The Godfather of Film: Coppola Rumbles Hollywood.Reading through the list of actors, directors, producers and television executives with whom Francis Ford Coppola Noun 1. Francis Ford Coppola - United States filmmaker (born in 1939) Coppola has worked could fill the pages in a Hollywood's Who's Who Who’s Who biographical dictionary of notable living people. [Am. Hist.: Hart, 922] See : Fame volume. He has directed Fred Astaire, Marlon Brando Marlon Brando, Jr. (April 3 1924 – July 1 2004) was an Academy Award-winning American actor whose body of work spanned over half a century. He is widely regarded as one of the most influential actors of all time. , Al Pacino, Diane Keaton, Gene Hackman, Robert De Niro Noun 1. Robert De Niro - United States film actor who frequently plays tough characters (born 1943) De Niro , Harrison Ford, Raul Julia, Matt Dillon
Matthew Raymond "Matt" Dillon (born February 18, 1964) is an Academy Award-nominated American actor. , Patrick Swayze, Tom Cruise, Nicolas Cage (his nephew), Richard Gere, Michael Jackson, Kathleen Turner, Helen Hunt, Joe Mantegna, Gary Oldman, Anthony Hopkins, Keanu Reeves and Robin Williams, and this is only the tip of the iceberg tip of the iceberg n. pl. tips of the iceberg A small evident part or aspect of something largely hidden: afraid that these few reported cases of the disease might only be the tip of the iceberg. . What's more, many of these people went on to greater fame after working with Coppola. In Michael Schumacher's biography, Francis Ford Coppola: A Filmmaker's Life (Crown Publishers, 536 pp.), Coppola is presented as a feisty character with the loins loin n. 1. The part of the body of a human or quadruped on either side of the backbone and between the ribs and hips. 2. of an elephant and the heart of a lion. Although he was accused of being a sellout early in his career (by fellow, disgruntled dis·grun·tle tr.v. dis·grun·tled, dis·grun·tling, dis·grun·tles To make discontented. [dis- + gruntle, to grumble (from Middle English gruntelen; see film students), Coppola strove toward two goals with his films: money and fame, both of which he has achieved. Coppola started dabbling in film at Hofstra University on Long Island, New York New York, state, United States New York, Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of , where he immediately left his imprint with the forming of the Hofstra Cinema Workshop. In 1960 he went to UCLA UCLA University of California at Los Angeles UCLA University Center for Learning Assistance (Illinois State University) UCLA University of Carrollton, TX and Lower Addison, TX film school, despite the fact that no director had yet broken into the industry from merely an educational background, rather, years of apprenticeship were in order. "Prior to the 1960s, film students were scorned by an industry that believed it was a waste of time to study how to make a movie when you could learn through experience," wrote Schumacher. Coppola cracked that director's mold and became an icon for future mammoth directors, such as George Lucas. However, Coppola did not learn the business from the film school, he became versed in many of his movie mechanics under the tutelage TUTELAGE. State of guardianship; the condition of one who is subject to the control of a guardian. of B-movie producer Roger Corman. Coppola met Corman through Dorothy Arzner, a film teacher at UCLA. Corman was best known for turning around a number of low-budget films in a short period of time to capitalize on the drive-in theater craze. From this experience, Coppola learned the value of the film dollar. Low budgets and high turnaround increase profits, and the industry was, is and always will be about turning a buck. To illustrate this, Schumacher describes a time when three hit directors, Peter Bogdanovich in his car and William Friedkin and Coppola in their limousine, meet at a Hollywood intersection. Friedkin needled Bogdanovich about the critical success of his movie The French Connection and Bogdanovich fired back touting the acclaim he received for his The Last Picture Show. Schumacher noted, "As would be the case throughout much of his career, Coppola got in the last word. He stood up, poked his head through the sunroof, and roared, 'The Godfather, $150 million!' " Even at that early stage in his directorial career, with only five of his 24-plus films having been distributed, Coppola knew the value of box-office receipts over rave reviews. Which makes the story of how The Godfather came to pass incredible, because it very nearly never made it to the big screen. Robert Evans, then head of Programming at Paramount, had purchased the rights to Puzo's novel "for a paltry $12,500, with escalator clauses arranging to pay Puzo the sum of $50,000 if the novel was eventually made into a movie." Despite the fact that gangster flicks had become box-office poison, Evans wanted to capitalize on his investment. Coppola wasn't the first proffered to direct the film, a list of some of the industry's most distinguished directors, including Richard Brooks, Elia Kazan, Arthur Penn, Peter Yates, Fred Zinnemann and Richard Lester all rejected the script. "Of those declining, the majority cited not wanting to be involved with a project that glorified glo·ri·fy tr.v. glo·ri·fied, glo·ri·fy·ing, glo·ri·fies 1. To give glory, honor, or high praise to; exalt. 2. the Mafia." George Lucas talked Coppola into directing the movie depicting Italian crime families. The film also had dilemmas with casting. Coppola had settled on Marion Brando to play the lead role of Vito Corleone, but Brando had been blacklisted by Paramount's president Stanley Jaffe. (Interestingly enough, Frank Sinatra, who had publicly denounced Puzo's novel, lobbied Coppola for the role.) Likewise, the character of Michael almost did not go to Al Pacino: "According to Paramount, Pacino had no marquee value whatsoever. He was too Italian-looking for the most Americanized character in the Corleone family; at five feet seven inches, he was too short." Actors considered for that part included Jack Nicholson, Charles Bronson and Warren Beatty. The Godfather was the film to loft Coppola to the top. Two more installations of the film, both directed by Coppola, also went on to critical success. In fact, some thirty years after Puzo's novel was published, there were rumors in 1999 of a fourth Godfather film in the works to star Leonardo DiCaprio. Filmography film·og·ra·phy n. pl. film·og·ra·phies A comprehensive list of movies in a particular category, as of those by a given director or in a specific genre. American Graffiti (1973) Producer American Mythologies (1981) Actor Apocalypse Now (1979) Actor/Composer/Writer/Director/Producer The Black Stallion (1979) Producer The Black Stallion Returns (1983) Producer Bram Stoker's Dracula (1992) Producer Buddy (1997) Producer Captain Eo (1986) Director The Conversation (1974) Writer/Director/Producer The Cotton Club (1984) Writer/Director Cultural Celebrities (1979) Actor Dementia 13 (1963) Writer/Director Don Juan Don Juan (dŏn wän, j  `ən, Span. dōn hwän), legendary profligate. DeMarco (1995) Producer
The Escape Artist (1982) Producer Filmmaker (1968) Actor Finian's Rainbow (1968) Director The Florentine (1999) Producer Gardens of Stone (1987) Director/Producer The Godfather (1972) Writer/Director The Godfather Comes to Sixth St. (1975) Actor The Godfather: Part II (1974) Writer/Director/Producer The Godfather: Part III (1990) Writer/Director/Producer The Godfather Trilogy (1992) Writer/Director/Producer Goosed (1999) Producer Grapefruit Moon (2000) Producer The Great Gatsby (1974) Writer Hammett (1982) Producer Haunted (1995) Producer Is Paris Burning? (1966) Writer Jack (1996) Director/Producer John Grisham's The Rainmaker Rainmaker An employee of a brokerage firm who brings a large amount of wealthy individuals or corporations to the brokerage firm's client base. Notes: Rainmakers are usually compensated very well for their efforts (or connections). (1997) Writer/Director The Junky's Christmas (1993) Producer Kagemusha (1980) Producer Koyaanisqatsi (1983) Producer Kurosawa: The Last Emperor (1999) Actor Lanai-Loa (1998) Producer Lionheart Lionheart can refer to: People
Mary Shelly's Frankenstein (1994) Producer Mi Familia This article is about the Polish political party. For other uses, see Familia (disambiguation). Familia ("The Family," from the Romain familia (1995) Producer New York Stories (1989) Writer/Director One From the Heart (1982) Writer/Director The Outsiders (1983) Director Patton (1970) Writer Peggy Sue Got Married (1986) Director The Playgirls and the Bellboy (1962) Director The Rain People (1969) Writer/Director Rumble Fish (1983) Writer/Director/Producer Sadko (1953) Writer The Secret Garden (1993) Producer Sleepy Hollow (1999) Producer Supernova (2000) Director The Terror (1963) Director/Producer The Third Miracle (1999) Producer This Property Is Condemned (1966) Writer THX A design system that provides realistic sound playback for movie and home theater from THX, Ltd., San Rafael, CA (www.thx.com), an independent spin-off from Lucasfilm, Ltd. The THX Sound System was developed during the production of the Return of the Jedi in 1982 and named after George 1138 (1970) Producer Tonight For Sure (1961) Writer/Director/Producer Tough Guys Don't Dance Tough Guys Don't Dance may refer to:
Tucker: The Man and His Dream (1988) Director The Virgin Suicides (1999) Producer Wind (1992) Producer You're a Big Boy Now (1966) Writer/Director |
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