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One from the Heart (1981) Poster

Trivia

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The extraordinary cost of the production of this film would lead to director Francis Ford Coppola's declaring bankruptcy. Originally intended as a small film after the enormous cost, pressures and production problems of Apocalypse Now (1979), One from the Heart rapidly ballooned from a projected budget of $2 million to over $25 million. Coppola has stated that the films he made during the rest of the 1980s and most of the 1990s, such as The Outsiders (1983), The Cotton Club (1984), The Godfather: Part III (1990), Jack (1996) and The Rainmaker (1997), were done to pay off the debts incurred by the production of One from the Heart.
Rather than shooting on location, director Francis Ford Coppola insisted on building sets, to add to the artificiality of the proscenium. Set construction proceeded to such an extent that a replica of Las Vegas' McCarran Airport - complete with a jetway and jet airliner (built from the nose section of a crashed plane) - was built and used for the penultimate scene. The sets for the film consumed the entirety of sound stage space at Coppola's recently-acquired American Zoetrope studio. Because of the maze of wiring and flammable scrims, backdrops and other materials, production designer Dean Tavoularis half-jokingly referred to the Vegas Strip set - the centerpiece of the film - as a "firetrap", saying it caused him to have "nightmares about fires" during the film's production.
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Francis Ford Coppola would direct a lot of the film from The Silver Fish, a mobile HQ, fully equipped with a kitchenette, espresso machine and onboard Jacuzzi. Coppola would issue his directions via a loudspeaker system.
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Ever the pioneer, with this film Francis Ford Coppola was one of the first directors to use a live, from-the-camera video feed, instant playback, and, ultimately, using that video to enable rough cuts made of each scene shot by the next morning making this movie less of a film than a grand experiment and continuous, collaborative work-in-progress.
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Debut theatrical feature film of actress Rebecca De Mornay who appeared uncredited as an understudy.
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This was the only film directed by Francis Ford Coppola to be shot at his Zoetrope Studios.
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In order to make the signs for the miniature Las Vegas scenes work, neon artists Larry Albright and Bill Concannon needed to develop a process for making neon signs where the tubing was 2mm in diameter. (By comparison, most neon signage is between 10mm and 18mm, where most of the tubing on the Las Vegas strip is 15mm.) Custom glassblowing burners, electrodes, and other hardware needed to be fabricated from scratch. Amazingly enough, many of the pieces produced still work today.
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Set entirely in Las Vegas, but completely filmed on a sound stage except for one sequence shot on the Zoetrope Studios back lot for the "Las Vegas Junkyard" (aka the "Garden of the Taj Mahal") scenes.
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Dean Tavoularis, whose art department was next door to the musical rehearsal space, used Tom Waits' score as tonal inspiration which was incorporated into the film's highly-stylized 'look'.
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The first film shot at Francis Ford Coppola's Zoetrope Studios.
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Regarding the poor critical reception, in a later interview Francis Ford Coppola has said that the film was still a "work in progress" when screened for blind bidding. He said the unfinished version was "a mess". He went on to say that "it was clear that it wasn't going to get a fair shot."
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Harry Dean Stanton and Rebecca De Mornay were a real-life couple at the time of filming. They lived together for about two years.
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Only one of the film's characters actually sing in this movie musical (Nastassja Kinski sings "Little Boy Blue"). All others songs and music come from the soundtrack and score.
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The title of the Australian movie Lonely Hearts (1982) was changed from its original title of "Close to the Heart" to avoid confusion with One from the Heart (1981).
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The film's closing credits declare that the picture was: "Filmed entirely on the stages of Zoetrope Studios".
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After Finian's Rainbow (1968), this was the second musical directed by Francis Ford Coppola.
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Director Francis Ford Coppola has said that this movie was inspired by a variety of things, "The influences were really more the filmed musicals of the 1940s and 50s, and even the stage musicals I directed in college and the Broadway shows I saw growing up. Also very influential were the live television dramas of the 50s and 60s, especially those directed by John Frankenheimer."
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One of around five cinema movie collaborations of actor Frederic Forrest and director Francis Ford Coppola. The films include Hammett (1982), The Conversation (1974), Apocalypse Now (1979), One from the Heart (1981), and Tucker: The Man and His Dream (1988),
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All of the movie sets featured in the film were created, built, and constructed in a studio. No real exterior locations are featured in the film.
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One of a number of earlier 1980s epic movies that flopped at the box-office.
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Debut film score composed by singer, songwriter, and composer Tom Waits.
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Debut feature film as a producer for writer-producer Armyan Bernstein who performed the duties of a a co-producer.
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Director Francis Ford Coppola made this movie between Apocalypse Now (1979) and The Outsiders (1983).
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Francis Ford Coppola was later an executive producer on Lionheart (1987) - his only other feature film which features the word "heart" in the title.
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The son of director Gian-Carlo Coppola performed the duties of "special assistant to [the] director" which was his debut as an A.D.
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The TV half-hour behind-the-scenes documentary about this movie is called The Making of 'One from the Heart' (1982) (runs 23 minutes).
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The movie is set on the evening of the 4th of July which is America's Independence Day.
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The detractor nickname of the film was "One Through the Heart".
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Cameo 

Carmine Coppola: The director's father appears with his wife Italia as a couple in an elevator.
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Italia Coppola: The director's mother appears with his father Carmine as a couple in an elevator.
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