Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
Adam Driver has quickly become one of the most popular and acclaimed actors working today.
Following his breakout role on the HBO series ‘Girls,’ Driver rose to fame playing the iconic role of Kylo Men in ‘Star Wars: The Force Awakens‘ and its sequels, but has also appeared in such critically acclaimed films as ‘Lincoln,’ ‘Inside Llewyn Davis,’ ‘House of Gucci,’ and ‘BlacKkKlansman,’ for which he received an Oscar nomination for Best Supporting Actor and ‘Marriage Story,’ for which he received an Oscar nomination for Best Actor.
Driver starred in last year’s ‘Megalopolis‘, which was directed by Francis Ford Coppola and is being rereleased on January 1st, 2026 in select theaters across the US.
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In honor of the rerelease, Moviefone is counting down the 20 best movies of Adam Driver’s career, including ‘Megalopolis’.
(L to R) Adam Driver and Daisy Ridley in ‘Star Wars: The Rise of Skywalker.’ Photo: Lucasfilm.
The surviving Resistance faces the First Order once again as the journey of Rey (Daisy Ridley), Finn (John Boyega) and Poe Dameron (Oscar Isaac) continues. With the power and knowledge of generations behind them, the final battle begins.
An aspiring dancer (Greta Gerwig) moves to New York City and becomes caught up in a whirlwind of flighty fair-weather friends, diminishing fortunes and career setbacks.
A professor (Driver), husband and father to four is torn asunder by a rail car chemical spill that releases an “Airborne Toxic Event”, forcing him to confront his biggest fear – his own mortality.
Two Jesuit priests (Andrew Garfield and Driver) travel to seventeenth century Japan which has, under the Tokugawa shogunate, banned Catholicism and almost all foreign contact.
(L to R) Adam Driver and Matt Damon in ‘The Last Duel.’ Photo: 20th Century Studios.
King Charles VI (Alex Lawther) declares that Knight Jean de Carrouges (Matt Damon) settle his dispute with his squire, Jacques Le Gris (Driver), by challenging him to a duel.
When their father passes away, four grown, world-weary siblings (Jason Bateman, Tina Fey, Corey Stoll and Driver) return to their childhood home and are requested — with an admonition — to stay there together for a week, along with their free-speaking mother (Jane Fonda) and a collection of spouses, exes and might-have-beens. As the brothers and sisters re-examine their shared history and the status of each tattered relationship among those who know and love them best, they reconnect in hysterically funny and emotionally significant ways.
The revealing story of the 16th US President’s tumultuous final months in office. In a nation divided by war and the strong winds of change, Lincoln (Daniel Day-Lewis) pursues a course of action designed to end the war, unite the country and abolish slavery. With the moral courage and fierce determination to succeed, his choices during this critical moment will change the fate of generations to come.
Adam Driver as Enzo Ferrari in director Michael Mann’s ‘Ferrari.’ Photo: Neon.
A biopic of automotive mogul Enzo Ferrari (Driver), whose family redefined the idea of the high-powered Italian sports car and practically spawned the concept of Formula One racing.
The story of Daniel Jones (Driver), lead investigator for the US Senate’s sweeping study into the CIA’s Detention and Interrogation Program, which was found to be brutal, immoral and ineffective. With the truth at stake, Jones battled tirelessly to make public what many in power sought to keep hidden.
Trying to reverse a family curse, brothers Jimmy (Channing Tatum) and Clyde Logan (Driver) set out to execute an elaborate robbery during the legendary Coca-Cola 600 race at the Charlotte Motor Speedway.
Thirty years after defeating the Galactic Empire, Han Solo (Harrison Ford) and his allies face a new threat from the evil Kylo Ren (Driver) and his army of Stormtroopers.
When Patrizia Reggiani (Lady Gaga), an outsider from humble beginnings, marries into the Gucci family, her unbridled ambition begins to unravel the family legacy and triggers a reckless spiral of betrayal, decadence, revenge, and ultimately… murder.
Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
Genius artist Cesar Catilina (Driver) seeks to leap the City of New Rome into a utopian, idealistic future, while his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare. Torn between them is socialite Julia Cicero (Nathalie Emmanuel), the mayor’s daughter, whose love for Cesar has divided her loyalties, forcing her to discover what she truly believes humanity deserves.
In Greenwich Village in the early 1960s, gifted but volatile folk musician Llewyn Davis (Oscar Isaac) struggles with money, relationships, and his uncertain future following the suicide of his singing partner.
Colorado Springs, late 1970s. Ron Stallworth (John David Washington), an African American police officer, and Flip Zimmerman (Driver), his Jewish colleague, run an undercover operation to infiltrate the Ku Klux Klan.
A stage director (Driver) and an actress (Scarlett Johansson) struggle through a grueling, coast-to-coast divorce that pushes them to their personal extremes.
Adam Driver in ‘Star Wars: The Last Jedi’. Photo: Lucasfilm.
Rey (Daisy Ridley) develops her newly discovered abilities with the guidance of Luke Skywalker (Mark Hamill), who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle with the First Order.
(Left) Adam Driver talk ‘Megalopolis’. (Right) Jessica Chastain star in ‘Memory.’
Preview:
Jessica Chastain and Adam Driver are starring in new Apple TV+ series ‘The Dealer.’
It’s set in the world of high-end art.
Sam Gold is directing the series, with Lucas Hnath writing.
Apple TV+ is clearly looking to stay in business with Jessica Chastain, locking down the busy actor (who has one show on the way for the streaming service already –– more on that below) and also securing the services of intense fellow star Adam Driver for a new series called ‘The Dealer.’
But in case the title has you thinking that this might somehow spin-off from the Chastain-starring poker drama movie ‘Molly’s Game,’ think again: it’s actually going to be set in the art world.
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What’s the story of ‘The Dealer’?
Jessica Chastain as Madeline “Elizabeth” Sloane in ‘Miss Sloane.’ Photo: Relativity EuropaCorp Distribution.
With Sam Gold aboard to direct and Lucas Hnath leading the writing, ‘The Dealer’ is described as a biting exploration of power, class, seduction and culture set inside the glittering world of the high-end art market.
Per Deadline, it’s told through the eyes of an aspiring super gallerist, played by Chastain, and the tangled relationship with her most gifted and unnerving artist, to be brought to screens by Driver.
Gold is a theatre director who won the Best Direction of a Musical Tony Award in 2015 for ‘Fun House.’ He, Hnath and Hnath’s long-time collaborator Sarah Lunnie worked together on ‘A Doll’s House, Part 2,’ a play written by Hnath, directed by Gold and dramaturged by Lunnie.
It earned Gold and Hnath Tony nominations in 2017, with its star Laurie Metcalf winning the award for Actress in a Leading Role in a Play. Lunnie also served as dramaturg for the Broadway production of Hnath’s play ‘Hillary & Clinton.’
Who else is behind the new series?
Apple TV+ logo. Photo: Apple TV+.
The new show is just the latest Apple TV+ series from production company Media Res, which already produces the Emmy– and SAG Award–winning drama ‘The Morning Show,’ which is headed into its fourth season, ‘Pachinko’ and ‘Extrapolations.’
It’s the fourth high-profile sale for the company over the last few months. It recently set up ‘The Band,’ an hourlong dramedy series starring Ben Stiller, at HBO and also has bisexual romance drama ‘Enigma Variations’ starring Jeremy Allen White percolating at Netflix.
Jessica Chastain as Amy Loughren in Netflix’s ‘The Good Nurse.’
As we mentioned, Chastain already has another project, limited series ‘The Savant,’ in the works for Apple via her Freckle Films company.
The series is reportedly inspired by a true–life story entitled ‘Is It Possible to Stop a Mass Shooting Before It Happens?’ which featured in Cosmopolitan in August 2019 of a woman who has come to be known as “the Savant” who infiltrates online hate-groups in order to prevent large-scale public attacks.
Most recently seen in ‘Mother’s Instinct,’ Chastain has a few films coming up, including new drama ‘Dreams,’ which sees romance blossom between a wealthy socialite and a Mexican ballet dancer, intertwining their contrasting lives and cultures.
Chastain is also playing Goneril, in the Bernard Rose–directed Shakespeare adaptation ‘Lear Rex,’ which stars Al Pacino as Lear.
Then there’s crime thriller series ‘His & Hers’ –– though Chastain is only a producer on that one.
She has a typically busy schedule of projects she’s attached to, including Barry Levinson’s ‘Assassination’ (which also stars Pacino) and new drama ‘Losing Clementine,’ the latter one just as a producer.
Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
Driver was most recently seen in Francis Ford Coppola’s ‘Megalopolis,’ and last worked on director Jim Jarmusch’s new drama ‘Father, Mother, Sister, Brother,’ which follows estranged siblings reuniting after years apart, forced to confront unresolved tensions and reevaluate their strained relationships with their emotionally distant parents.
It’ll premiere at the Cannes Film Festival next month but doesn’t yet have a set release date.
The actor is also attached to James Gray’s new drama ‘Paper Tiger’ and, assuming it comes together, he’ll be part of Michael Mann’s much-anticipated ‘Heat’ sequel.
And ‘The Dealer’ represents his first time starring in a TV series since he was one of the main characters on HBO’s ‘Girls.’
When will ‘The Dealer’ be on screens?
Depending on the actors’ busy schedules and how quickly this makes it through the process of development at Apple, this could shoot this year and land on the tech company’s streaming service in 2026.
(L to R) Katy O’Brian and Kristen Stewart in ‘Love Lies Bleeding.’ Photo: A24.
From Director Rose Glass comes an electric new love story; reclusive gym manager Lou (Kristen Stewart) falls hard for Jackie (Katy O’Brian), an ambitious bodybuilder headed through town to Vegas in pursuit of her dream. But their love ignites violence, pulling them deep into the web of Lou’s criminal family.
(L to R) Kirsten Dunst and Cailee Spaeny in ‘Civil War.’ Photo: A24.
Directed by Alex Garland, in the near future, a group of war journalists attempt to survive while reporting the truth as the United States stands on the brink of civil war.
Pamela Anderson in ‘The Last Showgirl’. Photo: Roadside Attractions.
Opening in limited release in December 2024 and directed by by Gia Coppola, ‘The Last Showgirl’ stars Pamela Anderson as Shelly, a glamorous showgirl who must plan for her future when her show abruptly closes after a 30-year run.
Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
Directed by Francis Ford Coppola, genius artist Cesar Catilina (Adam Driver) seeks to leap the City of New Rome into a utopian, idealistic future, while his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare. Torn between them is socialite Julia Cicero (Nathalie Emmanuel), the mayor’s daughter, whose love for Cesar has divided her loyalties, forcing her to discover what she truly believes humanity deserves.
Directed by Osgood Perkins, in pursuit of a serial killer (Nicolas Cage), an FBI agent (Maika Monroe) uncovers a series of occult clues that she must solve to end his terrifying killing spree.
Directed by George Miller, as the world falls, young Furiosa (Alyla Browne) is snatched from the Green Place of Many Mothers into the hands of a great biker horde led by the warlord Dementus (Chris Hemsworth). Sweeping through the wasteland, they encounter the citadel presided over by Immortan Joe (Lachy Hulme). The two tyrants wage war for dominance, and Furiosa (Anya Taylor-Joy) must survive many trials as she puts together the means to find her way home.
Directed by Morgan Neville, ‘Piece By Piece’ is a unique cinematic experience that invites audiences on a vibrant journey through the life of cultural icon Pharrell Williams. Told through the lens of LEGO® animation, turn up the volume on your imagination and witness the evolution of one of music’s most innovative minds.
Directed by Clint Eastwood, while serving as a juror in a high profile murder trial, family man Justin Kemp (Nicholas Hoult) finds himself struggling with a serious moral dilemma…one he could use to sway the jury verdict and potentially convict—or free—the accused killer.
After a shipwreck, an intelligent robot called Roz (Lupita Nyong’o) is stranded on an uninhabited island. To survive the harsh environment, Roz bonds with the island’s animals and cares for an orphaned baby goose (Kit Connor).
Paul Mescal plays Lucius in ‘Gladiator II’ from Paramount Pictures.
Directed by Ridley Scott, years after witnessing the death of the revered hero Maximus (Russell Crowe) at the hands of his uncle (Joaquin Phoenix), Lucius (Paul Mescal) is forced to enter the Colosseum after his home is conquered by the tyrannical Emperors (Joseph Quinn and Fred Hechinger) who now lead Rome with an iron fist. With rage in his heart and the future of the Empire at stake, Lucius must look to his past to find strength and honor to return the glory of Rome to its people.
Directed by Coralie Fargeat, a fading celebrity (Demi Moore) decides to use a black market drug, a cell-replicating substance that temporarily creates a younger, better version of herself (Margaret Qualley).
Directed by Jeremy Saulnier, a former Marine (Aaron Pierce) confronts corruption in a small town when local law enforcement unjustly seizes the bag of cash he needs to post his cousin’s bail.
Zoe Saldaña as Emilia Pérez in ‘Emilia Pérez’. Photo: Netflix.
Directed by Jacques Audiard, Rita (Zoe Saldaña), an underrated lawyer working for a large law firm more interested in getting criminals out of jail than bringing them to justice, is hired by the leader of a criminal organization.
Directed by Scott Beck and Bryan Woods, two young missionaries (Sophie Thatcher and Chloe East) are forced to prove their faith when they knock on the wrong door and are greeted by a diabolical Mr. Reed (Hugh Grant), becoming ensnared in his deadly game of cat-and-mouse.
(L to R) Gilda Radner (Ella Hunt), Jane Curtain (Kim Matula), Dick Ebersol (Cooper Hoffman), Rosie Shuster (Rachel Sennott), Garrett Morris (Lamorne Morris), Alan Zweibel (Josh Brener) and Lorne Michaels (Gabriel LaBelle) in ‘Saturday Night’. Photo: Sony Pictures.
Directed by Jason Reitman, at 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television forever. This is the story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of ‘Saturday Night Live‘.
From visionary filmmaker Luca Guadagnino, ‘Challengers’ stars Zendaya as Tashi Duncan, a former tennis prodigy turned coach and a force of nature who makes no apologies for her game on and off the court. Married to a champion on a losing streak (Mike Faist), Tashi’s strategy for her husband’s redemption takes a surprising turn when he must face off against the washed-up Patrick (Josh O’Connor) – his former best friend and Tashi’s former boyfriend. As their pasts and presents collide, and tensions run high, Tashi must ask herself, what will it cost to win.
(L to R) Roone Arledge (Peter Sarsgaard), Hank Hanson (Corey Johnson), Jacques Lesgardes (Zinedine Soualem), Geoff Mason (John Magaro), Carter (Marcus Rutherford), Gladys Deist (Georgina Rich), Marvin Bader (Ben Chaplin), Marianne Gebhard (Leonie Benesch) star in Paramount Pictures’ ‘September 5’ the film that unveils the decisive moment that forever changed media coverage and continues to impact live news today, set during the 1972 Munich Summer Olympics. Photo: Paramount Pictures.
Directed by Tim Fehlbaum, during the 1972 Munich Olympics, an American broadcasting team is thrust from covering sports to reporting a dramatic hostage situation involving Israeli athletes. A young producer (John Magaro), unexpectedly leading the live broadcast, faces difficult decisions as time runs out, rumors spread, and the hostages’ lives hang in the balance.
Jude Law in ‘The Order’. Photo: Amazon MGM Studios.
Directed by Justin Kurzel, an alarming surge in violent bombings and bank robberies in the Pacific Northwest leads a weathered FBI agent (Jude Law) into a deadly cat-and-mouse game with a charismatic domestic terrorist (Nicholas Hoult) plotting to overthrow the US government.
(L to R) Cynthia Erivo is Elphaba and Ariana Grande is Glinda in ‘Wicked’, directed by Jon M. Chu. Photo: Universal Pictures.
Directed by Jon M. Chu, in the land of Oz, ostracized and misunderstood green-skinned Elphaba (Cynthia Erivo) is forced to share a room with the popular aristocrat Glinda (Ariana Grande) at Shiz University, and the two’s unlikely friendship is tested as they begin to fulfill their respective destinies as Glinda the Good and the Wicked Witch of the West.
From director Edward Berger, ‘Conclave’ follows one of the world’s most secretive and ancient events – selecting a new Pope. Cardinal Lawrence (Ralph Fiennes) is tasked with running this covert process after the unexpected death of the beloved Pope. Once the Catholic Church’s most powerful leaders have gathered from around the world and are locked together in the Vatican halls, Lawrence finds himself at the center of a conspiracy and discovers a secret that could shake the very foundation of The Church.
Directed by Denis Villeneuve, follow the mythic journey of Paul Atreides (Timothée Chalamet) as he unites with Chani (Zendaya) and the Fremen while on a path of revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the known universe, Paul endeavors to prevent a terrible future only he can foresee.
Directed by James Mangold, set in the influential New York music scene of the early 60s, ‘A Complete Unknown’ follows 19-year-old Minnesota musician Bob Dylan‘s (Timothée Chalamet) meteoric rise as a folk singer to concert halls and the top of the charts – his songs and mystique becoming a worldwide sensation – culminating in his groundbreaking electric rock and roll performance at the Newport Folk Festival in 1965.
(L to R) Mikey Madison as Ani and Mark Eydelshteyn as Ivan in ‘Anora’. Photo: Courtesy of NEON.
Sean Baker‘s Palme d’Or winner ‘Anora’ is an audacious, thrilling, and comedic variation on a modern day Cinderella story. Mikey Madison captivates as Ani, a young sex worker from Brooklyn whose life takes an unexpected turn when she meets and impulsively marries Vanya (Mark Eydelshteyn), the impetuous son of a Russian billionaire. However, when Vanya’s parents catch wind of the union, they send their henchmen to annul the marriage, setting off a wild chase through the streets of New York.
‘Joker: Folie à Deux’ has flopped at the domestic box office.
The $190 million–budgeted sequel earned less than $40 million, according to reports.
It fared better overseas, with $81.1 million.
The sequel to 2019’s ‘Joker’ is beginning to look less ‘Folie à Deux’ and more “Folly à Deux.”
Warner Bros. had previously had high hopes for the new movie, given that it reunited co-writer/director Todd Phillips with star Joaquin Phoenix, who had seen their original effort make more than $1 billion at the box office and score three Oscars from 11 nominations, including for Phoenix’s lead performance.
But while the marketing largely obscured the fact that the duo were taking their latest in a radically new direction –– i.e. making it a musical and diving even deeper into the emotional fragility and mental health of main character Arthur Fleck –– the audiences, at least domestically, simply didn’t show up, with estimates staking it around $39 million for its opening weekend.
That’s a far cry from the $96 million launch for the first movie.
The ‘Joker’ sequel finds Arthur (Phoenix) institutionalized at Arkham awaiting trial for his crimes as Joker.
While struggling with his dual identity, Arthur not only stumbles upon true love (with Lee Quinzel, played by Lady Gaga), but also finds the music that’s always been inside him.
How did the box office shape up for ‘Joker: Folie à Deux’ domestically?
(L to R) Lady Gaga and Joaquin Phoenix in ‘Joker: Folie à Deux.’ Photo: Todd Phillips’ Instagram.
While we should at this point, make the note that the $39 million figure is still the estimate, even if it rises some, it’s still a huge disappointment.
The signs and portents were there –– very mixed reviews and then a dreadful audience reaction, with big drops between Friday and Saturday as poisonous word of mouth began to spread, and a horrendous D+ audience reaction score (to put that in context, Francis Ford Coppola’s widely maligned ‘Megalopolis’ managed a D.)
That financial result is worse than ‘The Marvels,’ which began its own faltering box office run with $46 million. But as Deadline points out, at least the ‘Joker’ sequel made more than the ‘Cats’ musical movie it its entire initial run.
What was the ‘Joker: Folie à Deux’ box office worldwide?
Outside of the States, the figures were more in line with studio tracking; ‘Folie à Deux’ earned $81.1 million in 76 markets for a current global estimated total of $121.1 million. It still has China and Japan left to open, but no one is predicting big things from either country.
Perhaps the biggest issue is that Phillips, off the back of the first film’s success, was able to score a $190 million budget to make the film, with the studio gambling that having a name like Gaga attached would help broaden its appeal. Trouble was, ‘Joker’s core audience didn’t connect with the idea of a movie that is part courtroom drama, part musical.
By way of comparison, Brady Corbet managed to make a 3.5 hour movie (‘The Brutalist’, which has scored praise at festivals) for $6 million.
Phillips has said that he has no real interest in returning to the ‘Joker’ world; at this point, we doubt Warner Bros. has either.
Now, Coppola returns to the theaters with his first film in thirteen years and a project he has been working on since 1977, ‘Megalopolis‘, which stars Adam Driver and will be released in theaters on September 27th.
In honor of the new film, Moviefone is counting down every movie Francis Ford Coppola has ever directed, including his latest.
Robin Williams in ‘Jack’. Photo: Buena Vista Pictures.
Jack Powell (Robin Williams) suffers from an affliction that makes him grow four times faster than normal, so the 10 year old boy looks like a 40 year old man. After years of being tutored at home, Jack convinces his overprotective parents to send him to public school. The children don’t know what to make of Jack, but with the help of his fifth-grade teacher (Jennifer Lopez), he makes an effort to win them over.
1963’s ‘Dementia 13’. Photo: American International Pictures.
A widow deceives her late husband’s mother and brothers into thinking he’s still alive when she attends the yearly memorial to his drowned sister, hoping to secure his inheritance, but her cunning is no match for the demented, axe-wielding thing roaming the grounds of the family’s Irish estate.
Alden Ehrenreich in ‘Tetro’. Photo: American Zoetrope.
Bennie (Alden Ehrenreich) travels to Buenos Aires to find his long-missing older brother (Vincent Gallo), a once-promising writer who is now a remnant of his former self. Bennie’s discovery of his brother’s near-finished play might hold the answer to understanding their shared past and renewing their bond.
Teri Garr in ‘One From the Heart’. Photo: Columbia Pictures.
The five-year romance of a window dresser (Teri Garr) and her boyfriend (Frederic Forrest) breaks up, as each of them finds a more interesting partner.
Fred Astaire in ‘Finian’s Rainbow’. Photo: Warner Bros.
An Irish immigrant (Fred Astaire) and his daughter (Petula Clark) arrive in Kentucky with a magical piece of gold that alters the course of several lives, including those of a struggling farmer and an African American community facing persecution from a bigoted politician.
Tim Roth in ‘Youth Eithout Youth’. Photo: Sony Pictures Classics.
Professor of language and philosophy Dominic Matei (Tim Roth) is struck by lightning and ages backwards from 70 to 40 in a week, attracting the world and the Nazis. While on the run, the professor meets a young woman who has her own experience with a lightning storm. Not only does Dominic find love again, but her new abilities hold the key to his research.
(L to R) Jeff Bridges and Martin Landau in ‘Tucker: The Man and His Dream’. Photo: Paramount Pictures.
Ypsilanti, Michigan, 1945. Engineer Preston Tucker (Jeff Bridges) dreams of designing the car of future, but his innovative envision will be repeatedly sabotaged by his own unrealistic expectations and the Detroit automobile industry tycoons.
(L to R) Matt Damon and Danny DeVito in ‘The Rainmaker’. Photo: Paramount Pictures.
When Rudy Baylor (Matt Damon), a young attorney with no clients, goes to work for a seedy ambulance chaser (Mickey Rourke), he wants to help the parents of a terminally ill boy in their suit against an insurance company. But to take on corporate America, Rudy and a scrappy paralegal (Danny DeVito) must open their own law firm.
Al Pacino in ‘The Godfather III’. Photo: Paramount Pictures.
In the midst of trying to legitimize his business dealings in 1979 New York and Italy, aging mafia don, Michael Corleone (Al Pacino) seeks forgiveness for his sins while taking a young protege (Andy Garcia) under his wing.
(L to R) James Earl Jones and James Caan in ‘Gardens of Stone’. Photo: Tri-Star Pictures.
A sergeant (James Caan) must deal with his desires to save the lives of young soldiers being sent to Vietnam. Continuously denied the chance to teach the soldiers about his experiences, he settles for trying to help the son (D.B. Sweeney) of an old army buddy.
(L to R) Emilio Estevez, Rob Lowe, C. Thomas Howell, Patrick Swayze and Ralph Macchio in ‘The Outsiders’. Photo: Warner Bros.
When two poor Greasers, Johnny (Ralph Macchio) and Ponyboy (C. Thomas Howell), are assaulted by a vicious gang, the Socs, and Johnny kills one of the attackers, tension begins to mount between the two rival gangs, setting off a turbulent chain of events.
(L to R) Matt Dillon and Mickey Rourke in ‘Rumble Fish’. Photo: Universal Pictures.
Rusty James (Matt Dillon), an absent-minded street thug, struggles to live up to his legendary older brother’s (Mickey Rourke) reputation and longs for the days when gang warfare was going on.
(L to R) Adam Driver and Nathalie Emmanuel in ‘Megalopolis’. Photo: Lionsgate.
Genius artist Cesar Catilina (Adam Driver) seeks to leap the City of New Rome into a utopian, idealistic future, while his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare. Torn between them is socialite Julia Cicero (Nathalie Emmanuel), the mayor’s daughter, whose love for Cesar has divided her loyalties, forcing her to discover what she truly believes humanity deserves.
Gary Oldman in ‘Bram Stoker’s Dracula’. Photo: Columbia Pictures.
In 19th century England, Count Dracula (Gary Oldman) travels to London and meets Mina Harker (Winona Ryder), a young woman who appears as the reincarnation of his lost love.
Martin Sheen in ‘Apocalypse Now.’ Photo: United Artists.
At the height of the Vietnam war, Captain Benjamin Willard (Martin Sheen) is sent on a dangerous mission that, officially, “does not exist, nor will it ever exist.” His goal is to locate – and eliminate – a mysterious Green Beret Colonel named Walter Kurtz (Marlon Brando), who has been leading his personal army on illegal guerrilla missions into enemy territory.
Al Pacino in ‘The Godfather II’. Photo: Paramount Pictures.
In the continuing saga of the Corleone crime family, a young Vito Corleone (Robert De Niro) grows up in Sicily and in 1910s New York. In the 1950s, Michael Corleone (Al Pacino) attempts to expand the family business into Las Vegas, Hollywood and Cuba.
(L to R) James Caan, Marlon Brando, Al Pacino and John Cazale in ‘The Godfather’. Photo: Paramount Pictures.
In the years 1945 to 1955, a chronicle of the fictional Italian-American Corleone crime family. When organized crime family patriarch, Vito Corleone (Marlon Brando) barely survives an attempt on his life, his youngest son, Michael (Al Pacino) steps in to take care of the would-be killers, launching a campaign of bloody revenge.
(L to R) Writer/Director Francis Ford Coppola and Adam Driver as Cesar Catilina on the set of ‘Megalopolis’. Photo Credit: Phil Caruso.
‘Megalopolis’ is the first film from Oscar-winning director Francis Ford Coppola in thirteen years and a project he has been developing since 1977. The result is an exhilarating and complex motion picture that pushes the boundaries of cinema while exploring class and the fragility of societies.
Anchored by a fantastic ensemble of actors including Adam Driver, Giancarlo Esposito, Laurence Fishburne and Aubrey Plaza, Coppola experiments with story, visual effects and even live-theatrical components. However, this movie is not for everyone, and will have its fair share of critics due to its experimental nature and a somewhat confusing script. But if you ignore that, and just go for the wild cinematic ride Coppola has created, you will be in awe of the director’s latest masterpiece.
Story and Direction
Writer/Director Francis Ford Coppola on the set of ‘Megalopolis’. Photo Credit: Phil Laruso.
Combining the Catilinarian conspiracy with modern day New York, ‘Megalopolis’ is set in a decaying metropolis called New Rome. An Idealistic architect named Cesar Catilina (Adam Driver), who has the power to control space and time, seeks to demolish and rebuild the city into a sustainable utopia using a new material called “megalon”. Standing in his way is Franklyn Cicero (Giancarlo Esposito), the Mayor of New Rome who is committed to a regressive status quo.
Things get complicated for Cesar when he falls in love with Julia Cicero (Nathalie Emmanuel), the mayor’s daughter. Also, lurking in the shadows is Cesar’s cousin, Clodio (Shia LaBeouf), who along with his uncle Hamilton Crassus III (Jon Voight) and his new wife former TV journalist Wow Platinum (Aubrey Plaza), is plotting to destroy Cesar before he can build his new utopia.
Aubrey Plaza as Wow Platinum in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
Dense and complex, Coppola’s screenplay explores class warfare and how easily societies can fail. Mixing Roman mythology with what at times feels like a Shakespearian script, (Driver even recites the “To be, or not to be” speech from ‘Hamlet’ at one point), the story at times can seem convoluted but if that bothers you, then I think you are missing the point of Coppola’s film. And knowing how much of the script and story was found on the set by the actors through improvisation, to focus on the screenplay’s shortcomings is again, to miss the point of the movie entirely.
Arguably one of the greatest filmmakers in the history of cinema after making ‘The Godfather’, ‘The Godfather II’, and ‘Apocalypse Now’, just to name a few, the true joy of ‘’Megalopolis’ is watching the master filmmaker experiment with the medium and create something unexpected and quite beautiful in its own way. Not only is Coppola experimenting with the themes of the movie, but he is also experimenting with filmmaking technologies he hasn’t used before like digital cameras, digital effects, and a fascinating live-theatrical stunt, unlike anything I’ve seen before in a movie theater, but more on that below.
Live Theatrical Experience
Grace Vanderwaal as Vesta Sweetwater in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
Towards the end of the second act, there is a moment when Driver’s Cesar is participating in a press conference. At that exact moment, the lights in the theater go on, and a person from the audience (obviously a plant) walks up to a microphone close to the screen. Then, in character, the “actor” asks the on-screen Cesar a question as if they are the reporter in the scene themselves. At least in my screening, the timing worked perfectly, and Cesar seemingly answered the member of the audience.
It’s obviously a constructed stunt, but I absolutely loved that Coppola decided to experiment in this way and it’s the moment when (faults and all) I really fell for this film. It’s a bold move, and one that I wish more filmmakers would take the risk to do. I’m not saying every movie should have a live component, but I would love to see more filmmakers play with the medium and experiment with techniques that are outside of the norm.
A Misunderstood Masterpiece?
Nathalie Emmanuel as Julia Cicero and Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
With the media seemingly wanting to see Coppola fail after rumors of production troubles, not to mention the experimental nature of the movie, reviews out of the film’s Cannes premiere have been mixed at best. But don’t listen to them, and don’t even listen to me, see the movie for yourself and make up your own mind! However, I would suggest seeing the film in IMAX, as it adds to Coppola’s vision and the overall experience of the movie.
While it’s unfair to compare ‘’Megalopolis’ to Coppola’s past work, it is important to remember (as the fake quotes in the film’s first trailer point out), films like ‘Apocalypse Now’, ‘Bram Stoker’s Dracula’ and yes, even ‘The Godfather’, received some mixed reviews upon release and of course have gone on to be considered cinematic classics. That may or may not eventually happen with ‘’Megalopolis’, but it is certainly a bold and intriguing movie, which is in stark contrast to the standard sequels and superhero films that litter our local cinema.
The Cast
Nathalie Emmanuel as Julia Cicero in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
While the true star of ‘’Megalopolis’ in my opinion is Francis Ford Coppola, he has assembled a remarkable cast of actors, young and old, and the film is certainly anchored by Adam Driver’s strong performance. Driver embodies the character with an intelligence and an aloofness that only the former Kylo Ren actor could supply.
Veteran actor Giancarlo Esposito has finally become a household name thanks to his vast television work on hit shows like ‘Breaking Bad’, ‘The Mandalorian’ and ‘The Boys’. This is Esposito’s first major role in a movie since his recent success, and while he once again plays the antagonist, the actor gives a very good performance.
Shia LaBeouf as Clodio Pulcher in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
While purposely over-the-top at times, Shia LaBeouf gives a commanding performance as the sinister Clodio, and Oscar-winner Jon Voight is at his best in years as Hamilton Crassus III. Also excellent in her role is Aubrey Plaza, perfectly cast as a Barbara Walters meets Megyn Kelly type journalist more concerned with moving up society’s later than reporting the truth. Other strong supporting performances come from Laurence Fishburne (the film’s narrator) and Grace VanderWaal as a Taylor Swift type entertainer.
However, coming off an excellent performance in director John Woo’s remake of ‘The Killer’ is Nathalie Emmanuel, who is adequate as Julia, but has a hard time overcoming the shadows of the other heavyweights in the cast. Talia Shire (Coppola’s sister), Jason Schwartzman (Shire’s son and Coppola’s nephew), ‘Saturday Night Live’s Chloe Fineman and Oscar-winner Dustin Hoffman are all welcomed additions to the cast, but unfortunately are not given enough to do.
Final Thoughts
Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
In the end, you may like ‘Megalopolis’ or you may not, but it is worth seeing in a theater, if for nothing else to experience a once in a lifetime theatrical experience from one of the greatest directors of all time.
‘Megalopolis’ receives 9 out of 10 stars.
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What is the plot of ‘’Megalopolis’?
In a decaying metropolis called New Rome, Cesar Catilina (Adam Driver) is an idealist architect who is granted a license by the federal government to demolish and rebuild the city as a sustainable utopia using a new material, “megalon”, which can give him the power to control space and time. His nemesis, Mayor Franklyn Cicero (Giancarlo Esposito), remains committed to a regressive status quo. Torn between them is Franklyn’s socialite daughter and Cesar’s love interest Julia (Nathalie Emmanuel), who, tired of the influence she inherited, searches for her life’s meaning.
Moviefone recently had the honor of speaking with legendary writer and director Francis Ford Coppola and Adam Driver about their work on ‘Megalopolis’, Coppola’s passion and dedication to get it made, the live theatrical aspect of the film, how he utilized new technology, Driver’s approach to his character, improvisation, and what he learned from working with Coppola.
You can read the full interview below or click on the video player above to watch our interview.
Writer/Director Francis Ford Coppola on the set of ‘Megalopolis’. Photo Credit: Phil Laruso.
Moviefone: To begin with, Mr. Coppola, can you talk about the spark of the idea for this film that excited you and what kept you passionate and determined over all these decades to finally get this movie made?
Francis Ford Coppola: When I started, I didn’t specifically start with this project. I just thought that since I had made so many films with different styles, I was curious what my style was. So, I just started to note down articles I read, or I had a collection I remember of political cartoons because cartoons tell a whole story in one image, and things I had read. After a while, I found that I was interested in the idea of doing a Roman epic because I had seen them as a kid, and I loved Roman epics. Then at one point, I read a particular Roman story about what was called the Catiline conspiracy. In that, it said that could happen in modern America because modern America has based itself on being Roman. That’s when it began to really take shape in this. Then I started to collect possibilities of what it might be like and how it might be done, and ultimately led to this incredible collaboration with my wonderful cast and with Adam and with the various people who supplied everything in the film, and we made ‘Megalopolis’ together.
(L to R) Writer/Director Francis Ford Coppola and Adam Driver as Cesar Catilina on the set of ‘Megalopolis’. Photo Credit: Phil Caruso.
MF: Adam, what was this experience like for you working with Mr. Coppola, and what did you learn about filmmaking from watching the specific way that he makes movies?
Adam Driver: I think there’s maybe a misconception or an assumption that people make about directors that are like Francis that the atmosphere when you get on set is going to be very dictatorial, that it’s going to be “Do what I tell you to do”, or at least that’s just what the feedback that I get from people is, “Do you just say everything that he tells you to do?” That’s not actually what it’s like at all. He’s very disarming, which I guess should be no surprise because his movies feel that way. They all feel like everyone is pretty invested in what they’re doing because he gives you an incredible amount of trust, which it could easily have been the opposite of, “Move here because I said so, and I have a resume of films that have changed filmmaking as evidence that I know what I’m talking about”. That would’ve been a very compelling argument, but it’s the exact opposite. He makes you part of it because you have some authorship of it, you get obsessed with it and excited, and are invested and want to bring ideas to the table. Because he has such a, this is the understatement of the century, but an incredible film vocabulary that he is very good at picking the things that are in line with what he’s trying to make in an incredibly diplomatic way and discarding the things that aren’t what he needs. So, the thing I took from it is also, it felt like experimental theater in a way, where you can’t make a mistake, and setting an environment for people to feel comfortable to do whatever they wanted within the parameters. It is an experience that I didn’t have in film before, and I don’t think I’ll have again. Trying to take that to other films will be difficult.
Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
MF: Mr. Coppola, there is a staged moment in the film where someone from the theater’s audience stands up and interacts with Adam’s character on-screen. Can you talk about the choice to include this unusual experimental theatrical experience and how you were able to execute it?
FFC: Well, it’s interesting because the film didn’t have that scene at all in it, and it was Adam who said to me, “Remember we shot a sequence where the people asked questions. I miss that. I wish that were back in.” I said, “Well, let’s go find it and put it back in and see what you think,” and we did. Then we put it in, and I agreed with him that it was missing, and it was better with it. It wasn’t in it. It was his idea and we put it in, and then the only thing that happened is I thought, “Well, wouldn’t it be interesting if a real person brought the microphone over and put it there?” We tried it and it seemed to be exciting. I’m a guy who in a way still has one foot in theater and one foot in cinema and I haven’t forgotten my theatrical training as a kid. I love to combine the two, and that’s where that came from. We only had it because of this idea about actors and directors, I’ve heard it said, “Oh, that director got this great performance out of the actor.” Directors don’t get great performances out of actors. The actor does the performance. The director’s like a coach. He’s there to be able to say something helpful, hopefully at the right time, when the actor is trying to achieve something, just like a coach in a sports team says, “Why don’t you try thinking this?” If it helps, great. But the actor does the hard part, let’s face it. The director is there to just say the right thing at the right moment if you are lucky enough to have the right thing to say.
(L to R) Adam Driver and Nathalie Emmanuel in ‘Megalopolis’. Photo: Lionsgate.
MF: Adam, I understand there was quite a bit of improvisation on the set. Can you talk about your approach to playing Cesar, and did the improv help you find the character on set?
AD: There’s the version and what we had talked about. Francis told me some inspirations, not directly, but like Walter Gropius was somebody that we talked about. Robert Moses was another person, just to kind of get a sense. But what Francis was saying, he’s being a little modest. I think sometimes people say that idea, which sounds romantic, and in practice, never practice it, or they reserve it for press. But Francis really acts on his principles and everything that he’s describing is very rare, I think, to get that experience as an actor and to get the freedom to kind of come up with an idea and surprise yourself, and hopefully Francis. But he still is the one that’s making that happen, so you wouldn’t get that movie obviously, if Francis wasn’t kind of conducting all these kinds of wild personalities. So, it all kind of was found by the other actors that I’m acting with, the props, how (Cinematographer) Mihai (Mălaimare Jr.) was shooting it with Francis and all Francis’ direction. He kind of set up the rules. The first day of shooting was something really and I remember at one point, Francis said, “We’re not being brave enough,” and that was like, “Oh, that’s probably the best piece of direction I’ve ever been given,” and that set the tone for the rest of the film.
Nathalie Emmanuel as Julia Cicero and Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
MF: Finally, Mr. Coppola, obviously the tools used to make films has changed a lot since you began making movies with advances in digital cameras, visual effects, and editing software. Can you talk about how you were able to implement those new tools into your style of filmmaking?
FFC: Well, I think Orson Wells once said that a lot of those aspects of movies, you can learn in a weekend. But fundamentally, the two main components of cinema are acting and writing. That’s not something you can learn over the weekend. I mean, you can’t have a great movie without wonderful acting. You need some kind of good writing. Everything else is you can take great liberties with and choose to use or not to use. Just because there’s some new development that is possibly revolutionary doesn’t mean you have to use it or must use it in the way they’re using it. We did use a technique that falls in that category, what’s known as the volume. It’s when they have this huge space and it’s a huge LED screen. But we used it a different way. We put the scene that we shot very high, and so if they’re walking along up there and fall, they’re going to fall 15 feet into a net, and so that the actors would be a little trepidatious about walking around too casually up there. He (Adam) wasn’t afraid of it, but Natalie (Emmanuel) was. When she walked, you could feel she didn’t want to fall. So, I mean, as I said, you can use things, but you don’t have to use them in the way that they were invented for.
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What is the plot of ‘’Megalopolis’?
In a decaying metropolis called New Rome, Cesar Catilina (Adam Driver) is an idealist architect who is granted a license by the federal government to demolish and rebuild the city as a sustainable utopia using a new material, “megalon”, which can give him the power to control space and time. His nemesis, Mayor Franklyn Cicero (Giancarlo Esposito), remains committed to a regressive status quo. Torn between them is Franklyn’s socialite daughter and Cesar’s love interest Julia (Nathalie Emmanuel), who, tired of the influence she inherited, searches for her life’s meaning.
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Francis Ford Coppola’s ‘Megalopolis’ is scheduled for release on September 27, 2024.
Preview:
Francis Ford Coppola has made a deal with Lionsgate to release ‘Megalopolis’.
The filmmaker’s passion project stars Adam Driver, Giancarlo Esposito and Nathalie Emmanuel.
Coppola poured millions of his own money into making the movie.
Given how much time and money Francis Ford Coppola had poured into making his latest passion project, the epic known as ‘Megalopolis’, things were looking a little grim.
Coppola, the man behind movies such as ‘The Godfather’ trilogy and ‘Apocalypse Now’ had been looking to bring ‘Megalopolis’ to life for years but hadn’t found anyone to invest fully.
So the filmmaker went ahead and sold a chunk of his vineyard business to drum up the cash himself, tracking down a cast and getting under way.
Then came reports of trouble on set, with effects issues and even accusations of inappropriate behavior by the director (an issue which has yet to be settled either way).
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Finally, Coppola finished the film and screened it for potential distributors in Los Angeles, to reportedly zero interest. He scored a slot at Cannes and that has sparked wildly divisive reviews, many calling out its gonzo storytelling and performances.
Yet after the festival screening, there has been a big turnaround in the movie’s fortunes, Coppola securing a raft of international distribution deals across the world.
And today brings word that Lionsgate has scored a deal to distribute the movie here in the States, and to handle its home entertainment release.
What’s the story of ‘Megalopolis’?
(L to R) Adam Driver and Nathalie Emmanuel in ‘Megalopolis’. Photo: Lionsgate.
The fate of Rome haunts a modern world (and a city that’s essentially an alternate New York) unable to solve its own social problems in this epic story of political ambition, genius, and conflicting interests.
‘Megalopolis’ essential clash is between Cesar (Adam Driver), a genius artist who seeks to leap into a utopian, idealistic future, and his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), who remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare.
Caught between the two? Franklyn’s socialite daughter and Cesar’s love interest, Julia (Nathalie Emmanuel), who, tired of the influence she inherited, searches for her life’s meaning.
Who else is in ‘Megalopolis’?
Jon Voight as Byrne in ‘The Painter.’ Photo: Republic Pictures.
Director Frances Ford Coppola at the 50th Anniversary of ‘The Godfather’ event and historic street naming ceremony the Paramount Theater in Hollywood, CA on February 22nd, 2022. Photo by Frazer Harrison/Getty Images for Paramount Pictures.
Here’s the statement the director released about the new deal:
“One rule of business I’ve always followed and prioritized (to my benefit) is to continue working with companies and teams who over time have proven to be good friends as well as great collaborators. This is why I am thrilled to have Adam Fogelson and Lionsgate Studios release ‘Megalopolis’. I am confident they will apply the same tender love and care given to ‘Apocalypse Now’, which is currently in its 45th year of astounding revenue and appreciation.”
And here’s Lionsgate boss Adam Fogelson’s comment:
“Francis is a legend. For many of us, his gifts to cinema were one of the inspirations to devote our own careers to film. It is a true privilege to work with him, and to bring this incredible, audacious, and utterly unique movie to theatrical audiences. At Lionsgate, we strive to be a home for bold and daring artists, and ‘Megalopolis’ proves there is no one more bold or daring than the maestro, Francis Ford Coppola.”
When will ‘Megalopolis’ be in a theater near me?
Lionsgate has set a September 27th release date for the movie.
Al Pacino, Francis Ford Coppola and Robert De Niro onstage during the 50th anniversary tribute of “The Godfather” at the live ABC telecast of the 94th Oscars® at the Dolby Theatre at Ovation Hollywood in Los Angeles, CA, on Sunday, March 27, 2022.
‘Mercy’ tells the story of an ex-military doctor named Michelle (Leah Gibson), who finds herself in a deadly battle for survival when the Irish mafia family, the Quinns (Jon Voight and Jonathan Rhys Meyers), seize control of the hospital at which she works. When her son (Anthony Bolognese) is taken hostage, she is forced to rely upon her battle-hardened past and lethal skills after realizing there’s no one left to save the day but her.
Moviefone recently had the pleasure of speaking with Oscar-winner Jon Voight about his work on ‘Mercy,’ what he brings to a project, performing violent scenes, performing with an Irish accent, his character’s relationship with his sons, working with Jonathan Rhys Meyers and Leah Gibson, collaborating with director Tony Dean Smith, and his work on acclaimed filmmaker Francis Ford Coppola’s upcoming ‘Megalopolis.’
Jon Voight as Patrick Quinn in ‘Mercy.’
You can read the full interview below or click on the video player above to watch the interview.
Moviefone: To begin with, Patrick Quinn is a great character for you to play, did you recognize that when you first read the script and what were some of the aspects of the character you were excited to explore in this film?
Jon Voight: I think because I’ve gotten to a certain age, people are coming to me with roles that are suitable, and that I have to play a patriarch of this kind, even though he is a very negative kind of character or comes from that culture. But it was exciting to me in a certain sense, it seemed like a good opportunity to express many things. An opportunity to work with Jonathan Rhys Meyers, who I think is a sensational actor, and a great talent. Then we introduced this wonderful gal Leah Gibson too. So I was excited to work on this piece. I thought I could help it. When I came into it, I said, “Well, I think I can do something with this thing.”
MF: Can you expand on that idea? Are there certain projects that you are offered that you feel like your presence in the movie can help elevate the film?
JV: Well, I think I’m very collaborative with the directors and producers to do something that has a meaning for me. I thought that I could enrich the family dilemma and not make it so black and white in a certain sense. These people are human, you want to find out what their humanity is and see what their thinking is. So you are really getting to know these people, and when we get to know people, you root for them a little bit. You hope they can pull things off. Then you see somebody who’s going way off the road like Jonathan’s character, my son Sean, in the picture. Yet he’s very exciting because he’s so brilliant at this kind of negativity, this character. He can bring it forth, he can scare you, and that’s what he does in this film. He’s really a brilliant actor and this is a role very suitable for him. So we had things that we could do and then I was able to, I think, add something to it as well.
MF: I loved the Irish accent that your character has in the movie. Was that already in your actor’s bag of tricks or did you work with a vocal coach to get it right?
JV: No. We worked with people. They have people who work with accents, and the young woman that worked on it with us, I found to be excellent. She was able to work with all of the people in our group, which was a team of this family of criminals. She got us all up to a certain level. But we were working with Jonathan Rhys Myers, who’s from County Cork, and knows those accents. He can do any kind of accent, and we had to be authentic next to him, which was a big challenge. But he was always encouraging and helpful.
MF: You have a particularly violent scene where your character is threatening another member of his crew. Was it fun to shoot that sequence and act really menacing in that moment?
JV: Yeah, it was fun, actually. But I mean, I said, “We have to have this in the picture.” I said, “Because you have to know who he is. He has to be dangerous. You have to see why he’s the head of this group.” Do you see what I mean? And he establishes that in that one gesture. So then you say, “Oh, this guy, there’s a reason why he’s the head of this wild group.”
Jonathan Rhys Meyers as Sean Quinn in ‘Mercy.’
MF: Do you look for moments like that when you’re reading a script, a moment that really explains who the character is very clearly for the audience?
JV: Well, it’s in the storytelling of things, yes. It’s very important that people know who he is. That’s a seminal moment. That’s a step, “Boom, there he is, like that.” He can go like that. He can turn and, “Boom, he’s dangerous.” Of course, in order to run a mob, you have to be that dangerous. You have to have that kind of capacity to scare the hell out of everybody else. To say, “Well, you play games with me and it’s going to be a certain kind of violent ending.” That kind of thing. That was an important moment, actually. But the other thing is that each of the young men in it who played my team, the muscle in that piece, they did a great job. They worked hard on it, and they did their accents beautifully, but they really cared about it. They’re nice little pieces of that film that are given over to these cameos, and I really thought the cast came up to the challenge.
(L to R) Jon Voight as Patrick Quinn and Jonathan Rhys Meyers as Sean Quinn in ‘Mercy.’
MF: Patrick has two sons, Sean and Ryan, and he clearly favors Ryan over Sean. Can you talk about that family dynamic and how it is the catalyst for what happens at the hospital?
JV: Well, he has two sons in the picture, and he’s a fellow that came from Ireland as an alien to this country and found a home here at one point. He came from a violent background in Ireland, but he really was concerned about his older child, Sean. He was concerned about this child because he was going in the wrong way. That’s really something because he’s from a family that’s equated with some violence too. But he was going off the deep end, getting involved with terrorists, alcohol and all this stuff. So he came to this country, came to the States to actually change the direction of his son, and his other son, Ryan caught the idea and was on his way to a healthy life apart from the family and was encouraged by his father. But Sean went the other way and became a destructive factor. That’s what we see in the film, a man dealing with a son that’s dangerous to himself and to others. I think it’s an interesting dilemma. So you feel for the father that he’s lost his son to this, and that becomes a richer part of the film. I was excited to explore that dimension and to work with this great actor, Jonathan Rhys Myers, and of course Leah Gibson, who plays the American military hero of the picture, and is a considerable actor and a very new face.
MF: Did you know Jonathan Rhys Meyers before making this movie, and what was it like working with him on ‘Mercy?’
JV: I had made one film with Jonathan, and we both liked each other so much. We were so appreciative of each other’s talent. Steven Paul, the producer of this film, had worked on the other film and in order to get this film made, he called Jonathan and said, “Well, Jon Voight’s going to do it.” Then Jonathan said, “Well, if he’s going to do it, I’ll do it.” Steven then told me, “Jonathan Rhys Meyers is going to do it.” So I said, “Well, if Jonathan Rhys Meyers is going to do it, then I’m going to do it.” So he captured us both by using our affection for each other to get this movie made. I have an affection for Jonathan that should be said. I really like him, and I know him only a little, but I know a lot about him and I know his talent. So a lot of it is real, it’s just the way I deal with him. His response to me is real in a certain way because he sees me as a certain kind of figure, and I could be his father. Do you know what I mean? What does a father mean to him, you see? So we had a lot of exciting energy there. I really like this fella, and I hope I work again with him. His performance here is really quite amazing.
Leah Gibson as Michelle in ‘Mercy.’
MF: The movie is kind of like ‘Die Hard’ in a hospital, and in those terms, Leah Gibson definitely plays the John McClane role. What was it like working with her and watching her lead this project?
JV: Well, she’s a terrific person. The first time I met her, I recommended her to Steven Paul, the producer. I said, “I think she can do this.” I laughed with her, I must say, I was just delighted in talking to her the first time I spoke to her. But since then, I’ve seen work she did on a stage piece that was absolutely phenomenal. So she’s a big talent, and she had never played a part like this, actually. So it was an unusual transition, but she had all the physical capability and she’s a serious actor. So it was a great thing for her to be the movie star in this piece.
MF: What was it like collaborating on this project with director Tony Dean Smith?
JV: Well, this director, Tony Dean Smith, he thinks of himself as a writer, essentially. He’s written several scripts. He’s young and he’s looking for ways to express himself. He was editing a picture that we had done before, a picture called ‘Dangerous Game: The Legacy Murders’. The director of that film, Sean McNamara, is a wonderful filmmaker, and he recommended Steven to me and said that he was talented. He said, “Look at this fellow, because he’s got some talent.” There was several things about him initially in ‘Dangerous Game,’ his understanding of the music of the film, and his choice of the music for the Temp Dub. Well, he was very good at that, and he was a good editor. He knew film. He had a nice way about himself with actors. You could tell he had a lot of gifts toward this, very smart, very hardworking, and all this stuff. So Steven gave him a chance to direct it and I think he came through very beautifully with a limited schedule and all of that too. So you have to be pretty smart about where you put the camera and how you deal with it, and how you stay on point and stay on schedule. But, he did a good job, and that’s wonderful. I’m so glad for him because I think he deserves to be in this business and do more pieces now.
Director Frances Ford Coppola at the 50th Anniversary of ‘The Godfather’ event and historic street naming ceremony the Paramount Theater in Hollywood, CA on February 22nd, 2022. Photo by Frazer Harrison/Getty Images for Paramount Pictures.
MF: Finally, what was it like for you working with Francis Ford Coppola on the upcoming ‘Megalopolis,’ and watching the acclaimed filmmaker execute his vision for the project that he has been working on for over 40 years?
JV: Well, it’s a very ambitious film. It’s unusual in this time to see somebody step out and do something that no nobody’s ever seen before. This is a time when everybody’s trying to follow somebody else, and he didn’t. He’s saying, “This is my vision.” People would maybe try to take him off that over the years, but he said, “No, this is what I want to do.” I was very honored to be part of it, that I could work with him again, because I worked with him on ‘The Rainmaker,’ John Grisham‘s movie with Matt Damon. We got along very well. So he said, “Well, there’s a part in this for you.” He stuck by his guns too, as people probably said, “You’re working with Jon Voight, are you out of your mind?” Whatever it is. He said, “No, he’s a person I’ve worked with before. I get along with him. I like him.” So I was honored to be working on the film. Then they had these great actors. Adam Driver is a wonderful actor, a very unique personality, and a serious artist. The same can be said of Shia LaBeouf. Shia LaBeouf, of course, I worked with him on ‘Holes’ and on his breakthrough performance in ‘Transformers.’ I really love this fellow’s work, and he has a very powerful role in ‘Megalopolis.’ Then I was able to work with Aubrey Plaza, who was somebody I had no real connection with, I hadn’t seen some of the things that she had done. But boy, I think she’s such a gifted person and has enormous talent and potential. So these three are three of the top actors of this generation. So Francis was very clever about that. We’ll see what happens. This is an unusual piece. No one’s ever seen anything like it before. I’m interested to see how it’s going to finish up.
