Screening in Venice: Mike Figgis “Megadoc”

from Leaving Las Vegas Director Mike Figgis, Large It is a wall documentary about making Big rockFrancis Ford Coppola’s white whale production, he finally released last year. The reaction to Coppola’s crazy utopian epic ranges from confusing to mixed, and while some of the ambitions like mine are shocking, it is undeniable that this $120 million self-funded legend has fascinated Curio. But it’s hard not to know if it’s not Large Given that his own troubles are also a smaller subject, this is the right movie to answer any burning questions, as Phiges has no choice but to swap the shot for himself.

Undeniable Large It has at least some academic value: This kind of documentary student may watch in Production Class 101 to taste the chaos of a big movie. It sounds like a backhand compliment, but as 77-year-old Phiges said in opening time (Coppola, about 86), he never really met another director. Large It’s a small piece of emotion and a process that is close to you with a Lo-Fi video device, but never allows for in-depth detection of it. After the jagged cuts in the middle of the attraction, several incomplete threads are incomplete, while the film’s two leaders – Adam Driver and Nathalie Emmanuel – are rare, attributed to their reluctance to filming on site. Very similar Big rock,,,,, Large Challenges when looking for sounds. But where Coppola finally succeeds in pursuing, although many of the movie’s gestures to fascinating topics are missing.

The documentary not only records Big rock Rehearsal – In which Coppola plays drama and improvisation, builds his fun, but it can also go back to early tape and screen tests twenty years ago, during which stars like Uma Thurman and Ryan Gosling were once part of the work. A long road Big rock Almost disappeared, but the DOC rarely seems to have enough shots to follow a single thought.

Figgis, who seems keenly aware of his role as a storyteller in search of live conflicts, often finds this a relationship between experienced Coppola and popular former child star Shia Labeouf, whose respective pair of romps and logistical philosophy makes him embarrassed. Labeouf mentioned the controversy that made him play roles in Hollywood and how his unstable employability informed his initial cautious attitude. Eventually, this care is finally abandoned, leading to many interesting and hilarious clashes between the duo, but the film is either uninterested in illuminating the life of Shia (and the way it tells him about his mindset) or fails to bite the right voice. Either way, it’s very close to the core and soul between strange forgery, false fake father and son godfather and Nick’s star Even Stevensit’s a pleasure. But they eventually arrived at Loggerheads in a completely opposed sense and artistic way, eventually losing their way through the chaos of many other issues in the DOC.

There are a lot of tidbits about budgets, costumes, visuals, and more, but Figgis’s record is too simple and the chronological order is too straightforward (usually literally, everyday) to capture the process of filmmaking and how the challenges of overcoming it. Whenever you see a department head trying to implement some practical magic tricks, Large The goals they are striving to achieve are rarely determined in the form of concept art or finished material. While we can glimpse the finished product of certain shots, at the same time, all we have is the scenes where people tinker and work hard toward goals that are rarely clear to those viewers who have seen Megalopolis.

Some interviews with experienced actors like Dustin Hoffman and Jon Voight provide wise insights into the Coppola process, while the relatively new Aubrey Plaza is based on a satirical drama ban, forming an interesting bond with the director. But there is never enough cohesion behind it Large To make it more than just a special feature behind the scenes. For filmmakers like Figgis, his 2000 four-way split-screen movie Time Code Still a milestone in digital experiments, this is the first feature of a track (too four times), even though Russian Ark Mistaked Credit – Cropola should feel like a crazy spark burning on the screen during his craziest experiment. Is it really hard to say these feelings, but LargeThe mad science on display is rarely seen and is ultimately observed at random and disappointing distances.