Leave the Gun, Take the Cannoli by Mark Seal
Author:Mark Seal [Seal, Mark]
Language: eng
Format: epub
Publisher: Gallery Books
Published: 2021-10-19T00:00:00+00:00
* * *
NOW THAT THE wedding party was mapped out, conversation turned to the look of the film, which of course would be in color, which meant something entirely different to Willis.
âWe are doing a color movie, right?â Willis asked. âI, generally, feel that I work⦠to get the color in a movie down to where itâs a minimum, so to speak.⦠I donât care for blue and I donât care for too many primaries, because there is so much color built into the structure of motion pictures.⦠I donât know how anyone else feels, I sort of like that earth toneâblacks and browns and things like that, generally speaking.â
âAll three of us have agreed to that,â Tavoularis said. âAlso, the nature of this film being a masculine film with gangsters, and itâs likeânot a colorful film. And, besides that, I just have a personal preference for staying away from bright colors.â
âI have always,â Coppola said, âeven for other films, always believed in a muted color.â
Willis wanted the film to look like an old rotogravure newspaper magazine, old and dark and impossible to look away. âI want to shoot all the New York material,â Willis said. âItâs a chocolate color⦠brownish, chocolate. When you put it across, it doesnât really destroy the color; but what happens is, in things like blues and browns and things, it tends to make it dirty⦠So when you go to Sicily, they increase it [the light, the color] a little bit⦠it becomes a little thicker for effect. But when we bounce out of New York and go to the CoastâI am still kicking around in my mindââ
âI hate to be a wet blanket,â Coppola interrupted. âIâd like to explore things like the nature of the lipstick women wore⦠They really wore red lipstick, and what will happen if we pull everything down and they got this red lipstick sticking out?â
âThey always had kind of a purplish lipstick,â Tavoularis said.
âIâd like to go into all of the makeup of the times,â Coppola said.
âIt wouldnât mean anything,â Willis said. âWhat Iâm talking about wouldnât interfere with the basic structure.â
âI was talking about the general muting of color,â Coppola said. âIf we start sticking primary lipstick and stuff in and treat makeup the way those women actually did, would that be a glaring or distracting detail?â
âYou have very little opportunity for much makeup on women,â Johnstone pointed out. âHow many times do you see women? At the wedding is the first time, but itâs not as much as you think.â
Coppola and his team momentarily seemed to be on different wavelengths.
âI am talking even more conceptually,â he explained. âI am saying, What are the facts, colorwise, of that period, and how can we make use of it?â
He suggested the team watch 1945 color movies âto see what we can learn from them.â
âI think you will waste time,â said Johnstone.
The issue touched on a deeper concern Coppola must have had. âYou know what I am trying for is
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