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Re: Megalopolis (Francis Ford Coppola, 2024)
Los que desmintieron tajantemente todo eso después fueron los actores, no el equipo técnico. Igual en el documental vemos a algún foquista, o algún carpintero, cagandose en la madre que pario a Coppola y diciendo que aquello es un sindiós de planificación y que está chocho perdido.
A saber.
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)
Pero Muthur, tienes razón en que la prensa sigue a su rollo, atacando todo lo que tenga que ver con el proyecto.
Por ejemplo, tomemos este artículo, publicado ayer mismo. Si leemos el titular, tiene muy mala pinta, ¿no?. Pero si leemos el artículo completo con detenimiento, nos daremos cuenta de que han citado palabras textuales de Aubrey Plaza fuera de contexto para construir una narrativa que no existe y dejar en mal lugar a Coppola.
Última edición por Branagh/Doyle; 29/08/2025 a las 23:04 Razón: Errata
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)
Jojojo, que ganas de ver esto:
Mike Figgis calls his behind-the-scenes chronicle “Megadoc,” but he might as well have titled it “LaBeouf vs Coppola.”
The film, which premiered at Venice yesterday, peels back the curtain on Coppola’s $120M gamble, “Megalopolis,” referred to by some online hoodlums as “Megaflopolis.”
The doc seems to delight in the chaos. The logistics, before, and during production, must have been a total nightmare to experience for cast and crew. Coppola, financing his own dream project, comes off as a self-aggrandizing weirdo, but the scenes most will be taking away from the doc is the epic tug-of-war between Coppola and Shia LaBeouf.
LaBeouf, at first in total glee over being cast in Coppola’s film — since, in his own words, he had become “Hollywood persona non grata” — is both a catastrophe for ‘Megalopolis’ and a total gift for Figgis and “Megadoc.”
He says it himself: he had no business being in this movie, describing his status in Hollywood as “nuclear.” He wasn’t exaggerating. The arrests, the lawsuits, the meltdowns. We learn that Jon Voight, part guardian angel, slipped LaBeouf into Coppola’s ensemble, and suddenly the outcast had a role.
LaBeouf arrives trembling, convinced he’d be fired within days, and then immediately starts fighting with Coppola.
The actor who least belongs there is also the one who gives Figgis the richest material. LaBeouf frets over blocking, whines about tape marks on the floor “inhibiting” his acting, and turns every Coppola demand into an epic argument. Coppola, tries to persuade, then pleads, then finally explodes. “I know what I’m talking about!” he furiously shouts. LaBeouf refuses, Coppola storms to his trailer to direct the rest of the day’s shoot by remote control. It’s delightful and farcical Cinema verité.
There are apologies, too, the kind that arrive in the middle of the night. Coppola sends an email, acknowledging LaBeouf’s performance while confessing they’ll never see the world the same way. LaBeouf, half-amused, half-wounded, recounts the story to Figgis in melancholic mode. He knows he was trouble. He believes the end result is that he gave Coppola something the film couldn’t have sparked otherwise.
Watching “Megadoc,” you don’t quite know whether to laugh or to wince. Figgis doesn’t shy away either. He seems to be shooting everything. However, it’s the LaBeouf and Coppola feud that steals the show, much like “Megalopolis” itself, it’s overblown, maddening, absurd, ambitious, and impossible to look away from.
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)
Pues ya tengo casi tantas ganas de ver el documental, como la película en sí misma en su momento...
LaBeouf es un personaje en sí mismo allí por donde pasa, seguro que hay material notable en el documental.
Por problemático que haya sido el rodaje, hay que recordar que Coppola fue el responsable y principal "sufridor" del rodaje de Apocalypse Now... Si sobrevivió a aquello, esto le habrá parecido un juego de niños, por mayor que se vea para estos asuntos...
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)
Pues yo a Labeouf, por problematico que sea, lo respeto enormemente solo por reconocer que el problema está en el, y en su forma de ser.
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)
No solo eso, Coppola se ha vanagloriado públicamente de que hizo lo que considero necesario para terminar Megalopolis en tiempo y forma, tanto en cuestión de calendario de rodaje como de presupuesto.Iniciado por Muthur
Pues ya tengo casi tantas ganas de ver el documental, como la película en sí misma en su momento...
LaBeouf es un personaje en sí mismo allí por donde pasa, seguro que hay material notable en el documental.
Por problemático que haya sido el rodaje, hay que recordar que Coppola fue el responsable y principal "sufridor" del rodaje de Apocalypse Now... Si sobrevivió a aquello, esto le habrá parecido un juego de niños, por mayor que se vea para estos asuntos...
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)
Trailer de Megadoc de Mike Figgis:
Talks are underway about a possible theatrical pairing: a re-release of “Megalopolis” with “MegaDoc” playing beforehand. A limited solo rollout for the documentary is set for September 19 via Utopia.
Última edición por Branagh/Doyle; 02/09/2025 a las 23:37
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)
Minuto 1:59 del tráiler. Todos los nombres que aparecen en ese listado forman parte activa en la producción, excepto uno. Lucas.
Es el elegido. Aquel que traerá el equilibrio al documental.
RIP, Sir Pratchett.
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«ESOS QUE VES ALLÍ SON MORTALES -prosiguió la Muerte-. ESTARÁN EN ESTE MUNDO APENAS UNOS CUANTOS AÑOS Y SE LOS PASAN COMPLICÁNDOSE LA VIDA. ES FASCINANTE.» Mort, Terry Pratchett.
Re: Megalopolis (Francis Ford Coppola, 2024)
La narrativa de la critica 'especializada' es que Megalopolis puede estar mas cerca de The Room que de un film de calidad artistica, es decir, es un film de un megalomano, de un tipo que cree haber hecho una buena pelicula (la diferencia es que Wiseu sabia que su pelicula tiene un redito de culto por lo mala que es, Coppola es otro cantar y aqui hay que defender al director en su plenitud de capacidades) que realmente es un film malo, porque o no esta dentro de los estandares supuestamente objetivos u de cine artistico o que es una pelicula que esta hecha a contracorriente, fuera del sistema de estudio.
Sigo reiterando que esto es un elemento endemico, vivimos en un estamento de que las redes sociales son un metodo de vivir para un grupusculo de pseudocriticos que viven del like, de la polemica, de seguir a un cortijo en concreto, no tienen una mentalidad u mente propias, sino el de seguir lo que dictan los tomates u otros sistemas de medicion actuales.
Si, les mentas Apocalypse Now u El Padrino e incluso Wild Heart y te diran que eso era un buen Coppola, que donde esta ahora, que el de ahora es un viejo senil e incapacitado que vive de su prepotencia.
Re: Megalopolis (Francis Ford Coppola, 2024)
Es tal cual lo cuenta Prime, Muthur.
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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