Leave the Gun, Take the Cannoli: Episode Summary - "Death by a Thousand Cuts"

Leave the Gun, Take the Cannoli, hosted by Mark Seal and Nathan King, delves deep into the tumultuous journey behind the making of Francis Ford Coppola’s iconic film, The Godfather. This episode, titled "Death by a Thousand Cuts," explores the myriad challenges faced during production, from location scouting and casting to post-production battles that nearly derailed the masterpiece. Drawing from both new and archival interviews, the hosts provide a comprehensive look into the creative and logistical hurdles that shaped the film’s legacy.

1. Arrival in Sicily: Scouting for Authenticity

The episode begins in July 1971 when Coppola and his crew arrive in Sicily to scout locations near Corleone, the fictional town central to the film’s narrative.

Mark Seale [02:03] sets the scene:

"A car rolls down the ancient roads outside of the sprawling city of Palermo. Inside the car are a local driver and three American filmmakers. The Godfather has arrived in Sicily."

The group, including production designer Dean Tavoularis and producer Gray Frederickson, face immediate resistance from the local mafia, which jeopardizes their efforts. As tensions rise, Dean Tavoularis attempts to take photos but is swiftly stopped:

Nathan King [02:40]: "The driver goes berserk. No camera, no photos. Someone will see, he says."

Coppola decides to move to the smaller villages in the hills near Taormina, seeking the authentic Sicilian ambiance essential for the film’s atmosphere.

2. Casting Apollonia: A Defining Moment

One of the pivotal moments discussed is the casting of Apollonia, a character whose relationship with Michael Corleone is crucial to the story. Coppola emphasizes the importance of her role:

Mark Seale [06:50]: "Coppola knew that Apollonia had to be a true beauty. Five pitfalls. If Apollonia doesn't make your heart stop."

After an extensive search, Simonetta Stefanelli is cast in the role, despite not being a well-known actress at the time. Her chemistry with Al Pacino adds depth to the character dynamic, even though she doesn't speak English:

Nathan King [07:48]: "And for such a short-lived character, she delivers an incredible performance. And her and Pacino have an incredible chemistry as well."

Pacino reflects on his experience in Sicily, feeling a sense of freedom away from the pressures of New York:

Mark Seale [08:11]: "Pacino felt so at home there, freed up from the pressures that he had in New York where he felt like he was going to be fired."

3. Transition to Post-Production: Tensions Rise

Upon returning to Los Angeles, the mood shifts dramatically as post-production challenges emerge. Robert Evans, the studio executive, becomes increasingly obsessive about the film’s edit.

Robert Evans sustains a severe back injury during this period, exacerbating the stress:

Mark Seale [13:34]: "He was in immense pain, completely drugged up with painkillers and cocaine and literally being wheeled between the Paramount editing rooms in West Hollywood on a gurney."

Coppola moves to San Francisco to begin the editing process, distancing himself from Evans’ looming presence in LA. However, this does not alleviate the mounting pressures.

4. The Editing Battle: Coppola vs. Evans

A significant portion of the episode focuses on the intense conflict over the film’s length. Coppola and his editors work meticulously to craft a version nearly three hours long, while Evans insists on cutting it down to 2 hours and 15 minutes.

Coppola and his team present the extended cut to Paramount executives, only to receive harsh criticism:

Mark Seale [16:44]: "Evans was in a feud with Paramount's new president, Frank Yablans, who were both vying for the approval of Charlie Bludorn."

Frustrated, Coppola faces the ultimatum to shorten the film, leading to a fraught dynamic where he must navigate studio demands while maintaining his creative vision. Despite Evan’s attempts to control the edit, Coppola stands firm:

Mark Seale [18:26]: "Coppola had to cut 40 minutes from his masterpiece. Oh no, it gets worse. Not only does he have to cut 40 minutes, he has to take the new cut down to LA to screen it in the pool house at Woodland for an addled Robert Evans."

5. The Public Press War

The conflict extends beyond the editing rooms into the public sphere. The premiere’s delay from Christmas to March becomes a significant talking point, fueled by Evans’ revelations to the press about his role in saving the film:

Nathan King [21:07]: "The press caught wind that the premiere was being pushed from Christmas to March, which, according to Evans, spells disaster for a movie."

This public feud strains Coppola and Evans' relationship, adding another layer of complexity to the production woes.

6. The Score Showdown: Nino Rota vs. Henry Mancini

One of the climactic battles of the episode revolves around the film’s musical score. Coppola envisions a haunting, darker score by Italian composer Nino Rota, while Evans pushes for the inclusion of Henry Mancini’s brighter, more American melodies.

Coppola embarks on a quest to contact Rota, an elusive figure, and successfully secures his collaboration:

Mark Seale [26:05]: "Coppola had to hunt down a phantom of sorts... He found a connection through Suso Cecchi Diamocco, who arranged a meeting at Nino Rota's apartment in Rome."

After an extensive screening, Rota presents his score to Coppola, who immediately integrates it into the film. However, Evans remains resistant, advocating for Mancini’s score:

Mark Seale [28:05]: "Evans called an emergency meeting... He makes his case for using Henry Mancini's music for the film."

In a dramatic resolution, Coppola’s team, led by Walter Murch, manages to subtly alter Rota’s score to satisfy Evans, ultimately securing approval:

Mark Seale [29:23]: "So I did things that I had done on GHX 1138, which was to take two copies of the music and slide one part of the music against the other one so that there's a sort of dissonance going on... When the scene finished, he jumped off of the bed and said, it's great, it's great."

7. Final Triumph: Coppola’s Vision Prevails

The episode culminates in Coppola’s unwavering commitment to his vision. Despite numerous obstacles—ranging from casting issues and location challenges to intense studio conflicts—Coppola and his dedicated team prevail.

Mark Seale wraps up the narrative by highlighting Coppola’s relentless pursuit of excellence:

Mark Seale [31:57]: "So Coppola and his team won every battle, casting, location, filming, editing, and music. He vanquished his enemies and got to make exactly the movie he wanted."

8. Conclusion: Reflecting on a Masterpiece

In closing, Coppola reflects on the completed film:

Mark Seale [32:09]: "And after all of that, he still thought he'd made a long, boring movie."

The episode concludes by acknowledging the collaborative efforts that ultimately crafted The Godfather into a timeless classic, despite the fierce struggles faced during its creation.

Notable Quotes with Timestamps

• Mark Seale [02:03]: "The Godfather has arrived in Sicily."
• Nathan King [07:48]: "And for such a short-lived character, she delivers an incredible performance."
• Mark Seale [08:11]: "Pacino felt so at home there, freed up from the pressures that he had in New York."
• Mark Seale [18:26]: "Coppola had to cut 40 minutes from his masterpiece."
• Mark Seale [29:23]: "It's great, it's great."
• Mark Seale [31:57]: "He vanquished his enemies and got to make exactly the movie he wanted."

Final Thoughts

"Death by a Thousand Cuts" provides an intricate look into the making of The Godfather, showcasing Francis Ford Coppola’s resilience and dedication in overcoming significant production challenges. Through detailed storytelling and insightful interviews, Mark Seal and Nathan King illuminate the complexities behind creating one of Hollywood’s greatest films, offering listeners a profound appreciation for the artistry and perseverance that defined its production.