The offer: the 10 best quotes
Paramont mini-series + The offer turned out to be a unique biographical project. The show, which relates the making of The Godfather, is littered with almost as many brilliant scenes as the film itself. Among them, author Mario Puzzo was assaulted by Frank Sinatra and Marlon Brando confessing he only took the job as part of a vendetta scheme.
But what makes finally The offer a great show is dialogue. Most of the characters do indeed make statements they never made in real life, but in doing so, they end up entertaining viewers more.
When Ruddy expresses his desire to make films
“I’m in the wrong F—ing business.”
While having a drink at Chateau Marmont with a television writer, Ruddy has a light bulb moment. He realizes that being a computer programmer at the Rand Corporation doesn’t make him happy, so he vows to venture to Hollywood.
Ruddy is the main reason The Godfather is done and his dynamism is seen from the start as he clearly expresses his desires to all possible parties. Hanging out with a TV writer makes him realize that his passion is really elsewhere so he strongly considers changing careers. And even if his first project is not a success, he exudes resilience in trying to make an even bigger one. And so the award-winning mob film was born.
When Colombo gets mad at a singer for talking instead of playing
“Ol’ Blue Eyes better start using that microphone to sing, or I’ll choke him with it.”
A singer destined to entertain gangsters at a nightclub ends up talking too much, causing Colombo to lose patience. The mobster declares that he will have to become violent if the situation does not change in the next few minutes.
Joe Colombo, the Don of the Colombo crime family, is an important figure in this story as he is the founder of the Italian American Civil Rights League, an organization concerned with ensuring that Italian Americans are represented in a hello. But insofar as he protects the rights and interests of his people, he is not a saint. He’s still a ruthless mob boss who would never hesitate to get violent over minor issues, which the performance scene exemplifies perfectly.
When Mitch tells Ruddy about Bob
“This guy is more connected than God.”
When Ruddy first sees Paramount boss Bob Evans, he has no idea who he is. Mitch explains to him that he is the Head of Production at Paramount.
In a few words, Mitch lets Ruddy know that if he wants to make a blockbuster, he will have to endear himself to Bob. His description of Bob also serves as encouragement for Ruddy to take the next step. Shortly after their conversation, the budding producer approaches Bob and drops his proposal.
When Erika motivates Mario Puzzo to write The Godfather
“Maybe we don’t kill, but maybe this book is about finding the reason why we would.”
Suffering from writer’s block, author Mario Puzzo struggles to deliver a gripping mafia tale. Noticing his struggles, his wife Erika advises him to treat the characters like normal Italian Americans like him and her, but give them motivation to kick ass.
Thanks to the wise words of “loving woman”, Mario begins to press the keys of the typewriter. During the proceedings, Erika also explains why she deserves more credit than anyone else for bringing history to life. This is because Mario doesn’t initially believe there’s a single way to write about the Mafia.
When Francis Ford Copolla expresses his frustrations
“Why am I even here?”
Due to studio interference, director Francis Ford Copolla struggles to do his job and at one point he almost reaches his breaking point. So he launches into a diatribe.
Copolla’s frustrations stem mainly from the fact that he is not allowed to use the locations he wants and hire the actors he sees fit. Budget constraints are also becoming an issue. Nevertheless, he exudes tenacity in retaining his favorite actors such as Al Pacino and using the money as he sees fit, despite studio protests.
When Bob advises Ruddy to get the movie the way he wants
“You have brains and balls. Try to use both, preferably at the same time.”
Bob doesn’t listen to Bobby when he begins to lament how difficult it was to make what turns out to be one of the best gangster movies of all time. He advises him to appease whoever he must, even if they are members of the Cosa Nostra.
It’s the perfect advice from a studio executive who sees the full potential of the young producer. As someone who has worked in the industry for a long time, Bob is able to quickly analyze Ruddy’s personality and conclude that he has what it takes to do the job. If only he can merge his forces, everything will be easy.
When Charlie suggests hiring a co-producer
“When you fail alone, there’s no one else to blame.”
Wanting to make sure the film is a success, Charlie summons Ruddy to inform him that he will be adding another producer. Ruddy dismisses the idea so Charlie advises him on the importance of distributing blame if the film fails.
This is a smart way to manage the production process since a group can easily handle blame. Charlie’s suggestion also shows a lack of trust in the whole process. Since the majority of Paramount executives had concluded earlier that the golden age of gangster movies was over, Charlie has every right to be pessimistic. Fortunately, Ruddy refuses to work with a co-producer, ensuring that his vision becomes reality.
When Ballard calls Ruddy for being late
“So kind of you to join us with the scene already wrapped.”
Desperate to find ways to get Al Pacino and Al Ruddy off the set, Paramount executive Jack Ballard begins looking for reasons to make them look bad. And he finds one quickly when Ruddy arrives late.
Throughout most of the production process, Ballard continues to point fingers at incompetent people but does nothing about it, which is surprising since he’s the boss. In general, his lines are structured to portray him as the annoying corporate boss and with this particular remark, he raises viewers’ eyebrows even more since Ruddy has proven to be very likable so far. Al Pacino also ends up portraying one of cinema’s best antiheroes quite convincingly.
When Erika loses patience with Mario
“F— Art. Start typing.”
Erika soon tires of seeing Mario raving about how he needs to write something artistic. She yells at him, telling him to get to work as there is no time to waste.
Erika is irritated by her husband’s procrastination because they are deeply in debt and something needs to be done. If he doesn’t write a best-selling novel soon, they will certainly sink into poverty. So she tells him in the most direct way possible that now is not the time to worry about creativity.
When Barry castigates Bob for the poor performance of the studio
“We need hits. We can’t live off Rosemary’s baby Still.”
Dissatisfied with the studio’s declining performance, Barry gives Bob a piece of his mind, telling him it’s time to find big success. He also acknowledges that the psychological hero of 1968, Rosemary’s babywas indeed one of the best horror movies ever made, but it was also the last hit they had.
Barry is right to point out that the studio shouldn’t rely on past glory, but he’s described as another annoying studio executive because he’s usually unreasonable. Even when the idea of The Godfather is featured, he still doesn’t think it’s good enough, so he advises that the best way to make money would be to sell the movie rights to the book to Warner Bros.
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