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Chapters & Sections (156)
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0:31
Meeting a Court Reporter and Transcribing the Conversation
1:01
The First Draft of the Screenplay
2:02
The Importance of Listening and Speaking
3:04
Credit to Editor and Sound Mixer Walter Merch
4:06
Sound Design and Budget Constraints
4:37
Influence of Dolby Sound Technology
5:09
Evolution of Movie Sound and Atmosphere
6:12
Critique of Genre Classification in Film
6:44
Casting and Inspiration for The Conversation
7:50
The Unsuccessful Attempts to Find a Director
8:22
Personal Connection and the Decision to Take on the Project
9:25
Initial Resistance and the Importance of Faithfulness to the Novel
10:27
Budget Increase and Casting Decisions
11:31
Casting Decisions for The Godfather
12:33
Rejection and Alternative Options
13:04
Personal Struggles and Career Challenges
15:11
Marty's Warning and Fear of Being Fired
15:42
Casting Marlon Brando in the Movie
16:13
Negotiations with Paramount and Marlon Brando's Conditions
16:43
Screen Test and Bond to Guarantee Marlon Brando's Behavior
17:49
Preparing for the Screen Test with Marlon Brando
22:27
Brando's Impact on Acting
22:59
Personal Experience with Marlon Brando
23:30
Athletic Nicotine and Performance Enhancement
25:36
Mario Puzo's Influence on Film
26:40
Mario's Writing Style and Influence
27:13
On Being a Writer or Director
27:44
Prophecy and Forecasting in Film Making
29:18
Script Writing and Budgeting
30:54
The Impact of Sound on Silent Movies
32:00
Family Connection to the Movie Business
32:32
Artistic Control of Time in Film and Painting
33:37
The Power of Visual Images
34:39
Personal Experience with Film and Artistic Intentions
35:10
Rumblefish and Inspiration from Other Filmmakers
36:43
Meeting Edward Burger and Appreciation for Film
37:45
Squarespace and Online Presence
38:48
Motivation to Attend Film School
39:19
Influences and Inspiration
39:51
Film School Options and Choices
40:23
Early Experiences at UCLA Film School
41:29
The Importance of Writing and Acting in Film
41:59
Contrasting Theater and Film Cultures
43:01
Meeting Young Directors and Colleagues
44:04
Winning the UCLA Goldwin Award and Career Advancement
45:07
Directing Finian's Rainbow and Working with Crew
46:42
Meeting a Young George Lucas and Offering Him a Job
47:13
Incorporating Real-Life Events into Film
47:45
Story Development and Inspiration
48:17
Mobile Film Company and Location Shooting
49:20
Establishing a Studio in San Francisco
50:52
Meeting Billy Friedkin and Inspiration from His Film
51:22
Billy Friedkin's Impact on the Filmmaker
52:27
Other Influential Directors and Their Paths to Success
54:31
Meeting Dorothy Arner and Inspiration
55:05
Getting a Job at Kelbo's Restaurant
55:35
Working with Roger Corman and Editing Russian Film
56:08
Becoming Assistant to Roger Corman and Working on Battle Beyond the Sun
57:41
Working as Dialogue Director with Vincent Price
58:11
Roger's Assistant and Sound Guy
58:41
Buying a Car for Roger
59:46
Meeting Yosi Gross and Making a Film
1:00:17
Making the Film Dementia 13
1:01:51
Hitchcock's Psycho and Vertigo
1:02:22
Vincent Price and his films
1:04:28
Making of The Rain People and film school advice
1:06:04
Differences between Cinema and Theater Departments
1:07:09
Cinema's roots in Theater
1:08:10
Finding a suitable location for Zo Trope
1:09:44
George Lucas's concerns and the move to Mil Valley
1:10:15
George's Involvement in the Film's Production
1:12:20
The Script and Music Selection
1:12:20
Universal's Reaction to the Film and Its Impact
1:13:57
John Milius's Work on the Film and His Tragic Death
1:14:28
Adapting Heart of Darkness and Working with Dennis Hopper
1:16:01
Improvisation and Changes to the Script
1:16:33
Casting Decisions and Replacing Harvey Keitel with Martin Sheen
1:17:35
Developing the Character of Martin Sheen's Role
1:18:38
Electrolyte Drink Benefits and Features
1:19:40
Film Director's Approach to Creativity
1:22:51
Protecting oneself and Brando's Method Acting
1:23:54
Working with Props and Problem Solving
1:24:27
Brando's Iconic Scene in Apocalypse Now
1:26:33
Challenges of Filming in Rainy Conditions and Portraying Overweight Characters
1:27:06
Filming Apocalypse Now and the US Government's Involvement
1:28:08
Personal Reflections on Confidence, Forgiveness, and Perfectionism
1:28:39
Creative Process and Inspiration from Other Works
1:30:49
Reversing the Camera Angle and Adding Live Music
1:31:19
Edith Wharton Adaptation and N Coward Connection
1:32:22
Script Writing and Budget Constraints
1:33:27
The Premise of Glimpses of the Moon and Marriageable Group
1:35:01
Social Mobility and Marriage Arrangements
1:36:03
The Inevitability of Financial Struggle and Heartbreak
1:36:34
Viewing Life from Different Perspectives
1:37:05
Solipsism and the Nature of Reality
1:38:10
The Connection Between Film and Personal Experience
1:39:15
The Illusion of Reality and the Limitations of Human Perception
1:40:16
The Impact of Technology on Film Making and the Importance of Understanding Traditional Techniques
1:40:47
The Value of Learning from the Past and the Importance of Including Young People in Decision Making
1:42:50
Comparing Physicists and Gymnasts
1:43:20
Negotiations for Godfather Part Two
1:43:51
Conditions for Making the Film
1:44:22
Reactions to Godfather Part Two
1:44:52
Editing and Revisions
1:46:27
Acceptance of Unpopular Films
1:46:57
Studio Executive Notes and Creative Differences
1:47:28
Bob Evans' Influence on the Film
1:47:59
Action Director and Brando's First Day
1:49:01
Confronting the Studio and Firing Assistant Directors
1:50:34
Initial Conflict Over Music
1:51:05
Stalemate and Controlled Screening
1:51:37
Audience Reaction to Music
1:52:38
Resolution and Encouragement from Robert Town
1:54:12
Writing the Script for The Great Gatsby and Paramount's Reaction
1:54:44
The Godfather's Success and Paramount Screening
1:55:12
Al Ruddy and the Production of The Godfather
1:56:48
The Film Industry's Changes and Ownership Structure
1:57:50
Corporate Control and Influence on Ratings
1:58:22
Alternative Energy Solutions and Infrastructure Limitations
1:59:24
Personal Anecdotes and Travel Experiences
48m⏭ 1
1h 20m
1h 40m⏭ 3
1h 22m
1h 50m⏭ 3
1h 0m⏭ 1
31m⏭ 1
4h 6m⏭ 2
1h 16m⏭ 4
2h 15m⏭ 2
1h 1m
1h 28m⏭ 2