Introducing: Leave the Gun, Take the Cannoli

Summary

Leave the Gun, Take the Cannoli: Unveiling the Making of a Masterpiece

Podcast Title: Leave the Gun, Take the Cannoli
Host/Author: iHeartPodcasts
Episode: Introducing: Leave the Gun, Take the Cannoli
Release Date: February 4, 2025

Leave the Gun, Take the Cannoli delves deep into the tumultuous journey behind Francis Ford Coppola's iconic film, The Godfather. Hosted by Mark Seal and Nathan King, both esteemed figures in the world of journalism and literature, the podcast leverages new and archival interviews to paint a comprehensive picture of the challenges and triumphs that paved the way for this cinematic masterpiece.

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1. The Uncertain Beginnings

Mark Seal sets the stage by highlighting the unprecedented success of The Godfather, noting its pivotal role in redefining Hollywood standards and the portrayal of the Mafia in American cinema (00:00). However, he contrasts this success with the precariousness that surrounded the film's inception.

Al Ruddy, the film's producer, emphasizes the dire outlook before the film's release:
"And they said, we're finished. This is over. It's not going to work. You got to get rid of those guys. It's a disaster." (00:24)

Key Insights:

• The film almost didn't materialize due to internal doubts and external pressures.
• Mario Puzo's involvement was driven by personal financial struggles, adding to the project's uncertainty.

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2. Mario Puzo's Gamble

Puzo, the author of the original novel, played a crucial role in bringing The Godfather to life. Mark Seal reveals that Puzo wrote the novel out of sheer desperation to escape gambling debts, underscoring the high stakes involved.

Al Ruddy narrates their partnership:
"This dead broke writer comes into his office with a 35 page treatment under his arm. And pretty soon, over cigars and conversation in Evans's office, the two men strike a deal." (00:54)

Key Insights:

• The collaboration between Puzo and producer Robert Evans was instrumental in moving the project forward.
• Their partnership was formed under pressing personal circumstances, adding layers of complexity to the film's production.

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3. Coppola's Vision vs. Paramount's Control

Despite Paramount's inability to secure a well-known director, they took a leap of faith by hiring Francis Ford Coppola, a relatively unknown filmmaker at the time. Coppola's visionary approach clashed with Paramount executives, leading to constant tensions on set.

Al Ruddy discusses the internal conflicts:
"Jack Ballard was hired basically by Robert Evans to be there on the set. And to haunt me at every turn. From script writing, casting to editing and choosing the music, Paramount fought tooth and nail against the director." (01:24)

Coppola himself shares his frustration:
"Francis just got so sick of everything, he goes, I'm going to Sicily, just cast my f ing movie." (01:39)

Key Insights:

• Coppola's dedication often put him at odds with the studio, leading to creative battles.
• The push and pull between artistic vision and studio demands shaped the film's unique narrative style.

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4. The Mafia's Opposition

One of the most harrowing challenges was the mob's relentless attempts to thwart the film's production. Concerned about negative portrayals of Italian Americans, the Mafia employed threats and intimidation to prevent the movie from being made.

Al Ruddy recounts the intimidation tactics:
"The five Families did not want us to shoot that picture in New York." (01:52)
"My kids came in all hysterical. They'd heard gunshots." (02:11)

Puzo provides a chilling memory:
"I look over at Sinatra's table and oh my God, Mario standing at Sinatra's table. And I looked at Mario and his face was ashen." (02:23)

Key Insights:

• Real-life Mafia influence posed significant risks to the cast and crew.
• The filmmakers had to navigate these threats while maintaining the film's integrity and vision.

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5. Triumph Amid Adversity

Despite the myriad obstacles, The Godfather emerged as a monumental success, generating over $250 million and earning numerous Oscars. It not only introduced a new generation of stars but also bridged the gap between old and new Hollywood, reshaping America's perception of the Mafia.

Al Ruddy humorously reflects on the unexpected accolades:
"And the projection was called me. Hey, guys. Mr. Ruddy, I've been a projectionist my whole life. No one ever gave me a thousand dollar tip." (03:07)

Key Insights:

• The film's success validated the perseverance of its creators against overwhelming odds.
• It established a lasting legacy in both cinematic history and popular culture.

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6. Insights from the Creators

Throughout the podcast, Mark Seal and Nathan King bring forth interviews with key figures like Francis Ford Coppola, Robert Evans, James Caan, and Talia Shire, offering firsthand accounts of the film's production.

Al Ruddy shares an anecdote about interacting with cast members under threat:
"So I pull up next to Rando, I roll my window down and I just stick my ass out. The thing, this is the first day he's met us." (03:38)

Francis Ford Coppola reflects on the strategic maneuvers required:
"Everything was a very arduous chess game and many others." (04:13)

Key Insights:

• The collaborative efforts and sheer resilience of everyone involved were pivotal in overcoming challenges.
• Personal stories and memories shed light on the human side of filmmaking amidst crisis.

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Conclusion: A Legacy Forged in Adversity

Leave the Gun, Take the Cannoli not only narrates the storied production of The Godfather but also offers a nuanced exploration of the interplay between art, power, and perseverance. By unearthing rarely heard accounts and dissecting conflicting narratives, the podcast provides listeners with a comprehensive understanding of how one of cinema's greatest films was born against all odds.

Listeners are invited to embark on this investigative journey, gaining insights into the complexities of filmmaking and the indomitable spirit that brought The Godfather to life. The 10-part series promises to be an essential listen for cinephiles and history enthusiasts alike.

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Notable Quotes:

• Al Ruddy (00:24): "We're finished. This is over. It's not going to work. You got to get rid of those guys. It's a disaster."
• Al Ruddy (00:54): "This dead broke writer comes into his office with a 35 page treatment under his arm. And pretty soon, over cigars and conversation in Evans's office, the two men strike a deal."
• Francis Ford Coppola (01:39): "I'm going to Sicily, just cast my f ing movie."
• Al Ruddy (02:11): "My kids came in all hysterical. They'd heard gunshots."
• Francis Ford Coppola (04:13): "Everything was a very arduous chess game and many others."

Leave the Gun, Take the Cannoli offers an unparalleled look into the making of a classic, ensuring that the legacy of The Godfather continues to fascinate and inspire future generations.

Transcript

[Mark Seale]

In the history of cinema, few films have been as successful as the Godfather. When it was released In March of 1972, Francis Ford Coppola's gangster epic set a new standard, not just for movies about the Mafia, but for movies in general.

[Al Ruddy]

It's my most important legacy in life.

[Mark Seale]

Although if you talk to the people who made it, the Godfather's prospects for success were far from assured. In fact, before its release, they were pretty bleak.

[Al Ruddy]

And they said, we're finished. This is over. It's not going to work. You got to get rid of those guys. It's a disaster.

[Mark Seale]

People close to the movie have talked a lot over the past 50 or so years about how difficult it was to make the Godfather. But in Leave the Take the Cannoli, my co host Mark Seale and I stripped back the varnish of movie history and talk to never before heard from sources to get at what really made the process so arduous. For starters, Mario Puzo, the author of the book on which the movie is based, only wrote it because he was deep in gambling debt.

[Al Ruddy]

This dead broke writer comes into his office with a 35 page treatment under his arm. And pretty soon, over cigars and conversation in Evans's office, the two men strike a deal.

[Mark Seale]

And when the studio behind the film, Paramount, tried to enlist a bankable director, it couldn't find one. Its solution, to hire Coppola, a relative unknown who proved to be every bit the visionary they'd hoped for. The only problem was that the Paramount executives and producers didn't always seem eye to eye with Coppola's vision.

[Al Ruddy]

Jack Ballard was hired basically by Robert Evans to be there on the set.

[Mark Seale]

And to haunt me at every turn. From script writing, casting to editing and choosing the music, Paramount fought tooth and nail against the director.

[Francis Ford Coppola]

Francis just got so sick of everything, he goes, I'm going to Sicily, just cast my f ing movie.

[Mark Seale]

Excuse my language, but that's just the beginning. Serious trouble came for the Godfather when the real life Mafia tried to stop the film from being made.

[Al Ruddy]

The five Families did not want us to shoot that picture in New York.

[Mark Seale]

The mob thought Hollywood had given Italian Americans a bad rap and they were certain the Godfather would only deepen that stigma. So they waged a campaign of threats and scare tactics. But the studio and the filmmakers were not to be deterred by what at times amounted to more than threats.

[Al Ruddy]

My kids came in all hysterical. They'd heard gunshots.

[Mark Seale]

They worked their connections and did everything they could to win over the people the film was based on. Well, at Least most of them.

[Francis Ford Coppola]

I look over at Sinatra's table and oh my God, Mario standing at Sinatra's table. And I looked at Mario and his face was ashen.

[Mark Seale]

Despite the almost unfathomable hardship of making the Godfather, it minted a new generation of stars. It also made over $250 million, won several Oscars, and redefined America's relationship to one of its darkest, most shadowy for the Mafia.

[Al Ruddy]

No, I'm saying when you heard the terminology crime don't pay.

[Mark Seale]

Yeah, crime pays. The result was a modern masterpiece that bridged old Hollywood and new Hollywood and managed to win over the American public and the Mafia alike.

[Al Ruddy]

And the projection was called me. Hey, guys. Mr. Ruddy, I've been a projectionist my whole life. No one ever gave me a thousand dollar tip.

[Mark Seale]

Leave the Gun Take the Cannoli is based on my co host Mark's best selling book of the same title. And on this show, we call upon his years of research to help unpack the story behind the Godfather's birth. From start to finish, we sift through innumerable accounts, many of them conflicting, and try to get to the truth of what really happened. And more importantly, we find out how a story that starts like this.

[Al Ruddy]

So I pull up next to Rando, I roll my window down and I just stick my ass out. The thing, this is the first day he's met us.

[Mark Seale]

Ends like this.

[Al Ruddy]

You gotta understand, nobody ever envisioned the success of this movie.

[Mark Seale]

Leave the Gun, Take the Cannoli features new and archival interviews with Francis Ford Coppola.

[Al Ruddy]

Yes, that was a real horse's head.

[Mark Seale]

Robert Evans.

[Al Ruddy]

They've called me the Godfather's godfather.

[Mark Seale]

James Caan.

[Al Ruddy]

Jimmy, he wants you to come and test. He said, test? Why you got a Porsche? You want me to drive around the block?

[Mark Seale]

Al Ruddy Bob said, I got a.

[Al Ruddy]

Call from these Italian guys if you want to see the movie. He means there'll be a lot of trouble.

[Mark Seale]

Talia Shire.

[Francis Ford Coppola]

Everything was a very arduous chess game and many others.

[Mark Seale]

We still aren't entirely sure what's true and what's not, but we can promise that our 10 part series gives everyone who is involved a chance to tell their side of the story. Listen and subscribe to Leave the Gun Take the cannoli starting February 19th on the iHeartRadio app, Apple Podcasts, Spotify, or wherever you get your podcast.