Coppola had been thinking about Megalopolis for a long time, and he put his own money into it. He describes it as a movie unlike anything he has ever seen, with a wonderful cast. The film is a collaboration between all the elements, but the actors, in particular, brought the film to life. Coppola sees it as beyond what he had hoped for.
Coppola believes that actors make the best directors because they understand the nuances of performance and can empathize with the challenges actors face. He notes that a director doesn't get a great performance out of an actor; instead, the director sets the scene and the actor does the work. Historically, many actors have gone on to become directors, starting from the silent era.
Coppola read Walter Isaacson's book on Elon Musk and was inspired by Musk's vision for humanity's survival. He saw Musk as a modern-day Prometheus, a genius who wants to ensure humanity's survival by colonizing Mars. This idea of a visionary figure who suffers for the greater good is a recurring theme in mythology and inspired the character in Megalopolis.
Coppola initially focused on the boys on the run with Dallas in the original version of The Outsiders. However, after discussing the film with a class of students who were more familiar with the book, he realized that he had left out important scenes. He created a new version that included these scenes and added early Elvis Presley music, which he felt made the movie much better.
Coppola played the same Elvis song, 'I Want You, I Need You, I Love You,' repeatedly on the set of The Outsiders. He did this to create a consistent atmosphere and to connect the cast with the era and the music of the film. The song helped to set the mood and enhance the authenticity of the scenes.
Coppola learned from his directing teacher, Dorothy Arzner, that sitting next to the camera helps the actors see the director and gauge their performance. He believes that actors need to see the director's reactions to perform effectively, and this practice has become a part of his directing style.
Coppola included elements from his favorite movies in Megalopolis as a tribute to the films that inspired him. He wanted to incorporate visual and thematic elements from classic films he loved as a child, creating a rich tapestry of references that add depth and meaning to the movie.
Coppola has always loved the Citroën for its unique design and historical significance. The Citroën in Megalopolis is the same limousine that Charles de Gaulle was shot in, which survived the assassination attempt due to its hydraulic suspension. Coppola sees the Citroën as a car that looks like the future, even though it is from the past.
Coppola wants to include a list of unmade films in his movie credits to share his aspirations and the projects he wishes to complete before he dies. This idea is a way to透明地展示他未实现的创意,并激励自己继续追求这些梦想项目。
The legendary director of “The Outsiders,” “The Godfather” trilogy, and “Apocalypse Now” reunites with Rob Lowe to discuss memories from “The Outsiders” auditions, the passing of his wife and longtime collaborator Eleanor Coppola, his new film “Megalopolis,” and much more.
You can watch the full episode on YouTube atYouTube.com/@LiterallyWithRobLowe)! “Megalopolis” is available to rent at home right now.
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