1 00:00:09,680 --> 00:00:13,960 Speaker 1: From Airmail and iHeartMedia. This is Leave the Gun, Take 2 00:00:14,000 --> 00:00:18,360 Speaker 1: the Canoli, the epic story of the making of The Godfather. 3 00:00:18,760 --> 00:00:20,919 Speaker 2: Based on the book by the same name. This show 4 00:00:20,960 --> 00:00:22,759 Speaker 2: will attempt to tell the story of the men and 5 00:00:22,800 --> 00:00:26,200 Speaker 2: women responsible for the greatest film of all time and 6 00:00:26,239 --> 00:00:28,040 Speaker 2: those who tried to stand in its way. 7 00:00:29,400 --> 00:00:31,840 Speaker 3: The Five Families did not want us to shoot that 8 00:00:31,920 --> 00:00:33,000 Speaker 3: picture in New York. 9 00:00:33,800 --> 00:00:37,040 Speaker 4: He said, as long as I'm president of Paramount, there 10 00:00:37,080 --> 00:00:39,200 Speaker 4: is no way that Ryan Rendo will play this role. 11 00:00:39,560 --> 00:00:41,559 Speaker 3: So this is going on and on and on, and 12 00:00:42,440 --> 00:00:43,720 Speaker 3: Francis just got. 13 00:00:43,520 --> 00:00:44,440 Speaker 5: So sick of everything. 14 00:00:44,479 --> 00:00:49,040 Speaker 1: He goes, I'm going to sicily just cast my fucking movie. 15 00:00:49,040 --> 00:00:50,040 Speaker 5: Excuse my language. 16 00:00:50,560 --> 00:00:55,800 Speaker 4: My kids came in all hysterical. They'd heard gunshots, and 17 00:00:55,920 --> 00:00:59,000 Speaker 4: they went outside and all the windows had been shot 18 00:00:59,040 --> 00:00:59,840 Speaker 4: out of the fuss over. 19 00:01:01,600 --> 00:01:05,360 Speaker 2: He was consumed. He was taking us down. Put crash 20 00:01:05,440 --> 00:01:07,440 Speaker 2: us out of there, and say the piction. 21 00:01:10,959 --> 00:01:15,000 Speaker 1: I'm Mark Seal, author of Leave the Gun, Take the Canoli, 22 00:01:15,600 --> 00:01:19,120 Speaker 1: published by Simon and Schuster in twenty twenty. 23 00:01:18,800 --> 00:01:23,280 Speaker 2: One, and I'm Nathan King, deputy editor at dearmoul I. 24 00:01:23,319 --> 00:01:26,120 Speaker 1: Came to this story in two thousand and eight. I 25 00:01:26,200 --> 00:01:30,040 Speaker 1: was a contributing editor at Vanity Fair. What started out 26 00:01:30,080 --> 00:01:33,160 Speaker 1: as a magazine assignment about the making of The Godfather 27 00:01:33,880 --> 00:01:36,839 Speaker 1: turned into an all consuming hunt for the truth behind 28 00:01:36,880 --> 00:01:41,400 Speaker 1: this film that took over my life for almost twenty years. 29 00:01:41,319 --> 00:01:44,160 Speaker 2: And resulted in Mark's hit book that would become known 30 00:01:44,200 --> 00:01:47,160 Speaker 2: as the definitive Truth behind a story filled with so 31 00:01:47,280 --> 00:01:47,960 Speaker 2: many lies. 32 00:01:48,600 --> 00:01:51,640 Speaker 1: But the truth is fickle, and to this day, the 33 00:01:51,720 --> 00:01:55,200 Speaker 1: principles of this story have different versions of how it 34 00:01:55,320 --> 00:01:56,320 Speaker 1: all unfolded. 35 00:01:56,720 --> 00:01:59,360 Speaker 2: Over the next ten episodes, we'll hear from all of them, 36 00:01:59,480 --> 00:02:02,280 Speaker 2: with never before heard interview tapes of the men and 37 00:02:02,320 --> 00:02:04,920 Speaker 2: women Mark spoke with when writing his book. 38 00:02:05,120 --> 00:02:07,960 Speaker 1: As well as some brand new interviews and rarely heard 39 00:02:08,160 --> 00:02:09,320 Speaker 1: archival tape. 40 00:02:09,639 --> 00:02:12,440 Speaker 2: The stories they tell are sometimes hard to believe and 41 00:02:12,480 --> 00:02:14,360 Speaker 2: will let you be the judge of what's fact and 42 00:02:14,400 --> 00:02:17,040 Speaker 2: what's not. But what we can promise is that this 43 00:02:17,080 --> 00:02:19,560 Speaker 2: show will take you through everything we know about the film, 44 00:02:19,880 --> 00:02:22,920 Speaker 2: from the origins of organized crime in America and the 45 00:02:22,919 --> 00:02:27,000 Speaker 2: writing of Mario Puzo's novel to casting, filming, and The 46 00:02:27,000 --> 00:02:28,760 Speaker 2: Godfather's rapturous premiere. 47 00:02:29,919 --> 00:02:32,960 Speaker 1: In this episode, we're starting at what might seem like 48 00:02:33,000 --> 00:02:37,960 Speaker 1: an unusual place, a Hollywood producer's bedroom. This is really 49 00:02:38,000 --> 00:02:39,480 Speaker 1: the first interview I've done in bed. 50 00:02:41,600 --> 00:02:42,480 Speaker 5: That's very funny. 51 00:02:44,160 --> 00:02:46,880 Speaker 2: Robert Evans was one of the most legendary producers in 52 00:02:46,919 --> 00:02:50,880 Speaker 2: Hollywood history. He helped rescue Paramount from a shameful demise 53 00:02:50,960 --> 00:02:54,800 Speaker 2: with pictures like Rosemary's Baby, Love Story, and of course 54 00:02:55,000 --> 00:02:55,760 Speaker 2: The Godfather. 55 00:02:56,320 --> 00:02:58,240 Speaker 5: It's cool be the Godfather's Godfather. 56 00:02:58,919 --> 00:03:01,720 Speaker 1: As the head of production, and Evans was involved in 57 00:03:01,800 --> 00:03:03,560 Speaker 1: every aspect of the movie. 58 00:03:03,840 --> 00:03:07,800 Speaker 3: Take the Food antire four years, there's a lot of 59 00:03:08,080 --> 00:03:09,320 Speaker 3: fights and everything. 60 00:03:10,040 --> 00:03:13,280 Speaker 1: He financed the struggling author of the novel on which 61 00:03:13,320 --> 00:03:14,840 Speaker 1: the movie is based. 62 00:03:15,080 --> 00:03:18,680 Speaker 5: A very good writer named Mary Apruzzo, Short and green. 63 00:03:19,200 --> 00:03:21,160 Speaker 1: He green lit the film's development. 64 00:03:21,720 --> 00:03:22,920 Speaker 5: Nobody wanted to make it. 65 00:03:22,919 --> 00:03:25,440 Speaker 3: As a matter of fact, Peramount refused to make it 66 00:03:25,480 --> 00:03:26,040 Speaker 3: for a while. 67 00:03:26,360 --> 00:03:28,720 Speaker 1: He hired its producer and its director. 68 00:03:29,040 --> 00:03:32,920 Speaker 5: He is opreading Francis Upretting, and. 69 00:03:32,840 --> 00:03:36,680 Speaker 1: He fostered the film's legend before and after its release. 70 00:03:37,040 --> 00:03:39,040 Speaker 5: It's my most supporting legacy in life. 71 00:03:40,560 --> 00:03:43,520 Speaker 2: Like so many others involved in the movie, Robert Evans 72 00:03:43,520 --> 00:03:46,240 Speaker 2: died while we were making this podcast, and we're honored 73 00:03:46,240 --> 00:03:47,080 Speaker 2: to tell his story. 74 00:03:47,120 --> 00:03:52,040 Speaker 1: Here picture this. I'm in a rent car coming from 75 00:03:52,080 --> 00:03:56,560 Speaker 1: Los Angeles International Airport and I drive to Robert Evans's 76 00:03:56,560 --> 00:04:00,840 Speaker 1: home called Woodland. And as I pulled up to Woodland, 77 00:04:01,360 --> 00:04:05,000 Speaker 1: I have no idea what I'm getting into. I'm reminded 78 00:04:05,040 --> 00:04:08,160 Speaker 1: of how Robert Evans described this place in his memoir 79 00:04:08,760 --> 00:04:10,480 Speaker 1: The kid stays in the picture. 80 00:04:10,840 --> 00:04:15,040 Speaker 3: The grounds, the trees, the acreage, the towering eucalyptus, thousands 81 00:04:15,080 --> 00:04:15,640 Speaker 3: of roses. 82 00:04:15,920 --> 00:04:18,400 Speaker 5: Everything is quiet and secret behind walls. 83 00:04:19,040 --> 00:04:21,719 Speaker 1: I get out of the car, I knock on the door. 84 00:04:22,400 --> 00:04:25,719 Speaker 1: It swings open, and there's this butler, Alan Selka, to 85 00:04:25,800 --> 00:04:29,440 Speaker 1: welcome me. Come in, mister Seal, Mister Evans is awaiting you. 86 00:04:29,760 --> 00:04:33,720 Speaker 1: Memorabilia from the movie is laid across the dining room table. 87 00:04:33,760 --> 00:04:38,200 Speaker 1: There's pictures, there's clippings, there's plaques, maybe an award or two. 88 00:04:38,560 --> 00:04:41,760 Speaker 1: And as I'm looking at all of these things, suddenly 89 00:04:41,760 --> 00:04:46,159 Speaker 1: the room turns silent, and Robert Evans walks in and 90 00:04:46,200 --> 00:04:50,840 Speaker 1: it's a typically grand entrance. He's seventy eight, but I'm 91 00:04:50,880 --> 00:04:54,400 Speaker 1: reminded of the actor he once was. He's wearing his 92 00:04:54,440 --> 00:04:58,839 Speaker 1: trademark black sweater and bolo tie. His black hair is 93 00:04:58,960 --> 00:05:04,120 Speaker 1: slicked back, his face is deeply tanned. He flashes a wide, 94 00:05:04,279 --> 00:05:08,240 Speaker 1: dazzling grin and stares at me through rose colored glasses, 95 00:05:09,160 --> 00:05:11,880 Speaker 1: and then he speaks, in his gravelly. 96 00:05:11,400 --> 00:05:13,560 Speaker 2: Voice, it's stranger than fiction. 97 00:05:15,640 --> 00:05:18,600 Speaker 1: He shakes my hand and prepares to tell me the 98 00:05:18,640 --> 00:05:22,520 Speaker 1: saga of the movie that he considered both his legacy 99 00:05:22,680 --> 00:05:26,920 Speaker 1: and his loss, the movie that made him and destroyed him. 100 00:05:27,680 --> 00:05:32,400 Speaker 1: And then Evans, a legendary le thario, looks me in 101 00:05:32,440 --> 00:05:36,760 Speaker 1: the eye and says, let's go to bed. I'll admit 102 00:05:37,080 --> 00:05:39,680 Speaker 1: I was a little taken aback. I don't think I 103 00:05:39,720 --> 00:05:43,640 Speaker 1: got out much except to what Evans explains that a 104 00:05:43,760 --> 00:05:47,000 Speaker 1: fire had consumed his screening room and now he and 105 00:05:47,040 --> 00:05:50,279 Speaker 1: his friends watch movies from his bed. So he leads 106 00:05:50,320 --> 00:05:52,680 Speaker 1: me into the bedroom and I stare for a moment 107 00:05:52,760 --> 00:05:55,920 Speaker 1: at his bed, which was large and covered in fur, 108 00:05:56,360 --> 00:05:59,560 Speaker 1: and he says, would you rather watch the movie in bed? 109 00:05:59,720 --> 00:06:04,000 Speaker 1: Or I'd you rather use the chair? And I say, frankly, 110 00:06:04,480 --> 00:06:06,719 Speaker 1: I think I'd rather be in the chair, and he 111 00:06:06,800 --> 00:06:11,400 Speaker 1: goes take those shoes off, and pretty soon we're lying 112 00:06:11,480 --> 00:06:14,919 Speaker 1: side by side on top of this fur coverlet. He 113 00:06:15,080 --> 00:06:19,880 Speaker 1: calls in the butler, Alan, who arrives with food, drinks, 114 00:06:20,160 --> 00:06:23,839 Speaker 1: and a huge TV. Is queued up with scenes from 115 00:06:23,880 --> 00:06:28,720 Speaker 1: the Godfather. It's clear there's a big story to tell, 116 00:06:29,320 --> 00:06:30,599 Speaker 1: and it may take a while. 117 00:06:31,760 --> 00:06:35,800 Speaker 5: It just be it. Godfather is Nahor and the State. 118 00:06:38,680 --> 00:06:38,920 Speaker 1: Mark. 119 00:06:39,000 --> 00:06:41,400 Speaker 2: You've been researching and reporting on the myth behind this 120 00:06:41,440 --> 00:06:44,240 Speaker 2: film for almost twenty years, but your obsession with the 121 00:06:44,279 --> 00:06:46,760 Speaker 2: movie started much earlier than that. 122 00:06:46,760 --> 00:06:50,960 Speaker 1: That's true. It really started in March of nineteen seventy two. 123 00:06:51,000 --> 00:06:54,599 Speaker 1: When I first saw the movie. I was nineteen years old, 124 00:06:54,839 --> 00:06:57,400 Speaker 1: and one afternoon, some friends and I decided to go 125 00:06:57,440 --> 00:07:01,360 Speaker 1: see a movie. And I knew asolutely nothing about this 126 00:07:01,480 --> 00:07:07,000 Speaker 1: movie except on the marquee had said two words, the Godfather. 127 00:07:08,040 --> 00:07:11,520 Speaker 1: I walk into the theater, the lights go down, and 128 00:07:11,600 --> 00:07:15,760 Speaker 1: the music comes up. The Godfather logo comes on the screen, 129 00:07:15,880 --> 00:07:20,080 Speaker 1: and the moon face of the Undertaker Bonas Sara comes 130 00:07:20,120 --> 00:07:21,280 Speaker 1: out of the darkness and. 131 00:07:21,280 --> 00:07:23,600 Speaker 2: He says, I believe in America. 132 00:07:24,320 --> 00:07:28,040 Speaker 1: This is a movie I soon realize about family and 133 00:07:28,160 --> 00:07:33,200 Speaker 1: expectations and legacy, and I started thinking about my own 134 00:07:33,280 --> 00:07:36,680 Speaker 1: family and my own future, which was sort of unsettled. 135 00:07:36,720 --> 00:07:36,840 Speaker 6: Then. 136 00:07:36,920 --> 00:07:39,520 Speaker 1: I didn't know really what I wanted to do. But 137 00:07:39,560 --> 00:07:42,680 Speaker 1: by the time the movie was over, I felt suddenly 138 00:07:42,840 --> 00:07:45,800 Speaker 1: a sense of purpose, of wanting to do something in the. 139 00:07:45,800 --> 00:07:48,600 Speaker 2: Arts, which is how you ended up in Robert Evans's 140 00:07:48,680 --> 00:07:53,080 Speaker 2: bet thirty five years later. Exactly how did you land 141 00:07:53,120 --> 00:07:55,080 Speaker 2: the Vanity Fair story? It seems like it would be 142 00:07:55,120 --> 00:07:56,240 Speaker 2: a dream come true for you. 143 00:07:56,920 --> 00:07:58,960 Speaker 1: It was because at the time I was new to 144 00:07:59,000 --> 00:08:02,160 Speaker 1: the magazine and the stories that I did were crime 145 00:08:02,280 --> 00:08:06,320 Speaker 1: scandal stories that would get me into the pages because 146 00:08:06,360 --> 00:08:09,200 Speaker 1: they were kind of a must read story of the moment, 147 00:08:09,520 --> 00:08:12,280 Speaker 1: And you couldn't hold these kinds of stories because the 148 00:08:12,280 --> 00:08:14,960 Speaker 1: crime had just happened or the scandal had just occurred. 149 00:08:15,360 --> 00:08:18,280 Speaker 1: The film stories, on the other hand, were for film writers, 150 00:08:18,480 --> 00:08:21,320 Speaker 1: and I wasn't really a film writer at that point, 151 00:08:21,600 --> 00:08:24,920 Speaker 1: certainly not for Vanity Fair magazine. So when I had 152 00:08:24,960 --> 00:08:27,160 Speaker 1: the idea to do the story about the making of 153 00:08:27,200 --> 00:08:29,800 Speaker 1: the movie of the Godfather, I thought I would be 154 00:08:29,840 --> 00:08:33,200 Speaker 1: the most unlikely writer to get the job. I thought 155 00:08:33,240 --> 00:08:36,400 Speaker 1: that the editor of the magazine, Graydon Carter, who is 156 00:08:36,440 --> 00:08:39,000 Speaker 1: now the editor of Airmail, he could give it to 157 00:08:39,080 --> 00:08:42,319 Speaker 1: any of his season film writers, which Vanity Fair had 158 00:08:42,360 --> 00:08:46,400 Speaker 1: in abundance. But I dutifully wrote a pitch and gave 159 00:08:46,400 --> 00:08:50,160 Speaker 1: it to my editor, the great Wayne Lawson and Wade 160 00:08:50,280 --> 00:08:52,520 Speaker 1: said we'll see what Grayden says. So he took it 161 00:08:52,520 --> 00:08:56,000 Speaker 1: to Graydon and suddenly they said, you're on. 162 00:08:56,520 --> 00:08:59,040 Speaker 2: And when you started reporting the story, you started with 163 00:08:59,160 --> 00:09:00,640 Speaker 2: Robert Evans exactly. 164 00:09:00,679 --> 00:09:03,959 Speaker 1: I started with Robert Evans. But soon all roads led 165 00:09:04,040 --> 00:09:08,840 Speaker 1: to a man equally as mythic as Evans, Charlie Bluedorn. 166 00:09:09,920 --> 00:09:13,200 Speaker 1: He bought Paramount in nineteen sixty six, and he was 167 00:09:13,320 --> 00:09:17,520 Speaker 1: known as Hurricane Charlie, an Austrian born business titan with 168 00:09:17,600 --> 00:09:22,640 Speaker 1: an insatiable appetite for acquiring companies. His story begins at 169 00:09:22,640 --> 00:09:26,240 Speaker 1: age nineteen in nineteen forty two. Charlie was the son 170 00:09:26,280 --> 00:09:29,000 Speaker 1: of a Jewish mother and he was enrolled in the 171 00:09:29,000 --> 00:09:33,120 Speaker 1: Carlton School for Boys in Yorkshire, England, and his parents, 172 00:09:33,160 --> 00:09:37,560 Speaker 1: who had already left war torn Europe for America, gave 173 00:09:37,640 --> 00:09:42,720 Speaker 1: him a two word directive, leave immediately. So he boards 174 00:09:42,760 --> 00:09:47,080 Speaker 1: the HMS Hillary bound for America, and it was trailed 175 00:09:47,120 --> 00:09:52,840 Speaker 1: by Nazi submarines intent on seeking it. But thankfully Charlie 176 00:09:52,840 --> 00:09:54,040 Speaker 1: made it to America. 177 00:09:54,840 --> 00:09:57,080 Speaker 2: And so he gets to America, mark and what does 178 00:09:57,120 --> 00:09:57,600 Speaker 2: he do. 179 00:09:58,120 --> 00:10:02,040 Speaker 1: Well, he immediately starts work. His daughter told me that 180 00:10:02,080 --> 00:10:05,160 Speaker 1: there was never a day in Charlie Bluedorn's life when 181 00:10:05,200 --> 00:10:08,440 Speaker 1: he wasn't thinking about business or working a business. And 182 00:10:08,480 --> 00:10:11,880 Speaker 1: there's a story when he was a very, very young man, 183 00:10:12,520 --> 00:10:15,000 Speaker 1: he got a job as a broker in a commodity's 184 00:10:15,040 --> 00:10:18,160 Speaker 1: house in New York City and he was soon bringing 185 00:10:18,200 --> 00:10:22,040 Speaker 1: in a million dollars a year into this small company. 186 00:10:23,120 --> 00:10:27,400 Speaker 1: And Charlie had the ability to sell anything in everything, 187 00:10:27,760 --> 00:10:31,559 Speaker 1: even spaghetti, which he was selling to, of all places, Italy, 188 00:10:31,760 --> 00:10:35,240 Speaker 1: as if Italy didn't already have enough spaghetti. Then he 189 00:10:35,280 --> 00:10:37,800 Speaker 1: got into the coffee business, and then he got into 190 00:10:37,840 --> 00:10:42,160 Speaker 1: the autoparts business, and really he had his hands in everything, 191 00:10:42,360 --> 00:10:45,160 Speaker 1: which is how he started his company, which became a 192 00:10:45,200 --> 00:10:50,160 Speaker 1: conglomerate he called Gulf and Western, which signaled his ambitions 193 00:10:50,200 --> 00:10:53,080 Speaker 1: to stretch from the Gulf of Mexico to the western 194 00:10:53,160 --> 00:10:54,199 Speaker 1: Canadian border. 195 00:10:55,640 --> 00:10:58,920 Speaker 2: Blue Dorn had a huge appetite for what most people 196 00:10:58,960 --> 00:11:02,520 Speaker 2: would consider it will advised business ventures. He loved what 197 00:11:02,600 --> 00:11:05,760 Speaker 2: he called rec jobs, which are businesses that are almost 198 00:11:05,800 --> 00:11:09,400 Speaker 2: beyond repair. And in nineteen sixty six he bought what 199 00:11:09,400 --> 00:11:11,360 Speaker 2: he thought was the biggest wreck job of them all, 200 00:11:11,559 --> 00:11:12,520 Speaker 2: Paramount Pictures. 201 00:11:13,440 --> 00:11:16,959 Speaker 1: That's right. Paramount was once the fabled studio that produced 202 00:11:17,000 --> 00:11:23,439 Speaker 1: so many classics, Double Indemnity, The Lost Weekend Breakfast at Tiffany's. 203 00:11:23,520 --> 00:11:26,800 Speaker 1: The list goes on and on and on. But by 204 00:11:26,840 --> 00:11:31,120 Speaker 1: the sixties, Paramount was in trouble. Robert Evans famously once 205 00:11:31,160 --> 00:11:33,800 Speaker 1: said there were eight major studios at the time, and 206 00:11:33,920 --> 00:11:38,280 Speaker 1: Paramount was ninth. And Hurricane Charlie felt like he wanted 207 00:11:38,320 --> 00:11:41,320 Speaker 1: to buy something that he could revive. The only thing 208 00:11:41,360 --> 00:11:44,480 Speaker 1: in this case is that Charlie knew absolutely nothing about 209 00:11:44,520 --> 00:11:45,760 Speaker 1: the movie business. 210 00:11:46,000 --> 00:11:48,360 Speaker 2: And that fits with what Barry Diller said about him, 211 00:11:48,480 --> 00:11:50,600 Speaker 2: which is that to Charlie, the only thing that was 212 00:11:50,640 --> 00:11:52,599 Speaker 2: worth anything was doing the impossible. 213 00:11:53,160 --> 00:11:57,040 Speaker 1: Yes, and Paramount was the impossible job. Like so many 214 00:11:57,040 --> 00:11:59,960 Speaker 1: immigrants to America, Charlie thought what could be more America? 215 00:12:00,080 --> 00:12:03,120 Speaker 1: And then Hollywood and movies and the dreams that they sold. 216 00:12:03,480 --> 00:12:05,840 Speaker 1: I mean, he loved what he called the Schmaltz factor. 217 00:12:06,080 --> 00:12:09,000 Speaker 1: Movies like Doctor j Evago and the sound of music. 218 00:12:09,720 --> 00:12:12,640 Speaker 1: All of these things represented America to him, and he 219 00:12:12,679 --> 00:12:17,000 Speaker 1: thought he could identify this secret ingredient that made the magic. 220 00:12:17,600 --> 00:12:19,840 Speaker 1: So he felt like he could run the studio, at 221 00:12:19,920 --> 00:12:23,280 Speaker 1: least in the beginning. And Charlie, who knew nothing about 222 00:12:23,320 --> 00:12:27,000 Speaker 1: running a studio, who knew nothing about movies except what 223 00:12:27,080 --> 00:12:30,679 Speaker 1: he'd seen on the screen, started getting into the editing 224 00:12:30,760 --> 00:12:33,160 Speaker 1: room and saying things like, I'm going to remake this 225 00:12:33,200 --> 00:12:34,400 Speaker 1: whole goddamn town. 226 00:12:35,960 --> 00:12:38,000 Speaker 2: How did that work for him? Thinking that he could 227 00:12:38,000 --> 00:12:39,320 Speaker 2: re engineer Hollywood. 228 00:12:39,720 --> 00:12:42,160 Speaker 1: Well, as you can imagine, it really didn't work out. 229 00:12:42,400 --> 00:12:46,440 Speaker 1: He produced a movie called is Paris Burning. It premiered 230 00:12:46,520 --> 00:12:49,600 Speaker 1: in Paris, no less. It was a big, big budget movie, 231 00:12:49,640 --> 00:12:53,920 Speaker 1: but the reviews were quite big, big brutal. Mad magazine 232 00:12:53,960 --> 00:12:56,920 Speaker 1: even said it should be called is Paris Boring. It 233 00:12:57,000 --> 00:13:01,040 Speaker 1: was something of a flop, but Charlie persevered. He would 234 00:13:01,120 --> 00:13:03,360 Speaker 1: walk through the back lot of Paramount and through the 235 00:13:03,360 --> 00:13:06,960 Speaker 1: Bonanza set and felt like the studio was just filled 236 00:13:06,960 --> 00:13:09,839 Speaker 1: with older men who were out of touch, and that 237 00:13:10,000 --> 00:13:13,160 Speaker 1: he was going to remake and rekindle that old Paramount 238 00:13:13,240 --> 00:13:17,439 Speaker 1: magic again. And Hollywood took one look at Charlie Bluehorn 239 00:13:17,880 --> 00:13:19,840 Speaker 1: and many people laughed. 240 00:13:20,760 --> 00:13:24,360 Speaker 2: They called him a cliche, a show business neophyte who 241 00:13:24,360 --> 00:13:27,160 Speaker 2: had no sense of what art is, and they sort 242 00:13:27,160 --> 00:13:29,559 Speaker 2: of dismissed him as a know nothing. 243 00:13:30,400 --> 00:13:34,440 Speaker 1: Yes, but he proved him wrong, because underneath the scorn 244 00:13:34,559 --> 00:13:39,800 Speaker 1: and the laughter, Charlie was smart. He was brilliant. He 245 00:13:39,880 --> 00:13:42,280 Speaker 1: knew he had to do something, and what he had 246 00:13:42,320 --> 00:13:45,040 Speaker 1: to do was find what he called and this was 247 00:13:45,040 --> 00:13:48,280 Speaker 1: one of his favorite terms, a genius. 248 00:13:48,920 --> 00:13:51,480 Speaker 2: And by genius he means artistic genius. 249 00:13:51,559 --> 00:13:54,640 Speaker 1: Right well, I think he meant a business genius, someone 250 00:13:54,679 --> 00:13:58,480 Speaker 1: who could guide him through the treacheries of Hollywood, which 251 00:13:58,520 --> 00:14:00,760 Speaker 1: can be a cutthroat town if you don't know what 252 00:14:00,800 --> 00:14:04,120 Speaker 1: you're doing. He wanted a genius to help him revive 253 00:14:04,200 --> 00:14:07,960 Speaker 1: the studio, revive the magic to make the movies like 254 00:14:08,040 --> 00:14:11,439 Speaker 1: Paramount used to make. And that's how he found the 255 00:14:11,440 --> 00:14:15,439 Speaker 1: most unlikely genius of them all, Robert Evans. 256 00:14:17,160 --> 00:14:18,920 Speaker 2: Where did he dig up Evans? 257 00:14:18,960 --> 00:14:21,400 Speaker 1: Funny enough, he found him in the New York Times. 258 00:14:21,720 --> 00:14:24,000 Speaker 1: It was an article written by Peter Bard, a young 259 00:14:24,080 --> 00:14:27,120 Speaker 1: reporter who we'll talk about later, and the story was 260 00:14:27,160 --> 00:14:30,480 Speaker 1: about this rising producer who was on the lookout for 261 00:14:30,560 --> 00:14:33,840 Speaker 1: books and scripts and properties that he could make into films. 262 00:14:34,240 --> 00:14:37,200 Speaker 1: And the headline was, and I love this one. I 263 00:14:37,400 --> 00:14:39,600 Speaker 1: like it, I want it. Let's sew it up. 264 00:14:41,000 --> 00:14:43,080 Speaker 2: Mark That headline sort of gives you a hint as 265 00:14:43,160 --> 00:14:45,320 Speaker 2: to what Robert Evans was doing before he got in 266 00:14:45,320 --> 00:14:47,480 Speaker 2: the producing business exactly. 267 00:14:47,720 --> 00:14:51,040 Speaker 1: So Evans was in the clothing business. He and his brother, 268 00:14:51,240 --> 00:14:54,640 Speaker 1: Charlie Evans were partners in a company called Evan Pocone 269 00:14:54,640 --> 00:14:59,480 Speaker 1: Clothing Company, and so Bob traveled to La often. And 270 00:14:59,600 --> 00:15:01,560 Speaker 1: one day he's sitting out by the pool at the 271 00:15:01,560 --> 00:15:05,880 Speaker 1: Beverly Hills Hotel, and this shows how lucky Evans was. 272 00:15:06,480 --> 00:15:09,960 Speaker 1: Norma Shearer, the famous actress, was on the lookout for 273 00:15:10,040 --> 00:15:13,440 Speaker 1: the perfect actor to play her late husband, the producer 274 00:15:13,560 --> 00:15:17,160 Speaker 1: Irving Lahlberg, in a movie called The Man with a 275 00:15:17,240 --> 00:15:21,280 Speaker 1: Thousand Faces, and she took one look at Evans by 276 00:15:21,320 --> 00:15:25,280 Speaker 1: the pool, who was so handsome and deeply tanned, and said, 277 00:15:25,360 --> 00:15:28,880 Speaker 1: that's him. So she sends her new husband over to 278 00:15:28,920 --> 00:15:31,920 Speaker 1: make an introduction. The three of them get to talking 279 00:15:32,080 --> 00:15:35,800 Speaker 1: and Shearer ask Evans if he's an actor, and Evans, 280 00:15:35,880 --> 00:15:40,280 Speaker 1: being Evans, says no, I'm in ladies' pants. It's nineteen 281 00:15:40,440 --> 00:15:41,479 Speaker 1: fifty six. 282 00:15:41,760 --> 00:15:43,920 Speaker 2: And just like that, Robert Evans is an actor. 283 00:15:44,320 --> 00:15:47,360 Speaker 1: It's as easy as that. He stars in the movie 284 00:15:47,760 --> 00:15:50,800 Speaker 1: The Man with a Thousand Faces with no less than 285 00:15:50,920 --> 00:15:55,200 Speaker 1: James Cagney, and pretty soon he's in other films, including 286 00:15:55,400 --> 00:15:59,240 Speaker 1: the Sun Also Rises, And according to Evans, the cast 287 00:15:59,280 --> 00:16:02,800 Speaker 1: and crew were It's so skeptical about his acting abilities 288 00:16:02,840 --> 00:16:05,440 Speaker 1: that some of them threatened to walk off the set 289 00:16:05,480 --> 00:16:09,160 Speaker 1: over it. And Darryl Zanik, the producer, heard about it, 290 00:16:09,680 --> 00:16:14,080 Speaker 1: and in the classic scene with a bullhorn, while Evans 291 00:16:14,200 --> 00:16:18,200 Speaker 1: is in the bullfighting ring, Zanick yells out, the kid 292 00:16:18,320 --> 00:16:22,880 Speaker 1: stays in the picture, and that becomes the title of 293 00:16:23,000 --> 00:16:25,280 Speaker 1: Robert Evans's autobiography. 294 00:16:26,200 --> 00:16:28,560 Speaker 2: So he's working as an actor. How does he get 295 00:16:28,560 --> 00:16:29,200 Speaker 2: into production. 296 00:16:29,720 --> 00:16:31,960 Speaker 1: Well, you can say a lot of things about Robert Evans, 297 00:16:32,040 --> 00:16:35,560 Speaker 1: but one thing is he's really smart. He's a businessman, 298 00:16:35,680 --> 00:16:39,640 Speaker 1: first of all, and he started inquiring properties, including a novel, 299 00:16:39,760 --> 00:16:43,840 Speaker 1: The Detective, which he produced and was a fairly substantial hit, 300 00:16:44,160 --> 00:16:48,120 Speaker 1: starring Frank Sinatra of all people. And suddenly Evans is 301 00:16:48,120 --> 00:16:50,800 Speaker 1: a producer and he became a man about town. 302 00:16:51,280 --> 00:16:53,760 Speaker 2: And this is when Peter bart starts to take notice. 303 00:16:54,160 --> 00:16:57,280 Speaker 2: He's a young writer, fresh from New York in Hollywood 304 00:16:57,280 --> 00:16:59,040 Speaker 2: to write stories about the town. 305 00:17:00,160 --> 00:17:02,640 Speaker 6: Guy, to come out here tell you like this, it 306 00:17:02,680 --> 00:17:03,360 Speaker 6: was a great job. 307 00:17:04,160 --> 00:17:07,440 Speaker 2: He keeps hearing about Robert Evans and he thinks to himself, 308 00:17:07,480 --> 00:17:08,760 Speaker 2: this is the perfect story. 309 00:17:09,160 --> 00:17:11,199 Speaker 6: I will kind of a snarky piece about how this 310 00:17:11,320 --> 00:17:16,480 Speaker 6: guy from the garment business. He was buying books and 311 00:17:16,520 --> 00:17:18,840 Speaker 6: making deals for himself. And he knew as he was saying, 312 00:17:18,920 --> 00:17:21,960 Speaker 6: sort of a glam story about how somebody he had 313 00:17:22,000 --> 00:17:24,120 Speaker 6: a time when Hollywood was in its gold Brooks could 314 00:17:24,160 --> 00:17:24,560 Speaker 6: come in. 315 00:17:24,440 --> 00:17:25,240 Speaker 3: And have an impact. 316 00:17:25,800 --> 00:17:29,000 Speaker 1: Yes, and it gets better. Charlie Bluedorn reads the story 317 00:17:29,040 --> 00:17:31,400 Speaker 1: about Robert Evans and the New York Times. 318 00:17:31,760 --> 00:17:34,320 Speaker 6: What I wrote, which talked about what a sub promoter 319 00:17:34,440 --> 00:17:38,600 Speaker 6: Bob was. Charlie said, Ah, this guy's a fucking guy's 320 00:17:38,600 --> 00:17:39,240 Speaker 6: a sup promoter. 321 00:17:39,359 --> 00:17:41,920 Speaker 1: He may be a good guy for me. He gets 322 00:17:41,960 --> 00:17:44,680 Speaker 1: on the phone and he says, get Evans up here. 323 00:17:44,920 --> 00:17:48,320 Speaker 1: And Evans said, he wasn't interested. He's out in Hollywood. 324 00:17:48,320 --> 00:17:50,320 Speaker 1: What's he want to go to New York for, especially 325 00:17:50,320 --> 00:17:53,119 Speaker 1: to meet the new owner of Paramount Pictures, the Last 326 00:17:53,119 --> 00:17:57,760 Speaker 1: Place studio. But his lawyer, the legendary Greg Baltzer, says 327 00:17:58,400 --> 00:18:01,600 Speaker 1: Charlie Bluedoor, and he's a true operator. When he wants something, 328 00:18:01,640 --> 00:18:03,800 Speaker 1: he wants said you should get up there and meet him. 329 00:18:04,240 --> 00:18:07,760 Speaker 1: Evans was reluctant, of course, but he goes to New York. 330 00:18:07,800 --> 00:18:12,280 Speaker 1: He meets Blueorn and like a miracle, like something out 331 00:18:12,280 --> 00:18:17,320 Speaker 1: of the movie. Charlie Bludorn taps Robert Evans to run Paramount, 332 00:18:17,680 --> 00:18:20,679 Speaker 1: first stationing him in London and then bringing him to 333 00:18:20,960 --> 00:18:22,800 Speaker 1: la as the head of production. 334 00:18:23,800 --> 00:18:27,400 Speaker 2: So Charlie Bludorn picked Robert Evans to run Paramount all 335 00:18:27,440 --> 00:18:30,080 Speaker 2: on a hunch. In a New York Times article. 336 00:18:30,320 --> 00:18:33,800 Speaker 1: Yeah, and blue Doorn's wife would later say that maybe 337 00:18:33,840 --> 00:18:36,600 Speaker 1: he picked him because he was handsome, he was glamorous, 338 00:18:36,640 --> 00:18:39,240 Speaker 1: he could fit into the town. But if blue Dorn 339 00:18:39,359 --> 00:18:42,960 Speaker 1: was considered a laughingstock when he bought Paramount, oh my gosh, 340 00:18:43,320 --> 00:18:46,240 Speaker 1: Evans was even more so because people said, what does 341 00:18:46,280 --> 00:18:49,679 Speaker 1: he know about motion pictures? He's never really produced a movie. 342 00:18:50,280 --> 00:18:52,879 Speaker 2: What was Evans's directive from blue Dorn. 343 00:18:53,000 --> 00:18:57,639 Speaker 1: Nothing short of this, save this studio, green light and 344 00:18:57,760 --> 00:19:02,160 Speaker 1: produce hits quick. Blue Doorn told him, Bobby, I want 345 00:19:02,200 --> 00:19:05,199 Speaker 1: twenty pictures a year from you. I want pictures that 346 00:19:05,280 --> 00:19:08,080 Speaker 1: people in Cincinnati are gonna want to see. I want 347 00:19:08,119 --> 00:19:10,639 Speaker 1: beautiful girls, I want action, I want fun. 348 00:19:11,359 --> 00:19:14,719 Speaker 2: Charlie had boundless energy and enthusiasm, and it seems like 349 00:19:14,800 --> 00:19:17,960 Speaker 2: Evans fed off of that. His first order of business 350 00:19:18,280 --> 00:19:19,960 Speaker 2: was to find his own right hand man. 351 00:19:20,200 --> 00:19:23,639 Speaker 1: Right yes, and this is where it gets even crazier. 352 00:19:24,080 --> 00:19:26,280 Speaker 1: Who does he hire as his right hand man, but 353 00:19:26,359 --> 00:19:28,960 Speaker 1: the author of the New York Times story about him 354 00:19:29,240 --> 00:19:32,919 Speaker 1: which got him his job, the reporter Peter Bark. 355 00:19:34,200 --> 00:19:36,520 Speaker 2: You get the sense that none of these people actually 356 00:19:36,600 --> 00:19:39,879 Speaker 2: knew anyone. They kind of just, you know, hired the 357 00:19:39,920 --> 00:19:41,399 Speaker 2: first person that came to mind. 358 00:19:41,720 --> 00:19:44,760 Speaker 1: It was a comedy of errors. It started that way anyway. 359 00:19:45,040 --> 00:19:47,400 Speaker 1: Everybody was laughing about these new hires. 360 00:19:48,440 --> 00:19:50,440 Speaker 6: I took there because Bob was a friend of mine, 361 00:19:50,520 --> 00:19:53,880 Speaker 6: and he was in a bit over his head and said, 362 00:19:53,920 --> 00:19:57,480 Speaker 6: you know, I've got to work with me. The brine 363 00:19:57,520 --> 00:19:58,920 Speaker 6: will leave the brine. 364 00:19:59,480 --> 00:20:02,080 Speaker 2: What was their strategy? How are Evans and bar going 365 00:20:02,119 --> 00:20:02,960 Speaker 2: to save the studio? 366 00:20:03,640 --> 00:20:07,320 Speaker 1: Where their strategy was really pretty simple. Peter Bart was 367 00:20:07,359 --> 00:20:11,480 Speaker 1: a voracious reader, and Robert Evans, who might not have 368 00:20:11,520 --> 00:20:14,639 Speaker 1: been respected his taste in novels. He was looking for 369 00:20:14,680 --> 00:20:18,000 Speaker 1: hot properties, best selling books that could be turned into films. 370 00:20:18,720 --> 00:20:21,040 Speaker 1: You know, with all of the attributes that bluedrn had 371 00:20:21,080 --> 00:20:24,440 Speaker 1: directed him to find films that could save the studio. 372 00:20:25,520 --> 00:20:29,199 Speaker 2: And as it turns out, Evans's hunch about Peter Bart 373 00:20:29,240 --> 00:20:32,800 Speaker 2: was actually right. They started unearthing these great stories and 374 00:20:32,920 --> 00:20:36,360 Speaker 2: hit books and best sellers that they could make into films. 375 00:20:37,080 --> 00:20:41,440 Speaker 2: They produced The Odd Couple, Rosemary's Baby, and then finally 376 00:20:41,760 --> 00:20:45,480 Speaker 2: a thin book, which became an even thinner script, which 377 00:20:45,520 --> 00:20:50,560 Speaker 2: turned into a huge hit for Paramount. Love Story, starring 378 00:20:50,560 --> 00:20:53,160 Speaker 2: Evans's future wife Ali McGraw. 379 00:20:53,560 --> 00:20:57,760 Speaker 1: Exactly, and Love Story was a smash hit. Evans liked 380 00:20:57,800 --> 00:21:01,119 Speaker 1: to say that people were crying so hard the audience 381 00:21:01,200 --> 00:21:02,960 Speaker 1: turned into one big Kleenex. 382 00:21:03,400 --> 00:21:05,320 Speaker 2: But as big of a hit as the film was, 383 00:21:05,520 --> 00:21:07,760 Speaker 2: they'd need a bigger reprieve for Paramount. 384 00:21:08,000 --> 00:21:10,440 Speaker 1: Yeah, a Love Story, as I wrote in the book, 385 00:21:10,600 --> 00:21:15,400 Speaker 1: was a reprieve, not a rescue. They needed another hit, 386 00:21:15,600 --> 00:21:18,840 Speaker 1: an even bigger hit, and that's when they found the 387 00:21:18,880 --> 00:21:21,199 Speaker 1: novel that will become The Godfather. 388 00:21:22,320 --> 00:21:24,639 Speaker 2: So let's talk about how Paramount came to acquire the 389 00:21:24,720 --> 00:21:25,800 Speaker 2: rights to The Godfather. 390 00:21:26,200 --> 00:21:28,520 Speaker 1: Well, this is another one of the biggest myths of 391 00:21:28,560 --> 00:21:31,159 Speaker 1: the Godfather. And who knows what's true and what's not. 392 00:21:31,440 --> 00:21:34,280 Speaker 1: But Evans knows how to tell a story. He knows 393 00:21:34,320 --> 00:21:36,479 Speaker 1: how to make a myth out of reality. And this 394 00:21:36,560 --> 00:21:40,119 Speaker 1: is what he told me. A guy named George Weezer, 395 00:21:40,640 --> 00:21:43,960 Speaker 1: a veteran of the New York literary scene, calls him 396 00:21:44,000 --> 00:21:45,880 Speaker 1: up one day and ask him for a favor. 397 00:21:46,720 --> 00:21:52,800 Speaker 3: He had from George Weezer above the Palamid. He's a 398 00:21:52,960 --> 00:21:56,640 Speaker 3: writer named Mary Epuso, a very good writer. He's real, 399 00:21:56,720 --> 00:21:59,520 Speaker 3: short and green. He's the deep of the bookies. Here's 400 00:21:59,520 --> 00:22:02,800 Speaker 3: the bookies, a lot of money and he has thirty 401 00:22:02,800 --> 00:22:06,040 Speaker 3: five peech sheep being called mafia meet him, will you 402 00:22:06,200 --> 00:22:08,360 Speaker 3: peez and see if you can help him? 403 00:22:08,760 --> 00:22:12,040 Speaker 1: So Evans says, okay, he'll meet with Puzzo. And as 404 00:22:12,119 --> 00:22:15,879 Speaker 1: Evans told me the story, this dead, broke, fat writer 405 00:22:16,160 --> 00:22:19,120 Speaker 1: comes into his office with a thirty five page treatment 406 00:22:19,200 --> 00:22:22,480 Speaker 1: under his arm, a big fat cigar hanging out of 407 00:22:22,520 --> 00:22:27,360 Speaker 1: his mouth, and uh, pretty soon, over cigars and conversation 408 00:22:27,560 --> 00:22:30,200 Speaker 1: in Evans's office, the two men strike a deal. 409 00:22:32,320 --> 00:22:33,000 Speaker 5: Isn't very much. 410 00:22:33,560 --> 00:22:36,320 Speaker 3: And I didn't know him as an author really, even 411 00:22:36,359 --> 00:22:38,000 Speaker 3: though he was a legitate author. 412 00:22:38,240 --> 00:22:40,600 Speaker 5: Well, i'll tell you what Frit and G's for it. 413 00:22:41,359 --> 00:22:45,160 Speaker 5: There's an option against. Let's see serventy five thousand. 414 00:22:44,840 --> 00:22:47,960 Speaker 3: Dollars it because a book it says make it fifteen, 415 00:22:48,280 --> 00:22:50,280 Speaker 3: and they said, how about twelve five? 416 00:22:50,880 --> 00:22:53,679 Speaker 2: I mean, if true, that's really an incredible story that 417 00:22:53,760 --> 00:22:56,320 Speaker 2: these two men, both desperate in their own way, came 418 00:22:56,359 --> 00:22:57,680 Speaker 2: together in this twist of. 419 00:22:57,640 --> 00:23:01,760 Speaker 1: Fate exactly, and of course Evans' version is my favorite 420 00:23:01,840 --> 00:23:05,120 Speaker 1: version of the events, even though Peter Bart would remember 421 00:23:05,119 --> 00:23:08,720 Speaker 1: it very differently. So that this whole story of Puso 422 00:23:08,840 --> 00:23:11,680 Speaker 1: come in with the thirty pages or whatever, and Bob saying, 423 00:23:11,920 --> 00:23:13,040 Speaker 1: what are you in for? 424 00:23:13,359 --> 00:23:14,080 Speaker 5: That's nonsense. 425 00:23:14,359 --> 00:23:17,280 Speaker 6: There were sixty pages. They came in, this big pilot. 426 00:23:17,320 --> 00:23:20,600 Speaker 6: Stuff came into me and I read it because George 427 00:23:20,760 --> 00:23:24,439 Speaker 6: nag Lui and I thought it was really interesting stuff. 428 00:23:25,240 --> 00:23:27,560 Speaker 2: Well, for the sake of the story, I'll take Evans's 429 00:23:27,680 --> 00:23:28,879 Speaker 2: version to be true. 430 00:23:29,200 --> 00:23:32,960 Speaker 1: But no matter what, Puso did sell the option to 431 00:23:33,000 --> 00:23:33,800 Speaker 1: pair him out for. 432 00:23:33,840 --> 00:23:36,760 Speaker 2: Twelve five and once they made the deal, was Evans 433 00:23:36,800 --> 00:23:38,320 Speaker 2: hopeful that it would come through? 434 00:23:38,720 --> 00:23:41,640 Speaker 1: Not really, you know, he bought it and basically forgot 435 00:23:41,680 --> 00:23:44,160 Speaker 1: about it until he heard from Puso again. 436 00:23:44,280 --> 00:23:48,280 Speaker 5: The treatment to a movie Take it to a lottery. 437 00:23:49,640 --> 00:23:52,879 Speaker 1: Five months past. Poso calls him, says, I got to 438 00:23:52,920 --> 00:23:54,440 Speaker 1: speak to you. I'm in LA again. 439 00:23:54,760 --> 00:23:56,679 Speaker 2: What does he want to talk about the name of 440 00:23:56,720 --> 00:23:57,159 Speaker 2: the book? 441 00:23:58,640 --> 00:24:02,560 Speaker 3: Would I be in breaches by contract if I changed 442 00:24:02,560 --> 00:24:06,200 Speaker 3: the name of my book. I forgot to use even ruddyway, 443 00:24:07,160 --> 00:24:09,560 Speaker 3: and I said, I want to call it a Godfather 444 00:24:10,000 --> 00:24:10,680 Speaker 3: and I had no idea. 445 00:24:10,880 --> 00:24:13,320 Speaker 5: I hadn't read one page. I didn't read the thirty 446 00:24:13,320 --> 00:24:13,840 Speaker 5: five page. 447 00:24:13,880 --> 00:24:14,439 Speaker 1: I did it as a. 448 00:24:14,440 --> 00:24:19,560 Speaker 3: Favorite, and what became almost was a favor became the 449 00:24:19,600 --> 00:24:21,800 Speaker 3: biggest favorite of my life. 450 00:24:32,720 --> 00:24:35,119 Speaker 1: Leave the Gun, Take the Canoli as a production of 451 00:24:35,200 --> 00:24:37,159 Speaker 1: Airmail and iHeartMedia. 452 00:24:37,720 --> 00:24:40,080 Speaker 2: The podcast is based on the book of the same name, 453 00:24:40,160 --> 00:24:42,280 Speaker 2: written by our very own Mark Seal. 454 00:24:42,920 --> 00:24:44,639 Speaker 1: Our producer is Tina Mullin. 455 00:24:45,119 --> 00:24:47,240 Speaker 2: Research assistance by Jack Sullivan. 456 00:24:47,680 --> 00:24:50,440 Speaker 1: Jonathan Dressler was our development producer. 457 00:24:51,040 --> 00:24:55,199 Speaker 2: Our music supervisor is Randall Poster. Our executive producers are 458 00:24:55,280 --> 00:24:59,640 Speaker 2: Me Nathan King, Mark Seal, Dan Fagan, and Graydon Carter. 459 00:25:00,320 --> 00:25:04,960 Speaker 1: Special thanks to Bridget Arsenal and everyone at CDM Studios. 460 00:25:05,359 --> 00:25:08,720 Speaker 2: A comprehensive list of sources and acknowledgments can be found 461 00:25:08,760 --> 00:25:11,880 Speaker 2: in Mark Seal's book, Leave the Gun, Take the Canoli, 462 00:25:12,359 --> 00:25:15,760 Speaker 2: published by Gallery Books, an imprint of Simon and Schuster.