By mcneditor editor@moviecitynews.com

NEW FRANCIS FORD COPPOLA FILM CONFIRMED FOR PANEL PRESENTATION AT 2011 COMIC-CON

Posted Thursday, June 30th, 2011 - No Comments »

Iconic filmmaker will make his first trip back to San Diego since 1991

Coppola will show portions of his upcoming film TWIXT and demonstrate the unique way he plans to present it.

NEW YORK, NY (June 30, 2011) – Francis Ford Coppola will be presenting portions of his upcoming film TWIXT at a panel discussion on Saturday, July 23 at Hall H.  TWIXT stars Val Kilmer, Bruce Dern, Elle Fanning, and Ben Chaplin. Coppola describes the film as, “one part Gothic romance, one part personal film, and one part the kind of horror film that began my career.”

Coppola has a unique new approach to the presentation of the film that will incorporate live music by acclaimed independent performance artist Dan Deacon. Deacon will attend Comic-Con with Coppola to help demonstrate the interactive experience of the film. The film incorporates both 2-D and 3-D elements.

Like his most recent films, TWIXT follows three self-imposed mandates that Coppola requires in all of his new work: be his own original story and screenplay, have some personal element, and be self-financed.  This particular story came to Coppola during a vivid dream he had while on a trip to Istanbul and is inspired by the writings of Edgar Allen Poe and Nathaniel Hawthorne.  The film also brings Coppola back to his horror roots that began during his apprenticeship with Roger Corman.

On attending Comic-Con Coppola says, “I fondly recall meeting the Comic-Con audience years ago when I brought them my DRACULA film. That experience made me not want to miss this chance to return with TWIXT.”

ABOUT TWIXT

A  writer with a declining career arrives in a small town as part of his book tour and gets caught up in a murder mystery involving a young girl.  That night in a dream, he is approached by a mysterious young ghost named V.  He’s unsure of her connection to the murder in the town, but is grateful for the story being handed to him.  Ultimately he is led to the truth of the story, surprised to find that the ending has more to do with his own life than he could ever have anticipated.

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“I’m in Locarno, my movie is premiering for 1,000 people, which is nuts. A huge-ass screening, second day of the festival, 7:30pm in the sidebar competition. It’s comparable to Un Certain Regard or Director’s Fortnight. Every movie I saw in that section was fun, brilliant movies from around the world. The main competition was like Aza Jacobs and Mia Hansen-Løve, people who have been around. And I was like, “This is crazy. What am I doing inside the bloodstream of this establishment? I’m 27. I don’t belong here.” Every person I talked to there couldn’t believe what the movie cost, and then couldn’t believe when I told them what other American movies cost. We were the cheapest movie there by 65%. The next cheapest movie cost I think three times as much as we did. And they were just like, “You can’t make movies for what you’re telling us your movie cost.” And I told them, “Well, I can, I’m here, I’m in the same section as you are, so you are wrong. People think I’m lying when I tell them my budget. And also everyone likes it. I’m having a great time and people are being very responsive. Maurice Pialat’s widow was like, “I heard your movie’s good, I want a copy of it.” I’m like, “Well this is f**kin’ crazy.” Pedro Costa saw it there and really liked it and I’m like, What am I doing? I had gone in two months from screening at BAM for a lot of friends to Pedro Costa? This is the exact sentence: “Pedro Costa saw your movie. He’s a huge Jerry Lewis fan. He wants to talk to you about your movie and also Jerry Lewis.” And I thought, “I’m out of my element. I cannot have that conversation because that’s ridiculous.” Because his retrospective was happening at Anthology when I worked at Kim’s, and his Criterion box set came out when I was working at Kim’s. He can’t want to talk to me. That’s not possible. That’s not allowed. There is no world where that makes any sense!”  Or like when you wrote me to say that David Gordon Green wrote you to say, “I’m watching The Color Wheel and then I’m going to see Tree of Life.” There is no world where this is allowed! Again, somebody whose DVDs I was putting on the shelf, as, like, a hero. And it’s just like, “Oh, I’ll watch this movie.” There’s just a very fuzzy area in the middle there and it happened very quickly and I don’t understand why.  I still have a voice-mail from Sean [Price Williams, cinematographer]. I wish he was here to talk about it, but the voice-mail is a long pause and he’s just like, “I don’t want to tell you this, because it’s gonna make you so insufferable. I hate having to tell you this, but Leos Carax watched your movie and he really loves it, and he wants to meet you when he comes to New York.” I can’t live in a world where Leos Carax knows who I am, watches my movie, likes it, and thinks, “I wanna meet that guy.”
~ It’s Alex Ross Perry’s World

“I don’t know. It’s been a lot harder than I thought it was going to be to make the films I really dream of making. I was in Italy a few years ago scouting for this very beautiful film I wanted to make with Richard Linklater. We worked really hard on the script for a couple of years and couldn’t get the money together. It was an expensive idea. It’s heartbreaking when that happens over and over again and then the movies that do get made are ones that have lots of women being beaten up or zombies being killed. It’s all fine, it’s all okay, but it’s hard. I remember when River Phoenix died, he was ahead of me on this curve. He kind of realized how hard it was to make serious movies. People like Sidney Lumet figured out how to walk that line, but it’s hard. And it requires patience. It’s a life’s work and I wonder if I’m up to the task.”
~ Weary, Wary Ethan Hawke

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