[FLAMENCO GUITAR] This gem of a film won Academy Awards
for Best Picture and Best Adapted Screen play. It’s number 2 on the WGA’s list of the
101 Greatest Screenplays. Many consider it to be the finest work of
screenwriting of all time. Here are eleven screenwriting secrets in The
Godfather. [MUSIC] Story structure generally follows the form
of Ordinary World, Inciting Incident, Rising Action, Crisis,
and Climax. It’s also been demonstrated that good scenes
will follow this same story structure, giving us a nice beginning, middle, and end. The same is true for sequences. Sequences in a feature film can usually stand
alone as their own short films, having well-contained narratives that follow
general story structure. In The Godfather, there are three examples
of expertly structured sequences. First, we have the California sequence. Let’s take a look at how it breaks down
into general story structure. Woltz: Woltz is listening. Tom: Give Johnny the part in that new war
film you're starting next week. Woltz: Why didn't you say you worked for Corleone,
Tom? I thought you were just some cheap two-bit hustler
Johnny was running in trying to bluff me. Johnny Fontane never gets that movie. Now you get the hell out of here. And if that goomba tries any rough stuff,
you tell him I ain't no band leader. [SCREAMS] The second sequence we’ll take a look at
is an important one, as it’s also the Midpoint sequence. It’s the point of no return for Michael
Corleone. McCluskey has agreed to be the Turk's bodyguard.
What you have to understand, is that while Sollozzo is being guarded like this, he is
invulnerable. It will be me, McCluskey, and Sollozzo.
Let's set the meeting. Then i'll kill them both. I left it noisy. That way it scares any pain-in-the-ass
innocent bystanders away. Michael: How much time do we have? They pick you up in front of Jack Dempsey's
joint in an hour and a half. And finally, we have the sequence in Sicily. I want to meet your daughter. No! No, Appollonia! So the lesson here: Don’t forget general story structure at
every level of your screenplay. It’ll give a satisfying form to the acts,
sequences, and scenes. [MUSIC] It’s very understated, but there is a theme
in The Godfather. In fact, we’re exposed to it by the very
first character we see, appropriately named Amerigo Bonasera. Bonasera: I believe in America. America has made my fortune. And I raised my daughter in the American fashion. I went to the police like a good American. I stood in the courtroom like a fool. Then I said to my wife, "For justice we must
go to Don Corleone." So we essentially have thematic arguments
for living life the American way versus the Mafia way. Bonasera’s failure of avoiding the Mafia
way foreshadows what we see in the main throughline for Michael’s character. When he first appears at his sister’s wedding,
he wears his military uniform. It’s a subtle way of showing us that he’s
more loyal to America than to the ways of his family. Then we have Enzo, who wants to stay in the
United States. He was paroled to help with the American war
effort. So, for the last six months, he's been working in my pastry shop. Now that the war is over, this boy, Enzo,
they want to repatriate him back to Italy. You want Enzo to stay in this country
and you want your daughter to be married. In a brilliant moment of dichotomy,
notice the Statue of Liberty in the background while Paulie is disposed of
in this hidden little part of the world. In the famous midpoint sequence,
Michael meets with Sollozzo and McCluskey. Notice the name of the restaurant. Louis Italian-American. It’s the point of no return for Michael
as he sheds his American ways. So it’s fitting that he flees to Sicily
to continue his transformation. Once in Sicily, it’s interesting that Fabrizio
is the one that betrays Michael. He’s the one that tells the G.I.s to take
him to America. Theme is like icing on the cake. Sure, it’s still cake without it, but would
it be as good? [MUSIC] In screenwriting, we must respect the audience. That means giving them the pieces of the story
puzzle and letting them put two-and-two together for themselves. In other words, let the audience figure it
out as the story unfolds, not because of some lazy lines of expository dialogue. For example, Tom Hagen says this seemingly
simple line of dialogue early in the story. The senator called. He apologized for not
coming personally, but said you'd understand. Also some of the
judges. They've all sent gifts. Smart audiences will infer what it means,
which is confirmed later. I need, Don Corleone, those politicians that you
carry in your pocket. He had all the judges and politicians in
his pocket. In this scene, we have an odd reaction from
Tom Hagen. And if that goomba tries any rough stuff,
you tell him I ain't no band leader. Yeah. I heard that story. But we know what Woltz is referring to because
of something earlier in the story. When Johnny was first starting out, he was
signed to this personal service contract. With a big band leader. Luca Brasi held a gun to his head, and my father assured him that either his
brains or his signature would be on the contract. In this scene, there’s a small but curious
exchange between Sollozzo and Tom. And what is the interest for the Tattaglia
family? My compliments. But the audience knows the reason for this
because of something earlier. Tom: The Tattaglia family is behind him here
in New York. They have to be in it for something. And of course, the audience is put to work
when Vito says this to Michael. Now listen, whoever comes to you with this Barzini
meeting, he's the traitor. Don't forget that. So when this happens later, we don’t need
any explanation. Respect the intelligence of the audience and
let them be involved in constructing the story. [MUSIC] If there’s one thing that The Godfather
does better than most films, it’s that they constantly push the narrative forward into
the future. This makes the audience race ahead and think
about possible outcomes. In other words, we’re kept in a constant state
of wanting to know what happens next. For example, we have Michael’s visit
to his father in the hospital. Look at how they keep pushing us into a future
point of the story. Do you know my father? Men are coming here to kill him. Yes, Enzo.
- You better get out of here Enzo. There's gonna be trouble. Put your hand in your pocket like you have
a gun. You'll be all right. This creates a sense of dread as we wait
for something bad to happen. Another example: Tom Hagen ponders the consequences of getting
into the narcotics trade. Tom: Now, with the money they earn,
they can buy more police and political power. Then they come after us. If we don't get a piece of that action, we
risk everything we have. Not now, but 10 years from now. We’re also given a dizzying array of possibilities
after Vito Corleone is shot. Sollozzo: We have Tom Hagen. In about three hours he'll be released with
our proposition. Sonny will come after you with everything
he's got. That'll be his first reaction, sure. The other New York families might wind up
supporting Sollozzo just to avoid a long, destructive war. Tom and Sonny discuss the consequences
of killing Sollozzo and a New York cop. Again, pushing the audience into the future
of the narrative. All the five families will come after you,
Sonny. The Corleone family will be outcasts. How bad do you think it's going to be? Pretty goddamn bad. Probably all the other
families will line up against us. How long do you think it'll be before I can
come back? Sonny: At least a year, Mike. And finally, we have the impending doom
as Barzini gains strength. Tessio: Barzini's people chisel my territory
and we do nothing about it. Pretty soon there won't be one place in Brooklyn
I can hang my hat. Forgive me, Godfather, but, with you gone, me and Pete will come under Barzini's thumb
sooner or later. Barzini will move against you first. He'll set up a meeting with someone that you
absolutely trust. And, at that meeting, you'll be assassinated. The audience is also pushed into the narrative
future when characters make declarations of intent. This makes us want to know if they will
indeed accomplish this objective. The audience wants to see what’s really
going to happen. Someday, and that day may never come,
I'll call upon you to do a service for me. I want you to go tonight. I want you to talk to this movie big-shot
and settle this business for Johnny. Sollozzo: I want you to help the Corleones. And i want you to help me. He wants us to send Michael to hear the proposition. And the promise is that the deal is so good
that we can't refuse. I want you to find out where that little pimp
Tattaglia is hiding. I want his ass now. Right now. I want to meet your daughter. [Fabrizio translates to Italian] With your permission and under the supervision of
your family. I want no acts of vengeance. I want you to arrange a meeting with the
heads of the five families. Michael: But I'm gonna wait. After the baptism. And then I'll meet with Don Barzini and Tattaglia.
All the heads of the five families. There’s an emotionally stronger version
of this: when characters make threats. This compels us to want to know the outcome
of this conflict. For example, Tom Hagen is sent to California
to get a starring movie role for Johnny Fontane. Notice all the threats that are exchanged. Tom: You're going to have some union problems.
My client could make them disappear. Are you trying to muscle me? I'm going to make so much trouble for you,
you won't know what hit you. Mr, Woltz, I'm a lawyer. I am not threatened. I'm going to run him out of the business,
and let me tell you why. Now you get the hell out of here. And if that goomba tries any rough stuff,
you tell him I ain't no band leader. Maybe your car could take me to the airport. Mr. Corleone is a man who insists on hearing
bad news immediately. Sonny Corleone is the king of threats. I want you to take care of that son of a
bitch right away. I don't want to see him again.
Make that first thing on your list, understand? Understood. You give him one message: I want Sollozzo. If not, it's all out war and we go to the
mattresses. Some of the other families won't sit still
for all-out war! - They may hand me Sollozzo! You touch my sister again, I'll kill you. The brilliant screenwriting in The Godfather
also sets up expectations that later get frustrated. Just before Michael goes to the hospital to
visit his father, he says this to Kay: No, Kay. There's going to be detectives there.
People from the press. So our attention is piqued when we see
that the hospital is empty. There’s a brilliant example of frustrating
audience expectations in the sequence when Michael plans to kill Sollozzo and McCluskey. Here’s one expectation: Let's set the meeting. Get our informers to find out where it's
going to be held. And the frustrated outcome: Not a hint. Absolutely nothing. Even Sollozzo's people don't know
where the meeting's gonna be held. We receive another expectation: Louis Restaurant in the Bronx. Is it reliable?
- That's my man in McCluskey's precinct. And the frustration: We're going to Jersey? Maybe. Expectation: I want somebody good, and I mean very good,
to plant that gun. The gun will be there. Frustration: Another expectation: Clemenza: Then you get up and you go take
a leak. Then, when you come back, you come out blasting. So, of course, what happens? Michael sits at the table. When it comes time to kill the men,
we have these expectations: Clemenza: And don't take any chances.
Two shots in the head apiece. Hey, don't forget. Two shots apiece in the head
as soon as you come out the door. Michael shoots Sollozzo only once. And we have this: Just let your hands drop to your side and
let the gun slip out. Sonny: Did he tell you to drop the gun right
away? Michael: Yeah. A million times. So what does Michael do? He lifts his arm to drop the gun at the last
moment. The Godfather is a masterclass when it comes
to driving the narrative into the future and constantly engaging the audience to want to
know what’s going to happen next. [MUSIC] If you want to make vibrant, complex characters,
take a page out of the screenwriting in The Godfather. There are blatant contradictions between what
characters say and what they do. We're not murderers, in spite of what this
undertaker says. [SCREAMS] Sollozzo: I don't like violence, Tom.
I'm a businessman. Come on. You think I'd make my sister a widow?
I'm godfather to your son, Carlo. Characters also immediately contradict themselves
in dialogue. Even the shooting of your father was business,
not personal, Sonny. Well, then business will have to suffer, all
right? Didn't want to get mixed up in the family
business, now you want to gun down a police captain? Why, because he slapped you in the face a
little bit? You're taking this very personal. Tom, this is business, and this man is taking
it very, very personal. With our policy banks up there in Harlem
driving them new Cadillacs and paying 50% on a bet. Papa never talked business at the table in
front of the kids. Sonny, Tom, I'd like to talk to you, maybe
after dinner. I could be doing a lot more for the family. We don't discuss business at the table. In real life, we’re all full of contradictions. Do the same for your characters and make them
come alive. [MUSIC] In The Godfather, when there are moments
of high importance, something usually happens to agitate the scene. For example, Luca Brasi rehearses his speech
to Don Corleone. When he’s finally in the room with him,
look at what happens. This creates an extra level of tension. Another example. In this scene, Sonny receives an important
call from Sollozzo. Notice the scene agitator. [BABY CRIES] Here, Michael receives a phone call from Kay. Notice how Michael is inhibited by all the
men in the kitchen. Kay: I love you. Huh? Kay: I love you. In this pivotal scene between Sollozzo and
Michael, notice how their conversation is constantly frustrated. Try the veal. It's the best in the city. McCluskey: I'll have that. [SPEAKS ITALIAN] Mama Corleone takes a call from Connie. You can see that it’s a common technique
in this movie, using children to agitate scenes. [BABY CRIES] Connie, talk louder! The baby's crying. And finally, Don Tommasino has to give grave
news to Michael. So, of course, what happens? [CAR HONKS] It isn’t anything necessarily crucial to screenwriting, but using scene agitators could mean the
difference between having good scenes and great ones. [MUSIC] If you want to make the conflict in your
scenes even juicier, use a third character to create a triangle
of conflict. This adds another emotional level to the scene. For example, we have the first meeting with
Sollozzo. The conflict is principally between Vito
and Sollozzo. I need a man who has powerful friends. I need a million dollars in cash. I must say no to you. Then we get another character to form the
triangle. Are you telling me that the Tattaglias guarantee
our investment? - Wait a minute. See how this adds another layer of emotional
complexity to the scene? Otherwise, when Vito says no to Sollozzo,
the scene would be over. Another example. The family is at the dinner table. We have the first side of the conflict: Connie: Papa never discussed business at the
table in front of the kids. Carlo: Hey, shut up, Connie. Then we get the triangle. Sonny: Don't you ever tell her to shut up. Notice how we get yet another triangle here. Mama: Santino, don't interfere. As the balance of power changes in the family,
we have this conflict between the caporegimes and Michael. Clemenza: Give me a chance to recruit some
new men. Michael: No. I don't want to give Barzini
an excuse to start fighting. Tessio: Mike, you're wrong. Notice how they bring in the third character
to complete the triangle. Tessio: Forgive me, Godfather, but with you
gone, me and Pete will come under Barzini's thumb
sooner or later. And I hate that goddamn Barzini. Then be a friend to Michael and do as he says. And finally, in this brilliant scene,
we have a great example of the conflict triangle. See how many triangles they use here. Moe Greene will sell us his share of the casino and
the hotel, so it could be completely owned by the family. Tom? Hey, Mike, are you sure about that? The Corleone family wants to buy you out. The Corleone family wants to buy me out. No. I buy you out. You don't buy me out. Is
that why you slapped my brother around in public? Oh, no, that was nothing, Mike.
Moe didn't mean nothing by that. Do you know who I am?
I'm Moe Greene! Tom, you're the consigliere.
You can talk to the Don. You can explain -- Just a minute. The Don is semi-retired and Mike is in charge
of the family business now. So if you want to spice up the conflict in your
scenes and give it emotional complexity, think about
forming a triangle of conflict. [MUSIC] For a rich story world, full of possibilities
for conflict, characters should be unique and different
from each other. This is especially true for the Corleone siblings. First, we have Connie, who’s not involved
in the family business. Then we have Sonny. He’s hot-headed. Quick-tempered. More brawn than brains. Fredo is sweet and mild-mannered. He’s not the fighter that Sonny is. Michael is cool under fire. He’s cold and calculating. For example, he considers Tom Hagen his brother,
but he treats him differently than Sonny does. Maybe I could help. You're out, Tom. He doesn’t react immediately to threats. We had a little argument, Freddy and I,
so I had to straighten him out. You straightened my brother out? He takes his time and calculates the best
time to strike. Michael: But i'm gonna wait. After the baptism. I’ll even include Tom Hagen here, who was taken
in by the family when he was young, and considered
a son to Vito. He’s all business. I'm gonna make so much trouble for you, you
won't know what hit you. Mt. Woltz, I'm a lawyer. I am not threatened. Can you give this letter to Michael, please? If I accepted that, in a court of law they
could prove that I have knowledge of his whereabouts. Your father wouldn't want to hear this.
This is business not personal. Even the shooting of your father was business,
not personal, Sonny. We even have character orchestration with
the two caporegimes, Tessio and Clemenza. It’s even in small details like the way
they dance at Connie’s wedding. So if you want a rich story world full of
juicy conflict, be sure to orchestrate your characters. [MUSIC] An interesting aspect of The Godfather is that,
despite being involved in violent crime, the characters still adhere to their own moral
codes. For example, an obvious subject matter is
family. And I raised my daughter in the American fashion.
I gave her freedom, but I taught her never to dishonor her family.
Because a man who doesn't spend time with his family
can never be a real man. Never tell anybody outside the family
what you're thinking again. You're my older brother, and I love you. But don't ever take sides with anyone against
the family again. Women and children can be careless, but not
men. I worked my whole life. I don't apologize
to take care of my family. The mafia dons also have their code when it
comes to selling narcotics. Instead of gambling, which they regard as
a harmless vice. But drugs is a dirty business. It's not like gambling, or liquor, or even
women, which is something that most people want
nowadays. I want to control it as a business to keep
it respectable. I don't want it near schools.
I don't want it sold to children. It’s a useful aspect to think about when
creating your characters. What’s the code they live by? [MUSIC] In order to have meaningful, organic conflict
in your scenes, it’s important to have the characters have conflicting objectives. They should be in full opposition to each
other. This is overwhelmingly accomplished
in the screenwriting for The Godfather. For example, in the California sequence, here’s
the objective for Tom Hagen: I want you to talk to this movie big shot
and settle this business for Johnny. Give Johnny the part in that new war film
you're starting next week. So, of course, we get the best form of conflict
from direct opposition to this goal. Let me lay it on the line for you and your
boss, whoever he is. Johnny Fontane will never get that movie. I'm gonna run him out of the business! Now you get the hell out of here! In this scene, we have Tom arguing with Sonny. Sonny, we ought to hear what they have to
say. No. No more. Not this time, consigliere. No more meetings, no more discussions,
no more Sollozzo tricks. Hey, listen. Do me a favor, Tom. No more advice on how to patch things up.
Just help me win, all right? Notice how they’re not arguing simply for
the sake of arguing, but because of their opposing objectives. The big conflict in the story starts as Vito Corleone
is approached with a proposition. I need a million dollars in cash. I need, Don Corleone, those politicians you
carry in your pocket. I must say no to you. Your business is a
little dangerous. Not only do we get the conflict in that scene
from opposing goals, but in later scenes as well. [SPEAKS ITALIAN] No more attempts on my father's life. What guarantees can I give you, Mike? And finally, we have quality conflict in this
scene from directly opposing objectives. The Corleone family wants to buy you out. No. I buy you out. You don't buy me out. I do you a favor and take Freddy in when
you're having a bad time, and then you try to push me out? I talked to Barzini. I can make a deal with
him and still keep my hotel. So remember, don’t just add artificially created
conflict to your scenes. Think about the characters’ goals and make sure
they’re in opposition to each other. [MUSIC] The character arc of Michael Corleone in the
Godfather is well-known, as he goes from being a law-abiding U.S. war hero
to the ruthless head of a crime family. But a good character arc isn’t a sudden change
that occurs at the end of the story. It’s a gradual process that occurs throughout
the entire storyline. This makes it natural and believable to the
audience. Let’s take a look at the gradual
character arc of Michael Corleone. Where's Michael?
- Don't worry. It's early. That's my family, Kay. It's not me. Hey, Mickey, tomorrow. You get a couple of guys, you go over to
Luca's apartment. Hang around wait for them to show up. Maybe we shouldn't get Mike mixed up in this
too directly. Come over here, kid. Learn something.
You might have to cook for 20 guys someday. You see? You start out with a little bit
of oil. Papa's all alone. Sonny: Don't panic. I'll send somebody. I won't panic. I'm with you now. I'm with you. Put your hand in your pocket like you have
a gun. What's the Turk paying you to set up my father,
Captain? Take a hold of him. Miguel Corleone. There are people who'd pay a lot of money
for that information. But then your daughter would lose her father. [SPEAKS ITALIAN] Instead of gaining a husband. Michael: I'm working for my father now, Kay. But you're not like him, Michael. I thought you weren't going to become a man
like your father. That's what you told me. Connie: You killed my husband. You waited until papa died so nobody
could stop you and then you killed him. Michael, is it true? No. Clemenza: Don Corleone. It’s a good lesson for screenwriters. Don’t try to force a character arc into
the very end of the story. Let it be a gradual change that is surprising
yet inevitable. So what other films would you like to see
me cover for screenwriting? Let me know in the comments below. A sincere thank-you to my wonderful patrons
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