Film 2023 | Only kino allowed

By Batong Go To PostThe movie is made to mock people like you, DiPro.

By sohois Go To PostWatched Beau Travail last night. Recently named as the 7th best film of all time in Sight and Sound.

It sucked.

I can only assume most viewers fell asleep and only woke up at the end of the film, caught the ending, and decided it must have been a masterpiece.

By Frustrated_me Go To PostDoes M3gan have this threads seal of approval?

By Laboured Go To PostHave to say I really enjoyed The Menu.

By sohois Go To PostSeems I have upset the so-called City Fathers with my cocky stride and musky odors

By Perfect Blue Go To PostI’m serious, watch Jeanne Dielman and report back

By FortuneFaded Go To Post"What are hell are these?"
"These are tortillas"

By Hixx Go To PostThe Menu was good. Bits and pieces of it were a bit dull and even tho it's very intentional I hated how much I hated all of the guests which was the focus of the first half an hour or so.

Anya Taylor Joy very hot in this too, never really understood the thirst.

By inky Go To Posthe's got more admiral energy than captain

By Perfect Blue Go To Post

https://youtu.be/bEoNNYyVNxc

More people need to see this. Was so good

By Lunatic Go To PostDevotion was decent so worth a watch.

Megalopolis has been a passion project decades in the making for the filmmaker, who turned heads in the fall of 2021 when news broke that he would be self-financing the $120 million film, partially with the tens of millions he made selling his popular Northern California wineries. The budget has since expanded and the film is now about halfway through its 80- to 90-day shoot, but a production source says it’s unclear whether the production can go forward as planned.

Sources say Coppola, who has never made an effects-heavy movie, fired almost his entire visual effects team Dec. 9, with the rest of that department soon following. Mark Russell, a veteran whose credits include In the Heights and The Wolf of Wall Street, was leading the team as visual effects supervisor. (Coppola famously fired his visual effects department on Dracula 30 years ago.)

Between firings and resignations, a source says the film now has no art department. Russell, Mickle and Scott did not respond to requests for comment.
/quote]

By Laboured Go To Post

https://youtu.be/PuiWDn976Ek

By WoodenLung Go To PostCummies in my tummy right there

“It was basically about managing cost,” Coppola said. Bradley Rubin (The Mandalorian, Westworld) has been hired to be the film’s production designer, and he is handling all this. These kinds of things have long been part of Coppola’s creative process, to make changes on the fly when he feels things aren’t working. He replaced DP Haskell Wexler on The Conversation and production designer Dante Ferretti on Bram Stoker’s Dracula. Aside from the changes, Coppola believes the $100 million Megalopolis has been relatively smooth sailing, considering cost and scale.

“I’ve never worked on a film where I was so happy with the cast,” Coppola said. “I am so happy with the look and that we are so on schedule. These reports never say who these sources are. To them, I say, ha, ha, just wait and see. Because this is a beautiful film and primarily so because the cast is so great. I’ve never enjoyed working with a cast who are so hardworking and so willing to go search for the unconventional, to come upon hidden solutions. It is a thrill to work with these actors and the photography is everything I could hope for. The dailies are great. So if we’re on schedule, and I love the actors and the look is great, I don’t know what anyone’s talking about here.”

Driver in particular was upset that the film is taking lumps based on rumors.

“I’d like to briefly respond to The Hollywood Reporter article published Monday, January 9th,” he said. “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.

“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."

The budget for ’The Godfather’ was originally $2.5 million but as the book grew in popularity Coppola argued for and ultimately received a larger budget. Paramount executives wanted the movie to be set in contemporary Kansas City and shot in the studio backlot in order to cut down on costs. Coppola objected and wanted to set the movie in the same time period as the novel, the 1940s and 1950s.

Gulf+Western executive Charles Bluhdorn was frustrated with Coppola over the number of screen tests he had performed without finding a person to play the various roles. Production quickly fell behind because of Coppola's indecisiveness and conflicts with Paramount, which led to costs being around $40,000 per day. With costs rising, Paramount had then-Vice President Jack Ballard keep a close eye on production expenses. While filming, Coppola stated that he felt he could be fired at any point as he knew Paramount executives were not happy with many of the decisions he had made. Coppola was aware that Evans had asked Elia Kazan to take over directing the film because he feared that Coppola was too inexperienced to cope with the increased size of the production. Coppola was also convinced that the film editor, Aram Avakian, and the assistant director, Steve Kestner, were conspiring to get him fired. Avakian complained to Evans that he could not edit the scenes correctly because Coppola was not shooting enough footage. Evans was satisfied with the footage being sent to the West Coast and authorized Coppola to fire them both. Coppola later explained: "Like the godfather, I fired people as a preemptory strike. The people who were angling the most to have me fired, I had fired."

Earlier, the windows of producer Albert S. Ruddy's car had been shot out with a note left on the dashboard which essentially said, "shut down the movie—or else."

Production on ‘The Godfather Part II’, however, nearly ended before it began when Pacino's lawyers told Coppola that he had grave misgivings with the script and was not coming. Coppola spent an entire night rewriting it before giving it to Pacino for his review. Pacino approved it and the production went forward. The film's original budget was $6 million but costs increased to over $11 million, with Variety's review claiming it was over $15 million.

Marlon Brando initially agreed to return for the birthday flashback sequence, but the actor, feeling mistreated by the board at Paramount, failed to show up for the single day's shooting.[15] Coppola then rewrote the scene that same day.

e original cinematographer of ‘The Conversation’ was Haskell Wexler. Severe creative and personal differences with Coppola led to Wexler's firing shortly after production began, and Coppola replaced him with Bill Butler. Wexler's footage was completely reshot, except for the technically complex surveillance scene in Union Square.

Within a few days of shooting ‘Apocalypse Now’, Coppola was unhappy with Harvey Keitel's take on Willard, saying that the actor "found it difficult to play him as a passive onlooker". With Brando not due to film until three months later, as he did not want to work while his children were on school vacation, Keitel left the project in April and quit the seven-year deal he had signed as well. Coppola returned to Los Angeles and replaced Keitel with Martin Sheen.

Typhoon Olga wrecked 40–80% of the sets at Iba and on May 26, 1976, production was closed down. Dean Tavoularis remembers that it "started raining harder and harder until finally it was literally white outside, and all the trees were bent at forty-five degrees". Some of the crew were stranded in a hotel and the others were in small houses that were immobilized by the storm. The Playboy Playmate set was destroyed, ruining a month's scheduled shooting. Most of the cast and crew returned to the United States for six to eight weeks. Tavoularis and his team stayed on to scout new locations and rebuild the Playmate set in a different place. Also, the production had bodyguards watching constantly at night and one day the entire payroll was stolen. According to Coppola's wife, Eleanor, the film was six weeks behind schedule and $2 million over budget; Coppola filed a $500,000 insurance claim for typhoon damage and took out a loan from United Artists on the condition that if the film did not generate theatrical rentals of over $40 million, he would be liable for the overruns. Despite the increasing costs, Coppola promised the University of the Philippines Film Center 1% of the profits, up to $1 million, for a film study trust fund.

When filming commenced in July 1976, Marlon Brando arrived in Manila very overweight and began working with Coppola to rewrite the ending. The director downplayed Brando's weight by dressing him in black, photographing only his face, and having another, taller actor double for him to portray him as an almost mythical character.

On March 5 of that year, Sheen, then only 36, had a near-fatal heart attack and struggled for a quarter of a mile to reach help. By then the film was so over-budget, Sheen worried that funding would be halted if word about his condition reached investors, and he claimed that he'd suffered heat stroke instead. Until he returned to the set on April 19, his brother Joe Estevez filled in for him and provided voiceovers for his character. Coppola later admitted that he could no longer tell which scenes were of Joe or Martin. A major sequence in a French plantation cost hundreds of thousands of dollars but was cut from the final film. Rumors began to circulate that Apocalypse Now had several endings, but Richard Beggs, who worked on the sound elements, said, "There were never five endings, but just the one, even if there were differently edited versions". These rumors came from Coppola departing frequently from the original screenplay. Coppola admitted that he had no ending because Brando was too fat to play the scenes as written in the original script.

The budget had doubled to over $25 million, and Coppola's loan from United Artists to fund the overruns had been extended to over $10 million. UA took out a $15 million life insurance policy on Coppola. By June 1977, Coppola had offered his car, house, and The Godfather profits as security to finish the film. When Star Wars became a gigantic hit, Coppola sent a telegram to George Lucas asking for money.

Coppola was insistent on ‘Dracula’ that he did not want to use any kind of contemporary special effects techniques such as computer-generated imagery when making the movie, instead wishing to use antiquated effects techniques from the early history of cinema, which he felt would be more appropriate given that the film's period setting coincides with the origin of film. He initially hired a standard visual effects team, but when they told him that the things he wanted to achieve were impossible without using modern digital technology, Coppola disagreed and fired them, replacing them with his son Roman Coppola.

By FortuneFaded Go To PostKe Huy Quan wins the golden globe

https://twitter.com/Variety/status/1612983130608259075?s=20&t=jlNTb72pvmKyn7EqbL7TPQ