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Emmy Award for Best Supporting Actor (1990)
The mob movie has been a staple of American history and I got a front row seat. Alex Rocco married my mom. He loved her and made her laugh everyday. He was a funny fuck. We only really knew him as a Hollywood character actor, with a whisper of a connection to the Winter Hill Gang, in the early 60s.
Rocco would share just enough of his past and add a romantic spin to every story. People would see him in public and recite a quote from one of his movies. He was always approachable and made people feel special. There was also a different and smaller fan base, always Italian, that would see him, give him a knowing nod and say, “You never dropped a dime.” Over time we knew there had to be more to the story.
Alessandro Petricone’s Mugshot (1961)
Rocco kept his Boston life close to the vest, because he had this sinking feeling that if my mom even knew the half of it, she would think he was a scumbag. We never pressed him, but it really became clear, when the FBI dropped by the house unannounced. They wanted to know if he’d heard from or knew the whereabouts of Whitey Bulger, one of the FBI’s #1 Most Wanted. “Those fuckin’ Fibbies will never find him,” he would always say. As I came to find out later, the FBI arrested Rocco for racketeering in 1960 and sent him to jail for 10 months, and he still carried a grudge.
Rocco had suffered from throat cancer earlier on, in our friendship, and he asked me for a vodka tonic. The problem was he couldn’t drink it from the mouth, so I suggested we pour it into the feeding tube, coming out of his stomach. He fuckin’ loved that. It burned like hell, but he loved it. He already knew he liked me, but now he knew he loved me.
Rocco had four kids of his own, so that’s why it meant so much to me when he said, “If it wasn’t for you, I would have been a terrible father.” Needless to say, he was my favorite dad.
Sean, Shannon & Rocco
It wasn’t until he was diagnosed with pancreatic cancer, that he stopped watering down his life story. I started coming over to the house, to help mom, by carrying him outside. He loved the sun on his face and he loved holding court, with the neighbors who walked by. I had the pleasure of listening to his life, until he fell asleep, getting more and more of it everyday. It got to the point that my mom and I started the screenplay before he died. It delighted him that we wanted to tell his story. And just to be sure, he made us promise.
I heard it from everyone - “He died too young,” “79 is so young.” “He was taken too early.” Well I have a counter argument. I think he lived a long life. I think, if it weren’t for some divine intervention, Rocco should have died, a few times, in his twenties. I’m grateful he didn’t.
On Saturday, July 18, 2015, Las Vegas dimmed the lights. “The nostalgic front fountains of Caesar's Palace were turned off for a minute for our beloved Bobo, who was best known for playing casino owner, ‘Moe Greene’ in “The Godfather.” said Mickey Rosenberg, Senior VP, Caesars Entertainment, .
With that, please join us in our promise to tell his story. And like I told my mom, “Once you marry a gangster, you don’t take ‘no’ for an answer.”
Sean Doyle - Writer/Director
Alex Rocco as ‘Moe Greene’ in The Godfather (1972)
“DO YOU KNOW WHO I AM? I'M MOE GREENE! I MADE MY BONES WHEN YOU WERE GOIN’ OUT WITH CHEERLEADERS.”
- MOE GREENE
Goodfellas (1990)
MADE IN HOLLYWOOD is my story. I was born Alessandro Federico Petricone. I’m first generation American and 100% fuckin’ Italian.
Work? Get the fuck outta here. I quit school. You wanted me? I’d be at Dawn’s Donuts with my pal, Sper, across from the Capitol Cafe. The Cap, if you were hip. The Winter Hill Gang hung out there.
They were gangsters. It was the 50s. They were fuckin’ cool. We dressed like ‘em. Smoked like ‘em. We were gonna be one of ‘em.
I also fell for this gal, Gracie. She sizes me up right away. “You got a car?” I figure I’m dancin’. “Yeah.” Then she comes up with the low hold card wild. “You got a job?” I tell her, “I’m lookin’ for one.” She doesn’t miss a beat. “Call me when you got one.” A fuckin’ corner girl. Makes me want her all the more!
So, I put in the work. No turnin’ back.
I finally get my shot. I got no spit to swallow. I shoot my cuffs. I light a cigarette. Suck in ‘til my balls pull up. And I take that short walk, across the street, into the Cap, to meet Buddy McLean and Howie Winter, for the first time. I gotta say, it shoulda been Sper; but who am I to question God’s will?
Diner (1982)
They christened me, “Bobo the Bookie.” I’m legit. Gracie and I go to my new establishment, The Ball Square Bar & Grill. It’s a shit hole.
Just my luck, this place gets no action, so, I take matters in my own hands. I become my best client. I start makin’ people up, who are placin’ bets with me; but I can’t catch a break. Now I’m borrowin’ from Peter to pay Paul. I’m jammed up. Two large. That’s eighteen thousand today, Motherfucker! You trackin’ me now? It’s just a matter of time, before they put it together and come collect.
So what do I do? It’s brilliant. No masks. No guns. No one gets whacked. I get married. It’s all about the envelopes! I’m workin’ the reception line. I stuff the purse, attached to Gracie’s fuckin’ wrist. But I make a few go South and get straight with the Office.
Things finally become routine. I’m makin’ a livin’. Howie gets friendly. Comes by the house for dinner. Gracie makes a mean pot roast. We got a kid now. Howie sends me off on a job, so I can get caught up with the Office. I come back early? His car is still there. I get this thought. It’s crawlin’ up my spine. So I go around to the bedroom window and there they are. Fuck me.
Find Me Guilty (2006)
I go dead inside, knockin’ back Crown Royals day and night. I let my guard down. The fuckin’ “Fibbies” cuff me. Big news in the Boston Globe. “Attorney General Robert F. Kennedy Cleans Up Boston!” It’s 1959. I’m in Suffolk County Courthouse, lined up with 27 other alleged bookies. I pull ten months.
I come out strong. My head is on straight. No more ‘hard feelin’s’ over losin’ the wife and kid to Howie. They’re his problem now. I’m all in.
It’s Labor Day. 1961. Georgie, from a rival gang, was smacked around, ‘til he was comatose, then rolled out of a moving car, onto the hospital lawn. Most say the Boston Irish Gang War started that day.
Now his brother, Bernie? He wants revenge. Bernie turns up dead the next day. Buddy and I are arrested for murder. The judge tosses it out on insufficient evidence.
We’re out.
War has been declared. We attack. I am a willing participant, side by side with my idols. Guns blastin’. Fire blazin’. It’s absolute chaos. Then bam! I get cold cocked and go down hard. Next thing I know, I’m in the trunk of a car. I guess God called me a cab, I’m a dead man. The car comes to a stop. I’ve made my peace. What the fuck? It’s Sper.
L.A. Confidential (1997)
“How much do they have to take from you, before you can see?” he says. “The court threw it out, but they’ll keep comin’.” He hands me a gun and money. We’re at the train station. “I see you around? I’ll kill ya myself, just to stop worryin’ about ya.”
I flipped a coin. Miami? Or Los Angeles?
I rode the Chieftain West. All I could think of was my old man. This is my second chance. We pull into the “City of Angels.” A Rocco’s Bakery truck drives by. It’s a fuckin’ sign! “Alex Rocco.” I like it.
The Irish Gang War lasted another ten years. It was a bloodbath. Everyone got capped down the line.
I never dropped a dime.
1972. I got made. But not in Boston. I got made in Hollywood when Mr. Coppola cast me, as Moe fuckin’ Greene, in “The Godfather.” I didn’t know it then, but I just got a piece of the “American Dream.”
A Bronx Tale (1993)
ACT I (1955) The Honeymoon - We meet the Winter Hill Gang through the eyes of a group of teenage boys, Bobo in particular, intoxicated by the romantic notion of being one of the gang. The cinematographic mood will be bright and colorful, with an emphasis on fun.
ACT II (1957) The Marriage - Be careful of what you wish for. The seduction quickly turns to desperation. Falling further and further into debt and despair, Bobo sacrifices his friends for gangsters and his love for a taste of the action. Blind to reality, the darkness leads to jail. The lighting and design will take its cue from his downfall, eliminating color and constricting our character until he’s put in a cage.
Goodfellas (1990)
Eastern Promises (2007)
ACT III (1960) The Divorce - Fresh from jail, there’s a glimmer of hope; but the gang showers him with cheer… feeding his need to belong. He’s all in. This is his life. Things escalate, as they do, when you pull back the curtain. Ending in a monster gang war, a shootout is destined to end badly. This is where the approach gets loose and wild, with sweeping crane shots. What started crammed in a diner’s booth, ends in a raw human drama, engulfed in chaos.
STORYTELLER (1971) First Person - 1970s Movie Glam. The leading character is important. We tease the audience, never telling them who he is, all the way to the end… where we re-create Rocco’s famous scene, with Al Pacino, in “The Godfather.” It’s super stylized, personal and a completely different feel from the rest of the film… leading seamlessly onto Mr. Coppola’s Las Vegas Penthouse Set.
The Godfather (1972)
The Rat Pack (1961)
SOUND - The music of the 50s is rich with history. So many classics: 1955’s Bill Haley & His Comets with ‘Rock Around the Clock,’ Pat Boone’s ‘Ain’t That a Shame’ and everything from Frank Sinatra and Etta James. 1957’s Elvis Presley’s ‘Jail House Rock,’ Fats Domino’s ‘Blueberry Hill’ and then Paul Anka hits the scene. 1960 brings more Elvis with ‘Now Or Never,’ Sam Cooke’s ‘Chain Gang’ and Roy Orbison’s ‘Only the Lonely.’ Starting in the late 50s, and on the cusp of the 60s, things were definitely changing. The age of innocence was coming to a close. Music should be a driving force, changing at every turn, as our character develops.
JAMES ‘BUDDY’ McLEAN
THE BOSS
HOWIE WINTER
NEXT IN LINE
WHITEY BULGER
FUTURE BOSS
The Winter Hill Gang is a structured confederation of organized crime figures in the Boston, Massachusetts, area. The gang members are predominantly of Irish American and Italian American descent. It derives its name from the Winter Hill neighborhood of Somerville, Massachusetts, north of Boston.
ALESSANDRO ‘BOBO THE BOOKIE’ PETRICONE
A.K.A. ALEX ROCCO
BERNIE, GEORGE & PUNCHY
The McLaughlin Brothers were the rival gang to the Winter Hill Gang. They oversaw the dirty work in Boston for the Italian Mob, including the effort to take over the waterfront and extort money from the Teamsters, including Buddy McLean and his people.
CORNELIUS & STEVIE
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The Hughes Brothers did most of the dirty work for the McLaughlins, with the help of these guys, who were mostly Longshoremen.
RAYMOND L. S. SALVATORE
Raymond Loreda Salvatore Patriarca ran the Patriarca Crime Family, an Italian-American Mafia crime family, based in Providence, Rhode Island, whose control extended throughout New England for more than three decades.
The Patriarca Crime Family was also known as the New England Mafia, the Boston Mafia, the Providence Mafia, or The Office. It had two distinct factions, one based in Providence, Rhode Island and the other in Boston, Massachusetts.
Patriarca was a strict and ruthless leader who made it clear that other crime families were not permitted to operate in New England.
The ANGIULO BROTHERS, Antonio, Donato, Francesco, Gennaro, Michele, Nicolo, and James, were the leading Italian-American crime group from Boston's North End. Their criminal organization was dubbed ‘In-Town’, because one had to go in to town to visit the Angiulo Brothers. As made men in the Patriarca Crime Family, they were placed in control of the racketeering throughout Massachusetts, until Irish Mob groups such as the Winter Hill Gang and the Charlestown Mob decided to run the rackets in their own neighborhoods.
JOSEPH ‘THE ANIMAL’ BARBOZA
A notorious Mob Hitman for the Patriarca Crime Family.
The family patriarch, GENNARO ‘JERRY’ ANGIULO SR., was a mob underboss who rose through the Mafia under Raymond L. S. Patriarca in the Patriarca Crime Family. He was convicted of racketeering in 1986 and was in jail until 2007. Angiulo was "probably the last significant Mafia boss in Boston’s history”.
The Boston Irish Gang War is the name given to conflicts throughout the 1960s between the two dominant Irish-American organized crime gangs in Massachusetts: the Charlestown Mob and the Winter Hill Gang. It is widely believed that the war began when George McLaughlin tried to pick up the girlfriend of Winter Hill associate Alessandro ‘Bobo’ Petricone, also known as actor Alex Rocco. McLaughlin was then beaten and hospitalized by two other Winter Hill members. Afterward, Bernie McLaughlin went to Buddy McLean for an explanation. When McLean refused to give up his associates, Bernie swore revenge but was soon killed by McLean in Charlestown City Square.
The 1950s were viewed as a time of tribulation for the Red Sox. After Williams returned from the Korean War in 1953, many of the best players from the late 1940s had retired or been traded. The stark contrast in the team led critics to call the Red Sox' daily lineup "Ted Williams and the Seven Dwarfs."
The new Cuban leader, Fidel Castro, visits Washington D.C. (1959)
Robert Kennedy pursued a relentless crusade against organized crime and the Mafia. Convictions rose by 800 percent during his term.
Oval Office, President John F. Kennedy signs Senate Bill to combat organized crime and racketeering. (1961)
Elvis Presley
Marilyn Monroe
James Dean
Frank Sinatra
The DeCastro Sisters
Paul Anka
Elvis Presley
Old Yeller (1957)
Some Like It Hot (1959)
3:10 To Yuma (1957)
Life Magazine
Mad Magazine
Playboy Magazine
Sport Magazine
Jon Hamm as Don Draper in ‘Mad Men’ (circa 1950s)
Buick Roadmaster (1955)
Chevrolet One-Fifty (1957)
Cadillac Coupe DeVille (1957)
Title: Made In Hollywood Written By: Sean Doyle & Shannon Wilcox
Director: Sean Doyle
Producers: Sean Doyle | Shannon Wilcox
Post-Production Producer: James Longeretta
Medium: Feature Film Format: Digital Budget: $10M-$15M
Location: Boston, Mass Post-Production: New York, New York
MASSACHUSETTS
The Massachusetts Advantage - Massachusetts provides filmmakers with a highly competitive package of tax incentives: a 25% production credit, a 25% payroll credit, and a sales tax exemption.
Any project that spends more than $50,000 in Massachusetts qualifies for the payroll credit. Spending more than 50% of total budget or filming at least 50% of the principal photography days in Massachusetts makes the project eligible for the production credit and a sales tax exemption.
Program requirements are straightforward. There are no annual or project caps. No residency requirements. No extended schedule of credit payouts.
The payroll credit includes above- and below the line; the production credit includes out-of-state production expenses.
Credits can be cashed out with the Commonwealth of Massachusetts at 90% of face value after satisfying tax liabilities, or can be transferred at market rate. Credits can be used for up to 5 tax years.
Sunset Date - January 1, 2023
NEW YORK
The New York State Post Production Credit is a fully refundable 30% tax credit on qualified post production costs paid in the production of a qualified film at a qualified post production facility in New York State.
Also, the VFX Credit is a fully refundable credit of 30% of qualified VFX costs incurred in New York City and an additional 5% credit is available for VFX costs incurred in Upstate New York.
The following companies are providing services as equity investment in this project:
VORTECHS | POST-PRODUCTION | WEBSITE
Vortechs is the industry leader in post-production solutions. Providing the latest in equipment, streamlined workflow consultations, personalized support and artistic space designed with your creativity in mind. Vortechs' credits include: ‘Star Wars’, ‘The Martian’, ‘Guardians of the Galaxy’, ‘Star Trek’ and many more.
THE FOUNDATION | FINISHING | WEBSITE
The Foundation is a new post house in Burbank started by Technicolor veterans, Gareth Cook and Clifton Dugan, in partnership with New York based Sixteen19 and Los Angeles’ Vortechs. Cook is managing partner and senior colorist and Dugan is managing partner and head of business development. Other hires include Director of Engineering John Stevens and Technical Director Dan Aguilar.
The Foundation prides itself on operating as a boutique facility, offering their clients a new and more powerful way to streamline the process. Other offerings include, offline rentals, dailies, online editing, color-correction, VFX, titling and delivery for broadcast, OTT, music videos, commercials and feature film. The Foundation's credits include: ABC's ‘The Real O'Neals’, the CW's ‘iZombie’, and Fox's ‘Shots Fired’.
WATERMAN SOUND | SOUND FINISHING | WEBSITE
Waterman Sound is dedicated to providing superior work throughout the life of all projects, with a leadership team who brings a unique mix of experience including facility management, mix supervision and client service. Our principle team members have over 20 years of post experience with Emmy award winning programming, and our first priority is to ensure your projects are delivered with the highest quality.
POWERHOUSE VFX | VISUAL EFFECTS | WEBSITE
PowerHouse VFX has quickly become one of the most sought after VFX teams in the industry. Formed in the fall of 2017, PowerHouse is an amalgamation of some of the most acclaimed talent throughout the VFX industry who joined forces to build a better, smarter, state of the art visual effects company. With decades of combined experience servicing the most challenging productions, our VFX Supervisors, CG Supervisors, Producers and talented team of VFX artists will provide your next production with an unrivaled experience.
SEAN DOYLE | WRITER/DIRECTOR/PRODUCER | WEBSITE
Sean Doyle is a writer, director and producer. He began his career at Carson Productions, working for president and showrunner Ed. Weinberger on his slate of television shows (‘Amen’, ‘Dear John’ and ‘Mr. President’).
Sean’s interest shifted in the 90’s. MTV was becoming a huge success and he believed the short format of music videos and the technological breakthroughs in equipment made the television commercial industry compelling and creatively stimulating. He joined up with director Peter O’Fallon and producer Norman Reiss at Cucoloris Films and eventually moved with them to Crossroads Films.
At Crossroads Films, Sean diligently absorbed every facet of the production. He had the pleasure of a ten year collaboration in defining brands such as BMW, Pepsi International, and Nike, to name a few, and pushed the technology envelope with celebrated directors Mark Pellington and Nick Lewin.
In 2004, Sean left the commercial world to focus on writing and directing his own material, creating FILMops Entertainment. ‘Ready or Not’ was his feature film debut.
Sean joined forces with Pete Conlin and James Longeretta in 2015 to open, The Foundation, a high-end post-production finishing boutique for the film and television industry.
SHANNON WILCOX | WRITER/PRODUCER
Shannon Wilcox was known for her acting on the big screen. Wilcox’s early roles were: ‘The Border’ starring opposite Jack Nicholson and Harvey Keitel, ‘Songwriter’ opposite Willie Nelson, ‘Frankie and Johnny’ opposite Al Pacino, ‘For the Boys’ opposite James Caan and the Robert Redford film ‘Legal Eagles’.
Wilcox also guest starred in countless television shows over the years including: ‘Starsky and Hutch’, ‘Hawaii Five-O’, ‘Cagney & Lacey’, ’Magnum, P.I.’, ‘E.R.’, ‘NCIS’, ‘Grey’s Anatomy’ and ‘The Resident’ to name a few. She was also cast opposite Dennis Weaver in the series ‘Buck James’ for ABC.
Wilcox is a Lifetime Member of The Actor’s Studio. She was also invited by Sydney Pollack to join the inaugural group of actors and filmmakers at Sundance Institute in 1981.
Wilcox is also a writer, with several projects in various stages of development and she produced ‘Hollywood Harry’ starring Robert Forster and the award winning comedy ‘Ready or Not’.
Wilcox was married to Alex Rocco and was quoted saying, “once you marry a gangster, you don’t take ‘no’ for an answer”.
MARYANN BRANDON, ACE | ADVISOR
Maryann Brandon earned an Emmy Award nomination for her editing work on the popular television series ‘Alias’, created by J.J. Abrams. She has since edited all of Abrams’ films. Brandon worked with Abrams on ‘Star Wars: The Force Awakens’, which she received an Oscar nomination for Best Film Editing. Brandon is currently working with director Morten Tyldum on ‘Passengers’, starring Jennifer Lawrence and Chris Pratt.
JAMES LONGERETTA | POST-PRODUCTION
James Longeretta is the founding partner of Vortechs, a worldwide leader in post-production solutions for the film and television industry. He is also a founding partner in The Foundation, a new venture focusing on high end finishing for the film and television industry. James has been in the business for over twenty years and has earned a reputation for boutique services with an attention to detail.
Longeretta’s companies have collaborated on such films as: J.J. Abrams’ ‘Star Wars’, the ‘Mission: Impossible’ franchise and the latest ‘Star Trek’ trilogy, Christopher Nolan’s ‘Batman’ trilogy, ‘Inception’ and ‘Interstellar’, Ridley Scott’s ‘The Martian’, ‘Prometheus’ and ‘Exodus’, Quentin Tarantino’s ‘Django Unchained’ and ‘The Hateful Eight’, Blumhouse’s ‘Whiplash’, to name a few. The list continues with television including: ‘Fringe’, ‘Lost’, ‘The Good Wife’, ‘Mad Men’, and ‘Silicon Valley’.
Longeretta has also supported new and emerging filmmakers for years, helping in anyway possible, from equipment and services to locations and most importantly, finding the resources to get their projects off the ground. That involvement, has led him to focus on producing material that speaks to him.
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