When did you and Coppola meet?
To give a little history to it, Francis was this filmmaker who had Zoetrope [his production company, American Zoetrope], and people like Steven Spielberg and George Lucas and [Martin] Scorsese and [Brian] De Palma were all part of a group. And I remember seeing a few of them when Francis asked me to come to San Francisco after he had seen me in a play on Broadway. Do you know that story? I’m telling old stories now. [Laughs]
That’s OK. It’s why we’re here.
He saw me onstage [in the 1969 Broadway run of “Does a Tiger Wear a Necktie?”] but I never met him. He had written “Patton” by that time, and he sent me a script for a wonderful love story he had written [which was never produced]. He wanted to see me. That meant I had to get on a plane and go to San Francisco, which is something I was not used to. I thought, is there any other way to go? I can’t tell this guy to come all the way back here, can I? So I said I’ll bite the bullet and I went. I spent five days with him. It really was special, this film. But we were rejected, of course. I was an unknown actor and he had made a couple of films, “You’re a Big Boy Now” and “The Rain People.” So I went back home and never heard from him again.
But you did, eventually. When was that?
“Panic in Needle Park” hadn’t come out yet. And I got a call from Francis Coppola — a name from the past. First, he says he’s going to be directing “The Godfather.” I thought, well, he might be going through a mini-breakdown or something. How did they give him “The Godfather”?
You didn’t think it was possible that he was making it?
I’ve got to tell you, it was a big deal already. It was a big book. When you’re an actor, you don’t even put your eyes on those things. They don’t exist for you. You’re in a certain place in your life where you’re not going to be accepted in those big films — not yet, at least. And he said, not only was he directing it, [breaking into laughter] but he wanted me to do it. I’m sorry, I don’t mean to laugh here. It just seemed so outrageous. Here I am, talking to somebody who I think is flipped out. I said, what train am I on? OK. Humor the guy. And he wanted me to do Michael. I thought, OK, I’ll go along with this. I said, yes, Francis, good. You know how they talk to you when you’re slipping? They say, “Yes! Of course! Yes!” But he wasn’t. It was the truth. And then I was given the part.
Paramount was famously opposed to the idea of your playing the role.
Well, they rejected his entire cast! [Laughs] They rejected Brando. They rejected Jimmy Caan and Bob Duvall. There was conflict.
