Tema: Megalopolis (Francis Ford Coppola, 2024)

Dejarle la IA a estos mentecatos es como darle una porra a un mono.

Ufff... y yo citando expresamente la crítica de Kael

Saludos

Iniciado por calita

Dejarle la IA a estos mentecatos es como darle una porra a un mono.

Si hubiese sido solo eso... ¡pero es que han atribuido líneas de reseñas reales de esos críticos a las obras de Coppola, cuando pertenecen a otras películas!.

¿Cómo puede llegar a ocurrir tal cosa?.

Iniciado por Branagh/Doyle

Si hubiese sido solo eso... ¡pero es que han atribuido líneas de reseñas reales de esos críticos a las obras de Coppola, cuando pertenecen a otras películas!.

¿Cómo puede llegar a ocurrir tal cosa?.

Automatizaciones, validaciones sin control e indocumentados al volante.

Así como hay webs que publican fallecimientos no ocurridos porque ya tienen precocinadas las noticias, listas para lanzar el clickbait.

Volveremos a lo analógico por lo militar.

Pobre Coppola, no merece semejante tratamiento. Más siendo una obra tan arriesgada y cuestionada.

Lo único que no le hacen falta ahora son polémicas causadas por terceros.

Si merece crítica, que sea solo por su cine.

Fue una chapuza, pero eso no cambia el fondo.

Y sí, a Coppola le han dado caña más de una vez. Y de Apocalypse now dijeron de todo. Y no todo el mundo vio venir lo que venía con El Padrino. Y de Corazonada mejor ya no digo nada. Y sí, podríamos seguir.

Me parece una idea totalmente certera, realizada de manera un poco chapucera.

Iniciado por Branagh/Doyle

Don, mis más sinceras disculpas () no solo llevabas razón si no que es mucho peor de lo que se imaginaba. No se trata ya de que algunas de las citas que aparecen en el trailer sean falsas, sino que el resto corresponden a líneas procedentes de reseñas de otras películas por parte de esos mismos críticos (por ejemplo, un extracto de la reseña de Ebert del Batman de Tim Burton de 1989).


Lionsgate ha pedido disculpas públicas tanto a los críticos citados como al propio Coppola, y ha retirado el trailer de la circulación.


“Lionsgate is immediately recalling our trailer for Megalopolis,” said a spokesperson for the studio. “We offer our sincere apologies to the critics involved and to Francis Ford Coppola and American Zoetrope for this inexcusable error in our vetting process. We screwed up. We are sorry.”

Esto no tiene precedentes, que yo sepa, y han de rodar cabezas cuanto antes. Que vergüenza, madre de Dios.


Vaya tela. Injustificable.

Disculpas ningunas, hombre. La verdad es que el asunto es bastante chapucero y, como dice algún compañero, bastantes hostias le han dado a Coppola como para recurrir a invenciones.

Esta es la UNICA explicación que he leído que podría tener algo de sentido respecto a como ha podido ocurrir semejante cosa.

Sigue siendo inexcusable, eso si.

My guess is someone made a quick and dirty concept reel in the spirit of the trailer, with some placeholder examples, expecting they'd go pull actual negative reviews before the final cut, and the editing team just forgot they weren't final copy and nobody noticed.

Iniciado por Branagh/Doyle

Esta es la UNICA explicación que he leído que podría tener algo de sentido respecto a como ha podido ocurrir semejante cosa.

Sigue siendo inexcusable, eso si.

My guess is someone made a quick and dirty concept reel in the spirit of the trailer, with some placeholder examples, expecting they'd go pull actual negative reviews before the final cut, and the editing team just forgot they weren't final copy and nobody noticed.

"Sí, este es el prototipo, Bob". "Cuando salgan las reviews meteremos las buenas, solo las buenas"
-"OK, John, pásalo al becario"

El becario: "Aguántame el cubata que tengo que darle click a publicar trailer"


De chimpancés.

Iniciado por calita

"Sí, este es el prototipo, Bob". "Cuando salgan las reviews meteremos las buenas, solo las buenas"
-"OK, John, pásalo al becario"

El becario: "Aguántame el cubata que tengo que darle click a publicar trailer"


De chimpancés.

La web de Tripictures ha añadido el poster de Lionsgate a la ficha del film en su página web, pero sin traducirlo al castellano.

Mala pinta...

Iniciado por Branagh/Doyle

La web de Tripictures ha añadido el poster de Lionsgate a la ficha del film en su página web, pero sin traducirlo al castellano.

Mala pinta...

No quiero ser agorero pero da la sensacion de que no me equivocare con lo de solo en Vose

Iniciado por Edge-Azel

No quiero ser agorero pero da la sensacion de que no me equivocare con lo de solo en Vose

Pues si. Pero entonces que no digan que la van a estrenar "en todo el país".

Vaya tela.

Esperaos, no creo que TriPictures solo la estrebe dn VO.

Ya recuerdo que me dijiste Prime que sabiendo como funciona la industria en España con respecto a estrenos USA, que no esperase nada de Tripictures respecto a Megalopolis hasta mínimo primeros de Septiembre.

¿Pero todavía no han subido la versión corregida del trailer?. La madre que los parió, que no es tan difícil.


Mirad, otros canales ya lo han hecho:

Calita, estamos llorando de la risa. Por lo visto lo clavaste con tu texto ironizando sobre lo que ha podido suceder con el trailer.


Mira:


As a video editor: 100%; this is what happened. People down chain do not listen and find it really hard to accept qualifiers like "draft" and "placeholder".


Madre mía...

Eddie Egan, trabajador de Lionsgate en el departamento de marketing, y responsable de escribir y montar el trailer, ha sido despedido tras reconocer que usó inteligencia artificial para generar las citas vistas en el trailer y posteriormente se las atribuyó a críticos importantes de la época en relación a las obras de Coppola mencionadas en el mismo.




SENCILLAMENTE ALUCINANTE.


Sources tell Variety it was not Lionsgate or Egan’s intention to fabricate quotes, but was an error in properly vetting and fact-checking the phrases provided by the consultant. The intention of the trailer was to demonstrate that Coppola’s revered work, much like “Megalopolis,” has been met with criticism. It appears that AI was used to generate the false quotes from the critics.

Más información sobre lo sucedido en Deadline.

Madre mia, madre mia, madre mia.

Esta gente es para darla de comer aparte.

Iniciado por PrimeCallahan

Madre mia, madre mia, madre mia.

Esta gente es para darla de comer aparte.

Pues si. Estará Coppola contento.

Extenso reportaje/entrevista con Coppola para Rolling Stone, de ayer mismo.





What I didn’t want to happen is that we’re deemed some woke Hollywood production that’s simply lecturing viewers. The cast features people who were canceled at one point or another. There were people who are archconservatives and others who are extremely politically progressive. But we were all working on one film together. That was interesting, I thought.


Bum.

Had Eleanor been sick for a while, or was this out of the blue?

She had a noncancerous tumor called a thymoma. Fourteen years ago, when it was discovered, the doctor said, “It’s a little big to take out right now. If she does three months of chemo, then it should make it smaller and I can take it out.” And Eleanor said, “I’m not doing chemo.” She wanted to do what she wanted to do; she made several movies, and ultimately, it just got so big and so painful that she did not want to live anymore.

How have you been dealing with the grief?

The most comfort I have is … there’s something that Marcus Aurelius said that’s basically “When you lose a loved one, you should honor them by trying to be more like them. It’s in your actions that they will remain alive.” So I try to do things that she would do. I have some friends who are elderly now, and it’s not my nature to call them up and say, “How are you doing?” That would be her nature, though. So I do things to try to be more like that, to keep her in me.

There were reports from the Megalopolis set that you kissed and touched extras in a way some people found inappropriate. Was that a rehearsal thing that got out of hand?


You’re talking about the Guardian piece, which is totally untrue. If you read that piece, you’ll realize that whoever the sources were — and I honestly don’t know who the sources were — it’s the same people who provided quotes for that Hollywood Reporter piece that said all these people were fired or resigned, and that there was a mass exodus, all of that. And the truth of the matter is, they were looking for some sort of dirt. The young women I kissed on the cheek, in regards to the New Year’s scene, they were young women I knew.

It’s all so ridiculous. Look at the timing of that article. It’s right before we’re about to premiere the film at Cannes. They’re just trying to damage the picture.


Why do you think they’re trying to damage the picture?


There’s a prevailing tendency in Hollywood to say, if you follow our rules, you’ll have a better chance of a success. “Well, what about Francis? He doesn’t follow your rules.” “Well, look, what’s going to happen to him, he’s going to have a failure.” I’m trying to do something different here. Film is change. I mean, the movies that your grandchildren are going to make are going to be nothing like what we see now.




Now that you’ve finally made Megalopolis, is that it for you?


No, I’m working on two potential projects right now. One is a regular sort of movie that I’d like someone to finance and make in England, because I don’t have a big history with my wife in England. Everywhere else I go, I’m reminded of her all the time. The other is called Distant Vision, which is the story of three generations of an Italian American family like mine, but fictionalized, during which the phenomenon of television was invented. I would finance it with whatever Megalopolis does. I’ll want to do another roll of the dice with that one.

Iniciado por sammas 1.0

Francis Ford Coppola Says ‘You Can’t Put A Label’ On Megalopolis: ‘That’s The Kind Of Film I Like’

Already, the legend of Megalopolis looms large. It’s an ambitious original sci-fi apocalypse drama from the legendary Francis Ford Coppola, who spent decades trying to get it made; he eventually sold some of his personal wine fortune to make it happen; it debuted at Cannes to an air of bafflement, with reviews landing all across the board. But the filmmaker himself – the man who gave us The Godfather, Apocalypse Now, The Conversation, and Bram Stoker’s Dracula, to name but a few – wouldn’t have it any other way. Creating something confounding and wildly original was, it seems, always the point.

“The movie business tries to encourage everyone to think that there’s only one way a movie can be,” Coppola tells Empire in a major new interview. “It has to have a protagonist, then, in the first few minutes, it has to have an antagonist. They are prescribing a formula that they’ll be able to sell over and over again. So when a movie comes along that doesn’t fit that formula and they don’t think it’s a new formula that can be repeated, they don’t want to do it because they feel there’s too much risk.” Everything about Megalopolis – from its future-America-meets-Roman-Empire setting, to a scene requiring literal audience participation – was intended to take risks. “As we know, the art we revere — Bizet’s Carmen, artists like Picasso, Monet and Matisse — is art that in its time was considered too risky or a failure,” Coppola points out. “Apocalypse Now is a perfect example. When it came out, people said, ‘What the hell is this?’ But they never stopped going to see it. With Megalopolis you can’t put a label on it. And that’s great. That’s the kind of film I like.”


As ever, there’s much of Coppola himself in the work – even if he didn’t notice it until after he was done. “I didn’t know that so much during the filming, but as I see the finished film, I understand that now,” he says, looking to Adam Driver's Cesar Catilina. “When I was making Apocalypse Now, they said I was Kurtz. When I was making The Godfather, they said I was Michael. So maybe it’s my fate that my life is, in fact, being made by the films.” Get ready, then, for another bold artistic expression from a filmmaker like no other. “Artists are the ones who shed light on our human condition. That’s why artists are necessary,” Coppola says. “We give them a chance to illuminate contemporary life. The film leaps into the unknown unafraid. It’s a dangerous thing to do.” Who else is ready to take the leap?