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Scarecrow and The King of Marvin Gardens – quirky, unstylised films made in the 60s and 70s that refused to smooth their rough edges. This bravery, Adam Mars-Jones argues, is what film-makers are missing today
The label "independent film" doesn't mean what it once did, and the Sundance festival is part of the reason. The moment aspiring film-makers realised there was a potential shortcut to distribution and acclaim, they started smoothing off their rough edges – consciously or without even noticing – or at least they began to stylise themselves. Either way, the overall effect of the festival has not been to promote individuality but to erode it. So it's a mild beneficial shock to watch two American films of the early 1970s on re-release – not because they're masterpieces, exactly, but because they give the flavour of a different set of assumptions.
- Adam Mars-Jones
The man who made The Godfather one of the greatest movie trilogies of our time (if you go really easy on the third one) will return to the director's chair for another story about an Italian-American family. This one, however, will have a lot less gunplay and need for blood squibs. Francis Ford Coppola is working on a screenplay that he plans to direct for a saga about an Italian-American family, according to The Hollywood Reporter. The paper describes Coppola's script as a "coming-of-age" story that will focus on a teenage boy and girl and chronicle their family »
Francis Ford Coppola is an incredible director and has made some great films in his career, but he's best known for bringing The Godfather to life. He's now looking to develop another Italian-American film saga.
He will write and direct the untitled film, which will chronicle an Italian-American family and span from the 1930s to the 1960s. This is about the same timeframe that The Godfather covered. The script has been described as "a coming-of-age story that focuses on a boy and girl in their late teens."
That's basically all we know at this point. Coppola has set up production offices on the Paramount Pictures lot, but there's no word on if the studio is involved with the production.
Coppola has gone through an experimental phase of filmmaking with the 2011 horror thriller Twixt. Even though I thought the movie was terrible, it's still good to experiment and try new things. »
- Joey Paur
Hey, it certainly sounds better than Twixt. THR reports that Francis Ford Coppola is readying a new feature that should appeal to more of his traditional fanbase. The film is currently untitled, but the outlet reports that it “will chronicle an Italian-American family and span from the 1930s to the 1960s.” The project is also described as “a coming-of-age story that focuses on a boy and girl in their late teens.” While details are obviously slim as of now, The Wrap’s Jeff Snider also tweeted today that “Dance will be a key element in the new Francis Ford Coppola movie. That’s all, folks.” So that’s…something. Oh, is this going to be a new Dirty Dancing? Is that it? Coppola is currently writing the screenplay himself, and while the project has no firm studio commitments (despite having offices on the Paramount lot), a pair of casting directors have already been brought on (Courtney Bright and »
- Kate Erbland
This one won’t have gangsters. Probably won’t have gangsters. Actually, there’s a higher probability of gangsters than anything else. Anyways, if you’ve forgotten who Francis Ford Coppola is (other than the father of Sofia Coppola), he’s that guy that directed a few small movies under the banner of The Godfather? Yeah? Ok, so we’re all on the same page. Well, he’s planning on directing another saga about an Italian-American family that will not involve Al Pacino killing people in Italian restaurants.
Coppola is reportedly working on a screenplay that will play as a coming-of-age story about a boy and girl in their late teens. Paramount is providing office space, but little else, with no current plans to bankroll or distribute the movie once it gets made. If it gets made.
Forgive me for being skeptical. Coppola has had a bit of tough time »
- Lauren Humphries-Brooks
After tackling the Italian family drama that unfolded from The Godfather trilogy, director Francis Ford Coppola will again chronicle the Italian-American life experience for a new untitled film with a story unfolding between the 1930s and the 1960s. THR reports Coppola is currently writing the film, for himself to direct, about a boy and a girl in their late teens. There aren't anymore details than that, but it's said to be a coming-of-age story. As of now the project isn't set up at a studio, so there's no financing or distribution deals in place, but Coppola could always go the indie route like he did with his last self-financed film Twixt. Of course, Twixt never really took off as an intriguing piece of filmmaking, and this sounds much more accessible and commercial, especially coming from the director of The Godfather. Though Coppola's films as of late have been much more low key, »
- Ethan Anderton
Francis Ford Coppola is working on an Italian-American saga.
The Godfather director is planning the epic tale of a family that spans the 1930s to 1960s, according to The Hollywood Reporter.
Coppola is writing the screenplay, which he has described as a coming-of-age tale of an adolescent girl and boy.
He has set up offices at Paramount Pictures, but there is no word yet as to whether the studio will be involved with the project.
The celebrated director has focused on independent and self-financed films in recent years. His latest movie was 2011's Twixt.
His famous Italian-American mafia trilogy concluded in 1990 with The Godfather Part III. »
Francis Ford Coppola is returning to his “Godfather” roots No, the legendary director isn't making a sequel or prequel or reboot. But he will be writing and directing a new, decades-spanning Italian-American saga. According to the Hollywood Reporter, the movie will be “a coming-of-age story that focuses on a boy and girl in their late teens” and will be set from the 1930s through the 1960s. Since “The Godfather” series ended in 1990 with the poorly-reviewed third film, Coppola has directed but rarely. He helmed “Bram Stoker's Dracula” with Keanu Reeves and Winona Ryder in 1992, then worked with Robin Williams in the critically-reviled “Jack.” His last big movie was 1997's “The Rainmaker,” based on the book by John Grisham. In the last decade, Coppola has stuck to the arthouse world, making indie movies “Youth Without Youth,” “Tetro,” and “Twixt.” Perhaps the Coppola patriarch was inspired to keep up with his two surviving children, »
- Kelly Woo
Francis Ford Coppola has already done a pretty good job capturing the life of an Italian-American family in the mid-20th century, having directed one of the greatest trilogies in cinematic history. But now, 23 years after the release of The Godfather Part III, he's ready to explore the subject once again - only this time it won't be a gangster story. According to The Hollywood Reporter, the Apocalypse Now director is now set to make a new untitled film that "will chronicle an Italian-American family and span from the 1930s to the 1960s." Coppola will be writing the script for the movie, just as he has for all of his credited directorial efforts since 1997's legal drama The Rainmaker. The trade says that the plot is a coming-of-age story about two teenagers, a boy and a girl. Strangely, production offices for the film have been set up on the Paramount »
Gordon Willis is regarded by all of his peers as one of the greatest cinematographers in the history of film, and for many as the greatest of all time, period. Meeting with him only served to have him rise in our esteem. Without wanting to use hyperbole, between lensing "The Godfather' trilogy, many of Woody Allen's best films (including "Annie Hall," "Manhattan," "Stardust Memories," "Interiors" and others) and several master thrillers for Alan J. Pakula ("All the President's Men," "Klute," "The Parallax View," "The Devil's Own" and others), Gordon Willis practically »
- Jeff Glickman
Francis Ford Coppola was one of the biggest filmmakers of the 1970s, but over the following decades, his stock began to decline. After a 10-year absence following The Rainmaker, Coppola returned with micro-budget, seriously art-house pictures that struggled to find distribution. His latest picture, Twixt, had ambitious plans including a tour that would feature live-editing of the picture, but ended up only played at film festivals and has yet to see an American release. But now Coppola plans to return to the genre that catapulted him to stardom with The Godfather. According to THR, Coppola is planning to direct an Italian-American family drama that will span from the 1930s to the 1960s. The filmmaker is working on the screenplay, "which is described as a coming-of-age story that focuses on a boy and girl in their late teens." The production has offices set up at Paramount (home of The Godfather), but »
- Matt Goldberg
In the fourth episode of Arrested Development‘s third (and what initially seemed to be its final) season, Michael Bluth wakes up to find the handlebars of his bike in his bed, placed there by Gob, his sheets stained with bike grease. The moment is a clear reference to one of the most iconic scenes from The Godfather, where studio executive Jack Woltz awakes to find the severed head of his prized horse in his bed after refusing to give Johnny Fontaine a prize role in the film. But Arrested Development‘s relationship to The Godfather trilogy isn’t isolated to occasional references or sly parodies. Instead, the underlying structure of the series seems to be modeled off Francis Ford Coppola’s canonized adaptation of Mario Puzo’s crime saga. Here are a few connections between the three existing seasons of Arrested Development and the three Godfather films. Perhaps there will be more to look for when »
- Landon Palmer
This story first appeared in the May 31 issue of The Hollywood Reporter magazine. Godfather fans rejoice. Francis Ford Coppola is returning to the Italian-American experience for his next directing effort. Photos: The Life of Sofia Coppola The Godfather helmer is readying an untitled film that will chronicle an Italian-American family and span from the 1930s to the 1960s. Coppola became one of the most celebrated directors in cinema after bringing the Corleone family saga to the big screen. The Godfather covers a similar timeframe, spanning from 1945-55. Coppola is writing the screenplay, which is described as a coming-of-age
- Tatiana Siegel
Holy moly, this Exploitation Alley article is long overdue, as it’s been a month since the last one (sorry!). In anticipation of Franck Khalfoun’s Maniac remake coming out next month, I thought that I would revisit the original 1980 film and spend some time on it. So hold onto your scalps, and watch out for crazy Frank Zito, because he just might blow your head off..it’s time for Exploitation Alley!
Maniac follows Frank Zito, played brilliantly (and co-written) by the late Joe Spinell (Cruising, Rocky, The Godfather). Frank is an overweight, greasy looking guy who lives alone, and well…murders women (and sometimes men) and cuts the scalps off of said ladies to place on his mannequins, along with their wardrobe as well. Frank completely exudes a sketchy as hell demeanor but never quite takes it over the top, instead turns in a really subtle yet sometime erratic performance. »
Recent hot cinema topics such as the portrayal of the Mandarin character in Shane Black’s Iron Man 3 and speculations about what classic Star Trek villain Benedict Cumberbatch’s character in J.J Abrams’ Star Trek: Into Darkness was modeled after leading up to the film’s release, among others, underline the importance of great villains in genre cinema.
Creating a great cinematic villain is a difficult goal that makes for an incredibly rewarding and memorable viewer experience when it is achieved.
We’ll now take a look at the greatest film villains. Other writing on this subject tends to be a bit unfocused, as “greatest villain” articles tend to mix live-action human villains with animated characters and even animals. Many of these articles also lack a cohesive quality as they attempt to cover too much ground at once by spanning all of film history.
This article focuses on the 1970’s, »
- Terek Puckett
Myriad Pictures announced today that Academy Award winner Morgan Freeman ( The Shawshank Redemption , The Dark Knight Rises , Driving Miss Daisy , The Bucket List ) and Academy Award winner Diane Keaton ( Something's Gotta Give , The Big Wedding , "The Godfather" trilogy, Annie Hall ) will star together for the first time in the heartwarming comedy Life Itself . The film will be directed by award-winning director Richard Loncraine ( The Gathering Storm , My One and Only , Firewall , Wimbledon and Richard III ), and is based on the acclaimed novel "Heroic Measures" by Jill Ciment, from a screenplay written by Charlie Peters. In the film, Keaton and Freeman play a long-married New York City couple who find themselves swept into an emotional and »
After a long, long absence from filmmaking, legendary "The Godfather" helmer Francis Ford Coppola resurfaced a few years back with some of his most impressive works since the early 1980s. We didn't wholeheartedly adore either "Youth Without Youth" or "Tetro," but there was still much to admire, and furthermore, they felt like Coppola had returned to filmmaking with the vigor and energy of a young man, suggesting much more to come. His next film, "Twixt," continued that approach; an experimental, partly 3D horror film starring Val Kilmer and Elle Fanning, which Coppola planned to take on the road, remixing the film live with an iPad. It was an impressively forward-thinking approach for the veteran filmmaker, even if, according to most of the reviews, including our own, it worked better in theory than in practice. The film never had a real release, though it did pop up on one screen on the West Coast in August, »
- Oliver Lyttelton
The Candy Store coupon cast: Christoph Waltz, Robert De Niro, Jason Clarke, Omar Sy (photo: Christoph Waltz in Django Unchained) Get your coupons ready, as The Candy Store cast keeps growing: Besides Robert De Niro, Jason Clarke, and Omar Sy, writer-director Stephen Gaghan’s thriller will also feature this year’s Best Supporting Actor Academy Award winner Christoph Waltz. Co-written by Gaghan (Traffic, Syriana) and Shannon Burke (a "consultant" on Syriana), The Candy Store follows several storylines set in the underworld of Brooklyn’s Brighton Beach. Here’s the basic plot: A former covert operative (Jason Clarke) discovers the organization he was dedicated to fighting is now operating in his new backyard. When he teams up with a disgraced local cop (Robert De Niro), their investigation leads them to an international sex trade entrepreneur (Omar Sy), a Cold War consigliere posing as a typical American suburbanite (Christoph Waltz), and a »
- Zac Gille
For proof of how much the film industry has changed over the past four decades, one need look no further than Jerry Schatzberg’s “Scarecrow,” which won the Palme d’Or in Cannes 40 years ago this month. The enigmatically open-ended road movie returns to New York screens May 17, digitally restored, for a one-week run at the Film Forum.
Greenlighted by Warner Bros. as an alternative to faltering big-budget fare, the pic featured Gene Hackman (then hot off “The Poseidon Adventure”) and Al Pacino (in between “The Godfather” and “Serpico”) as drifters who dream big, hatching a plan to open a car wash together once they reach Pittsburgh.
At last month’s TCM Classic Film Festival in Hollywood, Schatzberg announced that he and a young scribe named Seth Cohen have written a follow-up to “Scarecrow.” Assuming they can get Warners’ permission to use the characters, the film would have to be produced independently, »
- Peter Debruge
Greetings from the apocalypse! This is an exciting week for me, since I'm making my art gallery debut and all — I'm celebrating with two docs covering cool artistic subcultures (gig posters and tattooing), as well as a hella ton of Mother's Day recommends. Let's get to it, shall we, old sport? Yep yep.
Friday, May 10
Pow! In Theaters
Glam filmmaker Baz Luhrmann's reimagining of F. Scott Fitzgerald's timeless Jazz-age romance "The Great Gatsby" looks like my 11th grade book report had sex with a disco ball, but that's par for the course. Luhrmann had previously razzle-dazzled "William Shakespeare's Romeo + Juliet" and reunites with Leonardo DiCaprio as enigmatic rich dude Jay Gatsby, clinging to the memory of a past dalliance with Daisy Buchanan (Carey Mulligan). Clinging tragically, »
- Max Evry
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