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    Home » Cannes Conversation: Francis Ford Coppola On Self-Financing “Megalopolis,” The Role of Artists

    Cannes Conversation: Francis Ford Coppola On Self-Financing “Megalopolis,” The Role of Artists

    By SHOOTFriday, May 17, 2024Updated:Sunday, July 7, 2024No Comments1329 Views
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    Director Francis Ford Coppola poses for photographers at the photo call for the film 'Megalopolis' at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (Photo by Scott A Garfitt/Invision/AP)

    By Jake Coyle, Film Writer

    CANNES, France (AP) --

    Much attention has been paid to the $120 million of his own fortune that Francis Ford Coppola put up to make the futuristic epic "Megalopolis," but the director himself isn't much concerned.

    "I don't care. I never cared," Coppola said of money, speaking to reporters at the Cannes Film Festival on Friday. "The money doesn't matter. What is important are the friends. Because friends will never let you down. Money may evaporate."

    Coppola sold a piece of his winery business to finance "Megalopolis," a passion project the filmmaker has been pondering for decades. Regardless of the outcome — the film is seeking a North American distributor — he's going to be fine, financially, Coppola said.

    "My children, without exception, they have wonderful careers without a fortune," he said. "They don't need a fortune."

    Coppola faced questions from the press the day after premiering the hotly anticipated "Megalopolis," starring Adam Driver as an architect named Cesar Catalina who is trying to build a utopia in a future New York City. Critics called the film everything from a disaster to an admirably ambitious gambit that only Coppola could make.

    Coppola fashions his film as a Roman Empire-esque tale. The closer he got to making it, he said, the more relevant it seemed to him.

    "What's happening in America, in our republic, our democracy, is exactly how Rome lost their republic thousands of years ago," said Coppola, who lamented the resurgence of the "neo-right, even fascist tradition."

    "Our politics has taken us to the point where we might lose our republic," he continued. "It's not the people who have become politicians who are going to be the answer. I feel it's the artists of America. The role of the artist is to illuminate contemporary life, to shine a light, to be the headlights."

    Drawing laughs, Coppola then turned to one of his cast members, Jon Voight, noting he had "different political opinions." Voight responded: "How did you find that out?"

    Coppola has been shopping "Megalopolis" for potential buyers. When asked whether a streaming company might be a home for the movie, he suggested streaming was nothing new.

    "Streaming is what we used to call home video," Coppola said. He voiced some misgivings about modern Hollywood.

    "The job is not so much to make good movies, the job is to make sure that they pay their debt obligations," he said of studios. "It might be that the studios that we knew for so long — some wonderful ones — are not going to be here in the future."

    But Coppola's tone was otherwise overwhelmingly positive. The 85-year-old filmmaker exalted the family members who came with him and implored reporters to ask more questions of his cast, including Laurence Fishburne, Giancarlo Esposito and Aubrey Plaza. (Shia LaBeouf attended Thursday's premiere but did not join the press conference.)

    "There's so many people when they die, they say, 'I wish I had done this, I wish I done that,'" said Coppola. "When I die, I'm going to say, 'I got to do this.' I got to see my daughter (Sofia Coppola) win an Oscar and I got to make wine and I got to make every movie I wanted to make. I'm going to be so busy thinking about all the things I got to do that when I die I won't notice it."

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    Category:News
    Tags:Cannes Film FestivalFrancis Ford CoppolaMegalopolis



    Writer-Director Ian Tuason Deploys Sound To Scare You In Minimalist Horror “Undertone”

    Thursday, March 12, 2026
    This image released by A24 shows Nina Kiri in a scene from "Undertone." (Dustin Rabin/A24 via AP)

    Alfred Hitchcock famously claimed he didn't watch his films in theaters. When asked if he missed out on hearing the audience scream, he said, "No. I can hear them scream when I'm making the picture." While writer-director Ian Tuason, the mind behind the buzzy new auditory horror "Undertone," reveres and references Hitchcock as much as the next horror filmmaker, he has to disagree with him on this one. For Tuason, the real screams are the point. "My favorite thing about this whole process is just watching it with audiences. I think that's probably why I wanted to make a horror film … just to kind of witness the reactions," Tuason said in a recent interview. "The same way as when you tell a ghost story at a campfire, it doesn't feel that great unless you see your friend scared." His debut film "Undertone," which opens in theaters on Friday (yes, the 13th), is already doing just that. After playing at the Sundance Film Festival, it had some calling it the "scariest movie you'll ever hear." "Undertone" is a minimalist horror, set in one location, with essentially one character. Evy (Nina Kiri) is a paranormal podcaster who is taking care of her dying, comatose mother upstairs. She's the skeptic of the podcast, which she does with a remote co-host (Adam DiMarco) in the middle of the night. Nothing can scare her, but this new investigation, in which they try to decode a series of unnerving audio files sent anonymously, has rattled her. Why sound is so scary Tuason always dreamed of being a filmmaker, but he began his career in virtual reality and made a name for himself as an early proponent of immersive 3D sound for his cinematic horror shorts, which have been viewed millions of times. Soundscapes became his calling card. So, when he sat... Read More

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