Leave the Gun, Take the Cannoli by Mark Seal

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.

“We are doing a color movie, right?” Willis asked. “I, generally, feel that I work… to get the color in a movie down to where it’s a minimum, so to speak.… I don’t care for blue and I don’t care for too many primaries, because there is so much color built into the structure of motion pictures.… I don’t know how anyone else feels, I sort of like that earth tone—blacks and browns and things like that, generally speaking.”

“All three of us have agreed to that,” Tavoularis said. “Also, the nature of this film being a masculine film with gangsters, and it’s like—not a colorful film. And, besides that, I just have a personal preference for staying away from bright colors.”

“I have always,” Coppola said, “even for other films, always believed in a muted color.”

Willis wanted the film to look like an old rotogravure newspaper magazine, old and dark and impossible to look away. “I want to shoot all the New York material,” Willis said. “It’s a chocolate color… brownish, chocolate. When you put it across, it doesn’t 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 Coast—I am still kicking around in my mind—”

“I hate to be a wet blanket,” Coppola interrupted. “I’d 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?”

“They always had kind of a purplish lipstick,” Tavoularis said.

“I’d like to go into all of the makeup of the times,” Coppola said.

“It wouldn’t mean anything,” Willis said. “What I’m talking about wouldn’t interfere with the basic structure.”

“I was talking about the general muting of color,” Coppola said. “If 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?”

“You have very little opportunity for much makeup on women,” Johnstone pointed out. “How many times do you see women? At the wedding is the first time, but it’s not as much as you think.”

Coppola and his team momentarily seemed to be on different wavelengths.

“I am talking even more conceptually,” he explained. “I am saying, What are the facts, colorwise, of that period, and how can we make use of it?”

He suggested the team watch 1945 color movies “to see what we can learn from them.”

“I think you will waste time,” said Johnstone.

The issue touched on a deeper concern Coppola must have had. “You know what I am trying for is



Download



Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.