Improvisation

Francis Ford Coppola

improvising and adding lines and touches of his own. He would basically rewrite his part to make it bigger, but it was always really good, so that was always fun. And definitely he made a contribution not only for the interesting senator, but for some of his own dialogue that he came up with.

16:16 · jump to transcript →

Francis Ford Coppola

I always like to use a lot of improvisation when we rehearse and big, long improvisations. And what we did in this sequence in Lake Tahoe in Godfather Part II is we had the cast there a couple of weeks right on that location. And I went around and said, okay, this is...

17:37 · jump to transcript →

Francis Ford Coppola

Sonny's widow and where she lives and she lives in this house and this is Duval and so on and so on. Go around in places where Kay lives and had them spend an entire day, including Michael, basically doing a day's improvisation of like playing scenes about doing business or the kids and then going across the courtyard and then going into one of the other family members house and improvising scenes with them and they did it all day.

18:00 · jump to transcript →

Francis Ford Coppola

Bring home some cannoli. And then in the scene at the end, Ritchie improvised the famous line, you know, drop the gun, bring the cannoli, off of that earlier reference. But I do believe it was Ritchie's improvisation, that famous line. Leave the gun.

57:08 · jump to transcript →

Francis Ford Coppola

I'm a big believer in all my films I always try to have a couple of weeks that get all the cast together and very often if the first time the actors work together they do so in improvisation especially sensual improvisation eating together or preparing food together or doing some activity that you touch and

1:18:25 · jump to transcript →

Francis Ford Coppola

My sister Talia, as the girl in the family often would, as I remembered it, was bringing the platters of food. And I just told them to have an improvisation as a family and just talk while eating, pass me the sausage or what have you. And I very much believed that it was in that first improvisation that they established what it was like for them to be a family.

1:19:21 · jump to transcript →

Now, where are we here, Monte? We're in the plaza in Santa Fe, New Mexico. And this was one of the few scenes in the picture that's totally improvised. The camera is hidden in a department store window. And Laurie has a wireless mic on her.

13:16 · jump to transcript →

And sure did talk to you, which is Warren's retort. Right, right. He ad-libbed. I see. Oh, that's great. One of them Dodge Chargers letting go by. Not today.

1:11:40 · jump to transcript →

Nick Pinkerton

A touch of Peckinpah in the close proximity of explosive charges and live animals here. McKinney would later say that his choice to speak as though he had a cleft palate was an onset improvisation encouraged by Eastwood. An aggressively grating scene, indecipherable yammering and the sound of a souped up big block car growling away. The movie for a minute just turns into like pure noise music.

35:42 · jump to transcript →

to Tiresias et al., but that's too heavy even for me. I was only involved in certain changes in dialogue in a very minor way. Some improvising, mostly I think in the fight scene where I get killed. As an actor, I just say what they want me to say. If they want me to improvise, I'll improvise. If they ask me for a better way of saying it, I'll try and find a better way of saying it. But I don't approach a part as an actor

36:32 · jump to transcript →