Godfather (65 page)

50
. Andrew Dickos,
Street with No Name: A History of the Classic American Film Noir
(University Press of Kentucky, 2002), pp. 114–15.

51
. Kael,
For Keeps
, p. 439.

52
. Johnson,
Francis Ford Coppola
, p. 98.

53
. John Cawelti,
Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture
(Chicago: University of Chicago Press, 1976), p. 53. See also Richard Combs, “Coppola's Family Plot,”
Film Comment
38, no. 2 (2002): 42.

54
. William Pechter, “Keeping Up with the Corleones,” in
Francis Ford Coppola's Godfather Trilogy
, ed. Nick Browne (New York: Cambridge University Press, 2000), p. 168.

55
. Johnson,
Francis Ford Coppola
, p. 125.

1
. Chaillet and Vincent,
Francis Ford Coppola
, p. 49. See also Biskind,
Easy Riders
, p. 182.

2
. Biskind,
Easy Riders
, p. 181; Evans refers to his substance abuse in
Kid Stays in the Picture
, p. 269.

3
. Chaillet and Vincent,
Francis Ford Coppola
, p. 49.

4
. Chown,
Hollywood Auteur
, p. 107.

5
. Goodwin and Wise,
On the Edge
, p. 162.

6
. Bergan,
Francis Ford Coppola
, pp. 48,163.

7
. Mario Puzo,
The Godfather
(New York: Penguin, 2002), pp. 194–228.

8
. Chown,
Hollywood Auteur
, p. 102.

9
. Vincent LoBrutto,
Principal Photography: Interviews with Cinematographers
(New York: Praeger, 1999), p. 26. See Schaefer and Salvato,
Conversations
, p. 228.

10
. Lebo,
Godfather Legacy
, p. 228.

11
. Biskind,
Easy Riders
, p. 261.

12
. Goodwin and Wise,
On the Edge
, p. 181.

13
. Richard Combs, “Coppola's Family Plot,” p. 44.

14
. Biskind,
Easy Riders
, p. 274.

15
. Stone,
Conversations with Filmmakers
, p. 644.

16
. Schumacher,
Francis Ford Coppola
, p. 178.

17
. Goodwin and Wise,
On the Edge
, p. 180.

18
. Kael,
For Keeps
, p. 596.

19
. Yaquinto,
Pump ‘em Full of Lead
, p. 135.

20
. Pye and Myles,
Movie Brats
, p. 106.

21
. Allesandro Camon, “
The Godfather
and the Mythology of Mafia,” in
Francis Ford Coppola's Godfather Trilogy
, ed. Nick Browne (New York: Cambridge University Press, 2000), p. 69.

22
. See John Yates, “Godfather Saga: The Death of Family,” in
Movies as Artifacts: Cultural Criticism of Popular Film
, ed. Michael Marsden, John Nachbar, and Sam Grogg (Chicago: Nelson Hall, 1982), pp. 202ff.

23
. Kael,
For Keeps
, p. 595.

24
. Cited by Naomi Greene, “Family Ceremonies,” p. 150.

25
. Nick Browne, “Violence as History in the
Godfather
Films,” in
Francis Ford Coppola's Godfather Trilogy
, ed. Nick Browne (New York: Cambridge University Press, 2000), p. 14. See also Glenn Mann, “Ideology and Genre in the
Godfather
Films,” in
Francis Ford Coppola's Godfather Trilogy
, ed. Nick Browne (New York: Cambridge University Press, 2000), p. 121.

26
. Lebo,
Godfather Legacy
, p. 216.

27
. Yaquinto,
Pump ‘em Full of Lead
, p. 140.

28
. Johnson,
Francis Ford Coppola
, p. 155.

29
. Francis Ford Coppola and Mario Puzo, “The Godfather-Part II: A Screenplay,” in
Best American Screenplays Three
, ed. Sam Thomas (New York: Crown, 1995) , pp. 112–13.

30
. Biskind,
Godfather Companion
, p. 114.

31
. Robert Warshow, “The Gangster as Tragic Hero,” in
The Immediate Experience
(Garden City, N.Y.: Doubleday, 1962), p. 132.

32
. Biskind,
Godfather Companion
, p. 82.

33
. Kael,
For Keeps
, pp. 595, 600.

34
. A. O. Scott, “Seen This Guy Lately?: Al Pacino,”
New York Times
, 20 April 2003, sec. 2, p. 11.

35
. Oldham,
Conversations with Film Editors
, p. 337.

36
. Breskin,
Filmmakers in Conversation
, p. 31. See also Guy Garcia, “The Next Don?”
American Film
15, no. 12 (1990): 27.

37
. Pauline Kael,
Movie Love
(New York: Plume, 1991), p. 309.

38
. See David Papke, “Francis Ford Coppola and the Popular Response to the
Godfather
Trilogy,” in
Legal Realism: Movies as Legal Texts
(Chicago: University of Illinois Press, 1996), pp. 15–16.

39
. Breskin,
Filmmakers in Conversation
, p. 32.

40
. Cowie,
Coppola
, pp. 235–36. See also Biskind,
Godfather Companion
, p. 140.

41
. Stephanie Mansfield, “Andy Garcia,”
GQ
, December 1990, p. 332.

42
. Bergan,
Francis Ford Coppola
, p. 90.

43
. Cowie,
Coppola
, p. 235.

44
. Douglas Brode,
Money, Women, and Guns: Crime Movies
(New York: Carol, 1995), p. 172.

45
. Cowie,
Coppola
, p. 241.

46
. Dick,
Death of Paramount Pictures
, p. 146. See also Lewis, “Paramount Studios,” p. 51.

47
. Barbara Harrison,
“Godfather-III,
”
Life
, November 1990, p. 65.

48
. Biskind,
Godfather Companion
, p. 152.

49
. Mansfield, “Andy Garcia,” p. 341.

50
. Eleanor Coppola, “Further Notes,” in
Projections Six: Filmmakers on Filmmaking
, ed. John Boorman and Walter Donahue (London: Faber and Faber, 1996), p. 54.

51
. Jack Kroll, ”The Corleones Return,”
Newsweek
, 24 December 1990, p. 58. See also Garcia, “The Next Don?,” p. 27.

52
. See Kroll, “Corleones Return,” p. 61.

53
. William McDonald, “Thicker Than Water and Spilled by the Mob:
The Godfather,” New York Times
, 21 May 1995, sec. 2, p. 11.

54
. Richard Corliss, “Schemes and Dreams,”
Time
, 24 December 1990, p. 76.

55
. Eleanor Coppola, “Further Notes,” p. 61.

56
. Schumacher,
Francis Ford Coppola
, pp. 428–29.

57
. Lebo,
Godfather Legacy
, p. 253.

58
. Yaquinto, ,
Pump ‘em Full of Lead
, p. 168.

1
. Gallagher,
Film Directors on Film Directing
, p. 175.

2
. Peter Lev,
American Films of the 1970s: Conflicting Visions
(Austin: University of Texas Press, 2000), pp. 118–20.

3
. Dale Pollock,
George Lucas
, pp. 128–29.

4
. Richard Thompson, “John Milius Interviewed,”
Film Comment
12, no. 4 (1976): 15.

5
. Francis Ford Coppola, “
Apocalypse Now
: For the Record,”
New York Times
, 27 May 2001, sec. 2, p. 4.

6
. Karl French,
On Apocalypse Now
(New York: Bloomsbury, 1999), p. 163. See also Pye and Myles,
Movie Brats
, p. 111.

7
. Brooks Riley, “‘Heart' Transplant,”
Film Comment
15, no. 1 (1976): 26. Coppola states on the title page of his draft of the script: “Inspired by Joseph Conrad's ‘Heart of Darkness.'”

8
. Goodwin and Wise,
On the Edge
, p. 196.

9
. French,
On Apocalypse Now
, pp. 109–10.

10
. John Milius, “Apocalypse Now,” unpublished screenplay (American Zoetrope, 1969), p. 2.

11
. Riley, “‘Heart' Transplant,” p. 26.

12
. Tony Chiu, “Coppola's Cinematic
Apocalypse,” New York Times
, 12 August 1979, sec. 2, p. 17.

13
. William Hagen,”‘Heart of Darkness' and the Process of
Apocalypse Now” Conradiana
13, no. 1 (1981): 49.

14
. Cowie,
Coppola
, p. 120.

15
. Linda Cahir, “Joseph Conrad's ‘Heart of Darkness' and Francis Ford Coppola's
Apocalypse Now,” Literature/Film Quarterly
20, no. 3 (1992): 182–83.

16
. Francis Ford Coppola, “Apocalypse Now,” with John Milius, unpublished screenplay (United Artists, 1975), p. 5.

17
. Ibid., p. 150.

18
. Eleanor Coppola,
Notes: On Apocalypse Now
(New York: Limelight, 1995), p. 277.

19
. French,
On Apocalypse Now
, p. 123. See also Chaillet and Vincent,
Francis Ford Coppola
, p. 59.

20
. Jerry Ziesmer,
Ready When You Are, Mr. Coppola, Mr. Spielberg, Mr. Crowe
(Lanham, Md.: Scarecrow Press, 2000), p. 195. See also Lawrence Suid, “Hollywood and Vietnam,”
Film Comment
15, no. 1 (1979): 21.

21
. Ziesmer,
Ready When You Are
, p. 234. See also Eleanor Coppola,
Apocalypse Now
, p. 103.

22
. Gallagher,
Film Directors on Film Directing
, p. 135; Biskind,
Easy Riders
, p. 355, documents Hopper's drug addiction.

23
. Gallagher,
Film Directors on Film Directing
, p. 135.

24
. Ric Gentry, “Vittorio Storaro in Conversation,” in
Projections Six: Filmmakers on Filmmaking
, ed. John Boorman and Walter Donahue (Boston: Faber and Faber, 1996), p. 265.

25
. Coppola, “For the Record.”

26
. Eleanor Coppola,
Apocalypse Now
, p. 138. See also Michael Ondaatje, “
Apocalypse Now
and Then,”
Film Comment
37, no. 3 (2001): 45.

27
. French,
On Apocalypse Now
, p. 96.

28
. Schumacher,
Francis Ford Coppola
, p. 228. See also French,
On Apocalypse Now
, p. 96.

29
. Ziesmer,
Ready When You Are
, pp. 26, 61.

30
. “Production Log,” in
Apocalypse Now
, Souvenir Program (United Artists, 1979), p. 3.

31
. Schumacher,
Francis Ford Coppola
, p. 253.

32
. Ibid., p. 218. See also Chiu, “Coppola's Cinematic
Apocalypse.
“

33
. Eleanor Coppola,
Apocalypse Now
, pp. 180–82.

34
. Biskind,
Easy Riders
, pp. 360–61.

35
. Breskin,
Filmmakers in Conversation
, p. 17.

36
. David Thomson, “
Apocalypse
Then and Now,”
New York Times
, 13 May 2001, sec. 2, p. 32. See also Breskin,
Filmmakers in Conversation
, p. 17.

37
. Coppola, “For the Record.”

38
. William Phillips,
“Hearts of Darkness:
A Documentary,” in
Film: An Introduction
, rev. ed. (New York: St. Martin's Press, 2002), p. 361. The author of the essay and book cited in this note is no relation to the author of this book.

39
. Breskin,
Filmmakers in Conversation
, pp. 45–46. See also Schumacher,
Francis Ford Coppola
, p. 239.

40
. Coppola, “For the Record.”

41
. Harrison,
“Godfather-III,”
p. 62. See also Eleanor Coppola,
Apocalypse Now
, pp. 42, 229.

42
. LoBrutto,
Film Editors on Editing
, p. 116.

43
. Ibid., pp. 183–84. See also Oldham,
Conversations with Film Editors
, pp. 33, 369.

44
. Michael Ondaatje,
The Conversations: Walter Murch and the Art of Editing Film
(New York: Knopf, 2002), p. 63. See also Mark Cousins, “Walter Murch,” in
Projections Six: Filmmakers on Filmmaking
, ed. John Boorman and Walter Donahue (Boston: Faber and Faber, 1996), p. 159.

45
. French,
On Apocalypse Now
, p. 14.

46
. Cowie,
Coppola
, p. 127.

47
. Michelle Wallens, “Putting Films to the Test,”
New York Times
, 25 June 2000, sec. 2, p. 11.

48
. Goodwin and Wise,
On the Edge
, p. 257.

49
. Steven Bach,
Final Cut: Art, Money, and Ego
, rev. ed. (New York: Newmarket Press, 1999), p. 126.

50
. Goodwin and Wise,
On the Edge
, p. 262.

51
. Thomson, “
Apocalypse
Then and Now.”

52
. Coppola, “Apocalypse Now,” unpublished screenplay, pp. 144–45.

53
. Chaillet and Vincent,
Francis Ford Coppola
, pp. 68, 62.

54
. Chiu, “Coppola's Cinematic
Apocalypse
.”

55
. Schumacher,
Francis Ford Coppola
, p. 208. See also Chown,
Hollywood Auteur
, p. 124.

56
. Chiu, “Coppola's Cinematic
Apocalypse
; cf. Siskel, “Celluloid Godfather,” sec. 13, p. 5.

57
. Louis Grieff, “Conrad's Ethics and the Margins of
Apocalypse Now,” Literature/Film Quarterly
20, no. 3 (1992): 190.