Francis Ford Coppola

July 24, 2011 by staff 

Francis Ford CoppolaFrancis Ford Coppola, Francis Ford Coppola marked his return to Comic-Con after an absence of 20 years with a sample funny, weird and experimental of his new movie Twixt a crowd that nearly filled room thankful H. On stage with the veteran filmmaker was one of the film stars Val Kilmer, and musician Dan Deacon, who provide live musical accompaniment too much of the presentation.
A smartly dressed Coppola went into a brief standing ovation and, provided great insights into the crowd called for him to see better. Deacon, described the project will be discussed as a “very rare”, while long hair Kilmer said: “We’re all going to see something that has never been seen before.”

In his later years, Coppola has focused on engagement with cinema in its purest way possible, writing, directing, producing and self-financing independent films taking large risks if the low box office appeal. From the evidence on screen Saturday at Comic-Con, twixt extends to these efforts.

A Gothic novel with elements of horror, twixt found inspiration in the dreams of Coppola had about ghostly orphan girls and Edgar Allan Poe, the director told the crowd. But the execution is about to regain a sense of live performance and the incorporation of 3D shape Coppola feels is right: in moderation, intermittently.

“Most art is preserved and recorded,” said Coppola, great as always. “Why do films have to be canned? There is a yearning to live again put on film.”

Coppola said his journey began 14 months earlier twixt after watching Avatar. He admitted he put the 3D glasses only at certain sequences in the film, and prefer to see most of the film without them. “Some strings should either be in 3D,” he said, but not all of them. As a historical reference, referred to the restored version of the silent film Napoleon played with live performances from the soundtrack composed by his father, Carmine Coppola, including Radio City Music Hall in 1981-in a format that did the movie Polyvision on three screens of some sequences.

THR Complete Comic-Con coverage he has designed twixt play a similar effect. So ten minutes of footage promoting Coppola brought the crowd to show shown on the screen when it was appropriate to put in the cut of the attendees were given Poe 3D masks upon entering. (In the back of the mask were the main credits of the film, a trick Coppola said he tried on Apocalypse Now more than 30 years before.)

What the public saw was a scared reel short impressionistic, but heavy in the atmosphere of suspense and stylized. Kilmer plays a third-rate pop writer of fiction is a small town for a signature and is wrapped in a mystery about a murder. Bruce Dern plays a lawman creepy local fields of the “third rate Stephen King” in the history of the slaughter of a new book, and floats through Elle Fanning as what may or may not be a ghost. Meanwhile, the image includes a collection of Gothic tropes: a bell / clock tower with seven faces, a moon is coming, motel rooms, a mortuary, ghostly children, the sound of crows, dark woods and a fire of worship. Some of the images were a sense deliberately corny, while others caused stress including scenes shot in 3D Kilmer ingenious pushing through hanging plastic near a body covered by a slab. The suspense is finally amplified by the jump to 3D and strangely subverted by the comic bits, like a character assembly Kilmer struggling to write, which includes the line: “. I am writing as a gay basketball player of the 60″

“I’ve always loved the history of Gothic novel, the story of horror,” said Coppola, who worked with Roger Corman Early in his career. The director recalled working as a camp counselor in his youth, and having the opportunity to read Bram Stoker to 9 years in charge at night. Nathaniel Hawthorne, Poe and Robert Louis Stevenson are all influences of the new film, he said.

Coppola said he really wants to do is go on tour with the film for a month before it opens and make new versions of each hearing, like opera. To explain what he meant, Coppola screened the interface on your laptop that lets you mix and mix scenes, lengthen or shorten them, while Deacon does the same score. Each hearing would result in an original performance of the film.

The two of them ran through a “dress rehearsal” in which re-mix the footage and tried different music, with stops and false starts, as Coppola fumbled with his laptop (the software Isadora was using was developed by his company Zoetrope) and caused a series of humorous laughter from the audience. Coppola was aware of the early Tom Waits narration makes the film. That sequence ended with a fun jam improvisation while Coppola shouted “Nosferatu” and Kilmer slipped a little “ride the snake” lyrics. (Which reminded me how much listening to The Doors is like watching a horror movie.)

Coppola lighthearted joy in taking risks and what the public was evident throughout, and he said that the wording of the project: “I wanted to have something in my blood.”

HISTORY: Comic-Con 2011: Francis Ford Coppola Returns

In response to a question about whether he would want to work on larger projects again, Coppola said, “I like to work with a bigger budget, but with the same economies. I’m getting older and there are some things I still want to express a bigger canvas. “He said currently working on a new script for a film scale.

Coppola was making a passionate case for how, as a young art form, “the film has many more surprises up his sleeve.” He said that 3D is not “magic”, despite what some studio executives say, but it would not be many more innovations in the coming decades.

The penultimate question was a matter of many filmmakers to worry: if Coppola would ensure that, in an era of remakes and reboots endlessly, never let anyone redo the sponsor. A little sad, Coppola acknowledged that since making the film at age 29 has no claim on the rights and Paramount could do whatever he wanted.

“It’s a pity,” said the culture of repetition. “That money could go to investing in new stories for new times.”

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