Leave the Gun, Take the Cannoli: Episode Summary - "The Cast that Dreams Are Made Of"

Host/Author: Mark Seal and Nathan King
Release Date: March 19, 2025

Introduction

In the episode titled "The Cast that Dreams Are Made Of" from the Leave the Gun, Take the Cannoli podcast, authors Mark Seal and Nathan King delve deep into the tumultuous casting process behind Francis Ford Coppola's iconic film, "The Godfather." Drawing from Mark Seal's 2021 book of the same name, the hosts present a compelling narrative enriched with new and archival interviews, shedding light on the chaos and intrigue that almost derailed the making of a cinematic masterpiece.

The Initial Chaos of Casting

The journey to casting "The Godfather" was fraught with external pressures and internal disagreements. Al Ruddy, the producer, found himself overwhelmed with inquiries from actors, agents, and even real-life mobsters eager to secure roles in the film. As Ruddy recounts:

Mark Seale [00:35:12]: People were vying for roles in the movie that had their own opinions. "How should the parts be played?" was a common refrain.

The studio executives, particularly Robert Evans, added fuel to the fire by publicly advocating for Italian American actors, intensifying the competition and leading to picketers outside Paramount. The casting director, Fred Roos, emphasized the sheer volume of talent:

Fred Roos [03:09]: "Everybody was reading the Godfather, and of course, everybody wanted to know who was going to play which role. And so it became a really big deal, the casting of the Godfather."

Introducing Fred Roos and the Casting Strategy

Francis Ford Coppola's decision to hire Fred Roos as the casting director marked a pivotal moment in the casting saga. Despite having fewer credits at the time, Roos brought a meticulous approach to the process:

Al Ruddy [06:10]: "He was willing to go deep into the casting process, not try to do shortcuts or do it quickly or whatever. So that was cool with me because that's how you get quality."

The duo embarked on an exhaustive search, screening over 1,100 actors across New York, Los Angeles, and San Francisco. This rigorous process was essential in assembling what would become one of Hollywood's most legendary ensembles.

The Unconventional Casting of Gianni Russo

One of the standout stories from the podcast revolves around Gianni Russo's unexpected casting as Carlo Rizzi. Russo's background as a messenger for mob boss Frank Costello added an authentic layer to his portrayal:

Gianni Russo [08:42]: "Gianni survived polio as a child and used it to his advantage. He had a 'gimp arm' and started selling ballpoint pens as a 12-year-old, which led to his connection with Costello."

Russo's determined effort to land a role is highlighted by his creative screen test:

Gianni Russo [10:56]: "I made a 37-minute screen test, improvising scenes for Michael, Sonny, and Carlo."

Despite initial rejection, Russo's persistence paid off when connections within the industry facilitated his audition, culminating in his memorable performance as Carlo.

Marlon Brando's Iconic Screen Test

Perhaps the most legendary aspect of the casting process was Marlon Brando's involvement. Initially opposed by Paramount executives, Coppola's relentless pursuit ensured Brando's participation under stringent conditions:

Francis Ford Coppola [21:04]: "As the president of Paramount, there's no way that Marlon Brando will play this role."

Undeterred, Coppola orchestrated a clandestine screen test in Los Angeles, transforming Brando into the formidable Vito Corleone:

Dean Tavoularis [23:03]: "He walked out and put on a jacket, picked up a cigar, and transformed into Don Vito Corleone right there in that room."

The success of this screen test swayed executives, solidifying Brando's role and setting the stage for the film's legendary status.

Executive Resistance and Coppola's Defiance

Despite securing key cast members like Brando, Coppola faced significant pushback from Robert Evans and other Paramount executives. Evans initially dismissed Al Pacino, labeling him a "runt" and advocating for established stars like Robert Redford:

Robert Evans [28:21]: "Michael Corleone will not be played by Al Pacino."

Coppola, sensing his impending dismissal, strategically delayed decisions and continued to champion his original vision. This tension culminated in a critical negotiation where Coppola successfully maneuvered to retain his preferred cast:

Fred Roos [38:12]: "We convinced them to switch James Caan to Sonny and allow Al Pacino as Michael."

This strategic compromise ensured that Coppola's artistic choices prevailed, leading to the assembly of the film's iconic cast.

Finalizing the Ensemble

With the main roles secured, Coppola and Roos focused on filling out the supporting cast with both established actors and talented newcomers. Notable additions included:

• John Cazale as Fredo Corleone, discovered during an open casting call and lauded for his authentic portrayal.
• Talia Shire as Connie Corleone, bringing familial ties into the production despite initial concerns of nepotism.

These casting decisions, combined with Coppola's unwavering dedication, resulted in a cohesive and unforgettable ensemble that would define "The Godfather" as a masterpiece.

Conclusion

"The Cast that Dreams Are Made Of" provides an in-depth exploration of the intricate and often chaotic casting process behind "The Godfather." Through engaging narratives and firsthand accounts, Mark Seal and Nathan King illuminate the perseverance, strategic maneuvering, and sheer passion that ultimately brought together a legendary cast. This episode not only celebrates the film's enduring legacy but also underscores the intricate dynamics of filmmaking where vision battles with executive mandates, ultimately showcasing how true artistry can triumph against all odds.

Notable Quotes with Timestamps

• Fred Roos [03:09]: "Everybody was reading the Godfather, and of course, everybody wanted to know who was going to play which role. And so it became a really big deal, the casting of the Godfather."
• Gianni Russo [08:42]: "Gianni survived polio as a child and used it to his advantage. He had a 'gimp arm' and started selling ballpoint pens as a 12-year-old, which led to his connection with Costello."
• Al Ruddy [06:10]: "He was willing to go deep into the casting process, not try to do shortcuts or do it quickly or whatever. So that was cool with me because that's how you get quality."
• Francis Ford Coppola [21:04]: "As the president of Paramount, there's no way that Marlon Brando will play this role."
• Dean Tavoularis [23:03]: "He walked out and put on a jacket, picked up a cigar, and transformed into Don Vito Corleone right there in that room."
• Robert Evans [28:21]: "Michael Corleone will not be played by Al Pacino."

Acknowledgments

This episode features excerpts from Francis Ford Coppola's 2001 DVD commentary on "The Godfather" and references Mark Seal's book Leave the Gun, Take the Cannoli, published by Gallery Books, an imprint of Simon and Schuster. Special thanks to Bridget Arseneault and the team at CDM Studios for their contributions.

Leave the Gun, Take the Cannoli is a production of Air Mail and iHeartMedia, dedicated to uncovering the untold stories behind some of cinema's most celebrated works.