A Shooting in New York (Godfather III)

A SHOOTING
IN NEW YORK
As appeared in Flix Magazine (Tokyo).

Director Francis Coppola with Joe Mantegna
and Andy Garcia on the Elizabeth Street location of THE GODFATHER PART III

When Francis Coppola shot THE GODFATHER in New York in 1971, there was little indication that the film would generate such enormous critical and popular success upon its release. By the time Coppola returned 19 years later to film portions of THE GODFATHER PART III, the presence of his film crew was an event.
Ironically, a murder scene staged in Little Italy, witnessed by countless television camera crews, newspaper and magazine photographers, and even a documentary film crew from Russia, generated more press coverage than many real New York murders have earned.

STEP BY STEP

< The video assist monitor showing the point of the view of the camera capturing Joe Mantegna's closeup.

> Cinematographer Gordon Willis waiting for the weather to agree with him before allowing shooting to commence.

< Makeup artist Isadore Raponi (in white) and special effects coordinator R. Bruce Steinheimer (in blue) ready the "squibs," or explosives, hidden within Mantegna's costume to simulate bullet hits.

> Mantegna's costume, already splattered with ketchup (from having stood near a hot dog stand that was hit by shotgun fire), is adorned with fake blood.

< Director Francis Coppola.

> Because the assassination itself will be primarily covered from the front (behind the social club door), the bullet holes on Mantegna's back will not be seen until the end of the take.

> Mantegna waiting for the final lighting test; his stand-in appears in the background.

< Further touch-ups of fake blood, as filming is delayed by weather yet again.

> With camera in place and the take about to commence, more fresh blood is added.

> The scene is slated.

< Mantegna is fired upon by Andy Garcia on horseback; actually, two glass balls are fired by air cannons beside the interior camera into the glass window from inside the building.

< The window shatters simultaneously with the detonation of wired explosives on the front of Mantegna's coat, which erupt in blood.

< > Mantegna slumps to the ground, and the camera crew and assembled audience hover over the body as the take ends.

Like a Mafia boss observing the assassination of a rival, Coppola surveys the scene of death.

WIDE ANGLE / CLOSEUP is written by David Morgan; this site was designed using his gray matter.
The editorial materials here are copyrighted and may not be copied, reproduced or retransmitted
without the expressly written consent of the author.


> Because the assassination itself will be primarily covered from the front (behind the social club door), the bullet holes on Mantegna's back will not be seen until the end of the take.


> Mantegna waiting for the final lighting test; his stand-in appears in the background.


	< Mantegna is fired upon by Andy Garcia on horseback; actually, two glass balls are fired by air cannons beside the interior camera into the glass window from inside the building.


	< The window shatters simultaneously with the detonation of wired explosives on the front of Mantegna's coat, which erupt in blood.


	< > Mantegna slumps to the ground, and the camera crew and assembled audience hover over the body as the take ends.


Like a Mafia boss observing the assassination of a rival, Coppola surveys the scene of death.