Movie News

Harry sits down in Austin with Francis Ford Coppola and talks YOUTH WITHOUT YOUTH, Seventies film, Wine, TETRO and the Coppolas

Published at: May 8, 2007, 9:05 p.m. CST by headgeek

Hey folks, Harry here... Yesterday was one of those momentous days in one's life. It began with Yoko and I going to the post office to mail out the wedding invitations. As the stamps were affixed, it seemed to finalize in our minds the fact that, indeed, we're getting married. After that, I was to go to the fabulous Driskill Hotel on 6th Street to interview, one on one with Francis Ford Coppola. I wasn't so much as nervous about this meeting, as much as I was stunned that it was happening. That I would be sitting down with Coppola in my home town, in the classiest hotel in town, in his room... 1 on 1. It was incredible. Then afterwards, I was going to the Alamo Drafthouse Downtown, to meet Farley Granger to watch my favorite Hitchcock film, STRANGERS ON A TRAIN, and have Farley autograph my original 1-sheet to me. It was a great day/night. I found Coppola to be a relaxed and calming personality. There was no tension in the room, he seemed to be exactly a physical reflection of the surroundings he was in. Classy, comfortable and hospitable. Some notes on the below interview. This is actually, the first time... in history, that I've done a sit down in-person ONE on ONE interview. So in preparation for the interview, I bought a fancy mini-tape hand held voice recorder and... after testing it... it turns out, I had it on a setting called VOX, which throughout the interview, it just would shut off, then turn back on. Sometimes missing great deals of our conversation. What's missing? Essentially our rather lengthy discussion about Coppola's Wines, which I dearly love. And that he is extremely proud of. Also missing is most of the details upon his next film TETRO. That said, what I do have with you is close to 4000 words between Francis and myself. I hope to have a chance in the future to bring Francis to town for a screening of YOUTH WITHOUT YOUTH and to sit with him again, with better equipment to continue our conversation. Thanks goes out to AICN intern extraordinaire, Mike for his transcription of the faulty tape - and I hope you readers out there enjoy this remarkable opportunity I had with the brilliant, Francis Ford Coppola... Harry: So what brings you to Austin?
Coppola: Well, I always like to come to Austin and as you know, I’m doing a show… my wife’s new documentary tonight, in a few hours and … I basically told my company, “OK, I’ll give you the month of May, but …”
Harry: Yeah
Coppola: “… and be of what use I can be and then June I’m leaving, so take advantage of me…”
Harry: So you start filming down…
Coppola: Not filming, but I have to do the preparation…
Harry: Right..
Coppola: Right.
Harry: Cool. I’m supposed to give you the “Hello” from Guillermo del Toro.
Coppola: So you’re friend is in London, right?
Harry: He’s in Budapest at the moment and I’m heading to Bucharest at the end of the week, I’m supposed to meet him at the end of the week and catch up, so…
Coppola: How long has it been since you’ve seen him?
Harry: About a year
Coppola: How is his weight, how did that operation go for him?
Harry: He said it went pretty great and he’s shed off quite a bit of weight, I’m actually supposed to go through the same process that he…
Coppola: …went through…
Harry: Yeah.
Coppola: Yeah, it’s for his health, you know he’s got to really watch it. You too, ya know… you’re young. How old are you?
Harry: I’m thirty-five.
Coppola: Oh, you’re really young…
Harry: Yeah, I’m a kid, but speaking of youth, when I was reading the diary you had on the site for YOUTH WITHOUT YOUTH… you had put out that you were concerned about great talent, recapturing the glory of their youth, and why great artists made great works at such a young age and then trying to recapture that for the rest of their careers, often times without success…
Coppola: Well it wasn’t really a concern, I was really using that little essay in three parts, because it was the first time I had announced to our constituency of that site that I was going to return to directing …it was a guessing game, where I first had one paragraph called “Youth,” then a paragraph with a “W” and an “O” and then the third, but it was actually a game I was playing with them …and they knew it was a “W” and they were trying to guess and you know, it was three little essays on, yes, the phenomenon of why… not to be concerned, but it was pretty evident in those paragraphs that I was just wondering why it is that often artists and novelists, playwrights make their mark when they are younger, than when they try to recapture or move past that and when they do, they discover they only had so many arrows in their quiver, I use that word a lot, quiver. …but also, I noted that, you know, often these young people come to the public’s attention when they are young, whereas it’s very rare for someone to be discovered and have their imprint made later in life. I for one mentioned Bill Kennedy as an example of that… You know, just exploring what it takes. As I was saying earlier, that I feel all of us are given a certain quiver of arrows and once you expose them, that’s somewhat it and so many… You know, even the great ones, even Tennessee Williams or Joseph Heller or Fellini or the guy with the, what’s his name? You know a very famous writer that writes a lot about boxing, what’s his name? (Francis was searching for Norman Mailer)
Harry: Yeah, I know, from the Ali/Forman documentary
Coppola: …he writes a lot about boxing and anyway that guy that you know or who wrote FROM HERE TO ETERNITY? That’s Jones? (James Jones)
Harry: Yeah.
Coppola: But, like if you get discovered and then you lay on what you got to lay on and then after you do that, you go on repeating yourself… few artists are able to come up later in their lives after exposing their few quivers, I would, I refer to arrows, but few with a whole new thing… Shakespeare could do it and you know, I was using it to tantalize my group there to the announcement of YOUTH WITHOUT YOUTH.
Harry: You also mentioned trying to forget what you’ve learned as a filmmaker…
Coppola: Well that’s also challenging myself and would I be able to, in a sense, be able to make myself young again by trying to forget everything I knew and approach film with in the years of experience making movies.
Harry: So you forget everything you that you know… What did you do on this that you short of shucked off what you have done in the past?
Coppola: Partly in setting up an auspices... in other words, without all the protection.
Harry: Right.
Coppola: I mean as, you know, you look at any important director and when they go out… certainly in the commercial film world, they go out with a script that has been evolved in a long process of… well there are scripts being developed for them and then when the floor get rewritten and they put other writers on it, like the best writers available… they’ll take the best one and make that, then the other three will be shopped around for other directors and then they are sure to have the best cast that money can buy, the best photographer that money can buy… so they’re going out pretty protected…
Harry: Yeah.
Coppola: …whereas I was going to go and take myself and go to a place that no one can really get near me and get a cast and crew that may not, today be the best that money can buy, but who knows, it might evolve to be the best that money can buy - and with a script that I wrote myself, but I started off in my younger days wanting to be a playwright in the tradition of Tennessee Williams and Eugene O’Neil.
Harry: You shot YOUTH WITHOUT YOUTH digitally didn’t you?
Coppola: I had never said how I did it, because I shot film and digital and I kind of maintained that everyone should look at it and kind of figure out how I did it…
Harry: Right.
Coppola: …but, we did shoot film as well.
Harry: How did you come to the material, YOUTH WITHOUT YOUTH?
Coppola: I had been working for a year that period, when I was working on MEGALOPOLIS, during the so-called 10 years when I wasn’t doing anything, I was a little preoccupied on this script I wrote that I had made into an extremely ambitious project, that it was very difficult even to get feedback on it, given the fact that the sort of notes I would get would be related to the projects’ financial or pop-value. I didn’t want that kind of narrow movie feedback, because I was trying to write a script that was even more ambitious than that. it’ll grow up after a while… I sent it to a friend that I had known in high school who was a young woman who became a great [tape blurs here] …at the University of Chicago and she read my script and gave me some notes, from a broader literary or intellectual perspective, which is what I wanted. That’s what I was trying to do and in the course of it, she sent me a lot of quotes from Mercea Eliade, who was this professor and thinker from which I learned a lot of stuff. And she had a lot of quotes relative to a couple of the themes I was playing with related to the consciousness of MEGALOPOLIS and I became curious of the story that these quotes had come from and I managed to get it. It wasn’t easy to get. When I read it, I just said “well, here I go. I’ll just retell everybody and I’ll just write this and go off on my own and use my own dough and just make a film.” …instead of being you know, stuck with this MEGALOPOLIS project which after the events of September 11th, 2001, I just didn’t know how to continue with it.
Harry: Is that what happened to it? Was when 9/11, it…
Coppola: It 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.
Harry: When do you think that you could revisit that material?
Coppola: I have abandoned that as of now. I’m now going to… I plan to begin a process of making one personal movie after another and if something leads me back to look at that, which I’m sure it might, I’ll see what makes sense to me.
Harry: I think it’s fascinating that you have decided to go and make personal films again, as opposed to the more commercial efforts like something like [THE] RAINMAKER… but did you feel that [THE] RAINMAKER and JACK and DRACULA and those films were more commercial fare, but I assume they were of course personal to you?
Coppola: I’ll address that, but there’s no question that those pictures where made at a time when I was financially way in hock at that time. You remember that I filed bankruptcy at that time, so I made a series of pictures to pay that off and then when I reached the point with DRACULA, that I had pretty much fixed that. My wife agreed with me, that I should make three more studio films to save money up and that I could keep that money separate and use it to make MEGALOPOLIS, so I made JACK, primarily to work with Robin Williams. It was his project and I was sort of suggested to him as a possibility, and Robin is a personality and a San Francisco neighbor that I had always wanted to collaborate with. I went into THE RAINMAKER pretty much because I was also fascinated by just [John] Grisham’s knack to make bestselling stories. After I finished that one, I just said “well I’ve kind of had it and I’m not going to do a third one,” [studio film] and then took the money I earned from most of it to put into MEGALOPOLIS and actually went to New York and did some tests and started looking at actors
Harry: I remember, I was covering all the details at that, many people were quite excited about that project.
Coppola: That’s how I financed that. I used… you know, my wife would be generous and said “look, it brought us back from financial disaster, you should make films from yourself, and use that money to make the first one.” So I tried and then I got into my snag with um… the events of that date …and then the World Trade Towers and I didn’t know what to do. Then at the time, my company also started to get more successful, so the financial earnings that I had from that period dating back from the bankruptcy to that point was such a success that I could finally afford to just make movies and finance them on my own.
Harry: How have you seen that your self financing route has liberated you from the days having to deal with the modern day studio process?
Coppola: Well, you know it’s the same process, even at the independent level… is so geared towards making money, I mean they want to have awards and be considered important artistically, but the biggest reason the big studios have the independent companies, is to uncover talent that they can eventually plug into their mainstream films like with Sam Raimi
Harry: Or some minor leagues going to the majors…
Coppola: Exactly! That’s why they’re in it… and so those things are operated, like you take FOX SEARCHLIGHT… I mean, they… LITTLE MISS SUNSHINE is the perfect kind of movie that they want to find, because not only do get a feel good movie which is essentially the same sort of thing the big studio side is making, that film is a junior version of what they ideally want to be making.. The studios are rarely interested in personal films, unless it gets them closer to talent that they’ll want to exploit elsewhere. Like the directors on LITTLE MISS SUNSHINE, they’ll be working in outside the independent area. When I was in a position to finance my own movie, my goal was to start shooting the first day without anyone evening knowing I was making the movie and I only got busted really by Variety…who said “tell us about it or we’re going to announce it,” and I mean what, we were about three weeks away from shooting and I said, “well, you know, ok here it is.” But ideally, I’d love to make films without people looking at what I was doing, or second guessing the process. To just go from film to film and be making the next one before anyone caught on to what I was doing.
Harry: Richard Linklater does that here in Austin…
Coppola: Just starts, huh?
Harry: Literally, you will sit around, then the next thing you know you will see “Is that Rick shooting down at the corner? Yes, he is!” He’s just shooting digitally and hired actors… nobody knows what he’s up to…
Coppola: How does he even finance these things?
Harry: I’m not really sure, but it seems sometimes he just starts and then takes it to somebody at a certain point and says “Hey, I need… at this point I need to bring people on” or he will do rehearsals with his actors and show people that work. At least on his very indie films.
Coppola: That sounds like a good route and in answer to your question, the more privacy that you can maintain while you are in the formulative… It’s like, what would happen if a woman had conceived and she had to like half her belly in this glass thing and then everybody going like “well, I don’t know about the nose. It’s not going good… what do you think about that… I don’t think this is working…” There are things you want to do in privacy when you are creating and I think because you’re so secure, because nobody can be secure and you don’t want to hear all of those opinions, because you are trying to hang on to it all.
Harry: How much of the sort of fantastical elements of Eliade’s novella did you stay true to, I mean how accurate to that novella in terms of him being struck by lightning and returned to youth or…?
Coppola: Oh I loved that when I read it in the story, but there was so much more to the story like Eliade would mention that or that other things that he’s splitting into other personalities and you have this sense of the characters that were overshadowing the population… And they were superior intellectually, but that they can have their nuclear wars, because the people who would be left would be able to rebuild everything that weekend, you know? As I read the book, it just continued to surprise me with each layer of where he took the story so I tried, within my ability, to get that in a two hour movie.
Harry: When you were making films in the seventies, Like THE GODFATHER and THE CONVERSATION, I have a sixteen millimeter print of that one, because it was so unavailable until recently…otherwise, What was it about the seventies that made the films that you made, and Friedkin and Bogdanovich and Scorsese… That original group of seventies filmmakers. What is so different about the industry today, from back then?
Coppola: Well, I think those days were still, in a way, run by either the great showmen of the past, the Jack Warners and Louis B Mayers… It had, at that time, jus recently lost them. But they were real showmen, kind of like Harvey (Weinstein) is these years, you know, he’s vulgar and he’s this showman. And the studios in those days they didn’t know what to do. The business was changing, THE SOUND OF MUSIC and had been the number one picture. Then Arthur Penn makes BONNIE & CLYDE with Warren Beatty and suddenly were in there talking a big storm saying “let us do this and let us do that,” Then MIDNIGHT COWBOY got made with the great John Schlesinger and so there was suddenly now something to shoot for and Kubrick jumped in and started talking fast and you know, after them, there were accidents, like I made THE GODFATHER. That was supposed to be a regular studio picture, but I sort of took it my own way despite the fact that they didn’t want me to and I only got to make THE CONVERSATION because of the success of THE GODFATHER. So, there was just an opportunity that opened up, because the studios thought that they did not know what to do. Now the studios know what to do, so they make SPIDER-MAN and they want to make PIRATES OF THE CARRIBEAN and that’s their formula that they have. That’s why they won’t make a drama anymore, they’re only interested in franchises. So that’s the business they are in now, and the big money of this year and this summer is going to come from three movies – SPIDERMAN, and the PIRATES OF THE CARRIBEAN and SHREK…so they have what they want… they know what to do. In the seventies, they didn’t know what to do.
Harry: What sort of advice do you give to like Roman [Coppola] and Sofia [Coppola], because I mean, I love CQ.
Coppola: Me too.
Harry: I think it is just a spectacular film and everything that Sofia has done has been just…
Coppola: Original! She goes her own way.
Harry: My fiancé’s favorite movie of last year was MARIE ANTOINETTE. She wants every shoe that was in the film and was just, in love with the juxtaposition of the music and the era. What advice have you given them? I mean, are they being courted by the big studios to make big projects or are they wanting to stay true to the path that I’ve seen them on, so far, which is making incredibly personal projects?
Coppola: They only want to make personal films. Sofia has had such success with LOST IN TRANSLATION which gave her the opportunity to turn her MARIE ANTIONETTE idea into something larger, which she wanted to do with that mainly because the style dictated that level of production. Roman hasn’t quite had the success yet, that Sofia has, but you take both of them, and you ask what I taught them, well, I taught them to make personal films. They’re already rich from wine you know, so they don’t need to make much… Sofia is rich and so is Roman.
Harry: How does it feel to be making movies?
Coppola: It’s what I really love to do and I must say that having total control of a production, because it was dough and having the privacy that I want. And just how many more I can make at my age. *Coppola Laughs*
Harry: Well, I mean currently you’re pretty young in comparison to the ages that Hitchcock, Ford and Kurosawa were… they made movies till they were far older than you are.
Coppola: Yeah, no, I didn’t… you know, you just hope that I can stay healthy and be in good shape and enthusiastic… the enthusiasm. I mean, enthusiasm certainly is an ingredient that gets you up in the morning and gets you to walk up that hill, which normally you’d go “Oh, you know, what do I want to go to that hill for?” But if that’s where the shot is…
Harry: Yeah.
Coppola: You kind of do it without thinking about it. I feel very blessed and am very excited and I hope I make a sort of film right after TETRO, because now I feel I have what I’ve always wanted, which is the freedom I’ve always wanted.
Harry: … you are back doing the directing. What are you doing with Zoetrope? Do you intend to continue to produce and cultivate other talent…or are you concentrating more on your own personal direction these days?
Coppola: Well, Zoetrope is now owned by Roman [Coppola] and Sofia [Coppola]. I no longer own it and they make the decisions there. … the kids, Roman and Sofia, have decided they don’t just want to make movies just for movies’ sake. They only want to make projects that they care about personally, …but, they’re ready to do it.
Harry: …I’m excited to see you directing again, but I’m also hope to see you in a producing level, while also following both Roman and Sofia’s careers. It is amazing to me how wonderful their films are turning out. Sofia and Roman are really becoming great filmmakers.
Coppola: They were raised in it as little kids. They’ve been around movies all their lives. They were on location on APOCOLYPSE [NOW]. They were there.
Harry: So often, great writers or artists whose sons and daughters in turn attempt to become great writers, it doesn’t really turn out that way, you hope that they have the hereditary gene for brilliance, but it rarely happens…
Coppola: …but I think the movie business is more like the circus.
Harry: Yeah.
Coppola: And we are more like a circus family, because there is a talent element, but there’s also a lot of other daring and experience and you just have to have the passion and drive to do it. The Carnival has to have you.
Harry: It’s a pleasure to meet you!

Readers Talkback

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  • May 8, 2007, 6:55 p.m. CST

    WTF?

    by AllieJamison

    incredible

  • May 8, 2007, 7:03 p.m. CST

    Love ol' Francis...

    by Jakes Nel

    He makes pretty good wine, too.

  • May 8, 2007, 7:11 p.m. CST

    He's a cool dude.

    by IAmJack'sUserID

    And you should have us submit questions to him for the next interview. I can't think of any right now, but oh well.

  • May 8, 2007, 7:13 p.m. CST

    Nice interview

    by purplemonkeydw

    well done, I wish I was rich on wine, and by wish I mean drunk...right now

  • May 8, 2007, 7:18 p.m. CST

    father indeed

    by AllieJamison

    great stuff. filled with typical aicn calamities (talk about fucking obesity? /a not working record tape). you can only love these disfunctions if, after all, it ends in such an insightful interview. so rich (the interview). gotta love the part about intimate filmmaking appearing on a page of this very site. fantastic! it's beautiful to see how proud he is of his children. everytime i listen to a coppola audiocommentary i kinda adopt him as some kind of father figure. i probably woudln't even be able to do an interview with that man without falling into an emberassingly grotesque child scheme. ttzzz...

  • May 8, 2007, 7:21 p.m. CST

    what ever happened to the spidey 3 review?

    by Mr_X

    I'm curious is all.

  • May 8, 2007, 7:21 p.m. CST

    Right.

    by CherryValance

    All those "Right"s were funny. And you don't use a new gadget for an important interview. It's like getting a perm the day of the prom. What I don't get is all that time he was broke could George Lucas not float him a loan? Gee whiz.</p> And how long have there been interns?

  • May 8, 2007, 7:25 p.m. CST

    Amazing

    by kikuchiyoboy

    This is what I love AICN for. The interviews feel more personal. They come from a fans point of view yet also a biographical view. It's a wonderful mix of technical and personal. Francis is an interesting artist and his is a wonderful snapshot of him and his work in the here and now. <br> <br> I'd love to see a sit down between you and Ebert. Two different spectrums of the art of film appreciation. I don't know. It seems interesting to me anyways. I'd love to see more and more of these one and ones.

  • May 8, 2007, 7:30 p.m. CST

    Nice work, Harry

    by Laserbrain

    More features like this please.

  • May 8, 2007, 7:33 p.m. CST

    Thanks, Harry

    by Silverglade

    I appreciated that interview. Good feature.

  • May 8, 2007, 7:35 p.m. CST

    interesting but...

    by occula

    i get the retard tingles whenever i read stuff like 'my daughter is rich, she doesn't need to make movies.' jesus christ. did you actually verbalize that, coppola? regardless, it's always interesting to hear a master's voice, but that intern needs to get fired. transcription involves spell-checking and filling in the blanks, please.

  • May 8, 2007, 7:36 p.m. CST

    I liked this interview.

    by Bronx Cheer

    <p>Aside from the constant hyping of Austin, I enjoyed the relaxed feeling of the piece. If I were to offer one piece of criticism, I would suggest that the interview layout should be consistent. Instead of the quote boxes for interviewee, just use a consistent font and layout from line to line. It reads even more like a conversation that way; it's a little jarring to go from line to box etc.</p> <p>I loved the comparison of the movie biz to the circus world. If anyone knows, it's Mr. Coppola. So much of it is pure chutzpah and showmanship.</p> <p>In retrospect, I guess I don't mind Harry's consistent highlighting of Austin; it's home, he's proud of it, and I do the same thing with NYC.</p> <p>Good job. Just practice with new gear before you sit down with a GOD!</p>

  • May 8, 2007, 7:40 p.m. CST

    And yes, please, more feature articles!

    by Bronx Cheer

    I love that there have been so many features recently. That's a trend I would love to see AICN stay with. Give us some meat on those rumor-mongering bones.

  • May 8, 2007, 7:45 p.m. CST

    right

    by AllieJamison

    right <br> <br> <br> , bronx cheer! i can only second that. i want some editorials!

  • May 8, 2007, 7:51 p.m. CST

    That is a good quote to end with

    by kikuchiyoboy

    "The Carnival has to have you" <br> <br> 8 1/2 says it all.

  • May 8, 2007, 7:57 p.m. CST

    I'm really glad for Coppola.

    by Jakes Nel

    Sounds like he's finally getting what he's been dreaming of all this time. Total freedom and control. Good to hear he's back in the director's chair where he belongs.

  • May 8, 2007, 8:17 p.m. CST

    Oh, YackBacker, you had to go there.

    by Bronx Cheer

    I was happy to read Coppola addressing the real merit of keeping the weight off: health, and a chance at a long life. I wish Harry all the success in the world in dealing with his weight. And cracking fat jokes about Coppola is blasphemy.

  • May 8, 2007, 8:17 p.m. CST

    Ah, nice one Harry

    by Jaka

    I didn't know what to expect and I by the second or third question I was totally engrossed. Incredible to here the intimate details from a master. His answer for what's different about movies now than in the seventies was incredibly insightful. And personally, I like the Austin hyping and the personal "tingle" inducing answers. Great interview Harry. Three thumbs up.<br><br>However, I have to agree with the transcription comments. Copolla deserves better. It would have taken another 30 minutes to check the spelling, grammar and conversation flow. It would have made the interview ever better.

  • May 8, 2007, 8:18 p.m. CST

    Of course

    by Jaka

    I could have spelled his name correctly too! Nyaaa!

  • May 8, 2007, 8:19 p.m. CST

    I'm with occula.

    by Orbots Commander

    I love Coppola's movies, but damn, that was an insert-foot-into-mouth comment: 'I told Sofia and Roman to make personal movies because they are rich, you know, so they don't need to make any money'. Rich trust fund kids running around making personal movies and hoisting it upon the public does not endear them to that public.

  • May 8, 2007, 8:32 p.m. CST

    THIS IS WHY

    by THE KNIGHT

    Aintitcool is the best movie site... All the other sites have the standard same question interviews... They never get personal with the filmmakers... Not that you guys don't do that either, but everyone here takes it an extra mile... <p> Great interview! <p> Now, I want some info on that WINE!

  • May 8, 2007, 8:33 p.m. CST

    The rich comment

    by Jaka

    It doesn't bother me in the least. It's what's know as "the truth". And I don't think he sounded egotistical in telling it. That's how he feels. Great. I'm sure most people wish they could leave their kids in that situation, no matter what they do in life.

  • May 8, 2007, 8:40 p.m. CST

    true, but...

    by occula

    i guess it's just that sofia coppola is so monumentally trustifarian. have you ever heard her speak? she sounds like she's been hanging out in her penthouse getting baked and then wandered down onto a movie set to, like, shoot a movie, man. i think she's smart enough to have a great team - obviously something she learned from her father and spike - to make great things happen, but maybe if she were - i dunno - i guess i'm projecting my dislike of her onto him, and it just came off wrong on his part. it doesn't take a lot for me to get riled up about sofia coppola.

  • May 8, 2007, 8:41 p.m. CST

    I prefer it when the rich and priviledged don't...

    by Bronx Cheer

    <p>apologize for their success and station. Especially when you consider how many times Coppola has gone to the edge and back, he's got every right to be straight-up about where he stands. As for Sofia, she wrote and directed "Lost in Translation." That's her work, and she should be damned proud of it, as I'm sure her dad is.</p> <p>To be in a position to do what you love without having to worry about "earning a living" is where everyone wants to be. However you get there, you're still there. Thank goodness Sofia never has to direct "Mean Girls 3: CollagenLips Now!" in order to pay the bills. It's too bad that more "rich kids" aren't creating art like these two. Beats the career path Paris Hilton seems to have settled on.</p>

  • May 8, 2007, 8:46 p.m. CST

    occula, if you haven't actually met the woman,

    by Bronx Cheer

    I might suggest you consider why you hate her, and then try to set that aside. Unless you've got that symbiote thingee on the bottom of your shoe, in which case I guess you can't help it. Hate is a corrosive thing. Now, let's all hug.

  • May 8, 2007, 8:47 p.m. CST

    The rick comment doesn't bother me either, but it does

    by Orbots Commander

    change the way I look at a filmmaker, Sofia or Roman Coppola for instance. Knowing some young kid making movies never has to work to make a buck because Dad made buckets of cash, to me, somehow discounts their movies. Of course they get to make movies and get better at it; it's not like they have to earn a living or anything. It's different from someone like a Lucas or Spielberg who from their perseverance, hard work and talents became huge financial successes.

  • May 8, 2007, 8:49 p.m. CST

    That would be 'rich' not 'rick', of course.

    by Orbots Commander

    Damn fingers.

  • May 8, 2007, 8:59 p.m. CST

    occula & Bronx

    by Jaka

    occ, I'm being 100% honest when I say I've never heard her speak, and I don't think I've read an interview with her either. My impression of her come strictly from her films. And brother, her films make me feel good. They're some of my favorites. I don't need to have knowledge of, or an opinion on, any personal details of an artist in order to enjoy their art. That's why this interview kicked so much ass! It's why the best of AICN kicks so much ass. That we are provided information and insight that we can't get anyplace else is, well, cool.<br>br> Bronx, yeah, that's an interesting point. Once upon a time, that's what a lot of rich children did. They grew up studying the arts, or maybe a science, or philosophy, and when they had reached a point of proficiency, or originality, more often than not, that's what they did with their lives. Or become a soldier, make war and wreck shit! lol But to the point, now we have tabloids and tabloid tv and tabloid stars. I won't name names, we could all name many. I much prefer the Copolla route (<--- hah! got to spell the name correctly. Woot!)

  • May 8, 2007, 9:03 p.m. CST

    Orbots Commander

    by Jaka

    I agree with what you're saying to a certain extant. I mean, they could have made a series of completely unwatchable films. But thanfully, they didn't. I have to imagine that at least part of that comes from knowing that you grew up watching pops making movies, as well as knowing that you don't have to worry about how you're going to pay next months rent. Artistic freedom in another context? I don't know, I just don't have any problem with it.

  • May 8, 2007, 9:04 p.m. CST

    Orbots Commander, you don't seem to understand

    by Bronx Cheer

    <p>what directing a film requires. It's one of the worst jobs in the film industry. So just because they don't have to answer phones in a law office to pay their cell phone bills doesn't mean they're not working. I've never understood all those people who want to direct. Directing sucks.</p> <p>Just for the record, Lucas hardly came from an impoverished background, and Spielberg's family somehow avoided begging on street corners to make ends meet.</p>

  • May 8, 2007, 9:06 p.m. CST

    Just a caution...there's a reason Envy is one of the 7.

    by Bronx Cheer

    It's ugly and destructive.

  • May 8, 2007, 9:08 p.m. CST

    Pretty obvious this is your first 1-1, fat man.

    by Nate Champion

    You should have asked him, "What's it like being interviewed by an idiot who has nothing interesting to ask you?" It was nice to hear him say he did Jack for the money, but he needed to be pressed into admitting the film is an absolute piece of shit!

  • May 8, 2007, 9:09 p.m. CST

    Jaka, well put. I tell you, it must be the Coppola vibe

    by Bronx Cheer

    classing this TB up, because I have yet to see someone toss a "douchebag" out there. It's refreshing to have a little discussion without the vituperation.

  • May 8, 2007, 9:10 p.m. CST

    Why does that discount them?

    by kikuchiyoboy

    If anything it makes them more truthful and free. They don't have to make a blockbuster. At the same time they're carefully choosing projects in which is passionate to them. They're rich and that's that. It's a different form of living. <br> <br> Also it doesn't make filmmaking that much easier for them. They still need to be creative and hard working. They either have the creativity or not. Granted their stories may seem disconnected from your world, but that's what is called a different point of view. They're granted freedom of espression in a business that is usually run by committee. They're granted this at a young age. It's refreshing to see what one could do if given this opportunity in life. We all have dreamt of it. It's nice to know they're not Uwe Boll'n it. <br> <br> Also it's wonderful to see what a great filmmaker has given to his children not go to waste.

  • May 8, 2007, 9:10 p.m. CST

    I spoke too soon.

    by Bronx Cheer

    I knew I was going to jinx it.

  • May 8, 2007, 9:12 p.m. CST

    kikuchiyoboy nailed it

    by Bronx Cheer

    Hey, kikuchi, can I sell you a vowel or two?

  • May 8, 2007, 9:13 p.m. CST

    just so's ya know...

    by occula

    my opinion of sofia coppola is based on the ill-kept 'secret' that her work was originally done for her by her ex-husband. and, like i said, she has a crack team executing things for her - she's a good writer but not technically a very good director. if you watch the featurettes on 'marie' you'll see what kind of a person she is and it's kinda disconcerting. but, all that being said, i'm now going to try and wipe the symbiote off my shoe and see if i can get it to stick to my next-door neighbor, whose barking pit bulls keep me up all night.

  • May 8, 2007, 9:21 p.m. CST

    Bronx and Jaka, here's a good comparison

    by Orbots Commander

    to what we're talking about: Steve Jobs and William Ford, Jr. Both are CEOs of their respective corporations. Jobs is the founder of not only Apple but of past failed ventures and successes like Pixar. Bill Ford is the great grandchild of the founder of Ford Motor company and his family members sit on the board of directors. They may both be good men at heart for all I know, and equally capable---maybe. But I sure as hell admire what Steve Jobs has accomplished in his life (rising from a middle class background to starting two world class companies and effectively subvertingly taking over a branch of Disney), whereas Bill Ford never really had anything at stake. He was always going to be a member of one of the world's wealthiest families wether he took control of running Ford or not. That's how I see the younger Coppolas, like one of the Fords or a member of the billionaire Walton family (of Wal-Mart fame).

  • May 8, 2007, 9:21 p.m. CST

    occula, Keep that symbiwhatever away from those dogs!

    by Bronx Cheer

    Are you crazy? You'll need the Hulk to smash their heads together if they get too venomy.

  • May 8, 2007, 9:22 p.m. CST

    Sure

    by kikuchiyoboy

    I could use an "A" somewhere's. You know, to balance things out.

  • May 8, 2007, 9:27 p.m. CST

    bronx

    by occula

    or, at least, governor schwarzenegger.

  • May 8, 2007, 9:27 p.m. CST

    technically - it isn't my first

    by HEADGEEK

    but it's the first time it was recorded. I've done tons of 1 on 1s in front of live audiences, with people like Robert Rodriguez, John Carpenter, Peter Fonda, etc. Done lots of over the phone, 1 on 1s. But I've never done a 1 on 1, with a little mini-tape recorder for 45 minutes, usually I let Quint do those, but Coppola's publicist wanted me to do this, and how could I resist sitting down with a man that has made brilliant films and that had a werewolf boff one hot as hell redhead.... and... has gotten me drunk with many tasty wines for the last decade or so. <BR><BR>As for the "Rich" comment. It did not, under any circumstances come across as conceited, but as "a miracle" - through out the conversation, every time Francis mentioned his tough economic fortunes, you could see how it affected him - and it was also evident that he knew he had made films for a paycheck, and that he wished, for the rest of his life to make movies he wants to make because he loves making them. <BR><BR>To me, to sit before Francis Ford Coppola and see someone completely free, completely at peace with his life, it was inspiring, not disgusting. It was enlightening. To a microcosmic degree, I understand how he feels. To allow my father to enjoy is later years having paid for the house he's living in, and the monthly bills for keeping it. I am proud and happy in my own life, as I begin to set about creating my own family. It's easy to be cynical of success, succeeding and enjoying it - are actually much harder.

  • May 8, 2007, 9:27 p.m. CST

    I get what you're driving at, Orbots.

    by Bronx Cheer

    But the one thing I have try to take into account (since I've had a couple of friends who are stupidly wealthy) is that you can't help it if you're born into a well-off family. I have a tremendous amount of admiration for people who come from humble beginnings and make great successes of themselves, but I think we should cut the rich kids some slack and not criticize them for falling out of an ermine-lined womb. (And if we're nice to them, maybe they'll leave some change under the cushions of our sofa.)

  • May 8, 2007, 9:32 p.m. CST

    First of film expression aint about cash.

    by kikuchiyoboy

    It's about their films. It's a simple as that. They are not creating pills for a happy future. They're not building the next stage of infrastructure to save the human race. Theycreating snapshots of their imagination. It has nothing to do with money or how they got there. It's about a conversation with the public. <br> <br> When I read a book, or look at a painting I wonder what it is the person is trying to say. I'm not thinking of their financial background. But I'm not saying it has no bearing on the art itself. Obviously some of that shines through. Basically I'm more interested in what they have to say then what they are.

  • May 8, 2007, 9:44 p.m. CST

    Actually the best artists and the best artistic

    by Orbots Commander

    expressions come from artists from humble beginnings. After all, if you have everything handed to you on a silver platter, what meaningful thing CAN you tell someone else about the human condition or about life? Even the Michelangelos and Leonardos were sponsored by wealthy patrons like the Medicis who commisioned them to create on a for-hire basis. (The Medicis were effectively the first movie studios!) The artists took their assignments and created what we consider art for the ages. I'm not knocking rich kids (who make movies or do anything else with their lives). I'm saying the bar is set way higher for them, fair or unfair.

  • May 8, 2007, 9:44 p.m. CST

    It's funny

    by kikuchiyoboy

    to imagine Harry getting home all excited to listen to the interview and translate it for us. Ready to transcribe all the wonderful worldly knowledge Coppola intimately displayed before him. Only to push play and get the following... <br> <br> Coppola: :You want to to know what it is that makes me so passionate about wine..." <br> CLICK <br> <br> Coppala: "In the late 90's, with my career taking a turn I..." <br> CLICK <br> <br> Coppola:" You want to know why Tetro.." <br> CLICK <br> Coppola: "The man on the grassy knoll..." <br> CLICK <br> <br> Damn technology.

  • May 8, 2007, 9:44 p.m. CST

    Harry, thanks for chiming in.

    by Bronx Cheer

    <p>The ups and downs of Coppola's life may not be well known or understood. When I consider the heartache the Coppola family endured due to the death of the oldest son, Gian-Carlo, his love for his other children must be quite profound. I remember hearing the news of his son's death with my own three-week old son nearby. There are no words...</p> <p>I'd like to keep this out there...this is the man who helmed The Godfather films, The Conversation, Apocalypse Now!, and The Outsiders and Rumble Fish, not to mention the many films he has producing credits on, such as American Graffiti and Kagemusha. He was a trailblazer with regards to bringing video technology to post-production. Hell, read up on his set-up for making One from the Heart. And let's all remember that most if not all of the neon in Blade Runner came from One from the Heart.</p> <p>One last thing: he wrote The Conversation, which is in my mind on of the greatest screenplays ever written. It's a work of literary art, which is nearly impossible for a screenplay.</p>

  • May 8, 2007, 9:47 p.m. CST

    loved Francis in the..

    by nolan bautista

    ..documentary made by his wife "Heart of Darkness"..totally unhinged!!

  • May 8, 2007, 9:50 p.m. CST

    Orbots, the whole world of art patronage is

    by Bronx Cheer

    more complicated than a simple sculptor-for-hire scenario. Keep in mind that the Catholic Church was one of the great patrons of the art, because art elevated the standing of the owner, and great art honored God. But reading your description of the Medicis as the first studios cracked me up. I can imagine them hanging out in Florence, chomping on cigars, speaking into a dictaphone...get me that Michelangelo kid and sign him to a seven year deal. Pronto! The Pope needs that ceiling painted and I need some new doors for the duomo!

  • May 8, 2007, 9:52 p.m. CST

    I remember a quote about Apocalypse Now...

    by Bronx Cheer

    I looked it up so I didn't butcher it..."We were in the jungle, there were too many of us, we had access to too much money, too much equipment, and little by little, we went insane."

  • May 8, 2007, 10 p.m. CST

    I actually think Apocalypse Now

    by Orbots Commander

    does a better job of telling the 'Heart of Darkness' story even better than Joseph Conrad's original work. I just recently re-read 'Heart-', and I must say that it could be one of the most over-praised works of literature around. I 'get' what Conrad was trying to say and do with his novella, but I think that even for his time he was being a bit 'artsy' and purposefully obtuse. And I know English wasn't Conrad's first language, but his sentence structure would earn him a 'C' in a modern high school grammar class.

  • May 8, 2007, 10:06 p.m. CST

    Orbots

    by kikuchiyoboy

    Definitely agree with you there. But they have alot to say. They could tell me about the many shoes Marie Antoinette wore. =) JK <br> <br> The struggle of life is not always financial. She could tell me about power and living with humility. There's many facets in life with many different windows. Like I said I am curious to see her point of view and that is what makes her an artist. She expresses her point of view about her world. <br> <br> But I do see your point. How could she do a story about human struggle? When she herself is sitting on a satin couch since birth? Wow. I think Roman should do a film about that. See. That could pass as a passionate film. I'm serious though, that could be a cool film. <br> <br> That is an interesting point Orbot.

  • May 8, 2007, 10:16 p.m. CST

    Marie Antoinette was a commercial disaster

    by Luci888

    As they have access to their own Zoetrope funds and also to European funding (unlike most filmmakers their ages), it'll be interesting following Sofia & Roman's filmmaking careers. Sofia did extremely well with Lost in Translation (it cost only $US 4 Mill to make and probably made 20 - 25 times that much from cinema & DVD), but the Marie film which cost $US 40 M and made less than half that much, was a huge flop.

  • May 8, 2007, 10:16 p.m. CST

    You don't have to walk in shit and fall in sewage

    by Bronx Cheer

    to imagine the indignity of it. You might not be sensitive to all the nuances, but if you're a human being, you can probably connect. Men have written women characters, women have written men...some GREAT works have come from the hands of the satin couch set, works that plumb the depths of the human condition. But I do appreciate the points being made.

  • May 8, 2007, 10:25 p.m. CST

    It's funny part deaux

    by kikuchiyoboy

    It goes to show that class exudes class. This Tb has been a good read. Supriseingly no "nips" on anything, "Michael Bay" or "Little Miss" even though given a wonderful opportunity. I probably just opened a can of worms.

  • May 8, 2007, 10:28 p.m. CST

    Damn You Colonel Kurtz

    by Bronx Cheer

  • May 8, 2007, 10:29 p.m. CST

    Flames on a Tucker = Flame on Optimus Prime

    by Bronx Cheer

    There.

  • May 8, 2007, 10:30 p.m. CST

    God I feel like an idiot now. I'm going to bed.

    by Bronx Cheer

    Good night everyone. How about everyone list his/her favorite Coppola film?

  • May 8, 2007, 10:33 p.m. CST

    Bronx, I guess sometimes it's better not knowing

    by Orbots Commander

    anything about the filmmaker involved in a production. In the modern media landscape though, where everything is considered a selling point, a filmmaker's bio is fair game.

  • May 8, 2007, 10:35 p.m. CST

    Harold, we all appreciate the effort.

    by TheRealRatigan

    This must have been a dream come to life for you. But, considering the stature of the subject, and the monumental value for the site you built, would it have killed you to read the manual first? <br>You must feel like the character in a rolling comedy sometimes.

  • May 8, 2007, 10:41 p.m. CST

    Harry, you need an AV crew.

    by Zarles

    Hire a cameraman and a sound guy and fuck this hand-held Wal-Mart tape recorder shit. I would've loved to see this interview firsthand.

  • May 8, 2007, 10:46 p.m. CST

    I might get shit for this but,

    by kikuchiyoboy

    "Dracula" is my favorite. It's like Coppala's love letter to film. It's lush and epic. As much as I looove "The Godfather" series and "The Conversation", I seem to pop that one in more.

  • May 8, 2007, 11:05 p.m. CST

    GODFATHER

    by THE KNIGHT

    Definitely... oooo the music...!

  • May 8, 2007, 11:07 p.m. CST

    Spiderman 3?

    by White Goodman

    Yeah, didn't think so.

  • May 8, 2007, 11:07 p.m. CST

    kikuchiyoboy...

    by 0007

    Dracula isn't only my favourite Coppola film, it's my favourite film period! You're right, it's lush, it's epic. And yes, never before and after have I felt such emotion coursing through every cinematical element. It's an operatic tone poem that never loses its luster in my book.

  • May 8, 2007, 11:09 p.m. CST

    can't....decide...which...godfather...

    by occula

    too...hard! but i also love dracula, in no small part because of his visionary pairing with eiko in the concept design and costumes. genius.

  • May 8, 2007, 11:10 p.m. CST

    oh, man.

    by occula

    i realized it looks like i can't decide between parts 1, two, or 3. i would like to state for the record that i am not a hater of 3 per se, but it's so far off my 'films for a desert island that happens to have a good DVD player on it' list that it doesn't even count.

  • May 8, 2007, 11:20 p.m. CST

    0007

    by kikuchiyoboy

    Exactly. In an odd way it seems like the most personal film Coppola made in that sense. <br> <br> Yeah, the technical aspects of the film are breathtaking but not distracting. Everything about it's design from sound to stage is just inspiring.

  • May 8, 2007, 11:31 p.m. CST

    Not me...

    by quantize

    Dracula is klunky and patchy.. The Conversation is a true classic in every sense..

  • May 9, 2007, 12:02 a.m. CST

    i'm still waiting

    by skaul80

    for the dracula special edition i heard about three years ago. anyone have news on that?

  • May 9, 2007, 12:15 a.m. CST

    I hope my children are rich

    by antonphd

    I'm not killing myself to make entertainment so my kids can start from square one and dig there way up like me. Sure, I'm going to teach them to be self reliant, but I'm not going to ever wish them the wasted years of poverty I went thru to fight my way up. Never. Good for Fransis and his children. I'm happy to hear how they are all doing well. Good for them.

  • May 9, 2007, 12:16 a.m. CST

    anyway who says dracula is their favorite film

    by slappy jones

    is totally wel come to their opinion of course but I am thinking you may not have seen it in a while....i loved it too but then I saw it again for the firast timein years 2 weeks ago. seriously....i wish I hadn't.its awful

  • May 9, 2007, 12:37 a.m. CST

    i agree

    by skaul80

    but i loove tom waits and i've been waiting years to hear him talk about Renfield.

  • May 9, 2007, 1:57 a.m. CST

    Disagree

    by 2Utah2

    I actually thought Dracula was great. I always loved the exaggerated gothic style from the opening battle scene, to all of oldman's performances and ryder. Yes keanu amd his accent are horrible but overall the movie has this surreal nightmarish feel to it that I thought was perfect for the type of story Dracula is.

  • May 9, 2007, 2:14 a.m. CST

    Virgin Suicides is proof

    by 12-GAUGE

    that Sofia's got real chops. I'll admit I didn't fall head over heels for Lost in Translation, and I haven't seen Marie A. But her debut is a real gem that gets better with each viewing.

  • May 9, 2007, 2:53 a.m. CST

    Apoc Now

    by Darth Fart

    I wish Harry delved into the film, it's my favourite picture for a number of reasons: It transcends Conrad's book, which as good as it is, doesn't hit the point as well as the film translation. Vietnam war in a nutshell. Conflict on set. Francis was coping with demons; he was in purgatory making that picture, and he was desperate to crawl out. The film is the result of being in hell. He fought everybody and everything, he suffered for his art. It's essentially guerilla film-making, albeit expensive. There's loads more, but I'll leave it for now.

  • May 9, 2007, 4:41 a.m. CST

    Godfather Part III

    by kwisatzhaderach

    was disappointing on release but now looks like a masterpiece compared to the current state of filmmaking. Interesting.

  • May 9, 2007, 4:59 a.m. CST

    Godfather 3

    by Darth Fart

    It's not as bad as critics made it out to be. There's the 1979 script, which I haven't read yet, don't think I can read it.

  • May 9, 2007, 6:02 a.m. CST

    $4 mil = unlimited riches?

    by Bronx Cheer

    And Sofia is credited as the writer on "Lost" so yes, she had a lot to do with its success. Just because the film has a natural style to it does not mean she locked the camera down, went to go have her nails done, while the rest of the crew worked. (And you know, films are made by many people! Of course someone else pulled focus and recorded sound.) I don't think it's the greatest thing since sliced bread, but it's a wonderful little movie, and the collaboration with Bill Murray and the rest of the crew led to a smart and thoughtful film. When you compare that to her father's second film, Dementia 13, I think she has him beat there. (There is hardly any basis for comparison, however. I wanted to point out how silly it is to demand a film like Apocalypse from a director on her second film.)

  • May 9, 2007, 6:18 a.m. CST

    Excellent.

    by Nordling

    Thanks for that, Harry. Looking forward to YOUTH WITHOUT YOUTH.

  • May 9, 2007, 7:12 a.m. CST

    I agree with Bronx

    by Darth Fart

    Right on. It's her vision, her story. Of course film is a collabrative effort, but why belittle Sofia?

  • May 9, 2007, 9:59 a.m. CST

    Godfather 3 is a guilty pleasure.....

    by Stuntcock Mike

    Jesus, Pacino is just so damn miserable throughout the whole film, it looks like his body is constantly trying to achieve the fetal position.

  • May 9, 2007, 10:25 a.m. CST

    Sofia is cused

    by emeraldboy

    in a way. becuase she is a coppolla. people will demand and expect greatness. It will prove to be a albatross around her neck. There is nothing she can do about it. Francis hasnt made a really magnificent film in a very long time. the era that made his name 1970's is long gone. Like filmakers of the past Coppolla caught the mood of the nation better than ever will. And while nixon was churning out family values nonsense. Coppolla and others Like the burg made films that shattered this myth. I would be excited about the remergence of Coppolla but this is the same guy who put robin williams and Jennifer Lopez in the same movie. That to use aicn parlance was clusterfuck of a movie. that is the reason why he is making wine and movies. Virgin Suicides was a great film pity. I saw LOst in Translation on tv there recently. It looked great and Scarlett's opening ass shot was the highlight of an other boring and tedious movie and commend john Hurt for what he said about that movie.

  • May 9, 2007, 10:32 a.m. CST

    What Hurt said was

    by emeraldboy

    "That is quite possibly the worst film I have ever seen and I have been in the business for the 30 years. If this film wins best picture(which it didnt) then I will resign my acdemy membership immediatley. There is nothing about this film that I liked and I hated every single moment of it."

  • May 9, 2007, 11:05 a.m. CST

    In Virgin Suicides

    by emeraldboy

    the performances she got from Kathleeen Turner and James Woods were The best of their Careers esp. turner. That was her last film role. She proved conclusively that she was amongst the finest actresses of her generation. illness forced her to retire. She does stagework these days. But lives in semi-retirement in NY. She is crippled with a rare form of Arthtitis. She doesnt give interviews. but last year she starred in Albee's whose afraid of virgina Wolf in the UK and she was interviwed/interrogated by Channel 4's tea time muppets pun...I mean richard and judy. Monster House suited her better because it was being made by her old friend Zemeckis and she did it only on the condition that she recorded in the morning and it was only down street from where she lived. she gets very tired in the evening. So she can only work limited runs. In the theatre.

  • May 9, 2007, 11:20 a.m. CST

    That's coming from a guy who was

    by kikuchiyoboy

    in "Captain Coreeli's Mandolin". Hee hee. I really admire the actor but could care less of his opinion on "Lost In Translation". It's a wonderful quite movie about two people finding each other in a world they feel out of place in. <br> <br> That's it. It's the simplicity that touched me with that film. It's not meant to be anything bigger. It's like a wonderful little tune that I like to hum to myself. <br> <br> Whateva. To each his own. =)

  • May 9, 2007, 11:49 a.m. CST

    There are few things more condecending...

    by Harry Weinstein

    ...than rich people who try to act like they're not. Francis making that statement about his kids is merely honest. When you famously sell all your shit at one point to keep a project afloat, then later on, when the money's come back, you have the perogative to be upfront about that as well. Letting the kids run Zoetrope is a smart move as well, both forward-looking and very old school all at the same time. Roman Coppola needs to direct another feature already. CQ is woefully underappreciated. Billy Zane is even more awesome in CQ (as a fictional Che Guevara in space in the film-within-the-film) than he was in ZOOLANDER, and there's not many things as awesome as Billy Zane in ZOOLANDER.

  • May 9, 2007, 1:05 p.m. CST

    Seriously He really did say those things

    by emeraldboy

    and to person who mentioned Corelli. Hurt was so enraged by Alexander Walkers Dismantling of that movie that movie that I think he took full page article and absolutley Went to town on the late walker. Just so you know journalists hate interviewing Hurt. He rarely gives interviews and the media feels much the same way about him too so they ingore him. He is a great actor but he his volatile. He left ireland because he was so sick of being interviewed about his drinking.

  • May 9, 2007, 2:49 p.m. CST

    John Hurt hates the academy

    by emeraldboy

    but he really hated Lost in translation with a venom and threatened to resign from the Academy if it won any award at all. And he was at it again in 2006 when he called the oscars much ado about nothing and said it was an ego trip for studios and a farce. "Miles too much is made of the Oscars. It's just silly. It's all political in-fighting between studios"

  • May 9, 2007, 3:11 p.m. CST

    John Hurt Needs a hug

    by kikuchiyoboy

    <br> =)

  • May 9, 2007, 3:18 p.m. CST

    John Hurt also said...

    by Darth Fart

    "If you were not moved by The Elephant Man, then you're person I do not wish to know." Anymore Hurtisms? :D

  • May 9, 2007, 3:28 p.m. CST

    Here's another quote

    by kikuchiyoboy

    "Oh, movies today are quite marvelous. Have you seen Spidey 3? Quite marvelous with the singing, the swinging, the dancing and the crying" <br> <br> Seriously though, looking at all the movies he's made it's quite extraordinary. I haven't seen Elephant Man in a loooong time. I need to get that on DVD. We had it on the most wonderful technology called Laser Disc. Too bad it got tacoed.

  • May 9, 2007, 3:55 p.m. CST

    Farley Granger was the weakest part of "Strangers"

    by LaneMyersClassic

    His acting is atrocious.

  • May 9, 2007, 7:57 p.m. CST

    re: emeraldboy

    by beamish13

    I totally agree with Hurt's sentiments, although "Mulholland Drive", "Shrek", and "The Holiday" are certainly contenders for worst film of the last 10 years, too. It's a pretentious mess that's incredibly patronizing towards the Japanese. You can make a very esoteric film that is intelligent, but "Lost In Translation" isn't.

  • May 9, 2007, 10:38 p.m. CST

    I think John Hurt is a GREAT actor, but so he has an

    by Bronx Cheer

    opinion! So do I, and you, and everyone else. I eat food, that doesn't make me an expert on cooking. So what John Hurt is a great actor and has been in many great films., It doesn't mean he has taste. And even if he has spectacular taste in all areas, I can live with his hating a film like that. I just happen to think his ire was directed at the Academy. Lost is a lovely film. It is NOT great, but it is damned good. It's biggest flaw, and this is what really bothered me about the movie, was the treatment of the Japanese and their language in a few scenes. Especially the "Lip" my stockings nonsense, and the crack about "for the yucks." That was jive shit. But the film had some beautiful moments, and a sense of truthfulness, and it's a definite sign that Ms. Coppola has a future.

  • May 10, 2007, 9:16 a.m. CST

    skaul80 and slappy jones:

    by Sith Witch

    skaul80, that special edition will see release in October, on both Blu-Ray and DVD. slappy jones, yes I have seen Dracula several times recently. And yes, it floors me every time. I can understand if you don't like it however. To each his own...

  • May 10, 2007, 11:54 p.m. CST

    Heres hoping Del Torros 'The Wolfman' is 1/2 as good

    by uberman

    as Coppolas 'Dracula.' Classic. Great monster flick.

  • May 11, 2007, 3:37 a.m. CST

    For the love of God

    by jonnyweir

    I come here for movie news, not for information on Harry Knowles' love life. I understand you're stoked you're getting married man, but please don't shove it down everybody's throat. That's what blogs are for. Whilst I respect your right to post whatever you want on your website, the tagline is "The best in movie, TV, DVD and comic book news." Please remember that next time you go to type a moving story about you and your fiance, like your review of a film where you started talking about how nice it was to be "innocent and naked with your sweetie" or now, when I go to read an interview with Francis Ford Coppola and instead get a moving but nonetheless completely pointless introduction regarding your bloody wedding invitations. Thanks. Sorry to be rude but I wanted to say my peace. Jonny.

  • May 11, 2007, 4:24 a.m. CST

    Re: for the love of god

    by emeraldboy

    jonnyeir. I agree with you but this is the harry knowles who compared himsself in his mission impossible 3 review to tom cruise and said that he got him and that said he was annoyed over the gossip over his love life..... no one cares about harrys love life only harry and he seems intent on giving us every damn detail. enough dude.

  • May 11, 2007, 6:57 a.m. CST

    Hopkins and Benecio del toro

    by emeraldboy

    are in the wolfman.

  • May 11, 2007, 2:35 p.m. CST

    Harry FFS, get one of these digital recorders

    by Nagual

    http://tinyurl.com/2oq7p8 Change your life. Tape is SO 20th century. It's clumsy, slow, less reliable and outdated. And thanks for the interview.

  • May 11, 2007, 3:19 p.m. CST

    mmm, Rubicon

    by Magnum Opus

    Damn but I wish the interview had the sections with FFC talking about wine making. He may be more passionate about that than film making.

  • May 11, 2007, 7:26 p.m. CST

    WTF is FFC doing trying to suggest someone slim down

    by Jack_Crap

    FFC suggests Harry and Benecio del Toro lose weight? Has Coppola looked in the mirror lately? I don't think I've ever seen a bigger 60 year old pasta belly. What's next? George W. Bush gets on us about our emissions standards? What's up with no Godfather or Apocalypse Now questions? I know, he's probably sick of answering them, but it's only appropriate he approaches the theme of old men who can't live up to the genius projects of their youth because GF1, GF2, and AN is what FFC will forever be remembered for whether he likes it or not.

  • May 15, 2007, 7:19 a.m. CST

    Great

    by Sprinky

    Loved the interview Harry. I'm glad that at least one film maker from the "old skool" is still making movies. That's at least a bright spot to most of the crap they're showing in cinemas right now.

  • May 16, 2007, 7:28 a.m. CST

    I think Harry missed an opportunity to demolish FFC...

    by workshed

    ...the bloke hasn't made a half-decent film in thirty years (and yes, i'm including Tucker - Joe Jackson's score and the Tucker car itself were the only things that made that film watchable) and here comes Harry, out-of-breath, burbling wheezyily to the refrain of some of the lamest heard-it-all-before questions. Interview technique..? Well, unless Harry has perfected a technique for quick removal of brown stains from ones nose, this 'interview' (and i use that term very loosely) was completely without merit. I mean, why not send the wunderkind intern..? He at least might have made it to the hotel room without hogging the elevator all to himself. Or, better still, they could have sent moi. I would have asked him WTF the wine-industry has to do with having a passion for movie making..? There are people far more talented all over this globe who try their fucking hardest to get their (superior) movies seen or ideas heard. Coppolla can only re-enter the biz because he is a rich fat mafia bastard and it sucks that Harry, supposedly a defender of the faith and true movie lover, sucks down hard on FFC's weenie... can't wait for them to get back together again. Is it possible that Harry might ever fire himself..? I think that question was answered a long time ago after Blade II. If Harry was a junior reporter at AICN i'm sure he would have been fired for this.

  • May 17, 2007, 5:25 p.m. CST

    puzo wrote like he was possessed...

    by RAWHEAD RALF

    ...blatty must have named his demon after the great puzo. but can the wine be purchased in canada? i'll check the liquor store...

  • May 18, 2007, 10:24 p.m. CST

    I Just Realized

    by Mr_Deadite

    Harry is marrying Yoko Ono. Ew.