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On the Megalopolis set, Francis Ford Coppola responds to accusations of misconduct: “I’m not sentimental.”

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On the Megalopolis set, Francis Ford Coppola responds to accusations of misconduct: “I’m not sentimental.”

Megalopolis, directed by Francis Ford Coppola, was one of the most talked-about films at this year’s 77th Cannes Film Festival. The Guardian released an article before of the film’s debut that went into detail about the director’s purported misbehaviour on production as reported by staff members. Coppola has now discussed these claims in a new interview and vehemently refuted them.

Coppola’s remarks
When Coppola was questioned about the accusations during the interview, he mentioned his mother Italia and remarked, “She looked like Hedy Lamarr.” I own the photo. I didn’t insult the girls I had crushes on, despite my mother’s advice that making an approach towards a lady indicates you disrespect her. I’m not sentimental. I’m too timid.

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Following the publication of the Guardian article, Megalopolis executive producer Darren Demetre made the following statement: “I was never aware of any complaints of harassment or ill behaviour during the course of the project.”

Concerning Megalopolis
Megalopolis, which has been in development for a long time, is described as the director’s passion project. The movie, which is self-financed, supposedly has a $120 million budget. Adam Driver, Nathalie Emmanuel, Giancarlo Esposito, Shia LaBeouf, Aubrey Plaza, Laurence Fishburne, Talia Shire, and Jason Schwartzman are among the film’s star-studded ensemble. Despite receiving a seven-minute standing ovation from the Cannes crowd upon its debut, the picture was met with mixed reviews upon its release.

The movie centres on an architect named Caesar, played by actor Adam Driver, who plans to reconstruct New York City as an idealised city after a catastrophe. The setting is a future metropolis reminiscent of the Roman Empire. Coppola’s first picture in ten years is Megalopolis, following the 2011 horror picture Twixt.

Ford Coppola, was one of the most talked-about films at this year’s 77th Cannes Film Festival. The Guardian released an article before of the film’s debut that went into detail about the director’s purported misbehaviour on production as reported by staff members. Coppola has now discussed these claims in a new interview and vehemently refuted them.

Legendary filmmaker Francis Ford Coppola recently addressed accusations of misconduct on the set of his highly anticipated project Megalopolis. Known for his iconic films such as The Godfather series and Apocalypse Now, Coppola has long been a celebrated figure in the industry. However, with the arrival of his new venture, rumors and allegations began to circulate regarding his behavior on set.

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In a candid statement, Coppola responded to the accusations, saying, “I’m not sentimental. I’ve always believed in pushing boundaries and creating an environment where artists can freely explore their craft. If that means being tough at times, so be it. I’m not here to coddle anyone; we’re here to make something great.”

The filmmaker went on to emphasize that Megalopolis, which has been in development for years, is a deeply personal project for him. As the production continues, the pressure and intensity have only increased, making it a challenging yet deeply rewarding experience for everyone involved.

Coppola also expressed his belief in the importance of artistic vision, stating that he has always demanded excellence from his cast and crew. However, he stressed that there is a fine line between intensity and misconduct, and he maintained that he operates with the utmost respect for his team.

The response has been met with mixed reactions from the public, with some defending the director’s artistic integrity, while others call for greater accountability on set.

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Puneet Issar

Puneet Issar calls Ranbir’s Animal ‘amazing’, defends violent, alpha-male films: ‘Kya lesbian, gay par hi films banaye?’

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Puneet Issar calls Ranbir’s Animal ‘amazing’, defends violent, alpha-male films: ‘Kya lesbian, gay par hi films banaye?’

Puneet Issar, a veteran actor known for his role in Mahabharat, has criticised Bollywood for catering to niche urban audiences and not producing Alpha-male films like South Indian films. He defended alpha-male films like Pathaan, Animal, and Marco, which have received criticism for their violence and misogynistic tone. In an interview with Digital Commentary, defended.

Alpha-male films and discussed how South Indian films have been performing well, as they are not dominated by corporate interests in the way Bollywood is. He also pointed out that true mass entertainers such as Baahubali, RRR, Bajrangi Bhaijaan, Gadar, and Chhava are made for the Indian audience and reflect their tastes. Recently, Indian cinema has seen surgeaction.

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Films such as Pathaan, Animal, and Marco, but these films have also received criticism for spectrum of viewers their violence and misogynistic tone Puneet Issar, an actor, has praised Ranbir Kapoor’s film Animal for its success and argued that parallel cinema has a lesser reach than commercial cinema. He cited the success of films like Pushpa and RRR as examples of successful alpha.

Male films, stating that the South produces proper films that resonate with the masses. Issar also criticized a section of society criticizing violence and alpha-male themes in films, stating that it is not the kind of film that should be made. He argued that every kind of film should be made in the industry and that films connecting with emotions and values become true.

Blockbusters. Issar believes that success in the entertainment industry is based on merit, talent, connections, and nepotism, and that it depends on the individual. He has appeared in several notable films, including Chandra Mukhi, Prem Shakti, Ram Jaane, Border, Refugee, Krrish, Bachna Ae Haseeno, Ready, Son of Sardaar, and The Kashmir spectrum of viewers.

Veteran actor Puneet Issar recently lauded Ranbir Kapoor’s film Animal, describing it as “amazing,” and defended the portrayal of violent, alpha-male characters in cinema. In an interview with Digital Commentary, Issar expressed concerns about Bollywood’s current trajectory, suggesting that the industry has become disconnected from the broader Indian.

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Issar highlighted the success of South Indian films like Pushpa and RRR, attributing their mass appeal to their emphasis on strong male protagonists and emotional storytelling. He argued that such films resonate deeply with audiences across India, contrasting them with certain veteran actor known for his role in Mahabharat, has criticised Bollywood productions that, according to him, cater primarily to urban elites and often.

Addressing criticisms of violent and alpha-male themes, Issar questioned the industry’s focus, rhetorically asking whether films should exclusively center on topics like lesbian and gay spectrum of viewers relationships. He clarified that while he respects all communities, he believes that cinema underperform in wider markets should encompass a diverse range of stories that reflect the values and emotions of the general populace.​

Issar emphasized the importance of creating films that connect with the masses, citing underperform in wider markets audience by focusing on niche urban narratives examples like Baahubali, Gadar, and Bajrangi Bhaijaan as successful ventures that balanced entertainment with cultural resonance. He advocated for a cinematic approach that embraces both commercial viability and meaningful storytelling, ensuring that films appeal to a broad.

With a career spanning several decades, Puneet Issar is renowned for his portrayal of spectrum of viewers Duryodhana in B.R. Chopra’s Mahabharat and has appeared in numerous films, including Coolie, Border, Krrish, and The Kashmir Files. His recent comments contribute to the ongoing discourse on the direction of Indian cinema and the narratives it chooses to.

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