Filmmakers take note that in an interview recently with MovieMaker Magazine, Oscar-winning director Francis Ford Coppola allegedly said,
"The movie business is not a good business to be in. You can have the money to finance your own movie, the actors can all love you, and if you don't control the distribution, you're DEAD!"
In spite of this negative stance on a key issue (he obviously learned first-hand about distribution angst from various experiences in his storied past) he offered up intriguing insights into the filmmaking process.
For starters, he noted that "Youth on Youth" (one of his latest films) was a departure from his earlier work.
"My work here is interesting because the camera never moves. It's rock steady. It's a frame."
And he stressed, "there is tremendous power in that".
From that project evolved a unique visual language which the remarkable auteur counts as a triumphant achievement.
"Every movie should have a distinct style," he argued.
Until now, the award-winning director has humbly been under the impression that his prior movies have been mere experiments, at best.
Some dabbling!
Films like the "Godfather" (Trilogy), "Rumble Fish", "Apocalypse Now", "One from the Heart", and "The Conversation" - to name a few - have garnered him accolades few will ever attain in this lifetime or the next.
The man has very high standards, without doubt!
Looking back on his own career, it is only natural to take a glance at the talent coming up through the ranks.
When it comes to the youth of today, he has a lot of faith in young filmmakers ability to survive in the jungle out there.
"They're bright and savvy about the marketing-intensive world they've been born to."
He senses a longing for heritage - with the college students - anyway.
He wholeheartedly believes that the younger generation is not only "deep" but have instincts that can be cultivated.
With respect to his ideas about TV - well - they're old school.
Coppola theorizes that children have been been negatively impacted by a "generation of fifty years of television" which he contends "has been destructive to the brain cells."
Unfortunately, he concludes, the film industry is a continuation of that mentality.
He scorns a system that focuses on how to make money off the slippery trends and fads spawned by the younger generation, instead of one that lays down resources or offers up the mystical beauty of the culture at youth's feet.
In many respects his approach to filmmaking has changed over time.
Not just in respect to what he refers to as the "Holy Grail" of filmmaking, but the creative process, too.
For example, today the insightful director is mindful of production issues.
Normally - after first considerations were made on scripting, casting, and other key elements - his attention would focus on the issues pertaining to crew and the logistics of filmmaking.
For example, in the naive days he was inclined to hire the key grip first because - in the words of one of the best grips he ever hired - "Grips power the show".
After all, he quipped, "A show only moves as fast or slow as grips move."
Today - because the cinematographer, grip and gaffer are a team that come with the equipment package rental from Panavision - his approach is different.
He used to jump into the fray and instruct the crew to put the camera "here or there".
If he took that bold step today, the grip would look to the cinematographer first - then most likely - forewarn Francis about the technical obstacles he'd be facing with regard to the shooting schedule, budget costs, etc.
Essentially, in the last fifteen years or so, the Cinematographer (and crew) have assumed a mighty position. Even the all-powerful Coppola is inclined to bow down to that reality.
It's all about team work, I surmise.
And yes, Mr. Coppola has come a long way since the days of shooting the Godfather.
When he looks back - not in anger necessarily - he admits,
"I nearly got fired."
"They didn't like the cast. They didn't like the way I was shooting it."
Executives at Paramount had so little faith in the 32 year-old filmmaker they had hired to direct "The Godfather", they actually lined up another director to follow Francis around the set just to remind him he could be replaced at any moment.
Despite studio interference, Coppola trusted his instincts and the "gangsta" picture became a massive success with both critics and the public alike.
Along with its more-acclaimed sequel, the Godfather is one of the highest-grossing films of all time and generally appears on every list of the best films ever made.
Francis Ford Coppola continued to trust his instincts - and in the interim - proceeded to win multiple Academy Awards for "The Godfather" (Part II) and for directing such legendary films as "The Conversation" and "Apocalypse Now".
Today, he leads in the industry by way of personal example and due to his generous support of aspiring young filmmakers.
More importantly, he has left an indelible mark on cinematic history.
Personally, I'm anxiously awaiting his next project, the adaptation of Jack Kerouac's classic book "On the Road'".
Will he snag it?
