Over the course of 45 years in the film business, Francis Ford Coppola has refined a singular code of ethics that govern his filmmaking. There are three rules: 1) Write and direct original screenplays, 2) make them with the most modern technology available, and 3) self-finance them. But Coppola didn’t develop this formula overnight. Though he found Hollywood success at the young age of 30, he admits that the early “Godfather” fame pulled him off course from his dream of writing and directing personal stories. Like Bergman, Coppola wanted to wake up and make movies based on his dreams and nightmares.
Thanks in no small part to his booming wine business, Coppola now does just that. He recently wrapped his latest picture, “Twixt Now and Sunrise,” based on an alcohol-induced dream he had in Turkey. The film even features the latest 3-D technology – but as a brief dramatic segment that serves the story, rather than the typical two-hour, multiplex gimmick.
I sat down with Mr. Coppola at La Mamounia, the legendary Moroccan palace-turned-hotel, during the Marrakech International Film Festival, where he shared insights on the filmmaking craft with local students. Rejecting the popular “master class” format, Coppola preferred a simple “conversation,” where he spoke candidly with students and shared his advice generously. What follows are excerpts from both conversations
What’s the greatest challenge of a screenwriter?
A screenplay has to be like a haiku. It has to be very concise and very clear, minimal. When you go to make it as a film, you have the suggestions of the actors, which are going to be available to you, right? You’re going to listen to the actors because they have great ideas. You’re going to listen to the photographer because he will have a great idea.
A screenplay has to be like a haiku. It has to be very concise and very clear, minimal. When you go to make it as a film, you have the suggestions of the actors, which are going to be available to you, right? You’re going to listen to the actors because they have great ideas. You’re going to listen to the photographer because he will have a great idea.
You must never be the kind of director, I think maybe I was when I was 18, “No, no, no, I know best.” That’s not good. You can make the decision that you feel is best, but listen to everyone, because cinema is collaboration. I always like to say that collaboration is the sex of art because you take from everyone you’re working with.
What is the one thing to keep in mind when making a film?
When you make a movie, always try to discover what the theme of the movie is in one or two words. Every time I made a film, I always knew what I thought the theme was, the core, in one word. In “The Godfather,” it was succession. In “The Conversation,” it was privacy. In “Apocalypse,” it was morality.
The reason it’s important to have this is because most of the time what a director really does is make decisions. All day long: Do you want it to be long hair or short hair? Do you want a dress or pants? Do you want a beard or no beard? There are many times when you don’t know the answer. Knowing what the theme is always helps you.
When you make a movie, always try to discover what the theme of the movie is in one or two words. Every time I made a film, I always knew what I thought the theme was, the core, in one word. In “The Godfather,” it was succession. In “The Conversation,” it was privacy. In “Apocalypse,” it was morality.
The reason it’s important to have this is because most of the time what a director really does is make decisions. All day long: Do you want it to be long hair or short hair? Do you want a dress or pants? Do you want a beard or no beard? There are many times when you don’t know the answer. Knowing what the theme is always helps you.
I remember in “The Conversation,” they brought all these coats to me, and they said: Do you want him to look like a detective, Humphrey Bogart? Do you want him to look like a blah blah blah. I didn’t know, and said the theme is ‘privacy’ and chose the plastic coat you could see through. So knowing the theme helps you make a decision when you’re not sure which way to go.
What’s the secret to working with great actors?I’m going to tell you the story of how I prepared the actors of “The Godfather.” Of course, we were all nervous about Marlon Brando. As theatre students in the ‘50s, we looked at him as the greatest. And there was going to be the first time when all the actors were going to meet. Of course, Al Pacino, Jimmy Caan, Bobby Duvall, Johnny Cazale – everyone just admired Marlon. He was the Godfather. I knew that, and I said, “I can use this.” Napoleon once said, “Use the weapons at hand,” and this is what a film director has to do everyday. So what I did is I arranged for the first meeting as an improvisation.
I said, “I want you to come and be hungry.” And they came to a restaurant that I had arranged, the back room of the restaurant, just a table that looked like a home. Marlon, I had sit at the head of the table, and to his right I put Al Pacino, and to his left I put Jimmy Caan. I put Bobby Duvall, and I put Johnny Cazale, and I had my sister Talia, who played Connie, serve the food.
They had a dinner improvisation together, and after awhile everyone is relating to Marlon as the father, and Jimmy Caan is trying to impress him with jokes, and Al Pacino is trying to impress him by being intense and quiet, and my sister was so frightened – she was serving the food. And after that dinner they were the characters. So one tip I give you is, with improvisations, they really stick if there’s something sensual connected with them, like food or eating or making something with their hands.
What’s the best piece of advice you’ve given to your children, inside and outside of the industry?Always make your work be personal.
And, you never have to lie. If you lie, you will only trip yourself up. You will always get caught in a lie. It is very important for an artist not to lie, and most important is not to lie to yourself. There are some questions that are inappropriate to ask, and rather than lie, I will not answer them because it’s not a question I accept. So many times we are asked things in our work or in life that you want to lie, and all you have to do is say, “No, that is an improper question.”
So when you get into a habit of not lying when you are writing, directing, or making a film, that will carry your personal conviction into your work. And, in a society where you say you are very free but you’re not entirely free, you have to try. There is something we know that’s connected with beauty and truth. There is something ancient. We know that art is about beauty, and therefore it has to be about truth.You now have all the resources to do your own production, writing, directing. What’s the biggest barrier to being an artist?Self-confidence always. The artist always battles his own/her own feeling of inadequacy.
What’s the secret to working with great actors?I’m going to tell you the story of how I prepared the actors of “The Godfather.” Of course, we were all nervous about Marlon Brando. As theatre students in the ‘50s, we looked at him as the greatest. And there was going to be the first time when all the actors were going to meet. Of course, Al Pacino, Jimmy Caan, Bobby Duvall, Johnny Cazale – everyone just admired Marlon. He was the Godfather. I knew that, and I said, “I can use this.” Napoleon once said, “Use the weapons at hand,” and this is what a film director has to do everyday. So what I did is I arranged for the first meeting as an improvisation. I said, “I want you to come and be hungry.” And they came to a restaurant that I had arranged, the back room of the restaurant, just a table that looked like a home. Marlon, I had sit at the head of the table, and to his right I put Al Pacino, and to his left I put Jimmy Caan. I put Bobby Duvall, and I put Johnny Cazale, and I had my sister Talia, who played Connie, serve the food.
They had a dinner improvisation together, and after awhile everyone is relating to Marlon as the father, and Jimmy Caan is trying to impress him with jokes, and Al Pacino is trying to impress him by being intense and quiet, and my sister was so frightened – she was serving the food. And after that dinner they were the characters. So one tip I give you is, with improvisations, they really stick if there’s something sensual connected with them, like food or eating or making something with their hands.
What’s the best piece of advice you’ve given to your children, inside and outside of the industry?Always make your work be personal. And, you never have to lie. If you lie, you will only trip yourself up. You will always get caught in a lie. It is very important for an artist not to lie, and most important is not to lie to yourself. There are some questions that are inappropriate to ask, and rather than lie, I will not answer them because it’s not a question I accept. So many times we are asked things in our work or in life that you want to lie, and all you have to do is say, “No, that is an improper question.”
So when you get into a habit of not lying when you are writing, directing, or making a film, that will carry your personal conviction into your work. And, in a society where you say you are very free but you’re not entirely free, you have to try. There is something we know that’s connected with beauty and truth. There is something ancient. We know that art is about beauty, and therefore it has to be about truth.You now have all the resources to do your own production, writing, directing. What’s the biggest barrier to being an artist?Self-confidence always. The artist always battles his own/her own feeling of inadequacy.
