The Mother of all Publicity Campaigns

Summary

Leave the Gun, Take the Cannoli: The Epic Story of the Making of the Godfather
Episode: The Mother of all Publicity Campaigns
Host/Authors: Mark Seal & Nathan King
Release Date: April 16, 2025

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Introduction

In the episode titled "The Mother of all Publicity Campaigns," Mark Seal and Nathan King delve deep into the intricate and tumultuous journey behind the making of Francis Ford Coppola's iconic film, The Godfather. This episode unpacks the challenges faced during production, the groundbreaking publicity strategies employed, and the lasting legacy of the film that forever changed Hollywood and American cinema.

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The Pre-Release Turbulence

From the outset, The Godfather faced significant obstacles. Studio interference and real-life mafia threats loomed large, threatening to derail the film's production.

Key Highlights:

• Production Challenges: Location permits were revoked, casting decisions ignited conflicts, and even violent attempts to sabotage the film were reported.
• Mario Puzo's Confrontation: The author of the book, Mario Puzo, had a public altercation with Frank Sinatra, showcasing the intense pressure surrounding the production.

Notable Quote:

"During production, location permits were revoked, war was waged over casting decisions, author Mario Puzo got into a public brawl with Frank Sinatra, a producer’s car was riddled with bullets, and 'connected' men auditioned for—and in some cases landed—parts in the film."
— Transcript [02:52]

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Marilyn Stewart's Revolutionary Press Strategy

Paramount's head of publicity and promotion, Marilyn Stewart, emerged as the linchpin in ensuring the film's success. Her innovative approach to publicity set a new benchmark in movie promotion.

Key Highlights:

• Visionary Planning: Stewart orchestrated a comprehensive press strategy well before the film was even shot, securing features in major magazines and newspapers.
• Marlon Brando's Transformation: Recognizing the transformation of Marlon Brando into Vito Corleone as the film's centerpiece, Stewart capitalized on this by restricting public images until strategic moments.

Notable Quotes:

"I came up with a publicity time bomb for the day of the release and boy, did it work."
— Transcript [07:02]

"I got so excited that you can hear me ferociously typing in the background as she tells me the story of how she made the Godfather an international sensation."
— Transcript [06:51]

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The New York City Premiere: A Night of Glitz and Mixed Reactions

The premiere in New York City was a star-studded affair, yet the initial audience reaction was unexpectedly muted.

Key Highlights:

• Star-Studded Attendance: The premiere featured celebrities like Al Pacino, Robert Evans, and even Secretary of State Henry Kissinger.
• Marlon Brando’s Absence: Brando famously sent Jim Thomas in his place, sparking curiosity and speculation.
• Eerie Silence Post-Screening: Contrary to expectations, the premiere ended in silence rather than applause, leading to initial fears of a flop.

Notable Quotes:

"When the lights came on, everyone got up and walked out. Nobody clapped. It was quiet."
— Transcript [16:06]

"Absolute silence. Scary, huh?"
— Transcript [16:07]

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Publicity Frenzy and Box Office Success

Despite the initial eerie reactions, Marilyn Stewart's publicity efforts ignited a frenzy that translated into box office triumph.

Key Highlights:

• Massive Demand: Lines stretched around the block, with LA Times publishing guides on enduring the wait to see the film.
• Critical Acclaim: The film received rave reviews from major publications, solidifying its reputation.
• Financial Triumph: By the end of 1972, The Godfather grossed over $150 million, a figure that has since ballooned to $250 million and continues to grow.

Notable Quotes:

"The LA Times even runs a story headline 'Lifestyles for Waiting in Line to See the Godfather,' which was an instructional guide for how to make the long wait more tolerable."
— Transcript [22:28]

"By the end of 1972, at Gulf and Western's annual meeting, Charlie Bludorn announced that the Godfather had made over $150 million."
— Transcript [24:19]

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The Fractured Relationship Between Coppola and Evans

While the film soared to success, the professional relationship between Francis Ford Coppola and Robert Evans deteriorated, leading to a notorious feud.

Key Highlights:

• Conflicting Views: Coppola believed the film was too dark and feared it would flop, while Evans was instrumental in its promotional success.
• Public Disputes: Their disagreements culminated in public exchanges and telegrams, highlighting deep-seated tensions.
• Enduring Legacy: Both Coppola and Evans were haunted by the film's legacy, shaping their subsequent careers and personal lives.

Notable Quotes:

"I've been a real gentleman regarding your claims of involvement on the Godfather... You did nothing on the Godfather other than annoy me and slow it down."
— Transcript [26:27]

"I cannot imagine what prompted this venomous diatribe... I cannot conceive what motivated your malicious thoughts, but if they are a reflection of your hostility, I bear great sympathy and concern for your apparent paranoid schizophrenic behavior."
— Transcript [27:43]

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Coppola's Redemption and Enduring Legacy

Ultimately, Coppola recognized the film's monumental impact, both personally and professionally, solidifying his status as a master filmmaker.

Key Highlights:

• Personal Reflection: Coppola acknowledged Mario Puzo's significant influence, stating, "Mario made me, and the Godfather changed my life."
• Cultural Impact: The film's success not only salvaged Paramount but also redefined the portrayal of the mafia and Italian-American culture in cinema.
• Enduring Influence: The Godfather remains a benchmark for storytelling, character development, and cinematic excellence.

Notable Quote:

"Mario made me, and the Godfather changed my life."
— Transcript [28:52]

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Conclusion

"The Mother of all Publicity Campaigns" offers an in-depth exploration of the making of The Godfather, highlighting the myriad challenges, strategic triumphs, and personal conflicts that shaped one of cinema's greatest masterpieces. Through archival interviews and exclusive insights, Mark Seal and Nathan King illuminate the complexities behind the film's success, celebrating its enduring legacy in Hollywood history.

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Final Thoughts

This episode serves as a testament to the power of visionary leadership and strategic thinking in overcoming obstacles. Marilyn Stewart's pioneering publicity campaign not only ensured the film's success but also set a new standard for movie promotions. Meanwhile, the strained relationship between Coppola and Evans underscores the personal costs that often accompany creative endeavors of such magnitude.

Leave the Gun, Take the Cannoli is not just a recounting of The Godfather's making; it is a profound narrative of ambition, resilience, and the intricate dance between art and commerce in the golden age of Hollywood.

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Notable Transcripts:

• [06:05] "The key to it all in her mind was Marlon Brando's transformation."
• [16:56] "This is the highest night of my life. There's such a euphoria."
• [28:49] "Leave the Gun, Take the Cannoli is a production of Air Mail and iHeartMedia."

Transcript

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VGW Group void where prohibited by law 21 + terms and conditions apply. It's March in March of 1972. Ivor Davis is an LA based reporter for the London Daily Express.

[Reality Show Host]

I was the one man Los Angeles bureau working out of Southern California.

[Stassi Schroeder]

He's a British bloodhound who's heard the talk and read the headlines of the most anticipated movie of the year, the Godfather.

[Reality Show Host]

And there was all sorts of chicanery going on in New York. We heard the mob didn't like the way they were being depicted in the film and so there was a lot of talk buzzing around the Godfather.

[Stassi Schroeder]

He calls Paramount and they tell him press screenings are coming. Not good enough. He wants a scoop.

[Reality Show Host]

So my London office kept nagging me, when's the film coming out? When are you going to see it? Can you see it quickly?

[Stassi Schroeder]

One night, Ivor is hanging out at Chasen's. Yes, the Chasens, where Mario Puzo had his altercation. Frank Sinatra. He's talking to the maitre d, a friend of his named Phil Scully. He tells him about his quest to see the movie everyone's talking about but nobody's seen.

[Reality Show Host]

And I said to Phil, have you heard about the Godfather? He said, no, I know it's coming out. So I said, I'd love to see it. And I left it at that.

[Stassi Schroeder]

A few days later, the reporter's phone rings. It's Phil.

[Reality Show Host]

He said, iver, they're showing the movie tomorrow night, and it's at a Litton Savings and Loan cinema on Sunset Boulevard. And if you want to see it, come along and I'll get you in.

[Stassi Schroeder]

It turns out Chaisens is catering a first look screening for distributors.

[Reality Show Host]

He said, the only problem is I can't bring you in as a journalist, so you have to pretend to be a waiter.

[Stassi Schroeder]

So Ivor shows up to the theater the next day and meets Phil around back to get a waiter's uniform.

[Reality Show Host]

He said, get in there. Make it simple. Just take drink orders. So I took drink orders, and he said, keep your mouth shut. And I did that for about 45 minutes to try to overhear what people were saying.

[Stassi Schroeder]

Just before the screening begins, Ivor takes off his uniform and blends into the crowd of distributors.

[Reality Show Host]

And off I went into the screening room, got a backseat, took my notebook, and there, before my very eyes, the movie unfolded.

[Nathan Kang]

I believe in America.

[Reality Show Host]

Marc.

[Stassi Schroeder]

I'm Mark Seal.

[Nathan Kang]

And I'm Nathan Kang, and this is.

[Stassi Schroeder]

Leave the gun, Take the cannoli.

[Nathan Kang]

In today's episode, we're moving on from the tumult of shooting, post production, and endless fights and onto the glitz and glam of the Godfather's New York City premiere and subsequent rise as one of the greatest films of all time.

[Stassi Schroeder]

We'll hear from the mastermind behind the Godfather's press strategy and tie up the loose ends between Coppola and Evans.

[Nathan Kang]

So we left off last episode with Francis Ford Coppola winning every single fight. With Evans in the studio, he gets the cast he wants, the locations he wants. He painstakingly gets scenes back into the movie that were once cut out of it. And he's made a masterpiece.

[Stassi Schroeder]

Well, we know he made a masterpiece, but he's somehow sure that he's made a boring movie. He's consumed by the idea that it's going to be a flop.

[Nathan Kang]

But even without Coppola believing in the movie, there's one person who believed in it enough for everyone.

[Stassi Schroeder]

Yes, there was the great Marilyn Stewart, Paramount's worldwide head of publicity and promotion, who got the town buzzing about the film before a single frame had been.

[Reality Show Host]

Shot, because no other publicist, maybe in the country, could do what I could have done.

[Nathan Kang]

You talk to her for the book, right?

[Stassi Schroeder]

Yeah, I talked to her, and I talked to her, and I talked to her for hours at a time, and she told me her strategy in minute detail. The key to it all in her mind was Marlon Brando's transformation. She had seen that revolutionary transformation in the home video, I believe, that Frances had done on Mulholland Drive and was astounded, like everyone else, at this incredible transformation of Marlon Brando into Vito Corleone. And so she thought, that's the key.

[Reality Show Host]

I'm going to lock up the set. Nobody's going to get a picture of Marlon Brando as the Godfather until Time or Newsweek or Life or look has him on the COVID with a big story.

[Stassi Schroeder]

I got so excited that you can hear me ferociously typing in the background as she tells me the story of how she made the Godfather an international sensation.

[Reality Show Host]

So the big thing was all of the pictures, all of the negatives that Steve Shapiro shot on the Godfather set that showed Marlon in clear detail. All the negatives were in my personal safety deposit box.

[Stassi Schroeder]

And so she thought, then we can stun the world when the movie comes out with the pictures of Marlon Brando as the Godfather, because everybody will want to see the movie because they'll want to see Marlon Brando as the dinner.

[Nathan Kang]

How did you track her down?

[Stassi Schroeder]

Well, you know, I was talking to Nicholas Peggi for the book, and he told me he was the only reporter loud on the Godfather set in Little Italy. I said, well, how did that all happen? He said, well, Marilyn Stewart handled everything. She was the Paramount head of publicity and promotion. And so I said, marilyn Stewart? I really hadn't heard about Marilyn Stewart before. And so I frantically googled her name and. And I was able to find a phone number for her and give her a call. And she was just this amazing woman who had unveiled this then revolutionary press strategy of promoting a movie not upon its release or a few weeks or months before its release, but before it would had even been shot at all, making deals with magazines and newspapers and planning a press strategy a year or two in advance.

[Nathan Kang]

So when Ironfor Davis says it's the movie everyone's talking about and he has to sneak into a screening, Marilyn's the reason everyone's talking about it.

[Stassi Schroeder]

Yes, indeed. And she wasn't even working for Paramount by the time the movie came out. But she set up a publicity time bomb for the day of the release and boy, did it work.

[Reality Show Host]

And I called Bob and I, you know, I said, have you ever heard of knowing that you're going to be on the Newsweek cover before you even shoot one frame of film? He said, what? What are you talking about?

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[Nathan Kang]

So Marilyn Stewart got the press and the public buzzing about the premiere of the Godfather. Mark, you saw the movie in theaters when it first came out, but I'm guessing it was a world away from the glamour of the New York City premiere.

[Stassi Schroeder]

It was several worlds away. I mean, I'm watching the movie in Memphis, Tennessee. I can only imagine what it was like to be at that premiere. You can see the pictures, you know, and you can see the excitement and feel the energy and the enthusiasm of all that. The film premiered on March 14, 1972, at the Low State Theater on 45th and Broadway. The streets were clogged with heavy traffic. Police mobs of fans impressed. Marilyn Stewart had done her job. It was an absolute frenzy, okay?

[Nathan Kang]

Everyone was there. Kennedys, Fords, Raquel Welch, Al Pacino, of course, Charlie Bludorn, Mario Puzo and his whole family. Francis Ford Coppola and his wife. Even Robert Evans, suddenly cured of his ailments, arrived with Ally McGraw on one arm and a surprising guest on his other.

[Stassi Schroeder]

Yeah, Robert Evans brought none other than Secretary of State Henry Kissinger to the premiere, much to the delight of Charlie Bludorn, who tells Evans in his book, evans, Evans, I love you. I love you, Kissinger. He was so excited.

[Nathan Kang]

It was like having the co sign of the US Government on the film.

[Stassi Schroeder]

Exactly. You know, Charlie Bludorn was in heaven this night.

[Nathan Kang]

And when the limo suspected to be carrying Marlon Brando pulled up, the crowds were poised to pounce on the superstar. But he didn't show up. In his place, he sent a friend of his, Jim Thomas, a Native American man from Alaska, in full regalia.

[Stassi Schroeder]

Yes, he did. And I was so excited to speak to Jim Thomas because he Gave me a lens into the premiere.

[Nathan Kang]

What did he say about it from his perspective?

[Stassi Schroeder]

You know, he came with a small group of friends and family, and he was sitting in a prime seat in one of the. And he just had a great story to tell about talking with Al Pacino, who said, how do you like the movie? You know, he didn't recognize Pacino at first. He goes, I thought it was pretty good.

[Nathan Kang]

Now, before we get off the red carpet and into the theater for the premiere, I want you to tell me the story of something that didn't happen. It's a great story. And it doesn't appear in your book.

[Stassi Schroeder]

No, it's not in the book, but when I was interviewing Gianni Russo, who played Carlo Rizzi, he told me about his experience at the premiere.

[Reality Show Host]

I tell you what I was going to do, and I should have did it. Actually, they talked me out of it. In fact, you know who I took to my premiere? You will not believe this. Dr. Theodore Jacobs.

[Stassi Schroeder]

Apparently, four days prior to the premiere, Gianni gets a call from the FBI informing him of a call they intercepted who had plans to kill Gianni at the premiere. They tell him they can't offer any protection, but it's their obligation to tell him of the threat.

[Reality Show Host]

So like everything else in life, I said, I'm going to use this thing. So I hired a marksman, and I was going to put him on the roof and let him shoot me on live television. The FBI already verified that I had.

[Stassi Schroeder]

A hit on me.

[Reality Show Host]

I would have been fucking headlights the next day.

[Stassi Schroeder]

I'd be dead, though.

[Reality Show Host]

No, I had marksman to shoot me here.

[Stassi Schroeder]

Here.

[Reality Show Host]

Oh, that killed. Kill me. I would have been the biggest star in the world. So I got my doctor. He said, crazy. Can I talk you out of this? I said, no, it's a stunt. It's a stunt, doc. Don't worry about it.

[Stassi Schroeder]

So then what? Did you do it? What happened?

[Reality Show Host]

They took me out of it.

[Stassi Schroeder]

Who?

[Reality Show Host]

Yeah, in the 11th hour. Who? My doctor, Frank Cooper and my very close friend Tommy Bilotti.

[Stassi Schroeder]

Can you imagine the headlines the next day? Carlo Rizzi, the Godfather's heirant son in law, shot at the premiere of the Godfather. Could you imagine better headlines than that? It would make him a worldwide star.

[Nathan Kang]

It would be the biggest publicity stunt of all time, probably. Wow. Well, I was pretty shocked when I heard that tape, Mark. Okay, so we get into the theater. Thankfully, no one's been shot. What's the reaction when the credits roll and the lights turn back on?

[Stassi Schroeder]

Absolute silence.

[Nathan Kang]

Not the standing Ovation you would expect from a masterpiece?

[Stassi Schroeder]

No, it's not at all. Here's how Robert Evans later described it in his memoir.

[Reality Show Host]

No applause, not a sound. Silence.

[Stassi Schroeder]

Scary, huh?

[Reality Show Host]

Eerie.

[Nathan Kang]

Well, despite the silence, the star studded audience heads to the top floor of the St. Regis Hotel for an over the top gala complete with authentic Sicilian food, waiters dressed as Corleone bagmen, a giant ice sculpture in the shape of a submachine gun, and. And an orchestra playing the Godfather theme over and over again.

[Stassi Schroeder]

It was a night to remember, and in fact one that Robert Evans remembered for years to come. When we spoke in 2007, he got quite emotional talking about it.

[Reality Show Host]

This is the highest night of my life. There's such a euphoria. Everyone realizing they're just seeing something. Mesmerized. 500 people were there. Eyes in heaven.

[Nathan Kang]

What about for Coppola? He must have been relieved that the ordeal was finally over.

[Stassi Schroeder]

Yeah, I'm sure he was, in a sense. But he later said that he had been so conditioned to think the film was too dark, too long, too boring, that he wasn't sure it would have any success. But you can see him in the photographs on the party. He looks like he's having a pretty good time.

[Nathan Kang]

He's hiding his despair well. A week later, the Hollywood premiere saw a similar audience response. That eerie silence.

[Stassi Schroeder]

And Al Ruddy wanted to get to the bottom of it. He and Al Pacino decided to sneak into the last 10 minutes of a showing at a theater in New York to gauge the reaction. Here's how he described it in an interview with All Things Considered. I was with Al Pacino in the back of the theater, and it was an amazing thing that occurred. When the lights came on, everyone got up and walked out. Nobody clapped. It was quiet. I looked at all. I said, oh, Jesus Christ. Maybe they think it's a disaster. But Ruddy's fears were soon relieved. On the day of the nationwide premiere, March 24, 1972, Al Ruddy drove past the Paramount Theater on Broadway in the middle of a driving rainstorm. There was a line stretching around the block to see the Godfather.

[Nathan Kang]

And meanwhile, Coppola has no idea that his film's a hit. Immediately after the New York premiere, he heads to Paris for some peace and quiet, to focus on his next screenplay, an adaptation of the Great Gatsby, yet.

[Stassi Schroeder]

Another Paramount project that he took on for Robert Evans.

[Nathan Kang]

Why do you think he decided to take on this job, especially if he had such a bad experience working with Evans the first time around?

[Stassi Schroeder]

Well, he needed the money. Don't forget the money he's received so far from the Godfather went to cover his debts for American Zoetrope and the huge house he had just bought for his family and other expenses.

[Nathan Kang]

Well, he'll soon find out that he definitely doesn't need the money. When does Coppola finally realize that the Godfather isn't the massive failure he fears?

[Stassi Schroeder]

Well, he's in Paris and his phone rings. It's his wife, Eleanor, who's still in New York. After the premiere, she tells him that just outside her hotel room, she could see a movie theater with the marquee reading the Godfather. And on the street, day in and day out, there's a line snaking around the block. She said, oh my God, Frances, you won't believe it. It's a phenomenon.

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[Reality Show Host]

Hello darlings. Pack your suitcase for a new season of the Hulu original reality series Vanderpump Villa.

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Let's do this. Ciao. It's Stassi. Of course. Lisa brought in her favorite to be resident chaperone of the castle.

[Stassi Schroeder]

Stassi is an icon.

[Reality Show Host]

She's my eyes and ears.

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I love this.

[Reality Show Host]

Get ready for the luxury and drama that awaits us in Italy.

[Stassi Schroeder]

Cheers to all the toxic couples in the castle.

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Season 2 of Vanderpump Villa premieres April 24th.

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[Nathan Kang]

Mania is in full swing. The crowds are spurred on by Marilyn Stewart's genius press strategy and theaters can't add enough showings to keep up with the ravenous crowds.

[Stassi Schroeder]

The LA Times even runs a story headline Lifestyles for Waiting in Line to See the Godfather, which was an instructional guide for how to make the long wait more tolerable.

[Nathan Kang]

Mark, is it true that Al Ruddy set up a separate screening for the Boys, as he called them?

[Stassi Schroeder]

Yeah, even the men who inspired the movie had trouble getting tickets. So Ruddy sets up a screening in New York.

[Reality Show Host]

So I snuck a print out which.

[Stassi Schroeder]

Paramount never knew about, and I gave them a screening.

[Reality Show Host]

It must have been 100 limousines in front, I swear to God. And the projectionist called me.

[Stassi Schroeder]

The guy said, Mr. Ruddy, I've been.

[Reality Show Host]

A projectionist my whole life.

[Stassi Schroeder]

No one ever gave me a thousand dollar tip. That's how much the guys love the movie. And there's a great cartoon that's featured in my book and it shows the Godfather marquee and A line of these big men in overcoats with violin cases under their arms, snaking down the street, waiting to see the movie.

[Nathan Kang]

And what about the reviews?

[Stassi Schroeder]

Well, the reviews were pretty much sensational. Bravo.

[Reality Show Host]

Brando's Godfather hails the New York Times.

[Stassi Schroeder]

The year's first release act satisfying big commercial American film. 4 stars, highest rating from the Daily News.

[Reality Show Host]

An Italian American Gone with a Wind claims Time magazine. Gene Shallet. NBC TV calls the Godfather a spectacular movie, one of the finest gangster movies ever made.

[Stassi Schroeder]

The Godfather is now a movie from Paramount. Rated R now at Low State, 1.

[Reality Show Host]

2, Cine, Orpheum and Tower East.

[Nathan Kang]

But it's more than bluster. There's real money to back up the Godfather's success.

[Stassi Schroeder]

Yes, and by the end of 1972, at Gulf and Western's annual meeting, Charlie Bludorn announced that the Godfather had made over $150 million.

[Nathan Kang]

And what's that number today?

[Stassi Schroeder]

250 million and still going strong.

[Nathan Kang]

So what did that do for Paramount, the last place studio?

[Stassi Schroeder]

Well, it saved the studio. Bluehorn had a short memory, but at that press conference, he said, we've got the best ratio of hits against flops in the industry.

[Nathan Kang]

This film has changed so many lives, but maybe none so much as Evans and Coppola. They both regard the film as something that both made and destroyed their lives.

[Stassi Schroeder]

And for all of their differences, they really share that. They were both so passionate about the movie, but the legacy really haunted both of them. Coppola couldn't go anywhere without people playing the Godfather theme and being reminded of the traumatic experience of making the film. And Evans lost so much over his absolute obsession with the movie. When I interviewed him for the book, I was struck by how much he opened up to me about the emotional toll.

[Reality Show Host]

Now, at the party later, I want to show you a picture.

[Stassi Schroeder]

He showed me a photo of himself and his wife, Ally McGraw, on the night of the premiere. They're dancing and they look completely in love.

[Reality Show Host]

Would you believe at this very moment, she was madly in love with another man? I had no idea. Any man who thinks he can read the mind of a woman is a man who knows nothing.

[Nathan Kang]

It seems like Coppola and Evans could have bonded over how much they gave to the movie.

[Stassi Schroeder]

They probably could have. But in reality, the two never really became best friends. Their rift continued after the film's release in something of a PR war, each blamed the other for threatening to derail the film. At various points of the production, Coppola revealed Evans initial opposition to his perfect cast. And Evans struck back, saying he saved the movie by re editing the final cut. Coppola said in an interview, Evans claimed he had saved the picture because he asked me to put back the half hour that he had told me to take out.

[Nathan Kang]

And this feud is probably best exemplified by two telegrams from 1983 that were printed in full and sold at auction as part of Evans Estate. December 13, 1983 Dear Bob Evans, I've been a real gentleman regarding your claims of involvement on the Godfather. I've never talked about your throwing out the Nino Rota music, your barring the casting of pacino and Brando, etc. But continually your stupid blabbing about cutting the Godfather comes back to me and angers me for its ridiculous pomposity. You did nothing on the Godfather other than annoy me and slow it down. That is why Charlie put in the Godfather 2 contract that you could have nothing to do with the movie. You will never see the Cotton Club until it's an answer print. You have double crossed me for the last time. Time. If you want a PR war or any kind of war, no one is better at it than me. Francis Coppola.

[Stassi Schroeder]

Wow.

[Nathan Kang]

I really put my back into that one.

[Stassi Schroeder]

Mark Evans responded with his own dramatic retort. December 14, 1983. Dear Francis, thank you for your charming cable. I cannot imagine what prompted this venomous diatribe. I am both annoyed and exasperated by your fallacious accusations when all I do is praise your extraordinary talents as a filmmaker. Conversely, your behavior toward me glaringly lacks any iota of concern, honesty, or integrity. I am affronted by your gall in daring to send this Machiavellian epistle, the content of which is not only ludicrous but totally misrepresents the truth. I cannot conceive what motivated your malicious thoughts, but if they are a reflection of your hostility, I bear great sympathy and concern for your apparent paranoid schizophrenic behavior. However, dear Francis, do not mistake my kindness for weakness. Robert Evans.

[Nathan Kang]

Wow, That's Shakespearean.

[Stassi Schroeder]

To this day, wherever Coppola goes, people seem to have impressions about the film. He tells a story about walking by a group of suspiciously tough Italian men. They were stealing glances at him, and he heard one of them whisper the name Mario Puzo. One of the men yelled, you didn't make him, he made you. He could not disagree, later writing, it's absolutely true that Mario made me, and the Godfather changed my life.

[Nathan Kang]

Coppola's relationship with Puzo really made up for his feud with Evans.

[Stassi Schroeder]

It sure did, and I think we can sign off with an excerpt of the audio that Coppola shared with us for the podcast. I immediately liked Mario Puzo. I found him funny, wise and lovable, like an uncle. He spoke in clear, short, wise statements. I was very fond of him and enjoyed working with him very much. I miss him now that he's gone and I wish he was still around so I could talk to him. Leave the Gun, Take the Cannoli is a production of Air Mail and iheartmedia.

[Nathan Kang]

The podcast is based on the book of the same name written by our very own Mark Seal. Our producer is Tina Mullen, Research assistants by Jack Sullivan.

[Stassi Schroeder]

Jonathan Dressler was our development producer.

[Nathan Kang]

Our music supervisor is Randall Poster. Our executive producers are me, Nathan King, Mark Zeal, Dylan Fagan and Graydon Carter.

[Stassi Schroeder]

Special thanks to Bridget Arceneaux and everyone at CDM Studios.

[Nathan Kang]

A comprehensive list of sources and acknowledgments can be found in Mark Seals book Leave the Gun, Take the Cannoli, published by Gallery Books, an imprint of Simon and Schuster. You know, some people say that Odoo business management software is like fertilizer, the way it promotes growth and all.

[Stassi Schroeder]

But other people say Odoo is like a magic beanstalk because it grows with your company and is also magically affordable. And there's some people who would even.

[Nathan Kang]

Say Odoo's individual software programs come together.

[Stassi Schroeder]

To build the perfect suite.

[Nathan Kang]

Like building blocks.

[Stassi Schroeder]

Well, Odoo is all of these things.

[Nathan Kang]

Fertilizer, magic beanstalk, building blocks for business.

[Stassi Schroeder]

So sign up [e-mail] o d o.

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[Stassi Schroeder]

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