1 00:00:01,400 --> 00:00:05,440 Speaker 1: In his palatial estate known as Woodland. Robert Evans sits 2 00:00:05,519 --> 00:00:08,560 Speaker 1: up in his bed, he still glued to the screen. 3 00:00:09,360 --> 00:00:12,240 Speaker 1: The movie is ended and the memories begin. 4 00:00:12,600 --> 00:00:14,960 Speaker 2: It's my most supported legacy of life. 5 00:00:15,080 --> 00:00:18,239 Speaker 1: Evans holds firm to the conviction that he saved the movie, 6 00:00:18,840 --> 00:00:23,280 Speaker 1: save the studio, and in many ways elevated the glory 7 00:00:23,320 --> 00:00:24,520 Speaker 1: of American film. 8 00:00:24,800 --> 00:00:28,280 Speaker 2: Who worked out of Godfather lure, You're introduced to a 9 00:00:28,280 --> 00:00:28,920 Speaker 2: different world. 10 00:00:29,800 --> 00:00:32,760 Speaker 1: As I would later write in the book, from this 11 00:00:32,960 --> 00:00:36,720 Speaker 1: bed and from this man and those he appointed the 12 00:00:36,800 --> 00:00:41,120 Speaker 1: Godfather sprang forth. It was a miracle on paper and 13 00:00:41,200 --> 00:00:45,159 Speaker 1: on screen, Created and inspired by the sons and daughters 14 00:00:45,159 --> 00:00:48,800 Speaker 1: of immigrants, Its characters were portrayed by a band of 15 00:00:48,880 --> 00:00:52,800 Speaker 1: mythsfits who based their roles on a gang of miscrants, 16 00:00:53,479 --> 00:00:58,200 Speaker 1: humanized to the point of being honorable. The story endures 17 00:00:58,240 --> 00:01:01,840 Speaker 1: as those who made it received, leaving behind a testament 18 00:01:01,880 --> 00:01:05,480 Speaker 1: to the glory of the American family and the steadfast 19 00:01:05,560 --> 00:01:16,840 Speaker 1: belief in the American dream. 20 00:01:18,080 --> 00:01:20,680 Speaker 3: I'm Mark Seal and I'm Nathan King. 21 00:01:20,920 --> 00:01:23,720 Speaker 1: And this is Leave the Gun, Take the Canoli. 22 00:01:24,600 --> 00:01:27,800 Speaker 3: In our final episode, we're discussing the life, legacy and 23 00:01:27,920 --> 00:01:35,760 Speaker 3: legend of the cast, crew and film. Mark, when you 24 00:01:35,800 --> 00:01:38,160 Speaker 3: walked into Woodland that day, did you know you would 25 00:01:38,160 --> 00:01:41,160 Speaker 3: eventually write the definitive book on the making of The Godfather? 26 00:01:42,280 --> 00:01:44,400 Speaker 1: Not at all. I just thought that I was going 27 00:01:44,480 --> 00:01:47,400 Speaker 1: to do a magazine story, but I had no idea 28 00:01:47,640 --> 00:01:50,120 Speaker 1: that I would later write a book about it, and 29 00:01:50,160 --> 00:01:52,880 Speaker 1: that it would consume my life for so many years. 30 00:01:54,600 --> 00:01:58,920 Speaker 1: After the article was published, I started thinking about writing 31 00:01:58,960 --> 00:02:03,640 Speaker 1: the book, and I was able to meet with Anthony Colombo, 32 00:02:03,960 --> 00:02:07,400 Speaker 1: the son of Joe Colombo, who headed the Italian American 33 00:02:07,440 --> 00:02:11,760 Speaker 1: Civil Rights League, and we drove out to a diner 34 00:02:12,120 --> 00:02:15,720 Speaker 1: in New Jersey and there he was. He comes into 35 00:02:15,800 --> 00:02:19,040 Speaker 1: the diner walking with a cane. By then. I think 36 00:02:19,080 --> 00:02:22,960 Speaker 1: he was in his sixties maybe, and we've talked for 37 00:02:23,000 --> 00:02:25,520 Speaker 1: a long time, and he couldn't have been nicer. And 38 00:02:25,560 --> 00:02:28,400 Speaker 1: I tried to imagine him back in those days in 39 00:02:28,520 --> 00:02:32,480 Speaker 1: the Park Sheridan Hotel with Al Ruddy speaking before the League. 40 00:02:33,120 --> 00:02:36,640 Speaker 3: You've said previously, Mark, when you're writing a magazine article 41 00:02:36,760 --> 00:02:40,720 Speaker 3: like this, that casting a wide net is very important 42 00:02:40,880 --> 00:02:43,720 Speaker 3: and talking to as many people as possible, no matter 43 00:02:43,760 --> 00:02:46,640 Speaker 3: how inconsequential they seem. Did you do that here? 44 00:02:47,400 --> 00:02:50,079 Speaker 1: Oh? Yes, of course, you know. I tried to talk 45 00:02:50,120 --> 00:02:52,880 Speaker 1: to as many people as I could for the article 46 00:02:52,919 --> 00:02:56,080 Speaker 1: and then later for the book, and it was amazing. 47 00:02:56,240 --> 00:02:59,040 Speaker 1: After the article came out, people would call and tell 48 00:02:59,080 --> 00:03:01,680 Speaker 1: me facts that I couldn't have dug up any other way. 49 00:03:01,960 --> 00:03:04,520 Speaker 1: But it was nothing like after the book came out. 50 00:03:04,800 --> 00:03:07,280 Speaker 1: One man called and said his uncle had delivered the 51 00:03:07,360 --> 00:03:10,920 Speaker 1: horse's head to the set. There were so many unexpected 52 00:03:10,960 --> 00:03:14,160 Speaker 1: but important additions that just came from the story being 53 00:03:14,200 --> 00:03:15,280 Speaker 1: out there in the world. 54 00:03:15,919 --> 00:03:18,720 Speaker 3: Who was the most unexpected character you talked to? 55 00:03:19,560 --> 00:03:22,920 Speaker 1: Well, maybe Marilyn Stewart, because I hadn't really read anything 56 00:03:23,000 --> 00:03:26,320 Speaker 1: about her. There's not one interview that I could find. 57 00:03:26,800 --> 00:03:30,240 Speaker 1: But I called the number that I had found for her, 58 00:03:30,520 --> 00:03:33,600 Speaker 1: and she answered the phone and it was like it 59 00:03:33,680 --> 00:03:36,280 Speaker 1: seemed like she was expecting my call, which of course 60 00:03:36,280 --> 00:03:39,120 Speaker 1: she couldn't have been, but she was just ready to 61 00:03:39,160 --> 00:03:42,120 Speaker 1: tell her story. And what a story she had to tell. 62 00:03:42,320 --> 00:03:44,800 Speaker 1: You know. She came on. She was Paramount's head of 63 00:03:44,880 --> 00:03:48,760 Speaker 1: publicity and promotion, and she just started before the movie 64 00:03:48,880 --> 00:03:53,160 Speaker 1: was even shot, you know, fostering its image, making sure 65 00:03:53,200 --> 00:03:56,680 Speaker 1: that she got the magazine covers and all the television shows. 66 00:03:57,040 --> 00:03:59,240 Speaker 1: And I just thought she was a great window into 67 00:03:59,320 --> 00:04:05,520 Speaker 1: the Godfather Pass and how it became such a sensation worldwide. 68 00:04:05,720 --> 00:04:07,280 Speaker 3: I want to talk a little bit more about the 69 00:04:07,320 --> 00:04:10,360 Speaker 3: reporting aspect of it. How you sort of organize your 70 00:04:10,400 --> 00:04:14,080 Speaker 3: thoughts and figure out who to talk to someone like 71 00:04:14,160 --> 00:04:17,200 Speaker 3: Janet Snow, for instance. Is that's someone whose name just 72 00:04:17,279 --> 00:04:20,040 Speaker 3: comes up in the course of interviewing someone else, and 73 00:04:20,080 --> 00:04:22,360 Speaker 3: then one thing leads to another. 74 00:04:22,839 --> 00:04:25,599 Speaker 1: That was a great story. So Janet Snow had not 75 00:04:25,680 --> 00:04:28,039 Speaker 1: been interviewed either. I mean maybe she had, but I 76 00:04:28,080 --> 00:04:31,000 Speaker 1: had not seen any interviews with her. And I was 77 00:04:31,040 --> 00:04:34,040 Speaker 1: talking to Graf Frederickson and he goes, oh, my gosh, 78 00:04:34,080 --> 00:04:37,800 Speaker 1: Mario had an assistant during those days, and he couldn't 79 00:04:37,839 --> 00:04:41,560 Speaker 1: remember her name at first, and he just said, oh, 80 00:04:41,680 --> 00:04:46,080 Speaker 1: Janet Snow. And I called Janet, and she right off 81 00:04:46,080 --> 00:04:50,400 Speaker 1: the bat told me this incredible story about Mario Puzo 82 00:04:50,520 --> 00:04:55,640 Speaker 1: arriving in Hollywood and that story about the white Lincoln Continental, 83 00:04:56,560 --> 00:04:59,839 Speaker 1: and I went, oh, my gosh, it was just like 84 00:05:00,360 --> 00:05:03,880 Speaker 1: too wild to believe. You know, as you're putting together 85 00:05:03,960 --> 00:05:07,039 Speaker 1: a portrait of somebody for a book, you're just trying 86 00:05:07,040 --> 00:05:09,680 Speaker 1: to get as much clay as you can to build 87 00:05:09,720 --> 00:05:13,160 Speaker 1: the character. And Mario had done lots of interviews, so 88 00:05:13,279 --> 00:05:16,599 Speaker 1: there was a lot about him in print. But a 89 00:05:16,640 --> 00:05:19,880 Speaker 1: person like Janet Snow who was there when Mario arrived 90 00:05:19,960 --> 00:05:23,640 Speaker 1: in Hollywood and drove him from Paramount to the Beverly 91 00:05:23,760 --> 00:05:26,440 Speaker 1: Hills Hotel. I mean, you can't get much better than that. 92 00:05:27,240 --> 00:05:30,359 Speaker 3: And it's interesting because while they are in very different situations. 93 00:05:30,520 --> 00:05:33,960 Speaker 3: Mario is a huge successful author in Janet's relative nobody, 94 00:05:34,320 --> 00:05:37,240 Speaker 3: they're both neophytes in their own way in this Hollywood world. 95 00:05:37,279 --> 00:05:39,080 Speaker 3: And I think that's enough to bring them together. 96 00:05:39,800 --> 00:05:42,320 Speaker 1: Yes, And they were both fairly young. Mario's in his 97 00:05:42,480 --> 00:05:45,320 Speaker 1: forties and he was new to that world. Plus Janet 98 00:05:45,360 --> 00:05:48,120 Speaker 1: had a magical story to tell about how she got 99 00:05:48,160 --> 00:05:51,320 Speaker 1: the job. You know, you open a door and these 100 00:05:51,360 --> 00:05:54,640 Speaker 1: stories just come flooding out, like I'll never forget going 101 00:05:54,640 --> 00:05:57,520 Speaker 1: to James Conn's home in Beverly Hills when I was 102 00:05:57,560 --> 00:06:00,520 Speaker 1: researching the article, and I walk in and there was 103 00:06:00,560 --> 00:06:04,839 Speaker 1: a huge drawing of the Godfather on his wall. It 104 00:06:04,960 --> 00:06:08,440 Speaker 1: was Don Corleone and his three sons, including Sonny, who 105 00:06:08,480 --> 00:06:09,839 Speaker 1: was played by James Kahn. 106 00:06:11,400 --> 00:06:13,760 Speaker 4: I think, you know, with a lot of those guys, 107 00:06:13,839 --> 00:06:16,359 Speaker 4: not just the Italians obviously, Like I said, you know, 108 00:06:16,400 --> 00:06:18,800 Speaker 4: and immigrants couldn't get a job working three cents, so, 109 00:06:19,240 --> 00:06:21,120 Speaker 4: you know, so they did what they had to do 110 00:06:21,160 --> 00:06:21,600 Speaker 4: out of need. 111 00:06:22,960 --> 00:06:25,920 Speaker 1: And we spent I think three hours that day talking 112 00:06:25,960 --> 00:06:29,000 Speaker 1: about the movie and his role and how you prepared 113 00:06:29,040 --> 00:06:31,080 Speaker 1: for the part, how he got the part. 114 00:06:31,400 --> 00:06:35,279 Speaker 3: What was it like interviewing James Common because he's obviously 115 00:06:35,279 --> 00:06:38,240 Speaker 3: an actor but also sort of a street guy. Did 116 00:06:38,279 --> 00:06:42,480 Speaker 3: you find him very easy to interview and affable? 117 00:06:42,760 --> 00:06:46,039 Speaker 1: Oh? Certainly? And later when I called him for the book, 118 00:06:46,080 --> 00:06:49,880 Speaker 1: he was incredibly forthcoming. I talked to him for another 119 00:06:50,160 --> 00:06:53,320 Speaker 1: I think two hours, and then called him again for 120 00:06:53,360 --> 00:06:57,280 Speaker 1: another hour or so. He was so giving and generous 121 00:06:57,360 --> 00:06:58,120 Speaker 1: with his time. 122 00:06:58,960 --> 00:07:02,280 Speaker 4: Was there somebody that you picked up mannerisms from like 123 00:07:02,320 --> 00:07:04,640 Speaker 4: you did, like the Rickles idea, Well, Andrew was my 124 00:07:04,720 --> 00:07:08,120 Speaker 4: closest friend, you know, and he had certain energy. You know, 125 00:07:08,160 --> 00:07:10,720 Speaker 4: there's a certain energy about Rickles when he was younger, 126 00:07:10,760 --> 00:07:13,520 Speaker 4: you know, which he still has today in his eighties, 127 00:07:13,560 --> 00:07:16,119 Speaker 4: you know, but it's obviously not as sharp. 128 00:07:16,160 --> 00:07:19,440 Speaker 1: None of us are sharp. But I could just see 129 00:07:19,440 --> 00:07:21,240 Speaker 1: that botta ingrain is coming out of Roa. 130 00:07:21,440 --> 00:07:23,080 Speaker 2: Well, that's where it came, you know. I don't know, 131 00:07:23,600 --> 00:07:26,040 Speaker 2: I wish i'd had the foresight to, like. 132 00:07:26,360 --> 00:07:27,520 Speaker 3: What do you call a copyright? 133 00:07:27,560 --> 00:07:28,880 Speaker 2: That thing I could have made money. 134 00:07:28,680 --> 00:07:29,440 Speaker 4: I wouldn't begging. 135 00:07:31,280 --> 00:07:34,240 Speaker 1: Another great thing that I was privileged to do was 136 00:07:34,360 --> 00:07:38,720 Speaker 1: research the life of the actor who played Luca Brozi, 137 00:07:39,000 --> 00:07:43,040 Speaker 1: Lenny Montana, who is one of the most unforgettable characters 138 00:07:43,080 --> 00:07:46,320 Speaker 1: in the movie. He was a former wrestler and some 139 00:07:46,400 --> 00:07:49,200 Speaker 1: say a bodyguard. I was able to dig up some 140 00:07:49,240 --> 00:07:52,360 Speaker 1: really old newspapers about him, and there's one where he 141 00:07:52,400 --> 00:07:54,960 Speaker 1: tells the story of going to visit his mother in 142 00:07:55,040 --> 00:07:57,960 Speaker 1: suburban New York at the same time. They were filming 143 00:07:58,000 --> 00:08:01,160 Speaker 1: The Godfather there and had been looking for the perfect 144 00:08:01,200 --> 00:08:03,800 Speaker 1: actor to play Luca, who had to be a mountain 145 00:08:03,840 --> 00:08:07,400 Speaker 1: of a man, and they had gone through several potential actors, 146 00:08:07,520 --> 00:08:11,840 Speaker 1: all professionals, but none were quite right. Anyway, Lenny is 147 00:08:11,920 --> 00:08:14,720 Speaker 1: visiting his mother and al Ruddy looks out on the 148 00:08:14,760 --> 00:08:18,000 Speaker 1: crowd that's gathered around the set and sees this colossal 149 00:08:18,120 --> 00:08:21,880 Speaker 1: man behind the barricades. He takes Lenny Montana to meet 150 00:08:21,920 --> 00:08:25,920 Speaker 1: Francis Coppola and his trailer. Lenny's head was probably scraping 151 00:08:26,000 --> 00:08:28,760 Speaker 1: the ceiling because he was so big, and Coppola looks 152 00:08:28,840 --> 00:08:31,360 Speaker 1: up at him and says, that's Luca Brotzi. 153 00:08:32,160 --> 00:08:36,120 Speaker 3: We mentioned earlier that Robert Evans passed away in twenty nineteen, 154 00:08:36,400 --> 00:08:39,320 Speaker 3: just before we started making the show. Sadly, he wasn't 155 00:08:39,360 --> 00:08:42,400 Speaker 3: the only one. There were six or seven other characters 156 00:08:42,600 --> 00:08:45,679 Speaker 3: in The Godfather's Story who died while we were making 157 00:08:45,679 --> 00:08:46,480 Speaker 3: this podcast. 158 00:08:47,440 --> 00:08:49,960 Speaker 1: Yeah, just to name a few. Al Ruddy died this year, 159 00:08:50,480 --> 00:08:56,080 Speaker 1: Eleanor Coppola, Roger Corman, Robert Town, the screenwriter who wrote 160 00:08:56,120 --> 00:09:00,200 Speaker 1: the Majestic Succession scene. Fred Ruse died this year. Ye, 161 00:09:00,440 --> 00:09:03,600 Speaker 1: James con two years ago. I mean, it's amazing time 162 00:09:03,920 --> 00:09:06,480 Speaker 1: takes its toll. This is a movie that was made 163 00:09:06,600 --> 00:09:09,680 Speaker 1: fifty years ago, so a lot of time has passed, 164 00:09:09,720 --> 00:09:11,560 Speaker 1: and a lot of people who gave so much to 165 00:09:11,559 --> 00:09:13,439 Speaker 1: the film have passed along with it. 166 00:09:14,400 --> 00:09:17,560 Speaker 3: One thing we should talk about is the proliferation of 167 00:09:17,720 --> 00:09:22,080 Speaker 3: conflicting accounts, and specifically how you chose who's to believe. 168 00:09:22,760 --> 00:09:25,840 Speaker 1: Well, honestly, I didn't want to choose, and I don't 169 00:09:25,880 --> 00:09:28,240 Speaker 1: really think it's my job to take aside and make 170 00:09:28,280 --> 00:09:31,880 Speaker 1: a choice. All of the stories were so fascinating, and 171 00:09:31,960 --> 00:09:34,840 Speaker 1: in the absence of any conclusive evidence about who was 172 00:09:34,920 --> 00:09:37,839 Speaker 1: right who was wrong, I just decided to present all 173 00:09:37,880 --> 00:09:41,040 Speaker 1: the versions to readers and let them decide. And I 174 00:09:41,080 --> 00:09:43,800 Speaker 1: feel like we've done the same thing with this podcast. 175 00:09:44,320 --> 00:09:49,079 Speaker 1: But it was a pretty chaotic time. And Ira Zuckerman's 176 00:09:49,120 --> 00:09:52,560 Speaker 1: Godfather journal was such a great help because he was 177 00:09:52,640 --> 00:09:57,599 Speaker 1: there every day and documented every single day of filming 178 00:09:58,000 --> 00:10:02,520 Speaker 1: in such detail that you really couldn't quite argue with that, 179 00:10:02,920 --> 00:10:05,640 Speaker 1: because that seemed to be the definitive fly on the 180 00:10:05,679 --> 00:10:09,120 Speaker 1: wall account. I mean, there's very few movies where you 181 00:10:09,160 --> 00:10:11,960 Speaker 1: have someone who's written a day to day diary of 182 00:10:12,000 --> 00:10:15,679 Speaker 1: everything that happened, and so it was a real treasure 183 00:10:15,760 --> 00:10:17,840 Speaker 1: to have that as a resource. 184 00:10:18,800 --> 00:10:21,280 Speaker 3: And what about Gianni's version of events? I like his 185 00:10:21,360 --> 00:10:22,160 Speaker 3: account the best. 186 00:10:23,440 --> 00:10:25,800 Speaker 1: What we you like personality wise? Like this same as 187 00:10:25,840 --> 00:10:26,880 Speaker 1: any never changed. 188 00:10:27,320 --> 00:10:28,400 Speaker 2: Don't care about nothing. 189 00:10:29,400 --> 00:10:31,280 Speaker 1: We gotta leave, jump out the wind that we leave you, 190 00:10:31,320 --> 00:10:32,480 Speaker 1: take a shot, see you later. 191 00:10:33,200 --> 00:10:33,719 Speaker 2: I don't care. 192 00:10:34,360 --> 00:10:38,240 Speaker 1: I started from nothing. Well, yeah, of course, because Gianny 193 00:10:38,320 --> 00:10:40,600 Speaker 1: Russo has a way of telling these things that they 194 00:10:40,600 --> 00:10:43,360 Speaker 1: make them come alive, you know, but so many others 195 00:10:43,400 --> 00:10:46,320 Speaker 1: do as well. I mean, how Ruddy is the same way, 196 00:10:46,360 --> 00:10:49,120 Speaker 1: and of course Bob Evans, I mean he's the same way, 197 00:10:49,440 --> 00:10:54,720 Speaker 1: and Francis Kopple is a professional storyteller. They're all amazing storytellers. 198 00:10:56,600 --> 00:10:59,160 Speaker 3: After working on this podcast, it's hard not to feel 199 00:10:59,200 --> 00:11:03,360 Speaker 3: like making a movie is a completely foolish endeavor because 200 00:11:03,400 --> 00:11:08,000 Speaker 3: you have all of these conflicting personalities tossed together in 201 00:11:08,080 --> 00:11:10,920 Speaker 3: one place, and you know you're all working toward a 202 00:11:10,920 --> 00:11:14,200 Speaker 3: common goal, but it seems like things are bound to 203 00:11:14,240 --> 00:11:15,880 Speaker 3: go wrong more often than not. 204 00:11:16,480 --> 00:11:19,559 Speaker 1: Yeah, it's a miracle that any movie gets made, isn't it? 205 00:11:20,080 --> 00:11:24,880 Speaker 1: Because all the personalities, money, logistics, there's so many ways 206 00:11:24,920 --> 00:11:27,880 Speaker 1: for things to go wrong. It's not unusual for a 207 00:11:27,920 --> 00:11:30,440 Speaker 1: movie not to work out, and The Godfather is a 208 00:11:30,520 --> 00:11:33,160 Speaker 1: rare case where the ending was happy and the alchemy 209 00:11:33,280 --> 00:11:35,040 Speaker 1: worked against all odds. 210 00:11:35,559 --> 00:11:38,079 Speaker 3: I think the directors like Francis Ford Koppola get a 211 00:11:38,120 --> 00:11:40,920 Speaker 3: lot of flak for being almost authoritarian in the pursuit 212 00:11:41,000 --> 00:11:43,080 Speaker 3: of getting what they want, But you can kind of 213 00:11:43,080 --> 00:11:45,000 Speaker 3: see where that would be a benefit in making The 214 00:11:45,040 --> 00:11:48,280 Speaker 3: Godfather because you need someone with such a determined vision 215 00:11:48,360 --> 00:11:49,360 Speaker 3: and sense of purpose. 216 00:11:49,880 --> 00:11:52,960 Speaker 1: There has to be a captain of the ship, right Mark. 217 00:11:53,040 --> 00:11:55,560 Speaker 3: We know the movie did well financially, but did the 218 00:11:55,559 --> 00:11:57,439 Speaker 3: people involved well. 219 00:11:57,760 --> 00:12:02,120 Speaker 1: There's conflicting stories once again about this. You know, some 220 00:12:02,240 --> 00:12:05,400 Speaker 1: people said they got rich off of the movie, but 221 00:12:05,760 --> 00:12:09,640 Speaker 1: really the actors were paid minimal salaries. I guess thirty 222 00:12:09,640 --> 00:12:12,040 Speaker 1: five thousand I think for some, and that was for 223 00:12:12,120 --> 00:12:15,200 Speaker 1: the established ones. Al Ruddy said he had points and 224 00:12:15,240 --> 00:12:18,120 Speaker 1: he did well on it. But one thing is clear 225 00:12:18,320 --> 00:12:21,600 Speaker 1: above all is that Paramount made a lot of money. 226 00:12:22,000 --> 00:12:26,120 Speaker 1: Robert Evans told me that Dan Woodland that being the 227 00:12:26,160 --> 00:12:28,760 Speaker 1: head of production, he didn't have any points. So he 228 00:12:28,800 --> 00:12:32,440 Speaker 1: didn't make any money off the movie personally, but you 229 00:12:32,480 --> 00:12:35,320 Speaker 1: know it gave him a springboard to do other things 230 00:12:35,360 --> 00:12:39,440 Speaker 1: when he became a independent producer. So it's another mystery 231 00:12:39,440 --> 00:12:42,120 Speaker 1: of the Godfather about who made what on the movie. 232 00:12:42,480 --> 00:12:45,960 Speaker 1: But here's how al Ruddy described it in our interview. 233 00:12:46,840 --> 00:12:50,800 Speaker 5: You got to understand nobody and for vision success of 234 00:12:50,880 --> 00:12:53,559 Speaker 5: this movie, everyone worked for scale. It's a class. 235 00:12:54,400 --> 00:12:56,880 Speaker 1: That's points, Mary, I had two, and A. 236 00:12:56,880 --> 00:13:00,439 Speaker 5: Had points and I had some points. But they kid 237 00:13:00,480 --> 00:13:02,920 Speaker 5: was that prophet, doesn't you know what they said? Not 238 00:13:03,040 --> 00:13:06,480 Speaker 5: worth the paper which went on right. The profits except 239 00:13:06,480 --> 00:13:08,200 Speaker 5: this went through the roof. 240 00:13:09,320 --> 00:13:11,600 Speaker 3: If there was any doubt about how the movie did 241 00:13:11,720 --> 00:13:16,679 Speaker 3: or was received in Coppola's mind or anyone else's it 242 00:13:16,760 --> 00:13:20,720 Speaker 3: was eradicated when the nineteen seventy three Oscars came around, Mark, 243 00:13:20,760 --> 00:13:22,080 Speaker 3: can you talk a little bit about that? 244 00:13:23,040 --> 00:13:26,000 Speaker 1: The Godfather was nominated for ten awards at the nineteen 245 00:13:26,080 --> 00:13:30,880 Speaker 1: seventy three Oscars Best Picture, Brando as Best Actor, Coppola 246 00:13:30,960 --> 00:13:35,679 Speaker 1: for Best Director, Coppola Empuso for Best Adapted Screenplay, and 247 00:13:35,760 --> 00:13:39,800 Speaker 1: for Best Supporting Actor, three of them Al Pacino, James Cohn, 248 00:13:39,880 --> 00:13:44,160 Speaker 1: and Robert Duval. They also had nominations for Costume, Editing 249 00:13:44,280 --> 00:13:47,560 Speaker 1: and Sound. When the envelopes were open, it was Mario 250 00:13:47,679 --> 00:13:51,720 Speaker 1: Puzo and Francis Ford Coppola for Best Adapted Screenplay, and 251 00:13:51,760 --> 00:13:54,720 Speaker 1: they said that Mario decided not to go because he 252 00:13:54,800 --> 00:13:57,439 Speaker 1: was too worried about having to give a speech, so 253 00:13:57,480 --> 00:14:00,439 Speaker 1: he watched it from home in suburban News New York. 254 00:14:01,240 --> 00:14:03,760 Speaker 1: Brando won Best Actor, but probably in one of the 255 00:14:03,800 --> 00:14:07,360 Speaker 1: most famous events in Oscar history, he didn't attend and 256 00:14:07,720 --> 00:14:11,240 Speaker 1: said he sent an emissary on his behalf, a woman 257 00:14:11,320 --> 00:14:14,400 Speaker 1: named Sasheen Little Feather, who got up and gives a 258 00:14:14,520 --> 00:14:17,640 Speaker 1: speech about what had been happening at wounded Me. 259 00:14:19,840 --> 00:14:24,440 Speaker 6: Hello, my name is Sasheine Little Feather. I'm Apache and 260 00:14:24,480 --> 00:14:29,160 Speaker 6: I'm president of the National Native American Affirmative Image Committee. 261 00:14:29,680 --> 00:14:33,360 Speaker 6: I'm representing Marlon Brando this evening, and he has asked 262 00:14:33,360 --> 00:14:36,200 Speaker 6: me to tell you in a very long speech which 263 00:14:36,240 --> 00:14:40,640 Speaker 6: I cannot share with you presently because of time, but 264 00:14:40,760 --> 00:14:43,320 Speaker 6: I will be glad to share with the press afterwards, 265 00:14:43,720 --> 00:14:49,560 Speaker 6: that he very regretfully cannot accept this very generous award, 266 00:14:50,680 --> 00:14:54,360 Speaker 6: and the reasons for this being are the treatment of 267 00:14:54,400 --> 00:15:00,160 Speaker 6: American Indians today by the film industry excuse me me, 268 00:15:09,480 --> 00:15:14,840 Speaker 6: and on television in movie reruns, and also with recent 269 00:15:14,960 --> 00:15:18,800 Speaker 6: happenings that wounded me. I beg at this time that 270 00:15:18,880 --> 00:15:23,120 Speaker 6: I have not intruded upon this evening, and that we 271 00:15:23,200 --> 00:15:28,760 Speaker 6: will in the future, our hearts and our understandings will 272 00:15:28,800 --> 00:15:32,760 Speaker 6: meet with love and generosity. Thank you on behalf of 273 00:15:32,840 --> 00:15:33,600 Speaker 6: Marlon Brando. 274 00:15:38,800 --> 00:15:41,200 Speaker 3: It's fair to say that everyone was stunned by Saushy 275 00:15:41,240 --> 00:15:45,359 Speaker 3: and little feathers speech. Another surprise was to come shortly thereafter, 276 00:15:45,480 --> 00:15:47,640 Speaker 3: in the form of the Best Picture, A Lord. 277 00:15:48,520 --> 00:15:54,040 Speaker 1: And the Winner and the Winner the ward. 278 00:15:55,800 --> 00:15:58,040 Speaker 4: Albert is ready God bother. 279 00:16:06,160 --> 00:16:08,120 Speaker 7: Let me do this quickly in two parts, because I 280 00:16:08,160 --> 00:16:10,040 Speaker 7: know it's past midnight New York, and some of my 281 00:16:10,160 --> 00:16:12,120 Speaker 7: relatives want to go to sleep. There are a number 282 00:16:12,120 --> 00:16:14,360 Speaker 7: of people I would like to thank, as everyone else would, 283 00:16:14,360 --> 00:16:15,280 Speaker 7: because they deserve it. 284 00:16:15,560 --> 00:16:17,160 Speaker 1: Bob Edmonds forgiving more. 285 00:16:16,960 --> 00:16:20,800 Speaker 7: Than any studio head should in time and creativity, Frank 286 00:16:20,840 --> 00:16:23,320 Speaker 7: your blond for having the courage and imagination to sell 287 00:16:23,360 --> 00:16:26,240 Speaker 7: this film and make my mother rich. Charlie Bludorn for 288 00:16:26,280 --> 00:16:28,920 Speaker 7: having the courage to finance films, which I guess borders 289 00:16:28,920 --> 00:16:33,160 Speaker 7: on insanity. And Peter Bart who was a friend all. 290 00:16:33,040 --> 00:16:33,600 Speaker 1: The way through. 291 00:16:35,680 --> 00:16:38,720 Speaker 3: Let's talk about legacy. The film sort of eclipses the 292 00:16:38,760 --> 00:16:40,680 Speaker 3: careers of most of the people who made it. 293 00:16:41,040 --> 00:16:43,800 Speaker 1: Yeah, it's like every person who touched the movie has 294 00:16:43,800 --> 00:16:47,080 Speaker 1: this asterisk next to their name that says the Godfather. 295 00:16:47,520 --> 00:16:51,240 Speaker 3: Well, let's start with the obvious. Francis Ford Coppola. Despite 296 00:16:51,240 --> 00:16:54,720 Speaker 3: the success of the first movie, Coppola was so scarred 297 00:16:54,840 --> 00:16:56,680 Speaker 3: that he didn't want to make a sequel, but then 298 00:16:56,760 --> 00:16:58,840 Speaker 3: Charlie Bludorn talked him into it. 299 00:16:59,240 --> 00:17:02,600 Speaker 1: Yes, the story goes that Coppola initially didn't want to 300 00:17:02,600 --> 00:17:06,560 Speaker 1: do it, but then Hurricane Charlie erupted. Francis, you've got 301 00:17:06,560 --> 00:17:08,760 Speaker 1: the recipe for Coca cola, and you don't want to 302 00:17:08,800 --> 00:17:13,680 Speaker 1: manufacturer anymore. Bottles of coke and whatever happened, Coppola ended 303 00:17:13,760 --> 00:17:17,840 Speaker 1: up signing on for Godfather too, and after that Godfather three, 304 00:17:18,359 --> 00:17:21,880 Speaker 1: and of course Charlie Bludorn wanted to make Godfather four, five, 305 00:17:21,920 --> 00:17:23,040 Speaker 1: and six as well. 306 00:17:23,720 --> 00:17:26,000 Speaker 3: This movie changed Copola's life. 307 00:17:25,920 --> 00:17:28,520 Speaker 1: Well, for better and for worse, but mostly for better. 308 00:17:28,800 --> 00:17:32,800 Speaker 1: You know, time hills, all wounds. And recently Coppola told 309 00:17:32,920 --> 00:17:36,440 Speaker 1: Rolling Stone that he saw The Godfather as a gift. 310 00:17:36,920 --> 00:17:39,359 Speaker 1: He said, the movie opened up the world to me. 311 00:17:39,920 --> 00:17:42,160 Speaker 1: Some of the greatest people in the world have wanted 312 00:17:42,160 --> 00:17:44,760 Speaker 1: to talk to me simply because I was a guy 313 00:17:44,840 --> 00:17:46,080 Speaker 1: who made that film. 314 00:17:46,600 --> 00:17:49,560 Speaker 3: What about Mario Puzzo, what happens to him afterwards? 315 00:17:49,960 --> 00:17:55,359 Speaker 1: Well, Mario Puzo became a superstar screenwriter, He became rich, 316 00:17:55,840 --> 00:17:59,479 Speaker 1: he became famous. He could gamble all he wanted. I 317 00:17:59,480 --> 00:18:02,879 Speaker 1: loved what is His son told me via email. He told me, 318 00:18:03,119 --> 00:18:06,280 Speaker 1: now that he had money, look out. He would buy 319 00:18:06,320 --> 00:18:08,600 Speaker 1: books instead of taking him out of the library. He 320 00:18:08,760 --> 00:18:12,360 Speaker 1: rented a house in Malibu. You know, he would eat 321 00:18:12,400 --> 00:18:15,600 Speaker 1: whatever he wanted, He would gamble whenever he wanted. I 322 00:18:15,600 --> 00:18:18,159 Speaker 1: think he still loved the good life of Hollywood and 323 00:18:18,240 --> 00:18:21,120 Speaker 1: of course Las Vegas. He wrote a book about Las 324 00:18:21,200 --> 00:18:23,199 Speaker 1: Vegas that was sort of a love letter to the 325 00:18:23,240 --> 00:18:26,080 Speaker 1: city and what it meant to him. And in addition 326 00:18:26,160 --> 00:18:29,520 Speaker 1: to writing many more novels, he wrote the screenplay to Superman, 327 00:18:30,040 --> 00:18:32,000 Speaker 1: so he maintained his Hollywood ties. 328 00:18:33,000 --> 00:18:35,520 Speaker 3: Another person who went on to have an amazing career 329 00:18:36,000 --> 00:18:36,680 Speaker 3: Robert Town. 330 00:18:37,200 --> 00:18:40,760 Speaker 1: Yes, Robert Town became the Dean of Hollywood screenwriters. He 331 00:18:40,800 --> 00:18:44,520 Speaker 1: wrote Chinatown and so many other movies that became classics. 332 00:18:44,840 --> 00:18:47,080 Speaker 3: And he wasn't famous when Copola brought him in, but 333 00:18:47,119 --> 00:18:50,159 Speaker 3: he had certainly worked on other projects. He'd done Bonnie 334 00:18:50,200 --> 00:18:53,000 Speaker 3: and Clyde and McCabe and Missus Miller, and then The 335 00:18:53,040 --> 00:18:55,480 Speaker 3: Godfather was probably his first big project. 336 00:18:55,840 --> 00:18:57,760 Speaker 1: Yeah, and I love the story of how he came 337 00:18:57,880 --> 00:19:02,199 Speaker 1: up with that incredible scene, the succession scene. It was 338 00:19:02,320 --> 00:19:05,679 Speaker 1: late in the night in New York and Coppola was 339 00:19:05,680 --> 00:19:07,440 Speaker 1: going to pick him up the next morning to take 340 00:19:07,480 --> 00:19:11,159 Speaker 1: him to the set, and he was looking at the 341 00:19:11,400 --> 00:19:15,680 Speaker 1: cover of Mario Puzo's novel, you know, with the invisible 342 00:19:15,720 --> 00:19:21,040 Speaker 1: puppeteer holding the strings, you know, with those strings dangling down, 343 00:19:21,119 --> 00:19:23,800 Speaker 1: and he said, it was like at four in the morning, 344 00:19:23,880 --> 00:19:26,359 Speaker 1: the line came to him and it was just this 345 00:19:26,520 --> 00:19:29,320 Speaker 1: incredible line that would sum up so much and it 346 00:19:29,359 --> 00:19:32,240 Speaker 1: became one of the most classic scenes in the movie. 347 00:19:33,480 --> 00:19:35,199 Speaker 3: Listen to this list of movies he went on to 348 00:19:35,200 --> 00:19:40,880 Speaker 3: write after that, the Last Detail, Parallax View, Chinatown, Shampoo, 349 00:19:41,160 --> 00:19:45,640 Speaker 3: The Missouri Breaks, Days of Thunder, The Firm, Mission Impossible 350 00:19:45,680 --> 00:19:46,240 Speaker 3: one and two. 351 00:19:46,680 --> 00:19:49,879 Speaker 1: Yeah, pretty incredible list. Robert town once said that he 352 00:19:50,119 --> 00:19:53,080 Speaker 1: was not really interested in writing novels, that he just 353 00:19:53,119 --> 00:19:55,960 Speaker 1: wanted to write movies. And listen to that list of 354 00:19:56,000 --> 00:19:58,159 Speaker 1: movies that he wrote. I mean, he's one of the 355 00:19:58,160 --> 00:20:00,600 Speaker 1: greatest screenwriters in hollywood A history. 356 00:20:01,320 --> 00:20:04,679 Speaker 3: What was Charlie Bludorn's legacy like at Paramount. 357 00:20:04,600 --> 00:20:07,439 Speaker 1: Charlie Bludorn saved the studio in the end with The 358 00:20:07,440 --> 00:20:11,960 Speaker 1: Godfather and other movies later, But sadly Charlie passed away 359 00:20:11,960 --> 00:20:14,960 Speaker 1: at a fairly young age. He lived in the Dominican 360 00:20:15,040 --> 00:20:18,320 Speaker 1: Republic where he built this amazing resort. But he died 361 00:20:18,400 --> 00:20:21,160 Speaker 1: on a they say, on a plane coming home. So 362 00:20:21,520 --> 00:20:24,160 Speaker 1: he missed out on seeing so much. And I would 363 00:20:24,160 --> 00:20:27,240 Speaker 1: have loved to have obviously spoken with him, But he's 364 00:20:27,320 --> 00:20:29,920 Speaker 1: remembered by everyone whose path he crossed. 365 00:20:30,560 --> 00:20:32,800 Speaker 3: What about Al Ruddy? What happens to him? 366 00:20:32,840 --> 00:20:37,359 Speaker 1: Afterwards, so al Ruddy remained vital until the end. He 367 00:20:37,480 --> 00:20:41,480 Speaker 1: produced both The Godfather and Million Dollar Baby, winning Best 368 00:20:41,520 --> 00:20:45,920 Speaker 1: Picture Oscars for both, and he died at ninety four 369 00:20:46,040 --> 00:20:50,080 Speaker 1: years old last May. And about two weeks before he 370 00:20:50,200 --> 00:20:53,720 Speaker 1: passed away, I spoke to him again. He was the 371 00:20:53,800 --> 00:20:56,640 Speaker 1: same Al Ruddy as always, you know, talking a mile 372 00:20:56,680 --> 00:20:59,640 Speaker 1: a minute. His memory was sharp, and he was really 373 00:20:59,680 --> 00:21:03,600 Speaker 1: excited about this podcast and wanted to do whatever he 374 00:21:03,640 --> 00:21:08,560 Speaker 1: could to help, which is typical out the quintessential producer, 375 00:21:08,960 --> 00:21:11,600 Speaker 1: the man who gets things done. Well. 376 00:21:11,640 --> 00:21:14,680 Speaker 8: We came back to sicily, I went through New York 377 00:21:15,480 --> 00:21:18,000 Speaker 8: and they said they wanted to do a sequel, and 378 00:21:18,160 --> 00:21:21,919 Speaker 8: I told straight out, I have no interest. Livesen to me, 379 00:21:22,600 --> 00:21:25,920 Speaker 8: no interest in never doing a movie again. 380 00:21:26,640 --> 00:21:29,080 Speaker 1: But this mom I got lucky. 381 00:21:28,800 --> 00:21:29,240 Speaker 4: I got out. 382 00:21:29,320 --> 00:21:31,560 Speaker 1: I'm happy of at one piece. I could never get 383 00:21:31,600 --> 00:21:32,159 Speaker 1: more out of him. 384 00:21:33,359 --> 00:21:35,520 Speaker 3: And regardless of the fact that he didn't work on 385 00:21:35,920 --> 00:21:41,720 Speaker 3: subsequent Godfather movies, he clearly cared about the movie's legacy 386 00:21:41,760 --> 00:21:43,600 Speaker 3: a lot because he worked on the offer. 387 00:21:44,280 --> 00:21:47,720 Speaker 1: Yeah, the offer was really molded around his life. It 388 00:21:47,840 --> 00:21:52,120 Speaker 1: was his story. Miles Teller played Al Ruddy, you know, 389 00:21:52,720 --> 00:21:54,080 Speaker 1: he was the central character. 390 00:21:54,840 --> 00:21:57,040 Speaker 3: You didn't get a chance to interview Brando because he 391 00:21:57,119 --> 00:21:59,119 Speaker 3: was dead by the time you started working on this. 392 00:21:59,280 --> 00:22:01,760 Speaker 3: But if you could have, what would you have asked him. 393 00:22:02,119 --> 00:22:04,680 Speaker 1: I would have loved to have known in his own 394 00:22:04,720 --> 00:22:09,160 Speaker 1: words about how he made the transformation into Don Corleone. 395 00:22:09,400 --> 00:22:12,000 Speaker 1: But Alice was able to tell me a lot, and 396 00:22:12,080 --> 00:22:14,840 Speaker 1: also she was able to tell me his reluctance to 397 00:22:15,000 --> 00:22:17,840 Speaker 1: play a mobster. He didn't want to do it at first, 398 00:22:17,960 --> 00:22:20,320 Speaker 1: and he only wanted to do it when he heard 399 00:22:20,400 --> 00:22:22,840 Speaker 1: that they were thinking about Lawrence o Libya, and he goes, 400 00:22:23,000 --> 00:22:26,440 Speaker 1: he can't play a mafia don, And Alice said she 401 00:22:26,560 --> 00:22:29,639 Speaker 1: looked in and he was like using shoe polish to 402 00:22:30,359 --> 00:22:34,680 Speaker 1: create a mustache and dye his eyebrows. And she goes, no, 403 00:22:34,840 --> 00:22:38,160 Speaker 1: that's not right. Do it like Brando. But I would 404 00:22:38,200 --> 00:22:39,720 Speaker 1: have liked to have asked him about that. 405 00:22:40,720 --> 00:22:43,520 Speaker 3: Let's move on to Evans. So you spoke with Evans 406 00:22:43,520 --> 00:22:46,080 Speaker 3: in two thousand and eight, which is eleven years before 407 00:22:46,080 --> 00:22:49,040 Speaker 3: his death. What were his reflections on the film and 408 00:22:49,040 --> 00:22:49,760 Speaker 3: his legacy. 409 00:22:50,320 --> 00:22:53,000 Speaker 1: He said it was his greatest legacy, but it was 410 00:22:53,080 --> 00:22:56,400 Speaker 1: also a failure for him personally in many ways because 411 00:22:56,840 --> 00:22:59,679 Speaker 1: he chose the Godfather over his personal life, and that 412 00:22:59,800 --> 00:23:03,040 Speaker 1: was lipping away from him that day in Woodland. I'll 413 00:23:03,080 --> 00:23:05,720 Speaker 1: never forget the line that he said. He said, it's 414 00:23:05,800 --> 00:23:09,479 Speaker 1: so long ago, so many people are dead, and he 415 00:23:09,520 --> 00:23:12,880 Speaker 1: proceeded to rattle off everyone who had died in the interim, 416 00:23:12,960 --> 00:23:16,440 Speaker 1: which at that point was already quite long, Richard Castellano, 417 00:23:16,640 --> 00:23:20,399 Speaker 1: Marlon Brando, John Cassol, and so forth. And so he 418 00:23:20,520 --> 00:23:22,920 Speaker 1: had some regrets, for sure, But at the same time, 419 00:23:22,960 --> 00:23:25,080 Speaker 1: he was really proud of the movie and all that 420 00:23:25,119 --> 00:23:27,600 Speaker 1: the movie had achieved. As I wrote in the book, 421 00:23:27,640 --> 00:23:29,800 Speaker 1: he felt that he had fostered it and much of 422 00:23:29,840 --> 00:23:33,239 Speaker 1: its success was due to him, which you know, as 423 00:23:33,280 --> 00:23:35,879 Speaker 1: the head of the studio, he had the right to believe. 424 00:23:37,600 --> 00:23:40,119 Speaker 3: If the filming process was rough for Robert Evans, it 425 00:23:40,160 --> 00:23:43,520 Speaker 3: got even rougher after The Godfather came out, didn't it? Mark? 426 00:23:44,280 --> 00:23:47,800 Speaker 1: Well? At first it went all right. He produced Chinatown, 427 00:23:47,960 --> 00:23:51,080 Speaker 1: starring his close friend Jack Nicholson, But not long after 428 00:23:51,160 --> 00:23:54,920 Speaker 1: that he left Paramount to become an independent producer, and 429 00:23:54,960 --> 00:23:57,760 Speaker 1: that's when he started to struggle a little bit. As 430 00:23:57,800 --> 00:24:00,399 Speaker 1: I wrote in the book, he descended into darkness for 431 00:24:00,480 --> 00:24:04,199 Speaker 1: a period. There was a misdemeanor cocaine trafficking plea in 432 00:24:04,320 --> 00:24:08,240 Speaker 1: nineteen eighty the box office disaster of the Cotton Club 433 00:24:08,280 --> 00:24:12,360 Speaker 1: in nineteen eighty four, his entangment in a murder scandal 434 00:24:12,440 --> 00:24:15,480 Speaker 1: stemming from the film, and the eight torturous years it 435 00:24:15,480 --> 00:24:18,200 Speaker 1: would take him to clear his name. Also, I thought 436 00:24:18,240 --> 00:24:21,280 Speaker 1: it was interesting his wealth, which is, you know, pretty 437 00:24:21,359 --> 00:24:25,360 Speaker 1: much always the ultimate measure of success or failure in Hollywood, 438 00:24:25,920 --> 00:24:29,879 Speaker 1: dropped from eleven million in nineteen seventy nine to thirty 439 00:24:30,000 --> 00:24:33,560 Speaker 1: seven dollars a decade later. He had to sell his 440 00:24:33,560 --> 00:24:37,240 Speaker 1: beloved his home, Woodland, and he was only able to 441 00:24:37,240 --> 00:24:41,000 Speaker 1: buy it back with the help of Jack Nicholson. The 442 00:24:41,040 --> 00:24:44,280 Speaker 1: house of a Hollywood producer is always very important, but 443 00:24:44,359 --> 00:24:47,760 Speaker 1: for Robert Evans this was beyond anything. He had so 444 00:24:47,880 --> 00:24:50,639 Speaker 1: many memories there, and it was a privilege to be 445 00:24:50,680 --> 00:24:53,560 Speaker 1: able to interview him in that storied place, which is 446 00:24:53,560 --> 00:24:57,280 Speaker 1: where he lived until his death in twenty nineteen. 447 00:24:58,280 --> 00:25:00,600 Speaker 3: Okay, so Mark, let's end this on a hol happy note. 448 00:25:00,640 --> 00:25:04,560 Speaker 3: We know that Evans and Coppola eventually made up, were 449 00:25:04,600 --> 00:25:08,040 Speaker 3: supposedly made up at the twenty fifth anniversary of the film. 450 00:25:08,359 --> 00:25:11,800 Speaker 3: Let's hear Evans's recollection of that evening. In San Francisco 451 00:25:13,080 --> 00:25:13,840 Speaker 3: five years ago. 452 00:25:14,040 --> 00:25:19,320 Speaker 2: Ever, it was the twenty fifth anniversary of it. 453 00:25:17,840 --> 00:25:18,719 Speaker 5: In San Francisco. 454 00:25:19,640 --> 00:25:22,680 Speaker 2: Francis walked in there, he's King of San Francisco. As 455 00:25:22,680 --> 00:25:25,359 Speaker 2: he walked down the aisle, I took his sister Tadia 456 00:25:26,320 --> 00:25:30,399 Speaker 2: to the affair. He came over to me for his 457 00:25:30,520 --> 00:25:33,400 Speaker 2: arms around me and kissed me. He said, the messages 458 00:25:33,480 --> 00:25:39,760 Speaker 2: something right. That's good. It's a good line. Yeah, the 459 00:25:39,840 --> 00:25:42,159 Speaker 2: message in something right, and kissed me and then walked on. 460 00:25:43,160 --> 00:25:44,800 Speaker 1: And Evans was really proud of that. 461 00:25:45,640 --> 00:25:47,560 Speaker 2: It's my most important igacy in life. 462 00:25:47,760 --> 00:25:50,840 Speaker 1: This is the Godmother's number number one. 463 00:25:51,359 --> 00:25:56,879 Speaker 2: It broke a whole barrier a film opera. It is 464 00:25:57,240 --> 00:26:01,520 Speaker 2: do filmmakers great ideas and fighting the organization? 465 00:26:01,960 --> 00:26:03,600 Speaker 5: And I look fighting the organization? 466 00:26:03,960 --> 00:26:05,080 Speaker 8: What organization were you? 467 00:26:05,119 --> 00:26:10,440 Speaker 2: By the two of them? The other one was the 468 00:26:10,280 --> 00:26:15,040 Speaker 2: other the boys, but they're all the same. Wow, well 469 00:26:15,080 --> 00:26:20,160 Speaker 2: they're all Everything is monetarily focused. And I was looking 470 00:26:20,280 --> 00:26:24,600 Speaker 2: to touch magic, and magic to me last longer? Why 471 00:26:24,840 --> 00:26:28,800 Speaker 2: is it? At Mozart is remembered far longer, the Napoleon 472 00:26:30,400 --> 00:26:33,800 Speaker 2: world of far long as the world of reed. 473 00:26:47,359 --> 00:26:49,760 Speaker 1: Leave the Gun Take the Canoli as a production of 474 00:26:49,840 --> 00:26:51,800 Speaker 1: Airmail and iHeartMedia. 475 00:26:52,320 --> 00:26:54,680 Speaker 3: The podcast is based on the book of the same name, 476 00:26:54,760 --> 00:26:56,800 Speaker 3: written by our very own Mark Seal. 477 00:26:57,440 --> 00:26:59,159 Speaker 1: Our producer is Tina Mullin. 478 00:26:59,560 --> 00:27:01,760 Speaker 3: Research assistants by Jack Sullivan. 479 00:27:02,200 --> 00:27:04,960 Speaker 1: Jonathan Dressler was our development producer. 480 00:27:05,560 --> 00:27:09,840 Speaker 3: Our music supervisor is Randall Poster. Our executive producers are 481 00:27:09,920 --> 00:27:14,280 Speaker 3: Meet Nathan King, Mark ziel Doan Fagan, and Graydon Carter. 482 00:27:14,960 --> 00:27:19,560 Speaker 1: Special banks to Bridget Arseno and everyone at c DM Studios. 483 00:27:20,600 --> 00:27:23,960 Speaker 3: A comprehensive list of sources and acknowledgments can be found 484 00:27:24,040 --> 00:27:27,120 Speaker 3: in Mark Sieal's book, Leave the Gun, Take the Canolli, 485 00:27:27,600 --> 00:27:31,000 Speaker 3: published by Gallery Books, an imprint of Simon and Schuster