The other side product, which I think is even additionally powerful, is the fact that you see, in the film, you see Al Pacino become a star. At the beginning of the film, you know, you have to go back to 1973 to... to imagine this. But at the beginning: 'Who is this guy? Michael, what?' You watch the film, and over the course of the film, at the end, you are convinced that he is the new Godfather. And here's a movie star. This guy has 'it', whatever that is. But that's exactly what happens in the story. Michael, who is the... Not the nobody, but the one member of the family who is not going to become part of this family. He becomes the head of the family. And so he emerges in the story, from let's say, nobody, to the king. The reluctant prince becomes the king at the end. And that's what happens with Al Pacino.

Now, if it's Robert Redford, he doesn't look Italian. And you have to think intellectually, oh, yes, if you know there are some people in Sicily who don't look Sicilian. But very few people know that. And he's already a star. So for him to say, 'I'm not part of this.' 'You're already a star. What are you talking about?' You know, it's only convincing when you don't know that person.

So it's now, when we look at the film, this is 40 years later or more, none of that is obvious. But if you have to go back to the time, and imagine the world the way it was back in the early 1970s, all of these things are firing on all cylinders simultaneously. So it's this tapestry, really, of threads coming from above, the vertical casting. And then, the horizontal casting, and if you get it right, these threads bind together in a very strong and colourful way, the way the threads of a tapestry do. And you know, they look great, and they're strong. And they take whatever abuse you can hurl at them. They kind of bounce back. And it's a goal, I think, to which all films aspire. And yet, very few totally achieve it. That's not to discount the ones that don't achieve it because most films don't.