As a film enthusiast and student of history, I find myself deeply moved by Francis Ford Coppola‘s words at the screening of his latest work. His profound insights into the world of cinema, art, and humanity are a testament to his rich life experience and unparalleled creativity.
Coppola’s career spans over five decades, during which he has left an indelible mark on the film industry. From the Godfather trilogy to Apocalypse Now, his works have not only captivated audiences worldwide but also pushed the boundaries of cinematic storytelling. Yet, despite his incredible success, he remains humble and hungry for knowledge, always striving to improve and evolve as an artist.
One particularly poignant moment during the discussion was when Coppola spoke about the state of the world and the struggle between the haves and have-nots. He expressed a heartfelt desire for a brighter future for our children, one where we have overcome the patriarchal mindset that has plagued humanity for thousands of years.
In true Coppola fashion, he concluded with a joke that perfectly encapsulated his humor and wisdom: “I’m 85, I don’t know how many years I have left, but all I can think of is that I would like the world for the children to be beautiful. And I think it can be… unless they start watching TikTok again!”
Coppola’s words serve as a reminder that we are all unique and capable of greatness. As he so eloquently put it, we are filled with brilliance that can be expressed through our ideas and visions for the future. Let us strive to jump over this period of patriarchy and create a world where everyone has an equal opportunity to thrive.
Frances Ford Coppola expressed his joy on New Year’s Day, stating that seeing the audience for his project ‘Megalopolis’ was like a long-held dream coming true. For him, this dream lay in the opportunity to discuss for 100 minutes not just about the film itself, but using it as a platform to explore wide-ranging topics related to politics, economics, and social values.
The city of Megalopolis, as many are aware, primarily explores the validation of ideals often considered naive or unrealistic by politicians and analysts. Francis Ford Coppola’s interpretation of utopia, on the other hand, is characterized by conversations where movie enthusiasts don’t focus on budgets, box office performance, critic reviews, or technical aspects of filmmaking (although some were touched upon briefly), but instead delve into topics that Coppola prefers to discuss. In this interactive dialogue, he addressed themes such as restructuring government from its foundation; implementing a universal basic income; dismantling patriarchal structures; designing cities in harmony with natural principles; and transforming traditional work into leisure activities or “play.
Essentially, the conversation mirrored the complexity of the film, or perhaps even surpassed it by tenfold. The audience, fully captivated, not only welcomed these thoughts and queries but actively participated for a span of four hours. It was evident that Coppola found himself in a state of pure delight.
To put it another way, the conversation followed the intricate path of the film, or maybe even ventured beyond it by ten times. With the audience eagerly joining the debate for a remarkable four-hour session, Coppola seemed to be in his element.
The conversation wasn’t intended to be about memoirs, but the seasoned filmmaker occasionally delved into his past experiences. At one point, he commented, “My life is fascinating. I’ve either been completely penniless or wealthy. Quite unusual.” Towards the end of the event, the veteran filmmaker gave a brief overview of his financial journey throughout his career.
I assumed control of my company primarily because I had a distinct vision for its future, while others were more concerned with avoiding dismissal and preventing financial collapse. They prioritized self-preservation, whereas I’ve never been one to shield myself. For instance, in the film ‘Apocalypse Now,’ I held a 21% stake, yet owed $30 million. Born without substantial wealth, my college days at UCLA found me living on a mere dollar a day; that’s why I gained weight, subsisting on cheap Kraft Macaroni dinners every night. However, if you offer me a hundred million dollars today, I’d choose a hundred million friends instead.
On sale day, a total of 425 friends, both old and new, quickly purchased $45 tickets for Coppola’s event at the Aero Theatre, ready to arrive as early as 11 a.m. on New Year’s Day, prepared to spend four hours immersed in film and discussion, and content with sustenance from theater popcorn rather than mac-and-cheese. Coppola occasionally shared anecdotes reminiscent of memoirs, but primarily stayed within the realms of philosophy and socioeconomic theory. He invited two knowledgeable panelists, Juliet Shor, a socialist economist known for her book “Plenitude: The New Economics of True Wealth,” and Jim Augustine, an entrepreneur specializing in guiding tech companies towards creative methodologies, to provide intellectual support.
Coppola appeared deeply contemplative during the event, speaking for eight minutes prior to the screening and then delivering an additional 25-minute speech as the credits started playing. He seemed to imply his connection with the character of “Megalopolis,” high-minded architect Cesar Catilina (played by Adam Driver), as he repeatedly echoed a question that Cesar poses in the movie: “Is this the only society we have to live in?” (During the otherwise straightforward film screening, the house lights briefly brightened, and someone approached the screen, acting as an interrogative journalist without uttering a word. As the image of Driver looked down on him, he too asked that same profound question about our larger existence.)
As a lifelong cinephile and filmmaker myself, I can certainly appreciate Francis Ford Coppola’s unique approach to promoting his films. In introducing “Megalopolis” to his audience, he asked us to imagine watching it on New Year’s Day 2027 – seven years into the future, a number he considers lucky. This imaginative request not only adds an intriguing twist to the film viewing experience but also allows Coppola to envision potential changes in the public discourse surrounding “Megalopolis,” which, like his previous work “Apocalypse Now,” has been polarizing and financially successful.
I remember when “Apocalypse Now” was first released, it faced a wave of criticism, with some even calling it the worst movie ever made. However, as time went on, the film’s divisiveness proved to be a catalyst for further discussion, ultimately leading to more appreciation and admiration for its complex themes and powerful storytelling. Coppola noted that this divisiveness is actually a good sign, suggesting that there is something about the film that warrants continued conversation.
Furthermore, “Apocalypse Now” has not only stood the test of time but also remains financially viable, even 50 years later. This longevity and enduring appeal are a testament to Coppola’s visionary storytelling and the timeless nature of his work. I find it fascinating that he continues to push boundaries in how he presents his films and encourages audiences to engage with them on multiple levels, whether through time-traveling introductions or thought-provoking discussions about their impact.
Coppola expressed that we humans form one big family, and he considers each of us as his relatives in a sense. He believes that as a species, we’re incredibly intelligent, capable of achieving anything when we tap into our creative, playful side. Today, he invites us to embrace this playful spirit as we embark on the journey of ‘Megalopolis’.
He encourages viewers to approach the movie without any preconceived notions because it doesn’t adhere to traditional storytelling norms. He hopes it won’t be dull, but instead, a unique experience that allows you to laugh, argue, converse, and express your feelings freely—even calling it ridiculous if you want to. You might also find yourself moved by its moments and even shedding tears. Essentially, Coppola wants the audience to feel unrestricted while watching ‘Megalopolis’. Just walk through that door with an open mind and heart.
After the screening, Coppola found himself pondering financial matters – not just for filmmaking purposes, but as a broader societal issue about achieving greater equality. Shor pointed out that “the balance between time and labor” is a significant aspect of the latest movie, and Keynes, an economist, predicted a century ago that we’d have a 15-hour work week by now. Regrettably, things have evolved in the opposite direction instead.
Coppola expressed, “I’ve been implementing a four-day work week where employees receive 32 hours without any reduction in salary. This transformation has been incredibly beneficial and effective for companies. I own a vineyard in Napa Valley, and you know that vineyards operate seven days a week because visitors arrive on the weekends… Inspired by my experiences with Juliet, I suggested, ‘If you wish to have a four-day work week and can make it function for your business, go ahead.’ Our vineyard is the only one, as far as I know, that operates under this schedule, as most are seven-day operations… We also offer another program where any employee within our company, as part of their benefits, can learn to play an instrument like the accordion or cello, or take painting classes… This initiative aims to give employees opportunities to pursue activities other than work, making them happier and more productive, which in turn improves their work performance. We cover these learning expenses as part of our company’s benefit program.
Coppola offered insights on transforming government structure. He spoke of his experiences with community involvement through a charity he established, North Beach Homeless. Frequently, he cited Jane Jacobs and her book “The Death and Life of Great American Cities” to suggest that a government built around communities would be more effective because everyone would look out for each other. His proposition was to reverse the current hierarchy of power, with neighborhoods having the most authority, followed by cities, states, and finally the federal level, which would primarily serve ceremonial purposes.
Coppola expressed his opinion that “Politicians shouldn’t have a lifetime career.” Reflecting on his time as an officer in military school, he suggested that politics could resemble jury duty, where one serves as mayor for a brief period, perhaps six weeks. Towards the end of this term, one would guide the incoming politician. He criticized the current system where politicians compete for privileges gained over a lifetime in government, only to later become lobbyists and access real financial power. Instead, he proposed flipping the system on its head, with the aim of shaking things up by introducing change.
The discussion drew on a multitude of authors and historical figures, making it extensive enough for an expansive bibliography. Coppola also incorporated the work of his friend Stephen Greenblatt, author of “The Swerve: How the World Became Modern”; Stefan Zweig, author of “The World of Yesterday” from the ’60s; Robert Caro’s biography of Robert Moses titled “The Power Broker”; anthropologist David Graeber, known for his books “The Dawn of Everything: A New History of Humanity” and “Bullshit Jobs: A Theory”; Elinor Ostrom, the first woman to earn a Nobel Prize in economics; renowned 20th century urban planner Robert Moses; and Lithuanian anthropologist Marija Gimbutas. Even Lady Bird Johnson’s anti-litter campaign was mentioned during the conversation.
As a seasoned filmmaker with decades of experience under my belt, I can’t help but feel disillusioned when discussing my profession. It seems that nowadays, making movies has become somewhat analogous to mass-producing fast food – a mere commodity designed to appeal to the masses and generate profit without taking any risks.
I remember vividly the time when I declined the opportunity to create a second ‘Godfather’ film. The head of the company, Charlie (Bluhdorn, of Gulf and Western), compared my ability to make movies to creating Coca-Cola. But I was adamant in my refusal – I didn’t want to churn out formulaic, mass-produced products like a factory assembly line.
In my opinion, making profit without taking risks is like attempting to create life without the passion and creativity that comes with it. It may be possible, but it’s certainly not the most fulfilling or satisfying way to go about things. I believe that true art should challenge us, push boundaries, and inspire us – not simply cater to the lowest common denominator in search of easy profit.
As a filmmaker, my mission has always been to create meaningful, impactful stories that resonate with audiences on a deeper level. It’s important for me to remain true to my artistic vision and not compromise it for the sake of commercial success. Art should be a labor of love, not just another product on a conveyor belt.
As someone who has spent a significant portion of my career taking breaks from filmmaking to focus on learning and growth, I can relate to the filmmaker’s perspective. After completing a project that was particularly meaningful to me, such as working on an adaptation of a popular novel like “The Rainmaker,” I too found myself yearning for more knowledge and experience in my craft.
In my case, I sought to improve my ability to work with actors, understanding that the quality of our collaboration can make or break a film. Like the filmmaker, I was struck by the fact that in the movie industry, there is often little emphasis on rehearsals due to financial constraints. However, I believe that investing time in preparation can lead to more authentic and compelling performances on screen.
I remember Marlon Brando’s words, emphasizing the importance of not committing lines to memory until it was truly necessary. His approach resonated with me, as I too have found value in using theater games, improvisations, and other techniques to explore characters and scenes before committing them to film.
In short, just like this filmmaker, I see myself as a lifelong student of my craft. By constantly learning and growing, I hope to create films that resonate with audiences and push the boundaries of what is possible in storytelling.
As a cinephile reflecting on global affairs, Coppola’s words resonate deeply: “The divide between haves and have-nots is starkly evident across the globe today, and it’s something that can’t continue. I’m an elderly man, turning 85 this year, and I’m not sure how many years I have left. All I can hope for is a world where my grandchildren can grow up in beauty and harmony. I believe we have the capacity to make it so; we just need to elevate our thinking.
Each person here is incredibly special, unlike anyone else, a rare gem so to speak. So if you’re an artist, I would strongly encourage expressing your personal touch as this will make your work stand out. I believe we all possess extraordinary creativity that can shine through in our thoughts and visions for the future. We need to surpass the era of 10,000 years dominated by patriarchy and the idea of ‘I am supreme and desire everything.’
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2025-01-03 06:17