SCRIPT GODS MUST DIE: Classic Structure - 'The Godfather'
Jul 6, Paul Peditto discusses classic structure using 'The Godfather' as a model. In by Staton Rabin · Dave Trottier AKA Dr. Format · From Script to Screen Page FIRST SEQUENCE: Establish the world, the key characters, the Recall the scene: Don Corleone is talked into meeting with the drug dealer. The Godfather () Connections on IMDb: Referenced in, Featured in, The scene in which Quark meets Nava is a homage to the opening scene of the film . Dave says his meeting with Michael Ovitz was like a meeting with the Godfather. Jul 25, This is Michael's first brush with the family business. on The Godfather), the two discuss Coppola's approach to this scene and I'll by Sollozzo and McCluskey because it is a safe, public place to meet. . Dave 7 years ago.
But after conflicts arise with rival gangsters that leads to an assassination attempt on Vito Corleone, Michael volunteers to kill Sollozzo and McCluskey during a meeting where the three are to talk about a truce. He has never killed before and has now stepped forward to murder two men.
What’s Better? The Godfather vs. The Godfather: Part II | Consequence of Sound
This is a key moment for Michael and the film—he is willing to sacrifice everything for his family. There is no turning back after this.
Michael has been brought here by Sollozzo and McCluskey because it is a safe, public place to meet. Will the gun really be in the restroom? When Cooper turns to his fellow citizens for help, he is rejected and is forced to stand alone. As the noon train is pulling into the station, the film cuts back and forth between Cooper, a clock and the other townspeople as they anxiously wait for the big confrontation.
Zinnemann employs a traditional structure to create this scene—the suspenseful music that builds as the images snake toward the climax, the cutting back and forth to show the faces of the various characters as they wait for the inevitable and the ever-present clock reminding us that time is running out.
But Coppola is almost taking an opposite tact to create the level of tension his scene requires. It's a place where dreams can be made or broken.
If you can make it in New York, you can make it anywhere. Perhaps that why Frank Sinatra was so high on the place to sing its praises. For the same reasons, directors like Martin Scorsese and Woody Allen continue to set their movies there. In Manhattan, Allen is so taken by the city that he named his film after its most popular borough. The story of a middle-aged screenwriter, played by Allen, takes center stage as he copes with his divorce from his second wife and the doomed relationship he has with an inexperienced high school girl.
The shots are decadent displays of black and white cinematography first depicting the quiet architectural landscape before moving to the harried streets. As he scrupulously chooses his words of idolization, he continually starts the first chapter over again. The glitz and glamour, the cultural diversity and the desensitization that comes with living in NYC is too much to compress into a few sentences.
Still, he settles for the best he can come up with as the montage continues to fill the screen. Every utterance out of his mouth is another distraction in a seemingly long-winded tangent, only to come back to his dilemma. As the conversation continues, he retreats into his own self-absorbed infatuation with becoming an elite member of a final club and promises Erica she too will join his newfound status if he is accepted.
Shots are fired and he accuses her of sleeping with the door guy. It was a long and troubled production that finally brought Apocalypse Now to the screen, and by the time the release came, the film felt like more of a myth than any sort of reality. Still, the perilous journey of Captain Benjamin Willard and his crew heading upriver to terminate the crazed Colonel Walter Kurtz is a look at the depravity of mankind during the Vietnam War. As Willard makes his way to neutral Cambodia to meet with Kurtz, who has become an idol among the locals, he meets unusual characters afflicted by the trials of battle.
Among the chaotic happenings of the film are sinister acts of violence as lives and minds are lost to the outcome. A story so unrelenting deserves an equally hypnotic start, and that's what viewers got when they sat down to watch this masterfully-crafted epic. Helicopters ride over the ruins as the fires run wild. Images of Captain Willard lying in his room staring at a ceiling fan are superimposed over the burning trees.
Willard narrates the scene, taking notice that he's still in Saigon. The scene was shot while actor Martin Sheen was actually inebriatedgiving it an authenticity that feels close to how a war-affected mind would project itself. The beginning is an hallucinatory trip that's almost too unreal to be a true depiction of how a war could work, but as the movie progresses, so does the darkness of the story.
We delve deeper into the heart of the war-torn regions, never able to come back once the journey has begun. Amid the death of an 18 year old, the world is without any more children, and its youngest person is now gone. Fraught with the fear of their own extinction, the citizens of a dystopian London are divided by nationalistic sects. A former activist named Theo Faron Clive Owen finds himself called upon to find a solution to the infertility defect when a young woman suddenly becomes pregnant with the last known child on the planet.
With a miracle child that anyone would risk it all to get their hands on, Theon is asked to protect the young woman and ensure her safety -- and the birth of the baby. He succeeded by depicting a noisy, crowded cafe at the beginning of his sci-fi take on the future.
As Theo pushes his way through the crowded shop and up to the front register, he takes notice of the television which has everyone distracted. News of the death of the youngest person alive, Diego Ricardo, has shocked the world after the teenage boy was found stabbed outside a bar for refusing to sign an autograph. Unpleasantness fills the faces of the shop as Theon makes his way make onto Fleet Street.
I believe in America. America has made my fortune.
And I raised my daughter in the American fashion. I gave her freedom, but — I taught her never to dishonor her family.
She found a boyfriend; not an Italian. She went to the movies with him; she stayed out late. Two months ago, he took her for a drive, with another boyfriend. They made her drink whiskey. And then they tried to take advantage of her. She kept her honor. So they beat her, like an animal. When I went to the hospital, her nose was broken.
Her jaw was shattered, held together by wire. She couldn't even weep because of the pain. Why did I weep?
She was the light of my life — beautiful girl. Now she will never be beautiful again.