The city of New Rome faces a duel between Cesar Catilina, a brilliant artist who preaches a utopian future, and the greedy mayor Franklyn Cicero. Among them is Julia Cicero, whose loyalty is divided between her father and her lover. Francis Ford Coppola wrote the screenplay in the early 1980s, but the film was partly shelved due to financial debt. Pre-production finally began in 2001, after 30 hours of second unit footage was shot and a table read was held with Paul Newman, Uma Thurman, Robert De Niro, James Gandolfini, Nicolas Cage, Leonardo DiCaprio, Russell Crowe, Edie Falco and Kevin Spacey. The project was canceled after the September 11 attacks because a scene in the script (page 166) " the attacks. There are many moments in the film where hand gestures jump between cuts. Hamilton Crassus III: What Do You Think of This Bone I Got?.
The “Ultimate IMAX Experience” In the theatrical version, a live actor asks questions during the filmed press conference. Link on The John Campea Show: Adam Driver introduces Francis Ford Coppola’s new film Megalopolis (2022). My Promise Written by Grace VanderWaal Performed by Grace VanderWaal courtesy of Columbia Records. By arrangement with Sony Music Entertainment Produced and arranged by Kris Kukul. That’s right in Francis Ford Coppola’s latest and probably final film. From the cast, to the costumes, to the set that reimagines New York City as the New Rome, you can see it all. The only question this raises is why 42nd Street from Third Avenue to Times Square was left untouched, and what about the movie theaters on 7th and 8th Avenues?
Still, it’s natural to be skeptical of what is essentially an admirable biography of Robert Moses . . Especially when Ayn Rand apparently wrote it in response to METROPOLIS and then gave it to Abel Gance after convincing him to make a film about Julius Caesar instead of Napoleon. And don’t forget the Marcus Aurelius quotes. Overall, this is a very cultured film. To understand its details, you need to read a lot of Roman history, see a lot of silent films, and know about New York in the second half of the 20th century, including the flight of the middle and upper classes from the 1950s . .
I can say this through the vagaries of my upbringing and the chaotic process of self-education. That way. The performance is fine. However, the question I hear about so many films these days is who Coppola made this film for. She reportedly spent around $140 million of her own money on the film. The general rule is that a film needs to incur about double the production costs to break even. I don’t see a big enough audience to generate $300,000,000 in tickets and ancillary rights.
It’s just too long, a shaggy tale about love and artistic vision above all else. Of course, this wouldn’t be the first time Coppola has given free rein to her artistic ambitions; while they claim APOCALYPSE NOW ultimately made their money back, I doubt it when you add in interest. It was definitely a disaster and it took me a couple of decades of making commercial films from other sources to find a way out of it and make wineries and restaurants money. There are certainly enough movie fans out there to make the net loss bearable. All of this goes a long way toward answering the question of who Coppola’s target audience was. It was Coppola himself who sought to prove himself as the complete director, rather than the great translator of someone else’s well-told stories.