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...Robert Evans approached Peter Yates, who had established his thriller credentials with Bullitt; Richard Brooks, who shot In Cold Blood; and even Greek Director Costa Gavras, the man who made Z. When, for various reasons, none of these choices worked out, Evans went for a dark horse: Francis Ford Coppola, who was only...

Author: /time Magazine | Title: Show Business: The Making of The Godfather | 3/13/1972 | See Source »

Dynasty and Power. Coppola was an established screenwriter (he won an Oscar last year for co-authoring Patton), but he had an indifferent record as a director (Finian's Rainbow, You're a Big Boy Now). Nevertheless, Evans had faith in Coppola's ability, and attached particular importance to the fact that he was Italian-American. Says Evans: "He knew the way these men in The Godfather ate their food, kissed each other, talked. He knew the grit." Coppola, deeply in debt, could have used an offer to direct traffic, let alone a movie like The Godfather...

Author: /time Magazine | Title: Show Business: The Making of The Godfather | 3/13/1972 | See Source »

Although hardly dealing from strength, Coppola fought to get his budget doubled, shift the style to the period in which the book is set (late 1940s and early 1950s), and alter the whole conception of the film. "I saw important ideas in this book that had to do with dynasty and power," he says. "Puzo's screenplay had turned into a slick, contemporary gangster picture of no importance. It wasn't Puzo's fault. He just did what they told him to do." With Puzo's collaboration, Coppola rewrote the script along the broader lines...

Author: /time Magazine | Title: Show Business: The Making of The Godfather | 3/13/1972 | See Source »

...further than the inevitable city room locker jokes. In the news columns of the fifties, Liz Renay was variously described as "glamorous," "beauteous," "redhead," or "blonde," as an "acquaintance," "playgirl," "entertainer," or "stripper," as an "acquaintance," "girlfriend," or "date" of gambler Mickey Cohen and gangster Anthony Coppola...

Author: By Gregg J. Kilday, | Title: Liz Renay Shows Her Face | 10/1/1971 | See Source »

...from the final fade-out as she says goodby to Cohen and Coppola, hello to Stuart and Tobalina. It's much, much too early for Liz Renay to write her epitaph. But when she's ready, it'll be there. In fact, she's already composed a little verse on the subject of female liberation that could itself do perfectly well...

Author: By Gregg J. Kilday, | Title: Liz Renay Shows Her Face | 10/1/1971 | See Source »

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