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By Drewsch
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Francis Ford Coppola is responsible for the landscape of the modern film. His pioneering works in the 1970s changed a cinema history course. No matter what you think of its output outside those gaming changers, you must appreciate its commitment to his artistic vision. That was certainly evident in last year MegalopolisEpic Sci-Fi/scattered fantasy that left many spectators confused, inflamed, and completely dismissive of the Coppola self-financing passion project.
Naturally, that means I’m very fond of Megalopolis. It also means I’m excited about MegadocBehind the scenes look at making Coppola film. Although a short teaser trailer is currently available (which you can watch below), it immediately reminded me of a few reasons that I really hate Hollywood machine right now.
Great creators struggle
You can discuss modern qualities Francis Ford Coppola As a filmmaker, but there is no debate on the seismic potential that a new Coppola film holds. He is an important creator in the cinema world and the projects he feels should be vibrant to enliven audiences and studio producers.
But, in an industry that continues to mimic cowardice that expand from all capitalism, such a risk-anticonvelatory film studios that they will not take a chance on the sun rises tomorrow unless they are told by an algorithm. As such, a creative powerhouse like Francis Ford Coppola cannot get funding or even support for a film as Megalopolis Because it’s not some focus -tested formula flic that rolled off the assembly line.
It’s not a new problem in Tinseltown, but one that seems to be exacerbated as more and more techbro twits infiltrate the film business. I don’t think you can make a movie as radical as The godfath or Apocalypse now In today’s studio ecosystem. Can you imagine trying to convince an algorithm to do something as crazy as Apocalypse now?
But the Megadoc Trailer gets me upset for another reason, and it’s one that reminds me of a very special time in the film business.
Actual documentaries, not fluff pieces
When the DVD boom truly hit in the 2000s, studios decided to load their largest home video releases with a ton of behind -the -scenes content. Although there were plenty of EPK (Electronic Press Package) features that had little more than pure marketing, there were also many productions that allowed documentaries to be shot during a film shooting schedule. That meant we actually get to see honest presentations of what it’s like to make a studio film really.
Funny enough, this idea was first celebrated through the documentary The hearts of darknessA cruel picture of honesty of Coppola’s battles in making Apocalypse now. These days, making studio films is kept so tightly that they are practically hidden. Although “behind the scenes” material is still produced for modern films, it is on the tightest lease ever with the studio in Yanking that lace every two seconds.
Megadoc Reminds me of an essential part of my own film appreciation upbringing: seeing the trials, oppressions, conflicts and confusion that occur while trying to make art. Make a mouth is one of the most important pieces of film I have ever watched as a child because it made me love my favorite movie even more. Not because it is a carched tour of memories or a piece of studio propaganda targeted with a meme, but because it shows how taxing it was Mouth. It did not retreat from the tensions, troubles and trauma that the filmmaking company had to deal with.
Megadoc Looking to be in the vulnerability of the Docs “doing” that. I have been so interested in how modern films are made because they rarely show a falcon of the process. Megadoc Am I excited because it’s not a bit of a computed marketing for film like most “make” content these days. It looks to be the kind of film documentary that made me love how movies are made, warts and all.
