Above: 1980 Japanese poster for Apocalypse Now. Design by Eiko Ishioka, artwork by Haruo Takino.With Francis Ford Coppola’s long-gestated Megalopolis having premiered yesterday at Cannes, it's a good time to look back at the posters from his 60-year-long career. The only problem is that many posters for his films are either too well known or nothing to write home about. Like Coppola’s career itself, there are peaks and valleys—one of my very first posts for Notebook, almost exactly fifteen years ago, was about the gorgeous design for The Rain People (1969)—but a career retrospective of his posters seems like it might result in less than the sum of its parts. Yet of all his posters there are three rare Japanese designs that have always stood out as utterly extraordinary: two for Apocalypse Now (1979) and one for Bram Stoker’s Dracula (1992).I’ve always seen these posters attributed to Eiko Ishioka,...
- 5/17/2024
- MUBI
“Megalopolis” is finally here.
Francis Ford Coppola’s $120 million self-funded “Roman epic” debuted its first look featuring “Megalopolis” stars Adam Driver and Nathalie Emmanuel who play a couple caught up in the revolutionary destruction of a utopian society.
Driver plays an idealistic architect and artist who is planning to rebuild a city that has fallen in part due to a corrupt mayor (Giancarlo Esposito). “Game of Thrones” alum Emmanuel stars as the mayor’s socialite daughter. The ensemble cast includes Aubrey Plaza, Shia Labeouf, Jon Voight, Laurence Fishburne, Chloe Fineman, Kathryn Hunter, Dustin Hoffman, D.B. Sweeney, Jason Schwartzman, Baily Ives, Grace Vanderwaal, and James Remar.
“Megalopolis” is debuting in competition at Cannes. Coppola told Vanity Fair that the long-gestating project was rewritten more than “300 times” across decades.
“I wasn’t really working on this screenplay for 40 years as I often see written, but rather I was collecting notes and clippings...
Francis Ford Coppola’s $120 million self-funded “Roman epic” debuted its first look featuring “Megalopolis” stars Adam Driver and Nathalie Emmanuel who play a couple caught up in the revolutionary destruction of a utopian society.
Driver plays an idealistic architect and artist who is planning to rebuild a city that has fallen in part due to a corrupt mayor (Giancarlo Esposito). “Game of Thrones” alum Emmanuel stars as the mayor’s socialite daughter. The ensemble cast includes Aubrey Plaza, Shia Labeouf, Jon Voight, Laurence Fishburne, Chloe Fineman, Kathryn Hunter, Dustin Hoffman, D.B. Sweeney, Jason Schwartzman, Baily Ives, Grace Vanderwaal, and James Remar.
“Megalopolis” is debuting in competition at Cannes. Coppola told Vanity Fair that the long-gestating project was rewritten more than “300 times” across decades.
“I wasn’t really working on this screenplay for 40 years as I often see written, but rather I was collecting notes and clippings...
- 4/30/2024
- by Samantha Bergeson
- Indiewire
Until recently, if one were asked to name some of the best films of preeminent 1970s filmmaker Francis Ford Coppola, it would be easy to pick the big hits. “The Godfather” (1972), “The Godfather II” (1974) and “Apocalypse Now” (1979) are definitely his most iconic and respected films. You’d also be hard-pressed to find a person aged 25-50 who isn’t keenly aware of his adaption of S.E. Hinton’s mandatory high school assigned “The Outsiders” (1983) or his classics “Peggy Sue Got Married” (1986) and maybe even “Tucker: The Man and His Dream” (1988). Yet lately, Coppola’s “The Conversation” (1974) has entered the chat as a somewhat under the radar, low-key masterpiece from the filmmaker, and this year the film celebrates its 50th birthday.
After honing his directorial chops on films like the Roger Corman-produced horror film “Dementia 13” (1963) and fledgling films like “You’re a Big Boy Now” (1966), “Finian’s Rainbow” (1968) and “The Rain People...
After honing his directorial chops on films like the Roger Corman-produced horror film “Dementia 13” (1963) and fledgling films like “You’re a Big Boy Now” (1966), “Finian’s Rainbow” (1968) and “The Rain People...
- 4/8/2024
- by Don Lewis
- Indiewire
Photo: Francis Ford Coppola
As we prepare for Francis Ford Coppola's 'Megalopolis', written, produced and directed by the genius Coppola, let us pay tribute to the auteur. 'Megalopolis' is a mega-starrer with Adam Driver, Forest Whitaker, Nathalie Emmanuel, Jon Voight, Laurence Fishburne, Aubrey Plaza, Shia Labeouf, Jason Schwartzman, Grace VanderWaal, Kathryn Hunter, Talia Shire, Dustin Hoffman, D. B. Sweeney, and Giancarlo Esposito. Humble Beginnings Francis Ford Coppola has been well-known for directing the ground-breaking ‘Godfather Trilogy.’ Before he decided to sit on the director’s chair and make some of the most influential movies of his career, Coppola was a boy who grew up confined to bed with polio when he was nine years old. During his time indoors, he would create puppet shows in order to entertain himself. Eventually, he developed a keen interest in making 8-mm films. Despite the fact that he was born in Detroit Michigan,...
As we prepare for Francis Ford Coppola's 'Megalopolis', written, produced and directed by the genius Coppola, let us pay tribute to the auteur. 'Megalopolis' is a mega-starrer with Adam Driver, Forest Whitaker, Nathalie Emmanuel, Jon Voight, Laurence Fishburne, Aubrey Plaza, Shia Labeouf, Jason Schwartzman, Grace VanderWaal, Kathryn Hunter, Talia Shire, Dustin Hoffman, D. B. Sweeney, and Giancarlo Esposito. Humble Beginnings Francis Ford Coppola has been well-known for directing the ground-breaking ‘Godfather Trilogy.’ Before he decided to sit on the director’s chair and make some of the most influential movies of his career, Coppola was a boy who grew up confined to bed with polio when he was nine years old. During his time indoors, he would create puppet shows in order to entertain himself. Eventually, he developed a keen interest in making 8-mm films. Despite the fact that he was born in Detroit Michigan,...
- 3/21/2024
- by Marco Castaneda
- Hollywood Insider - Substance & Meaningful Entertainment
Renowned three-time Oscar-winning editor Walter Murch — known for films including Apocalypse Now, The Godfather Part II and The English Patient — and respected documentary editor Kate Amend — who cut Academy Award-winning docs Into the Arms of Strangers and The Long Way Home — will receive career achievement awards at the 74th American Cinema Editors Eddie Awards.
During the ceremony, which will be held March 3 at UCLA’s Royce Hall, Ace will also honor Stephen Lovejoy with its Heritage Award for his commitment to advancing the image of the film editor and dedication to the organization.
Murch’s legendary 55-year career as a film editor, sound designer, writer and director began in 1969 when he worked on the sound for Francis Ford Coppola’s The Rain People. His credits include American Graffiti and The Godfather Part II, and he won his first Oscar for the sound in Apocalypse Now, for which he was also nominated as an editor.
During the ceremony, which will be held March 3 at UCLA’s Royce Hall, Ace will also honor Stephen Lovejoy with its Heritage Award for his commitment to advancing the image of the film editor and dedication to the organization.
Murch’s legendary 55-year career as a film editor, sound designer, writer and director began in 1969 when he worked on the sound for Francis Ford Coppola’s The Rain People. His credits include American Graffiti and The Godfather Part II, and he won his first Oscar for the sound in Apocalypse Now, for which he was also nominated as an editor.
- 12/19/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
James Caan, renowned for roles often showcasing rugged masculinity, has been open about the overlap between his on-screen personas and real-life reputation.
For instance, the actor has shed light on how the character of Sonny Corleone in The Godfather has influenced the public’s perception of him. And he even admitted there’s some truth to the macho image.
James Caan opens up about his bad public image
Over his extensive career, Caan has embodied various roles, some appearing to have bled into his existence.
During a conversation with Rolling Stone in 1981, Caan candidly discussed his public perception challenges. He conceded that his life hasn’t been without its complications, especially given the level of success he’s achieved.
Caan attributed the origins of his public persona to his compelling role as Sonny Corleone in The Godfather. His unforgettable portrayal of Sonny Corleone has made a lasting impact.
It’s...
For instance, the actor has shed light on how the character of Sonny Corleone in The Godfather has influenced the public’s perception of him. And he even admitted there’s some truth to the macho image.
James Caan opens up about his bad public image
Over his extensive career, Caan has embodied various roles, some appearing to have bled into his existence.
During a conversation with Rolling Stone in 1981, Caan candidly discussed his public perception challenges. He conceded that his life hasn’t been without its complications, especially given the level of success he’s achieved.
Caan attributed the origins of his public persona to his compelling role as Sonny Corleone in The Godfather. His unforgettable portrayal of Sonny Corleone has made a lasting impact.
It’s...
- 9/7/2023
- by Perry Carpenter
- Showbiz Cheat Sheet
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
Throughout this weekend we’re proudly presenting Howard Hawks’ Rio Bravo on 35mm and Francis Ford Coppola’s The Rain People, marking the New York premiere of American Zoetrope’s 4K restoration––further details, including how to get discounted tickets, are here––while Desperately Seeking Susan also plays.
"[The Rain People] is the only time I think of a movie when I'm making a movie. The only one." — Vincent Gallo
We're hosting the New York premiere of American Zoetrope's 4K restoration @RoxyCinemaNYC this weekend, alongside 'Rio Bravo' on 35mm: https://t.co/txwXR32yRm pic.twitter.com/9p6knmwNa8
— The Film Stage (@TheFilmStage) July 27, 2023
Museum of Modern Art
Films by Olivier Assayas, Claire Denis, and Todd Haynes screen on 35mm as part of “Views from the Vault.”
Bam
A series on second features has begun.
IFC...
Roxy Cinema
Throughout this weekend we’re proudly presenting Howard Hawks’ Rio Bravo on 35mm and Francis Ford Coppola’s The Rain People, marking the New York premiere of American Zoetrope’s 4K restoration––further details, including how to get discounted tickets, are here––while Desperately Seeking Susan also plays.
"[The Rain People] is the only time I think of a movie when I'm making a movie. The only one." — Vincent Gallo
We're hosting the New York premiere of American Zoetrope's 4K restoration @RoxyCinemaNYC this weekend, alongside 'Rio Bravo' on 35mm: https://t.co/txwXR32yRm pic.twitter.com/9p6knmwNa8
— The Film Stage (@TheFilmStage) July 27, 2023
Museum of Modern Art
Films by Olivier Assayas, Claire Denis, and Todd Haynes screen on 35mm as part of “Views from the Vault.”
Bam
A series on second features has begun.
IFC...
- 7/28/2023
- by Nick Newman
- The Film Stage
Before we present the New York premiere of a new 4K restoration of Francis Ford Coppola’s The Rain People this weekend at NYC’s Roxy Cinema, it seemed germane to point towards this early meeting of two old friends (just before they changed Hollywood forever). In 1968 the enterprising experimental filmmaker George Lucas followed The Rain People‘s production across America, documenting the practical, grinding realities of film and stresses upon its artists, in the process finding a young, prodigiously talented director making his first pushes against an industry that––some things never change!––doesn’t attract, as he’d put it, “some of the most interesting guys.” The resulting work was Filmmaker: a diary by george lucas, which Coppola would suggest is superior to his own feature, and served as the first title copyrighted under either’s companies, American Zoetrope and Lucasfilm.
To which degree this could only anticipate...
To which degree this could only anticipate...
- 7/25/2023
- by Nick Newman
- The Film Stage
At a certain point you care less about world premieres and fixate mostly on a festival’s repertory slate. And even by the high standards set with Cannes Classics or NYFF Revivals is this year’s Venice Classics in a class of its own. We could start at the new cuts for three of the greatest directors ever: One from the Heart is the latest film to be given a revision by Francis Ford Coppola, following recuts of Apocalypse Now, Twixt, and Dementia 13––to say nothing of restorations like The Rain People, of which we’re hosting the New York premiere next weekend––while Andrei Tarkovsky’s Andrei Rublev will debut in “the reconstruction of the complete original version, which was censored before its release and has never been seen until now.” Meanwhile one of Yasujiro Ozu’s greatest films, There Was a Father, has been amended by “recent rediscovery...
- 7/21/2023
- by Leonard Pearce
- The Film Stage
As we get ready to present a 35mm print of Rio Bravo at New York’s Roxy Cinema next weekend I’ve been thinking a lot about the anecdote, once oft-told by the man himself, that any girl Quentin Tarantino just started dating would be shown Howard Hawks’ Rio Bravo as acid test: love it or leave me. As a kid Rio Bravo was as much about Tarantino (whose work I knew) as Howard Hawks (take a guess), and some two decades hence––with enough experience under my belt that I might prefer El Dorado––it’s fun hearing him actually praise the film at length, passionately, with the personal lens that defines his criticism in Cinema Speculation.
This video comes from a special screening Tarantino hosted at the 2007 Cannes Film Festival, in only four-and-a-half minutes the filmmaker cramming enthusiasms. More than his own, it’s what he hopes and...
This video comes from a special screening Tarantino hosted at the 2007 Cannes Film Festival, in only four-and-a-half minutes the filmmaker cramming enthusiasms. More than his own, it’s what he hopes and...
- 7/20/2023
- by Nick Newman
- The Film Stage
The Film Stage is elated to announce a double feature at New York’s Roxy Cinema: on Friday, July 28 we’ll introduce Francis Ford Coppola’s 1969 film The Rain People––marking the New York premiere of its 4K restoration––and a 35mm print of Howard Hawks’ Rio Bravo, both of which continue screening through the weekend.
The Film Stage readers will receive a discounted $12 ticket with mention of our program at the Roxy’s box office. (Don’t be shy––their employees are very nice.) We look forward to seeing you at the movies.
The Rain People—New York Premiere of 4K Restoration
Friday, July 28 at 7:00pm
Saturday, July 29 at 5:45pm
Sunday, July 30 at 8:00pm
“If I could say I could have been in any Coppola film, I would have probably wanted to star in The Rain People.” –– Vincent Gallo
Despite consistent acclaim, The Rain People is...
The Film Stage readers will receive a discounted $12 ticket with mention of our program at the Roxy’s box office. (Don’t be shy––their employees are very nice.) We look forward to seeing you at the movies.
The Rain People—New York Premiere of 4K Restoration
Friday, July 28 at 7:00pm
Saturday, July 29 at 5:45pm
Sunday, July 30 at 8:00pm
“If I could say I could have been in any Coppola film, I would have probably wanted to star in The Rain People.” –– Vincent Gallo
Despite consistent acclaim, The Rain People is...
- 6/27/2023
- by Nick Newman
- The Film Stage
We’ve lost another Hollywood legend. The Hollywood Reporter has broken the news that cinematographer Bill Butler, best known for his work on the 1975 Steven Spielberg classic Jaws, has passed away at the age of 101. Butler died on Wednesday evening, according to the American Society of Cinematographers. He would have turned 102 on Friday – today.
Born on April 7, 1921 in Cripple Creek, Colorado, Butler earned his first entertainment industry credit by working as a camera operator on the 1959 film 1001 Arabian Nights. His first cinematographer credit came when his friend, director William Friedkin, hired him to shoot the 1962 TV movie The People vs. Paul Crump. He never attended film school, he just taught himself cinematography by watching movies and referring to the ASC manual. That approach definitely worked out for him. Over the next fifty-four years, he served as the cinematographer on eighty-four more projects, including Jack Nicholson’s Drive, He Said; The Bold Men,...
Born on April 7, 1921 in Cripple Creek, Colorado, Butler earned his first entertainment industry credit by working as a camera operator on the 1959 film 1001 Arabian Nights. His first cinematographer credit came when his friend, director William Friedkin, hired him to shoot the 1962 TV movie The People vs. Paul Crump. He never attended film school, he just taught himself cinematography by watching movies and referring to the ASC manual. That approach definitely worked out for him. Over the next fifty-four years, he served as the cinematographer on eighty-four more projects, including Jack Nicholson’s Drive, He Said; The Bold Men,...
- 4/7/2023
- by Cody Hamman
- JoBlo.com
Oscar-nominated Cinematographer Wilmer C. Butler, whose work included a series of landmark films such as The Conversation (1974), Jaws (1975) and One Flew Over the Cuckoo’s Nest (1975), has died. He was 101. The American Society of Cinematographers confirmed Butler’s passing.
Butler was the ASC’s most senior member, and he had a resume to match. He worked with directors such as Philip Kaufman, Francis Ford Coppola, William Friedkin, Richard Donner, Jack Nicholson, Sylvester Stallone, Ivan Reitman, Tobe Hooper, Joseph Sargent, Mike Nichols, John Cassavetes and Steven Spielberg.
Friedkin convinced Butler to be the cinematographer on The People vs. Paul Crump, a documentary about a prisoner slated for execution in Illinois. The project got Crump’s death sentence commuted.
He got his start in features with Philip Kaufman’s 1967 film Fearless Frank. Two years later, Friedkin introduced Butler to Francis Ford Coppola, with whom he shot The Rain People before going on to...
Butler was the ASC’s most senior member, and he had a resume to match. He worked with directors such as Philip Kaufman, Francis Ford Coppola, William Friedkin, Richard Donner, Jack Nicholson, Sylvester Stallone, Ivan Reitman, Tobe Hooper, Joseph Sargent, Mike Nichols, John Cassavetes and Steven Spielberg.
Friedkin convinced Butler to be the cinematographer on The People vs. Paul Crump, a documentary about a prisoner slated for execution in Illinois. The project got Crump’s death sentence commuted.
He got his start in features with Philip Kaufman’s 1967 film Fearless Frank. Two years later, Friedkin introduced Butler to Francis Ford Coppola, with whom he shot The Rain People before going on to...
- 4/6/2023
- by Tom Tapp
- Deadline Film + TV
Bill Butler, the Oscar-nominated cinematographer whose career in Hollywood spanned five decades, has passed away. The news comes to us via The Hollywood Reporter, with the American Society of Cinematographers confirming his death. Butler was 101 years old, and mere days away from 102. The celebrated filmmaker leaves behind a body of work that is sure to outlive us all.
Born in 1921, Butler got his start in the early '60s serving as the director of photography on TV movies such as "The People vs. Paul Crump" and "The Bold Men." But it wasn't long before he was making a name for himself, shooting Francis Ford Coppola's first feature "The Rain People" in 1969. Butler was also behind the camera working with Coppola again for one of cinema's all-time classics a handful of years later with 1974's "The Conversation."
It was, however, the following year when Butler would arguably make his biggest...
Born in 1921, Butler got his start in the early '60s serving as the director of photography on TV movies such as "The People vs. Paul Crump" and "The Bold Men." But it wasn't long before he was making a name for himself, shooting Francis Ford Coppola's first feature "The Rain People" in 1969. Butler was also behind the camera working with Coppola again for one of cinema's all-time classics a handful of years later with 1974's "The Conversation."
It was, however, the following year when Butler would arguably make his biggest...
- 4/6/2023
- by Ryan Scott
- Slash Film
Emmy-winning cinematographer Bill Butler, who was Oscar nominated for shooting “One Flew Over the Cuckoo’s Nest,” and was also the D.P. on Steven Spielberg’s “Jaws,” died Wednesday, according to the American Society of Cinematographers. He was 101.
Spielberg remembered Butler in a statement, saying, “On ‘Jaws,’ Bill Butler was the bedrock on that rickety, rocking boat called the Orca. He was the only calm in the middle of that storm, and as we went into a battle against nature and technology that wore both of us down, the audience eventually won the war. Bill’s outlook on life was pragmatic, philosophical and so very patient, and I owe him so much for his steadfast and creative contributions to the entire look of ‘Jaws.’”
In addition to “One Flew Over the Cuckoo’s Nest,” Butler served as d.p. on a number of other high-profile films of the 1970s, including Francis Ford Coppola’s “The Conversation,...
Spielberg remembered Butler in a statement, saying, “On ‘Jaws,’ Bill Butler was the bedrock on that rickety, rocking boat called the Orca. He was the only calm in the middle of that storm, and as we went into a battle against nature and technology that wore both of us down, the audience eventually won the war. Bill’s outlook on life was pragmatic, philosophical and so very patient, and I owe him so much for his steadfast and creative contributions to the entire look of ‘Jaws.’”
In addition to “One Flew Over the Cuckoo’s Nest,” Butler served as d.p. on a number of other high-profile films of the 1970s, including Francis Ford Coppola’s “The Conversation,...
- 4/6/2023
- by Carmel Dagan
- Variety Film + TV
Bill Butler, the self-taught, Oscar-nominated cinematographer whose work on the landmark 1975 horror film Jaws unleashed a wave of anxiety for beachgoers that lasts to this day, has died. He would have turned 102 on Friday.
Butler died Wednesday evening in Los Angeles, according to the American Society of Cinematographers. He is survived by five daughters and his wife, Iris.
During his five-decade career, Butler also shot Francis Ford Coppola’s The Rain People (1969) and The Conversation (1974); Peter Hyams’ Capricorn One (1977); Randal Kleiser’s hit musical Grease (1978); and Rocky II (1979), Rocky III (1982) and Rocky IV (1985), all written and directed by and starring Sylvester Stallone.
On another noteworthy 1975 release, Butler replaced the fired Haskell Wexler midway through production on Milos Forman‘s One Flew Over the Cuckoo’s Nest. Both shared an Oscar cinematography nomination for their work.
Butler also had replaced Wexler on The Conversation after creative differences forced Wexler off that production early on.
Butler died Wednesday evening in Los Angeles, according to the American Society of Cinematographers. He is survived by five daughters and his wife, Iris.
During his five-decade career, Butler also shot Francis Ford Coppola’s The Rain People (1969) and The Conversation (1974); Peter Hyams’ Capricorn One (1977); Randal Kleiser’s hit musical Grease (1978); and Rocky II (1979), Rocky III (1982) and Rocky IV (1985), all written and directed by and starring Sylvester Stallone.
On another noteworthy 1975 release, Butler replaced the fired Haskell Wexler midway through production on Milos Forman‘s One Flew Over the Cuckoo’s Nest. Both shared an Oscar cinematography nomination for their work.
Butler also had replaced Wexler on The Conversation after creative differences forced Wexler off that production early on.
- 4/6/2023
- by Rhett Bartlett
- The Hollywood Reporter - Movie News
Francis Ford Coppola's adaptation of Mario Puzo's novel, "The Godfather," is one of the most acclaimed films of all time. Whether or not you've seen the film, you'll likely recognize some of the iconic lines such as, "I'm gonna make him an offer he can't refuse," or "Leave the gun. Take the cannoli," or the all-star ensemble cast that Coppola assembled which included the likes of Marlon Brando, Al Pacino, Diane Keaton, and many more.
Robert Duvall, who had previously worked with Coppola on "The Rain People" before "The Godfather," played Tom Hagen, the informally adopted son of Brando's Vito Corleone and consigliere and lawyer for the Corleone family. This wouldn't be the final collaboration between the two, as Duvall would go on to appear in a number of Coppola's future films including "Apocalypse Now"; "The Conversation"; and, of course, "The Godfather Part II."
Despite a number of collaborations,...
Robert Duvall, who had previously worked with Coppola on "The Rain People" before "The Godfather," played Tom Hagen, the informally adopted son of Brando's Vito Corleone and consigliere and lawyer for the Corleone family. This wouldn't be the final collaboration between the two, as Duvall would go on to appear in a number of Coppola's future films including "Apocalypse Now"; "The Conversation"; and, of course, "The Godfather Part II."
Despite a number of collaborations,...
- 9/12/2022
- by Andrew Korpan
- Slash Film
Above: US Teaser poster for Crimes of the Future. Design by Bangers & Mash.In the middle of the Venice Film Festival, and in the lead-up to the Toronto and New York fests, still the most “liked” poster of the last six months of my Movie Poster of the Day Instagram was a teaser poster that appeared in the run-up to Cannes in the spring. The poster was for was one of the most anticipated films of Cannes, a film that has since been disseminated to the world with a much tamer big-head poster and even tamer home video art. The Crimes of the Future teaser racked up nearly 2,000 likes and not far behind it was a gorgeous art print for Cronenberg’s 30-year-old Naked Lunch by the very talented (and seemingly Cronenberg-obsessed) Nick Charge that I posted a few months later. As I’ve been doing for the past few years,...
- 9/9/2022
- MUBI
The gauzy blues and burnt oranges that make up the complementary color palette of Mathieu Amalric’s “Hold Me Tight” stand in stark contrast to one another, highlighting their differences while contributing to a sense of visual harmony. Orange safety vests pop against a bright blue sky, cobalt ink is written into a tangerine notebook, and a rust-colored 1978 AMC Pacer streaks through the blue-gray light of dawn. By definition, complementary colors are directly opposite one another on the color wheel, and when combined, cancel each other out to make white or black. In Amalric’s carefully constructed vision of a mother’s complicated separation from her family, two complementary and opposing versions of reality coexist alongside one another like puzzle pieces, working together to tell a single story.
The narrative threads seem connected at first, but as the film plays out they slowly begin to unravel. Clarisse (Vicky Krieps) is married with two children,...
The narrative threads seem connected at first, but as the film plays out they slowly begin to unravel. Clarisse (Vicky Krieps) is married with two children,...
- 9/8/2022
- by Susannah Gruder
- Indiewire
Click here to read the full article.
Among all the diverse documentaries that had their premieres at this year’s Telluride Film Festival, Chris Smith’s Sr. stands as one of the most unique and affecting. The film is on one level a portrait of indie film pioneer Robert Downey Sr., who was part of the American New Wave that energized cinema in the late 1960s. But the film is also a loving tribute to a father by his very famous son, Robert Downey Jr., who participated in the filming with his wife and fellow producer, Susan Downey.
While the film chronicles Downey Sr.’s career and sometimes tumultuous personal life, it is also a poignant — if inevitably incomplete — father-son chronicle. Downey died last year from Parkinson’s Disease, and he was ill during much of the filming, so that adds an element of pathos that is never overstated.
It...
Among all the diverse documentaries that had their premieres at this year’s Telluride Film Festival, Chris Smith’s Sr. stands as one of the most unique and affecting. The film is on one level a portrait of indie film pioneer Robert Downey Sr., who was part of the American New Wave that energized cinema in the late 1960s. But the film is also a loving tribute to a father by his very famous son, Robert Downey Jr., who participated in the filming with his wife and fellow producer, Susan Downey.
While the film chronicles Downey Sr.’s career and sometimes tumultuous personal life, it is also a poignant — if inevitably incomplete — father-son chronicle. Downey died last year from Parkinson’s Disease, and he was ill during much of the filming, so that adds an element of pathos that is never overstated.
It...
- 9/7/2022
- by Stephen Farber
- The Hollywood Reporter - Movie News
Mathieu Amalric on the coat worn by Shirley Knight in Francis Ford Coppola’s The Rain People and the one on Vicky Krieps: “That’s the reference. I told that to Caroline Spieth, the costume person.”
Mathieu Amalric’s terrific Hold Me Tight (Serre Moi Fort), based on the play Je Reviens De Loin by Claudine Galéa, shot by Christophe Beaucarne and starring Vicky Krieps and Arieh Worthalter was a highlight of the 74th Cannes Film Festival and New York’s 27th edition of Rendez-Vous with French Cinema. In the first instalment with Mathieu we discussed his films on John Zorn, thoughts on Robert Musil, Thomas Bernhard, Jerry Lewis, and going to Rome to film with Nanni Moretti Il Sol Dell'avvenire.
Mathieu Amalric (Je Reviens De Loin by Claudine Galéa) with Anne-Katrin Titze on Vicky Krieps as Clarisse: “As you said, she does the film. Her character is the projectionist,...
Mathieu Amalric’s terrific Hold Me Tight (Serre Moi Fort), based on the play Je Reviens De Loin by Claudine Galéa, shot by Christophe Beaucarne and starring Vicky Krieps and Arieh Worthalter was a highlight of the 74th Cannes Film Festival and New York’s 27th edition of Rendez-Vous with French Cinema. In the first instalment with Mathieu we discussed his films on John Zorn, thoughts on Robert Musil, Thomas Bernhard, Jerry Lewis, and going to Rome to film with Nanni Moretti Il Sol Dell'avvenire.
Mathieu Amalric (Je Reviens De Loin by Claudine Galéa) with Anne-Katrin Titze on Vicky Krieps as Clarisse: “As you said, she does the film. Her character is the projectionist,...
- 8/14/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Paramount+ is trying to make an “Offer” no one can refuse.
The 10-episode limited series, “The Offer,” about the true story behind making the “The Godfather,” arrives just in time for the half-century anniversary of Francis Ford Coppola’s Academy Award-winning epic. The show debuts April 28.
Dan Fogler plays then-studio-newcomer director Coppola (hot off indie “The Rain People”), who is tasked with bringing Mario Puzo’s novel to life for Paramount Pictures. The studio wanted “someone who understands Italians” to direct the feature, and while Coppola’s Italian roots made him a prime choice to helm the feature, it was clear that traditional gangster movies were “dead” by the early 1970s. A big-budget gamble was a high risk for Paramount at the time.
But it was up to Coppola and his Italian-American vision to save the picture. From including scenes that focus on family and heritage instead of mafia members,...
The 10-episode limited series, “The Offer,” about the true story behind making the “The Godfather,” arrives just in time for the half-century anniversary of Francis Ford Coppola’s Academy Award-winning epic. The show debuts April 28.
Dan Fogler plays then-studio-newcomer director Coppola (hot off indie “The Rain People”), who is tasked with bringing Mario Puzo’s novel to life for Paramount Pictures. The studio wanted “someone who understands Italians” to direct the feature, and while Coppola’s Italian roots made him a prime choice to helm the feature, it was clear that traditional gangster movies were “dead” by the early 1970s. A big-budget gamble was a high risk for Paramount at the time.
But it was up to Coppola and his Italian-American vision to save the picture. From including scenes that focus on family and heritage instead of mafia members,...
- 3/23/2022
- by Samantha Bergeson
- Indiewire
In the March 29, 1972 issue of weekly Variety, Paramount ran a 10-page ad for “The Godfather.” This was two weeks after it opened at five Manhattan theaters on March 15 (then unheard of for a top-tier release), and one week later added around 290 more in nearly every state. The ad listed each theater, the gross to date for each city, and noted that it broke gross records for the theaters, cities, and even the states.
In today’s dollars, “The Godfather” grossed nearly $740 million. That’s enough to make it #26 of all time, with “Gone With the Wind,” “Star Wars,” “The Sound of Music,” “Titanic,” “Avengers: Endame,” and now “Spider-Man: No Way Home selling more tickets. Even so: “The Godfather” may rank higher when it comes to influence. Here’s why.
Before it was an iconic film, “The Godfather” was a bestselling book. Mario Puzo’s 1969 novel sold over 9 million copies and...
In today’s dollars, “The Godfather” grossed nearly $740 million. That’s enough to make it #26 of all time, with “Gone With the Wind,” “Star Wars,” “The Sound of Music,” “Titanic,” “Avengers: Endame,” and now “Spider-Man: No Way Home selling more tickets. Even so: “The Godfather” may rank higher when it comes to influence. Here’s why.
Before it was an iconic film, “The Godfather” was a bestselling book. Mario Puzo’s 1969 novel sold over 9 million copies and...
- 3/17/2022
- by Tom Brueggemann
- Indiewire
Joachim Trier, writer/director of the multi-Oscar nominated film The Worst Person in the World, discusses his favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
A History of Violence (2005)
Gremlins (1984) – Glenn Erickson’s Blu-ray review, Tfh’s retrospective links
Innerspace (1987) – Glenn Erickson’s Blu-ray review
The Worst Person In The World (2021)
Back To The Future (1985)
Hiroshima Mon Amour (1959)
Hour of the Wolf (1968)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review
Mirror (1975)
Stalker (1979) – Glenn Erickson’s Criterion Blu-ray review
Soylent Green (1973)
Dr. Strangelove (1964) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Last Year At Marienbad (1961)
The Hunt (1959)
Remonstrance (1972)
Don’t Look Now (1973) – John Landis’s trailer commentary
Bad Timing (1980) – Bernard Rose’s trailer commentary
Walkabout (1971) – Larry Karaszewski’s trailer commentary
Performance (1970) – Mark Goldblatt’s trailer commentary
Drive My Car (2021)
491 (1964)
The Seventh Seal (1957)
Persona (1966)
The Wild Strawberries...
Show Notes: Movies Referenced In This Episode
A History of Violence (2005)
Gremlins (1984) – Glenn Erickson’s Blu-ray review, Tfh’s retrospective links
Innerspace (1987) – Glenn Erickson’s Blu-ray review
The Worst Person In The World (2021)
Back To The Future (1985)
Hiroshima Mon Amour (1959)
Hour of the Wolf (1968)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review
Mirror (1975)
Stalker (1979) – Glenn Erickson’s Criterion Blu-ray review
Soylent Green (1973)
Dr. Strangelove (1964) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Last Year At Marienbad (1961)
The Hunt (1959)
Remonstrance (1972)
Don’t Look Now (1973) – John Landis’s trailer commentary
Bad Timing (1980) – Bernard Rose’s trailer commentary
Walkabout (1971) – Larry Karaszewski’s trailer commentary
Performance (1970) – Mark Goldblatt’s trailer commentary
Drive My Car (2021)
491 (1964)
The Seventh Seal (1957)
Persona (1966)
The Wild Strawberries...
- 3/15/2022
- by Kris Millsap
- Trailers from Hell
"The Godfather" and "Apocalypse Now" director Francis Ford Coppola has never been one to follow the beaten path. A key figure in the American New Wave, Coppola teamed up with George Lucas early on in their careers to co-found what's now known as American Zoetrope. It was a privately-run production company meant to specialize in less conventional films, starting with Coppola's 1969 drama "The Rain People." Zoetrope also backed Lucas' first two movies as a director: The avant-garde 1971 dystopian sci-fi film "Thx-1138" and 1973's "American Graffiti," a '60s-set teen dramedy that helped establish the template for the modern hangout film.
Four years after...
The post Why Francis Ford Coppola Felt Sad About George Lucas' Star Wars Success appeared first on /Film.
Four years after...
The post Why Francis Ford Coppola Felt Sad About George Lucas' Star Wars Success appeared first on /Film.
- 2/1/2022
- by Sandy Schaefer
- Slash Film
Previously confirmed titles include ‘The Electrical Life of Louis Wain’.
Reinaldo Marcus Green’s King Richard and Kenneth Branagh’s Belfast are among the world premieres on the programme for the 48th Telluride Film Festival (September 2-6).
The festival has confirmed a line-up of 80 films across features, shorts and retrospectives. Francis Ford Coppola, who said this week he is willing to invest up to $100m of his own money to get passion project Megalopolis made, will be among filmmakers attending in person. Coppola has a new cut of The Outsiders and The Rain People playing in Special Screenings.
Barry Jenkins...
Reinaldo Marcus Green’s King Richard and Kenneth Branagh’s Belfast are among the world premieres on the programme for the 48th Telluride Film Festival (September 2-6).
The festival has confirmed a line-up of 80 films across features, shorts and retrospectives. Francis Ford Coppola, who said this week he is willing to invest up to $100m of his own money to get passion project Megalopolis made, will be among filmmakers attending in person. Coppola has a new cut of The Outsiders and The Rain People playing in Special Screenings.
Barry Jenkins...
- 9/1/2021
- by Ben Dalton
- ScreenDaily
Exclusive: Breathtaking bets on his vision established him as one of the greatest living American filmmakers and a vineyard magnate. Now, Francis Coppola is ready to put a lot of his hard-won chips on the table one more time to make his epic dream project, Megalopolis.
While the financial configuration is still evolving, Coppola at 82 years young is betting big on himself once again, by sharing the financial risks of a film that will cost between $100 million-$120 million. He is in deep discussions with a stellar cast of actors eager to work with the director of The Godfather trilogy, Apocalypse Now!, The Conversation and other classics, on a seminal picture that is decades in the making.
While some conversations are further along then others, the actors Coppola is discussing roles with include Oscar Isaac, Forest Whitaker, Cate Blanchett and Jon Voight, with Zendaya, Michelle Pfeiffer and Jessica Lange also among those he is seeking.
While the financial configuration is still evolving, Coppola at 82 years young is betting big on himself once again, by sharing the financial risks of a film that will cost between $100 million-$120 million. He is in deep discussions with a stellar cast of actors eager to work with the director of The Godfather trilogy, Apocalypse Now!, The Conversation and other classics, on a seminal picture that is decades in the making.
While some conversations are further along then others, the actors Coppola is discussing roles with include Oscar Isaac, Forest Whitaker, Cate Blanchett and Jon Voight, with Zendaya, Michelle Pfeiffer and Jessica Lange also among those he is seeking.
- 8/31/2021
- by Mike Fleming Jr
- Deadline Film + TV
One Shot is a series that seeks to find an essence of cinema history in one single image of a movie. Youth Without Youth is showing on Mubi in the UK through June 13, 2021 as part of the series Reignite Cinema: Francis Ford Coppola's Outliers.2007's Youth Without Youth—Francis Ford Coppola’s puzzling, Ruiz-like return to filmmaking, adapted from the Romanian novella of the same name—channels a kind of cinematic dementia, the state of cognitive decline referenced in the title of one of Coppola’s very first films. Dominic Matei (Tim Roth) is an elderly linguist driven by one singular pursuit, uncovering the genesis of language, so deep in his niche that he’s never finished a single book. A once-in-a-lifetime lightning strike turns Matei into a young man once again, now endowed with physical and intellectual superpowers that send him even further into his pursuit of knowledge. An...
- 5/25/2021
- MUBI
(Welcome to The Movies That Made Star Wars, a series where we explore the films and television properties that inspired George Lucas’s iconic universe. In this edition: The Rain People (1969) and Filmmaker: a diary by george lucas (1968)) In order to dive deeper into the films and filmmaking techniques and style of George Lucas, it’s […]
The post How Francis Ford Coppola’s Early Work Inspired George Lucas – and Led to ‘Star Wars’ appeared first on /Film.
The post How Francis Ford Coppola’s Early Work Inspired George Lucas – and Led to ‘Star Wars’ appeared first on /Film.
- 7/3/2020
- by Bryan Young
- Slash Film
Shirley Knight, who was twice Oscar nominated for best supporting actress, for “The Dark at the Top of the Stairs” (1960) and “Sweet Bird of Youth” (1962), and won a Tony and three Emmys, died on Wednesday of natural causes in San Marcos, Texas. She was 83.
Her daughter, actress Kaitlin Hopkins, paid tribute to Knight in a lengthy Facebook post.
Knight continued to work as she approached 80, reprising her role as Mom in “Paul Blart: Mall Cop 2” in 2015 after appearing in the 2009 original.
In 1997’s “As Good as It Gets,” starring Jack Nicholson and Helen Hunt, Knight played the mother of Hunt’s character; the New York Times called her performance “tenderly funny.”
Other film credits of recent vintage include Luis Mandoki’s “Angel Eyes” (2001), starring Jennifer Lopez; thriller “The Salton Sea” (2002); “Grandma’s Boy” (2006); Rebecca Miller’s “The Private Lives of Pippa Lee” (2009), with Robin Wright; “Our Idiot Brother” (2011), toplined by...
Her daughter, actress Kaitlin Hopkins, paid tribute to Knight in a lengthy Facebook post.
Knight continued to work as she approached 80, reprising her role as Mom in “Paul Blart: Mall Cop 2” in 2015 after appearing in the 2009 original.
In 1997’s “As Good as It Gets,” starring Jack Nicholson and Helen Hunt, Knight played the mother of Hunt’s character; the New York Times called her performance “tenderly funny.”
Other film credits of recent vintage include Luis Mandoki’s “Angel Eyes” (2001), starring Jennifer Lopez; thriller “The Salton Sea” (2002); “Grandma’s Boy” (2006); Rebecca Miller’s “The Private Lives of Pippa Lee” (2009), with Robin Wright; “Our Idiot Brother” (2011), toplined by...
- 4/22/2020
- by Carmel Dagan
- Variety Film + TV
Among the pivotal and juicy nuggets of film history recounted in “Making Waves: The Art of Cinematic Sound,” Midge Costin’s wonkishly engaging movie-love documentary, there’s one that speaks volumes about the foundation of the New Hollywood.
It’s 1967, and George Lucas, who is three years away from making his first film, is on the set of “Finian’s Rainbow,” the clomping warhorse of a Hollywood musical that his buddy and fellow film-school brat Francis Ford Coppola has been hired to direct. Coppola, who already dreams of making his own more personal film, asks Lucas if he knows a good sound designer; Lucas tips him off to his USC colleague Walter Murch. Coppola and Murch then team up to make “The Rain People,” a road odyssey they literally shoot across the country, with Murch using the new Nagra Portable Audio Recorder. That’s when these filmmakers have their aha moment.
It’s 1967, and George Lucas, who is three years away from making his first film, is on the set of “Finian’s Rainbow,” the clomping warhorse of a Hollywood musical that his buddy and fellow film-school brat Francis Ford Coppola has been hired to direct. Coppola, who already dreams of making his own more personal film, asks Lucas if he knows a good sound designer; Lucas tips him off to his USC colleague Walter Murch. Coppola and Murch then team up to make “The Rain People,” a road odyssey they literally shoot across the country, with Murch using the new Nagra Portable Audio Recorder. That’s when these filmmakers have their aha moment.
- 10/26/2019
- by Owen Gleiberman
- Variety Film + TV
Film editor Barry Malkin, a two-time Oscar nominee best known for his many collaborations with Francis Ford Coppola, died Thursday. He was 80.
Malkin began his career in 1963 as an apprentice to Dede Allen on Elia Kazan’s “America America.” He was first credited as an editor for his work on “The Patty Duke Show.” Through his friendship with editor and director Aram Avakian, Malkin was introduced to Francis Ford Coppola, and was hired to edit Coppola’s 1969 film “The Rain People.”
“The Rain People” began a long collaboration between the director and editor. Malkin would work either by himself or as part of the editing team on eight additional Coppola productions. Most significantly, Malkin worked on three “Godfather” projects: “The Godfather, Part II” alongside Richard Marks and Peter Zinner in 1974; “The Godfather Saga,” which edited “The Godfather” parts one and two into a chronological TV miniseries featuring scenes not included in the theatrical releases,...
Malkin began his career in 1963 as an apprentice to Dede Allen on Elia Kazan’s “America America.” He was first credited as an editor for his work on “The Patty Duke Show.” Through his friendship with editor and director Aram Avakian, Malkin was introduced to Francis Ford Coppola, and was hired to edit Coppola’s 1969 film “The Rain People.”
“The Rain People” began a long collaboration between the director and editor. Malkin would work either by himself or as part of the editing team on eight additional Coppola productions. Most significantly, Malkin worked on three “Godfather” projects: “The Godfather, Part II” alongside Richard Marks and Peter Zinner in 1974; “The Godfather Saga,” which edited “The Godfather” parts one and two into a chronological TV miniseries featuring scenes not included in the theatrical releases,...
- 4/6/2019
- by Ross A. Lincoln
- The Wrap
Film editor Barry Malkin, a two-time editing Oscar nominee for The Godfather: Part III and The Cotton Club, has died. He was 80.
Malkin worked on more than 30 films in his lifetime and was a longtime collaborator with Godfather trilogy director Francis Ford Coppola, who he teamed with on 11 feature films.
Malkin began his career as an apprentice to Dede Allen on the 1962 film America America, directed by Elia Kazan. There he met editor Aram Avakian, and went on to become his assistant editor on 1964’s Lilith. His first full credits as an editor came on TV’s The Patty Duke Show.
The Coppola connection came through Avakian, and the director hired Malkin to edit his The Rain People (1969).
It was the start of a long association, and Malkin earned a BAFTA nomination for best film editing for The Godfather: Part II.
Malkin also had editing credits on such films as...
Malkin worked on more than 30 films in his lifetime and was a longtime collaborator with Godfather trilogy director Francis Ford Coppola, who he teamed with on 11 feature films.
Malkin began his career as an apprentice to Dede Allen on the 1962 film America America, directed by Elia Kazan. There he met editor Aram Avakian, and went on to become his assistant editor on 1964’s Lilith. His first full credits as an editor came on TV’s The Patty Duke Show.
The Coppola connection came through Avakian, and the director hired Malkin to edit his The Rain People (1969).
It was the start of a long association, and Malkin earned a BAFTA nomination for best film editing for The Godfather: Part II.
Malkin also had editing credits on such films as...
- 4/6/2019
- by Bruce Haring
- Deadline Film + TV
Film editor Barry Malkin, who was nominated for two Oscars for Francis Ford Coppola films “The Godfather: Part III” and “The Cotton Club,” died Thursday. He was 80.
Malkin’s career in film editing last more than 40 years, and he is credited for working on more than 30 films in his lifetime. Most notably, he teamed up with Coppola on 11 of his feature films.
He first worked as an apprentice to Dede Allen, one of the pioneers of auteur film editing on Elia Kazan’s “America America” in 1963. He grew up in the same Queens neighborhood as Coppola, a fact the two realized when Malkin worked with the famed director on “The Rain People” in 1969. He came on board the “Godfather” saga with “Part II” in 1974, then went on to edit “Part III” and “The Godfather Trilogy,” a TV miniseries that combined the three films. He also served as film editor on Coppola’s “Rumble Fish,...
Malkin’s career in film editing last more than 40 years, and he is credited for working on more than 30 films in his lifetime. Most notably, he teamed up with Coppola on 11 of his feature films.
He first worked as an apprentice to Dede Allen, one of the pioneers of auteur film editing on Elia Kazan’s “America America” in 1963. He grew up in the same Queens neighborhood as Coppola, a fact the two realized when Malkin worked with the famed director on “The Rain People” in 1969. He came on board the “Godfather” saga with “Part II” in 1974, then went on to edit “Part III” and “The Godfather Trilogy,” a TV miniseries that combined the three films. He also served as film editor on Coppola’s “Rumble Fish,...
- 4/5/2019
- by Jordan Moreau
- Variety Film + TV
Richard Marks, a film editor who scored four Oscar nominations during a prolific 50-year career and earned a Career Achievement Award from the American Cinema Editors, has died at 75. Ace executive director Jenni McCormack confirmed that Marks died December 31 but gave no other details.
Marks earned his Best Film Editing Academy Award noms for Francis Ford Coppola’s seminal Vietnam War film Apocalypse Now (1979) and a trio of pics by James L. Brooks: As Good As It Gets (1997) — which he also co-produced — Broadcast News (1987) and Best Picture Oscar winner Terms of Endearment (1983). He also edited Coppola’s Best Picture winner The Godfather Part II and Brooks’ I’ll Do Anything, How Do You Know and Spanglish, among dozens of other credits..
“Richie Marks was, from his first films, one of the very best editors ever,” Brooks said in a statement. “I and others, including every actor whose performances he so lovingly shaped,...
Marks earned his Best Film Editing Academy Award noms for Francis Ford Coppola’s seminal Vietnam War film Apocalypse Now (1979) and a trio of pics by James L. Brooks: As Good As It Gets (1997) — which he also co-produced — Broadcast News (1987) and Best Picture Oscar winner Terms of Endearment (1983). He also edited Coppola’s Best Picture winner The Godfather Part II and Brooks’ I’ll Do Anything, How Do You Know and Spanglish, among dozens of other credits..
“Richie Marks was, from his first films, one of the very best editors ever,” Brooks said in a statement. “I and others, including every actor whose performances he so lovingly shaped,...
- 1/4/2019
- by Erik Pedersen
- Deadline Film + TV
As several excellent books and articles are reminding us, 1968 was a year of tumult. Regimes were collapsing on this date 50 years ago, protesters jammed the streets, and the worlds of music and film were being re-imagined. Even the tightly regimented Cannes Film Festival exploded in a noisy chaos of demonstrations.
The convulsions of five decades ago, to be sure, did not have the enduring impact that many had imagined. Game-changing ideas crashed and burned, taking promising careers down with them. Indeed, it became cool in the ’60s to carefully study the rituals of survival rather than the keys to success.
Given this realization, I decided to seek out three proud ’60s survivors who not only defied the fates but actually managed to build on the frenzy of the times: Francis Coppola, Billy Friedkin and Peter Bogdanovich. Their careers were just starting to burgeon in 1968. Today, they seem as passionate as...
The convulsions of five decades ago, to be sure, did not have the enduring impact that many had imagined. Game-changing ideas crashed and burned, taking promising careers down with them. Indeed, it became cool in the ’60s to carefully study the rituals of survival rather than the keys to success.
Given this realization, I decided to seek out three proud ’60s survivors who not only defied the fates but actually managed to build on the frenzy of the times: Francis Coppola, Billy Friedkin and Peter Bogdanovich. Their careers were just starting to burgeon in 1968. Today, they seem as passionate as...
- 5/10/2018
- by Peter Bart
- Deadline Film + TV
Above: Unused poster design for The Handmaiden (Park Chan-wook, S. Korea, 2017); designer: Empire Design.It’s been a while since I did one of these round-ups of the most popular posts on Movie Poster of the Day—since the beginning of the year, in fact—but in that time one poster has been liked and reblogged more than 2,800 times, making it the second most popular design I’ve ever posted on the blog. The comp design for Park Chan-wook’s The Handmaiden, which I featured as part of my interview with Empire Design’s John Calvert back in March, is a deserving fan favorite: an exquisite and beautifully realized concept that was shelved only in favor of something even more perfect.The rest of the Top 20 features the usual eclectic mix of old and new (there are six posters for new films in the list, and two new designs for...
- 6/3/2017
- MUBI
It takes a lot to stand out when you’re standing between Robert Mitchum and John Wayne. And it surely isn’t easy when you’re also standing in front of the venerable Howard Hawks. But this was the position 25-year-old James Caan found himself in when he took on the role of Alan Bourdillon Traherne, otherwise known as Mississippi, in Hawks’ 1967 Western, El Dorado. Though Hawks was nearing the end of his filmmaking career (this would be his penultimate movie) and Caan was just at the start of his (following two features and about five years of extensive television work), they were each entering the project under similar circumstances. Indeed, it was their shared experience on the disappointing Red Line 7000 (1965) that left them both wanting. It may have been a personal letdown for Caan, but that film’s poor reception wasn’t a deal-breaker as far as his prospects were likely to continue.
- 5/15/2017
- MUBI
Tony Sokol Mar 15, 2019
Francis Ford Coppola’s classic adaptation of Mario Puzo’s The Godfather could have been a very different film.
The Godfather is one of the greatest movies of all time. Directed by Francis Ford Coppola, it was made on a $6 million budget, completed ahead of schedule, and was the first film in history to take in a million bucks a day. It was nominated for 11 Oscars, won three, and changed cinema forever. That seismic cinematic shift would never have happened if Paramount had their way. The studio suits hated everything about The Godfather until Michael Corleone put one in the head and throat of a police captain, getting brains all over his ivy league suit. They didn’t like the actors, the director, the setting, the tunes, or the tone. The studio didn’t even like the puppet strings logo that graphic designer S. Neil Fujita made for the book.
Francis Ford Coppola’s classic adaptation of Mario Puzo’s The Godfather could have been a very different film.
The Godfather is one of the greatest movies of all time. Directed by Francis Ford Coppola, it was made on a $6 million budget, completed ahead of schedule, and was the first film in history to take in a million bucks a day. It was nominated for 11 Oscars, won three, and changed cinema forever. That seismic cinematic shift would never have happened if Paramount had their way. The studio suits hated everything about The Godfather until Michael Corleone put one in the head and throat of a police captain, getting brains all over his ivy league suit. They didn’t like the actors, the director, the setting, the tunes, or the tone. The studio didn’t even like the puppet strings logo that graphic designer S. Neil Fujita made for the book.
- 2/27/2017
- Den of Geek
Jean Simmons is the original frustrated Mad Housewife who runs away from a 'dream marriage' in search of something more fulfilling. Uncompromising, adult, and making use of an interesting cast. Plus, the soundtrack uses Michel Legrand's incomparable song "What Are You Doing the Rest of Your Life?" The Happy Ending Blu-ray Twilight Time Limited Edition 1969 / Color / 2:35 widescreen / 112 min. / Ship Date January 19, 2016 / available through Twilight Time Movies / 29.95 Starring Jean Simmons, John Forsythe, Shirley Jones, Teresa Wright, Nanette Fabray, Bobby Darin, Kathy Fields, Tina Louise, Dick Shawn, Lloyd Bridges, Karen Steele, Erin Moran. Cinematography Conrad Hall Original Music Michel Legrand, lyrics Alan & Marilyn Bergman Produced, Written and Directed by Richard Brooks
Reviewed by Glenn Erickson
I looked at some of the poster artwork for The Happy Ending, and yes indeed, one of the main styles is indeed like the cover of this disc -- a photo of a rusty garbage...
Reviewed by Glenn Erickson
I looked at some of the poster artwork for The Happy Ending, and yes indeed, one of the main styles is indeed like the cover of this disc -- a photo of a rusty garbage...
- 2/13/2016
- by Glenn Erickson
- Trailers from Hell
I’ve spoken to many people in my time, but few (if any) have the same credentials as Walter Murch, whose résumé would be amazing if it was only for the collaborations with Francis Ford Coppola: editing and / or audio work on all three Godfather films and The Conversation, truly groundbreaking sound design on Apocalypse Now, editing the terribly ignored Youth Without Youth and Tetro — even being around for the early days of The Rain People and lesser-seen oddities such as Captain Eo. But that’s not the half of it, really, since he’s also been instrumental in proving how consumer-grade editing software can be as effective as high-end systems. And then there’s the work that helped George Lucas getting his career started. And the cult sensation that is his only directorial effort, Return to Oz. Or his book, In the Blink of an Eye, which is...
- 11/18/2015
- by Nick Newman
- The Film Stage
Christopher Nolan recently announced a new project entitled Quay, a documentary short about two British stop-motion animators. Set to premiere next week, it’s a far cry from Nolan’s blockbusters in both scope and subject matter. Yet it’s clearly a personal project, with Nolan using his clout and money to promote two obscure filmmakers.
Every artist – director, star, screenwriter – has some project that they want to make above all. A deeply personal, original idea; an autobiographical story; a favored story or hero they wish to celebrate. If a filmmaker is successful or lucky enough, they get a chance to produce them. Yet sometimes the reaction isn’t what they expect.
Francis Ford Coppola started his career directing exploitation films for Roger Corman, notably the horror film Dementia 13 (1963). Then he toiled as screenwriter and occasional director, helming the musical Finian’s Rainbow (1968) and the more personal The Rain People...
Every artist – director, star, screenwriter – has some project that they want to make above all. A deeply personal, original idea; an autobiographical story; a favored story or hero they wish to celebrate. If a filmmaker is successful or lucky enough, they get a chance to produce them. Yet sometimes the reaction isn’t what they expect.
Francis Ford Coppola started his career directing exploitation films for Roger Corman, notably the horror film Dementia 13 (1963). Then he toiled as screenwriter and occasional director, helming the musical Finian’s Rainbow (1968) and the more personal The Rain People...
- 8/11/2015
- by Christopher Saunders
- SoundOnSight
George Lucas didn't just create the "Star Wars" universe. The filmmaker, who turns 71 on May 14, pretty much created the cinematic universe we live in now, the ones whose cornerstones include the Thx sound system at your multiplex, the Pixar movies that have dominated animation for the past 20 years, and the Industrial Light & Magic special-effects house, whose aesthetic has ruled the Hollywood blockbuster for nearly four decades. He's the pioneer of the effects-driven action spectacle and the conversion from celluloid to digital, the two trends that, for better and worse, have defined Hollywood's output for nearly 20 years.
As ubiquitous as Lucas and his creations loom in our cinematic dreamscapes, there's still a lot that most people don't know about him, from how he got his start to the famous folks who mentored him or were mentored by him, from the size of his fortune to what he plans to do now...
As ubiquitous as Lucas and his creations loom in our cinematic dreamscapes, there's still a lot that most people don't know about him, from how he got his start to the famous folks who mentored him or were mentored by him, from the size of his fortune to what he plans to do now...
- 5/14/2015
- by Gary Susman
- Moviefone
Continuing the festival’s policy of recognizing those individuals whose intuitions and skills have left their mark on film history, the 68th edition will see the Vision Award - Nescens awarded to Walter Murch, the editor and sound designer (a term he coined himself). This award follows those previously attributed to such major creative talents in American cinema as special effects wizard Douglas Trumbull and “Mister Steadicam®” Garrett Brown.
Murch’s career has embraced first sound and then film editing as well, pursuing a concept of audio-visual composition that treats the two as inseparable.
His name is closely linked to the new generation of directors who emerged in the 1970s, such as George Lucas ("Thx 1138," 1971; "American Graffiti," 1973) and Francis Ford Coppola ("The Rain People," 1969; "The Godfather," 1972; "The Conversation," "The Godfather: Part II," 1974). His hugely impressive work with the latter filmmaker, as sound designer on "Apocalypse Now," won him his first Oscar in 1980.
Following his own directorial debut in 1985 with "Return to Oz," he subsequently won two more Academy Award statuettes for both sound and film editing on Anthony Minghella’s "The English Patient" (1996) – the first and only time in history the same person has won the Oscar in both categories. Although in this respect he was repeating an earlier record set when he won double BAFTA awards in 1975 for "The Conversation."
Murch has continually developed his editing talent and versatility, experimenting with every new and emerging system, from analogue to digital. His knowledge and artistry were distilled in his 2001 book, In the Blink of an Eye, an indispensable work of reference in the film editing world. He is also the subject of Michael Ondaatje's The Conversations: Walter Murch and The Art of Film Editing and Charles Koppelman's Behind the Seen.
Carlo Chatrian, the Festival’s Artistic Director, comments: “Having Walter Murch here, apart from the honor of his presence, also highlights the thinking behind this award, instituted two years ago. As Francis F. Coppola has written, « he is a true pioneer. A man we should listen to with great attention – and pleasure » . The way he works goes far beyond conventional notions of collaboration. The work on "The Godfather: Part II" or "Apocalypse Now," for example, prove that the great films are nearly always the outcome of a close working relationship between major creative talents. And it is to one of the most subtle and influential of these that the Locarno Festival pays tribute this year .”
Both the general public and the guests of the Festival will have an opportunity to meet Walter Murch and discover the secrets of his methods during a masterclass in Locarno. The Vision Award is supported for the second consecutive year by Nescens, Swiss anti-aging science.
The 68th edition of the Festival del film Locarno will take place 5 – 15 of August.
Murch’s career has embraced first sound and then film editing as well, pursuing a concept of audio-visual composition that treats the two as inseparable.
His name is closely linked to the new generation of directors who emerged in the 1970s, such as George Lucas ("Thx 1138," 1971; "American Graffiti," 1973) and Francis Ford Coppola ("The Rain People," 1969; "The Godfather," 1972; "The Conversation," "The Godfather: Part II," 1974). His hugely impressive work with the latter filmmaker, as sound designer on "Apocalypse Now," won him his first Oscar in 1980.
Following his own directorial debut in 1985 with "Return to Oz," he subsequently won two more Academy Award statuettes for both sound and film editing on Anthony Minghella’s "The English Patient" (1996) – the first and only time in history the same person has won the Oscar in both categories. Although in this respect he was repeating an earlier record set when he won double BAFTA awards in 1975 for "The Conversation."
Murch has continually developed his editing talent and versatility, experimenting with every new and emerging system, from analogue to digital. His knowledge and artistry were distilled in his 2001 book, In the Blink of an Eye, an indispensable work of reference in the film editing world. He is also the subject of Michael Ondaatje's The Conversations: Walter Murch and The Art of Film Editing and Charles Koppelman's Behind the Seen.
Carlo Chatrian, the Festival’s Artistic Director, comments: “Having Walter Murch here, apart from the honor of his presence, also highlights the thinking behind this award, instituted two years ago. As Francis F. Coppola has written, « he is a true pioneer. A man we should listen to with great attention – and pleasure » . The way he works goes far beyond conventional notions of collaboration. The work on "The Godfather: Part II" or "Apocalypse Now," for example, prove that the great films are nearly always the outcome of a close working relationship between major creative talents. And it is to one of the most subtle and influential of these that the Locarno Festival pays tribute this year .”
Both the general public and the guests of the Festival will have an opportunity to meet Walter Murch and discover the secrets of his methods during a masterclass in Locarno. The Vision Award is supported for the second consecutive year by Nescens, Swiss anti-aging science.
The 68th edition of the Festival del film Locarno will take place 5 – 15 of August.
- 2/13/2015
- by Sydney Levine
- Sydney's Buzz
Triple Oscar-winner to be honoured with the Vision Award.
The 68th Locarno Film Festival (Aug 5-15) is to give its Vision Award - Nescens to award-winning editor and sound designer Walter Murch. The award has previously been given to special effects wizard Douglas Trumbull and “Mister Steadicam” Garrett Brown.
Murch worked with George Lucas on Thx 1138 (1971) and American Graffiti (1973) and Francis Ford Coppola on The Rain People (1969), The Godfather (1972), The Conversation (1974) and The Godfather: Part II (1974).
His work with Coppola as sound designer on Apocalypse Now won him his first Oscar in 1980.
Following his own directorial debut in 1985 with Return to Oz, he subsequently won two more Academy Awards for both sound and film editing on Anthony Minghella’s The English Patient (1996) – the first and only time in history the same person has won the Oscar in both categories. In this respect he was repeating an earlier record set when he won double BAFTA awards in 1975 for...
The 68th Locarno Film Festival (Aug 5-15) is to give its Vision Award - Nescens to award-winning editor and sound designer Walter Murch. The award has previously been given to special effects wizard Douglas Trumbull and “Mister Steadicam” Garrett Brown.
Murch worked with George Lucas on Thx 1138 (1971) and American Graffiti (1973) and Francis Ford Coppola on The Rain People (1969), The Godfather (1972), The Conversation (1974) and The Godfather: Part II (1974).
His work with Coppola as sound designer on Apocalypse Now won him his first Oscar in 1980.
Following his own directorial debut in 1985 with Return to Oz, he subsequently won two more Academy Awards for both sound and film editing on Anthony Minghella’s The English Patient (1996) – the first and only time in history the same person has won the Oscar in both categories. In this respect he was repeating an earlier record set when he won double BAFTA awards in 1975 for...
- 2/4/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The Academy Originals series continues to provide viewers a behind-the-scenes look at Hollywood. This time, they asked actors, screenwriters, directors and producers what their favorite movie is that they think no one else has seen. Many, including actors Mark Whalberg and Jennifer Garner and director David O. Russell answered the tough question. Highlights from the video include Ralph Fiennes, who says, "A film I've seen recently that really effected me is an Iranian film called 'Manuscripts Don't Burn.'" Jonah Hill, having starred in "The Wolf of Wall Street," answers with another Martin Scorsese film: "The King of Comedy" from 1982. Screenwriter John Ridley chooses the 1969 Francis Ford Coppola film "The Rain People," calling it "an astonishing piece of work." David O. Russell answers with an impressive three films: "Love and Anarchy," "The Seduction of Mimi" and "Seven Beauties." Have you seen...
- 1/26/2015
- by Travis Clark
- Indiewire
He may have played a part in ushering in the blockbuster age, but George Lucas was still a part of the same filmmaking generation and movement—the famous New Hollywood period from the late '60s to the early '80s—as contemporaries like Mike Nichols, William Friedkin, and his buddies Steven Spielberg and Francis Ford Coppola. The “Apocalypse Now” director played an important role in Lucas’ early career, whether by helping finance “American Graffiti” and siding with him against the studio over the final cut or by simply allowing him to hang out on Coppola’s set and shoot a short documentary. In 1968, Coppola was gearing up to shoot his fourth feature-length film when Lucas convinced him to allow the future “Star Wars” filmmaker to shoot an unobtrusive, cinema-verite documentary about the making of “The Rain People.” The documentary (via Open Culture), titled “Filmmaker,” was produced for $12,000, and follows Coppola as he deals with.
- 1/16/2015
- by Cain Rodriguez
- The Playlist
Francis Ford Coppola is ready for a big picture comeback.
The Oscar-winning filmmaker, now 73, has made some of the most iconic movies of all time, from 1972 mob classic The Godfather to 1979 war epic Apocalypse Now. But as an equally humble student and lover of film, he’s recently made smaller movies with tiny budgets such as 2009’s Tetro, starring Vincent Gallo, and murder mystery Twixt, with Val Kilmer and Elle Fanning.
Coppola spoke to EW about five of his films – Apocalypse Now, the extended version Apocalypse Now Redux, Tetro, 1974’s The Conversation, and 1982’s One From the Heart — all being...
The Oscar-winning filmmaker, now 73, has made some of the most iconic movies of all time, from 1972 mob classic The Godfather to 1979 war epic Apocalypse Now. But as an equally humble student and lover of film, he’s recently made smaller movies with tiny budgets such as 2009’s Tetro, starring Vincent Gallo, and murder mystery Twixt, with Val Kilmer and Elle Fanning.
Coppola spoke to EW about five of his films – Apocalypse Now, the extended version Apocalypse Now Redux, Tetro, 1974’s The Conversation, and 1982’s One From the Heart — all being...
- 12/4/2012
- by Solvej Schou
- EW - Inside Movies
If there had been no Zoetrope, the film studio founded by Francis Coppola and George Lucas in San Francisco in 1969, there would be no Star Wars, argues John Patterson
In April 1979, Francis Ford Coppola threw a characteristically grandiose bash to celebrate the completion of Apocalypse Now, the picture that had threatened to become his Waterloo. It was at the apogee of the 1970s Hollywood renaissance, whose directors were suspended in that delightfully rarified moment after their biggest blockbusters and before their flops – and they all had at least one gargantuan flop ahead of them.
Coppola, as usual, was ahead of the game, or so it seemed. Apocalypse Now's chequered production history had produced wild press rumours of directorial overindulgence, perhaps even of a full swandive into film-making insanity, and the film's subsequent lofty place in the cinematic firmament was then far from secure. The film historian Peter Biskind, in his book Easy Riders,...
In April 1979, Francis Ford Coppola threw a characteristically grandiose bash to celebrate the completion of Apocalypse Now, the picture that had threatened to become his Waterloo. It was at the apogee of the 1970s Hollywood renaissance, whose directors were suspended in that delightfully rarified moment after their biggest blockbusters and before their flops – and they all had at least one gargantuan flop ahead of them.
Coppola, as usual, was ahead of the game, or so it seemed. Apocalypse Now's chequered production history had produced wild press rumours of directorial overindulgence, perhaps even of a full swandive into film-making insanity, and the film's subsequent lofty place in the cinematic firmament was then far from secure. The film historian Peter Biskind, in his book Easy Riders,...
- 11/18/2011
- by John Patterson
- The Guardian - Film News
Last Sunday, a sold-out audience awarded Francis Ford Coppola a standing ovation when he strolled into the 548-seat Cinema 1 at Tiff’s Bell Lightbox, the new multiplex at the center of the world’s largest film festival after Cannes. To the adoring audience, Coppola smiled warmly and cracked, “I’m very embarrassed I left my black shoes on the plane,” as he sat down at center stage in tan shoes and a dark suit with Tiff Festival Director Cameron Bailey.
This event was a rare 85-minute chat directly with his audience and enjoyed all the hype of a red-carpet premiere. In fact, right after the talk Coppola unveiled his latest movie, Twixt, at a posh gala. Though Twixt has been enduring harsh reviews, Coppola was jovial as he recounted doing a location scout in Turkey and drinking one night in Istanbul. “I fell asleep and had vivid dream. I began...
This event was a rare 85-minute chat directly with his audience and enjoyed all the hype of a red-carpet premiere. In fact, right after the talk Coppola unveiled his latest movie, Twixt, at a posh gala. Though Twixt has been enduring harsh reviews, Coppola was jovial as he recounted doing a location scout in Turkey and drinking one night in Istanbul. “I fell asleep and had vivid dream. I began...
- 9/15/2011
- by Allan Tong
- Filmmaker Magazine - Blog
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