“Story based on the second Catiline Conspiracy, a feud between Roman senator Lucius Sergius Catalina and Marcus Tullius Cicero.”
Versión para imprimir
“Story based on the second Catiline Conspiracy, a feud between Roman senator Lucius Sergius Catalina and Marcus Tullius Cicero.”
No por nada estuvo el tío en los marinesCita:
Iniciado por Branagh/Doyle
https://www.youtube.com/watch?v=nCwwVjPNloY
The face with Adam Driver.
We had a 10-minute chat with the actor about the pitfalls of fame and Francis Ford Coppola’s Megalopolis.
What can you tell us about Megalopolis?
It’s kind of undefinable, which feels very general until you watch the movie. Then my answer will be perfect. There’s not a lot of precedent for it and it’s wild on a big scale, which is what’s really unique about it.
In the film, you play renegade architect Caesar. Can you describe him in one sentence?
He’s a visionary. He’s very much Francis [Ford Coppola], in a way, where he’s investigated every way of how people can do something and is trying not to get stuck on the right answer. That’s an idea that’s moving to me – and one that reflects Francis.
https://theface.com/culture/adam-driver-interview-megalopolis-francis-ford-coppola-frances-ha
Se me había pasado esto a mi tambien, magnífica noticia, una de mis peliculas favoritasCita:
Iniciado por Edge-Azel
¿Un pase privado para quién, productores y gente del equipo, o público?
Otros cineastas, parece ser. Colegas de profesión de Coppola, vaya.Cita:
Iniciado por riobravo59
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Iniciado por Branagh/Doyle
Spielberg, Scorsese, De Palma y compañía?
No se sabe. Probablemente.Cita:
Iniciado por Fredy Urbano
Hipoteticamente yo quitaría a De Palma (que vive en París, aunque puede que haya cogido un vuelo, claro), y metería a Lucas, que es íntimo de Coppola de toda la vida.Cita:
Iniciado por Fredy Urbano
pa cuando el trailer
La proyección ya mencionada fue ante 300 invitados, hubo ovación de pie
https://x.com/worldofreel/status/177...299128401?s=20
SaludosCita:
FRANCIS FORD COPPOLA'S MEGALOPOLIS screened for 300 guests in L.A. The film received a standing ovation, with a visibly moved Coppola trying to hold back tears.
A person in attendance tells me, "It’s startling, not like any movie that’s out there"
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Iniciado por Tripley
Madre mía. Si alguien puede lograr volver por todo lo alto después de tantos años, ese es Coppola.
A que lo ha conseguido...
:ansia
Fuente:
The place was packed, with over 300 invitees — “a who’s who of heavy hitters” that included friends and family of Coppola’s. Al Pacino, Nicolas Cage, Spike Jonze, Darren Aronofsky, Roger Corman and Andy Garcia were spotted there. All of the studio chiefs were also in attendance.
The cut shown was said to be a little over 2 hours and confirmed to be a final cut.
In “Megalopolis,” for which Laurence Fishburne provides narration, Adam Driver plays Caesar, a tortured visionary fighting to rebuild his city into a utopia after disaster strikes. It’s also a love affair between Caesar and Julia (Nathalie Emmanuel), the daughter of his rival and opponent, and the battle for her heart. It’s Romeo and Juliet, a Shakespearean rivalry between two families. The main villain is portrayed by Giancarlo Esposito as the city mayor opposing Caesar’s vision. Aubrey Plaza plays a rival love interest.
Roaring off the screen, roaring into your eyes and ears. It's a Francis Ford Coppola film and, also, feels like it was made by Ed Emshwiller. It’s expanded cinema; very engaging. It doesn’t drag at all. Constantly entertaining, visually arresting and you have to constantly work to keep up with it. You’ve gotta follow it.
A startling film. Highly visual, reminiscent of ‘60s experimental cinema. Francis’ youth coming out at age 80. The independent cinema that he grew up on. It’s wonderful, larger than life, a jump off the screen movie and it’s incredibly personal. Driver IS Francis here. It’s not like any movie that’s out there — avant-garde and experimental. There’s an overlaying of images, but it works incredibly well. More like “One from the Heart,” shot in an unreal world, it’s a big metropolis, possibly in the far future? The film never says when.
When the lights came up, a standing ovation greeted Coppola and he was visibly overcome with emotion. This is the project that he’s fought to make for nearly 40 years, and it’s finally been screened.
A few moments later, Andy Garcia stood up and told the crowd, pointing to Coppola, “this guy is the reason we’re all making movies.” A touching moment.
The legendary Oscar-winning director is self-funding “Megalopolis,” a passion project more than four decades in the making. He sold his lucrative winery to fund the film, which was said to cost around $120 million.
Our source tells us that Focus or Neon would be the perfect fit for this film. They added that “special care will be needed to sell it. It does follow all of the standard dramatic rules, but in idiosyncratic ways.” They go on to describe it as “an adventuresome film that walks a tightrope.”
Fuente:
Francis Coppola‘s Megalopolis screened late this morning at the Universal Citywalk IMAX theatre, and a certain friendo says the response was quite positive, exciting and emotional…”roaring off the screen, roaring into your eyes and ears“…full powered engagement and then some…intense, experimental, dynamic, a happy ending and “nothing at all like The Godfather, Part II….nothing like it or like any other film.”
It played before a crowd of roughly 300 industry elites (distributors, studio execs, Al Pacino, Andy Garcia, Roger Corman…a who’s who of heavy hitters)….”it was like Francis had 300 friends over [to this home]…he was extremely emotional when the lights came up, I can tell you…it was very moving to see him.”
Hollywood Elsewhere can’t make a smooth article out of my scrambled notes, but to understand what Megalopolis is or what it feels like you have to imagine a combination of a film by Francis Coppola and another by Ed Emshwiller, and then mesh them together.
Adam Driver‘s Ceasar, a driven visionary architect…Driver is playing a variation of the same character he played in House of Gucci and Ferrari…another tortured visionary.
Boilerplate: “Julia Cicero (Nathalie Emmanuel) is divided between loyalties to her father, Frank (Forest Whitaker), who has a classical view of society, and her architect lover, Caesar, who is more progressive and engaged with his idea of the future. He wants to rebuild New York City as a utopia following a devastating disaster.”
Costar Lawrence Fishburne provides narration.
Friendo (and please forgive occasional repetitions): “It’s very engaging…doesn’t drag at all….constantly entertaining, visually arresting…you have to constantly work to keep up with it. You’ve got to follow it. You can’t help but want to follow it.”
The most extraordinary part of the viewing, says friendo, was when an act of live theatre blended with the film. Friendo: “The lights came on in the cinema, and an actor stood up and he started asking a question of Adam Driver’s Ceasar on the screen, and then Driver answered him as if he could hear the question. Theatre interacting with cinema.”
“There were so many luminaries,” friendo continues. “All the studio chiefs…so many faces……Al Pacino was there.
“It’s a startling film….a very enveloping film, but also highly visual in a ’60s experimental way. It felt like Francis’s youth was returning to him and pouring through his heart at age 84….the kind of independent cinema that he grew up on….it’s a wonderful, larger-than-life, jumps-off-the-screen movie and in a totally personal way….constantly entertaining….it’s not like any movie that’s out there, I can tell you that…avant garde experimental.
“It’s principally about a love affair between Driver and Natalie Emmanuel, the daughter of his rival and opponent (Whitaker)….a battle for her heart. Romeo and Juliet….a Shaekespearean battle between two families…a bit like Baz Lurhman’s Romeo + Juliet.
“The statement that I felt summed up the general response was from Andy Garcia: “This guy is the reason we’re all making movies.” The film is a huge inspiration. I couldn’t tell you what Joe Popcorn might say, but this was a wildly enthusiastic crowd. I thoroughly enjoyed it…a kind of IMAX underground movie from the late ‘60s.
“Special care will be needed to sell it…it follows all of the standard dramatic rules that other films follow, but in an idiosyncratic way….it does have a happy ending…there’s a sense of justice at the end….but this is nothing like The Godfather, Part II. Nothing whatsoever.
“We’re shown an overlaying of images like the beginning of Apocalypse Now, but in a more experimental way….roaring off the screen, roaring into your eyes and ears…more like One from the Heart. Taking place in an unreal world…a big metropolis….in the future but it doesn’t say exactly when….begins after a catastrophe….a city pulling itself together.
“Adam as Caesar, Natalie as his lover….one of the bad guys, the city’s mayor, is played by Giancarlo Esposito….the mayor…one of the bad guys….the mayor of the city.
“Adam Driver is playing Francis…very much of a visionary….Aubrey Plaza plays a rival love interest….bitchy, grasping.
“It just needs the right handling..Focus or Neon or Searchight…it needs expert handling….an adventuresome film….obviously it’s going to walk a tightrope It’s probably better to go to Venice and Telluride as Cannes can be a make-or-break…some journalists tend to go there with an attitude.”
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Iniciado por Branagh/Doyle
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…full powered engagement and then some…intense, experimental, dynamic,
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nothing at all like The Godfather, Part II….nothing like it or like any other film.”
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to understand what Megalopolis is or what it feels like you have to imagine a combination of a film by Francis Coppola and another by Ed Emshwiller, and then mesh them together.
Cita:
“It’s very engaging…doesn’t drag at all….constantly entertaining, visually arresting…you have to constantly work to keep up with it. You’ve got to follow it. You can’t help but want to follow it.”
Cita:
“It’s a startling film….a very enveloping film, but also highly visual in a ’60s experimental way.
Cita:
the kind of independent cinema that he grew up on….it’s a wonderful, larger-than-life, jumps-off-the-screen movie and in a totally personal way….constantly entertaining….it’s not like any movie that’s out there, I can tell you that…avant garde experimental.
Cita:
“Romeo and Juliet….a Shaekespearean battle between two families…
https://memes.memedrop.io/production...eNX/source.jpgCita:
…a kind of IMAX underground movie from the late ‘60s.
Eso parece si.
:ansia
Bruce, lo que tiene que ser estar batallando por sacar adelante un proyecto sumamente personal casi media vida, conseguirlo finalmente cuando no te queda mucho tiempo en este mundo, mostrarlo por primera vez a otras personas... y que te aplaudan durante varios minutos de pie (cosa que, llamame ingenuo, pero pienso que podría no haber sucedido). No me extraña que Coppola llorase. Yo también lo haría de estar en su lugar.
Y teniendo en cuenta el presupuesto, el reparto, los borradores del guión que he leído (es una historia apasionante, muy bonita y literaria) y la escala del proyecto podría haber optado por un enfoque, narrativa y formalmente hablando, puramente clásico, para evitar riesgos, pero parece ser que no ha sido así. Parece ser. Lo que no quiere decir, claro, que no sea un film accesible y fácilmente comprensible. Ya veremos.
Al leer esas impresiones, no puedo evitar pensar en un salto sin red. Otro más de este hombre, del que se podrán decir muchas cosas, pero que está claro que vive por y para el cine.
Me alegro mucho de estar viviendo este momento. Independientemente de la calidad de la película.
Efectivamente. Vaya por delante que no confío absolutamente nada en todos estos estercoleros de prensa patrocinados desde líneas editoriales e ideológicas afines, sin vergüenza ni credibilidad. El cuarto poder en el post-post-posmodernismo actual es un meme sin gracia y el quinto poder nació inútil y morirá como tal. Pero aquí la única constante, el único anclaje, como bien sabíamos, es el autor. Todo lo que voy leyendo incide en ello. La figura de un referente que viene a sacudir los cimientos de un medio en decadencia desde hace ya demasiado tiempo (benditas excepciones al margen, por supuesto) con un antimainstream de más de cien millones de dólares. La ironía que subyace tras ello, un autor desatado en su canto del cisne, ya es más interesante que casi todo lo que propone un circuito mainstream desabrido, desencantado, sin capacidad de ofrecer apenas nada relevante o perdurable. "Copolla", hoy más que nunca. Con sus dos cojones. De los más gordos que recuerdo.
Apasionante como es ir leyendo en este hilo la evolución de EL PROYECTO de Coppola, tengo que admitir que enterarme de que Roger Corman aun vive ha sido la mayor sorpresa...:descolocao
Estaría cajonudo un canto del cisne, como dice Bruce, que fuese un puñetazo en la cara a los usos actuales del cine. Personalmente lo que más me anima son las referencias a que no es nada convencional... En una gran y última obra Coppola podía optar por hacer una película "clásica" o academicista, formalmente, y parece que ha preferido poner el ciruelo encima de la mesa, y hacer lo que le proía, como decimos aquí.
La verdad es que ese entusiasmo vuestro es contagioso... Seguiré el proyecto, y el hilo, con todo el interés.
Concuerdo, pero como en este caso se están limitando a recoger impresiones de los asistentes al evento -citando incluso- personalmente yo si doy crédito a estos dos textos.Cita:
Iniciado por BruceTimm
Respecto a todo lo demás, que decir. Suscribo hasta la última coma.
PD: Que se trate de una gran producción, con un reparto de primera línea, medios en abundancia y demás, pero auto financiado de manera completamente independiente, además de hacerme pensar que el calificativo "anti mainstream" es muy acertado, me trae a la cabeza a George Lucas, claro. Esta fue siempre su máxima aspiración. Poder contar con los medios que el sistema puede ofrecerte, pero operar al margen de el creativa y financiaremente hablando. La quimera. El sueño. La autoría total y absoluta.
Según referencias privadas que me han llegado, parece que el score de Osvaldo Golijov si es completamente clásico. Se ha grabado con una orquesta de 120 músicos (lo que decía, abundancia de medios), y por lo visto es suntuoso, lírico, desgarrador.
El argentino es uno de los autores contemporáneos más importantes de música culta a nivel mundial (clásica, vaya). Yo he escuchado varias de sus piezas, particularmente su música sacra, y me gusta mucho. Muy creativo.
En Tetro y Youth Without Youth hizo un buen trabajo, pero las carencias presupuestarias incidieron mucho en el resultado final.
Escritura ambiciosa pero ejecución un tanto deslucida (y las partes sintetizadas no ayudaban, supongo que por la carencia de medios).
Confio en que aquí no habrá tenido ese problema.
No olvidemos, además, que el film se ha rodado en 70mm.
:ansia
¡Ojo!.
Mike Figgis directed a behind-the-scenes documentary on the production of Megalopolis. The documentary will accompany the film's release and will feature interviews with George Lucas, Martin Scorsese, and Steven Spielberg.