Script- The Sicilian by Mario Puzo (Adapted by Francis Ford Coppola)
Al Pacino: Michael Corleone
Marcello Mastroianni: Salvatore "Turi" Guiliano
Frank Wolf: Gaspare Pisciotta
Orson Welles- Vito Corleone
Richard S. Castellano: Peter Clemenza
Sophia Loren: La Venera
Dustin Hoffman: Hector Adonis
Francis Ford Coppola: Director
Gordon Willis: Cinematographer
Dean Tavoularis: Set Designer
Nino Rota: Score Composer
Walter Frank Hermann Wolff (May 11, 1928 —December 12, 1971) was a versatile American actor whose prolific movie career began with roles in five 1958-61 Roger Corman productions and ended a decade later in Rome, after scores of appearances in European-made films, most of which were lensed in Italy.
Frank Wolff had bit roles in his first two films, Roger Corman's I Mobster and The Wasp Woman. The former, a 1958 black-and-white gangster melodrama in which Wolff does not even receive a billing, was presented as a first-person narrative by the title character, Murder Incorporated (fictional) boss Joe Sante (Steve Cochran). The latter, Wolff's first genre film, was a typically campy horror, filmed in 1959, in which the owner of a cosmetics business (Susan Cabot) becomes the titular monster after using one of her own experimental rejuvenating formulas. Wolff has a single, memorable scene.
Later in the year, however, Wolff's billing dramatically increased to co-lead status in his next two Corman productions, scripted by Charles B. Griffith, Beast from Haunted Cave and Ski Troop Attack. Shot back-to-back in the snowy wilderness outside Deadwood, South Dakota, the films used the same crew and cast, which, in addition to Wolff, included Michael Forest, Wally Campo, Richard Sinatra (Frank's nephew) and Sheila Carol. The first of the two, Beast, directed for Corman by Wolff's UCLA friend, Monte Hellman, remains a well-remembered low-budget horror title, with a spider-like creature menacing a trio of robbers, led by Wolff, trapped in a ski lodge. In contrast, the equally poverty-budgeted Attack, on which Corman himself took over the directorial reins, turned out to be a little-noticed World War II quickie in which a quartet of GIs on skis slog through a snowbound landscape. The group's leader, a tall, stalwart lieutenant (Michael Forest), who played a similarly characterized forest ranger in Beast, is continually challenged by the disdainful sergeant (Wolff). Beast was first shown in October 1959, but eventually paired on a double bill with The Wasp Woman which, in line with the other films' Dakota link, premiered in Bismarck, North Dakota on February 12, 1960. The previous month, Wolff was seen in three TV appearances, The Untouchables (January 7), The Lawless Years (January 19) and Rawhide (January 29). He also had the third-billed role of Baron, a nighclub owner who refuses to give another chance to alcoholic trumpet player Jack Klugman in The Twilight Zone episode "A Passage for Trumpet", broadcast on May 20.
In autumn 1960, Frank Wolff traveled to Greece to co-star in another Roger Corman-directed, Charles B. Griffith-scripted low-budgeter, Atlas (released in May 1961). The title role was again assigned to the brawny Corman regular, Michael Forest, while the female lead went to Barboura Morris who, between 1957 and 1967, worked exclusively for Corman, appearing in thirteen of his films, including The Wasp Woman. In Atlas, Wolff was cast as the treacherous King Praximedes, a scene-stealing lead villain who was singled out by the few critics who reviewed the film. Sporting a short beard, Praximedes was alternately charming, witty, overbearing and menacing.
On Corman's advice, Frank Wolff remained in Europe and became a well-known character actor in over fifty, mostly Italian-made, films of the 1960s, including crime/suspense "gialli" and spaghetti westerns. Early in his European career, he returned to Greece to essay a major, second-billed role in his most prestigious movie, the 1963 "Best Picture" Oscar nominee America, America, which producer-director-writer Elia Kazan filmed on location. As Vartan Damadian, the Armenian friend of the central character, played by Stathis Giallelis, a heavily-mustached Wolff assayed a complex, multi-layered personality.
Wolff's numerous Italian films of the 60s included The Four Days of Naples, Salvatore Giuliano, Death Took Place Last Night, The Great Silence, God Forgives, I Don't, One Dollar Too Many, and Once Upon a Time in the West. He was also seen a few episodes of British-produced TV series, such as The Saint and The Baron.
I'll take Sophia Loren to play Guiliano's mistress. Another smaller role, but I think she fits the role perfectly.
Sophia Loren (born Sofia Villani Scicolone; September 20, 1934) is an Italian actress.
In 1962, she won the Academy Award for Best Actress for her role in Two Women, becoming the first actress to win an Academy Award for a non-English-speaking performance. Loren has won 50 international awards, including two Oscars, five Golden Globe Awards, a Grammy Award and a BAFTA Award. Her other films include Attila (1954), The Pride and the Passion (1957), Houseboat (1958), El cid (1961), Yesterday, Today and Tomorrow (1963), Marriage Italian Style (1964), A Special Day (1977), Grumpier Old Men (1995), and Nine (2009).
In 1999, Sophia Loren was listed by the American Film Institute on AFI's 100 Years... 100 Stars as one of 25 American female screen legends of all time. In 2002, she was honored by the National Italian American Foundation (NIAF) at its annual Anniversary Gala and was inducted into its Italian American Hall of Fame.She is the only actor in history to win the Praemium Imperiale,The "Nobel Prize of art" .
Dustin Lee Hoffman (born August 8, 1937) is an American actor with a career in film, television, and theatre since 1960. He has been known for his versatile portrayals of antiheroes and vulnerable types of characters.
He first drew critical praise for the 1966 Off-Broadway play Eh? for which he won a Theatre World Award and a Drama Desk Award. This was soon followed by his breakthrough movie role as Benjamin Braddock in The Graduate (1967). Since then Hoffman's career has largely been focused in cinema with only sporadic returns to television and the stage. Some of his most noted films are Midnight Cowboy, Lenny, All the President's Men, Kramer vs. Kramer, Tootsie, Rain Man, and Wag the Dog.
Hoffman has won two Academy Awards, five Golden Globes, three BAFTAs, three Drama Desk Awards, and an Emmy Award. Dustin Hoffman received the AFI Life Achievement Award in 1999.
Alfredo James "Al" Pacino (born April 25, 1940) is an American film and stage actor and director. He is most famed for playing mobsters including Tony Montana in Scarface and Michael Corleone in The Godfather trilogy, though he has also appeared several times on the other side of the law—as a police officer, detective and a lawyer. His role as Frank Slade in Scent of a Woman won him the Academy Award for Best Actor in 1992 after receiving seven previous Oscar nominations
He made his feature film debut in the 1969 film Me, Natalie in a minor supporting role, before playing the leading role in the 1971 drama The Panic in Needle Park. Pacino made his major breakthrough when he was given the role of Michael Corleone in The Godfather in 1972, which earned him an Academy Award nomination for Best Supporting Actor. Other Oscar nominations for Best Supporting Actor were for Dick Tracy and Glengarry Glen Ross. Oscar nominations for Best Actor include The Godfather Part II, Serpico, Dog Day Afternoon, the court room drama ...And Justice for All and Scent of a Woman.
In addition to a career in film, he has also enjoyed a successful career on stage, picking up Tony Awards for Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel. His love of Shakespeare caused him to direct his first film with Looking for Richard, a part documentary on the play Richard III. Pacino has received numerous lifetime achievement awards, including one from the American Film Institute. He is a method actor, taught mainly by Lee Strasberg and Charlie Laughton at the Actors' Studio in New York.
Although he has never married, Pacino has had several relationships with fellow actresses and has three children.
It was the 1971 film The Panic in Needle Park, in which he played a heroin addict, that brought Pacino to the attention of director Francis Ford Coppola, who cast him as Michael Corleone in the blockbuster 1972 Mafia film The Godfather. Although several established actors – including Robert Redford, Warren Beatty, and a little-known Robert De Niro – also wanted to portray Michael Corleone, Coppola selected the relatively unknown Pacino, much to the dismay of studio executives. He was even teased on the set because he was short in height. Pacino's performance earned him an Academy Award nomination, and offered a prime example of his early acting style, described by Halliwell's Film Guide as "intense" and "tightly clenched". However Pacino boycotted the 45th Academy Awards as he was insulted at being nominated for the Supporting Acting award, noting that he had more screen time than Brando – who was himself boycotting the awards.
In 1973, he co-starred in Scarecrow, with Gene Hackman, and won the Palme d'Or at the Cannes Film Festival. That same year, Pacino starred in Serpico, based on the true story of New York City policeman Frank Serpico, who went undercover to expose the corruption of fellow officers. In 1974, Pacino reprised his role as Michael Corleone in the sequel The Godfather Part II, acclaimed as being comparable to the original. The film became the first sequel to win the Best Picture Oscar, and Pacino was nominated for his third Oscar. Newsweek magazine declared that his performance in the film "is arguably cinema's greatest portrayal of the hardening of a heart". In 1975, he enjoyed further success with the release of Dog Day Afternoon, based on the true story of bank robber John Wojtowicz. It was directed by Sidney Lumet, who also directed him in Serpico a few years earlier, and for both films Pacino was nominated for Best Actor.
In 1977, Pacino starred as a race-car driver in Bobby Deerfield, directed by Sydney Pollack, and received a Golden Globe nomination for Best Motion Picture Actor – Drama for his portrayal of the title role, losing out to Richard Burton, who won for Equus. His next film was the dark drama ...And Justice for All, which again saw Pacino lauded by critics for his wide range of acting abilities, and nominated for the Best Actor Oscar for a fourth time. However he lost out that year to Dustin Hoffman in Kramer vs. Kramer— a role that Pacino had declined.
During the 1970s, Pacino had four Oscar nominations for Best Actor, for his performances in Serpico, The Godfather Part II, Dog Day Afternoon, and ...And Justice for All.
Thanks for pointing him out to me Jasi and Jackass
Marcello Vincenzo Domenico Mastroianni (28 September 1924 – 19 December 1996) was an Italian film actor. His honours have included British Film Academy Awards, Best Actor awards at the Cannes Film Festival and two Golden Globe Awards. He was a famous actor in Italy and all around the world.
In 1945, Mastroianni started working for a film company and began taking acting lessons. His first role was in I Miserabili (1948). He soon became a major international celebrity, starring in Big Deal on Madonna Street; and in Federico Fellini's La dolce vita with Anita Ekberg in 1960, where he played a disillusioned and self-loathing tabloid columnist who spends his days and nights exploring Rome's high society. Mastroianni followed La dolce vita with another signature role, that of a film director who, amidst self-doubt and troubled love affairs, finds himself in a creative block while making a movie in Fellini's 8½. His prominent films include La dolce vita, La Notte, Yesterday, Today and Tomorrow, Marriage Italian-Style, A Special Day, and Ready to Wear, opposite Sophia Loren. Mastroianni and Loren were one of the most successful and enduring screen couples of cinema history, paired up in 14 movies over twenty years.
Mastroianni, Dean Stockwell and Jack Lemmon are the only actors to have been twice awarded the Best Actor at the Cannes Film Festival. Mastroianni won it in 1970 for Dramma della gelosia - tutti i particolari in cronaca and in 1987 for Dark Eyes.
George Orson Welles (May 6, 1915 – October 10, 1985), best known as Orson Welles, was an American filmmaker, actor, theatre director, screenwriter, and producer, who worked extensively in film, theatre, television and radio. Noted for his innovative dramatic productions as well as his distinctive voice and personality, Welles is widely acknowledged as one of the most accomplished dramatic artists of the twentieth century, especially for his significant and influential early work—despite his notoriously contentious relationship with Hollywood. His distinctive directorial style featured layered, nonlinear narrative forms, innovative uses of lighting and chiaroscuro, unique camera angles, sound techniques borrowed from radio, deep focus shots, and long takes. Welles's long career in film is noted for his struggle for artistic control in the face of pressure from studios, which resulted in many of his films being severely edited and others left unreleased. He has thus been praised as a major creative force and as "the ultimate auteur."
Welles first found national and international fame as the director and narrator of a 1938 radio adaptation of H. G. Wells's novel The War of the Worlds performed for the radio drama anthology series Mercury Theatre on the Air. It was reported to have caused widespread panic when listeners thought that an extraterrestrial invasion was occurring. Although these reports of panic were mostly false and overstated, they rocketed Welles to instant notoriety.
Citizen Kane (1941), his first film with RKO, in which he starred in the iconic role of Charles Foster Kane, is often considered the greatest film ever made. Several of his other films, including The Magnificent Ambersons (1942), Touch of Evil (1958), Chimes at Midnight (1965), and F for Fake (1974), are also widely considered to be masterpieces.
In 2002, he was voted the greatest film director of all time in two separate British Film Institute polls among directors and critics, and a comprehensive survey of critical opinion, best-of lists, and critics' polls has determined that Welles is the most acclaimed director of all time. Well known for his baritone voice, Welles was also an extremely well regarded actor and was voted number 16 in AFI's 100 Years... 100 Stars list of the greatest American film actors of all time. He was also a celebrated Shakespearean stage actor and an accomplished magician, starring in troop variety shows in the war years.
Francis Ford Coppola (born April 7, 1939) is an American film director, producer and screenwriter. He is a graduate of Hofstra University where he studied theatre. He earned an M.F.A. in film directing from the UCLA Film School. He is primarily known for directing the Godfather Trilogy, Apocalypse Now, Dracula, and The Conversation and for writing Patton.
In 1972, The Godfather was released to critical acclaim and huge commercial success. Directed by Coppola (the first choice for director was Sergio Leone), and adapted by Coppola and Mario Puzo from Puzo's bestselling novel, The Godfather follows the story of the Corleone crime family under Don Vito Corleone during the 1940s and 50s. The film won three Academy Awards, including Best Picture, Best Adapted Screenplay, and Best Actor for Marlon Brando. Coppola himself was awarded Best Adapted Screenplay, along with Mario Puzo, and was nominated for Best Director.
In 1974, the highly anticipated sequel The Godfather Part II was released. Again directed and co-written by Coppola, the second film follows the story of the Corleones under Don Michael Corleone in the late 1950s, intercut with sequences depicting Vito as a young man in the early twentieth century (played by Robert De Niro) and his subsequent rise to power. Though not as commercially successful as the first film, the sequel received much critical praise and still managed a healthy profit. It became the first sequel to win the Academy Award for Best Picture, also earning Coppola Academy Awards for Best Director and Best Adapted Screenplay while winning three other awards and earning five other nominations.
The reason I chose Coppola and Pacino will become clearer the farther we get into the draft, but I feel is the perfect director for the movie I'm going to make.
Keeping with my theme of using people associated with the making of the Godfather I'm going to draft Gordon Willis for my cinematography Gordon Willis
Gordon Willis, ASC (born May 28, 1931) is an American cinematographer, best known for his work on the The Godfather series, and on Woody Allen's Annie Hall and Manhattan.
Willis was born in Queens, New York, the son of a motion picture makeup artist. He is famed for his penchant at photographing in extremely dark conditions, an approach which earned him the nickname "The Prince of Darkness", a moniker attributed to him by his friend Conrad Hall. Another trademark is his preference for filming at the magic hour before twilight, when the sun is low and creates a golden glow. Willis created the trope of warm ambers to denote nostalgic glow for the past, for the young Vito sequences of The Godfather Part II; many films since then have copied this cinematic technique when depicting pre-World War II America.
Willis had long failed to earn a single Academy Award nomination for his contributions to films which had received numerous other nominations. He eventually did receive two nominations, one for his inventive recreation of 1920s photography in Woody Allen's Zelig (1983), and one for The Godfather Part III (1990). In 2009, at the inaugural Governors Awards, the Academy chose Willis as the recipient of the Academy Honorary Award for his life's work.
Dean Tavoularis (born May 18, 1932) is an American motion picture production designer whose work appeared in numerous box office hits such as The Godfather movies, Apocalypse Now, The Brink's Job, One from the Heart and Bonnie and Clyde.
Although born in Lowell, Massachusetts, to Greek immigrant parents, Tavoularis spent his entire childhood and teenage years in Los Angeles, in the shade of the Hollywood studios. He studied architecture and painting at different art schools and landed a job at the Disney Studios first as an 'in-betweener in the animation department, and later as a storyboard artist. In 1967, Arthur Penn called him to take charge of the artistic direction of Bonnie and Clyde. Three years later, Penn called him once again to invent the no-longer-existing Little Big Man. But it was a meeting with Francis Ford Coppola in 1972 on the set of The Godfather that set the creative tone of his career. The Godfather II and The Conversation, in 1974, consolidated their collaboration and laid the way for what was to be their joint creative challenge: Apocalypse Now, the Vietnamese odyssey for which Tavoularis created a nightmare jungle kingdom, inspired by Ankor Wat. It was also on set of Apocalypse Now where he met his future wife, French actress Aurore Clément. (Clément's role was eventually edited out of final cut of the film and only restored in the Apocalypse Now Redux version in 2001.
From 1967 until 2001, he worked on over thirty movies and landed five Academy Award nominations, one of which he won with The Godfather II, and has become a movie magician capable of recreating unexpected landscapes in a studio or in the middle of nowhere. For the 1982 release One from the Heart he recreated both the Las Vegas 'strip' and McCarren International Airport on the sound stages of Zoetrope Studios. The list of directors with whom he has worked is also impressive: Michelangelo Antonioni (Zabriskie Point, 1970), Wim Wenders (Hammett, 1982), Warren Beatty (Bulworth, 1998) and Roman Polanski (The Ninth Gate, 1999). Tavoularis has been able to take his ability to invent magical spaces to unsuspected extremes alongside Francis Ford Coppola.
Nino Rota (December 3, 1911, Milan – April 10, 1979, Rome) was a world-renowned Italian composer and academic who is best known for his film scores, notably for the films of Federico Fellini and Luchino Visconti. He also composed the music for two of Franco Zeffirelli's Shakespeare films, and for the first two films of Francis Ford Coppola's Godfather trilogy, receiving for the latter the Academy Award for Best original Score in 1974.
During his long career Rota was an extraordinarily prolific composer, especially of music for the cinema. He wrote more than 150 scores for Italian and international productions from the 1930s until his death in 1979—an average of three scores each year over a 46 year period, and in his most productive period from the late 1940s to the mid-1950s he wrote as many as ten scores every year, and sometimes more, with a remarkable thirteen film scores to his credit in 1954. Alongside this great body film work, he composed ten operas, five ballets and dozens of other orchestral, choral and chamber works, the best known being his string concerto. He also composed the music for many theatre productions by Visconti, Zeffirelli and Eduardo de Filippo as well as maintaining a long teaching career at the Liceo Musicale in Bari, Italy, where he was the director for almost 30 years.
Nino will do the score.
Again I'm taking the safe pick and sticking to a good formula for success. Both Godfathers (I've never seen the 3rd) are some of the best movies I've ever seen, and undeniably the best gangster movies I've ever seen, so why mess that up?
The novel opens in 1950 Sicily, where Michael Corleone, nearing the end of his exile in Sicily, meets with Don Croce Malo, the Capo di Capi in Sicily, his brother, Father Benjamino Malo, Stefan Andolini (cousin of Vito Corleone), and Sicilian Inspector Frederico Velardi. They discuss with Michael the details of his father's agreement to allow Michael to usher the bandit Salvatore "Turi" Guiliano out of Sicily and to America. Michael is told of a testament, a set of documents Turi has composed that would be damning to political officials of the Italian government if released. Michael is taken to Turi's house where he meets Turi's parents and Gaspare "Aspanu" Pisciotta, Turi's second in command. Michael is informed that Turi's pregnant fiancee is heading to America first, ahead of Turi, and only when she sends word back that she is safe, will Turi leave for America. Michael is also told he is to be entrusted with Turi's testament. Turi's mother gives Michael a negro statue of the Virgin Mary as a gift as he parts.
The bulk of the novel focuses on the life of Salvatore Guiliano and how he rose to his legendary status as a bandit and hero to the Sicilian people. He was born in the village of Montelepre, west of Palermo. His godfather, Hector Adonis, was a professor of history and literature at the University of Palermo. He is a very close personal friend of the Guiliano family, a mentor for Turi, and a man who caters to the Friends of the Friends.
In September 1943, the town of Montelepre was preparing for its annual festa for its town's patron saint. Montelepre was a very poor town, and in this period, food was very scarce and often had to be purchased on the black market because of the strict rationing laws that starved the people of Sicily. In reality, all food that was given to the government storehouses was appropriated by the Mafia chiefs and sold on the black market for the citizens to buy; the people of Sicily had to break the law in order to eat. Black market laws were rarely enforced, but smuggling was another matter. On a September morning in 1943, Turi and his best friend Aspanu travelled to the nearby town of Corleone to procure some food for his sister's engagement party. On the way back, they were stopped by the carabinieri, and decided to take them on, for the food was too valuable. Turi was shot, but he also managed to shoot his attacker, a police Sergeant, through the eye.
Turi was carried by Aspanu to a local monastery, where he was taken care of by the monks there, helped by the Abbot Manfredi, a close friend of Aspanu. Here he was nursed back to health, and Aspanu developed his undying loyalty to Turi. Leaving the monastery, he and Aspanu made their way back to Turi's home in Montelepre, knowing he was still being sought for the murder of the Sergeant. While he was discussing his future with his parents and close family friends, Aspanu is informed that the Maresciallo of the local police force was on his way over to arrest Turi. Turi and Aspanu flee down the Via Bella of their town, and enter the church. They open fire on the jeeps pursuing them, and although it was not intended, kill some of the soldiers pursuing them. They flee to the Cammaratta Mountains.
Turi and Aspanu are met by Turi's godfather Hector Adonis, who tries to dissuade them of the path they are headed on toward banditry. Though Turi deeply respects and loves his godfather, he can not be dissuaded. They decide to free the prisoners of Montelepre, unjustly jailed in the nearby Bellampo Barracks. Turi narrowly escapes death at the hands of the Corporal Silvestro whose pistol fails when he points it at Turi's head. Silvestro then, at the mercy of Guiliano, is spared in an act of mercy, and Turi frees the captives, including two men named Passatempo and Terranova, who join Turi's band. Guiliano at this point, is beginning to become famous in the news throughout Italy.
Not soon after daringly robbing the home of a local duke, the Corporal Silvestro, disgraced by his military, asks to join Turi's band. Though suspecting him of being a spy, they allow him to join. They test his loyalty by asking him to execute Montelepre's Frisella, the barber, who has informed on Turi. Silvestro completes this task, proving his loyalty, and they attach a letter to his body that said "So die all who betray Guiliano".
Turi had now solidified his domination of the entire northwest corner of the island. Turi next orchestrated a kidnapping of Prince Ollorto. The prince was taken, and was treated with the utmost respect and dignity, and his ransom was paid by Don Croce, who had normally been paid for protection by the Prince. It was in this that Turi finally came into fierce opposition with Don Croce.
The assassination attempts on Turi increased, but he evaded them all, suspicious of all who came into contact with him. One of his would-be assassins is found to be Andolini, who is spared only through Abbot Manfredi, his father, to whom Turi owed a favor. Andolini joins Turi's band.
The book now flash-forwards back to 1950. In Trapani, Michael Corleone is met by Pete Clemenza, who is to help orchestrate Turi's escape. Michael meets Justina, Turi's fiancee, and Hector Adonis. Justina leaves for America. Hector informs Michael that Turi's elusive and damning Testament is hidden in the black statue of the Virgin Mary that Turi's mother gave him.
Back in 1947, Don Croce was strongly aligned with the Christian Democratic party, and driven to keep that party in power, and to deny power to the up and coming Socialist parties that would surely strip him, and the other Mafia chiefs, of their power in Sicily. Don Croce along with Italy's Minister of Justice Franco Trezza, draw up plans to mount a great offensive against Turi, but intend to use these plans to blackmail Turi to use his influence to swing the upcoming election for the Christian Democrats. Turi, who was a man of God and hated the Socialists, accepts these terms, and helps the campaign across Western Sicily.
The 1948 election was a disaster for the Christian Democrats. The Socialists picked up many seats. A celebration was to take place on May Day to celebrate their victories in the Italian legislature by the people of the towns of Piani dei Greci and San Giuseppe Jato. The two towns would parade up mountain passes and converge at a plain called the Portella della Ginestra. Turi agreed to suppress this festival, giving his two leaders in this operation, Passatempo and Terranova, orders to "shoot over their heads". Passatempo's men end up shooting too low, and massacre many people, including many women and children.
The massacre proved devastating for Turi's image in Sicily. Turi discovers later that Passatempo had been paid off by Don Croce to shoot the paraders. Turi executed him while on his honeymoon with Justina. Turi now feesl that his time as a bandit is coming to an end. He stages one final daring move against the aristocracy and corrupt Mafia chiefs.
Six mafia chiefs had been summoned to the estate of Prince Ollorto, defending it from the local peasantry who desired to lease land from him, as a recent Italian law had recently allowed them to. Turi and his band surrounded the estate and executed each one of these chiefs.
Turi then snuck into Palermo, and kidnapped a Cardinal, the highest Catholic authority in Sicily. The Church instantly paid the ransom.
The Minister of Justice Trezza could no longer hold back his plans to assemble a large force in Sicily to take down Turi. Part of the force comes to the island from the mainland, and immediately arrests Turi's parents and many citizens of Montelepre for conspiring with Turi. In retaliation, Turi robs the heavily armed and guarded pay truck that was responsible for paying all the Carabinieri stationed in Sicily. He is successful, and the Commander of the operation immediately calls for the rest of the reserve force to come to the mainland to combat Turi.
The plan to escort Turi to America is set into motion, and Aspanu meets with Michael Corleone. He gives the details on precisely where to intercept him and Turi. The next day, Clemenza and Michael head down the road toward Palermo, and are stopped by a huge traffic jam. They learn that up ahead Turi has been killed by the Carabinieri. They move into town and eat at a cafe, hearing the news of Turi's death on the lips of every person in town. They are then discovered and arrested by the Inspector Velardi. They are later released after Don Croce vouches for them, and organizes their release. They return to America.
Though the news is that he was killed by the Carabinieri, Turi's father, however swears a vendetta on Aspanu. Aspanu betrayed Turi to Don Croce and the Carabinieri because he was fearing his actions were becoming suicidal. He committed grievous offenses against the most powerful in Sicily and feared the end was near. It was Aspanu who had killed Turi, shooting his hand off in a moment of nervousness, fearing that he would discover he betrayed him. Later, in prison, Aspanu was poisoned by a joint effort of Don Croce and Hector Adonis. Right after Aspanu's death, Adonis made his way into his cell and left a letter in Aspanu's pocket reading, "So die all who betray Guiliano".
Michael returned home to the Corleone compound in Long Beach. He met with his father in private, and the Don told him that they would not release Turi's testament for fear Turi's parents would be harmed in retaliation by the Italian government or its Mafia supporters. In this, Don Corleone teaches his son his first lesson: it is better to remain alive and live a fruitful life, than to be dead and a hero.
In my movie, Robert De Niro plays an older fellow who was once part of the Mafia, but decided to flee his crime-filled life after seeing one of his closest friends and fellow mob members die. He settled down(with Meryl Streep) and decided to eradicate any memories of his past criminal life. However, an old friend(Joe Pesci) is knocking on his door, asking for a favor and making an offer he can't refuse...
Along with De Niro's character, Eastwood retired from a life of crime after seeing one of his closest friends(De Niro and Eastwood were close friends with him and with each other) die. Deciding to just leave the crowded city behind, he moved to a small cabin outside of New York City(the setting of the story) and became isolated from everything related to his younger, criminal days. But after Joe Pesci makes him make a difficult choice, De Niro goes to Eastwood for guidance and help.
The only one of the Big Three(Eastwood, Pesci, and De Niro) to stay involved in the Mafia, Pesci eventually works his his to the top, heading a powerful crime group. Pesci's character also gets caught in the high life, possessing numerous expensive sports cars, lavish penthouses, and a wardrobe that only Pat Riley could compare to. But his life style is causing his once big fortune to run out, and he needs help. Running to his old friend(De Niro), Pesci is offers him a deal that could work out for both of them...
Bardem is Pesci's hitman. He'll kill whoever you want, as long as he recieves a nice pay in return. He isn't the most talkative out of the bunch, but whenver he does decide to say something, it's always something memorable.
Dafoe will play a shady, yet always nervous buisnessman who does deals with the Mafia. Despite him being a nice source of income, Pesci has no patience for Dafoe's cowardly ways and lack of loyalty. Dafoe has also screwed many people all over the country, causing a need for protection from Pesci's gang.
The son of Meryl Streep and Robert De Niro's characters, Dicaprio has just returned from a long service in the Marines, and is happily welcomed back by his parents. But he's not ready to welcome his dad talking with members of the Mafia, and will do anything to stop it.
Meryl Streep will play the loving, down-to-earth, hard-working wife of Robert De Niro and mother of Dicaprio. She's a no-nonsense kind of woman and immeaditely gets suspicious when Pesci shows up on their doorstep. She is also unaware of De Niro's criminal past, causing De Niro to try everything to hide the purpose behind Pesci's visits.
The Plot and Writer is up next, I used the actor's names because I haven't thought up names for any of the characters yet.
*** SANDMAN: PRELUDES & NOCTURNES will be released for traditional 2-D viewing, 3-D viewing (using the RealD 3D, Dolby 3D, XpanD 3D, and IMAX 3D formats), and "4-D" viewing. The stereoscopic filmmaking has been touted as a breakthrough in cinematic technology
*** New York Times best-selling author Neil Gaiman's transcendent series SANDMAN is often hailed as one of the finest achievements in graphic storytelling. This is an unforgettable tale of the forces that exist beyond life and death by weaving ancient mythology, folklore and fairy tales with his own distinct narrative vision.
"SANDMAN just might be the smartest comic book ever written." -USA TODAY
"The best comic book ever returns." - ENTERTAINMENT WEEKLY
"Neil Gaiman's long-running series made cool comics fantastical and fantastical comics cool…SANDMAN is a modern myth, as well as a précis on why the stories we tell matter so much." - PLAYBOY
*** Adapted by the Coen Brothers (also Co-Editors & Co-Cinematographers)
"They often alternate top billing for their screenplays while sharing film credits for editor under the alias Roderick Jaynes. They are known in the film business as "the two-headed director", as they share a similar vision of their films. It is said that actors can approach either brother with a question and get the same answer."
Visually, the Coens favor moving camera shots, especially tracking shots and crane shots. Their films are also distinguished by cinematic visual flourishes that mark turning points. Scenes that emphasize perspective or the interplay of shadow and light adorn many of the films: the rack of bowling shoes in the "Gutterballs" scene from The Big Lebowski, the boardroom table and the Hudsucker building in The Hudsucker Proxy, the night scene with "Wheezy Joe" in Intolerable Cruelty and the midnight chase scene in Fargo are a few examples.
Aside from their movie influences, many of the Coen Brothers films are written with the flavorings of specific works of crime fiction; they feel like stories that could have been written by their respective authors. Their first film Blood Simple, for example, with its themes of grisly violence and degenerate characters who are constantly betraying each other, feels much like that of a Jim Thompson novel—After Dark, My Sweet immediately comes to mind.
Oscar winners for Best Original Screenplay (Fargo) and Best Adapted Screenplay (No Country For Old Men), the Coen brothers are known for the dialogue in their films. Sometimes laconic (The Man Who Wasn't There; Fargo; No Country for Old Men), sometimes unusually loquacious (The Big Lebowski, The Hudsucker Proxy), their scripts typically feature a combination of dry wit, exaggerated language, and glaring irony.
Dreams figure prominently and frequently into the work of the Coen brothers. The function of the dream sequences in the Coen Brothers' films is oftentimes to foreshadow the progression of the plot, to reflect on what has already occurred during the film and, above all else, to reveal the fears, motivations and introspections of its characters.
* Blood Simple
* Raising Arizona
* Miller's Crossing
* Barton Fink
* The Hudsucker Proxy
* The Big Lebowski
* O Brother,
Where Art Thou?
* The Man Who Wasn't There
* Intolerable Cruelty
* The Ladykillers
* No Country for Old Men
* Burn After Reading
* A Serious Man
* True Grit
*** Directed by James Cameron
An audacious visionary who developed new film technologies midstream in order to turn his creative visions into film reality, director James Cameron was credited with single-handedly resurrecting a once-dead science fiction genre, thanks to the timeless success of The Terminator and Aliens.
While it was true that he drove himself and his crews to the brink of exhaustion, no one could dispute his passion for blending film and technology, while effortlessly creating well-crafted stories and three dimensional characters. Despite his penchant for aliens and space, it was Titanic - a period romance based on a historical event - that cemented Cameron as a director for the ages.
Cameron took a long time - over 10 years - to make another film. In between that time, he made his first foray into television, serving as creator and executive producer of Dark Angel, a cyberpunk sci-fi series about Max, a genetically-altered human engineered to be a super-soldier, who has escaped her military handlers in order to fight the ruthless powerbrokers ruling futuristic society.
After serving as executive producer on director Steven Soderbergh's remake of Solaris, Cameron turned his passion for deep sea diving and exploring the world's most remote and inhospitable environments into films. As both producer and director, he mounted explorations that were later chronicled in several fascinating documentaries, including Expedition: Bismark, Ghosts of the Abyss, a 3-D IMAX journey to the bottom of the Atlantic Ocean, another IMAX adventure, Volcans of the Deep, another IMAX adventure, Aliens of the Deep, & The Lost Tomb of Jesus.
Cameron's long-awaited return to feature filmaking was Avatar, a futuristic sci-fi adventure about a band of humans battling a distant planet's indigenous population. Once again, Cameron was at the forefront of filmmaking innovation by using an advanced form of performance capture for the 3-D alien world he created.
Cameron co-developed a digital 3-D Fusion Camera System and is described as part-scientist and part-artist. He has also contributed to underwater filming and remote vehicle technologies.
In total, Cameron's directorial efforts have grossed approximately US$2 billion in North America and US$6 billion worldwide. Without adjusting for inflation, Cameron's Titanic and Avatar are the two highest-grossing films of all time at $1.8 billion and $2.7 billion respectively.
* Piranha II: The Spawning
* The Terminator
* The Abyss
* Terminator 2: Judgment Day
* True Lies
* Strange Days
* Ghosts of the Abyss
* Volcanoes of the Deep Sea
* Aliens of the Deep
*** Colleen Atwood - Costume Designer
"Atwood has been nominated for an Academy Award numerous times and won Academy Awards for the movies Chicago & Memoirs of a Geisha. Atwood has collaborated several times with directors Tim Burton and Jonathan Demme.
Atwood has been partially involved in developing or has been the lead designer for producing the costumes on over 50 films to date.
* Firstborn (1984)
* Bring on the Night (1985)
* Manhunter (1986)
* Critical Condition (1987)
* The Pick-up Artist (1987)
* Someone to Watch Over Me (1987)
* For Keeps (1988)
* Married to the Mob (1988)
* Fresh Horses (1988)
* Torch Song Trilogy (1988)
* Hider in the House (1989)
* The Handmaid's Tale (1990)
* Joe Versus the Volcano (1990)
* Edward Scissorhands (1990)
* The Silence of the Lambs (1991)
* Rush (1991)
* Lorenzo's Oil (1992)
* Born Yesterday (1993)
* Philadelphia (1993)
* Cabin Boy (1994)
* Wyatt Earp (1994)
* Ed Wood (1994)
* Little Women (1994)
* The Grotesque (1995)
* The Juror (1996)
* That Thing You Do! (1996)
* Head Above Water (1996)
* Mars Attacks! (1996)
* Buddy (1997)
* Gattaca (1997)
* Fallen (1998)
* Beloved (1998)
* Mumford (1998)
* Sleepy Hollow (1999)
* Golden Dreams (2001)
* The Mexican (2001)
* Planet of the Apes (2001)
* CinéMagique (2002)
* Chicago (2002)
* Big Fish (2003)
* Lemony Snicket's A Series of Unfortunate Events (2004)
* Memoirs of a Geisha (2005)
* Mission: Impossible III (2006)
* Sweeney Todd: The Demon Barber of Fleet Street (2007)
* Public Enemies (2009)
* Nine (2009)
* Alice in Wonderland (2010)
* The Rum Diary (2010)
* The Tourist (2011)
*** Thomas Newman - Score Composer
"Composer and conductor, best known for his many film scores. He is one of the most respected and recognised composers for film and has scored over fifty feature films in a career which spans nearly three decades.
* The Lost Boyz
* The Player
* Scent of a Woman
* Little Women
* The Shawshank Redemption
* The War
* Unstrung Heroes
* Meet Joe Black
* American Beauty
* The Green Mile
* Erin Brockovich
* In The Bedroom
* Road To Perdition
* Finding Nemo
* Lemony Snicket's
* Cinderella Man
* Revolutionary Road
In PRELUDES & NOCTURNES, there are seven brothers and sisters who have been since the beginning of time, the Endless.
They are Destiny (Denzel Washington), Death (Angelina Jolie), Dream (Marlon Brando), Desire (Rosario Dawson), Despair, Delirium, and Destruction who turned his back on his duties.
Their names describe their function and the realms that they are in charge of.
In 1916, a coven of wizards/occultists, led by Roderick Burgess, attempts to bind death & bargain for immortality by taking Death (Angelina Jolie) captive.
Instead, they traps her younger brother Dream (Marlon Brando). Fearful for his safety, they keep him imprisoned.
Dream bides his time for decades until Burgess dies. Afterwards, his son Alexander (Paul Newman) becomes Dream’s new captor.
Dream eventually escapes & punishes Alex by cursing him to experience an unending series of nightmares.
After his escape, Dream goes on a quest for his lost objects of power: his helm, pouch and ruby.
Dream weakened after his captivity, is forced to make the journey to his realm via the dreamscape.
On his arduous journey Dream encounters Lucifer (Peter O'Toole) and demons from Hell, the Justice League, and John Constantine, the Hellblazer.
The journey will take him - and us - through the gates of hell itself. It will also teach Dream an important lesson about relying on tools, and introduce us to the other star of the series, Death.
Marlon Brando: Dream
One of the seven Endless, inconceivably powerful beings older and greater than gods, Dream is both lord and personification of all dreams and stories, all that is not in reality (which, in turn, Dream may define by his existence). He has taken many names, including Morpheus and Oneiros, and his appearance can change depending on the person who is seeing him.
Morpheus has bone-white skin, black hair, and two distant stars looking out from the shadows where his eyes should be. Most often they are silver or white, but when he becomes angered, they have been known to turn red.
People generally perceive him as wearing a style of dress appropriate to their region and era.
He customarily wears black, sometimes with a flame motif. In battle he wears a helmet made from the skull and backbone of a defeated enemy god.
Although he is ultimately a heroic character, Dream has many negative aspects to his personality. He is sometimes slow when dealing with humor, occasionally insensitive, often self-obsessed, and is very slow to forgive or forget a slight.
Morpheus is constantly aware of his responsibilities, both to other people and to his territory, and is detailed and exacting in their fulfillment. He shares a close, reciprocal bond of dependence and trust with his elder sister, Death. He consistently strives for understanding of himself and of the other Endless, but is ultimately defeated by his most tragic flaw, his inability to accept change.
Peter O'Toole: Lucifer
Lucifer is the Miltonian former ruler of Hell, a charming, intelligent, and utterly ruthless fallen angel.
He is one of the most powerful beings in existence, said at one point to be surpassed only by his Creator.
He is based on the fallen angel Lucifer, whose story was created by John Milton in his Paradise Lost.
Denzel Washington: Destiny
Destiny is portrayed as a tall figure, obscured within a purple or brown robe and cowl. He reads from a large book, originally known as the Cosmic Log, chained to his right wrist, which contains all past, present, and future events. He does not leave footprints, nor does he cast a shadow. Destiny is blind, although this doesn't appear to hinder him and it has been stated that, opposed to simply being blind, Destiny '...sees everything.' He is always calm, detached, and somber even in extreme situations.
Paul Newman: Alex Burgess
Alex Burgess is the son of Roderick Burgess. He is taught by his father, and takes part in his rituals. Upon Roderick Burgess' death, Alex inherits his estate, including his magical order. He keeps Dream imprisoned, as his father did, trying to bargain for power and immortality in exchange for Dream's release.
Alex becomes obsessed with his prisoner and with his father. Finally, in 1988, Dream escapes and puts Alex into a nightmare of "eternal waking," in which he is forever dreaming he is waking up, and each waking degenerates into another horrible nightmare. This nightmare lasts for years, ending only with Dream's death in The Kindly Ones.
Alex has brown hair which he wears in a variety of styles throughout his life, but by old age he is bald and has come to resemble his father very closely. His obsessions with his father and with Dream eventually come to rule his life.
Alex is in many ways a tragic figure. Had Alex not been born the son of his father, inheriting the imprisoned Dream, his life might have been much happier.
His name almost certainly derives from Anthony Burgess's A Clockwork Orange, the protagonist of which is named Alex, but could also be a nod to Aleister Crowley, whose original middle name was Alexander and who was mentioned in the first issue.
Angelina Jolie: Death
Death is the second eldest of the Endless, a family of anthropomorphic beings. Death is possibly the most powerful of the Endless (and may be the most powerful being in the universe) having been shown to be virtually omniscient and being able to intimidate the Furies, who show no fear of the other Endless, simply by raising her voice.
Death is the only one of the Endless who is bound by no rules. In addition, she is the only one of the Endless who may survive the end of this incarnation of the universe.
One day every century, Death lives (and dies) as a mortal, in order to understand the value of the life she takes. She does this by becoming a mortal fated to die that day.
In the story, Death is both the end of life and a psychopomp. Like most anthropomorphic personifications of death, Death meets with the recently deceased and guides them into their new existence.
However, unlike most personifications of death, she also visits people as they are born, but only she seems to remember these encounters. In the special issue, it is also revealed that Death was known in Ancient Greece as Teleute.
Physically, Death is also opposite to the traditional western culture personification of death (see Grim Reaper). In The Sandman, Death instead appears as an attractive, pale young goth woman dressed in casual clothes - often a black top and jeans. She also wears a silver ankh on a chain around her neck, and has a marking similar to the eye of Horus around her right eye.
She is pleasant, down-to-earth, perky, and has been a nurturing figure for both incarnations of Dream. This irony has helped make Death one of the most popular characters from Sandman.
Rosario Dawson: Desire
Desire is the third youngest of the Endless and the twin of Despair. It's a strikingly beautiful figure whose gender is mutable, becoming male, female, both, or neither as the situation warrants. It's often referred to as "sister-brother" by its siblings, particularly Dream. Desire blends in effortlessly with whatever environment it finds itself in. It lives in the heart of a massive flesh-and-blood statue of itself, known as the Threshold.
Desire is described as being of medium height, smelling faintly of summer peaches. Desire casts two shadows, one black and sharp, the other translucent and wavering. Desire's smiles are brief and sharp. Its skin is "pale as smoke," and its eyes are "tawny and sharp as yellow wine."
Desire is easily the cruelest of the Endless. It seems obsessed with interfering with the affairs of its elder siblings, particularly Dream. Desire is not exactly unaware of the consequences of its actions, but considers those consequences ultimately unimportant, a position which angers Morpheus and Death in particular.
A more forgiving interpretation is that Desire reflects, simply, desire, and is as fickle and self-centered as the emotion. As desire is easily the most inflaming of emotions, Desire takes special delight in needling those who think they are beyond emotions altogether.