The Info List - Gordon Willis

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Gordon Hugh Willis, Jr., ASC (May 28, 1931 – May 18, 2014) was an American cinematographer. He is best known for his work on Francis Ford Coppola's The Godfather
The Godfather
series as well as Woody Allen's Annie Hall and Manhattan. Fellow cinematographer William A. Fraker called Willis's work a "milestone in visual storytelling",[1] while one critic suggested that Willis "defined the cinematic look of the 1970s: sophisticated compositions in which bolts of light and black put the decade's moral ambiguities into stark relief".[2] When the International Cinematographers Guild
International Cinematographers Guild
conducted a survey in 2003, they placed Willis among the ten most influential cinematographers in history.[3]


1 Career

1.1 Early life and beginnings 1.2 Making films 1.3 Collaboration with Francis Ford Coppola
Francis Ford Coppola
and Woody Allen 1.4 Academy Awards 1.5 Directing and retirement

2 Death 3 Character of work 4 Partial filmography 5 References 6 External links

Career[edit] Early life and beginnings[edit] Willis was born in Astoria, Queens, New York City.[4][5] His parents had been dancers in Broadway theatre
Broadway theatre
before his father became a makeup man at Warner Bros.
Warner Bros.
in Brooklyn. As a child, Willis fell in love with films. He wanted to be an actor and then became interested in lighting and stage design, later turning to photography. For a time he intended to be a fashion photographer, photographing models he knew from living in Greenwich Village. "I didn't know shit," Willis said, "[I was] dumber than dirt, as they say. No money, no jobs etc." Through contacts of his father's he worked as a "gofer" on various movies in New York.[6] During the Korean War
Korean War
Willis served in the Air Force, managing to join the Photographic and Charting Service in a motion picture unit. "I spent four years learning everything I could about making movies," Willis said.[7] After leaving the Air Force a friend helped him to join the East Coast union in New York and he started to work as an assistant cameraman, working his way up to become a first cameraman about thirteen years later.[6] He worked in advertising, shooting numerous commercials, and made a number of documentaries, a discipline that strongly influenced his later style. "You learn to eliminate, as opposed to adding," Willis said of his time making documentaries. "Not many people understand that."[7] Willis once stated: "I'm a mimimalist. I see things in simple ways ... It's human nature to define complexity as better. Well, it's not."[8] In 1969, director Aram Avakian hired Willis to work on his film End of the Road.[6] This was Willis' first movie. Making films[edit] Willis went on to work for some of the most acclaimed directors of what is now seen as a golden age of American film-making. He captured America's urban paranoia in three films he shot with Alan J. Pakula: Klute
(1971), The Parallax View
The Parallax View
(1974) and All The President's Men (1976).[9] He collaborated with Hal Ashby
Hal Ashby
on The Landlord
The Landlord
(1970), James Bridges on The Paper Chase (1973), and Herbert Ross on Pennies From Heaven (1981); as well as shooting all three of Coppola's Godfather films and working with Woody Allen
Woody Allen
on a succession of films that included Annie Hall
Annie Hall
(1977) and Manhattan (1979).[9] At a seminar on film-making he gave in 2003, Willis said, "It's hard to believe, but a lot of directors have no visual sense. They only have a storytelling sense. If a director is smart, he'll give me the elbow room to paint". He added: "It's the judgment they're paying for."[8] In a later interview he explained that when he started out in films he "did things in visual structure that nobody in the business was doing, especially in Hollywood", explaining: "I wasn't trying to be different; I just did what I liked". When asked by the interviewer how he applied his style to different genres and to working with different directors, Willis answered: "You're looking for a formula; there is none. The formula is me."[6] Up to the making of The Godfather
The Godfather
(1972), Willis mostly used Mitchell reflex cameras with Baltar or Cooke lenses. After that he used Panavision
equipment, which he had first used on Klute. Willis went back to using Mitchells on The Godfather
The Godfather
Part II (1974), in order to retain the visual coherence of the two films. Asked in 2004 about shooting films digitally, he was skeptical: "The organics aren’t the same," he said. "The interpretive levels suffer", adding: "Digital is another form of recording an image, but it won’t replace thinking."[10] Collaboration with Francis Ford Coppola
Francis Ford Coppola
and Woody Allen[edit] Originally, Willis turned down the first two Godfather films, until Coppola told him they wouldn't look the same without him.[1] His work turned out to be groundbreaking in its use of low-light photography and underexposed film, as well as in his control of lighting and exposure to create the sepia tones that denoted period scenes in The Godfather Part II.[11][7] His contributions carefully strengthened the themes of the story, as when shooting Marlon Brando
Marlon Brando
with his eyes hooded in shadow, a piece of lighting design that followed from the fact that Brando's make-up had to be lit from above.[11][7] Willis said that it was the colour that stitched the Godfather films together.[7] The visual structure of the films was, he said, his, but he gave Coppola credit for hiring him, saying: "I'm not that easy to deal with". He praised the director for the "management hell" of his struggles with Paramount,[7] adding that he was "grateful he could separate the visual structure of these movies from the mess that went on to fashion them".[10] Willis' collaboration with Woody Allen
Woody Allen
began with Annie Hall
Annie Hall
(1977). Willis described making films with Allen as being so comfortable that it was like "working with your hands in your pockets".[12] On Annie Hall he contrasted the warmth of Annie and Alvy Singer's romance in New York with the overexposure of the film's California scenes, while in Allen's Manhattan he was responsible for what has been called a "richly textured black-and-white paean to the beauty and diversity of the city itself".[13] Willis, whose idea it was to use anamorphic widescreen for the filming,[14] said: "We both felt that New York was a black-and-white city".[2] Willis also worked on the Allen films Interiors
(1978), Stardust Memories (1980), A Midsummer Night's Sex Comedy
A Midsummer Night's Sex Comedy
(1982), Zelig
(1983), Broadway Danny Rose
Broadway Danny Rose
(1984), and The Purple Rose of Cairo
The Purple Rose of Cairo
(1985). Allen said that working with Willis had helped to improve his technical skills,[15] saying of him: "He's an artist. He's got a great sense of humor--he taught me a lot."[16] Academy Awards[edit] In the seven-year period up to 1977, Willis was the director of photography on six films that received among them 39 Academy Award nominations, winning 19 times, including three awards for Best Picture.[17] The fact that Willis did not receive a single nomination was a subject of some controversy. His frequent absence from this period's nominees has been ascribed both to his unhidden "antipathy for Hollywood" and his work being ahead of its time.[12][13][16] He was once quoted as saying of Hollywood, "I don't think it suffers from an overabundance of good taste".[16] Willis was later nominated twice, once for his inventive recreation of 1920s photography in Woody Allen's Zelig, and then for The Godfather
The Godfather
Part III (1990). In 2009, at the inaugural Governors Awards, the Academy chose Willis as the recipient of the Academy Honorary Award for his life's work.[17][12] Directing and retirement[edit] Willis directed one film of his own, Windows, in 1980.[16] He admitted the film had been a mistake,[1] and later said of directing that he didn't really like it. "I've had a good relationship with actors," he reflected, "but I can do what I do and back off. I don't want that much romancing. I don't want them to call me up at two in the morning saying, 'I don't know who I am'".[8] His last film was The Devil's Own (1997), directed by Pakula. Of his decision to retire, Willis said: "I got tired of trying to get actors out of trailers, and standing in the rain".[6] Death[edit] Willis died of cancer on May 18, 2014, ten days before his 83rd birthday, in North Falmouth, Massachusetts.[9][18] ASC president Richard Crudo
Richard Crudo
said: "He was one of the giants who absolutely changed the way movies looked. Up until the time of The Godfather
The Godfather
and The Godfather Part II, nothing previously shot looked that way. He changed the way films looked and the way people looked at films."[19][20] Character of work[edit] Willis's work became celebrated for his ability to use shadow and underexposed film with a "subtlety and expressivity previously unknown on colour film stock", with one critic citing as examples Don Corleone's study in The Godfather
The Godfather
and a parking garage in All the President's Men.[1] Willis's friend, cinematographer Conrad Hall, named him "The Prince of Darkness"[11] but Willis himself preferred to talk in terms of "visual relativity", saying: "I like going from light to dark, dark to light, big to small, small to big". Discussing The Godfather he said:

"You can decide this movie has got a dark palette. But you can't spend two hours on a dark palette. . . So you've got this high-key, Kodachrome wedding going on. Now you go back inside and it's dark again. You can't, in my mind, put both feet into a bucket of cement and leave them there for the whole movie. It doesn't work. You must have this relativity."[1]

Director Francis Ford Coppola
Francis Ford Coppola
said of Willis, "He has a natural sense of structure and beauty, not unlike a Renaissance artist,"[17] while Willis was praised for his capacity to use "painterliness" to define "not just the look but the very meaning and feel of a film".[1] Speaking of contemporary film-making in 2004, Willis said:

"I'm delighted that people can fly, dogs can talk, and anything destructive can be fashioned on the screen, but much of what's being done lacks structure or taste. As I've asked in the past: can anyone give me the definition of a camera? It's a tool, a means to an end. So is a light, and everything else you can pile on your back. They're all meant to transpose the written word into moving pictures that tell a story."[10]

Another of Willis's trademarks was a preference for filming at the magic hour before twilight, when the sun is low and creates a golden glow. Willis created the trope of warm ambers to denote nostalgic glow for the past for the young Vito sequences of The Godfather
The Godfather
Part II. Many films since then have copied this cinematic technique when depicting pre-World War II America.[citation needed] Partial filmography[edit]

End of the Road (1970) The Landlord
The Landlord
(1970) Little Murders
Little Murders
(1971) Klute
(1971) The Godfather
The Godfather
(1972) The Godfather
The Godfather
Part II (1974) The Paper Chase (1973) The Parallax View
The Parallax View
(1974) All the President's Men
All the President's Men
(1976) Annie Hall
Annie Hall
(1977) Interiors
(1978) Manhattan (1979) Windows (1980) – only film as a director Stardust Memories
Stardust Memories
(1980) Pennies from Heaven (1981) Zelig
(1983) – Academy Award nomination Broadway Danny Rose
Broadway Danny Rose
(1984) The Purple Rose of Cairo
The Purple Rose of Cairo
(1985) The Money Pit
The Money Pit
(1986) Presumed Innocent (1990) The Godfather
The Godfather
Part III (1990) – Academy Award nomination Malice (1993) The Devil's Own
The Devil's Own


^ a b c d e f Feeney, Mark (January 14, 2007). "A Study in Contrasts". The Boston Globe. Retrieved 2011-03-04.  ^ a b Garrett, Steven. "Take Five With Gordon Willis" Archived 2008-07-26 at the Wayback Machine., Time Out New York; retrieved March 4, 2011. ^ "Top 10 Most Influential Cinematographers Voted on by Camera Guild", Camera Guild, October 16, 2003; retrieved 2011-01-28. ^ "Gordon Willis, ASC", Internet Encyclopedia of Cinematographers; retrieved March 4, 2011. ^ Gordon Willis
Gordon Willis
Biography, filmreference.com; retrieved March 4, 2011. ^ a b c d e Lingan, John. "Interview: Gordon Willis", Splice Today, January 28, 2009; retrieved March 4, 2011. ^ a b c d e f MacIntyre, April. " Cinematographer
Gordon Willis
Gordon Willis
talks The Godfather
The Godfather
trilogy" Archived 2011-06-13 at the Wayback Machine., Monsters and Critics, September 24, 2008; retrieved March 4, 2011. ^ a b c Peary, Gerald (August 2003). "Gerald Peary: Gordon Willis". Boston Phoenix. Retrieved 2011-03-04.  ^ a b c Oliver Grettell, Gordon Willis, 'Godfather' and 'Annie Hall' cinematographer, dies, The Los Angeles Times, May 19, 2014 ^ a b c MacIntyre, April. " Gordon Willis
Gordon Willis
Interview", Below The Line, July 1, 2004; retrieved March 5, 2011. ^ a b c "Gordon Willis, the Man Who Shot The Godfather", Harvard Film Archive, November 30, 2009; retrieved March 4, 2011. ^ a b c Pond, Steve. " Gordon Willis
Gordon Willis
Finally Gets His Oscar", The Wrap, 16 October 2009. Retrieved 2011-03-04. ^ a b Lorenz, Janet and Levine, David. "International Dictionary of Film and Filmmakers: Gordon Willis
Gordon Willis
(Quoted on findarticles.com)", International Dictionary of Film and Filmmakers, 2000. Retrieved 2011-03-04. ^ Willis, Gordon. "Made In Manhattan" Archived 2011-02-09 at the Wayback Machine., MovieMaker Magazine, 6 April 2004. Retrieved 2011-03-05. ^ Stig Bjorkman (ed.) Woody Allen
Woody Allen
on Woody Allen, London: Faber and Faber, 1993, Revised Edition 2004, p. 75-93. ^ a b c d Friedman, Jack. "Movie Magician Gordon Willis
Gordon Willis
Explains the Tricks That Make Zelig
a Treat", People Magazine, Volume 20, No. 17, October 24, 1983; retrieved March 4, 2011. ^ a b c "Gordon Willis: Honorary Award", Academy of Motion Picture Arts and Sciences, 2009; retrieved March 4, 2011. ^ Anderson, John (May 19, 2014). "Gordon Willis, 'Godfather' Cinematographer, Dies at 82". The New York Times.  ^ Yamato, Jen (May 18, 2014). "R.I.P. 'Godfather' DP Gordon Willis". deadline.com. Retrieved 2014-05-18.  ^ Notice of death of Gordon Willis, losangeles.cbslocal.com; accessed May 20, 2014.

External links[edit]

Gordon Willis
Gordon Willis
on IMDb Radio show (with transcript) Gordon Willis
Gordon Willis
retrospective on NPR

v t e

Academy Honorary Award


Warner Bros.
Warner Bros.
/ Charlie Chaplin
Charlie Chaplin
(1928) Walt Disney
Walt Disney
(1932) Shirley Temple
Shirley Temple
(1934) D. W. Griffith
D. W. Griffith
(1935) The March of Time
The March of Time
/ W. Howard Greene and Harold Rosson (1936) Edgar Bergen
Edgar Bergen
/ W. Howard Greene / Museum of Modern Art
Museum of Modern Art
Film Library / Mack Sennett
Mack Sennett
(1937) J. Arthur Ball / Walt Disney
Walt Disney
/ Deanna Durbin
Deanna Durbin
and Mickey Rooney
Mickey Rooney
/ Gordon Jennings, Jan Domela, Devereaux Jennings, Irmin Roberts, Art Smith, Farciot Edouart, Loyal Griggs, Loren L. Ryder, Harry D. Mills, Louis Mesenkop, Walter Oberst / Oliver T. Marsh and Allen Davey / Harry Warner
Harry Warner
(1938) Douglas Fairbanks
Douglas Fairbanks
/ Judy Garland
Judy Garland
/ William Cameron Menzies / Motion Picture Relief Fund (Jean Hersholt, Ralph Morgan, Ralph Block, Conrad Nagel)/ Technicolor Company (1939) Bob Hope
Bob Hope
/ Nathan Levinson (1940) Walt Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company / Leopold Stokowski
Leopold Stokowski
and his associates / Rey Scott / British Ministry of Information (1941) Charles Boyer
Charles Boyer
/ Noël Coward
Noël Coward
/ Metro-Goldwyn-Mayer
(1942) George Pal
George Pal
(1943) Bob Hope
Bob Hope
/ Margaret O'Brien
Margaret O'Brien
(1944) Republic Studio, Daniel J. Bloomberg, and the Republic Studio Sound Department / Walter Wanger
Walter Wanger
/ The House I Live In / Peggy Ann Garner (1945) Harold Russell
Harold Russell
/ Laurence Olivier
Laurence Olivier
/ Ernst Lubitsch
Ernst Lubitsch
/ Claude Jarman Jr. (1946) James Baskett
James Baskett
/ Thomas Armat, William Nicholas Selig, Albert E. Smith, and George Kirke Spoor
George Kirke Spoor
/ Bill and Coo / Shoeshine (1947) Walter Wanger
Walter Wanger
/ Monsieur Vincent
Monsieur Vincent
/ Sid Grauman
Sid Grauman
/ Adolph Zukor
Adolph Zukor
(1948) Jean Hersholt
Jean Hersholt
/ Fred Astaire
Fred Astaire
/ Cecil B. DeMille
Cecil B. DeMille
/ The Bicycle Thief (1949) Louis B. Mayer
Louis B. Mayer
/ George Murphy
George Murphy
/ The Walls of Malapaga (1950)


Gene Kelly
Gene Kelly
/ Rashomon
(1951) Merian C. Cooper
Merian C. Cooper
/ Bob Hope
Bob Hope
/ Harold Lloyd
Harold Lloyd
/ George Mitchell / Joseph M. Schenck / Forbidden Games
Forbidden Games
(1952) 20th Century-Fox Film Corporation / Bell & Howell Company / Joseph Breen / Pete Smith (1953) Bausch & Lomb Optical Company / Danny Kaye
Danny Kaye
/ Kemp Niver / Greta Garbo / Jon Whiteley
Jon Whiteley
/ Vincent Winter / Gate of Hell (1954) Samurai I: Musashi Miyamoto (1955) Eddie Cantor
Eddie Cantor
(1956) Society of Motion Picture and Television Engineers
Society of Motion Picture and Television Engineers
/ Gilbert M. "Broncho Billy" Anderson / Charles Brackett / B. B. Kahane (1957) Maurice Chevalier
Maurice Chevalier
(1958) Buster Keaton
Buster Keaton
/ Lee de Forest
Lee de Forest
(1959) Gary Cooper
Gary Cooper
/ Stan Laurel
Stan Laurel
/ Hayley Mills
Hayley Mills
(1960) William L. Hendricks / Fred L. Metzler / Jerome Robbins
Jerome Robbins
(1961) William J. Tuttle
William J. Tuttle
(1964) Bob Hope
Bob Hope
(1965) Yakima Canutt
Yakima Canutt
/ Y. Frank Freeman
Y. Frank Freeman
(1966) Arthur Freed (1967) John Chambers / Onna White (1968) Cary Grant
Cary Grant
(1969) Lillian Gish
Lillian Gish
/ Orson Welles
Orson Welles
(1970) Charlie Chaplin
Charlie Chaplin
(1971) Charles S. Boren / Edward G. Robinson
Edward G. Robinson
(1972) Henri Langlois
Henri Langlois
/ Groucho Marx
Groucho Marx
(1973) Howard Hawks
Howard Hawks
/ Jean Renoir
Jean Renoir
(1974) Mary Pickford
Mary Pickford


Margaret Booth (1977) Walter Lantz
Walter Lantz
/ Laurence Olivier
Laurence Olivier
/ King Vidor
King Vidor
/ Museum of Modern Art Department of Film (1978) Hal Elias / Alec Guinness
Alec Guinness
(1979) Henry Fonda
Henry Fonda
(1980) Barbara Stanwyck
Barbara Stanwyck
(1981) Mickey Rooney
Mickey Rooney
(1982) Hal Roach
Hal Roach
(1983) James Stewart
James Stewart
/ National Endowment for the Arts
National Endowment for the Arts
(1984) Paul Newman
Paul Newman
/ Alex North (1985) Ralph Bellamy
Ralph Bellamy
(1986) Eastman Kodak
Company / National Film Board of Canada
National Film Board of Canada
(1988) Akira Kurosawa
Akira Kurosawa
(1989) Sophia Loren
Sophia Loren
/ Myrna Loy
Myrna Loy
(1990) Satyajit Ray
Satyajit Ray
(1991) Federico Fellini
Federico Fellini
(1992) Deborah Kerr
Deborah Kerr
(1993) Michelangelo Antonioni
Michelangelo Antonioni
(1994) Kirk Douglas
Kirk Douglas
/ Chuck Jones
Chuck Jones
(1995) Michael Kidd
Michael Kidd
(1996) Stanley Donen
Stanley Donen
(1997) Elia Kazan
Elia Kazan
(1998) Andrzej Wajda
Andrzej Wajda
(1999) Jack Cardiff
Jack Cardiff
/ Ernest Lehman (2000)


Sidney Poitier
Sidney Poitier
/ Robert Redford
Robert Redford
(2001) Peter O'Toole
Peter O'Toole
(2002) Blake Edwards
Blake Edwards
(2003) Sidney Lumet
Sidney Lumet
(2004) Robert Altman
Robert Altman
(2005) Ennio Morricone
Ennio Morricone
(2006) Robert F. Boyle (2007) Lauren Bacall
Lauren Bacall
/ Roger Corman
Roger Corman
/ Gordon Willis
Gordon Willis
(2009) Kevin Brownlow / Jean-Luc Godard
Jean-Luc Godard
/ Eli Wallach
Eli Wallach
(2010) James Earl Jones
James Earl Jones
/ Dick Smith (2011) D. A. Pennebaker
D. A. Pennebaker
/ Hal Needham
Hal Needham
/ George Stevens Jr.
George Stevens Jr.
(2012) Angela Lansbury
Angela Lansbury
/ Steve Martin
Steve Martin
/ Piero Tosi (2013) Jean-Claude Carrière
Jean-Claude Carrière
/ Hayao Miyazaki
Hayao Miyazaki
/ Maureen O'Hara
Maureen O'Hara
(2014) Spike Lee
Spike Lee
/ Gena Rowlands
Gena Rowlands
(2015) Jackie Chan
Jackie Chan
/ Lynn Stalmaster / Anne V. Coates / Frederick Wiseman (2016) Charles Burnett / Owen Roizman / Donald Sutherland
Donald Sutherland
/ Agnès Varda (2017)

v t e

National Society of Film Critics (NSFC) Award for Best Cinematography


Haskell Wexler
Haskell Wexler
(1967) William A. Fraker (1968) Lucien Ballard (1969) Néstor Almendros (1970) Vittorio Storaro
Vittorio Storaro
(1971) Sven Nykvist
Sven Nykvist
(1972) Vilmos Zsigmond
Vilmos Zsigmond
(1973) Gordon Willis
Gordon Willis
(1974) John Alcott (1975) Haskell Wexler
Haskell Wexler
(1976) Thomas Mauch (1977) Néstor Almendros (1978) Caleb Deschanel
Caleb Deschanel


Michael Chapman (1980) Gordon Willis
Gordon Willis
(1981) Philippe Rousselot (1982) Hiro Narita
Hiro Narita
(1983) Chris Menges (1984) Takao Saito, Masaharu Ueda, and Asakazu Nakai (1985) Frederick Elmes (1986) Philippe Rousselot (1987) Henri Alekan
Henri Alekan
(1988) Michael Ballhaus
Michael Ballhaus
(1989) Peter Suschitzky (1990) Roger Deakins
Roger Deakins
(1991) Zhao Fei (1992) Janusz Kamiński
Janusz Kamiński
(1993) Stefan Czapsky (1994) Tak Fujimoto (1995) Robby Müller (1996) Roger Deakins
Roger Deakins
(1997) John Toll (1998) Conrad L. Hall (1999)


Agnès Godard (2000) Christopher Doyle
Christopher Doyle
and Pin Bing Lee
Pin Bing Lee
(2001) Edward Lachman
Edward Lachman
(2002) Russell Boyd (2003) Xiaoding Zhao (2004) Christopher Doyle, Lai Yiu Fai, and Kwan Pun Leung (2005) Emmanuel Lubezki (2006) Robert Elswit (2007) Anthony Dod Mantle
Anthony Dod Mantle
(2008) Christian Berger
Christian Berger
(2009) Roger Deakins
Roger Deakins
(2010) Emmanuel Lubezki (2011) Mihai Mălaimare Jr. (2012) Bruno Delbonnel
Bruno Delbonnel
(2013) Dick Pope (2014) Edward Lachman
Edward Lachman
(2015) James Laxton (2016) Roger Deakins
Roger Deakins

v t e

New York Film Critics Circle Award for Best Cinematographer


Ghislain Cloquet and Geoffrey Unsworth (1980) David Watkin (1981) Néstor Almendros (1982) Gordon Willis
Gordon Willis
(1983) Chris Menges (1984) David Watkin (1985) Tony Pierce-Roberts (1986) Vittorio Storaro
Vittorio Storaro
(1987) Henri Alekan
Henri Alekan
(1988) Ernest R. Dickerson (1989) Vittorio Storaro
Vittorio Storaro
(1990) Roger Deakins
Roger Deakins
(1991) Jean Lépin (1992) Janusz Kamiński
Janusz Kamiński
(1993) Stefan Czapsky (1994) Lü Yue (1995) Robby Müller (1996) Roger Deakins
Roger Deakins
(1997) John Toll (1998) Freddie Francis (1999)


Peter Pau
Peter Pau
(2000) Christopher Doyle
Christopher Doyle
and Pin Bing Lee
Pin Bing Lee
(2001) Todd Haynes
Todd Haynes
and Edward Lachman
Edward Lachman
(2002) Harris Savides (2003) Christopher Doyle
Christopher Doyle
(2004) Christopher Doyle
Christopher Doyle
and Lai Yiu-fai and Kwan Pun Leung (2005) Guillermo Navarro
Guillermo Navarro
(2006) Robert Elswit (2007) Anthony Dod Mantle
Anthony Dod Mantle
(2008) Christian Berger
Christian Berger
(2009) Matthew Libatique
Matthew Libatique
(2010) Emmanuel Lubezki (2011) Greig Fraser (2012) Bruno Delbonnel
Bruno Delbonnel
(2013) Darius Khondji
Darius Khondji
(2014) Edward Lachman
Edward Lachman
(2015) James Laxton (2016) Rachel Morrison (2017)

v t e

The Godfather


The Godfather The Sicilian The Godfather
The Godfather
Returns The Godfather's Revenge The Family Corleone


The Godfather The Godfather
The Godfather
Part II The Godfather
The Godfather
Part III

Video games

The Godfather
The Godfather
(1991) The Godfather
The Godfather
(2006) The Godfather
The Godfather
II (2009)


Vito Corleone Michael Corleone Tom Hagen Sonny Corleone Fredo Corleone Carmela Corleone Kay Adams-Corleone Connie Corleone Anthony Corleone Mary Corleone Vincent Corleone Sandra Corleone

Family allies

Genco Abbandando Luca Brasi Peter Clemenza Al Neri Frank Pentangeli Salvatore Tessio

Family enemies

Don Altobello Emilio Barzini Don Fanucci Moe Greene Johnny Ola Carlo Rizzi Hyman Roth Louie Russo Joey Zasa


Amerigo Bonasera Cardinal Lamberto Lucy Mancini Danny Shea Mickey Shea Billy Van Arsdale Aldo Trapani Albert Volpe


The Godfather
The Godfather
(soundtrack) The Godfather
The Godfather
Part II (soundtrack) The Godfather
The Godfather
Part III (soundtrack) "Speak Softly, Love" "Promise Me You'll Remember"


List of minor characters in The Godfather
The Godfather
series Mario Puzo Mark Winegardner Edward Falco Five Families Corleone The Godfather
The Godfather
Effect The Godfather
The Godfather
Papers and Other Confessions The Godfather
The Godfather
Saga The Last Don Omertà The Sicilian

Book Category

Authority control

WorldCat Identities VIAF: 61742452 LCCN: n85376805 ISNI: 0000 0001 1766 408X GND: 129577871 SUDOC: 079292550 BNF: cb13999519z (data) BNE: XX952