Francis Ford Coppola and star Adam Driver are defending the conditions on set of Coppola’s upcoming film Megalopolis.
Following an article yesterday in The Hollywood Reporter, in a statement to IndieWire, Driver said the characterization of the film’s chaos was not accurate,
All good here! Not sure what set you’re talking about! I don’t recognize that one! I’ve been on sets that were chaotic and this one is far from it.
The environment that’s being created by Francis, is one of focus and inspiration. As of now, we’re on schedule, making our days, and honestly, it’s been one of the best shooting experiences I’ve had. Our crew is fast and inventive, our costume department is on point, the actors are incredible and willing, and Francis is one of the most insightful and caring people to work with. I’m very proud to be making this movie with him, and them, and though I haven’t interviewed everyone, I can confidently say that that’s the general attitude on set.
Yes, it is true that the art department resigned and VFX were let go. Not all departments find cohesion on films and rather than suffer through and making decisions that leave a lasting impression on the film, people quit, get fired, or part ways. It’s unfortunate when it happens, but this production is not out of pocket in comparison to other productions; especially to the point that it merits an article about us descending into chaos. That characterization is inaccurate.
No one signed up for this movie expecting the process to be conventional. We were expecting the opposite in the pursuit of making something unique. The only madness I’ve observed is that more productions aren’t allowed to be as creatively wild and experimentally focused, precisely because someone else is paying for it.
It’s an effort and risk by Francis that I feel should be applauded, not publicly mischaracterized as troubled.”
Whatever the set atmosphere, Coppola has a rep as the original poster child for sprawling, and chaotic productions that manage to create great film, most famously, Apocalypse Now.
This is Coppola’s first film since 2011’s Twixt. Self-financed to the tune of $120 million, Mega currently does not have a distributor, but it DOES have a stellar cast that includes Driver, Nathalie Emmanuel, Forest Whitaker, Laurence Fishburne (who was in Apocalypse Now), Jon Voight, the director’s sister Talia Shire, and her son, indie darling Jason Schwartzman, plus the legendary Dustin Hoffman.
In an interview with GQ, Coppola shared some details about the film,
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.’”
Megalopolis is set in a future New York City, where an architect aims to rebuild the city as a utopia following a devastating disaster.
(Artwork, Draconian; via IndieWire)
