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Megalopolis (2024, D: Francis Ford Coppola)

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Megalopolis (2024, D: Francis Ford Coppola)

Old 01-10-23, 01:45 AM
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re: Megalopolis (2024, D: Francis Ford Coppola)

You know what movie didnít descend into chaos? Jack.
Old 01-10-23, 07:26 AM
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re: Megalopolis (2024, D: Francis Ford Coppola)

He needs to hire and fire Harvey Keitel for good luck.
Old 01-10-23, 05:33 PM
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re: Megalopolis (2024, D: Francis Ford Coppola)

Originally Posted by dex14
https://collider.com/francis-ford-co...-denies-chaos/
Old 01-10-23, 05:34 PM
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re: Megalopolis (2024, D: Francis Ford Coppola)

The legend responds:
EXCLUSIVE: “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 upset 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 mantel. 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.”
https://deadline.com/2023/01/francis...is-1235216222/
Old 05-18-23, 09:52 AM
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re: Megalopolis (2024, D: Francis Ford Coppola)

This is a good interview with Coppola and Costner about putting up their own money for their passion projects.

Mavericks Francis Ford Coppola And Kevin Costner On Risking Their Fortunes Bankrolling Passion Pics ‘Megalopolis’ And ‘Horizon’
https://deadline.com/2023/05/francis...on-1235359148/
Old 02-06-24, 03:50 PM
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Re: Megalopolis (2024, D: Francis Ford Coppola)


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Old 03-29-24, 08:38 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Don’t call it a premiere, but after decades in the making, Francis Ford Coppola finally unveiled his $120 million epic Megalopolis to a good portion of the Hollywood industry yesterday in Los Angeles in the hopes of securing a buyer. While reviews are of course under wraps until its official, public premiere, the first details are starting to trickle in.

“Having seen Megalopolis we can confirm there’s never been, or ever will be, a director as crazy as Francis Ford Coppola. What a privilege to be on the same planet as him,” the Beyond Fest account tweeted, while Matt Belloni reported an attendee saying, “It’s unflinching in how batshit crazy it is.”

Deadline‘s Mike Fleming reports, “Coppola’s new film is crackling with ideas that fuse the past with the future, with an epic and highly visual fable that plays perfectly on an IMAX screen. He covers complex themes in a remarkably brief two hours and 13 minutes, not including credits.” Coppola also sent Fleming his introduction, which he read before the screening:

Dear Friends,

As heard from me before: “I believe in America.”

If I could leave you with one thought after you see my new film, it would be this: Our founders borrowed a Constitution, Roman Law, and Senate for their revolutionary government without a king, so American History could neither have taken place nor succeed as it did without classical learning to guide it.”


In terms of when the rest of the public will be able to experience Coppola’s largely self-funded vision, starring Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Laurence Fishburne, Aubrey Plaza, Shia LaBeouf, Dustin Hoffman, Jason Schwartzman, and more, the director wants to lock in wide theatrical distribution and secure a full plan before bringing it to a festival. As previously reported, this could mean a fall film festival debut is more likely than a return to Cannes for the director.

With the screening having taken place, we now have a more detailed plot synopsis as well: “The destruction of a New York City-like metropolis after an accident brings clashing visions of the future. On one side is an ambitious architectural idealist Cesar (Adam Driver). On the other is his sworn enemy, city Mayor Frank Cicero (Giancarlo Esposito). The debate becomes whether to embrace the future and build a utopia with renewable materials, or take a business-as-usual rebuild strategy, replete with corruption and power brokering. In between their struggle is the mayor’s socialite daughter Julia (Nathalie Emmanuel), a restless young woman who grew up around power and is looking for meaning in her life.”

If one might have assumed this epic undertaking would be the 84-year-old Coppola’s swan song, think again. “One way I knew Megalopolis was finished is that I’ve begun work on a new film,” he tells Deadline. “It won’t be cheap by any means, but I don’t know it can be called ‘an epic film.'”

Here’s hoping Coppola can sew up distribution soon and his long-awaited project can get the release he desires.
https://thefilmstage.com/francis-for...-on-next-film/
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Old 03-29-24, 09:03 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Batshit crazy is my favorite sub genre.
Old 03-29-24, 04:39 PM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Canít fucking wait.
Old 03-29-24, 10:25 PM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

I'm so happy this got made and will be coming out.
Old 04-30-24, 08:22 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Francis Ford Coppola’s Megalopolis: An Exclusive First Look at the Director’s Retro-Futurist Epic
Adam Driver and Nathalie Emmanuel scan the horizon, and Coppola explains his sprawling influences for the utopian drama.



Megalopolis has been taking shape inside Francis Ford Coppola’s mind for nearly half of his life, and now he’s finally ready to show it to the world. The 85-year-old director of The Godfather, Apocalypse Now, and The Conversation has finally completed his operatic passion project, at considerable personal cost. It will debut next month at the Cannes Film Festival, hoping to attract global distributors willing to take a similar chance.

The movie is about the personal, political, and romantic clashes that arise during a battle to construct an American utopia, and it was shaped in part by the speculative prophecy of H.G. Wells, a murderous conspiracy from ancient Roman history, the devastation of the September 11 attacks, and the outsize influence of attractive cable news hosts, among a litany of other inspirations. “To that, I added everything I had ever read or learned about,” Coppola says in a statement.

Vanity Fair has the exclusive first look at the result: Adam Driver as the idealistic architect and artist planning to rebuild a city that has fallen to ruins, and Nathalie Emmanuel as the socialite daughter of his nemesis, a corrupt mayor (Giancarlo Esposito), who likes his municipal kingdom the way it is. In his official logline for the film, Coppola describes Driver’s character as having the “power to stop time,” while Emmanuel’s character is caught between the two, deeply in love with the artist but loyal to her hard-charging father, “forcing her to discover what she truly believes humanity deserves.”

The sprawling ensemble also includes Aubrey Plaza, Shia LaBeouf, Dustin Hoffman, Jon Voight, Laurence Fishburne (who was a teenager soldier in Apocalypse Now), Kathryn Hunter, singer Grace VanderWaal, and James Remar, as well as the filmmaker’s sister, The Godfather actor Talia Shire, and her son (Coppola’s nephew) Jason Schwartzman.

An early industry screening for studio executives resulted in anonymous leaked reactions that ranged from impressed to perplexed. For some moviegoers, this only increased curiosity about the project. Enthusiastic social media reactions soared in recent weeks as fans expressed even more interest in seeing the veteran take a wild chance.

Coppola declined to be interviewed for this exclusive first look. (His wife of 61 years, Eleanor, passed away earlier this month, and the director and his family remain in mourning.) Instead, he offered Vanity Fair a written statement about the origins of the film.

Coppola traces the origin of his new movie back to his childhood in New York, when he was fascinated with tales of scientists and researchers and tinkered with amusingly dangerous experimentation kits. Movies, of course, provided another outlet for his imagination. One film that stuck in his mind was a 1936 drama about a society that desperately attempts to halt its own collapse, made by pioneering producer Alexander Korda and written by War of the Worlds and The Time Machine author H.G. Wells.

“The seeds for Megalopolis were planted when as a kid I saw H.G. Wells’s Things to Come,” Coppola says. “This 1930s Korda classic is about building the world of tomorrow, and has always been with me, first as the ‘boy scientist’ I was and later as a filmmaker.”

In his statement to VF, the director also addresses rumors about the long gestation of Megalopolis. To maintain total control of the project, he sold part of his winery estate in Northern California to self-finance the $120 million budget.

“I wasn’t really working on this screenplay for 40 years as I often see written, but rather I was collecting notes and clippings for a scrapbook of things I found interesting for some future screenplay, or examples of political cartoons or different historical subjects,” Coppola says. “Ultimately, after a lot of time, I settled on the idea of a Roman epic. And then later, a Roman epic set in modern America, so I really only began writing this script, on and off, in the last dozen years or so. Also, as I have made many films of many different subjects and in many different styles, I hoped for a project later in life when I might better understand what my personal style was.”

Since Megalopolis was the distillation of that lifetime, he decided to brand the title with his own name for the first time. “Always respecting the original writer in films I made, and always insisting that their names appear above the title, such as it was with Mario Puzo’s The Godfather, or Bram Stoker’s Dracula,” he says, “it was only with The Rain People and The Conversation that it could have been permitted to have my own name as original writer on it; but then I was too insecure to present myself in such grandiosity.”

“Early on, I remember once I took 130 blank pages and put on a title page boldly announcing Francis Ford Coppola’s Megalopolis, and under that, All Roads Lead to Rome. I pretended it wasn’t totally blank, weighing it in my hands so I could imagine what one day it would feel like, and believe one day it could exist. Then later, once I had a draft, I must have rewritten it 300 times, hoping each rewrite would improve it, if only a half percent better.”

Among his touchstones was an attempted coup from 63 BC. At that point, ancient Rome was in the throes of crisis, with its trade economy stalling, an ongoing struggle to hold together its vast republic, and debt for rich and poor alike skyrocketing. An insurrectionist named Catiline plotted to assassinate a number of political leaders and spark a dozen fires around the city, destabilizing it to the point of anarchy. After chaos, Catiline would build a new society, erasing all debts from the previous one. But his scheme was exposed and thwarted by the Roman statesman and orator Cicero.

“I considered many possibilities, becoming interested in an incident known as ‘The Catiline Conspiracy,’” Coppola says, explaining that “modern America was the historical counterpart of ancient Rome and that the Catiline Conspiracy, as told by historian Sallust, could be set in modern America, just as Joseph Conrad’s Heart of Darkness [originally set in the late 1800s amid European colonial rule in Africa] was set in the Vietnam War in Apocalypse Now.”

His next step was to remake some of those figures from history into fictional versions of modern civic leaders. “I began with the essence of a plot: Perhaps an evil patrician (Catiline) plotted to overthrow the republic, but was thwarted by Cicero, the consul. I renamed Catiline to Cesar as suggested by Mary Beard, because in Suetonius’s version young Julius Caesar was very much in cahoots with Catiline, and Cesar would be more familiar to audiences than Sergius (which was historical Catiline’s name).”

Coppola also decided to take a revisionist view of this age-old accepted history. “I wondered whether the traditional portrayal of Catiline as ‘evil’ and Cicero as ‘good’ was necessarily true,” the director says. “In history, Catiline lost and was killed and Cicero survived. But since the survivor tells the story, I wondered, what if what Catiline had in mind for his new society was a realignment of those in power, and could it have even been ‘visionary’ and ‘good,’ while Cicero perhaps could have been ‘reactionary’ and ‘bad.’”

The director then transposed this plot from antiquity to the near-present day. “The story would take place in a somewhat stylized New York City, portrayed as the center of the power of the world, and Cicero would be the mayor during a time of great financial upheaval, such as the financial crisis under former Mayor Dinkins [who led the city from 1990 to 1993.] Cesar, in turn, would be a master builder, a great architect, designer, and scientist combining elements of Robert Moses, as portrayed in the brilliant biography The Power Broker, with architects like Frank Lloyd Wright, Raymond Loewy, Norman Bel Geddes, or Walter Gropius.”

“Step by step with these beginnings, I researched New York City’s most interesting cases from my scrapbooks: the Claus von BŁlow murder case, the Mary Cunningham–William Agee Bendix scandal, the emergence of Maria Bartiromo (a beautiful financial reporter nicknamed ‘The Money Honey' coming from the floor of the New York Stock Exchange), the antics of Studio 54, and the city’s financial crisis itself (saved by Felix Rohatyn), so that everything in my story would be true and did happen either in modern New York or in ancient Rome. To that I added everything I had ever read or learned about.”

In his statement, Coppola includes what is essentially his bibliography, a litany of scholars, poets, novelists, filmmakers, and artists across the centuries whose work nourished Megalopolis: “I wouldn’t have been able to make it without standing as I do on the shoulders of G.B. Shaw, Voltaire, Rousseau, Bentham, Mill, Dickens, Emerson, Thoreau, Fuller, Fournier, Morris, Carlyle, Ruskin, Butler, and Wells all rolled into one; with Euripides, Thomas More, Moliere, Pirandello, Shakespeare, Beaumarchais, Swift, Kubrick, Murnau, Goethe, Plato, Aeschylus, Spinoza, Durrell, Ibsen, Abel Gance, Fellini, Visconti, Bergman, Bergson, Hesse, Hitchcock, Kurosawa, Cao Xueqin, Mizoguchi, Tolstoy, McCullough, Moses, and the prophets all thrown in.”

He describes beginning early work on the idea about 23 years ago. “Believing I had the basis of the project in 2001, I set up a production office in Park Slope, Brooklyn, and began to work,” Coppola says. “I did casting, table read-throughs, and had a second unit led by brilliant photographer Ron Fricke, thinking it would be easier and cheaper to begin before we actually announced principal photography.”

Coppola’s nascent Megalopolis team set about documenting everyday life in the city. “The second unit was shot with an early-model Sony digital camera that I was risking would be of sufficient quality, to be shot through all seasons and of elements of vital activities of the city (food distribution, sewage, garbage disposal) for the rich and the poor,” he says.

Then the fictional story of a city left in ruins after a terrible moment of destruction came true. “The script always had an element of an aging Soviet satellite falling out of orbit and falling to Earth, so we needed some shots of destruction and cleared areas, but of course no one could have anticipated the events of September 11, 2001, and the tragedy of the World Trade Center,” he says. “As we were shooting our second unit at the time, we covered some of those heartbreaking images.”

How much of that makes it into the final film is unclear. As Coppola strained to make something allegorical and epic, he also returned to the personal touch that made his classic films so resonant. “My first goal always is to make a film with all my heart, so I began to realize it would be about love and loyalty in every aspect of human life,” he says. “Megalopolis echoed these sentiments, in which love was expressed in almost crystalline complexity, our planet in danger and our human family almost in an act of suicide, until becoming a very optimistic film that has faith in the human being to possess the genius to heal any problem put before us.”

Megalopolis also stands as a commentary on his own nation, with the filmmaker echoing the opening line of The Godfather. “I believe in America,” Coppola says. “Our founders borrowed a constitution, Roman law, and senate for their revolutionary government without a king. American history could neither have taken place nor succeeded without classical learning to guide it.”

As the film nears its Cannes debut, Coppola expresses lofty hopes for its future: “It’s my dream that Megalopolis will become a New Year’s Eve perennial favorite, with audiences discussing afterwards not their new diets or resolutions not to smoke, but rather this simple question: ‘Is the society in which we live the only one available to us?’”
https://www.vanityfair.com/hollywood...look-exclusive
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Old 04-30-24, 11:00 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

I've been cautious about my interest but hearing that he was directly inspired by Things to Come really says a lot to me.

Having the main character be an architect reminds me too much of that Ayn Rand novel about one, but the tone seems to be the exact opposite of hers.
Old 04-30-24, 11:26 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

I canít believe I completely missed that Eleanor Coppola died. How very sad. She was Francisís biggest supporter and champion for all these years. I literally watched Hearts of Darkness again 2 nights ago.
Old 05-04-24, 09:09 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Teaser from the French distributor:

Old 05-04-24, 10:22 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

High hopes!
Old 05-04-24, 10:24 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Interesting.
Old 05-14-24, 12:21 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

New Teaser Trailer
Old 05-14-24, 12:23 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

And that, Sophia, is what happened to your inheritance. Enjoy.
Old 05-14-24, 03:00 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Hey, pretentious vintage Citroen cars donít come cheap, you know!
Old 05-14-24, 05:04 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Originally Posted by Decker
And that, Sophia, is what happened to your inheritance. Enjoy.
She'll be fine.
Old 05-14-24, 07:50 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Could be a Midnight Cowboy reunion with Jon Voight and Dustin Hoffman.
Old 05-14-24, 09:23 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Iím really happy he got to finally make it. Very high hopes. No idea what to expect out of it.
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Old 05-14-24, 10:53 AM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

Originally Posted by Decker
And that, Sophia, is what happened to your inheritance. Enjoy.
Sofia*
Old 05-14-24, 07:54 PM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

I heard this is having trouble securing a U.S. distributor.
Old 05-14-24, 10:21 PM
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Re: Megalopolis (2024, D: Francis Ford Coppola)

I really liked that teaser. But then, I am one of those folk that also really enjoyed Coppola's Youth Without Youth.

Last edited by RocShemp; 05-14-24 at 11:04 PM.
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