Does the name Dean Tavoularis ring a bell? If it doesn’t, you’ve certainly admired his work over the years. As Francis Ford Coppola’s production designer from 1972 (“The Godfather”) until 1996 (“Jack”), Mr. Tavoularis created the cinematic environments, settings, and style to visually tell the story, making him a key figure—and a legend in his own right—to collaborate with the director and the cinematographer.

Although cinematographers or editors are much more referred to in film reviews, essays, or even during the awards season, the contribution of a production designer (PD) is no less essential, as the visual look of any film, or any scene for that matter, along with its sets and locations, are the responsibility of the production designer. So that’s where five-time Oscar nominee and Academy Award-winner Dean Tavoularis (for Coppola’s “Tucker: The Man and His Dreams,” 1987) comes in. Like an architect who builds a home or an office building, he built sets, and he looked for any house, car, or boat they needed for any film he worked on.

Growing up with the movies, Mr. Tavoularis was born in Lowell, Massachusetts, in 1932. His father later ran a cafeteria in Los Angeles, with 20th Century Fox studios as a major client of his, and as a child and a teenager, Mr. Tavoularis helped his father delivering coffees to Fox during the summer holidays.

After studying art and architecture in Los Angeles, he was hired by Disney studios in the mid-1950s and worked in the animation department and the live action department. Later he became an assistant art director at Columbia, Universal, Warner Bros., and MGM, and his career took off with films such as “Inside Daisy Clover” (1965) and “Bonnie and Clyde” (1967).

The now 85-year-old screen veteran recently visited Brussels with his wife, French actress Aurore Clément; they first met on the set of “Apocalypse Now” (1979). Her part ended up on the cutting room floor, but later resurfaced in Coppola’s 2001 extended version “Apocalypse Now Redux.” With a film retrospective of fifteen films of his at the Brussels Cinematek—all picked out by Mr. Tavoularis himself—he introduced “Tucker: The Man and His Dreams” (1988) during a glorified Q&A at the Cinematek’s Ledoux theater.

Mr. Tavoularis, there are two different jobs related to your line of work. One is art direction, the other one is the production design. Could you explain the difference between those two?

I’m not an expert because it confuses me too [laughs]. Sometimes I don’t know what I’m called. But basically, my understanding was that before the 1930’s, the designer of a film was called art director—if he got credit at all. Then around 1939, an art director named Cameron Menzies did the decor of “Gone With the Wind,” and he said, ‘I don’t want art direction credit, I want production designer.’ To him, that was a broader and more comprehensive credit. So they said, ‘Okay, we create a new name, and we’ll call you production designer.’ So time went by, and people continued to be called art directors, but then someone said, ‘Cameron Menzies got the credit of production designer, I want that too.’ The Art Directors Union and the film producers had to give you their approval, and you saw more and more films with this production designer credit. Basically, the term art director was replaced by production designer, but the confusion is that when everybody became a production designer, their assistants were called art directors, a name that was used for the chief guy in the 1920s and 1930s.

We will be watching “Tucker: The Man and His Dreams” [1988] this evening, a film you chose to be screened. I suppose the film is very dear to you?

It is dear to me. I picked it because it was not among the five films that seem to be always the choices—the three “Godfather” films, “The Conversation” [1974] and “Apocalypse Now” [1979]. So this film, or “Hammett” [1982] or “Peggy Sue Got Married” [1986] are not the big classic ones, but they all have some kind of merit. Also, when the film became a reality, we were all very excited because it was all about design, so we all loved the idea of working on this film.

The film doesn’t celebrate success. That’s maybe also one of the reasons you liked this project?

That’s right. It’s about a failure. It’s about trying. The value of attempting or trying, that’s very important.

How do you explain the chemistry between you and Francis Ford Coppola?

Who knows [laughs]. It could have been like a one-time thing, and then you never see each other again. It could have easily been like that. There are many partnerships in all different kinds of businesses that can always turn out badly, but sometimes it can turn out to be a collaboration. You see eye to eye; you feel supportive. When you’re doing a film, no matter how tough you are, no matter how strong you are, you need a feeling of support. And I always had that with Francis. We still work together, I still see him, we’re doing interesting projects, not film, but architectural projects.

When “The Godfather” [1972] was made, there were indifferences with the studio as far as creative freedom was concerned, while you all got total autonomy when you did “The Godfather, Part II” [1974]. Can you tell a little bit about that?

“The Godfather” was the first time Francis and I worked together. I had read the book, read the script, we started to work on the film, but at Paramount—they owned the property and were financing the movie—they were very quickly critical about everything Francis was doing. Not about what I was doing; that was peanuts. But Francis didn’t want to make a cliché kind of Italian gangster film right from the beginning. He wanted to make a film about the relationship with the family, the marriages, the baptisms, and the killing, the combination of all that. I think Paramount wanted to make an Italian gangster movie. And they didn’t like his casting. I think it’s common knowledge by now: Al Pacino was too short, Diane Keaton wasn’t beautiful enough, and Marlon Brando… no way on earth. They wanted to make the movie in St. Louis. Why St. Louis? I went over there and looked around; it was ridiculous. It wouldn’t have made the picture better; they only wanted to escape the New York unions. Everything that Paramount wanted would have made this movie a flop. Everything that Francis fought against and fought for made “The Godfather” a screen classic. There are many stories, especially about Marlon Brando, but they’re all too long…

… maybe just one?

I became friends with Francis when we did “Candy” [1968], and a few years later, we were flying from New York to Los Angeles when I met him again; he kept bringing up Marlon Brando to play Don Corleone. There was this guessing game around the country, ‘Who’s going to play the Godfather?’ The book was a huge thing, and now they were going to make the movie. It was almost like when they were casting “Gone With the Wind”: who was going to play Scarlett O’Hara and Rhett Butler? So on the plane, Francis told me he wanted Marlon Brando, and they set up a meeting, Marlon was not going to read the script, but Francis told him what the part was all about, and while Francis was telling him everything, Marlon took a Kleenex and put it into his mouth. Francis said, ‘I have a camera in my car, can I get it?’ So he got the camera, and he shot Marlon as he was ad-libbing his take on “The Godfather.” So then we had meetings at Paramount, and he brought up Marlon, but there they told him, ‘You’re an employee, don’t bring up the name Marlon Brando again.’ Then Francis and I went back to New York, thinking, okay, let’s at least make the film in New York, and we were in the Gulf and Western building—Paramount was owned by Gulf and Western, which was owned by Charlie Bluhdorn, so Charlie owned Paramount. Francis had the take that he had shot of Marlon Brando on a monitor in his office, of Marlon doing his thing as the Godfather with the Kleenex in his mouth, and he had it running on his monitor. Charlie Bluhdorn—who knew Francis quite well, but you know, business is business—was walking down the corridor, and he saw the monitor. With his Viennese accent, he asked, ‘Who’s that? Who’s that man? This is the Godfather!’ So Francis said, ‘That’s Marlon Brando.’ And then they got Marlon Brando; they hired him. But the unfolding was interesting. They almost fired Francis; it was always shaky, which made it very unpleasant. To make the comparison with “The Godfather, Part II”: after “The Godfather” had come out, Paramount was very happy to make millions and millions when it became a gigantic success, and then they told Francis, ‘Make “The Godfather, Part II.”’ Francis said that there was no “Part II.” “Well, make one up. Get Mario Puzo and think up something!” They kept sweetening the pot, so to speak. Then finally Francis thought, this isn’t bad. They’re paying us all the money in the world; we get freedom, no interference—which was absolutely true. So Francis and Mario Puzo went to the Peppermint Lounge in Reno, Nevada, and wrote “The Godfather, Part II.” That was a much more expensive film, more complex, and zero interference from Paramount, and a very big success for all of us.

Francis Ford Coppola wasn’t the only filmmaker you worked with. You also made films with Arthur Penn, William Friedkin, all young film directors who were taking control and also fought the studios to a certain extent. How do you remember that period which must have been very crucial back then?

Well, when you‘re in the middle of something, you don’t see it as clearly as when you step back. I did feel there was an evolution or a revolution going on. When I first started working as an assistant art director in the late 1950s and 1960s, the big studios were still run by the pioneers; they were all still there. When I did “Bonnie and Clyde” [1967], it was Jack L. Warner who was running Warner Bros. And there’s a lot to criticize about those big guys—sure you had the dictatorship of Darryl F. Zanuck and all of them, and the filmmaker who was expected to make money-making films, was in no position really. But for me, I would say it was very beneficial: the studios were always ready to make films. You didn’t need to find a shop or hire carpenters, they were all there waiting for you. You had the wardrobe department with thousands of wardrobes in refrigerated storage areas; you had a mill, a library. It was a factory for filmmaking; at MGM, they made film after film. They would turn them out just like that. And when that began to erode, the filmmakers themselves began to say, ‘Look, we are making the films, you are nothing without us. Nothing!’ So they started taking power. After fifty years, that era of studio bosses collapsed, and I was right there during those historical changes when films like “Bonnie and Clyde” [1967] and “Easy Rider” [1969] came out.

“Apocalypse Now” was certainly the longest shoot you ever were involved in, certainly a very different adventure in artistic and human terms. How do you look back to that period, and could you also tell something about the French plantation sequence that was cut out for the original film version but is included in “Apocalypse Now Redux”?

When they decided to make “Apocalypse Now,” many years before we started shooting, they had to figure out two things: we needed a river because the story is about a boat going up a river, and we needed helicopters. We needed a place, a state, a government that had helicopters that we could use. We went to the Pentagon, this huge mythical Pentagon building, but the Department of Army read the script, and they said, ‘No.’ No helicopters from the United States. So we started looking for helicopters elsewhere—and we needed a river. As a production designer, I was always looking for the visuals, and they asked me to go to TV stations in places like Melbourne to talk about “The Godfather” in morning shows. I didn’t like it at all; I was very petrified about all of that. But it went on and on and I began to like it [laughs]. Paramount was kind of financing our scouting trip. I went to Thailand, Borneo, Jakarta, Malaysia—it was educational, and I still remember the weirdness of these trips. I ended up in the Philippines, and like a lot of war films finally did, the government co-operated and gave us helicopters, and they had the rivers. So we shot the film in the Philippines. After the film was finished, Francis wanted the film to be with an intermission and have everything that we shot in the film. But if the film were that long, you would lose one screening per day. So the studio was deadly against the long version, and Francis had to cut a little bit out of everything. He hated that version because it kind of corrupted everything, and that was the reason why it came out like that, without the French plantation sequence. Years later, when they had DVD, it became much easier. If you sold a DVD, people could see it at home, and they didn’t care if the film was three, four or five hours long. If they got tired, they’d stop. They wanted to go to the bathroom or eat a sandwich, they’d stop. And then they’d go back and start. So Francis could make the version of “Apocalypse Now” he always wanted to make and called it “Redux,” which is the film that Francis always intended to have.

What is the impact now of the digital process and the digital possibilities on your work as a production designer?

Well, I don’t really have to answer that question, like it’s not my problem, thankfully. But when I was working and prior to that, you would design something, you would build a three-dimensional object. Now with CGI imagery, it seems to me that the structure of the art department, which was our haven is no longer there. Now there are so many elements that are transferred to somebody else, other departments, other technologies, other groups, so how much of it do you still control as a production designer? When George Lucas made a film in Australia, full of digital imagery, I met the production designer, and I was very anxious to get his schedule, how he worked, how he was doing it, and when they finished the shooting, what did he do. His story basically was, they shot the film partly in Australia, and when that live-action shooting was finished, he was let go. As far as he was concerned, the film was over. All these little things, like an actor walking across the stage, the wall behind him, what’s going to be up there, maybe a drawing, all that stuff went back to the special effects department in California, and that image was put in by these other people. So I asked him, ‘Did you go there? Were you invited to come over? Did you participate in the imagery there?’ And he wasn’t. It’s like a collaboration for The Last Supper. There are art things that are not made for collaboration because they should have one voice. Every film I ever did, it was me, nobody else. Many films are still made that way by designers, but as the computers came into the art department, I always had other people relate to them. They were kind of draftsmen who worked with pencil and paper, while now anyone who makes a drawing does it on a computer screen. We actually drew everything on a piece of paper. So film-wise, my life was kind of the ending of one thing and the beginning of another.

Brussels, Belgium
April 10, 2018

Another highly acclaimed film by Francis Ford Coppola in collaboration with Dean Tavoularis: “The Conversation” (1974) starring Gene Hackman, nominated for three Academy Awards and winner of the Palme d’Or at the Cannes Film Festival.

FILMS

INSIDE DAISY CLOVER (1965) DIR Robert Muligan PROD Alan J. Pakula SCR Gavin Lambert (also novel) CAM Charles Lang ED Aaron Stell MUS André Previn ASSISTANT ART DIR Dean Tavoularis CAST Natalie Wood, Christopher Plummer, Robert Redford, Ruth Gordon, Roddy McDowall, Katharine Bard, Peter Helm

BONNIE AND CLYDE (1967) DIR Arthur Penn PROD Warren Beatty SCR Robert Benton, David Newman CAM Burnett Guffey ED Dede Allen MUS Charles Strouse ART DIR Dean Tavoularis CAST Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Denver Pyle, Bud Taylor, Evans Evans, Gene Wilder

PETULIA (1968) DIR Richard Lester PROD Raymond Wagner SCR Lawrence B. Marcus (adaptation by Barbara Turner; novel by John Haase) CAM Nicolas Roeg ED Antony Gibbs MUS John Barry ASSISTANT ART DIR Dean Tavoularis CAST Julie Christie, George C. Scott, Richard Chamberlain, Arthur Hill, Shirley Knight, Joseph Cotten, Rene Auberjonois, Janis Joplin

CANDY (1968) DIR Christian Marquand PROD Robert Haggiag SCR Buck Henry (novel by Terry Southern, Mason Hoffenberg) CAM Giuseppe Rotunno ED Giancarlo Cappelli MUS Dave Grusin ART DIR Dean Tavoularis CAST Ewa Aulin, Charles Aznavour, Marlon Brando, Richard Burton, James Coburn, John Huston, Walter Matthau, Ringo Starr, John Astin, Elsa Martinelli, Sugar Ray Robinson, Anita Pallenberg, Florinda Bolkan, Marilù Tolo, Christian Marquand, Buck Henry

ZABRISKIE POINT (1970) DIR Michelangelo Antonioni PROD Carlo Ponti SCR Michelangelo Antonioni, Sam Shepard, Clare Peploe, Franco Rossetti, Tonino Guerra (story by Michelangelo Antonioni) CAM Alfio Contini ED Franco Arcalli MUS Pink Floyd, Jerry Garcia PROD DESIGN Dean Tavoularis CAST Mark Frechette, Daria Halprin, Paul Fix, G.D. Sradlin, Bill Garaway, Kathleen Cleaver, Rod Taylor, Harrison Ford, Philip Hall Baker

LITTLE BIG MAN (1970) DIR Arthur Penn PROD Stuart Millar SCR Calder Willingham (novel by Thomas Berger) CAM Harry Stradling Jr. ED Dede Allen MUS John Paul Hammond PROD DESIGN Dean Tavoularis CAST Dustin Hoffman, Faye Dunaway, Chief Dan George, Martin Balsam, Richard Mulligan, Jeff Corey, Aimee Eccles, William Hickey, M. Emmet Walsh

THE GODFATHER (1972) DIR Francis Ford Coppola PROD Albert S. Ruddy SCR Francis Ford Coppola, Mario Puzo (novel by Mario Puzo) CAM Gordon Willis ED William Reynolds, Peter Zinner MUS Nino Rota PROD DESIGN Dean Tavoularis CAST Marlon Brando, Al Pacino, James Caan, Richard S. Castellano, Robert Duvall, Sterling Hayden, John Marley, Richard Conte, Diane Keaton, Talia Shire, John Cazale, Al Martino, Carmine Coppola, Gian-Carlo Coppola, Roman Coppola, Sofia Coppola

THE CONVERSATION (1974) DIR – PROD – SCR Francis Ford Coppola CAM Bill Butler, Haskell Wexler ED Richard Chew MUS David Shire PROD DESIGN Dean Tavoularis CAST Gene Hackman, John Cazale, Allen Garfield, Cindy Williams, Frederick Forrest, Michael Higgins, Teri Garr, Harrison Ford, Robert Duvall

THE GODFATHER, PART II (1974) DIR – PROD Francis Ford Coppola SCR Francis Ford Coppola, Mario Puzo (novel by Mario Puzo) CAM Gordon Willis ED Peter Zinner, Richard Marks, Barry Malkin MUS Nino Rota PROD DESIGN Dean Tavoularis CAST Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, John Cazale, Talia Shire, Lee Strasberg, Michael V. Gazzo, G.D. Spradlin, Harry Dean Stanton, Danny Aiello, Roger Corman, Roman Coppola, Sofia Coppola

FAREWELL, MY LOVELY (1975) DIR Dick Richards PROD Jerry Bruckheimer, George Pappas SCR David Zelag Goodman (novel by Raymond Chandler) CAM John A. Alonzo ED Joel Cox, Walter Thompson MUS David Shire PROD DESIGN Dean Tavoularis CAST Robert Mitchum, Charlotte Rampling, John Ireland, Sylvia Miles, Anthony Zerbe, Harry Dean Stanton, Sylvester Stallone

THE BRINK’S JOB (1978) DIR William Friedkin PROD Ralph Serpe SCR Walon Green (book ‘Big Stick Up at Brink’s’ [1977] by Noel Behn) CAM Norman Leigh ED Bud Smith, Robert K. Lambert MUS Richard Rodney Bennett PROD DESIGN Dean Tavoularis CAST Peter Falk, Peter Boyle, Allen Garfield, Warren Oates, Gena Rowlands, Paul Sorvino, Sheldon Leonard, Gerard Murphy

APOCALYPSE NOW (1979) DIR – PROD Francis Ford Coppola SCR Francis Ford Coppola, John Milius (novel by Joseph Conrad) CAM Vittorio Storaro ED Lisa Fruchtman, Gerald B. Greenberg, Walter Murch MUS Francis Ford Coppola, Carmine Coppola PROD DESIGN Dean Tavoularis CAST Marlon Brando, Robert Duvall, Martin Sheen, Larry Fishburne, Dennis Hopper, Harrison Ford, Scott Glenn, Colleen Camp, Aurore Clément, Roman Coppola, Gian-Carlo Coppola, Francis Ford Coppola, Joe Estevez, Charlie Sheen

ONE FROM THE HEART (1981) DIR Francis Ford Coppola PROD Fred Roos, Gray Frederickson SCR Francis Ford Coppola, Armyan Bernstein (story by Armyan Bernstein) CAM Ronald Victor García, Vittorio Storaro ED Rudi Fehr, Anne Goursard, Randy Roberts MUS Tom Waits PROD DESIGN Dean Tavoularis CAST Frederic Forrest, Teri Garr, Raul Julia, Nastassjia Kinski, Lainie Kazan, Harry Dean Stanton, Allen Garfield, Italia Coppola, Carmine Coppola, Rebecca De Mornay, Tom Waits

HAMMETT (1982) DIR Wim Wenders PROD Fred Roos, Don Guest, Ronald Colby SCR Dennis O’Flaherty, Ross Thomas (adaptation by Thomas Pope; novel by Joe Gores) CAM Joseph F. Biroc ED Marc Laub, Janice Hampton, Randy Roberts, Robert Q. Lovett MUS John Barry PROD DESIGN Dean Tavoularis CAST Frederic Forrest, Peter Boyle, Marilu Henner, Roy Kinnear, Lydia Lei, Elisha Cook Jr., Richard Bradford, Michael Chow, Sylvia Sidney, Samuel Fuller

THE ESCAPE ARTIST (1982) DIR Caleb Deschanel PROD Buck Houghton, Doug Claybourne SCR Melissa Mathison, Stephen Zito (novel by David Wagoner) CAM Stephen H. Burum ED Arthur Schmidt MUS Georges Delerue PROD DESIGN Dean Tavoularis CAST Griffin O’Neal, Raul Julia, Teri Garr, Joan Hackett, Gabriel Dell, Desiderio Arnaz, M. Emmet Walsh, Jackie Coogan

THE OUTSIDERS (1983) DIR Francis Ford Coppola PROD Fred Roos, Gray Frederickson SCR Kathleen Rowell (novel by S.E. Hinton) CAM Stephen H. Burum ED Anne Goursaud MUS Carmine Coppola PROD DESIGN Dean Tavoularis CAST C. Thomas Howell, Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Diane Lane, Emilio Estevez, Tom Cruise, Leif Garrett, Tom Waits, Sofia Coppola, S.E. Hinton

RUMBLE FISH (1983) DIR Francis Ford Coppola PROD Fred Roos, Doug Claybourne SCR S.E. Hinton, Francis Ford Coppola (novel by S.E. Hinton) CAM Stephen H. Burum ED Barry Malkin MUS Stewart Copeland PROD DESIGN Dean Tavoularis CAST Matt Dillon, Mickey Rourke, Vincent Spano, Diane Lane, Diane Scarwid, Nicolas Cage, Dennis Hopper, Chris Penn, Larry Fishburne, Sofia Coppola, Gian-Carlo Coppola

PEGGY SUE GOT MARRIED (1986) DIR Francis Ford Coppola PROD Paul R. Gurian SCR Arlene Sarner, Jerry Leichtling CAM Jordan Cronenweth ED Barry Malkin MUS John Barry PROD DESIGN Dean Tavoularis CAST Kathleen Turner, Nicolas Cage, Barry Miller, Catherine Hicks, Joan Allen, Kevin J. O’Connor, Jim Carey, Lisa Jane Persky, Barbara Harris, Don Murray, Sofia Coppola, Maureen O’Sullivan, Leon Aames, Helen Hunt, John Carradine

HEAT (1986) DIR Dick Richards PROD Cassian Alwes, Keith Rothman, George Pappas, Marina Spinola SCR William Goldman (also novel) CAM James A. Contner ED Jeffrey Wolf MUS Michael Gibbs VISUAL CONSULTANT Dean Tavoularis CAST Burt Reynolds, Karen Young, Peter MacNicol, Howard Hesseman, Neill Barry, Diane Scarwid, Joseph Mascolo

UN HOMME AMOUREUX, a.k.a. A MAN IN LOVE (1987) DIR Diane Kurys PROD Diane Kurys, Michel Seydoux SCR (adaptation by Diane Kurys, Olivier Schatzky) CAM Bernard Zitzermann ED Joële Van Effenterre MUS Georges Delerue ART DIR Dean Tavoularis CAST Peter Coyote, Greta Scacchi, Jamie Lee Curtis, Claudia Cardinale, Peter Riegert, John Berry, Vincent Lindon, Jean Pigozzi

GARDENS OF STONE (1987) DIR Francis Ford Coppola PROD Michael I. Levy SCR Ronald Bass (novel by Nicholas Proffitt) CAM Jordan Cronenweth ED Barry Malkin MUS Carmine Coppola PROD DESIGN Dean Tavoularis CAST James Caan, Anjelica Huston, James Earl Jones, D.B. Sweeney, Dean Stockwell, Mary Stuart Masterson, Sam Bottoms, Larry Fishburne

TUCKER: THE MAN AND HIS DREAMS (1988) DIR Francis Ford Coppola PROD Fred Roos, Fred Fuchs SCR David Seidler, Arnold Schulman CAM Vittorio Storaro ED Priscilla Nedd-Friendly MUS Joe Jackson PROD DESIGN Dean Tavoularis CAST Jeff Bridges, Joan Allen, Martin Landau, Frederic Forrest, Mako, Dean Stockwell, Christian Slater, Peter Donat, Lloyd Bridges, Sofia Coppola

NEW YORK STORIES (1989) DIR Woody Allen (segment “Oedipus Wrecks”), Francis Ford Coppola (segment “Life Without Zoe”), Martin Scorsese (segment “Life Lessons”) PROD Fred Roos, Barbara De Fina, Fred Fuchs, Robert Greenhut SCR Woody Allen, Francis Ford Coppola, Sofia Coppola, Richard Price CAM Vittorio Storaro, Sven Nykvist, Néstor Almendros ED Thelma Schoonmaker, Aleta Chappelle, Ellen Lewis MUS Carmine Coppola PROD DESIGN Dean Tavoularis (segment “Life Without Zoe”), Santo Loquasto, Kristi Zea CAST Woody Allen, Mia Farrow, Heather McComb, Gia Coppola, Gian-Carlo Coppola, Carmine Coppola, Adrien Brody, Carole Bouquet, Nick Nolte, Rosanna Arquette, Debbie Harry, Richard Price, Kisten Dunst, Martin Scorsese

THE GODFATHER, PART III (1990) DIR – PROD Francis Ford Coppola SCR Francis Ford Coppola, Mario Puzo CAM Gordon Willis ED Barry Malkin, Walter Murch, Lisa Fruchtman MUS Carmine Coppola PROD DESIGN Dean Tavoularis CAST Al Pacino, Diane Keaton, Talia Shire, Andy Garcia, Eli Wallach, Joe Mantegna, Bridget Fonda, George Hamilton, Sofia Coppola, Raf Vallone, John Savage, Al Martino, Carmine Coppola

FINAL ANALYSIS (1992) DIR Phil Joanou PROD Tony Thomas, Paul Junger Witt, Charles Roven SCR Wesley Strick (story by Wesley Strick, Robert Berger) CAM Jordan Cronenweth ED Thom Noble MUS George Fenton PROD DESIGN Dean Tavoularis CAST Richard Gere, Kim Basinger, Uma Thurman, Eric Roberts, Paul Guilfoyle, Keith David, Robert Harper

RISING SUN (1993) DIR Philip Kaufman PROD Peter Kaufman SCR Philip Kaufman, Michael Crichton, Michael Backes (novel by Michael Crichton) CAM Michael Chapman ED Stephen A. Rotter, William S. Scharf MUS Tôru Takemitsu PROD DESIGN Dean Tavoularis CAST Sean Connery, Wesley Snipes, Harvey Keitel, Cary-Hiroyuki Tagawa, Kevin Anderson, Mako, Ray Wise, Tia Carrere, Steve Buscemi

SHELF LIFE (1993) DIR Paul Bartel PROD Anne Kimmel, Bradley Laven SCR O-Lan Jones, Andea Stein, Jim Turner CAM Philip Holahan ED Judd H. Maslansky MUS Andy Paley PROD DESIGN Dean Tavoularis CAST O-Lan Jones, Andea Stein, Jim Turner, Paul Bartel, Justin Houchin, Shelby Lindley, Jazz Britany

I LOVE TROUBLE (1994) DIR Charles Shyer PROD Nancy Meyers SCR Charles Shyer, Nancy Meyers CAM John Lindley ED Paul Hirsch, Adam Bernardi, Walter Murch MUS David Newman PROD DESIGN Dean Tavoularis CAST Julia Roberts, Nick Nolte, Saul Rubinek, James Rebhorn, Robert Loggia, Kelly Rutherford, Olympia Dukakis, Marsha Mason

JACK (1996) DIR Francis Ford Coppola PROD Francis Ford Coppola, Fred Fuchs, Ricardo Mestres SCR James DeMonaco, Gary Nadeau CAM John Toll ED Barry Malkin MUS Michael Kamen PROD DESIGN Dean Tavoularis CAST Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adam Zolotin, Todd Bosley

BULWORTH (1998) DIR Warren Beatty PROD Warren Beatty, Peter Jan Brugge SCR Warren Beatty, Jeremy Pikser (story by Warren Beatty) CAM Vittorio Storaro ED Robert C. Jones, Billy Weber MUS Ennio Morricone PROD DESIGN Dean Tavoularis CAST Warren Beatty, Halle Berry, Don Cheadle, Oliver Platt, Paul Sorvino, Jack Warden, Isaiah Washington, Kimberly Deauna Adams, Richard C. Sarafian

THE PARENT TRAP (1998) DIR Nancy Meyers PROD Charles Shyer SCR Nancy Meyers, Charles Shyer, David Swift (book by Erich Kästner) CAM Dean Cundey ED Stephen A. Rotter MUS Alan Silvestri PROD DESIGN Dean Tavoularis CAST Lindsay Lohan, Dennis Quaid, Natasha Richardson, Elaine Hendrix, Lisa Ann Walter, Simon Kunz, Polly Holliday, Maggie Wheeler

THE NINTH GATE (1999) DIR – PROD Roman Polanski SCR Roman Polanski, John Brownjohn, Enrique Urbizu (novel by Arturo Pérez-Reverte) CAM Darius Khondji ED Hervé de Luze MUS Wojciech Kilar PROD DESIGN Dean Tavoularis CAST Johnny Depp, Frank Langella, Lena Olin, Emmanuelle Seigner, Barbara Jefford, Jack Taylor, José López Rodero

CQ (2001) DIR – SCR Roman Coppola PROD Guy Marcus CAM Robert D. Yeoman ED Leslie Jones MUS Ed Goldfarb PROD DESIGN Dean Tavoularis CAST Jeremy Davies, Angela Lindvall, Élodie Bouchez, Gérard Depardieu, Giancarlo Giannini, Jason Schwartzman, Billy Zane, John Philip Law, Dean Stockwell, Barbara Sarafian, Sofia Coppola, Dean Tavoularis

ANGEL EYES (2001) DIR Luis Mandoki PROD Elie Samaha, Bruce Berman, Mark Canton SCR Gerald Di Pego CAM Piotr Sobocinski ED Gerald B. Greenberg MUS Marco Beltrami PROD DESIGN Dean Tavoularis CAST Jennifer Lopez, Jim Caviezel, Jeremy Sisto, Terrence Howard, Sônia Braga, Victor Argo, Monet Mazur, Shirley Knight, Daniel Magder

CARNAGE (2011) DIR Roman Polanski PROD Saïd Ben Saïd SCR Roman Polanski, Yasmina Reza (play by Yasmina Reza) CAM Pawel Edelman ED Hervé de Luze MUS Alexandre Desplat PROD DESIGN Dean Tavoularis CAST Jodie Foster, Kate Winslet, Christoph Walyz, John C. Reilly, Elvis Polanski, Eliot Berger

TV MOVIES

THE YOUNG LONER (1968) DIR Michael O’Herlihy PROD Bill Anderson TELEPLAY Lowell S. Hawley (book by Ester Weir) CAM Frank V. Phillips, William E. Snyder ED Cotton Warburton MUS George Burns ART DIR Dean Tavoularis, Carroll Clark CAST Edward Andrews, Kim Hunter, Butch Patrick, Frank Silvera, Jane Zachary

SPOON RIVER (1969) DIR Charles Aidman PROD Henry Fownes, Joseph Cates TELEPLAY Charles Aidman (poetry collection ‘Spoon River Anthology’ by Edgar Lee Masters) MUS Naomi Caryl ART DIR Dean Tavoularis CAST Charles Aidman, Jason Robards, Joyce Van Patten, Jennifer West, Naomi Caryl, Hal Lynch