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kottke.org posts about Francis Ford Coppola

Francis Ford Coppola Breaks Down His Most Iconic Films

Francis Ford Coppola, a legendary filmmaker no matter how you slice it, sat down recently to talk through his most notable films: The Godfather films, The Conversation, Apocalypse Now, and a new movie he’s working on called Megalopolis. I really enjoyed this. Some tidbits:

  • Coppola didn’t know anything about the Mafia before making The Godfather.
  • The studio did not want to call it Godfather Part II. And now explicit sequels like that are ubiquitous.
  • He praised the way Marlon Brando thought about ants and termites?!
  • I’d missed that Godfather Part III had been recently recut and rechristened “Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone”, which is what Coppola wanted to call it all along.

And this is a great way to think about creative projects:

Learning from the great Elia Kazan, I always try to have a word that is the core of what the movie is really about โ€” in one word. For “Godfather,” the key word is succession. That’s what the movie is about. Apocalypse Now,” morality. “The Conversation,” privacy.

(via open culture)


Coppola, Pacino, De Niro, Keaton & others reminisce about The Godfather I & II

For the 45th anniversary of The Godfather’s release in movie theaters, the Tribeca Film Festival gathered director Francis Ford Coppola, Al Pacino, Robert De Niro, Diane Keaton, James Caan, Robert Duvall and Talia Shire for a back-to-back screening of The Godfather and The Godfather Part II followed by a panel discussion. Tomris Laffly highlighted some of the high points of the discussion.

“I found it a very emotional experience. I forgot a lot about the making of it,” said Francis Ford Coppola, who viewed the two films for the first time in many years. “This film could be made today, but it wouldn’t get a go ahead from a studio. The first film was made for about $6.5 million; the second was made for $11 or $12 million. They would never get a green light today,” he stated, briefly touching upon the dire state of the industry today. Diane Keaton, who said she watched the films on a computer quite recently, built on Coppola’s sentiments. “I hadn’t seen it in about 30 years. I couldn’t get over it,” she said. “It was so astonishing, Francis. It was so beautiful,” she continued. “And everybody is so great in it. Every choice you made was so authentically brilliant. I just kept crying, and that damn Talia. I am not kidding…. Everything was astonishing to me and I didn’t expect it.”

Every time I watch The Godfather, I’m struck by how much Pacino reminds me of Matthew Broderick in the first half of the movie. It’s gone by the end of the film and in every subsequent movie he made. Broderick, on the other hand, still seems very much the same, not so much the adult Ferris Bueller eventually became but more like a Ferris that never grew up at all.

Above, the original trailer for The Godfather.

Update: A video of the entire panel:

(via @nph)


Who said art has to cost money?

Francis Ford Coppola on how filmmakers might make go about making a living in the future.

We have to be very clever about those things. You have to remember that it’s only a few hundred years, if that much, that artists are working with money. Artists never got money. Artists had a patron, either the leader of the state or the duke of Weimar or somewhere, or the church, the pope. Or they had another job. I have another job. I make films. No one tells me what to do. But I make the money in the wine industry. You work another job and get up at five in the morning and write your script.

This idea of Metallica or some rock n’ roll singer being rich, that’s not necessarily going to happen anymore. Because, as we enter into a new age, maybe art will be free. Maybe the students are right. They should be able to download music and movies. I’m going to be shot for saying this. But who said art has to cost money? And therefore, who says artists have to make money?

In the old days, 200 years ago, if you were a composer, the only way you could make money was to travel with the orchestra and be the conductor, because then you’d be paid as a musician. There was no recording. There were no record royalties. So I would say, “Try to disconnect the idea of cinema with the idea of making a living and money.” Because there are ways around it.