Leave the Gun, Take the Cannoli: Behind the Scenes of "The Godfather"

Episode: Italians, Stallions, and Corporate Lackeys
Release Date: April 2, 2025

Introduction to "The Godfather" Legacy

In this episode of "Leave the Gun, Take the Cannoli," hosted by iHeartPodcasts, Mark Seal and Nathan King delve deep into the tumultuous production history of Francis Ford Coppola's iconic film, "The Godfather." Drawing from Mark Seal's 2021 book of the same name, the hosts present a blend of new and archival interviews with key figures such as Coppola himself, Marlon Brando, James Caan, Robert Evans, and others. The episode meticulously unpacks the myriad challenges faced during the film's creation—from studio interference and mafia threats to internal cast dynamics and creative disputes.

The Genesis of a Classic (02:01 - 05:10)

Mark Seal sets the stage by recounting a pivotal moment on March 17, 1971, when the Corleone family gathers for dinner with Francis Ford Coppola at Patsy's Restaurant. This setting, chosen for its authentic Italian-American ambiance, serves as the inaugural meeting for the film's new cast. Marlon Brando's entrance is particularly memorable:

Marlon Brando (02:43): "Was the first time everybody met everybody. And I'm watching, like, Sterling Hayden, Richard Conti, John Morley. These are the great actors. These guys, they were legends to me."

Brando arrives wearing an orange cashmere turtleneck, immediately commanding respect and admiration from the cast. His charismatic presence helps unify the team, laying the groundwork for the film's collaborative spirit.

Creative Vision and Production Meetings (05:26 - 13:54)

The hosts explore the foundational creative production meeting held on January 25, 1971, where Coppola, production designer Dean Tavoularis, cinematographer Gordon Willis, and costume designer Anna Hill Johnstone converge to establish the film's visual and narrative style. Marlon Brando emphasizes the film's humanistic portrayal of the mafia:

Marlon Brando (08:16): "Show them as human, see the human side, the family side of their lives. The ironic thing of them loving their children, et cetera, and then turning around and committing terrible crimes, brutal murders."

A recurring theme from the meeting is the operatic quality of the film, characterized by fixed camera techniques and meticulous attention to detail. Topics ranged from location selections to costume designs, with Coppola insisting on authenticity over formality, particularly evident in the wedding scene's naturalistic portrayal.

On-Set Camaraderie and Behind-the-Scenes Turmoil (17:25 - 32:09)

The camaraderie among the cast is highlighted through anecdotes of playful pranks, such as the first day Brando encouraged James Caan and Robert Duvall to moon him, setting a tone of relaxed collaboration:

Robert Duvall (18:40): "The thing."

However, behind the scenes, Coppola contends with intense studio interference. Robert Evans, representing Paramount Pictures, inundates Coppola with critical memos, questioning casting decisions and script elements mere weeks before filming begins. A particularly scathing memo from Evans (19:58) criticizes the portrayal of Sonny Corleone, expressing concerns over the character's flamboyance and iconic scenes from Mario Puzo's novel.

Amidst this turmoil, Coppola's living conditions deteriorate as he juggles constant threats of termination and maintains his creative vision. The tension culminates in a power struggle orchestrated by Paramount's Jack Ballard, aiming to replace Coppola with editor Aram Avakian. Coppola's decisive action to fire the mutinous crew members signifies his unwavering commitment to the project's success.

Filming Milestones and Iconic Scenes (36:40 - 44:55)

The episode delves into the meticulous crafting of some of the film's most memorable scenes. For instance, the baptism sequence intertwines personal and criminal narratives, symbolizing the Corleone family's duality. Al Pacino's transformation during the restaurant assassination scene exemplifies his growth into Michael Corleone, bolstered by Coppola's encouragement amid his own insecurities and initial lackluster studio reception.

A particularly fascinating insight is shared by screenwriter Robert Towne regarding the creation of the succession scene, which was not present in Puzo's original novel. Towne recounts an intense, overnight writing session inspired by the novel's themes:

Marlon Brando (43:37): "I remember looking at the book cover and thinking, that's a possibility."

This scene, pivotal to the film's narrative, underscores the transfer of power within the Corleone family and solidifies Coppola's vision of a complex, multifaceted mafia saga.

Challenges and Triumphs on Set (24:05 - 41:33)

The production faces numerous setbacks, including Al Pacino's ankle injury during the restaurant scene and a delayed arrival by Marlon Brando, who misses his initial flight to New York. Despite these obstacles, Brando's eventual performance, marked by his iconic soft-spoken demeanor and impassioned delivery, reinvigorates the cast and crew.

The acquisition of authentic props, such as the infamous horse's head in Jack Waltz's bed, exemplifies the lengths to which the production team went to achieve realism. Screenwriter Robert Towne details the ethical and logistical challenges of securing the prop without compromising animal rights:

Robert Towne (40:00): "We went to one of those companies, and they, of course, had a whole bunch of horses... We asked the pet food company to not kill that horse until we said, okay, it's time to do that."

This pragmatic yet controversial decision underscores the film's commitment to gritty authenticity, contributing to its enduring legacy.

Final Reflections and Legacy (44:55 - 45:47)

As filming progresses, Coppola's ability to navigate internal conflicts and external pressures culminates in the creation of a masterpiece that transcends its tumultuous production. The episode concludes with reflections on the film's impact and the collaborative efforts that brought "The Godfather" to life, honoring the dedication and resilience of everyone involved.

Conclusion

"Leave the Gun, Take the Cannoli" offers an exhaustive and engaging exploration of the behind-the-scenes battles and creative triumphs that defined the making of "The Godfather." Through firsthand accounts and detailed analyses, Mark Seal and Nathan King illuminate how Coppola's unwavering vision and the cast's camaraderie overcame formidable challenges, resulting in one of cinema's greatest masterpieces.

For those fascinated by film history, mafia lore, or the intricate dynamics of movie production, this episode provides a comprehensive and captivating narrative that enriches the legendary status of "The Godfather."

Notable Quotes:

• Marlon Brando (02:43): "Was the first time everybody met everybody. And I'm watching, like, Sterling Hayden, Richard Conti, John Morley. These are the great actors. These guys, they were legends to me."

• Marlon Brando (08:16): "Show them as human, see the human side, the family side of their lives. The ironic thing of them loving their children, et cetera, and then turning around and committing terrible crimes, brutal murders."

• Robert Evans (19:58): "Feel that the character of Sonny is not nearly as flamboyant and exciting as in the book. The sexuality that everyone remembers is totally missing in the script."

• Marlon Brando (43:37): "I remember looking at the book cover and thinking, that's a possibility."

• Robert Towne (40:00): "We went to one of those companies, and they, of course, had a whole bunch of horses... We asked the pet food company to not kill that horse until we said, okay, it's time to do that."

Credits:

Produced by Tina Mullen with research assistance by Jack Sullivan. Development Producer Jonathan Dressler and Music Supervisor Randall Poster contributed to the episode. Executive producers include Nathan King, Mark Seal, Dylan Fagan, and Graydon Carter. Special thanks to Bridget Arceneaux and everyone at CDM Studios.

For more information, refer to Mark Seal's book, Leave the Gun, Take the Cannoli, published by Gallery Books, an imprint of Simon and Schuster.