Megalopolis (film)

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Megalopolis
Official logo
Directed byFrancis Ford Coppola
Written byFrancis Ford Coppola
Produced by
  • Francis Ford Coppola
  • Michael Bederman
Starring
CinematographyMihai Mălaimare Jr.[1]
Edited byGlen Scantlebury[2]
Music byOsvaldo Golijov[3]
Production
companies
Release date
  • May 17, 2024 (2024-05-17) (Cannes)
CountryUnited States
LanguageEnglish
Budget$120 million[4]

Megalopolis is an upcoming American epic science fiction drama film written, directed, and produced by Francis Ford Coppola. Set in a metropolis following a devastating disaster, the film features an ensemble cast, including Adam Driver, Nathalie Emmanuel, Giancarlo Esposito, Jon Voight, Laurence Fishburne, Aubrey Plaza, Shia LaBeouf, Jason Schwartzman, Grace VanderWaal, Kathryn Hunter, Talia Shire, Dustin Hoffman, and D. B. Sweeney.

A longtime passion project for Coppola, who first conceived the film in 1979 and actively started developing it in 1983, it underwent significant delays and various cancellations over the years, until Coppola revived the project in 2019 by spending $120 million of his own money on the film, which was filmed from November 2022 to March 2023; this is Coppola's first directorial effort since 2011's Twixt, marking his longest gap between films.

The film was selected to compete for the Palme d'Or at the 77th Cannes Film Festival, where it is set to premiere on May 17, 2024.

Premise

An accident destroys a New York City-like metropolis already in decay. Caesar, an idealist, aims to rebuild the city as a sustainable utopia, while the venal mayor, Frank Cicero, has other plans. Coming between the opposing men and their visions is Frank's socialite daughter, Julia. Tired of the attention and power she was born with, Julia searches for her life's meaning.[5]

Cast

In an interview with The Face, Driver suggested that his character's philosophy and struggles are similar to Coppola's. "He's a visionary," Driver said of his character: "He's very much Francis [Ford Coppola], in a way, where he's investigated every way of how people can do something and is trying not to get stuck on the right answer. That's an idea that's moving to me and one that reflects Francis."[7] In his official logline for the film, Coppola described Driver's character as having the "power to stop time".[8]
A woman who is deeply in love with Caesar but loyal to her hard-charging father, "forcing her to discover what she truly believes humanity deserves"[8]
A corrupt mayor who likes his municipal kingdom the way it is[8]

Production

Development

Filmmaker Francis Ford Coppola at the 2001 Cannes Film Festival in Cannes, France.
Writer, director, and producer Francis Ford Coppola in 2001

The origins of Megalopolis date back to Francis Ford Coppola's childhood in New York City, where he was fascinated by the scientific community's history with dangerous experiments and by the movies that provided another outlet for his imagination, particularly William Cameron Menzies' film Things to Come (1936), produced by Alexander Korda and written by The Time Machine (1895) and The War of the Worlds (1898) author H. G. Wells, whose plot involved the world of tomorrow's building.[8] Coppola conceived the overall idea for Megalopolis during the filming of Apocalypse Now (1979); sound designer Richard Beggs described Coppola's vision as a "gigantic opera, shown over four nights in some place as close as possible to the geographical center of the United States – and people would come from all over, as they do to Bayreuth".[9]: 181  Coppola devoted the beginning of 1983 to write the screenplay, assembling four hundred pages of notes and script fragments in two months.[10]: 333  Over forty years starting from there, rather than focusing solely on the screenplay, Coppola spent collecting clippings and notes for a scrapbook about things he found interesting for a future script, like political cartoons and different historical subjects before settling on the idea to make a Roman epic film and then on to set it in modern America, which is when Coppola started writing the screenplay in an "on and off" basis because of his hopes to make a project where he could understand his own style after years of doing films with different styles and subjects.[8] In mid-1983, he described the plot as taking place in one day in New York City with Catiline Rome as a backdrop, similar to how James Joyce's Ulysses (1922) used Homer in the context of modern Dublin.[11]: 74 [12]: 215 

Biographer Michael Schumacher recalled the filmmaker's intentions in 1989 to endeavor on a film, which "sounded much like what he had in store for Megalopolis," that was "so big and complicated that it would seem impossible," to be shot in Cinecittà, a large film studio in Rome, Italy, where production designer Dean Tavoularis and his design team had built offices and an art studio for drafters to storyboard the film.[10]: 409–410 [13]: 234  The Hollywood Reporter described the story as "swing[ing] from the past to the present," merging "the images of Rome ... with the New York City of today".[10]: 410 

Following the 1990–91 film awards season for The Godfather Part III (1990), Coppola's film production company, American Zoetrope, announced several projects in development, including plans to film Megalopolis in 1991, despite lacking a finished script.[10]: 436  However, the film was postponed to "no earlier than 1996" after Coppola found himself prioritizing other projects,[10]: 444  including Bram Stoker's Dracula (1992), Jack (1996), and The Rainmaker (1997), to get out of debt accumulated from One from the Heart (1982) and Tucker: The Man and His Dream (1988), and fund Megalopolis.[14]: 110 [15] In 2001, he described the film as setting the characters of the Catilinarian conspiracy in modern New York: "In many ways what it's really about is a metaphor—because if you walk around New York and look around, you could make Rome there", adding: "Ultimately what's at stake is the future, because it takes the premise that the future, the shape of things to come, is being determined today, by the interests that are vying for control ... we already know what happened to Rome. Rome became a fascist Empire. Is that what we're going to become?"[16] As modern America was considered the historical counterpart of ancient Rome, Coppola felt like the historian Sallust that the Catilinarian conspiracy could be set in modern America, much like how he updated the setting of Joseph Conrad's novella Heart of Darkness (1899) from the late 1800s amid the European colonial rule in Africa to the 1970s Vietnam War in Apocalypse Now. He then remaked some of the event's figures into fictional versions of modern civic leaders but with revisions about the roles of Catiline and Cicero as history relies on Cicero's version of events and not if Catiline had actually good intentions, so that maybe Catiline was a good visionary and Cicero was a bad reactionary, with Coppola choosing to rename Catiline as Caesar under Mary Beard's suggestion because the historian Suetonius' claims that Julius Caesar worked alongside Catiline plus the fact that Caesar is far more known among audiences than Catiline. He set the story in a somewhat stylized New York City which is portrayed as the world's center of power, with Cicero serving as a mayor during a great financial upheaval's time, like the financial crisis the city faced under Mayor David Dinkins' 1990-1993 mandate while Cesar would be a master creative with elements from Robert Moses as portrayed in Robert Caro's biography The Power Broker (1974) and architects like Frank Lloyd Wright, Raymond Loewy, Norman Bel Geddes and Walter Gropius. Coppola also researched for his scrapbooks the city's most interesting cases like the Claus von Bülow murder case, the Mary Cunningham-William Agee Bendix Corporation scandal, New York Stock Exchange reporter Maria Bartiromo's emergence, Studio 54's antics or Felix Rohatyn's solution for the New York City fiscal crisis of 1975.[8]

Jim Steranko, who previously created production illustrations for Bram Stoker's Dracula, produced concept art for Megalopolis at Coppola's behest, described in James Romberger's master's thesis as "expansive, elaborate and carefully rendered pencil or charcoal halftone architectural drawings of huge buildings and urban plazas that appeared to mix ancient Roman, art deco and speculative sci-fi stylizations".[17]: 54  By 2001, Coppola began holding table reads with actors, including Nicolas Cage (Coppola's nephew), Russell Crowe, Robert De Niro, Leonardo DiCaprio, Edie Falco, James Gandolfini, Paul Newman, Kevin Spacey, and Uma Thurman.[18] Other actors considered for roles included Matt Dillon and Parker Posey,[19]: 262  though Coppola dispelled rumors that he had written a part specifically for Warren Beatty.[20] Locations proposed for the film included Montreal and New York, with a budget pitched at $50–70 million, and "no more than $80 [million]".[19]: 263 [20][21] That year, Coppola set up a production office at Park Slope, Brooklyn to begin to work, organizing the casting, table read-throughs and recording roughly 30 hours of second unit footage of New York City with Ron Fricke, thinking it would be easier and cheaper to record footage prior to principal photography's start, with the footage being shot with an early-model Sony digital camera that Coppola risked if it would be of sufficient quality accross the city's seasons and elements of its vital activities of the rich and poor like food distribution, sewage and garbage disposal. However, all of the footage was seemingly discarded after the September 11 attacks, including more footage Coppola shot two weeks after, before declaring, in October, his plans to rewrite the script, as it originally included an aging Soviet Union satellite falling out of orbit into the Earth, which led Coppola and his team to cover some "heartbreaking" shots of destruction and cleared areas.[19]: 263 [21][8] In 2002, Coppola announced that his next project as a director would be Megalopolis and shot material for the film on high-definition video that George Lucas described as "wide shots of cities with incredible detail at magic hour and all kinds of available-light material".[22][19]: 263  He also disclosed that sixty to seventy hours of second unit footage had been shot in Manhattan and his intent to self-finance the film which, partially inspired by Fritz Lang's Metropolis (1927) and Things to Come, would utilize "some extraordinary new technology".[23][24][25]: xv [26]: 82 

However, the project was abandoned soon after. The success of his winery and resort company meant Coppola could produce the film with his own money, which a close friend of his, Wendy Doniger, said "paralyzed him": "He had no excuse this time if the film was no good. What froze him was having the power to do exactly what he wanted so that his soul was on the line."[27] To help, she gave him books that she deemed thematically relevant, including Mircea Eliade's Youth Without Youth (1976), a novella about a 70-year-old man struggling to complete an ambitious project. Coppola then decided to shelve Megalopolis to self-finance a small-scale adaptation of the book, with the intent of it being "the opposite of Megalopolis".[26]: 85 [27] In 2006, Argentine composer Osvaldo Golijov, who composed the music for Youth Without Youth, said Coppola had asked him to write a symphony for Megalopolis that would have "dictated the rhythm of the film".[28]

In 2007, Coppola admitted that 9/11 "made it really pretty tough ... a movie about the aspiration of utopia with New York as a main character and then all of a sudden you couldn't write about New York without just dealing with what happened and the implications of what happened. The world was attacked and I didn't know how to try to do with that. I tried".[15] In 2009, in regards to the likelihood of revisiting the film, he said: "I feel pleased to have written something ... Someday, I'll read what I had on Megalopolis and maybe I'll think different of it, but it's also a movie that costs a lot of money to make and there's not a patron out there. You see what the studios are making right now."[29]

Pre-production

On April 3, 2019, Coppola announced his return to the project.[30] "Yes, I plan this year to begin my longstanding ambition to make a major work utilizing all I have learned during my long career, beginning at age 16 doing theater, and that will be an epic on a grand scale, which I've titled Megalopolis," Coppola told Deadline Hollywood, adding: "It is unusual; it will be a production on a grand scale with a large cast. It makes use of all of my years of trying films in different styles and types culminating in what I think is my own voice and aspiration. It is not within the mainstream of what is produced now, but I am intending and wishing and in fact encouraged, to begin production this year."[30] Furthermore, he had approached Jude Law and Shia LaBeouf for lead roles.[31][32] Coppola reportedly spent $120 million of his own money and sold a "significant piece of his wine empire" to produce the film,[33] consisting on a part of his Northern California winery state branch to self-finance a $120 million budget.[8]

By August 2021, discussions with actors to star in the film had begun; James Caan was set to star while Cate Blanchett, Oscar Isaac, Jessica Lange, Michelle Pfeiffer, Jon Voight, Forest Whitaker, and Zendaya were in various stages of negotiations.[34] By March 2022, Talia Shire (Coppola's sister) expressed her interest in joining the cast,[35] and Isaac was reported to have passed on the project.[36] By May, the budget was reported to be under $100 million,[37] while Voight and Whitaker were confirmed for the cast, with Adam Driver, Nathalie Emmanuel, and Laurence Fishburne added.[37] On July 6, Caan, who was still in negotiations for the film,[38] died.[39]

Pre-production had begun by mid-July 2022, with Mihai Mălaimare Jr. serving as cinematographer.[40] In August, Kathryn Hunter, Aubrey Plaza, James Remar, Jason Schwartzman (Coppola's nephew and Shire's son), and Grace VanderWaal joined the cast, with LaBeouf and Shire confirmed to be part of the cast.[40][41][42] Chloe Fineman, Madeleine Gardella, Dustin Hoffman, Bailey Ives, Isabelle Kusman, and D. B. Sweeney would be added in October.[43] In January 2023, Giancarlo Esposito was added to the cast.[44]

In a series of Instagram posts in July 2023, Coppola shared a list of books that the film had been heavily influenced by, including Bullshit Jobs (2018), The Dawn of Everything (2021), and Debt: The First 5000 Years (2011) by anthropologist David Graeber; The Chalice and the Blade (1987) by sociologist Riane Eisler; The Glass Bead Game (1943) by Hermann Hesse; The Origins of Political Order (2011) by Francis Fukuyama; The Swerve (2011) by Stephen Greenblatt; and The War Lovers (2010) by Evan Thomas.[45]

Filming

Megalopolis was shot at Trilith Studios in Georgia from 2022 to 2023

Principal photography began at Trilith Studios in Georgia on November 1, 2022,[46] with set photos of Emmanuel and LaBeouf filming in Atlanta published on November 8,[47] and was due to finish in March 2023.[48] The film was originally shot using OSVP technology at Prysm Stage, Trilith Studios,[49] but "as the challenges and costs of that approach have mounted, the production is attempting to pivot to a less costly, more traditional greenscreen approach".[4] In reference to ancient Rome, several male actors donned Caesar cuts.[50]

By January 2023, the film was halfway into filming when reports indicated the budget ballooned higher than its original $120 million,[4] which journalists compared to the production issues of Coppola's Apocalypse Now.[4][51][52][53] Due to the reported "unstable filming environment", several crew members exited the film, including production designer Beth Mickle, art director David Scott, and visual effects supervisor Mark Russell, along with the rest of the visual effects team.[4] Coppola and Driver contested the report, saying that while there was some turnover in crew, the production was on schedule, on budget, and going smoothly.[54] At the same time, filmmaker Mike Figgis directed a behind-the-scenes documentary on the production of Megalopolis.[55] The documentary will accompany the film's release and will feature interviews with George Lucas, Martin Scorsese, and Steven Spielberg.[56] Driver finished filming his part in early March.[57] Filming wrapped on March 30, 2023.[58]

In August 2023, during the 2023 SAG-AFTRA strike, the film received an interim agreement from SAG-AFTRA, possibly for re-shoots.[59][60] Coppola also hinted that some of the pre-9/11 and post-9/11 second unit footage he recorded in 2001 may find its way into the film, but how much of it would be included remains currently unclear.[8]

Themes

To make the film allegorical and epic, Coppola returned to the personal touch that made his classic films so resonant, focusing all of his heart to make the film about love and loyalty in human life's every aspect. He felt that Megalopolis echoes these sentiments with love being expressed in an almost crystalline complexity, the Earth being endangered and human family being almost an act of suicide, to the point it becomes a very optimistic film that proposes faith in the human beings possessing the genius to heal any problem they face. Megalopolis also stands as a commentary for the United States of America as a whole, with Coppola echoing the opening "I believe in America" line of The Godfather (1972), under the belief that America's founders borrowed the constitution, Roman law and senate for their revolutionary government without a king, so American history could have never taken place or succeeded without the classic Roman learning to guide it.[8]

Release

The film is scheduled to premiere at the 77th Cannes Film Festival on May 17, 2024.[5]

Coppola saw the film in full for the first time on an IMAX screen at the company's headquarters in Playa Vista, Los Angeles. The film used camera technology for certain scenes that could cover an entire IMAX screen.[50] On March 28, 2024, a private screening of the film was presented to distributors at the Universal CityWalk IMAX Theater in Hollywood.[6]

Distribution

Coppola and his longtime attorney Barry Hirsch, a producer on the film, expressed that they would not make a final decision where to debut the film until a distribution partner was secured and a firm rollout plan was put in place.[6]

The "muted" response to the first screening made securing a distributor difficult for the film as studios weighed the return on investment, as Coppola expected a studio to commit to a print-and-advertising (P&A) campaign of $80–100 million. A distribution veteran told The Hollywood Reporter: "I find it hard to believe any distributor would put up cash money and stay in first position to recoup the P&A as well as their distribution fee. If [Coppola] is willing to put up the P&A or backstop the spend, I think there would be a lot more interested parties."[50] In April 2024, the film secured a spot to premiere in competition at that year's Cannes Film Festival on May 17.[5]

Following the press conference unveiling the Cannes lineup, festival director Thierry Frémaux addressed the pending distribution plans for Megalopolis, confirming that Coppola "showed it to us and to some other people in the U.S., and he's thinking about the strategy of the film ... We'll see. But of course, I'm not the one who is able to talk about that".[61] Frémaux told Deadline Hollywood that "Coppola is part of the Cannes family, not only because he got two Palme d'Or, but also he was always quite close to us".[62]

On April 23, 2024, French magazine Le Point reported that Paris-based distributor Le Pacte had acquired French distribution rights to the film in France.[63][64][65] When contacted by Deadline Hollywood for comment, Le Pacte's CEO Jean Labadie replied: "We don't have the film yet. Nothing is signed."[66] Le Point also confirmed that Le Pacte has set a late September release for the film in France.[63]

Moreover, Amazon MGM Studios and Apple Original Films are reportedly interested in acquiring North American distribution rights. The pending deal with Le Pacte also suggests that the film might not get picked up by a studio for a worldwide pact. Beyond the P&A commitment, another demand that has turned off prospective buyers is the fact that producers, including Coppola, are seeking half of the movie's revenues, even for France.[64]

On April 30, 2024, it was reported that French independent film company Goodfellas has come on board to handle international sales.[67]

Marketing

In an interview with GQ in 2022, Coppola gave more insight, elaborating that the film is "a love story". He further explained: "A woman is divided between loyalties to two men. But not only two men. Each man comes with a philosophical principle. One is her father who raised her, who taught her Latin on his lap and is devoted to a much more classical view of society, the Marcus Aurelius kind of view. The other one, who is the lover, is the enemy of the father but is dedicated to a much more progressive 'Let's leap into the future, let's leap over all of this garbage that has contaminated humanity for 10,000 years. Let's find what we really are, which are an enlightened, friendly, joyous species'."[33]

At the Ischia Global Film & Music Festival in July 2023, Figgis, who met Coppola through Cage, gave additional details as to what to expect when it comes to the film and the behind-the-scenes documentary. He described the film as Julius Caesar meets Blade Runner (1982), saying: "It is a futuristic film, set in a New York that will be called New Rome; at its center an architect who wants to rebuild the utopian metropolis after a disaster. It's very philosophical, but also veers towards political satire. Francis is obsessed with Roman history, its roots. I will document everything, from our chats to the long waits on the huge set and also the well-known problems that occurred during production, including layoffs, a story emphasized by the press."[56]

As he deems Megalopolis the distillation of a research lifetime of his own, Coppola opted to brand the film with his name as Francis Ford Coppola's Megalopolis, reasoning that he had always respected the original writers of his past films like Mario Puzo in The Godfather and Bram Stoker in Bram Stoker's Dracula. He noted that he could have done that in The Rain People (1969) and The Conversation (1974), but felt too insecure back to present himself with such grandiosity. He added the subtitle All Roads Lead to Rome once, but this was dropped after like 300 rewrites.[8]

Reception

Initial reactions

Following the early industry screening for studio executives, the film was considered divisive while some were mixed,[68] though others were primarily of general bewilderment.[69] Deadline Hollywood's Mike Fleming Jr. wrote the film is "crackling with ideas that fuse the past with the future, with an epic and highly visual fable that plays perfectly on an IMAX screen. [Coppola] covers complex themes in a remarkably brief two hours and thirteen minutes, not including credits".[6] The film was further described as a mix of Ayn Rand, Caligula (1979) and Metropolis,[69] and about a civilization teetering on a "precarious ledge, devouring itself in a whirl of unchecked greed, self-absorption, and political propaganda".[70]

Additionally, many attendees praised Shia LaBeouf's performance as one of the antagonists.[50] Fellow director Gregory Nava called it "a visionary masterpiece", complimenting the acting of LaBeouf and Giancarlo Esposito as "particularly sterling", adding: "It's an unbelievable, astonishing film, and [Coppola] is pushing the boundaries of cinema ... [Coppola] has used visual effects, and things that before have simply been limited to superhero movies, in a way to evoke other kinds of emotions."[71]

Coppola compared the early reception to Megalopolis to the first reactions to Apocalypse Now, stating: "This is exactly what happened with Apocalypse Now 40 years ago. There were very contradicting views expressed, but the audience never stopped going to see the film, and to this day Apocalypse Now is still in very profitable distribution. I am sure this will be the same situation with Megalopolis. It will stand the test of time."[71] He also expressed hopes for its future, saying: "It's my dream that Megalopolis will become a New Year's Eve perennial favorite, with audiences discussing afterwards not their new diets or resolutions not to smoke, but rather this simple question: 'Is the society in which we live the only one available to us?'"[8]

In an op-ed piece, titled "Hollywood Is Doomed If There's No Room for Megalopolis", written by journalist and filmmaker Bilge Ebiri of Vulture, he criticized the mixed post-screening reactions, writing: "Regardless, the fact that these quotes were full of self-satisfied business-speak (amplified by an industry press that seems to love bean-counting almost as much as do the execs they cover) didn't help matters. As soon as these opinions appeared, they were met with online blowback from people who deemed these execs anti-art philistines and know-nothings ... But the real question of this most recent chapter of the Francis Ford Coppola saga isn't about Megalopolis, a movie we'll be arguing about plenty when it opens. It's about whether Hollywood and the culture into which it releases its movies still have any room left for true dreamers."[72]

Accolades

Award / Film Festival Category Date of ceremony Recipient(s) Result Ref
Cannes Film Festival Palme d'Or May 14–25, 2024 Francis Ford Coppola Pending [73]

References

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External links

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