Latest news with #ApocalypseNow
Forbes
2 days ago
- Automotive
- Forbes
Gooding Christie's To Auction Autos Owned By Francis Ford Coppola, Others August 15, 16
Gooding Christie's, the official auction house of the Pebble Beach Concours d'Elegance, will present a series of gorgeous and rare vehicles from four highly regarded collections at its 21st annual Pebble Beach Auctions, held on Friday, August 15 and Saturday, August 16. Among the headline offerings are cars from the personal collection of legendary director Francis Ford Coppola as well as important selections from the Mitchell Rasansky, Brian Pollock, and Bethel Collections. From the Francis Ford Coppola Collection 1948 Tucker Filmmaker Francis Ford Coppola, known for The Godfather trilogy and Apocalypse Now, brings to auction a small but emotionally significant set of vehicles. His 1948 Tucker 48 (Estimate: $1,500,000–$2,000,000), featured extensively in his 1988 film Tucker: The Man and His Dream, is one of only 50 ever built and one of just 12 finished in #200 Waltz Blue Metallic. Anyone remember 'Hold that tiger?' This car has been the centerpiece of Coppola's private collection and displayed at his Inglenook Winery in Napa Valley. Also offered is the director's final Westfalia - a 1987 Volkswagen Vanagon GL Westfalia (Estimate: $30,000–$40,000, without reserve), purchased new and customized with a Sony sound system and drop-down video monitor. Rounding out the group are a charming 1913 Ford Model T Touring (Estimate: $15,000–$25,000, without reserve) and a ultra-stunning 1936 Cord 810 Cabriolet (Estimate: $90,000–$120,000, without reserve), showcasing groundbreaking Gordon Buehrig design. From the Mitchell Rasansky Collection Iconic cars for upcoming auction A lifelong enthusiast approaching his 90th year, Mitchell Rasansky is offering 10 historically significant and beautifully maintained vehicles. Leading the group is the 1927 Bugatti Type 35B (Estimate: $2,500,000–$3,000,000), a Grand Prix winner driven by Louis Chiron and long housed in the prestigious Dr. Peter Williamson Collection. A 1925 Bugatti Type 35 Supercharged Grand Prix (Estimate: $625,000–$850,000) also joins the sale. American prewar racing is well represented with a 1927 Miller Model 91 Front Wheel Drive (Estimate: $600,000–$900,000), the 1932 Ford 'Mitchell Auto Co. Special' Roadster (Estimate: $250,000–$350,000, Without Reserve), and a 1950 'McNamara Special' Sprint Car (Estimate: $100,000–$150,000, Without Reserve), a National Championship winner driven by Joey James. Other highlights include a pair of Kurtis-Kraft midget racers, a 1958 Jaguar XK150 S, and a 1956 Jaguar XK140 MC Roadster—each offered at no reserve. From the Brian Pollock Collection Brian Pollock Collection The late Brian Pollock's meticulously curated collection is a standout for this auction as well. A Pebble Beach class judge and passionate vintage rally participant, Pollock was renowned for his attention to detail and preservation of historical authenticity. Among the highlights is a 1970 Ferrari Dino 246 GT 'L-Series' (Estimate: $500,000–$700,000) that Pollock purchased on his honeymoon and a 1935 Bugatti Type 57 Drophead Coupe (Estimate: $400,000–$550,000) with rare James Young coachwork. Additional offerings include a 1937 Morgan Sports Two-Seater Barrelback (Estimate: $60,000–$80,000, Without Reserve) and a finely tuned 1966 Jaguar Mk II 3.8 (Estimate: $35,000–$50,000, Without Reserve). From the Bethel Collection Seven vehicles from the private, Dallas based Bethel Collection will be offered without reserve, representing a cross-section of iconic marques. Leading the group is a 2005 Porsche Carrera GT (Estimate: $1,250,000–$1,500,000) with under 8,000 miles, followed by a rotisserie-restored 1964 Aston Martin DB5 (Estimate: $725,000–$825,000) and a Classiche-certified 1966 Ferrari 330 GTC (Estimate: $500,000–$600,000, Without Reserve). Other entries include a rare-color 2014 Mercedes-Benz SLS AMG GT, a 1961 Porsche 356 B Super Roadster by Drauz, a Grabber Orange 1970 Ford Mustang Boss 302, and a 1980 Toyota FJ43 Land Cruiser in John Deere Green. The Dates for the auction are Friday, August 15, at 4 p.m. and Saturday, August 16, at 11 a.m. Both are Pacific times. General Admission: $50, includes access to the viewing and auction Bidder Registration & Live Broadcast:
Los Angeles Times
5 days ago
- Entertainment
- Los Angeles Times
Is the making-of ‘Apocalypse Now' doc the greatest ever? Plus the week's best movies
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. Writer-director Ari Aster has refashioned himself from a maker of art-house horror films like 'Hereditary' and 'Midsommar' into a more overt social satirist with 'Beau Is Afraid' and his latest film, 'Eddington,' which opens this week. Pointedly set in the spring of 2020 in a small town in New Mexico — a moment when uncertainty, paranoia and division over the response to COVID were maximally disorienting — the film's story concerns a sheriff (Joaquin Phoenix) who tosses his hat in the ring to run against an incumbent mayor (Pedro Pascal). Each spouts their own complicated, spiraling rhetoric as the race between them becomes more intense, and they seem swept away by circumstances much larger than they can understand or control. In her review of the film Amy Nicholson wrote, 'Aster's feistiest move is that he refuses to reveal the truth. When you step back at the end to take in the full landscape, you can put most of the story together. (Watch 'Eddington' once, talk it out over margaritas and then watch it again.) Aster makes the viewer say their theories out loud afterwards, and when you do, you sound just as unhinged as everyone else in the movie. I dig that kind of culpability: a film that doesn't point sanctimonious fingers but insists we're all to blame. 'But there are winners and losers and winners who feel like losers and schemers who get away with their misdeeds scot-free. Five years after the events of this movie, we're still standing in the ashes of the aggrieved. But at least if we're cackling at ourselves together in the theater, we're less alone.' Carlos Aguilar spoke to acclaimed cinematographer Darius Khondji, a former collaborator of David Fincher, James Gray and the Safdies, about working with Aster for the first time on 'Eddington.' 'Ari and I have a common language,' Khondji said. 'We discovered quite early on working together that we have a very similar taste for dark films, not dark in lighting but in storytelling.' The 1991 film 'Hearts of Darkness: A Filmmaker's Apocalypse' is widely thought of as among the greatest behind-the-scenes documentaries ever made. Directed by Fax Bahr with George Hickenlooper from documentary footage directed by Eleanor Coppola, the film explores the epically complicated production of Francis Ford Coppola's 'Apocalypse Now.' A new 4K restoration of 'Hearts of Darkness' will have a limited run at the American Cinematheque beginning Sunday, with Bahr in-person for multiple Q&As. When Eleanor Coppola went to the Philippines in 1976 with her husband and their three children for the production of his hallucinatory Vietnam War saga 'Apocalypse Now,' he enlisted her to shoot doc footage in part to save on additional crew and also to give her something to do. Drawing from Eleanor's remarkable footage, surreptitious audio recordings she made and her written memoir of the experience, 'Notes: On the Making of 'Apocalypse Now,'' 'Hearts of Darkness' becomes a portrait of the struggle to maintain creativity, composure and sanity amid chaos as everything that could possibly go wrong seemingly does. Military helicopters are redeployed during takes, star Martin Sheen suffers a heart attack, monsoons destroy sets, Marlon Brando is immovable on scheduling and the ending of what all this is leading toward remains elusive. 'I think it's really held up and survived,' said Bahr of the documentary in an interview this week. 'It works as a complement to this extraordinary film that Francis produced. Of course, ['Apocalypse Now'] would be what it is without this, but I do think for people who really want to go deeper into the 'Apocalypse' experience, this is really a necessary journey to take.' When 'Apocalypse Now' first premiered at the 1979 Cannes Film Festival, Francis Ford Coppola infamously said, 'The way we made it was very much like the way the Americans were in Vietnam. We were in the jungle, there were too many of us, we had access to too much money, too much equipment and little by little we went insane.' The years between the lengthy production of 'Apocalypse Now,' its turbulent release and the subsequent years before the 'Hearts of Darkness' project came to be likely eased the Coppolas into participating with such candor and full-fledged access. 'I think having almost 10 years after 'Apocalypse Now' was helpful,' said James T. Mockoski, who oversaw the restoration for Coppola's company American Zoetrope. 'It would've been a much different documentary when it was supposed to come out. It was supposed to support the publicity and the marketing of the film at that time. 'Apocalypse' was very difficult, as we have seen, obviously. I don't know how much they would've had the hunger to revisit the film and go right into a documentary. It was a rather difficult, challenging time for them. And I think 10 years gave them a perspective that was needed.' 'He gambled it all and he won,' said Bahr. 'And what I hope we really achieved with 'Hearts' was showing the despair that really all artists go through in the creative process. And even though you go there, if you keep at it and your goal is true then you achieve artistic greatness.' According to Mockoski, Francis Ford Coppola has seen his own relationship to the documentary change over the years. While at times unflattering, and certainly showing the filmmaker racked by doubt and in deep creative crisis, 'Hearts' also shows him as someone, improbably, finding his way. 'It's a very hard relationship with the documentary, but he has grown over the years to be more accepting of it,' said Mockoski. 'He doesn't like the films to ever be shown together. If anyone wants to book it, they shouldn't be on the same day. There should be some distance. And he doesn't really want people to watch the documentary and then just figure out, where's Francis and what is his state of mind at this point? They're two separate things for him. And he would rather people watch 'Apocalypse' just for the experience of that, not to be clouded by 'Hearts.'' In his original review of 'Hearts of Darkness,' Michael Wilmington wrote, 'In the first two 'Godfather' movies, Coppola seemed to achieve the impossible: combining major artistic achievement with spectacular box-office success, mastering art and business. In 'Apocalypse Now,' he wanted to score another double coup: create a huge, adrenaline-churning Irwin Allenish spectacle and something deeper, more private, filled with the times' terror. Amazingly, he almost did. And the horror behind that 'almost' — Kurtz's Horror, the horror of Vietnam, of ambition itself — is what 'Hearts of Darkness' gives us so wrenchingly well.' 'What 'Hearts' is great about is that it shows you a period of filmmaking that's just not seen today,' said Mockoski. 'You look at this and you look at ['Apocalypse'] and there's just no way we could make this film. Would we ever allow an actor to go to that extreme situation with Martin Sheen? Would we be allowed to set that much gasoline on fire in the jungle? Hollywood was sort of slow to evolve, they were making films like that up from the silent era, these epic films, going to extremes to just do art. It just captured a moment in time that I don't think we'll ever see again.' Having premiered at the 2006 Cannes Film Festival and screened only a few times since, Quentin Tarantino's 'Kill Bill: The Whole Bloody Affair' will play twice daily at the Vista Theater from July 18-28. Clocking in at over 4 hours and screening from Tarantino's personal 35mm print (complete with French subtitles), it combines the films known as 'Kill Bill Vol. 1' and 'Kill Bill Vol. 2' into a single experience with a few small changes. The main difference is simply taking it all in as 'The Whole Bloody Affair,' an epic tale of revenge as a woman mostly known as 'The Bride' (Uma Thurman in a career-defining performance) seeks to find those who tried to kill her on her wedding day. (I'll be seeing the combined cut for the first time myself during this run at the Vista.) Manohla Dargis' Los Angeles Times reviews of the two films when they were first released in October 2003 and April 2004 still make for some of the most incisive writing on Tarantino as a filmmaker. Dargis' review of 'Vol. 2' inadvertently helps sell the idea of the totalizing 'The Whole Bloody Affair' experience by saying, 'An adrenaline shot to the movie heart, soul and mind, Quentin Tarantino's 'Kill Bill Vol. 2' is a blast of pure pop pleasure. The second half of Tarantino's long-gestating epic, 'Vol. 2' firmly lays to rest the doubts raised by 'Vol. 1' as to whether the filmmaker had retained his chops after years of silence and, as important, had anything to offer beyond pyrotechnics and bloodshed. Tarantino does have something to say, although most of what he does have to say can be boiled down to two words: Movies rock. 'In a world of commodity filmmaking in which marketing suits offer notes on scripts, this is no small thing. Personal vision is as rare in Hollywood as humility, but personal vision — old, new, borrowed and true blue to the filmmaker's inspirations — shapes 'Vol. 2,' giving it texture and density. Personal vision makes Tarantino special, but it isn't what makes him Quentin Tarantino. What does distinguish him, beyond a noggin full of film references, a candy-coated visual style and a deep-tissue understanding of how pop music has shaped contemporary life, affecting our very rhythms, is his old-time faith in the movies. Few filmmakers love movies as intensely; fewer still have the ability to remind us why we fell for movies in the first place.' '2046' in 35mm Showing at Vidiots on Friday night in 35mm will be Wong Kar-wai's '2046,' the 2004 follow-up to his cherished 'In the Mood for Love.' Loosely connected to both 'In the Mood for Love' and Wong's earlier 'Days of Being Wild,' '2046' stars Tony Leung as a writer in late 1960s Hong Kong who has encounters with a series of women, played by the likes of Maggie Cheung, Faye Wong, Gong Li, Carina Lau and Zhang Ziyi. (He may be imagining them.) Fans of Wong's stylish, smoky romanticism will not be disappointed. In her original review of the film, Carina Chocano called it 'a gorgeous, fevered dream of a movie that blends recollection, imagination and temporal dislocation to create an emotional portrait of chaos in the aftermath of heartbreak.' 'Lost in America' + 'Modern Romance' On Tuesday and Wednesday, the New Beverly will screen a 35mm double bill of Albert Brooks' 1985 'Lost in America' and 1981's 'Modern Romance.' Directed by, co-written by (with Monica Johnson) and starring Brooks, both films are fine showcases for his lacerating comedic sensibilities. A satire of the lost values of the 1960s generation in the face of the materialism of 1980s, 'Lost in America' has Brooks as an advertising executive who convinces his wife (Julie Hagerty) to join him in quitting their jobs, selling everything they own and setting out in a deluxe RV to explore the country, 'Easy Rider'-style. In a review of 'Lost in America,' Patrick Goldstein wrote, 'Appearing in his usual disguise, that of the deliriously self-absorbed maniac, Brooks turns his comic energies on his favorite target — himself — painting an agonizingly accurate portrait of a man imprisoned in his own fantasies. … You get the feeling that Brooks has fashioned an unerring parody of someone who's somehow lost his way in our lush, consumer paradise. Here's a man who can't tell where the desert ends and the oasis begins.' 'Modern Romance,' features Brooks as a lovelorn film editor in Los Angeles desperate to win back his ex-girlfriend (Kathryn Harrold). In his original review of 'Modern Romance,' Kevin Thomas wrote, 'You have to hand it to Albert Brooks. To put it mildly he's not afraid to present himself unsympathetically.' In a 1981 interview with Goldstein, Brooks said, 'As a comedian it's really my job to be the monster. People either love me or hate me. If I wanted to be a nice guy, I'd make a movie about someone who saves animals.' (Brooks would, of course, go on to appear as a voice actor in 'Finding Nemo' and 'Finding Dory.') 'The Little Mermaid' For the next installment of the Los Angeles Film Critics Assn.'s ongoing series at the Egyptian, there will be a screening on Thursday, July 24, of 1989's 'The Little Mermaid' with directors Ron Clements and John Musker present for a Q&A moderated by Carlos Aguilar. 'The Little Mermaid' received LAFCA's inaugural award for animation, the first of its kind among critics groups.
Boston Globe
15-07-2025
- Entertainment
- Boston Globe
From ‘Flow' to ‘Apocalypse Now': Boston's week of timeless cinema screenings
It's the middle of July and, well, let's just say it's the If summer blockbusters aren't doing it for you this year, Boston cinemas play host to repertory screenings to revisit favorites: from last year's Oscar-winning 'Flow' to the aviation action film 'Top Gun,' here are Boston area screenings for the week of July 15–20. No Country for Old Men (2007) It all starts with a briefcase. When Llewelyn Moss (Josh Brolin) stumbles across $2 million dollars — the result of a failed drug deal — in the West Texas desert, his big break becomes his worst nightmare as both sides of the law pursue him. Good-natured sheriff (Tommy Lee Jones) and an inhumanly relentless hitman (Javier Bardem) cross paths in an endlessly entertaining three-way entanglement of justice in one of the defining Westerns of the 21st century. July 16, 4 p.m. Brattle Theatre, 40 Brattle St., Cambridge. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Rick Rossovich, Val Kilmer, Anthony Edwards, and Tom Cruise in the 1986 film "Top Gun," directed by Tony Scott. Advertisement Top Gun (1986) Before Tom Cruise was July 17, begins at dusk. Free . 410 Revere Beach Blvd., Revere. Advertisement In the Mood for Love (2000) Summer yearners rejoice: Wong Kar-wai's masterful portrait of withheld emotion returns to cinemas this week for its 25th anniversary. 'In the Mood for Love' follows Maggie Cheung and Tony Leung — two of Hong Kong's biggest stars at the time — as neighbors who learn their respective partners are in an affair, and the romantic gray zone they enter. The restoration includes a new final chapter, previously only seen at the film's original Cannes premiere. July 15-18, various showtimes. Coolidge Corner Theatre, 290 Harvard St., Brookline. Tony Leung in "In the Mood for Love 2001," the rarely-seen chapter included with the 25th anniversary restoration. Janus Films Flow (2024) A July 18, 6 p.m. Free admission, RSVP required. Kendall/MIT Open Space, 292 Main St., Cambridge. Apocalypse Now (1979) At the tail end of director Francis Ford Coppola's legendary '70s run sits 'Apocalypse Now,' a Vietnam War film about a group of soldiers sent on a mission to kill a rogue colonel (Marlon Brando) who has fled into the depths of the Cambodian jungle. As the captain (Martin Sheen) becomes consumed by his quest, he loses sight of his own humanity, and the journey down the river leads to one of the great depictions of human madness. Not bad enough? Catch the making-of documentary ' July 19, 7:30 p.m. Somerville Theatre, 55 Davis Square, Somerville. Advertisement Ryan Yau can be reached at
New Indian Express
12-07-2025
- Entertainment
- New Indian Express
On Francis Ford Coppola's operas, chamber pieces and Trump's Godfather resemblances
Francis Ford Coppola. Music is integral to the Godfather director's films. Rarely ornamental, it sets the scene, drives and influences the narrative. The iconic use of music in the flawed and ultimately unsatisfying Apocalypse Now, especially The Door's The End synchronised to the sound of helicopter rotor blades and Wagner's Ride of the Valkyries during the helicopter assault scene, shapes the visual spectacle. But it goes deeper. Just like composers often work in different formats, Coppola created introspective chamber music pieces (The Conversation) or extroverted grand operas (The Godfather and Godfather Part II ). The Conversation, made in 1974, is ostensibly a thriller. Set almost entirely indoors in claustrophobic shots, the film has an oppressive atmosphere and relentless tension. The central character Harry Caul (played by the late Gene Hackman in one of his finest performances) is a surveillance expert for hire. It opens at San Francisco's Union Square when we follow a man (Frederick Forrest) and woman (Cindy Williams). We make out snippets of conversation, jazz and singing. What we are hearing is Caul and his associates' remote recording of a private conversation. The plot revolves around the tape which was commissioned by the Director (Robert Duvall) as evidence of what may be an incriminating liaison between the man and the woman who could possibly be his wife. The recording turns out to be a trap designed by someone, we are never clear whom, to lure the Director to a hotel room where he is to be assassinated. The Conversation revels in ambiguities. Caul, the consummate professional, finds himself tricked into revealing confidences by a competitor planting a cheap pen with a built-in listening device on him. He is successful but is a failure in his personal relationships and his employee (John Cazale). Intruding into other private lives, he has none of his own. It culminates in a memorable final scene. Caul suspects that he is now under surveillance, the person who bugged other people is now being listened to. He dismantles his entire apartment, including breaking apart a figurine of the Virgin Mary, to locate any concealed listening devices. The closing has Caul sitting in the wrecked premises playing his saxophone as the camera pans back and forth furtively The film was intended by Coppola as a showcase for the talents of Walter Murch, his brilliant long time sound and film editor. Fittingly, the audio elements, sometimes simple but at others multi layered, are central throughout. When Caul goes to see the Director who hired him and is met by the man's assistant (Harrison Ford), he refuses to hand the tapes over. Hurrying out of the office building, he notices that the man and woman he recorded work for the same company. At this point, the soundtrack becomes a melange of noises which is suddenly drowned out by the sounds of a tape recorder running dramatically transitioning to Caul listening to the recordings in an effort to establish its content. The Godfather and Godfather Part II, released in 1972 and 1974 but best thought of as one continuous film, operate on a grander scale. They are operatic melodramas carried by superb performances (Marlon Brando, Al Pacino, Robert de Niro, James Caan, Robert Duvall, Diane Keaton, Talia Shire, John Cazale and others) and the cinematography. As to the later, Gordon Willis crafted the first film in stately browns and church-like solemnity but in Part II alternated interior darkness with light filled outdoor scenes recreating Lake Tahoe, Havana and Sicily. Like all opera, the plot is trite although individual set pieces are often dazzling. There are unforgettable scenes in The Godfather – the opening at Sonny's wedding, the making of "an offer that you can't refuse" to a Hollywood producer, the various meetings of Mafia bosses, the shooting of Don Corleone, the revenge killing of the Mafioso and policeman protecting them and, of course, the climactic murders of other family bosses against the background of a church baptism. It ends with a long shot of Michael Corleone effortlessly taking over from his father. Godfather Part II is illuminated by the sequences of the young Don Corleone in New York, the Senate Investigation sequence, the attempted assassination of Michael Corleone and the prolonged shots of him alone in crushing solitude. Befitting its operatic framing, the films are ultimately tragedies concerned about human fallibility. It explores the characters' embrace of a pervasive evil, which is frequently justified as necessity. Michael Corleone is meant to be separate from the family's nefarious business but finds himself unable to escape it. There is the absence of opportunities for immigrants which encourages a life of crime. Both films are haunted by weakness, portrayed by Fredo's failures, and the long-suffering women excluded from the predominately male world. Nino Rota's music scores are powerful and nostalgic. Their repetitive themes, like the Godfather Waltz, accentuate the visuals beautifully. Ultimately, great films are universal. They resonate and inform different epochs. The Conversation and The Godfather films are especially relevant to our times. In The Conversation, Coppola shows a fascination with security technology and its use in the same way that Michelangelo Antonioni did in his 1966 film Blow Up. Today, far more pernicious camera and audio surveillance is found across many countries not just authoritarian states, as Edward Snowden's disclosures revealed. In the film, Coppola shies away from the obvious issues around spying on people, focusing on the ambiguity of the information and how we understand its relevance. The recording from the surveillance is never quite what it seems. It appears for much of the film to be sought for one purpose but plot twists undermine this rationale replacing it with a more complex and sinister reason. The emphasis, consistent with the work's intimate chamber piece quality, is on individual moral and ethical responsibilities. Caul's absorption with the technology is evident at the start of the film: "I don't care what they're talking about, all I want is a nice flat recording." This quest for technical excellence avoids confronting the real purpose of spying. His assistant dismisses the content as "what a stupid conversation!" When Caul finally deciphers the words, playing the recording over and over, a chilling phrase emerges: "He'd kill us if he got the chance." Caul's concern comes from Catholic guilt about an earlier job he carried out where the three subjects were later murdered. When the recording's import become clearer, he is too late to prevent events from taking their course. The Godfather films serve as an allegory for American capitalism providing an interesting metaphor for the current US President and his administration. The Corleone family believes in the Darwinian survival of the strongest and most adaptable to circumstances. There is an equation of crime and business. In The Godfather, the meeting between Don Corleone, his son and consigliori with Sollozo to discuss entering into drug trafficking resembles a corporate board meeting considering a new investment. There is a moment in The Godfather Part II, when Hyman Roth tells Michael Corleone that they are "bigger than US Steel". The corrupting effect of absolute power underscores the Godfather films. The Corleone and other families ruthlessly pursue and eliminate enemies, real and perceived. They dominate by violence and fear. They equate money and authority. Family values cover the brutal nihilism that lies at its core. Its principles, such as Omerta so central to the second film, are hollow. Given that there isn't much to redeem any character, the films are morally ambiguous in the same way as Bernardo Bertolucci's 1970 The Conformist. Director Nicholas Roeg complained that he found the Godfather films a "doom-laden, black nasty thing". Writing in the Financial Times, columnist Gideon Rachman openly compared President Trump's approach to politics and diplomacy to that of Don Corleone. Like a movie mob boss, President Trump alternates between menace and magnanimity. He employs fear and threats as a tactic for shaking down nations, businesses, educational institutions and legal firms. The language is telling. The President and Vice President have repeatedly stated that other nations, seen as competing crime families, have to show "respect". During the 2024 election campaign in remarks made at his golf course in Bedminster, New Jersey, President Trump specifically referred to the "Biden crime family". The relentless pursuit of opponents and the disregard for the rule of law parallel that of the Corleones. Erratic and escalating demand for payment in return for "protection", such as the mineral deal with Ukraine, is difficult to differentiate from blackmail. The President's son urged countries targeted with tariffs to quickly buy off his father, writing at @realDonaldTrump : "I wouldn't want to be the last country that tries to negotiate a trade deal … The first to negotiate will win — the last will absolutely lose." He added: "I have seen this movie my entire life." The similarity of President Trump and his entourage's approach to The Godfather is striking. The Conversation, the chamber music offering, and The Godfather and Godfather Part II, the operas, represent the highpoint of Francis Ford Coppola's films. As with any significant and enduring work, the line between life and art is never clear. Jointly published with Feuilleton is historically a part of an European newspaper or magazine devoted to material designed to entertain the general reader. Extraneus, in Latin 'an outsider', is a former financier and author. A reasonable club cricketer, he took up a career in money markets because he wasn't good enough to be a professional cricketer, needed to make a living and no one offered him a job as a cricket commentator or allowed him to pursue his other passions.
Buzz Feed
08-07-2025
- Entertainment
- Buzz Feed
Anne Hathaway Broke Down On Mother Mary Set
From The Odyssey to The Devil Wears Prada 2, Anne Hathaway has an exciting few years of movies coming up. And in a brand new interview with Vogue, she gave some behind-the-scenes insight into the making of one of her more mysterious upcoming projects, Mother Mary. For context, A24's Mother Mary does not have a release date yet, and as it stands, we don't know a whole lot about the plot. But what we do know is that Anne will play a 'sort of Gaga-Taylor Swift hybrid' popstar, named Mother Mary, who finds herself navigating some kind of existential crisis as she grapples with fame and her identity. In the film, which Vogue describes as both 'weird' and 'cool,' Anne will be doing her own dancing and singing, performing original songs written by Jack Antonoff and Charli XCX. And while that might sound like a lot of fun, it seems her experience on set wasn't exactly a walk in the park. Discussing Mother Mary, Anne said she entered the project with a lot of excitement and vulnerability. 'I had to submit to being a beginner,' she said, recalling the experience of embodying a pop star. 'The humility of that — showing up every day knowing you're going to suck. And it has to be okay. You're not 'bad.' You're just a beginner. Getting to that mindset — I had to shed some things that were hard to shed. It was welcome. But it was hard, the way transformational experiences can be hard.' The other cast includes Michaela Coel, FKA twigs, Hunter Schafer, and Kaia Gerber. And in the Vogue interview, Michaela hinted more about what viewers can expect from Anne's 'brave' performance in the film as she described a 'scary' dance scene they shot. 'The physicality she had to learn in preparation for this job,' she said of her co-star as she remembered the 'terrifying' day of filming. 'That requires a lot of strength. Gallons and tons.' If that all sounds a bit vague and scary, then just wait until you hear this story from the director, David Lowery, who recalled that Anne was forced to apologize after having some sort of breakdown during the filming of one of the movie's climactic scenes. 'It felt like shooting Apocalypse Now,' he said. 'At one point Annie broke down and said, 'I have to apologize, because I think what's going to come out of me will hurt you.' And Michaela took her hands and said, 'I love you, I trust you.' We were in various stages of that for about a week, shooting that scene.' The Vogue writer commented: "It's possible that everyone on the shoot went temporarily, mildly insane." Well, if I wasn't already intrigued by this movie before, I definitely am now. You can read more about Anne's intense Mother Mary experience with Vogue here.
