Poster oficial de Megadoc de Mike Figgis. La duración será de 107 minutos.
https://www.joblo.com/wp-content/upl...rel-scaled.jpg
Versión para imprimir
Poster oficial de Megadoc de Mike Figgis. La duración será de 107 minutos.
https://www.joblo.com/wp-content/upl...rel-scaled.jpg
Cita:
Iniciado por Branagh/Doyle
A mí me parece precioso todo el recorrido "vital" de esta película. Esa caída a los infiernos del desprecio y la burla, y esta aparente resurrección por vías inusuales en el mundo de la exhibición. Aunque la película hubiera sido un desastre (que, para mí, no lo es ni de lejos), su existencia es una bendición en un panorama dominado por los putos agregadores de nota podridos, los medios serviles a los grandes estudios, el infantilismo rampante en el debate de cine en redes sociales...
Gracias, Coppola.
Si muchas gracias.
No obstante, vuelvo a insistir. ¿200 dólares la entrada, Francis? Te has venido arriba.
Bueno, se han agotado ya todas las localidades en todas las ciudades, y supongo que esto le ayudará a recuperar algo de dinero. Si le acaba ganando la demanda a Variety (que eso sigue todavía en curso, veremos), y le dan los 15 millones de dólares que pedía de compensación ya sería algo maravilloso, claro.
Una cosa, Marty. Sé que no te suelen entusiasmar los remontajes de Coppola, pero... ¿en principio estarías interesado en ver un corte extendido de este film o te es indiferente?
:abrazo
Estoy de acuerdo en que la peli seguramente es una flipada que no es para mí, pero me parece una maravilla que exista, que por fin se haya realizado, y que Coppola siga haciendo cine aunque le van a dar de palos, guste o no. Es como una visión algo romanticona de amar el cine y querer haciendo lo suyo llueva o truene. Es admirable, en un sentido. Guste o no la película a cada cual, algunos piensan que es una maravilla o obra maestra, otra que es una flipada. Lo mismo da. Es una obra de autor.
Y que no caiga duda de que cuando se muera (que llegará el día) todos estos ''fracasos" luego serán apreciados, que siempre pasa...
En realidad eso es una cosa que alguien dijo y todos asumieron como cierta, pero no lo es. La historia es muy sencilla y lineal, y el montaje no es para nada experimental. Cuando esté en streaming animate a echarle ojo, como mínimo predigo que te vas a reír.Cita:
Iniciado por Ponyo_11
Sí, claro que me interesará. Además no es lo mismo ahora, que tiene la película fresca, que lo que ha hecho con El Padrino III, por ejemplo. O cómo se le olvidó que odiaba la escena de los franceses en Apocalypse Now.Cita:
Iniciado por Branagh/Doyle
Hazme caso, no se olvidó de nada. En la escena sale su hijo fallecido en 1986 y por eso la puso de vuelta.Cita:
Iniciado por Marty_McFly
Vamos, estoy convencido. Ya pueda decir Coppola misa.
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.Cita:
Iniciado por Branagh/Doyle
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.Cita:
Iniciado por Marty_McFly
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... :cafe
La capa política, si. Si te lo planteas como si Apocalypse Now fuese una lasaña, es un añadido maravilloso.Cita:
Iniciado por Muthur
:D
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!
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.
Se está dejando llevar, eh.
Francis Ford Coppola Turned a Chicago Q&A after Megalopolis screening into a surreal 2-hour manifesto.
He pleaded with the audience, “don’t marry your cousin, please marry a girl from another family
:mparto :descolocao
He discussed how the obsession with GDP and productivity has blinded us, and how the true measure of civilization should be creativity, play, and human development. He pitched UBI. He pitched democratic confederalism. He pitched abolishing term limits in favor of a “Council of 9” who draw straws and serve for a month and a half at a time. He wants government to feel like being the “officer of the day” at military school — a temporary honor, not a career.
Some of the other topics tackled included the Human Development Index, Pipe Rock Theory, Ryan Coogler’s “Fruitvale Station" (which he considers a great film debut) homeschooling, and much much more.
There were also anecdotes about founding the American Film Institute with Gregory Peck and Sidney Poitier, about mentoring young artists, about being rich and broke at the same time, about giving his kids unlimited credit cards but telling them they’re not allowed to use it to make money.
Nuevo featurette:
https://www.youtube.com/watch?v=9MN2H0T17mU&t=1s
De ayer en el cine Capitol de Nueva York. Grace Wanderwall acudió también en esta ocasión. Se están dando un tute considerable en pocos días.
PD: Muthur, por lo que se comenta, parece que Coppola está disfrutando mucho estos días volando de ciudad en ciudad, y pasando tiempo con los fans, riendo y contando batallitas.
Yo me alegro, tiene 85 años y le ha pasado de todo, pero parece seguir teniendo un montón de ganas de vivir. Eso es maravilloso.
https://i.imgur.com/rNcNRLT.jpeg
https://i.imgur.com/lGOhX9y.jpeg
Por cierto, ha trascendido que Robert De Niro sale en Megadoc de Mike Figgis.
La presencia de George Lucas la entiendo, teniendo en cuenta que el y Coppola son intimos de toda la vida. Pero... ¿qué ha podido tener que ver Robert de Niro con Megalopolis? Pronto lo descubriremos.
Reportaje exclusivo cortesía de Deadline.
What’s Behind Francis Coppola’s ‘Megalopolis’ Roadshow
Over the course of his five-Oscar career, Francis Coppola has many times gone back under the hood of even his greatest films like Apocalypse Now and The Conversation, to recut and improve versions for posterity. But he’s gone into uncharted territory with Megalopolis, the $120 million-budget film he self-financed.
Last Sunday, Coppola headed to the Count Basie Theater in Red Bank, NJ to introduce to a packed theater his provocative hot stew of radical futuristic ideas and tawdry melodrama, taking the stage after a big-screen showing of his film to deliver a discussion called “How To Change Our Future.” It was the first stop of a multi-city roadshow that continued in New York and Chicago, and finishes in Denver and San Francisco.
What in the world is the 86-year-old icon doing on a barnstorming tour, after his movie played through theaters to a disappointing $14 million gross? He does not believe he’s like Ahab and his White Whale. Rather, he believes his film has a message worth hearing, and that this might help overcome a conundrum. Coppola made the movie to provide a hopeful vision of the future to younger audiences, but he has so far rejected the fastest way to get it in front of the biggest number of their eyeballs, which is to sell streaming rights. While he wants audiences to be able to chew on the themes and analogy between our current democracy and Rome before its fall, Coppola has so far been insistent that the film be seen on the big screen, even though a streaming deal would also help him recoup some of the outlay in the riskiest gamble in a career full of big dice rolls.
The first date was a near sellout, as have been most of the subsequent dates ticketed through Live Nation, Coppola said. He didn’t plan to continue barnstorming beyond the six dates, but hopes it will rekindle interest by exhibitors in making it a midnight-style offering.
“I didn’t make the movie available anywhere where people can own it or have a DVD or all that because I wanted to keep the hope of a theater experience going,” Coppola told me. “So because of that, there are a lot of people who said to me, well, how come you can’t get it on all the normal ways? I said, well, because I’m going to go and bring it in a public way at first to prime the pump, where I’ll talk about the movie at the end, or rather illustrate some of where the movie could take you if you wanted to discuss it that way. And that gave birth to this idea of a tour. Also, it was in a theater shown in the format it was intended. And the tickets go into the fund of keeping it alive.”
He’s hoping the tour helps the movie catch on enough that it might get more theatrical dates without him being there in person, and this is just one of the ways the film’s tentacles have spread out. Megadoc, a Mike Figgis-directed documentary on the twists and turns of making the film meant to be like the classic docu Hearts of Darkness made by Coppola’s late wife Eleanor about his ordeal making Apocalypse Now, will premiere at the upcoming Venice Film Festival before being distributed by Utopia. There is also a 160-page graphic novel on the film being released by Abrams ComicArts.
When Coppola obtained a line of credit to fund Megalopolis, he believed he was doing it through a windfall that came with the sale of a majority of his wine holdings. That wasn’t why he made the deal, which was mainly to ensure the future health of his vineyards and the bottles of wine that come from it. Turns out, that cushion has lessened with developments in the beverage business – vintners are crying over sour grapes because of a looming threat the World Health Organization will place on wine labels that alcohol causes cancer. This would be similar to the cancer warnings emblazoned on cigarette packs. A downturn in wine revenue after his sale has left Coppola saddened. In all, the investment of so much personal money in Megalopolis has created a bit of hardship.
Not that he’s that worried or even regrets his big gamble one little bit. This is nothing new for the filmmaker, who battled back from bankruptcy a couple times because of his risk-taking nature. He once feared he might lose his breathtaking Inglenook wineries in Napa Valley after he went in the hole on Apocalypse Now. He won big that time, but risk taking has been part of his oeuvre. After Apocalypse Now strained his finances to the point where Eleanor could not get credit at the grocery store, he gave her millions so it wouldn’t happen again … only to ask for it back almost immediately when the opportunity arose to buy the other half of Inglenook, which proved a stroke of brilliance. Another time, when he was flush with The Godfather money, he bought the Chateau Marmont in Hollywood for $5 million. When his wife kicked back at that, he used a termite clause to get out of what would have been another great deal. He still has several luxury hotel holdings that have filled in the revenue picture to cover the wine business shortfall.
Coppola has another movie he’s written ready to go immediately, but he’ll need to follow a time-honored Hollywood practice: getting someone else to pay for it. Called Glimpses of the Moon, the film is a modestly budged unusual musical which he adapted from an Edith Wharton novel, he said.
“Well, the thing is, I used my last hundred million dollars,” he explained. “I know it sounds funny, but usually people who do things like this have a billion dollars. This was my last … well it was $120 million, more than intended. Financially, it’s a little complicated. Basically what you have to realize is that I had a number of wine companies, one of them, the one that was the cash cow was called Francis Coppola Winery.
“That usually produced the money for everything, but I had no one to run it, and that was strong on my mind. My kids are all film directors. So there was this company we had been doing business with for years, an Italian company called Delicato. I knew them and got along with them. The wine business was changing, and it was becoming much more that you had to be bigger because of the post-Prohibition rule that made it a three-tier industry, where you can only make it or you can distribute it or you can retail it.”
It is a tricky pursuit dictated by politics and influence, but the sweet spot comes in being the distributor, since you don’t grow the grapes or ferment, you mainly disperse the bottles to retailers and get about one-third of the proceeds.
“The wine distribution was where the money was, and it got bigger and bigger and bigger,” he said. “So it kept consolidating until there were only two or three huge billion[-dollar] companies distributing everybody’s wine. So when that happened, that company that I’m talking about was about the 12th or 13th largest wine company in America. You had to be that big or you were out of the business because the distributor was only interested in billions of dollars. They weren’t interested in you if you were only talking a mere few hundred million. So there started to be a lot of consolidation, and this company wanted to buy my company because they had management. I didn’t have the management. So I was absorbed by the Delicato company, and I ended it up with 26%. When I made Megalopolis, that 26% of that company, which was worth upwards of a half a billion dollars, I was the collateral.
“I never intended to have to finance the whole movie,” he said. “On Apocalypse, I put the money up, because no one else would. I figured, well, once we have a cast, then they’ll want it. Well, we had the cast and then still no one wanted it. Of course, this is what’s going on in the film business now. It is run by people whose main job is to make the debt service payments, and that’s all they’re concerned with. If they don’t service the debt, they’re out because all these companies are heavy in debt. Obviously, no one picked up Megalopolis after that one screening we had. Then it went to Cannes, and now of course, it’s once something fails at the box office, then everyone revisits [with a bad narrative]. What really happened, we had a tremendous reception at Cannes. It was a big standing ovation, very long. It’s not reported that way anymore.”
The media narrative of the film became about the budget and other things like allegations that Coppola was pawing young female extras on a closed set. The latter prompted him to sue.
“The sense is it didn’t get good reviews … it got very good reviews from the people who we value, the New York Times and the various places where we care about the reviews,” he said. “And then in the sort of more typical review areas, we didn’t get as good reviews. It was very much like Apocalypse. So I decided what I should do is to try to rev it up as a live attraction. And that’s what led me to want to do this.”
What’s his hope here?
“After we do this with my involvement, that then it can have a longer life,” he said. “Most of my movies have had a very long tail.”
That longevity extends to many of his films beyond The Godfather films, from Apocalypse Now to The Conversation, The Outsiders, Bram Stoker’s Dracula, and others.
“I think it’s going to have a trajectory, sort of like Apocalypse Now did,” he said.
Megalopolis was received with an exuberant reaction on the opening night on the Jersey Shore. Coppola returned to the stage and gave a dissertation about history and juxtaposing the fall of the Roman Empire and contemporary events. The crowd seemed most stimulated when Coppola took questions, and by the time he said good night, every audience member was addressing him by “Uncle Francis.” A few expressed surprise the film got maligned the way it did by the press, where the narrative became about actors like Jon Voight, Shia LaBeouf and Dustin Hoffman, the budget and those disputed allegations. Coppola suspects a deliberate effort to sabotage his efforts through the press, which prompted the lawsuit.
The film’s themes of rebuilding came to mind after the Los Angeles wildfires, as homeowners had to decide whether to build back at all, and if they did, would they use the same material or alternatives that would not burn so easily. The film’s anarchy and media manipulation and slander played out during the last presidential election, and with subsequent things like the sacking of Trump critic Stephen Colbert as Skydance and Paramount Global were desperate for FCC approval of the $8 billion acquisition. This after paying the president a $16 million settlement over a dubious Kamala Harris edit by CBS News and 60 Minutes.
“Another thing that happened after the election is, people were more interested seeing the film again, because what the film predicted was that basically Rome had a republic and lost it. That is possibly what has happened with this last election, which no one knows how to interpret yet. It’s already happened with Stephen Colbert getting fired, and what was done with PBS. These are American jewels and many people don’t understand our FCC is there to protect locality, and the guy who was the charge, Tom Wheeler, was great at that. Then Trump puts a guy in who doesn’t understand what the FCC traditions were. He was put there to press Trump’s agenda.
“What I intend to talk about is a thought experiment. I say, what would it be like if we look at the 10 or dozen things that rule our lives, one of which is money, law, time, all these things, what we invented, how those things rule us. What would it be like if we reinvented them?”
Coppola believes a couple of cornerstones from his world are in need of overhaul.
“Two things are dying, and I’m in the middle of it,” he said. “One is journalism and one is the movie studio system. But I have learned that when things die, they get reborn in new ways. I know there will be journalism. I just don’t know that it’s going to be, I mean, this present state of journalism and the reliance on unknown sources … anyone can come up with unknown sources and say anything. I mean, if you don’t have to ever say who was the unknown source … I know that a lot of the bad stuff that followed me each time I went in an important direction, I know those were always the same people, but I don’t know who they were. That’s why I sued, because I really want to know who these people are. I find it very interesting that wherever Megalopolis has gone the same people have tried to damage it.”
He believes it was a concerted effort to sully the film and his reputation, and that it had a negative impact.
“I think it hurt it,” he said. “It said a lot of terrible things, which were not true. I mean, the whole thing of even the #MeToo aspect of it, which is absolutely not my … anyone who’s not my daughter’s age or older, I look at as a kid. I don’t come on to kids.”[/I]
Marty, te vuelvo a citar si me lo permites porque realmente es algo que nadie vio venir.Cita:
Iniciado por Marty_McFly
De hecho el redactor del reportaje de Deadline también muestra cierta perplejidad: una pelicula rarita de autor que se ha pegado un batacazo histórico en taquilla de alguna manera está teniendo una segunda vida fuera del circuto convencional, no solamente de exhibición en salas, sino al margen del mercado de video doméstico. No solo eso, sino que continua generando interés y expectación.
En 2025, esto es algo completamente único... y me atrevería a decir que digno de estudio.
Marty, sobre la parte financiera del asunto, de una fuente fiable.
These theaters have 250 seats (more or less), so at $200 a ticket that’s about 20-40k per screening. That’s pretty good return on the time he is spending on this.
However, we have to consider there are costs involved. Four-walling a theater varies, but averages around $10k. For some of these, he has others on stage like Grace VanderWaal. They get paid for the appearance plus expenses. There's also his expenses: dining, hotel, limo, airfare, etc. He's likely making little or no money and may even be losing money for some of these. But even going with your high estimate of $40k, the tour is only grossing about a quarter million. Not much of a dent in $120 million.
¿No dijo F.F Coppola en una entrevista o no sé dónde que él es Catilina? Entonces:Cita:
Iniciado por Branagh/Doyle
Si Catilina es:
La metáfora viva del artista-creador, que se enfrenta a una sociedad que no quiere cambiar.
Encarna el choque entre utopía y pragmatismo, entre lo posible y lo deseable.
Funciona como un eco de Prometeo: roba el “fuego” del futuro para entregárselo a los hombres, pero paga un precio por ello.
Francis lo es.
Lo que pretendo plantear es un experimento mental. Me pregunto: ¿qué pasaría si nos fijamos en las diez o doce cosas que rigen nuestras vidas, una de las cuales es el dinero, la ley, el tiempo, todas estas cosas, lo que inventamos, cómo nos gobiernan? ¿Cómo sería si las reinventáramos?
No abarco ni soy capaz de comprender el por qué de ahora este interés.
Quizás tiene que ser una especie de Karma (la trataron tal mal que no tenía sentido), quizás es el reflejo de hacia donde va el cine, una experiencia para una numero cada vez menor de personas, Además una película de Francis Ford Coppola, a sus 86 años, no se debe ver ni mirar como solo una película, se debe observar y apreciar (sencillo no es, pero creo que es necesario) como una parte de un todo, de una vida, de uno de los mayores directores de la historia.
Saludos.
Grandisimo post, compañero.
¿Por qué ahora? Bueno... creo que es porque es consciente de que le queda poco tiempo, y está preocupado por su legado.
Y no es novedad en su cine, que está lleno de personajes así. El más claro sería el protagonista de Tucker.Cita:
Iniciado por jurassicworld
Es lo que dije, Megalopolis es como una especie de ciclogenesis explosiva que resume y sintetiza toda su obra formal, temática y subtextualmente hablando.Cita:
Iniciado por Marty_McFly
Si al final no consigue hacer más películas, Megalopolis funciona muy bien como una especie de coda a toda su filmografía.
Más cosas por pinganillo.
Coppola and Lionsgate recently went through a nasty divorce because the whole fiasco of Megalopolis marketing (almost non existent), and the AI trailer, which means that he is paying for the whole roadshow, including logistics and everything else.
Vamos, que más que para recuperar dinero se está dando el gustazo. Olé por él.
Si. Coincido con el compañero jurassicworld en que el proposito de todo esto se me escapa. Yo apuesto por su preocupación por el legado, o porque la pelicula contiene un mensaje sociopolitico que Coppola considera muy importante en los tiempos que corren.Cita:
Iniciado por Marty_McFly
En cualquier caso, me cuentan mis hijos que en los mentideros habituales (reddit, blu-ray.com, boxoffice theory...), mayoritariamente lo están poniendo a parir.
El discurso predominante parece ser "anciano blanco y rico con una ideología retrograda pretende imponer su pelicula trasnochada y delirante al mundo por cojones". Por lo visto, la gente está enfadada porque, según entienden, este roadshow solo existe porque Coppola tiene el dinero y los contactos para ello, y porque se niega a aceptar que su pelicula ha sido un fracaso. Esa actitud es algo que consideran censurable.
Por suerte, mucha otra gente, en otros ámbitos mas puramente cinefilos, se ha alegrado de lo que está sucediendo con la pelicula.
Cita:
Iniciado por Branagh/Doyle
Totalmente, Muthur.
Es lo esperable en la situación actual. Me alegra aún más.Cita:
Iniciado por Branagh/Doyle
https://www.youtube.com/watch?v=Ucmn6T9Z3lw
Teaser trailer de Megadoc de Mike Figgis.
The film was acquired for release by Utopia, and follows from first steps the making of Francis Coppola‘s provocative vision of the parallels between the fall of Rome with the current seismic shakeups taking place in today’s world. The docu is done in the spirit of Hearts of Darkness: A Filmmaker’s Apocalypse, the chronicle of Coppola making Apocalypse Now that won two Primetime Emmy Awards in 1992. This one answers the question of how an iconic director like Coppola could spent $120 million of his own money on a film that made its debut at Cannes in 2024, complete with workshop scenes that include myriad stars who came on but fell off a film that took so long to mount.
Lo que está claro, teniendo en cuenta que Coppola está pagando esto de su bolsillo, es que el dinero no le importa lo más mínimo.
Más cosas por pinganillo.
Coppola, at least for now, is dead set on Criterion and Arrow as the only reasonable third party options to properly release Megalopolis, and talks are still happening towards that end. However, as a last resort, Zoetrope is contemplating printing and distributing the movie independently.
La negrita... ¿pueden hacer eso?
Primera vez que lo oigo.
Y sobre el documental de Mike Figgis:
It´s very raw, very unfiltered, not a puff piece at all. A great piece of filmmaking, I predict very good reviews for this.
Coppola was very brave encouraging this, particularly taking into account that Figgis, who is an old friend of Coppola, often portrays him as a dictator on a film set, willing to do anything in the name of art. And when I say anything, I mean anything.
However, Coppola found two unexpected allies early on: Adam Driver and Aubrey Plaza. They would have march into hell if Coppola had instructed them to do so. They were willing to do anything for him, and supported him at every step of the way.
The doc includes stuff like the frequent fights with Labeouf, which by all accounts were tremendous (Coppola compares him to Dennis Hopper, as far as the acting process goes), and the firing of the VFX and art department teams mid shoot, which Figgis didnt approve at all.
Lo cierto es que a mí la película no me gustó demasiado pero me alegraría enormemente que fuera un éxito. ¿Por qué? Porque en un momento cinematográfico en el que la mayoría de películas parecen hechas a partir de una plantilla, propuestas tan arriesgadas y originales como esta hay que agradecerlas. Ojalá haya más directores que se atrevan a desafiar la "lógica" que busca éxitos económicos sin un mínimo de riesgo.
Compañero Egisto, precisamente esto que comentas es lo que me ronda la cabeza. Si tenemos en cuenta que la pelicula ha sido un fracaso rotundo en su paso por salas... ¿podría convertirse en un éxito a posteriori? ¿Es eso posible?Cita:
Iniciado por Egisto
Yo no lo tengo nada claro. Veremos que sucede durante los próximos meses.
Pues no lo descarto. Yo estoy por darle otra oportunidad a ver si con un segundo visionado cambia mi opinión. Es posible que sea de esos "sleepers" que van ganando con el tiempo. Como dices, a ver qué sucede.Cita:
Iniciado por Branagh/Doyle
Si Coppola finalmente acaba lanzando un corte extendido de aquí a final de año, eso podría generar interés.Cita:
Iniciado por Egisto
Fotografías de la última parada del tour, en Texas, que tuvo lugar el pasado día 29.
https://i.imgur.com/MREhR8Z.jpeg
https://i.imgur.com/vu1Ys39.jpeg
https://i.imgur.com/QdHSk8O.jpeg
https://i.imgur.com/rhnLP0z.jpeg
Esta noche concluye el tour (en principio), con una proyección de Megalopolis en el magnífico cine del precioso Palacio de Bellas Artes de San Francisco.
https://upload.wikimedia.org/wikiped...816794p%29.jpg
Han sido unos días muy intensos desde el 20 de Julio, con Coppola y su equipo viajando de aquí para allá. Me alegro mucho de que el experimento (así se ha referido Coppola a su idea loca -sus palabras- de llevarse la película de gira por su país) haya ido tan bien financieramente hablando, y que haya suscitado interés y entusiasmo por el film. Espero que el desembolso ecónomico extra que ha supuesto organizar todo esto le haya merecido la pena.
:agradable
En el teaser de Megadoc hay un momento revelador: Mike Figgis comenta que quería averiguar que lleva a alguien a gastarse 120 millones de su propio bolsillo en una película.
Juro por Dios que puedes percibir la perplejidad y el asombro en su voz. Es buenísimo.
BruceTimm, recientemente te referiste a Coppola como un pirado anti sistema, que entiendo que en este caso se podría interpretar hasta como un halago.
Entiendo que el dinero solo importa en la medida que te permite hacer películas. Y en la medida de lo posible, intenta tener la propiedad legal e intelectual de todos los títulos de tu obra que puedas, porque así podrás hacer con ellos lo que quieras.
Como en este caso. Si Megalopolis fuese de un estudio, no podría habersela llevado de gira, por mucho que tenga el dinero y los contactos para poder llevarlo a cabo.
Mientras lo escribo me estoy dando cuenta que todo este planteamiento es muy de Lucas, ciertamente.
:abrazo