Мегалополис (Megalopolis)

[DandyAndy]

Присоединилась Обри Плаза

[Стальной Детройт]

Присоединилась Обри Плаза

 

Отлично, отлично.

[Dark_Hierophant]

Присоединился Шайа ЛаБаф

 

[empathy]

кринж

[Dark_Hierophant]

Кринж это когда Эммануэль вместо ливнувшей Зинки, а Лабуф топовый.

[Стальной Детройт]

Взялся за ум? Хвалю.

[MaximumCoool]

Шайа is back.

[Andrewx]

С Шайей очень внезапно. Сильно рад за него. Надеюсь перестанет "творить" и будет получать хорошие роли.

[DandyAndy]

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[Стальной Детройт]

Шо, таки снимают?

[MaximumCoool]

Маэстро хорошо причепурил Эмануельку. Лабаф сутенера играет?

[DandyAndy]

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[ProActor]

На бабульку он тут здорово похож)

[DandyAndy]

Francis Ford Coppola’s ‘Megalopolis’ in Peril Amid Ballooning Budget, Crew Exodus

Francis Ford Coppola’s latest movie, the sci-fi-tinged Megalopolis, has descended into chaos, according to multiple sources. The movie, currently half-way through shooting in Atlanta, has in the last week lost key creative talent including its production designer and supervising art director. That’s on top of losing the entire visual effects team in the first part of December.

 

To many insiders, the self-financed production is giving severe Apocalypse Now redux vibes, one in which the iconoclast 83-year-old director is breaking a cardinal Hollywood rule: “Never spend your own money.”

 

Megalopolis has been a passion project, decades in the making for the filmmaker, who turned heads in the fall of 2021 when news broke that he would be self-financing the $120 million film, partially with the tens of millions he made selling his popular northern California wineries. The film’s budget has expanded and is now about halfway through its 80- to 90-day shoot, but a production source says it’s unclear whether the production can go forward as planned.

 

Representatives for Coppola have not responded to request for comment.

 

Coppola assembled a starry cast including Adam Driver, Nathalie Emmanuel, Forest Whitaker, Laurence Fishburne, Jon Voight, Talia Shire, Shia LaBeouf, Jason Schwartzman and Dustin Hoffman. The film centers on an architect who seeks to rebuild New York city as a utopia after a disaster. Sources say Coppola initially employed new virtual production technology similar to that used on The Mandalorian. But as the challenges and costs of that approach mounted, those sources say the production is attempting to pivot to a less costly, more traditional green-screen approach. “There’s no good answer here,” says a production executive. “[Coppola] is going to spend a lot more money than he intended. You can imagine how much he’s already got invested. It would be a very bitter pill not to finish it.”

 

Sources say Coppola, who has never made an effects-heavy movie, fired almost his entire visual effects team Dec. 9, with the rest of that department soon following. Mark Russell, a veteran whose credits include In the Heights and The Wolf of Wall Street, was leading the team as visual effects production supervisor. (Coppola famously fired his special effects department on Dracula 30 years earlier.)

 

More recently, the production designer Beth Mickle and supervising art director David Scott have departed. Between firings and resignations, a source says the film now has no art department. Russell, Mickle and Scott did not respond to requests for comment.

 

“The Art Directors Guild supports all Art Departments to ensure proper staffing and scheduling and is currently looking into the situation with Megalopolis to determine the next steps,” a spokesperson for the Art Directors Guild, which reps both art directors and production designers, said in a statement. “We have no further comment at this point.”

 

One talent representative whose client was among those fired says the dismissal was a blessing in disguise. “It was absolute madness, being on set,” this person says.

 

Despite the crew exits, Coppola is continuing on, hiring new staff this week according to sources.

 

In March 2022, Coppola told The Hollywood Reporter he was putting his own money into the film, which has no distributor, to make it his way. Said Coppola: “There’s a certain way everyone thinks a film should be, and it rubs against the grain if you have another idea. People can be very unaccepting, but sometimes the other idea represents what’s coming in the future. That is worthy of being considered.”

 

Coppola’s methods have yielded some of what critics consider greatest films of all time, including The Godfather (1972) and its 1974 sequel, both of which one best picture at the Oscars. Yet he hasn’t had a hit since Dracula and last helmed the 2011 murder mystery feature Twixt, which starred Val Kilmer and Bruce Dern and was largely a home entertainment play.

 

The director has a long history of challenging productions. He self-finance the 1982 musical romance feature One from the Heart, which failed to perform, and followed it up with it up with The Cotton Club, the 1984 all-star crime drama. That movie, also a bomb, was notoriously known for not just for a troubled set — crew were abruptly fired — but also for a revolving door of financiers.

 

No more famous calamitous Coppola production was there than the making of Apocalypse Now, a grueling shoot that mirrored its story of a descent into madness and chaos. The 1979 movie went on to win two Oscars and became a classic.

 

At that year’s Cannes Film Festival, the filmmaker reflected, “We were in the jungle. We had access to too much money, too much equipment, and little by little we went insane.”

[Spiker07]

Это Жопа

[DoomSmiler]

Дед решил на старости лет вспомнить Апокалипсис сегодня. Но для джунглей уже кости не те, артрит заездает, вот и решил не забираясь в глуш побезумствовать.

[DandyAndy]

Francis Ford Coppola’s ‘Megalopolis’ in Peril Amid Ballooning Budget, Crew Exodus

Ответ Копполы и Драйвера

Francis Ford Coppola: No Truth To Apocalypse On ‘Megalopolis’

 

“I love my cast, I love what I’m getting each day, I am on schedule and on budget, and that’s what is important to me,” Francis Ford Coppola told Deadline from the Atlanta set of Megalopolis.

 

The iconic filmmaker disputed a trade report that conflated turnover in the visual effects and art departments to paint a picture of a runaway train, using words like ‘peril,’ ‘ballooning budget,’ ‘crew exodus’ and ‘chaos.’

 

Coppola acknowledged there has been some turnover, but he believes the high drama has been reserved for what he sees each day in dailies. He has seen budgets balloon on some of his past films, and he once famously replaced Harvey Keitel with Martin Sheen weeks into the production of Apocalypse Now. None of what is happening on Megalopolis meets that category. The elimination of the VFX department during production is something he engineered to keep the film on budget — Coppola is using experimental technology in filming, and decided it was more efficient to service most of those effects in postproduction. The art department left over creative differences involving personnel.

 

“It was basically about managing cost,” Coppola said. Bradley Rubin (The Mandalorian, Westworld) has been hired to be the film’s production designer, and he is handling all this. These kinds of things have long been part of Coppola’s creative process, to make changes on the fly when he feels things aren’t working. He replaced DP Haskell Wexler on The Conversation and production designer Dante Ferretti on Bram Stoker’s Dracula. Aside from the changes, Coppola believes the $100 million Megalopolis has been relatively smooth sailing, considering cost and scale.

 

“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.”

 

The film stars Adam Driver, Nathalie Emmanuel, Forest Whitaker, Laurence Fishburne, Jon Voight, Talia Shire, Jason Schwartzman and Dustin Hoffman.

 

Driver in particular was incensed that the film is taking lumps based on rumors.

 

“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.

 

“Yes, it is true that the art department resigned and VFX were let go. 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.”

 

Coppola would know if he was presiding over an out of control film. He is personally bankrolling the majority of the production, himself. The rumors don’t bother him much because it won’t impact production. It’s only after he finishes and cuts the film that he will seek theatrical distribution, and by then the result will speak for itself.

 

“We’ll finish the film in spring of 2023, and we’re totally on schedule, which is hard to do on a big picture,” Coppola told Deadline. “I don’t know how many films can say that eight weeks in but we are and that’s a fact.”

 

Coppola said he’s not aiming for the fall festivals. He has been contemplating his Megalopolis film and its script for decades, and he’s got specific release aspirations. Not surprisingly, they are grand.

 

“I’m interested in a theatrical release in theaters, and IMAX theaters and I am excited about the possibility that for the first time in history, a movie could open up on the same day everywhere in the world,” Coppola said. “And that’s what my goal is.”

 

Coppola previously told Deadline that his ambition on Megalopolis — a drama about the process of replacing a ravaged metropolis with a utopian rebuild — isn’t to put more Oscars on his mantle. He sold some of his winery holdings to get a credit line to cover the costs of this dream project, and his hope is to leave behind another film that continues to challenge viewers long after he passes away.

 

“My first goal was to make a love story with heart, but then you realize it’s about love and disloyalty and every aspect of human life,” he said. “It echoes many other aspects of human life, like our planet being in danger, but ultimately a very optimistic film that has faith in the human ability to heal any problem that is put before us.

 

“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 said. “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.”

 

[Spiker07]

В общем через год увидим результат всего этого...

 

P.S. Художника постановщика Бредли Рубина в итоге наняли или уволили?

[DandyAndy]

Художника постановщика Бредли Рубина в итоге наняли или уволили?

Наняли, заменили опытного художника-постановщика Бет Микл на новичка

[Jdalker]

Потрясающе, дед снова вляпался. Еще же ведь и диким провалом будет, тут даже вангой быть не нужно.

[Haggard]

Потрясающе, дед снова вляпался. Еще же ведь и диким провалом будет, тут даже вангой быть не нужно.

ДА ЛАДНА?! Получается даже сиквела не будет?!?

[Jdalker]

За сиквел не скажу. Может у него еще 120 млн. есть.

[LUCIFER]

Предполагаю, что когда тебе столько лет и в жизни ты всего добился и войдешь в историю, то деньги и сборы уже не важны. Лучше потратить свои средства на проект мечты, чем завещать их нахлебникам

[Mr. Wayne]

Потратить деньги на проект мечты, провалиться, а остаток жизни провести на улице и помереть в переулке у помойного бака.

Дед с чего-то решил, что всё ещё умеет снимать фильмы.

[Spiker07]

Потратить деньги на проект мечты, провалиться, а остаток жизни провести на улице и помереть в переулке у помойного бака.

Дед с чего-то решил, что всё ещё умеет снимать фильмы.

 

За него не стоит волноваться...Роялти с его фильмам как минимум обеспечат ему безбедную жизнь до конца жизни и ещё и будут содержать наследников.