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Re: Megalopolis (Francis Ford Coppola, 2024)
Hazme caso, no se olvidó de nada. En la escena sale su hijo fallecido en 1986 y por eso la puso de vuelta.Iniciado por Marty_McFly
Vamos, estoy convencido. Ya pueda decir Coppola misa.
Última edición por Branagh/Doyle; 25/07/2025 a las 14:56 Razón: Se me va la cabeza
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Megalopolis (Francis Ford Coppola, 2024)
Claro, puede ser por eso. El caso es que nada más rodarla tenía clarísimo que la odiaba y luego la mete en el Redux. Y lastra mucho el ritmo, sin aportar demasiado, en mi opinión.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
Re: Megalopolis (Francis Ford Coppola, 2024)
Cierto. En el Final Cut está reeditada e incluso usa tomas alternativas para algunos dialogos. Coincido contigo en que perjudica al ritmo, pero explora la dimensión política de la historia.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Megalopolis (Francis Ford Coppola, 2024)
Me encanta la escena de la hacienda francesa. Es cierto que afecta al ritmo, pero le da una capa más de profundidad, además de estar interpretada y fotografiada al nivel del resto del metraje...
Charrán
Del ár. hisp. *šarrál 'vendedor de jureles'.
1. adj. Persona poco fiable, aprovechada o que actúa con picardía o engaño. Sinvergüenza, caradura o estafador.
2. adj. coloq. Dicho de una persona: Que se comporta de forma similar o que evoca al cineasta James Gunn.
Re: Megalopolis (Francis Ford Coppola, 2024)
La capa política, si. Si te lo planteas como si Apocalypse Now fuese una lasaña, es un añadido maravilloso.Me encanta la escena de la hacienda francesa. Es cierto que afecta al ritmo, pero le da una capa más de profundidad, además de estar interpretada y fotografiada al nivel del resto del metraje...
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Megalopolis (Francis Ford Coppola, 2024)
Me dicen por pinganillo lo siguiente.
You didnt hear it from me, but...
Given that the summer tour of Megalopolis, to the surprise of everybody (including Coppola, he knew it was a very risky move) has been a resounding financial success, the current plan at Zoetrope HQ is to re release Megalopolis on September 27th, one year after the original theatrical release, as a companion piece along with Megadoc. So the idea is that you watch the film, and then you watch the documentary.
But before giving this the green light, Zoetrope folks are going to wait until the reviews of Megadoc drop after the Venice Film Festival screening.
Then, by Christmas, they intend to release a collectors edition of Megalopolis, containing both the film and the doc.
And don't forget, that before that, on October, the graphic novel will hit the streets as well.
Megalopolis lives on!
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Megalopolis (Francis Ford Coppola, 2024)
La cantante Grace Vanderwall estuvo ayer en el pase de Megalopolis en Chicago.
Contó que en la película, cuando Vesta Sweetwater llega a la boda de Crassus y Wow Platinum lo hace en un Tucker. Al parecer Coppola posee uno de estos míticos automoviles y George Lucas otro. Su película favorita de Coppola es precisamente Tucker, y fue ella quien le pidió a Coppola que "le hiciese el gusto" de que su personaje en el film llegase al evento montada en uno de estos vehiculos (el guión no especificaba la marca del coche).
También comentó que cuando en Megalopolis su personaje se "reinventa" como una versión hiper sexualizada de si misma tras desvelarse sus mentiras, la referencia que Coppola le dio fue Miley Cyrus.
Ella compuso las canciones (tanto letra como música), que su personaje canta en el film.
Última edición por Branagh/Doyle; 26/07/2025 a las 12:52
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
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