"As a photographer, sometimes you just need to be a fly on the wall."
Steve Schapiro. Excerpt from the book 'The Godfather Family Album'
Page [1] [2] [3]
When I first arrived on the set of The Godfather for a scene in New York's Lower East Side, I had already heard the rumors that Marlon Brando was in bad health. The streets and surrounding tenements were teeming with onlookers; even the fire escapes were crammed with children and their grandmothers. Everyone, it seemed, wanted to catch a glimpse of the man who had been chosen to play Don Vito Corleone.
I had convinced Life magazine to do a "guaranteed" cover story on the Godfather film—something they did not ordinarily do—provided Paramount would grant Life the exclusive right to print the photographs before any other publication. Curiosity as to what Brando would look like in the film had already captured the public's imagination, and Paramount's plan was to keep everything as secretive as possible and to hold back on revealing Brando's look until the film actually came out. As I approached the set, the crew was setting up for the attempted assassination of the don. Coming closer I noticed a sallow-faced elderly man, wearing a worn coat and hat and talking in a low, frail voice to an assistant director. I suddenly realized that I was looking at Marlon Brando.My heart sank, and at that moment I thought all the bad-health rumors were true.
Then Brando suddenly turned away, facing the many spectators, and the electricity of a young man's eyes shot out into the crowd. Brando turned back to the AD, and warned in his familiar dynamic voice,"Someone's out there with a camera." It was not until the farewell party, after production was finished, that I saw the real Marlon Brando—a smiling, handsome man in his 40s who had just accomplished one of the greatest tours de force in the world of acting.
It is common knowledge that, at the time, no one thought this film would be an important film—or even a good one. It was rumored that Paramount executives were sending out their secretaries during lunchtime to buy copies of Mario Puzo's novel, hoping the increased sales might influence the New York Times best-seller list and heighten public interest.
It is common knowledge that, at the time, no one thought this film would be an important film—or even a good one
It was uncertain whether there would be enough funding available to finish shooting, and days were removed from the shooting schedule because of the tight budget. The controversy had begun with casting and continued through every turn of the wheel. During the filming itself, there were days when I saw director Francis Ford Coppola unable to capture the respect—or even, it seemed, the attention—of some of his own assistant directors.
What emerged was not the two-dimensional New York gangster picture it might have been. Francis carefully chose the actors for their inner qualities and depth, and then allowed them to cultivate these emotions. As a result, deeper dimensions grew and came to life. The set was filled with humor, from practical jokes to the famous mooning episodes. The Coppola family worked like the Corleone family, and everyone melded together. Coppola also believed in the importance of props as a means toward authenticity. He knew that if he provided one of his actors with a prop as stimulus, the actor would make something out of it.With that in mind, Francis found a stray cat that had been running around the Filmways Studio and pushed it onto Brando's lap, without comment, and let Brando develop it into what would become an epiphany for Don Corleone's character—and, eventually, the logo for the film.
Page [1] [2] [3]
Page [1] [2] [3]
When I first arrived on the set of The Godfather for a scene in New York's Lower East Side, I had already heard the rumors that Marlon Brando was in bad health. The streets and surrounding tenements were teeming with onlookers; even the fire escapes were crammed with children and their grandmothers. Everyone, it seemed, wanted to catch a glimpse of the man who had been chosen to play Don Vito Corleone.
I had convinced Life magazine to do a "guaranteed" cover story on the Godfather film—something they did not ordinarily do—provided Paramount would grant Life the exclusive right to print the photographs before any other publication. Curiosity as to what Brando would look like in the film had already captured the public's imagination, and Paramount's plan was to keep everything as secretive as possible and to hold back on revealing Brando's look until the film actually came out. As I approached the set, the crew was setting up for the attempted assassination of the don. Coming closer I noticed a sallow-faced elderly man, wearing a worn coat and hat and talking in a low, frail voice to an assistant director. I suddenly realized that I was looking at Marlon Brando.My heart sank, and at that moment I thought all the bad-health rumors were true.
Then Brando suddenly turned away, facing the many spectators, and the electricity of a young man's eyes shot out into the crowd. Brando turned back to the AD, and warned in his familiar dynamic voice,"Someone's out there with a camera." It was not until the farewell party, after production was finished, that I saw the real Marlon Brando—a smiling, handsome man in his 40s who had just accomplished one of the greatest tours de force in the world of acting.
It is common knowledge that, at the time, no one thought this film would be an important film—or even a good one. It was rumored that Paramount executives were sending out their secretaries during lunchtime to buy copies of Mario Puzo's novel, hoping the increased sales might influence the New York Times best-seller list and heighten public interest.
It is common knowledge that, at the time, no one thought this film would be an important film—or even a good one
It was uncertain whether there would be enough funding available to finish shooting, and days were removed from the shooting schedule because of the tight budget. The controversy had begun with casting and continued through every turn of the wheel. During the filming itself, there were days when I saw director Francis Ford Coppola unable to capture the respect—or even, it seemed, the attention—of some of his own assistant directors.
What emerged was not the two-dimensional New York gangster picture it might have been. Francis carefully chose the actors for their inner qualities and depth, and then allowed them to cultivate these emotions. As a result, deeper dimensions grew and came to life. The set was filled with humor, from practical jokes to the famous mooning episodes. The Coppola family worked like the Corleone family, and everyone melded together. Coppola also believed in the importance of props as a means toward authenticity. He knew that if he provided one of his actors with a prop as stimulus, the actor would make something out of it.With that in mind, Francis found a stray cat that had been running around the Filmways Studio and pushed it onto Brando's lap, without comment, and let Brando develop it into what would become an epiphany for Don Corleone's character—and, eventually, the logo for the film.
Page [1] [2] [3]
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The Godfather Family Album
Hardcover + Box, 29 x 44 cm (11.4 x 17.3 in.), 444 pages
$ 1800.00
$ 1800.00
Selections from Steve Schapiro's photographs provide an insider's view of the making of the legendary trilogy. This edition is limited to 1,000 copies, numbered and signed by Steve Schapiro.
Marlon Brando is Don Vito Corleone
During makeup sessions, Francis Ford Coppola (right) takes the opportunity to talk with his actors and revise the script.
All photos: Photographs courtesy Steve Schapiro, and copyright (c) 2008 Paramount Pictures Corporation. The Godfather is a registered trademark of the Paramount Pictures Corporation. All Rights Reserved.