polish.
00:10:34Come on.
00:10:36Bye.
00:10:37Bye.
00:11:06Thank you again.
00:11:08Bye, Kai.
00:11:08Bye, Marlon.
00:11:09Bye, Marlon.
00:11:12Holy shit.
00:11:14Tissue paper and shoe polish and Brando disappears.
00:11:18He's a genius.
00:11:19Francis, you're actually smiling.
00:11:21Let me tell you something.
00:11:23John Ford, he once said that you make one for them
00:11:26and then you make one for yourself.
00:11:28Well, guess what?
00:11:28I just realized the one that I'm making for them
00:11:29could be the best one that I'm making for myself.
00:11:32And I'm not talking about some upgrade
00:11:34to a Warner Brothers gangster flick.
00:11:35Now we got a shot at making the real thing here, people.
00:11:38Francis.
00:11:39Yes.
00:11:39You're gonna make a great film.
00:11:41Thank you, Betty.
00:11:43Pacino and Brando in the same frame.
00:11:45I'm working on it.
00:11:46Okay?
00:11:47I promise.
00:11:48We're making a movie.
00:11:50See you later, boys.
00:11:51Bye.
00:11:52Take care.
00:11:54Hopefully the guys in the tower see what we just saw.
00:11:56I mean, that was incredible.
00:11:57Yeah.
00:11:57My God.
00:11:58What an actor.
00:11:59Do you think Pacino is actually a possibility?
00:12:01No.
00:12:01But I'll figure something out.
00:12:05When I started working for you,
00:12:07I really wasn't sure you knew what you were doing.
00:12:09Most of the time I don't.
00:12:10Well, let me tell you.
00:12:13You're doing something important.
00:12:15That's why I don't mind trading in a love life
00:12:16or reading Godfather rewrites.
00:12:19You just fucking swing.
00:12:21That matters.
00:12:23Thanks, Betty.
00:12:25Yeah.
00:12:26You're gonna be late.
00:12:30So we've covered Vegas and Palm Springs.
00:12:33Here's another one for you.
00:12:35What's your favorite song to do with Dino and the boys?
00:12:40Let me ask you this, Bill.
00:12:42You want to do a puff piece
00:12:44or you want to write something real?
00:12:46What do you have in mind, Frank?
00:12:49What does the Times think of Joe Colombo
00:12:51in the Italian American Civil Rights League?
00:12:54But more importantly, how do you feel about it?
00:12:57Well, they're supposed to be protecting the image
00:13:00of hardworking Italian Americans,
00:13:02but this Colombo,
00:13:04he hasn't done a goddamn thing about this Godfather movie,
00:13:06even though it denigrates Italians.
00:13:08I'm telling you, Bill,
00:13:10you've got 200,000 Italian Americans following one man,
00:13:14and he doesn't give a shit about what's good for them.
00:13:17What do you think you should be doing?
00:13:20You ought to shut the fucking picture down.
00:13:25I think I'm tired.
00:13:27I'm tired of having the same conversation
00:13:30over and over again.
00:13:31That makes two of us.
00:13:33And what conversation is that, Francoise?
00:13:38Well, he's never honest with me,
00:13:40and it's hurting me.
00:13:42What have I lied about?
00:13:44Al?
00:13:45You lied about everything.
00:13:47You lied about Mickey Cohen,
00:13:48and the fact that you're now in bed with the Mafia,
00:13:50and now you're lying about wanting to be my partner.
00:13:54You are my partner.
00:13:56No, I'm not.
00:13:57Nobody is.
00:14:00Francoise, can you tell Al what you mean by that?
00:14:06You're placating me.
00:14:08You don't treat me like an equal.
00:14:10Do you think I'm too delicate or something?
00:14:13No, I think you're tough as nails.
00:14:14Then treat me with respect.
00:14:19I'm sorry.
00:14:21I don't want you to be sorry
00:14:22or say what you think I want to hear.
00:14:24I just want you to be real.
00:14:25Be honest.
00:14:26That's all I've ever asked of you.
00:14:28Life is complicated.
00:14:30I understand.
00:14:31Some things are private.
00:14:32No problem.
00:14:33But some things aren't,
00:14:34or at least they shouldn't be.
00:14:35And the truth isn't complicated.
00:14:37It's always the truth.
00:14:38And if someone's your partner,
00:14:40you don't bend it or avoid it.
00:14:41You fucking tell it.
00:14:47I don't want to produce with you.
00:14:50I need to do this on my own.
00:14:54I love you.
00:14:55I want to be with you.
00:14:56But this, this movie,
00:14:59I just need one thing that's my own.
00:15:13Okay.
00:15:17I asked you for the truth
00:15:18and you gave it to me,
00:15:19so thank you.
00:15:40Aww man, the area north of 120 is no good.
00:15:43It causes us some problems.
00:15:46See something you like, huh?
00:15:48Could arrange an introduction.
00:15:51All right. Let me know when window shopping turns to buy.
00:16:07Carmine, Lenny.
00:16:10Is there some place to go?
00:16:11I'm out of seat right here. And don't worry, Carmine, we'll get a high chair for you.
00:16:16Yeah, this is business, Joe. This isn't a place of disgust.
00:16:19What, you don't feel safe here in Harlem?
00:16:26From Columbo.
00:16:36A thousand dollars?
00:16:38Columbo sent you all the way up here just to fucking insult me?
00:16:44Go back and tell your fucking boss I got my own family now.
00:16:47I don't need his charity.
00:16:52I've known you guys for a very long time.
00:16:55You got 30 seconds to get the fuck out of here.
00:16:57I'm going to send you back to Columbo with your heads in a box.
00:17:03Let's go, Lenny.
00:17:26Johnny! What the hell are you doing here?
00:17:29Teddy Boo! Is that the way you greet an old friend? Come here, give me a hug.
00:17:32How the hell did you even get on the loft?
00:17:35You know, I know people. I thought I'd surprise you. Brought you something.
00:17:43Wow! A whole scone.
00:17:45Yeah, I got it on the road from this little cafe that'll change your life right outside of Vegas.
00:17:50Hand to God the best pastries in the world.
00:17:53Hey, who's this?
00:17:54You're Al ready, right?
00:17:55Yeah, it's me.
00:17:56Just the man I was looking for.
00:17:57Al, this is Johnny Russo. He used to date a girlfriend of mine, but he was just leaving.
00:18:01But first, sir, I brought you something.
00:18:04Oh, what? Another scone?
00:18:05Nah, something much better.
00:18:07Johnny, you cannot. Just bring your real...
00:18:08I can't just what?
00:18:10Al's got a movie to cast. Ain't that right, Al?
00:18:13I'm just helping him.
00:18:14Nice of your stopper.
00:18:15A transistor radio changed my life. Hand to God, listen to this.
00:18:18You're never gonna believe this shit.
00:18:20I heard Frank Sinatra on it, and I thought to myself, he's Italian. I'm Italian.
00:18:25Wait, wait, wait. You're Italian?
00:18:27My point is, is if he can do it, why not me?
00:18:31Who could argue with that logic?
00:18:32You gotta watch the whole thing. It's incredible. I did Michael, Sonny, and the Don.
00:18:37Wow, that is a hell of a hat trick.
00:18:38Hopefully not all at the same time.
00:18:40I just figured those are the ones I'd be believable in.
00:18:42Well, if you need any help with any research, I'm your guy.
00:18:45The Godfather ain't got nothing on my life.
00:18:47No to God.
00:18:49At the very least, Johnny just marked three rolls of our casting slate.
00:18:53That's a relief.
00:18:54Evans wants to have State of the Union tomorrow before we head back to New York.
00:18:58Hi, we put a bunch of Dons on tape. Anthony Quinn, Danny Thomas.
00:19:00We'll show him then.
00:19:01What about Fontaine?
00:19:03Francis likes Al Martino for it.
00:19:05I have no idea who that is, but if Francis likes him, I'm good.
00:19:07Have you spoken to Francis about casting his sister Talia for Connie?
00:19:10She's strong. She wants to do the role.
00:19:12He's got enough drama with the Corleone family.
00:19:13He may not want to involve this one.
00:19:15And dare I bring up Michael?
00:19:17Has Evans approved Pacino for the role?
00:19:19Francis has a better chance of seeing God than getting Pacino that part.
00:19:22He's tested four times. Con is a strong choice.
00:19:25Francis will never go for it.
00:19:27Bluthorn saw Pacino off-Broadway, and he likes him, if that helps.
00:19:31Not while Evans is still running this place. He's angling for Redford or Nicholson.
00:19:34How the fuck do you know what Bluthorn likes?
00:19:35Because I did my homework.
00:19:36Oh, teacher's pet.
00:19:37What about Falk for Mo Green? Can we get him out of his NBC deal?
00:19:41No longer interested. He said, and I quote,
00:19:43I had to hire a detective to find the part, and I still couldn't.
00:19:46Can one fucking thing go right with this picture?
00:19:49I mean, is that too much to ask?
00:19:51I got a script.
00:19:52A seismic encyclopedia.
00:19:53A budget that's less than Bluthorn spends on cigars in a month.
00:19:56No cast.
00:19:57We got Duval in for Hagen.
00:19:58He's a great actor. Changes nothing.
00:20:00What about Brando?
00:20:01We don't have Brando.
00:20:03What we have is a silent eight millimeter film to try and get him approved.
00:20:06Which, let's be honest, that could blow up in our faces.
00:20:08I got a director in love with the shortest unknown actor on the fucking planet, and Biassi's making waves.
00:20:14Am I forgetting anything?
00:20:17No.
00:20:18I'm pretty sure that covers it.
00:20:26He's having a day.
00:20:28Evidently, yeah.
00:20:31I think that Gianni guy would be good for Karlo.
00:20:33Are you serious, Renny?
00:20:35The guy's a schmuck.
00:20:36Typecasting at its best.
00:20:38Show it to Francis.
00:20:42Don't ask.
00:20:48I tell you what.
00:20:50All blue eyes better start using that microphone for singing or I'm gonna strangle them.
00:20:54What's it say?
00:20:55The motherfucker's questioning my loyalty to my people.
00:20:57You want me to do something about it?
00:20:59I think it's a little more complicated than that.
00:21:02How'd it go?
00:21:04Not good.
00:21:06He was out of water, Joe.
00:21:08He wasn't happy.
00:21:10He said it was an insult.
00:21:11Because it was.
00:21:14And now we watch.
00:21:16Gallo's gonna do something crazy.
00:21:18Then I'm gonna go back to the commission and get the okay to take him out.
00:21:23What do you want?
00:21:23What do you want to do about Sinatra?
00:21:25You know, if I let a wannabe tough guy singer and a corrupt congressman beat me at this,
00:21:30I might as well move to Boca.
00:21:31I gotta double down on this movie.
00:21:45I love this dude.
00:21:46It's a big deal.
00:21:48Yes, mama.
00:21:59Hey, baby.
00:22:00Hello.
00:22:00You smokey,
00:22:01yeah?
00:22:01Mm-mm.
00:22:08It could be important.
00:22:10Oh, yeah, I got it, I got it.
00:22:14Yeah, hello.
00:22:16Jack! Jackie, baby, what's going on, man?
00:22:19How you doing?
00:22:22I'm good, I'm good, I'm good.
00:22:24Huh? Yeah, yeah, I'll tell her.
00:22:27Hey, you see those box office numbers, baby?
00:22:29Heavens.
00:22:30Yeah, right.
00:22:31It's Nicholson. It's Jack.
00:22:33Hey, look, that's not the reason I called earlier.
00:22:36No, The Godfather, the role of Michael.
00:22:40Listen, Star, you could play anything. Irish, Italian, what's the difference?
00:22:44You make it your own, baby. You're the easy rider.
00:22:46No one could put a tag on you.
00:22:47And when I say easy rider, it's not a tag, it's a compliment.
00:22:50You son of a bitch.
00:22:52I know, I...
00:22:55We all found you, Clemens and Getty done.
00:22:58Get the car ready.
00:22:59Charlie.
00:23:00Hello.
00:23:01Mr. Director.
00:23:03Charlie, can I get a minute?
00:23:05No.
00:23:17I have something you need to see.
00:23:19What? A couple of family goes to Coney Island?
00:23:21I promise you it's important.
00:23:23Yeah, we'll make an appointment, Francis.
00:23:24Charlie, what I have to show you, it's the difference between a good movie and a cinematic classic.
00:23:30You gotta see it.
00:23:48Hey, would you slip it in?
00:23:51Thanks.
00:23:54Hi, Bob.
00:23:55We've got Oscar winners lined up for you to see.
00:23:57We've got, uh, Steiger, Anthony Quinn, Ernest Borger.
00:24:00I don't know why the hell we're doing this without Francis.
00:24:01I need his opinion.
00:24:02Where is he?
00:24:03He's in New York.
00:24:04What the fuck is he doing in New York?
00:24:07Anyone?
00:24:08Yes.
00:24:10Got it.
00:24:10Uh, it's Charlie.
00:24:12He wants us to watch something.
00:24:14Huh?
00:24:16Hi, Charlie.
00:24:17We're starting now.
00:24:26Who is that?
00:24:28Is that Rod Steiger?
00:24:30He's not Steiger.
00:24:32Look at those eyes.
00:24:34Is that Prandall?
00:24:35It's fogging magic.
00:24:36I love it.
00:24:37I love it!
00:24:38It's the first time I got a clue of what Francis wants to do.
00:24:41Oh, I'm sorry, but what does a silent three-minute home movie prove?
00:24:48It proves that he's still the greatest act of our time.
00:24:54Brando will bring something no one expects.
00:24:55Cause he's a nutcase!
00:24:57The budget will skyrocket.
00:24:58No, guys.
00:24:59He'll play ball.
00:25:00He invited us to his home and let us put him on film.
00:25:03Okay?
00:25:03He wants to do this.
00:25:05I mean, look at the screen.
00:25:06You can't take your eyes off him.
00:25:12Charlie, you're watching something very special.
00:25:24Evans, he works for scale?
00:25:26Alright.
00:25:27And puts up a bond.
00:25:28Make it a million dollars.
00:25:30That way he doesn't pull any of his gains.
00:25:32Sure.
00:25:38Marlon Brando.
00:25:40He's great, right?
00:25:43Yeah, he's great.
00:25:46If we lock him in, it's a go picture?
00:25:49Mm-hmm.
00:25:52It worked out for you this time, kid.
00:25:58Don't ever try and go around me again.
00:26:03Not gonna happen.
00:26:04Thanks, Bob.
00:26:07Cheers!外國人
00:26:09Coming in...
00:26:21What are you
00:26:22reading? Watson's much
00:26:29help… promiseFI they
00:26:29finally approved
00:26:30brand donné today. That's a
00:26:33big deal.
00:26:35so you're heading back to new york
00:26:39yeah i'm leaving tomorrow things are just really starting to move fast
00:26:48francois i don't know what you want from me yes you do it's just not the same as what you
00:26:53want
00:26:56from me the godfather is a threat to our very existence it's an insult to our businesses to
00:27:04our culture this picture is an assault on italian americans everywhere and as a public servant i
00:27:11have to address the concerns of my constituents and hold everyone behind the godfather accountable
00:27:17thank you fuck fuck and that is only the beginning there's a biaggi piece in the chicago sun times
00:27:26the tribune quotes some italian baker that the godfather is blasphemous and he's going to boycott
00:27:33love story and sinatra is on record as well if you ever do decide to sell paramount
00:27:41no buyer is going to want to touch us this is turning into a fucking fiasco
00:27:49charlie
00:27:52reddy needs to be supervised now he's in way over his head with this kind of stuff and one small
00:27:57little misstep from him is going to be a disaster
00:28:01it's our fault we gave him too much responsibility there's one low budget biker film and a sitcom that
00:28:09he walked away from that's his resume but i don't care about how he got marlon brando in his little
00:28:15home movie all right we need to do something to save this movie and we need to do it now
00:28:23talk to legal let me know what our options are okay
00:28:31i gotta tell you marlon jimmy cagney told me he thinks that you are
00:28:37the transformative actor of the dark four
00:28:42well after the war people were looking for a rebellion
00:28:46i happen to be at the right place at the right time with the right state of mind
00:28:51well you're at the right time with the godfather we want you for it
00:28:54we just need to talk about your approach not just creative but as part of a team
00:29:02we need to know that you're going to play nice marlon
00:29:06play nice
00:29:10what is this the sandbox
00:29:15who are you
00:29:20what we're just talking things through here
00:29:23i don't talk things through that's what i have an agent for
00:29:26i know that but this is in the spirit of how we're making the movie we got no problem with
00:29:31your artistry or your chemistry with francis we just need to know that you'll accept
00:29:35that we're working on a limited budget man that's all
00:29:41cagney sunday
00:29:44hmm that means so much to me
00:29:53i have a i have a suggestion for michael if i may
00:29:56well i'd love to hear it marlon who you think it well he's a he's a great theater actor
00:30:02uh he won an award for uh tiger in the bow tie
00:30:09this kid you can't take your eyes off of him
00:30:12al pacino
00:30:16yeah i never heard of him
00:30:22oh that's gonna go straight down the hall and to the left
00:30:25how was your play long and bumpy and everything at home
00:30:30don't ask
00:30:32hey anything on brando
00:30:34oh i'm running the office is right
00:30:36that's all betty
00:30:37oh your office is right here
00:30:39i've got evans in my office
00:30:48hi bob i've got al and francis with me
00:30:50did you find me on michael yet
00:30:52hey bob i didn't think so francis stop pimping pacino brando couldn't even get the name of
00:30:56pacino's playwright
00:30:57so brando you nail him down
00:30:59nail him down he's like nailing jelly to a tree
00:31:02look we need to deal in scale we need to bond it for a billiard and we need a signature
00:31:06this is your shot buddy
00:31:08you nail him down
00:31:13betty get irv goldstein
00:31:14yes
00:31:15why does he have such a hard on against pacino
00:31:18francis
00:31:18look please
00:31:20al ready for irv goldstein
00:31:24i have goldstein
00:31:26you know how to play hardball
00:31:27i invented the game
00:31:31irv
00:31:32you're one lucky sob
00:31:33mr brando never wants to work but i convinced him for a hundred grand a week
00:31:38five week guarantee with his usual perks to do your movie
00:31:41way to go
00:31:42irv it's a four million dollar picture everybody works for scale
00:31:45then marlin isn't in the picture
00:31:47that's right
00:31:48who else you're gonna get
00:31:49there's always somebody else
00:31:51no there's nobody else
00:31:52irv andrea eastman here
00:31:53oh jesus
00:31:54do you know who passed on casablanca before bogart took the role
00:31:57yeah ronald reagan i know that one
00:32:00tell coppola reagan's available
00:32:01reagan's um
00:32:03the deal is scale plus five points once box office hits 50 million
00:32:07pass
00:32:08here comes anthony quinn
00:32:09no
00:32:11what are you doing
00:32:13bottle of domperion he calls back in five four three two one
00:32:27fuck
00:32:30it's goldstein
00:32:32yes i will connect to you
00:32:39this is a no quote deal
00:32:41that's right
00:32:41you go over you pay
00:32:43that's right
00:32:44welcome to the world of marlon brando
00:32:49how did you know that he would call back
00:32:51because he needs us more than we need him
00:32:55all righty you're under arrest
00:32:59sonny what's up buddy
00:33:01you don't start till next week you know that right
00:33:03yeah yeah
00:33:04yeah okay
00:33:04uh everybody this is sonny grasso
00:33:06he's ex-nypd and overall fixer for guys like us
00:33:10he's from french connection
00:33:11that was me
00:33:12billy freaking is a good friend of mine
00:33:14billy is the best
00:33:16hi
00:33:16you got a second uh to talk
00:33:18yeah
00:33:19how you been
00:33:20i'm good you
00:33:21yeah good
00:33:22finally getting going on this thing
00:33:24yeah good good
00:33:29what do i need this for
00:33:30look i know you think you know what you're doing all right
00:33:32but you don't
00:33:33okay
00:33:34getting into ben with joe colombo
00:33:37and that's a bad idea
00:33:39from what i understand it's already done
00:33:40you gotta protect yourself
00:33:43colombo's been nothing but a friend to me
00:33:45i'm covered
00:33:47honestly
00:33:50you uh
00:33:51you ever hear a crazy joe gallo
00:33:55maniac
00:33:56former profaci capo
00:33:57murdered the boss albert anastasia
00:33:59he recently got out of jail
00:34:01what's that got to do with me
00:34:02gallo comes gunning for colombo
00:34:04like i think he will
00:34:06he either i don't know
00:34:06tries to take over your movie
00:34:08or worse you get caught with a stray bullet
00:34:11well let's hope it doesn't come to that
00:34:13but i appreciate the warrant
00:34:15and this
00:34:17if you get into a bad situation
00:34:19that'll buy you some time
00:34:21maybe
00:34:24thanks
00:34:24i'll see you
00:34:34hey
00:34:35what a nice surprise
00:34:37i didn't know you were coming today
00:34:43what's wrong
00:34:47i'm not staying
00:34:49i'm
00:34:49i'm going to paris
00:34:53paris
00:34:55i just need to get away
00:34:56clear my head
00:35:00but i want you to say goodbye
00:35:06when you get back we can
00:35:09we'll talk
00:35:12really talk the way that you want us to
00:35:14i'm not coming back al
00:35:16not to this
00:35:21i want to be with you
00:35:24all of you
00:35:25or none of you
00:36:00There is a simple way to save your relationship if you want to.
00:36:04Tell me.
00:36:06Get on a plane and get on your knees.
00:36:12I understand why you won't, though.
00:36:18I got divorced a few years ago.
00:36:20Did you know that?
00:36:21You mentioned me.
00:36:22Yeah. Childhood sweethearts.
00:36:24He grew up down the block from me.
00:36:27Not a single memory I have where we weren't planning our future together.
00:36:31And he had this phenomenal ass.
00:36:36What happened?
00:36:38Life, I guess.
00:36:40I don't know. We got older.
00:36:42Realized we didn't want the same things anymore.
00:36:45I wanted to have a career.
00:36:47He wanted me to bake pies.
00:36:49I hate fucking pies.
00:36:53I'm sorry, Betty.
00:36:54I'm not.
00:36:57I'm not going to change for anyone.
00:37:00What I want, or who I am.
00:37:10Was it easy to walk away?
00:37:14No.
00:37:19Sometimes I think about how hard this is.
00:37:23All the time, every single turn.
00:37:29It's like the universe has made my balls its own personal punching bag.
00:37:37And yet, I still can't seem to walk away.
00:37:44I think he left his girl.
00:37:47I wasn't talking about the girl.
00:37:59Cheers.
00:38:02Like you hurt me.
00:38:05Well, Betty, I need you to call PJ Clark's, get at the table for dinner.
00:38:08Now that Brando's on the movie, it's finally a go.
00:38:11We got to celebrate.
00:38:12Ow. Ow.
00:38:13What?
00:38:14What is it?
00:38:15Is that Al Roddy I hear?
00:38:25Joe, what are you doing here?
00:38:27Look at his face.
00:38:27Look at the worry on his face.
00:38:29It is a fucking worry.
00:38:30I'm not worried.
00:38:32What is this?
00:38:33It's a cannoli.
00:38:34It's the best cannoli in Brooklyn.
00:38:35Joe, you didn't have to do that.
00:38:37I appreciate it.
00:38:38Hey, look at this.
00:38:39Look at this.
00:38:41That's for you, right there.
00:38:44Hey.
00:38:45How'd that?
00:38:47You're one of us now, kid.
00:38:50We need each other, all right?
00:38:52We got to trust each other.
00:38:53Yeah, of course.
00:38:55Sinatra's still a problem for me.
00:38:56Problem for you, too.
00:38:57I may have a solution, right?
00:38:59He doesn't want to be humiliated, right?
00:39:01Yeah.
00:39:02That Fontaine character's in almost a third of the book.
00:39:04Tell him, thanks to you, I was able to cut that character down to two scenes in the movie.
00:39:09You can do that.
00:39:10I mean, it's a lot of work retyping those scripts, but, Joe, for you, we can do anything.
00:39:14We're so grateful to have your support, truly.
00:39:16This guy, this guy, as his own tribe would say, the Mensch.
00:39:20Mensch.
00:39:21I'll make sure to tell Frank personally.
00:39:22All right, bye.
00:39:23Please do.
00:39:23Bye.
00:39:24Thanks, Joe.
00:39:25Bye.
00:39:26Dammit!
00:39:27We lost the Staten Island compound.
00:39:28That was Lovano.
00:39:30What do you mean, we lost it?
00:39:31We lost it.
00:39:32Lovano, the owner, he backed out.
00:39:34I need that house.
00:39:35The whole thing came alive when I saw the house.
00:39:38Please.
00:39:38Al!
00:39:38The world's looking for you, including Bluthorn.
00:39:40He wants to see you by end of day.
00:39:43Okay.
00:39:43Francis, I'll deal with it.
00:39:45Just give me a minute, and I'll work on it.
00:39:47Okay.
00:39:48I, yeah.
00:39:49Hey.
00:39:52What's that about?
00:39:54Columbo pinned me.
00:39:56Ha ha.
00:39:58That meant something very different when I was in high school.
00:40:04The Godfather is important, but it's becoming a problem.
00:40:08What's the problem?
00:40:09We just got Brando.
00:40:09We're Greenland.
00:40:12The problem is the bad press that the picture is getting.
00:40:15I mean, Sinatra, Biagi, it's coming at us from all sides.
00:40:19Ali, we want to give you some help.
00:40:23What kind of help?
00:40:27Al, we should be partners.
00:40:30No.
00:40:30Jack is going to produce with you.
00:40:32He knows how the press operates.
00:40:34He can take that burden off you, and he's going to be on set with you anyway.
00:40:38Just to have your back, help with the extra heavy weight.
00:40:40I got it.
00:40:41What's Evans think about this?
00:40:44Ask him.
00:40:44He's listening.
00:40:46I said let's hear what you have to say.
00:40:48We're all ears.
00:40:52Well, I'm assuming for the three of you to get this whole party together, you already talked illegal.
00:40:57So?
00:40:57So my contract states I'm the sole producer on this project.
00:41:00Al, it's not unusual for the producer to get a little help.
00:41:02It's unusual for me.
00:41:03That's why I negotiated it that way.
00:41:05This guy got suckered into a pissing contest with Sinatra, Biagi, and the Italian leader.
00:41:10Sinatra's not going to be a problem.
00:41:11I took care of it.
00:41:12Charlie, I'm the sole producer on this project.
00:41:14If Jack wants to come along and join the party, fine.
00:41:17I'll even get him a fancy chair on set.
00:41:19But I'm doing this on my own.
00:41:21I'm not putting my neck on the line every day to make you a great movie so that Jack or
00:41:24anybody else can second-guess me.
00:41:26I make the calls.
00:41:30Evans?
00:41:33I'm with Ruddy.
00:41:37Fine.
00:41:40But a word to the wise, Ruddy.
00:41:44When you fail alone, there's no one else to blame.
00:41:48That's the only way I want it.
00:41:59All right.
00:42:00I just want to thank all of you for coming tonight.
00:42:04Now that we are finally green-layed, we can really get the ball rolling.
00:42:08Closed our deals with Dean Tavalaris for production design.
00:42:11And Gordy Willis is going to head up cinematography.
00:42:14It's really an incredible team.
00:42:17But I will defer to the artist.
00:42:19The captain, my captain, Francis Toast.
00:42:23Yes.
00:42:25Mario, you do the honors.
00:42:27Oh, Francis, come on.
00:42:28This is your show.
00:42:29I mean, I could say a few words, but it would take me at least a month to write it.
00:42:34Take it away.
00:42:35Take it away, boss.
00:42:38Okay.
00:42:40Well, I'm very honored and humbled to be surrounded by such talented people.
00:42:46I hope I deserve you.
00:42:52Um, I'm making a movie.
00:42:55And you're only allotted, you know, a certain amount of time during the day to get everything done.
00:43:01And you want everything just perfect.
00:43:04Every shot.
00:43:08But sometimes it's great and it's out of focus.
00:43:13Sometimes the dolly wheel squeaks.
00:43:18Sometimes it's magic and the actor goes up on their line.
00:43:24So you do it again, you check the gate, you move on.
00:43:27Cheers.
00:43:35To the godfather.
00:43:36To the godfather.
00:43:38To the godfather.
00:43:38All right.
00:43:39Okay, enjoy yourselves.
00:43:40Well, where are you going?
00:43:42We didn't even order yet.
00:43:43I know.
00:43:44I gotta run.
00:43:45I'm late.
00:43:45I gotta go to Martin Scorsese's parents' house.
00:43:48Tape their conversations over dinner for the accents, for the actors.
00:43:53I'll see you all later.
00:43:59Hey, Francis.
00:44:01What's going on?
00:44:01Everything okay?
00:44:03Just kind of a weird toast.
00:44:05Look, Van Gogh painted sunflowers, okay?
00:44:08He needed a particular shade of yellow.
00:44:09No yellow, no yellow, no sunflowers.
00:44:11I feel like I'm going to have to cave on the particular yellow that I want, right?
00:44:17And the dreams that I have, without Pacino, this whole movie, it's not going to quite work.
00:44:24And then my dreams won't happen.
00:44:26I'll make a good enough movie, but that will break my heart, which will kill me.
00:44:31Wait.
00:44:37Is everything okay?
00:44:39I need to see Charlie alone as soon as possible.
00:44:42I'll take care of it, yeah.
00:44:44Hey.
00:44:46Some of your special friends are here.
00:44:54I just want to sleep.
00:44:57Give me a drink.
00:45:06Al, what's going on, Jim?
00:45:08I got something for you.
00:45:10Forgive me, but when I was leaving your office, I overheard something about a problem with the
00:45:14Staten Island house.
00:45:15That that location was important to you, yeah?
00:45:16Yeah, but we'll find something else.
00:45:18Yeah, but that's not what you wanted, right?
00:45:21It's okay.
00:45:22Come here.
00:45:22Come here.
00:45:22These things happen.
00:45:23Come here.
00:45:23Come here.
00:45:26Come here.
00:45:44You remember him?
00:45:48Peter?
00:45:48Peter?
00:45:49Peter, stop crying.
00:45:50I ain't gonna hurt you.
00:45:51I don't want no trouble.
00:45:53Please.
00:45:55I have a family.
00:45:56We all got a family, Peter.
00:45:58But you got a signed contract to rent your house to the Godfather movie.
00:46:02That's a project that's very important to me.
00:46:04You understand that?
00:46:06Congressman Biassi says it's bad for us Italians.
00:46:09You got a problem with certain people you should come to me for help.
00:46:12We're all Italian here.
00:46:13We all want to see this movie get made.
00:46:16Why not use another house?
00:46:21Use another house?
00:46:23Is that what you just said?
00:46:27You want to rethink that?
00:46:37I'll do it.
00:46:40Take the house.
00:46:42No money.
00:46:44You're going to get paid.
00:46:46After all, what are we, animals?
00:46:48Take them all.
00:46:50Al, come here.
00:47:03Oh, thank God.
00:47:05Al.
00:47:13What happened?
00:47:17We got the Staten Island house back.
00:47:20Okay.
00:47:21Columbo bullied the owner into giving it back to us.
00:47:26The guy pissed himself.
00:47:27He was so scared.
00:47:28He thought that they were going to fucking kill him.
00:47:33So did I, actually.
00:47:38I've never felt so dirty in my life.
00:47:44Why would you ask him for help?
00:47:46I didn't.
00:47:48He overheard Francis tell me about it.
00:47:52The last thing I want is to be in his debt.
00:47:54Trust me.
00:47:56Can't get the picture of that guy out of my head.
00:48:06You said you need to talk to Charlie.
00:48:09He'll be at the Belmont race track tomorrow morning.
00:48:13How do you know that?
00:48:14I'm supposed to meet him there.
00:48:31What the fuck are you doing here?
00:48:33You expecting someone else?
00:48:34Yeah.
00:48:35Someone a lot shooter.
00:48:38I didn't know you had horses.
00:48:40Yeah, I love horses.
00:48:41Who doesn't love a sick way to lose money, you know?
00:48:43Look, I'm going to make this quick.
00:48:45We need to cast Michael.
00:48:48Francis and Evans are deadlocked over Pacino, and, uh, I need you to make an executive decision
00:48:53so we can get this movie made.
00:48:55Side with Francis.
00:48:59Why?
00:49:01You saw what he did with Brando.
00:49:03I mean, you should trust him.
00:49:05He's an artist.
00:49:05He's got integrity.
00:49:06Yeah, I love Brando, but artistic integrity over some bullshit.
00:49:11You think Francis is right?
00:49:15I do.
00:49:17Pacino's the guy.
00:49:21Jesus, Rai.
00:49:22Evans gave you your shot.
00:49:24He just backed you as a sole producer.
00:49:25So, you really think about what you're doing here?
00:49:27If I say yes, he's going to be pissed.
00:49:32It's what the movie needs.
00:49:39Fine.
00:49:41Thanks.
00:49:42Good luck out there.
00:49:43Yeah.
00:49:45You too.
00:49:56Honey, I booked a private dinner at Perillo's tonight with all the key foreign press for
00:50:00the Golden Globes.
00:50:01We've gone out 11 nights in the past two weeks.
00:50:04This is your time.
00:50:05When they come, you have to answer.
00:50:06I want to stay home and read.
00:50:08This book is far more interesting than another dinner party.
00:50:11Allie, baby, you're the biggest star in the world.
00:50:13Oscar nominations are right around the corner, and the Golden Globes get the buzz going.
00:50:17Come on.
00:50:30Yellow.
00:50:34What?
00:50:35Al?
00:50:37Evans is on the phone.
00:50:40Okay.
00:50:47Shut the door.
00:50:48Mm-hmm.
00:50:58You motherfucking Judas.
00:51:00I warned you not to go around me.
00:51:02Bob, look, that's not what I was trying to do.
00:51:05You are a grateful fuck.
00:51:06Charlie Broodhort sells auto parts, sugar, cigars, and a tiny part of his business is paramount.
00:51:10He could send it off tomorrow and not give a fuck.
00:51:12I took a chance on you, and you stabbed me in the back.
00:51:15I don't like Pacino.
00:51:17He's a huge mistake.
00:51:18But I guess he's in the picture, isn't he?
00:51:20But you know what?
00:51:20Now we're going to do things my way.
00:51:22You got Pacino for Michael.
00:51:23I get Jimmy Codd for Sonny.
00:51:26Not a problem.
00:51:28I already said Carmine Caridi.
00:51:30Well, and you fucking unset him!
00:51:36Oh, you...
00:51:42I'm not going to do that.
00:51:44Fucking Francis.
00:51:45Con's not going to hurt the movie.
00:51:47Okay?
00:51:47So he's not Caridi.
00:51:48You begged me for Brando and Pacino, and I delivered him!
00:51:54Take the fucking win, man.
00:51:57Give Bob his dignity.
00:51:59Let's move on.
00:52:05Pacino's approved?
00:52:06Yes.
00:52:10Inviting the P.J. Clarks.
00:52:12We'll tell him in person.
00:52:13Yeah.
00:52:19Well, why don't you go tell Pacino the good news?
00:52:23I can't.
00:52:24I have to go prep.
00:52:25I have too much I have to do.
00:52:27But, hey, I want to call Bob, and I'll tell him that Con is in.
00:52:36I'll tell you what I'm saying.
00:52:38Al.
00:52:40Thanks.
00:52:40We're good.
00:52:47Scotch.
00:52:48Neat.
00:52:50Sorry, I'm late, gang.
00:52:52You didn't tell him, did you?
00:52:53Well, it's Scout's honor.
00:52:54Tell me what?
00:52:55Um, Francis wanted to be here, but he's deep into prep.
00:53:00It's official.
00:53:02You're Michael Corleone.
00:53:04You got the part, kid.
00:53:06Evans approved you.
00:53:07You're opposite Marlon Brando.
00:53:15What?
00:53:18What's going on?
00:53:20I was told Paramount would never recruit me.
00:53:24They call me a shrimp, these guys, right?
00:53:26No.
00:53:27No.
00:53:30Al.
00:53:31I'm doing a gang that couldn't shoot straight for MGM.
00:53:35That's a comedy.
00:53:37Al, you're a serious actor.
00:53:40Michael Corleone is the part of a lifetime.
00:53:46I signed a contract.
00:53:52I am truly sorry.
00:53:54You know how badly I want to do this with you, Francis?
00:53:58All right.
00:54:00Good luck to you.
00:54:12We'll figure something out for Michael.
00:54:15And Evans, we'll get over it.
00:54:18You didn't hear him on the phone.
00:54:19He sounded pretty pissed.
00:54:22Why'd you do it?
00:54:25Because Francis needed Pacino.
00:54:29I can't lose Francis.
00:54:31If I lose Francis, I lose the movie.
00:54:34And at this point, that's all I have left.
00:54:38At least no one can say you don't have a whopping pair of balls on you.
00:54:44No, but they can say I don't have brains.
00:54:47I mean, Evans took a chance on me when no one else would.
00:54:51And now that trust is gone.
00:54:54My relationship's done.
00:54:57For what?
00:55:01You're looking at this the wrong way.
00:55:04The question you should be asking yourself
00:55:07is why are we here?
00:55:11In show business.
00:55:13We're here because this is the life that we've chosen.
00:55:17Right?
00:55:18You, me, Betty, Francis, and Evans.
00:55:22We all ran away from home so that we could join the circus
00:55:25and everything that we say to make it seem like we care
00:55:28about the life that we could have had.
00:55:30Wife, kids, house, dog.
00:55:33It's bullshit.
00:55:34Because what's really making you miserable
00:55:36isn't the fact that you don't have a membership at the country club
00:55:39or the head of a 12-point buck on your mantelpiece.
00:55:41None of that matters.
00:55:43What you really want in life,
00:55:45in fact, all you want in life
00:55:48is just for a man named Al Pacino
00:55:51to pretend he's a man named Michael Corleone.
00:55:54And you're right
00:55:56to be miserable over this.
00:55:59It is that important.
00:56:02Because I feel the same way.
00:56:05And we can only be around other people
00:56:07who understand that.
00:56:10Everyone else is just a civilian.
00:56:12What do you want in the world?
00:56:41Well, if you've got to work in on other people and other people,
00:56:47We skipped the light fandango
00:56:54Turned cartwheels across the floor
00:57:00I was feeling kind of seasick
00:57:06The crowd called out for more
00:57:13The room was humming harder
00:57:19As the ceiling flew away
00:57:26When we call out for a long dream
00:57:32The way to draw the train
00:57:35And so it was a lady
00:57:45As the middle told us to tell
00:57:52Let her face at first just go steep
00:57:57Turn the wider shade of fair
00:58:02And so it was a little bit of a sign
00:59:14I'm going to make you an offer.
00:59:15We'll have to talk about that.
00:59:16We'll take it.
00:59:19We're done.
00:59:19Get the fuck out of my office.
00:59:22How to go with Evans?
00:59:23I need your help.
00:59:24Boy, did you come to the rock place?
00:59:25They're not well.
00:59:26Making movies has become too unpredictable.
00:59:28We've got a problem.
00:59:29He's in a contract for another movie.
00:59:31Can I just have one good moment?
00:59:35I got plenty of friends who wouldn't mind taking a shot at you.
00:59:38If you let us put a wire on you, we can protect you.
00:59:40This is really scary.
00:59:42You're the right thing by comedy.
00:59:43We are still making the movie.
00:59:45And we all set out to make.
00:59:46What's right here is what's important.
00:59:49Family.
01:00:04I have something you need to see.
01:00:07What?
01:00:07A couple of family goes to Coney Island?
01:00:09I promise you it's important.
01:00:10Yeah, we'll make an appointment, Francis.
01:00:12Charlie, what I have to show you,
01:00:14it's the difference between a good movie and a cinematic classic.
01:00:18You've got to see it.
01:00:20Look at those eyes.
01:00:23Is that Brando?
01:00:24It's fucking magic.
01:00:25I love it.
01:00:26I love it!
01:00:27How do you play Marlon Brando?
01:00:29He was the greatest actor of his generation.
01:00:43From the moment that Justin Chambers went and sat down as Marlon Brando,
01:00:48he just rocked it out.
01:00:49Thank you for allowing me to come into your life.
01:00:53You're Marlon Brando.
01:00:54The biggest challenge, I think, for Justin was not to do an imitation of Brando.
01:01:02And he doesn't.
01:01:03He's Brando.
01:01:05He's amazing.
01:01:08They call me burned-out Brando.
01:01:11I haven't heard that.
01:01:13I don't know who they is, but they're morons.
01:01:16He was quite open about wanting to honor the two legends that he was taking on,
01:01:21this legendary performance and the legendary actor that was responsible for it.
01:01:26You'd like to know my motivation for being here and sitting with you?
01:01:31Because he knew that I was an actor as well as a director,
01:01:35I think he trusted my appreciation of how intimidating what he was taking on was.
01:01:45I see you.
01:01:47I'm sort of hiding, and he clocks me and says,
01:01:51I see you.
01:01:51Come in and sit down.
01:01:53Come on.
01:01:55It was uncanny how much he looked like Brando.
01:01:59And then the way he held a room with the pauses and with the volume of his voice
01:02:04and the power that he managed to portray.
01:02:07I haven't sent you a letter.
01:02:08I keep thinking about the Don.
01:02:10It's all I see anymore.
01:02:13In Justin's case, it really was like a double transformation he had to make
01:02:17because he had to take on becoming Brando,
01:02:21and then as Brando, transform himself into Vito Corleone.
01:02:26Maybe the Don got shot in the throat,
01:02:29which affected his voice.
01:02:32Both of those things he does, I think, quite masterfully.
01:02:38I'm very happy with how the scene in which he transforms into the Don turned out.
01:02:43And we did it very impressionistically.
01:02:45We just showed glimpses so that this transformation was something that we almost felt before we saw it.
01:02:56There's something very empowering about an actor to be doing something and then see the characters that you're working with
01:03:02impressed by that.
01:03:03It sort of reflects your own power back to you in a way.
01:03:07That was a pretty spectacular thing to be a part of.
01:03:10I knew that the effect was going to be magical on the other cast members.
01:03:14They were all in awe of what Justin was doing.
01:03:18I thought he was extraordinary.
01:03:20Tissue paper and shoe polish and Brando disappears.
01:03:24He's a genius.
01:03:26So does Justin Chambers pretend to be Brando?
01:03:28Yeah, we all do.
01:03:29They're actors.
01:03:30Yes, they pretend.
01:03:30But his performance really has all the subtleties of a man who has a deep inner life
01:03:35and a deep inner monologue that's constantly, constantly running.
01:03:39That was incredible.
01:03:40My God, what an actor.
01:03:42It's like magic every day.
01:03:46Now we got a shot at making the real thing here, folks.
01:03:56We got a shot at making the real thing.
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