As if there wasn’t already enough going against this production, now things are finally getting underway and there are a considerable number of new obstacles popping up. We got to meet, among others, Eric Balfour’s production designer Dean Tavoularis, who had to deal with the suddenly missing permits and other outrageous hurdles and demands. Ruddy was particularly displeased with the idea of having a working kitchen that cost $75,000, and Francis agreed very quickly to Bludhorn’s financing offer that leaves them very much on the hook if the film doesn’t make back its money. More problematically, Joe found a way to make peace with Biaggi and to make it abundantly clear that Italian-Americans support the making of this film, with an unexpected footnote about the proceeds from the film’s premiere that is going to squeeze Ruddy into an even tighter inescapable spot. Getting into business with the FBI wouldn’t be a smart move for him, and it’s a good thing that Bettye discovered the multiple people on the payroll with the same social security number so that she can get ahead of it. For all the trouble that came up, we did get to see a preview of how the product is going to be spectacular. Francis could barely contain his excitement during the Corleone family dinner, and now Pacino is fully on board, which took plenty of convincing but is obviously going to work out well for his career. Bob’s enthusiasm and role keeps changing, and he’s also dealing with his own issues at home with his inability to focus on and appropriately support Ali.
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