American Cinematographer - October 2014 - 64

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Persistence of Vision

Top: As a priest baptizes his newborn son, Michael awaits word on the multiple murders he has ordered
to wipe out the heads of rival crime families. Bottom: Capturing the scene in which Corleone enforcer Al
Neri (Richard Bright), disguised as a cop, guns down Barzini (Richard Conte) in broad daylight on the
steps of the New York Supreme Court Building. Recalling the spectacular "assassination of bosses"
sequence, Willis said, "Some of those cuts were done rather quickly, while others required concentration
and a bit of time with the effects. What makes this sequence work is the design, the way it was
conceived and put together."

can steal more with a briefcase ...' and
the next thing you see is this really
impressive building, or something to say
power; and there is Hagen, unarmed,
only with a little case. It's like David
going off to slay Goliath.
Let's try something else. Try the
same thing, but open the shots possibly
higher, so that there are two little
figures. To me, it's a little more stylish. It
gets out of that establishing shot with
the people, and it's right to the point and
we are into it.
Coppola: I think the real idea
64

October 2014

that we have to get across is the odds.
Anyone who has ever had to go to a
Hollywood studio - it seems like the
most difficult thing: how are you going
to get in the place, with all the gates and
walls around it?
Willis: That's what I am getting
at.
Coppola: Let's examine this.
Willis: The power thing.
Johnstone: I think it's very good.
Driving with Sollozzo
Coppola: It's a big long scene; it
American Cinematographer

might be worth doing it live.
Willis: Yes.
Coppola: This is two or three
pages in the car. They talk while they
drive. He frisks the guy.
Willis: This is probably where
they go over the bridge and make a Uturn and come back again. That's going
to be a hard trick to do.
Tavoularis: We can do that
someplace else.
Coppola: Any bridge you want,
as long as we can get a great shot of a
car leaping off the ground and zipping
the other way.
Tavoularis: What bridge is on
the other side of -
Willis: Bridges are a pain in the
ass; the people who run them are a pain
in the ass.
Coppola: So we should get at
that right away.
Willis:
The
George
Washington Bridge, unless there is a
genius with a better idea. Some
employees in the company tend to not
want to even let you near the place or
anything like it. Tappan Zee Bridge -
they have cooperated in the past, I
remember, but it's like, that bridge, it's
a small bridge with a long causeway.
But we'd better feel out every major
bridge.
I know one good thing about the
George Washington Bridge is that
there is - they say they just put up a
divider to stop head-on collisions.
Once you reach the toll booth on the
Jersey side, I think that the divider
stops. So that there is no divider there.
One nice thing about the bridge is that
there is a lot of light on that bridge and
a minimum amount of - whatever;
maybe nothing, hopefully. You can get
to a highway. There are several places
that you can get a very good shot there.
"I have to go to the bathroom.
Is that all right?"
Coppola: Now we get to the
restaurant sequence. This is another
scene that I am going to predesign, or
try to. I have laid it out and, specifically,
I could hear - do you like the idea of



American Cinematographer - October 2014

Table of Contents for the Digital Edition of American Cinematographer - October 2014

Contents
American Cinematographer - October 2014 - Cover1
American Cinematographer - October 2014 - Cover2
American Cinematographer - October 2014 - 1
American Cinematographer - October 2014 - 2
American Cinematographer - October 2014 - Contents
American Cinematographer - October 2014 - 4
American Cinematographer - October 2014 - 5
American Cinematographer - October 2014 - 6
American Cinematographer - October 2014 - 7
American Cinematographer - October 2014 - 8
American Cinematographer - October 2014 - 9
American Cinematographer - October 2014 - 10
American Cinematographer - October 2014 - 11
American Cinematographer - October 2014 - 12
American Cinematographer - October 2014 - 13
American Cinematographer - October 2014 - 14
American Cinematographer - October 2014 - 15
American Cinematographer - October 2014 - 16
American Cinematographer - October 2014 - 17
American Cinematographer - October 2014 - 18
American Cinematographer - October 2014 - 19
American Cinematographer - October 2014 - 20
American Cinematographer - October 2014 - 21
American Cinematographer - October 2014 - 22
American Cinematographer - October 2014 - 23
American Cinematographer - October 2014 - 24
American Cinematographer - October 2014 - 25
American Cinematographer - October 2014 - 26
American Cinematographer - October 2014 - 27
American Cinematographer - October 2014 - 28
American Cinematographer - October 2014 - 29
American Cinematographer - October 2014 - 30
American Cinematographer - October 2014 - 31
American Cinematographer - October 2014 - 32
American Cinematographer - October 2014 - 33
American Cinematographer - October 2014 - 34
American Cinematographer - October 2014 - 35
American Cinematographer - October 2014 - 36
American Cinematographer - October 2014 - 37
American Cinematographer - October 2014 - 38
American Cinematographer - October 2014 - 39
American Cinematographer - October 2014 - 40
American Cinematographer - October 2014 - 41
American Cinematographer - October 2014 - 42
American Cinematographer - October 2014 - 43
American Cinematographer - October 2014 - 44
American Cinematographer - October 2014 - 45
American Cinematographer - October 2014 - 46
American Cinematographer - October 2014 - 47
American Cinematographer - October 2014 - 48
American Cinematographer - October 2014 - 49
American Cinematographer - October 2014 - 50
American Cinematographer - October 2014 - 51
American Cinematographer - October 2014 - 52
American Cinematographer - October 2014 - 53
American Cinematographer - October 2014 - 54
American Cinematographer - October 2014 - I3
American Cinematographer - October 2014 - I4
American Cinematographer - October 2014 - 55
American Cinematographer - October 2014 - 56
American Cinematographer - October 2014 - 57
American Cinematographer - October 2014 - 58
American Cinematographer - October 2014 - 59
American Cinematographer - October 2014 - 60
American Cinematographer - October 2014 - 61
American Cinematographer - October 2014 - 62
American Cinematographer - October 2014 - 63
American Cinematographer - October 2014 - 64
American Cinematographer - October 2014 - 65
American Cinematographer - October 2014 - 66
American Cinematographer - October 2014 - 67
American Cinematographer - October 2014 - 68
American Cinematographer - October 2014 - 69
American Cinematographer - October 2014 - 70
American Cinematographer - October 2014 - 71
American Cinematographer - October 2014 - 72
American Cinematographer - October 2014 - 73
American Cinematographer - October 2014 - 74
American Cinematographer - October 2014 - 75
American Cinematographer - October 2014 - 76
American Cinematographer - October 2014 - 77
American Cinematographer - October 2014 - 78
American Cinematographer - October 2014 - I1
American Cinematographer - October 2014 - I2
American Cinematographer - October 2014 - 79
American Cinematographer - October 2014 - 80
American Cinematographer - October 2014 - 81
American Cinematographer - October 2014 - 82
American Cinematographer - October 2014 - 83
American Cinematographer - October 2014 - 84
American Cinematographer - October 2014 - 85
American Cinematographer - October 2014 - 86
American Cinematographer - October 2014 - 87
American Cinematographer - October 2014 - 88
American Cinematographer - October 2014 - 89
American Cinematographer - October 2014 - 90
American Cinematographer - October 2014 - 91
American Cinematographer - October 2014 - 92
American Cinematographer - October 2014 - 93
American Cinematographer - October 2014 - 94
American Cinematographer - October 2014 - 95
American Cinematographer - October 2014 - 96
American Cinematographer - October 2014 - 97
American Cinematographer - October 2014 - 98
American Cinematographer - October 2014 - 99
American Cinematographer - October 2014 - 100
American Cinematographer - October 2014 - 101
American Cinematographer - October 2014 - 102
American Cinematographer - October 2014 - 103
American Cinematographer - October 2014 - 104
American Cinematographer - October 2014 - 105
American Cinematographer - October 2014 - 106
American Cinematographer - October 2014 - 107
American Cinematographer - October 2014 - 108
American Cinematographer - October 2014 - 109
American Cinematographer - October 2014 - 110
American Cinematographer - October 2014 - 111
American Cinematographer - October 2014 - 112
American Cinematographer - October 2014 - 113
American Cinematographer - October 2014 - 114
American Cinematographer - October 2014 - 115
American Cinematographer - October 2014 - 116
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