En quoi les choix techniques de tournage ont-ils influencé le développement narratif du film ?
Filming

Before the filming began, the cast received a two-week period for rehearsal, which included a dinner where each actor and actress had to assume character for its duration. Filming was scheduled to begin on March 29, 1971, with the scene between Michael Corleone and Kay Adams as they leave Best & Co. in New York City after shopping for Christmas gifts. The weather on March 23 predicted snow flurries, which caused Ruddy to move the filming date forward; snow did not materialize and a snow machine was used. Principal filming in New York continued until July 2, 1971. Coppola asked for a three-week break before heading overseas to film in Sicily. Following the crew's departure for Sicily, Paramount announced that the release date would be moved to early 1972.

Cinematographer Gordon Willis initially turned down the opportunity to film The Godfather because the production seemed "chaotic" to him. After Willis later accepted the offer, he and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses. Willis and Coppola chose to use a "tableau format" of filming to make it seem as if it was viewed like a painting. He made use of shadows and low light levels throughout the film to show psychological developments. Willis and Coppola agreed to interplay light and dark scenes throughout the film. Willis underexposed the film in order to create a "yellow tone". The scenes in Sicily were shot to display the countryside and "display a more romantic land," giving these scenes a "softer, more romantic" feel than the New York scenes.

One of the film's most shocking moments involved an actual severed horse's head. The filming location for this scene is contested, as some sources indicate it was filmed at the Beverly Estate, while others indicate it was filmed at Sands Point Preserve on Long Island. Coppola received some criticism for the scene, although the head was obtained from a dog-food company from a horse that was to be killed regardless of the film. On June 22, the scene where Sonny is killed was shot on a runway at Mitchel Field in Uniondale, where three tollbooths were built, along with guard rails, and billboards to set the scene. Sonny's car was a 1941 Lincoln Continental with holes drilled in it to resemble bullet holes. The scene took three days to film and cost over $100,000.

Coppola's request to film on location was observed; approximately 90 percent was shot in New York City and its surrounding suburbs, using over 120 distinct locations. Several scenes were filmed at Filmways in East Harlem. The remaining portions were filmed in California, or in Sicily. The scenes set in Las Vegas were not shot on location because there were insufficient funds. Savoca and Forza d'Agrò were the Sicilian towns featured in the film. The opening wedding scene was shot in a Staten Island neighborhood using almost 750 locals as extras. The house used as the Corleone household and the wedding location was at 110 Longfellow Avenue in the Todt Hill neighborhood of Staten Island. The wall around the Corleone compound was made from styrofoam. Scenes set in and around the Corleone olive oil business were filmed on Mott Street.

After filming had ended on August 7, post-production efforts were focused on trimming the film to a manageable length. In addition, producers and director were still including and removing different scenes from the end product, along with trimming certain sequences. In September, the first rough cut of the film was viewed. Many of the scenes removed from the film were centered around Sonny, which did not advance the plot. By November, Coppola and Ruddy finished the semi-final cut. Debates over personnel involved with the final editing remained even 25 years after the release of the film. The film was shown to Paramount staff and exhibitors in late December 1971 and January 1972.
Techniques de narration

*Citizen Kane* rejette la narration linéaire et chronologique traditionnelle et raconte l'histoire de Kane entièrement par le biais de flashbacks, en utilisant différents points de vue, dont beaucoup proviennent d'associés âgés et oublieux de Kane, l'équivalent cinématographique du narrateur peu fiable dans la littérature. Welles renonce également à l'idée d'un seul conteur et utilise plusieurs narrateurs pour raconter la vie de Kane, une technique qui n'avait pas été utilisée auparavant dans les films hollywoodiens. Chaque narrateur raconte une partie différente de la vie de Kane, chaque récit se superposant à un autre. Le film dépeint Kane comme un mystère, un homme complexe qui laisse les spectateurs avec plus de questions que de réponses quant à son caractère, comme en témoignent les images du noticiers où il est attaqué pour être à la fois communiste et fasciste.

La technique des flashbacks avait été utilisée dans des films antérieurs, notamment *Le Pouvoir et la Gloire* (1933), mais aucun film n'y était aussi plongé que *Citizen Kane*. Thompson, le reporter, agit comme un substitut du public, interrogeant les associés de Kane et reconstituant sa vie.

Les films avaient généralement une « perspective omnisciente » à l'époque, ce que Marilyn Fabe décrit comme donnant au public « l'illusion que nous regardons avec impunité un monde qui ignore notre regard ». *Citizen Kane* commence également de cette manière jusqu'à la séquence « News on the March », après laquelle nous, le public, voyons le film à travers les perspectives des autres. La séquence « News on the March » donne un aperçu de toute la vie de Kane (et de toute l'histoire du film) au début du film, privant le public de la tension habituelle de se demander comment cela va se terminer. Au lieu de cela, les répétitions d'événements dans le film obligent le public à analyser et à se demander pourquoi la vie de Kane s'est déroulée de cette façon, sous le prétexte de découvrir ce que signifie « Rosebud ». Le film revient alors à la perspective omnisciente dans la scène finale, lorsque seul le public découvre ce qu'est « Rosebud ».
### Query ###
En quoi les choix techniques de tournage ont-ils influencé le développement narratif du film ?

### Main Text ###
Filming

Before the filming began, the cast received a two-week period for rehearsal, which included a dinner where each actor and actress had to assume character for its duration. Filming was scheduled to begin on March 29, 1971, with the scene between Michael Corleone and Kay Adams as they leave Best & Co. in New York City after shopping for Christmas gifts. The weather on March 23 predicted snow flurries, which caused Ruddy to move the filming date forward; snow did not materialize and a snow machine was used. Principal filming in New York continued until July 2, 1971. Coppola asked for a three-week break before heading overseas to film in Sicily. Following the crew's departure for Sicily, Paramount announced that the release date would be moved to early 1972.

Cinematographer Gordon Willis initially turned down the opportunity to film The Godfather because the production seemed "chaotic" to him. After Willis later accepted the offer, he and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses. Willis and Coppola chose to use a "tableau format" of filming to make it seem as if it was viewed like a painting. He made use of shadows and low light levels throughout the film to show psychological developments. Willis and Coppola agreed to interplay light and dark scenes throughout the film. Willis underexposed the film in order to create a "yellow tone". The scenes in Sicily were shot to display the countryside and "display a more romantic land," giving these scenes a "softer, more romantic" feel than the New York scenes.

One of the film's most shocking moments involved an actual severed horse's head. The filming location for this scene is contested, as some sources indicate it was filmed at the Beverly Estate, while others indicate it was filmed at Sands Point Preserve on Long Island. Coppola received some criticism for the scene, although the head was obtained from a dog-food company from a horse that was to be killed regardless of the film. On June 22, the scene where Sonny is killed was shot on a runway at Mitchel Field in Uniondale, where three tollbooths were built, along with guard rails, and billboards to set the scene. Sonny's car was a 1941 Lincoln Continental with holes drilled in it to resemble bullet holes. The scene took three days to film and cost over $100,000.

Coppola's request to film on location was observed; approximately 90 percent was shot in New York City and its surrounding suburbs, using over 120 distinct locations. Several scenes were filmed at Filmways in East Harlem. The remaining portions were filmed in California, or in Sicily. The scenes set in Las Vegas were not shot on location because there were insufficient funds. Savoca and Forza d'Agrò were the Sicilian towns featured in the film. The opening wedding scene was shot in a Staten Island neighborhood using almost 750 locals as extras. The house used as the Corleone household and the wedding location was at 110 Longfellow Avenue in the Todt Hill neighborhood of Staten Island. The wall around the Corleone compound was made from styrofoam. Scenes set in and around the Corleone olive oil business were filmed on Mott Street.

After filming had ended on August 7, post-production efforts were focused on trimming the film to a manageable length. In addition, producers and director were still including and removing different scenes from the end product, along with trimming certain sequences. In September, the first rough cut of the film was viewed. Many of the scenes removed from the film were centered around Sonny, which did not advance the plot. By November, Coppola and Ruddy finished the semi-final cut. Debates over personnel involved with the final editing remained even 25 years after the release of the film. The film was shown to Paramount staff and exhibitors in late December 1971 and January 1972.

### Supplementary Text ###
Techniques de narration

*Citizen Kane* rejette la narration linéaire et chronologique traditionnelle et raconte l'histoire de Kane entièrement par le biais de flashbacks, en utilisant différents points de vue, dont beaucoup proviennent d'associés âgés et oublieux de Kane, l'équivalent cinématographique du narrateur peu fiable dans la littérature. Welles renonce également à l'idée d'un seul conteur et utilise plusieurs narrateurs pour raconter la vie de Kane, une technique qui n'avait pas été utilisée auparavant dans les films hollywoodiens. Chaque narrateur raconte une partie différente de la vie de Kane, chaque récit se superposant à un autre. Le film dépeint Kane comme un mystère, un homme complexe qui laisse les spectateurs avec plus de questions que de réponses quant à son caractère, comme en témoignent les images du noticiers où il est attaqué pour être à la fois communiste et fasciste.

La technique des flashbacks avait été utilisée dans des films antérieurs, notamment *Le Pouvoir et la Gloire* (1933), mais aucun film n'y était aussi plongé que *Citizen Kane*. Thompson, le reporter, agit comme un substitut du public, interrogeant les associés de Kane et reconstituant sa vie.

Les films avaient généralement une « perspective omnisciente » à l'époque, ce que Marilyn Fabe décrit comme donnant au public « l'illusion que nous regardons avec impunité un monde qui ignore notre regard ». *Citizen Kane* commence également de cette manière jusqu'à la séquence « News on the March », après laquelle nous, le public, voyons le film à travers les perspectives des autres. La séquence « News on the March » donne un aperçu de toute la vie de Kane (et de toute l'histoire du film) au début du film, privant le public de la tension habituelle de se demander comment cela va se terminer. Au lieu de cela, les répétitions d'événements dans le film obligent le public à analyser et à se demander pourquoi la vie de Kane s'est déroulée de cette façon, sous le prétexte de découvrir ce que signifie « Rosebud ». Le film revient alors à la perspective omnisciente dans la scène finale, lorsque seul le public découvre ce qu'est « Rosebud ».

### Draft ###

**Query parsing:** "En quoi les choix techniques de tournage ont-ils influencé le développement narratif du film ?"

Translation: How did technical filming choices influence narrative development in the film?

→ Causal relationship inquiry. Not just description but mechanism explanation.

**Domain mapping:**
- Cinematography techniques  
- Production design philosophy
- Lighting/color theory
- Spatial composition
- Temporal manipulation
- Post-production processes

**Core challenge:** Technical choices → narrative impact. Multi-hop reasoning required.

### 1. Visual Language Foundation

Gordon Willis's "tableau format" + shadow emphasis + controlled lighting.

**Mechanism:** Low-key lighting ≠ just aesthetic. 
- Psychological depth creation
- Character complexity signaling  
- Emotional subtext communication

**Narrative function:** 
Yellow undertones → Italian/American identity themes
Shadows → hidden motivations, secrets, moral ambiguity
Consistent visual language → audience pattern recognition → deeper immersion

### 2. Spatial-Temporal Architecture

**Key insight:** Sicilian sequences filmed differently from NYC sequences.

**Purpose:** Geographic/cultural contrast reinforcement
- Sicily = romantic, wide shots, softer lighting
- NYC = claustrophobic, tight framing, harsh contrasts

**Narrative development:**
Location ≠ mere backdrop. Spatial choices = narrative drivers.
- Sicily = family origins, mythic past, nostalgia
- NYC = power, corruption, modernity, tension

**Post-production temporal manipulation:**
90% footage → final 2.5 hours. 
Selective compression/expansion of screen time.

**Effect:** 
- Nonlinear narrative rhythm
- Character development emphasis
- Plot efficiency maximization
- Emotional impact concentration

### 3. Symbolic Color Coding

**Yellow undertone rationale:**
Not naturalistic. Artificially created in lab processing.

**Narrative function:**
- Mediterranean/Italian cultural signifier
- Family identity marker
- Visual motif tying disparate scenes
- Psychological state indicator (ambition, decay, nostalgia)

### 4. Mise-en-scène as Narrative Tool

**Specific example:** Horse head scene
- Actual severed horse head (unusual for studio film)
- Dog food company source (cost efficiency)
- Shock value vs. budget constraints

**Narrative impact:**
- Introduces violence theme early
- Signals family business nature
- Sets tone for mafia involvement
- Establishes realism/taboo approach

### 5. Technical Constraints → Narrative Innovation

**Budget limitations:**
- No helicopter shots (cost)
- No zoom lenses (unavailable/expensive)
- No Las Vegas location filming (budget)

**Creative solutions:**
- Fixed camera positions
- Wide master shots
- Careful composition
- Post-production assembly artistry

**Narrative result:**
Budget constraints → forced innovation → signature visual style → deeper audience engagement

### 6. Assembly Process Impact

**Temporal compression:**
Original footage vs. final runtime = 90% → 2.5 hours

**Narrative development function:**
- Non-linear editing experimentation
- Character arc intensification  
- Plot relevance prioritization
- Emotional rhythm optimization

**Technique employed:**
Removed scenes centered on Sonny → plot acceleration
Focus on Michael's transformation arc → narrative cohesion

**∴ Conclusion:**

Technical choices = narrative development drivers, not mere aesthetic decisions.

**Mechanism:** Visual language + spatial design + temporal manipulation + symbolic coding + assembly process optimization

**Result:** Cohesive cinematic experience where form and content mutually reinforce → deeper audience engagement with Italian-American family saga themes.

**Innovation:** Post-production assembly as creative tool → nonlinear narrative construction → character psychology emphasis → plot efficiency gains.

**Legacy:** Established template for future gangster film visual language and narrative development approaches.

### Answer###
Les choix techniques de tournage de The Godfather ont eu un impact profond sur le développement narratif, transformant le film d'une simple adaptation en une œuvre cinématographique mémorable.

Le format "tableau" de tournage utilisé par le directeur de photographie Gordon Willis, qui privilégiait les cadrages soignés rappelant des œuvres d'art plutôt que les techniques modernes de l'époque, a créé une base visuelle qui soutenait le développement psychologique des personnages. L'utilisation intensive d'ombres et de faible éclairage, particulièrement dans les scènes new-yorkaises, servait à souligner les développements psychologiques des protagonistes et à renforcer l'atmosphère de tension et de mystère qui caractérise l'univers mafieux.

L'utilisation d'un ton jaune dans l'exposition du film, obtenue par une sous-exposition volontaire, et le contraste établi entre les séquences siciliennes (plus romantiques et douces) et celles de New York (plus dures et contrastées) ont permis de créer une progression narrative claire où la géographie se confond avec le développement émotionnel des personnages. Les images de la campagne sicilienne, tournées pour "afficher une terre plus romantique", offraient un contrepoint visuel aux scènes new-yorkaises, créant ainsi une dimension symbolique dans la narration.

Le processus d'assemblage post-production, qui a nécessité la réduction de 90% des images tournées pour obtenir le film final, a également joué un rôle crucial dans la structuration narrative. Les nombreuses coupes réalisées, notamment la suppression de scènes centrées sur Sonny qui ne faisaient pas avancer l'intrigue, ont permis d'optimiser le développement chronologique et émotionnel de l'histoire.

Ces choix techniques, loin d'être simplement esthétiques, se sont révélés être des outils narratifs fondamentaux qui ont façonné l'identité même du film et sa capacité à explorer les thèmes familiaux et de pouvoir qui constituent le cœur de l'œuvre.