(L to R) Brenda Vaccaro and Lorraine Bracco star in ‘Nonnas’.
Moviefone recently had the pleasure of speaking with Lorraine Bracco and Brenda Vaccaro about their work on ‘Nonnas’, Bracco’s first reaction to the screenplay, working with the all-star cast, the rivalry between Bracco and Vaccaro’s characters, collaborating with director Stephen Chbosky and screenwriter Liz Maccie on set, and Bracco’s experience acting opposite Vince Vaughn.
You can read the full interview below or click on the video player above to watch our interviews with Bracco and Vaccaro, Joe Manganiello, director Stephen Chbosky, and screenwriter Liz Maccie.
Moviefone: To begin with, Lorraine, what was your first reaction to the screenplay, the true story it is based on, and working with the rest of this incredible cast?
Loraine Bracco: So, when I read the script, I loved it. I cried. I laughed. I wanted to be in the movie. The cast, I mean, it goes without saying. I have admired these women my whole life. They made great movies, great characters, great choices, so it was exciting.
MF: Brenda, can you talk about why Antonella does not like Roberta when they first meet, and what was it fun playing out that rivalry with Loraine?
Brenda Vaccaro: Oh my God, yes, because we never knew where we were going with it. Do you know what I’m saying? You never knew because, I mean, she would insult me, and I’d insult her, and I’d go, “What did we just do? Okay, we’re on that horse, are we?” So, I never knew when she was going to throw something at me, which I loved. It was great to work with her.
MF: Loraine, what was it like working with director Stephen Chbosky on this project?
LB: Stephen never said cut. He was enjoying the two of us go at it. That gave us the freedom to have just as good a time as they did when Liz wrote it and when he said, “Hey honey, we’re going to do this.” Do you know what I mean? It really was a loving family.
MF: Brenda, what was your experience like collaborating with director Stephen Chbosky and his wife, screenwriter Liz Maccie on set?
BV: His wife, Liz, when she would visit the set, she’d say, “It’s great. I love it.” So, they were permissive. They were giving.
MF: Finally, Loraine, can you talk about Roberta’s connection to Joe, and what it was like for you to work with Vince Vaughn?
LB: Well, I was very nervous, to be truthful, because I’d never really made a comedy. I didn’t even know where to start. I would look at Vince and be like, “Oh, God, what am I doing?” He would just tell me to calm down and trust myself. Even during the read-through, I would just turn to him with panic, and he’s like, “Loraine, you’re doing great. Trust me. Just believe. Make your choices and go for it.” He was very giving that way and totally helped me create Roberta. The fact that I was his mom’s best friend made our relationship very loving and caring.
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What is the plot of ‘Nonnas’?
After losing his beloved mother, a man (Vince Vaughn) risks everything to honor her by opening an Italian restaurant with actual nonnas (grandmothers) as the chefs.
(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.
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.
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.
Francis Ford Coppola is taking a huge risk to make his latest giant movie, ‘Megalopolis’, one that he’s been trying to wrangle into production for two decades. He’s poured millions of his own money into the movie, and while he announced a cast and kicked off shooting late last year, it would appear that there are now big problems with the film.
The story is mostly a mystery, but reportedly focuses on an architect who seeks to rebuild New York City––or possibly a metropolis based on it––as a utopia after a disaster.
With Coppola stumping up the $120 million budget, the Hollywood Reporter has now heard from sources that it’s descending into costly chaos. As in, budget-inflating chaos.
A plan to shoot using ‘Mandalorian’-style volume techniques (virtual production, where backgrounds are projected onto giant LED screens) has apparently been abandoned in favor of less costly, more traditional greenscreen.
Several department heads, including the production designer and supervising art director, plus the entire effects team have left or been replaced. “It was absolute madness, being on set,” reports an agent for someone in the film who had visited the production.
‘Megalopolis’ is roughly halfway through an estimated 80-90-day shoot, and the director is reportedly pressing on, hiring new team members.
Sensing that the reports would negatively impact his film, Coppola has begun the damage control process, talking with rival trade site Deadline and seeking to assure that the production is continuing and that he’s confident in his work.
“I’ve never worked on a film where I was so happy with the cast,” Coppola said. “I am so happy with the look and that we are so on schedule. These reports never say who these sources are. To them, I say, ha, ha, just wait and see. Because this is a beautiful film and primarily so because the cast is so great. I’ve never enjoyed working with a cast who are so hardworking and so willing to go search for the unconventional, to come upon hidden solutions. It is a thrill to work with these actors and the photography is everything I could hope for. The dailies are great. So if we’re on schedule, and I love the actors and the look is great, I don’t know what anyone’s talking about here.”
“My cast is the most wonderful group of actors, who are doing beautiful work and there isn’t one case of where I wish I had cast another way,” Coppola added. “Every night I go see the dailies, and I understand why I am going through all of this. I love what I see, every night. The look of the film is exactly what I dreamed.”
Adam Driver in Sony’s ’65.’
Star Driver, meanwhile, was even more vehement that all was well.
“I’d like to briefly respond to The Hollywood Reporter article published Monday, January 9th,” he said. “All good here! Not sure what set you’re talking about! I don’t recognize that one! I’ve been on sets that were chaotic and this one is far from it. The environment that’s being created by Francis, is one of focus and inspiration. As of now, we’re on schedule, making our days, and honestly, it’s been one of the best shooting experiences I’ve had. Our crew is fast and inventive, our costume department is on point, the actors are incredible and willing, and Francis is one of the most insightful and caring people to work with. I’m very proud to be making this movie with him, and them, and though I haven’t interviewed everyone, I can confidently say that that’s the general attitude on set.”
But wait! There’s more…
“Yes, it is true that the art department resigned and VFX were let go,” Driver continues. “Not all departments find cohesion on films and rather than suffer through and making decisions that leave a lasting impression on the film, people quit, get fired, or part ways. It’s unfortunate when it happens, but this production is not out of pocket in comparison to other productions; especially to the point that it merits an article about us descending into chaos. That characterization is inaccurate. No one signed up for this movie expecting the process to be conventional. We were expecting the opposite in the pursuit of making something unique. The only madness I’ve observed is that more productions aren’t allowed to be as creatively wild and experimentally focused, precisely because someone else is paying for it. It’s an effort and risk by Francis that I feel should be applauded, not publicly mischaracterized as troubled.”
The answer, most likely, is somewhere in between, but Coppola has had a history of chaotic shoot that––a little like James Cameron’s experiences with ‘Titanic’––resulted in classic movies. ‘Apocalypse Now’ was infamous for its tribulations, and there is an entire documentary, ‘Hearts of Darkness’ that chronicles its rollercoaster shoot.
It remains to be seen whether ‘Megalopolis’ ends up with similar status or even among the director’s best movies. Let’s not forget that this is also the man who made ‘The Godfather’ movies and ‘The Conversation’. He’s a multiple Oscar winner and no one would doubt that he knows what he’s doing when it comes to making films. It’s just that his passion has a habit of leading him down conflicting paths.
Either way, we’re hoping that someone has been filming behind the scenes on this one––it has the makings of another classic documentary.
‘Megalopolis’ has yet to score a release date and may well not hit theaters until next year. But now we’re even more eager to see it.
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.
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At lot of recent headlines around Shia LaBeouf have not been positive. There have been the ‘Don’t Worry Darling’ exchanges leaked between LaBeouf and director Olivia Wilde, leading to a she-said, Shia-said story about why he left the movie – she claims she fired him; he argues that he left because there wasn’t enough rehearsal time.
Then there’s his mea culpa on both his abusive treatment of ex-girlfriend, musician FKA Twigs and his admission that his based-on-truth tale ‘Honey Boy’ about his younger days and his troubled relationship with his father was not based on so much truth as he claimed.
Strict story details are sketchy, but the logline is equally ambitious: The fate of Rome haunts a modern world unable to solve its own social problems in this epic story of political ambition, genius, and conflicting interests. To be a little clearer on that, it’ll focus on political and social wrangling in a giant city (modeled on, or even actually, New York) looking to rebuild after a disaster.
The quest to make this one has consumed Coppola in recent years, and he’s pouring a lot of his own money into making the movie. With a budget in the region of $100 million, it’s a project that has seen backers come and go, but he’s finally setting up a shoot for the fall.
Speaking to Deadline, Coppola outlined why he’s really making this movie. What would make me really happy? It’s not winning a lot of Oscars because I already have a lot and maybe more than I deserve. And it’s not that I make a lot of money, although I think over time it will make a lot of money because anything that the people keep looking at and finding new things, that makes money,” he says.
Coppola adds: “So somewhere down the line, way after I’m gone, all I want is for them to discuss ‘Megalopolis’ and, is the society we’re living in the only one available to us? How can we make it better? Education, mental health? What the movie really is proposing is that utopia is not a place. It’s how can we make everything better? Every year, come up with two, three or four ideas that make it better. I would be smiling in my grave if I thought something like that happened, because people talk about what movies really mean if you give them something.”
‘Megalopolis’ has yet to set a release date. As for LaBeouf, he’ll next be seen in Abel Ferrara’s ‘Padre Pio’, due for its debut at the Venice Film Festival’s Venice Days section.
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.
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