Dan Houser

Well, I think for me, probably Godfather 2 more than Godfather 1, but I love both of them.

But I love the divided story in Godfather 2.

And as a migrant, I used to live in Soho.

I love the bits in Little Italy and I love the sections in Sicily.

So I think, and the bit at Ellis Island is just one of the best shots in all of cinema.

When you see little Vito turning up in Ellis Island and you get that shot, it's amazing.

It gives you a really good cinematic sense of what it must have been like to arrive in America.

Well, Coppola started as a screenwriter.

So I think he wrote, at least co-wrote the script.

So it's almost like the writing and directing almost become the same thing.

It's one of those films, both of them are those films, which I was thinking about this idea of a perfect film where everything's good, where the acting's seminal, where the writing's seminal, where the music is seminal, where the shots are so memorable, where the scenes define what you think about things.

It's impossible to think about the Mafia and not think about the Godfather.

Life got faster.

Life just got, you know, I think as we moved from the 70s into the 80s into the 90s, people had seen so many films, they just started to edit films faster.

And people understood cinematic storytelling so much that you could do things much quicker.

You could show a look and just that meant you realized that person was going to betray the other person.

They just edited films much quicker.

But I quite like the slowness.

I think these days with modern, you know, high quality televisions, you don't have to necessarily watch these films in one sitting, particularly when you're re-watching them.

So it doesn't bother me that they're long and slow.