The Directors' Wall

Curtis Hanson is finally back in the director’s chair, from start to finish, and it is for the now quite obscure kids movie The Little Dragons, AKA Karate Kids USA (1979) Unsurprisingly, this is not a movie that comes up in interviews with Hanson so we had a hard time digging up any background or behind the scenes information. Bryan and A.J. try to make sense of this movie about a pair of young brothers who use their karate skills to foil a kidnapping that is trying to be a mix of The Bad News Bears, The Hardy Boys, and Deliverance. We speculate on how and why this movie changed titles, marvel at the long life and career of character actor Charles Lane, and share the moments that broke our brains. This episode’s themed drink was: cans of beer. 

It’s time for another great debate about…Francis Ford Coppola’s Megalopolis thanks to Mike Figgis’s documentary Megadoc (2025) which recently debuted on The Criterion Channel. Both Bryan and A.J. loved Megalopolis so we’re predisposed to like a documentary about its making-of, but Mike Figgis crafted an interesting and non-glamourous movie about making a movie. We talk about Figgis’s career and how his respect for actors figured into his approach to the doc; also discussed are Coppola’s frustration with his department heads and Marvel, the increasing tension between Shia LaBeouf and Coppola, and other documentaries about troubled film productions. This episode’s themed drink was: Francis Coppola Paso Robles Cabernet Sauvignon 2023.

It’s our 2nd annual Christmas Episode! Our journey through the work of Curtis Hanson brings us to the Christmas crime thriller The Silent Partner. Hanson wrote the screenplay, based on a Danish novel, with the hope that he would direct. Things didn’t work out that way but he did have a hand in completing the film. We talk about Christopher Plummer’s incredible and frightening performance as a psychopathic bank robber; it might be his most intense performance as a villain. We also talk about Elliott Gould’s great performance as a mild mannered bank teller who only seems average and unassuming. There’s a lot to discuss from how the film balances sometimes wildly different tones, to the Canadian tax shelter film era, an appearance of a young John Candy, and how, despite very positive reviews, The Silent Partner went mostly unseen in America. Tangents include: First Blood and the Rambo movies and declaring that Showgirls is forever. This episode’s themed drink was: Glühwein

It’s a drive-in double feature of movies directed by Curtis Hanson, sort of. Before he completely parted ways with Roger Corman, Hanson directed a prologue for Fly Me (1973), Corman’s entry in the sexy stewardess genre. Later that same year Hanson directed a horror film called And God Bless Grandma and Grandpa, but was fired after the producer decided he wanted a movie with a totally different plot that would eventually be titled Evil Town when it finally saw the light of day in 1987. We review the rest of Fly Me, but spend most of our time trying to make sense of Evil Town, a would-be slasher whose incomprehensible plot is the result of production history so troubled it includes multiple reshoots and title changes, a fraud scheme, the SEC, and more reshoots. Bryan and A.J. try to pick out what remains of Hanson’s original movie, complain about the rarity of the Evil Town blu-ray, and also talk about the remake, Evils of Night (1985), which was released before the original movie. On the bright side, Hanson’s segment of Fly Me featured character actor Dick Miller.  This episode’s themed drink was: Kagatan cocktails. 

Curtis Hanson began his directorial career by working for none other than the legendary Roger Corman with the Psycho knock off Sweet Kill (1972). Even though the final version of this movie was not what either Hanson or Corman wanted, it is still an interesting first film and gives us plenty to talk about. We go into how the movie came together, was reshot and retitled, and how the same thing happened to Martin Scorsese with his first film for Corman.  We discuss Tab Hunter and his lowkey performance of a psycho killer. This episode’s (somewhat themed) drink was: All Kings Brut Classic Sparkling White Wine.

Season 4 is here and we begin our journey through the career of of Curtis Hanson with his first credited work as a co-screenwriter for The Dunwich Horror (1970). A.J. explains why he chose Curtis Hanson and Bryan provides some background on Hanson’s early life and career beginnings. We discuss how The Dunwich Horror fits into the post-Rosemary’s Baby horror landscape and how it helped Sandra Dee shed her child-star persona. We also talk about the influence of American International Pictures (AIP), Roger Corman, and H.P. Lovecraft. This episode’s themed drink was: spiked tea.

For our Season 3 finale we’re joined by special guest Jenny McKeown to talk about Sofia Coppola’s Priscilla (2023)! We discuss how Sofia handles her first biopic in which the subject, Priscilla Presley is still alive, how her style is a perfect fit for portraying life at Graceland with Elvis without glamourizing it, and how, much as Priscilla lived under Elvis’s shadow, this movie was released under the shadow of big glitzy Elvis movie. We also cover an assortment of recent Sofia shorts including: Chanel Iconic and Suntory Roku gin commercials, a short film for the NYC Ballet reopening, and her cameo in an episode of What We Do In the Shadows. We also briefly talk about the AFI tribute to Francis Ford Coppola and announce our Season 4 director! This episode’s themed foods were fried peanut butter and banana sandwiches and deviled eggs  and the drink was Sofia Brut Rosé Join Jenny McKeown for a screening of Priscilla, part of the A Woman of Taste series, at the Hyperreal Film Club on Wednesday, August 6th. Doors open at 7PM. Film starts at 7:30PM. Tickets are on sale now. https://hyperrealfilm.club/events/2025/8-6/priscilla-movie-screening

This episode we review the feature length reunion of Sofia Coppola and Bill Murray: On the Rocks. Filmed in 2019 but released during the 2020 COVID pandemic, Sofia’s marital comedy and detective story of sorts played only briefly in theaters before ending up on AppleTV+ (though it is thankfully available on DVD & Blu-ray). We discuss the performances and chemistry of Bill Murray and Rashida Jones, how this differs stylistically from Sofia’s previous films, and how Life Without Zoe, Lost in Translation, and On the Rocks make an unofficial trilogy. Also, Bryan points out references to Lost in Translation and A.J. rants against AppleTV+. This episode’s themed drink was: Cutty (Sark) on the rocks. 

We’re back from an unexpected break, but before we can return to the movies we must first go to the opera for the Sofia Coppola directed production of La Traviata (or more accurately, we watched the Blu-ray). In 2016 Sofia Coppola was hired by the legendary fashion designer Valentino to direct a new production of Verdi’s La Traviata for Teatro Dell’Opera Di Roma and we discuss whether she or Valentino is the main creative force behind the opera. We also talk about the sets by Nathan Crowley (famous for his work for the films of Christopher Nolan), the costumes by Valentino himself, what stylistic touches Sofia brings with her and how her directorial style translates to the stage. We also mispronounce many names and titles horribly and A.J. ponders what really makes an opera an opera? This episode’s themed drink was Blanc de France Bonnete wine.

Sofia Coppola trades modern cityscapes for the Civil War era for her darkest film, visually and thematically: The Beguiled (2017). Based on a novel which was previously made into a movie in 1971 directed by Don Siegal and starring Clint Eastwood, this is (so far) Sofia's only remake. We talk about how Sofia came to make her own version of The Beguiled, the controversy and accusations of whitewashing, and what makes this movie so different from her previous work. We also talk about the differences between the novel and the Don Siegel version and Sofia’s version, get our fairy tale wolves confused, and talk about Sofia’s major achievement at that year’s Cannes Film Festival. We also briefly discuss her Panthère de Cartier watch commercial. This episode’s themed drink was: Laird’s Applejack (brandy). Exit theme: Lie Down in Darkness (Michael Mayer Remix) by Moby courtesy of mobygratis.com

Merry Christmas, Happy New Year, Happy Everything! For our first ever Christmas special we review a Christmas special: Sofia Coppola’s A Very Murray Christmas (2015). At first glance, this Netflix musical Christmas “TV” special about putting on a musical Christmas TV special seems like it is soaked in holiday melancholy but Bryan and A.J. find that it is filled with holiday joy and many of Sofia’s favorite themes and trademarks. We go through the songs and delightful cast, talk about other Christmas specials of the past, and notice how this 2015 special about people making the most of being stuck in a place because it is too dangerous to leave makes it feel like a pre-COVID COVID movie. We also bemoan the mysterious Netflix algorithm and streaming in general and Bryan suggests a Bill Murray holiday trifecta. Tangents include: the Star Wars Holiday Special, our favorite Christmas movies, the Vulcan Video holiday section, and George Clooney’s pranks. We also briefly discuss the early ‘90s Dave Markey short Burning Palms on Jennifer’s Coffee Table, featuring a young Sofia Coppola. This episode’s themed drink was: Soiled Kimono. 

Sofia Coppola once again takes us on a tour through Los Angeles wealth but this time it’s with The Bling Ring (2013). Based on the unbelievable but very true story of a group of celebrity obsessed teenagers who easily break into different celebrities’ mansions and steal lots of stuff, Sofia’s adaptation touches on many of her favorite interests and themes. Bryan and A.J. discuss whether Sofia’s style is distant or observational, Emma Watson’s standout performance, how the movie affected the real case which was still working its way through the courts, and the cinematography of the late Harris Savides. We also talk about the Phoenix-Chloroform music video and Miss Dior-Blooming Bouquet commercial she directed. SPOILER ALERT for this true story but also for First Cow, which we end up talking about too. Other tangents include Harmony Korine’s Spring Breakers (2012), the films of Marc and Christopher Coppola (Nicolas Cage’s brothers), and Bryan has a correction for IMDB. This episode’s themed drink was Sofia Brut Rose minis. 

We are in need of a great debate about…Francis Ford Coppola’s Megalopolis (2024). After literally decades in the making, Coppola’s ambitious passion project finally made it to theaters and gave us a lot to talk about. We (briefly) go over the long production history, the critical and poor box office performance, and how we were surprised by our own reactions. We also talk about the performances, the wild, random, and unforgettable plot points and dialogue, Coppola’s big swings of the past, and why the best movies to understand Coppola’s style are Rumble Fish, The Rain People, and even George Lucas’s THX 1138 (which Coppola produced). We also talk about Coppola’s latest re-edit, One From the Heart: Reprise. This episode’s Coppola wine was: Francis Coppola Diamond Prosecco.

To help us breakdown Sofia Coppola’s “experimental” film, Somewhere (2010), we are joined by special guest Jenny McKeown, programmer and host of the A Woman of Taste film series. After the large scale production of Marie Antoinette (2006), Coppola took a scaled back, minimalist approach to her story about a listless movie star reconnecting with his daughter. We talk about Sofia’s further lean into “arthouse” style, her collaboration with the late, great cinematographer Harris Savides, Stephen Dorff’s career, and A.J. pitches a Sofia Coppola adaptation of Ernest Hemingway’s The Sun Also Rises. We also talk about Coppola’s commercial for Miss Dior Cherie and the Somewhere crossover episode of the reality TV series The Girls Next Door. This episode’s themed meal and drink were sad spaghetti and whatever liquor was around the room. For more on A Woman of Taste check out:https://www.instagram.com/awoman_oftastepresents/

Spoiler Alert! The M. Night Shift is back! Bryan and A.J. went to the movies for the latest M. Night Shyamalan experience: Trap. Following Siskel & Ebert rules we didn’t reveal our thoughts until recording began and it turns out… we each had a different M. Night Shyamlan experience. We talk about Josh Harnett’s great performance, the curious casting of Haley Mills, and the not-exactly-twists the story takes. We also discuss other thrillers and serial killer movies which likely influenced Shyamalan, plot points that do not hold up to scrutiny, and whether or not Shyamalan can go dark. Minor tangents include the TV series Monk and the meaning behind star ratings. This episode’s Shyamalan scotch was: Shackleton blended malt.

Thanks to the success of Lost in Translation, Sofia Coppola was able to cash in her “I won an Oscar” chip and make an ambitious, big budget movie about Marie Antoinette. The catch…she did her way. This movie was booed at the Cannes Film Festival and was heavily criticized for its use of modern music, lack of French accents, and breaking from the traditional biopic format. However, it now seems that Sofia’s Marie Antoinette may have just been ahead of its time. Bryan and A.J. discuss the great cast, Coppola’s unique approach to a notorious historical figure, the great use of modern music, and ponder why Sofia’s movies stick so well in our memory. We also talk about Baz Luhrmann movies, bash Ridley Scott’s Napoleon, and, of course, talk about the 2006 Oscars. This episode’s themed drink was: Sofia Brut Rosè. 

Bryan and A.J are enjoying relaxing times with Suntory Time and Scarlett Johansson and Bill Murray in Sofia Coppola’s Lost in Translation. A hit with the critics, audiences, and the box office, this offbeat indie comedy earned 4 Oscar nominations (winning only 1 for Sofia Coppola’s screenplay), and more than 20 years later still provides us with a lot to talk about. We discuss Bill Murray’s career in the 90’s and his indie comeback, Scarlett Johansson’s breakout performance, the similarities between Sofia’s Lost in Translation and Spike Jonze’s Her (2013), and, of course, the 2003 Oscars. Tangents include: Bryan’s trip to Japan, A.J.’s rant about the 2003 Oscars and The Lord of the Rings: The Return of the King, and the Japanese version of Sideways. (Apologies for any background noise that was not detected at the time of recording but is very mild). This episode’s themed drink was: Suntory Toki (Time).

Sofia Coppola’s debut feature, The Virgin Suicides (2000), certainly stood out from other movies about teenagers when it was released and remains just as enigmatic today giving us a lot to talk about. Bryan and A.J. discuss the movie’s background (including the Making Of, directed by Sofia’s mother, the late Eleanor Coppola), its arthouse approach to teenagers on film, the great performances from Kirsten Dunst, Josh Hartnet, and Giovanni Ribisi’s moody, pensive narration. Other discussion points include: the original music by the band Air, similarities to Picnic at Hanging Rock (1975), and the peculiar list that is Cahiers du Cinema’s ten best films of 2000. We also briefly discuss Sofia’s blink and you miss it appearance in Star Wars Episode I: The Phantom Menace (1999) and the Air: Playground Love music video she co-directed with her brother, Roman. This episode’s themed drink was: Peach Schnapps. Intro & exit theme: Lie Down in Darkness (Michael Mayer Remix) by Moby courtesy of mobygratis.com

At long last we arrive at Francis Coppola’s (as of now) most recently released film, Twixt (2011) and close out season 2. We discuss Coppola’s return to the horror genre, the great, eerie dream sequences, what aspects of Twixt remind us of the films of Coppola’s early mentor, Roger Corman, and how this is a surprisingly personal film for Coppola. We also pick out all of the references to Edgar Allan Poe and to other Coppola movies. Then we review Coppola’s recent re-edit of Twixt titled B’twixt Now and Sunrise: The Authentic Cut, which we thought was called Re-Twixt, and have a few issues with. Finally we announce the director we will be covering in Season 3, beginning soon (probably).

On this hot, humid summer day, Bryan and A.J. discuss Francis Coppola’s return to the director’s chair after a decade away, Youth Without Youth (2007). This thematically ambitious, low-key arthouse film about an elderly man who regains his youth, and supernatural powers of sorts, after being struck by lightning is not only a curious choice for a comeback but also marks the beginning of a distinct career phase for Coppola. We talk about the beginning of Coppola’s late career indie phase, what is interesting and what is confusing about this movie, the performances of Tim Roth and Bruno Ganz, the makeup choices (or lack thereof) for Alexandra Maria Lara, and we try to pin down whether there is anything to pin down. This episode’s Coppola wine was: Diamond Collection Pinot Grigio 2022.

A peculiar grab-bag episode for a peculiar time in Francis Coppola’s career. After The Rainmaker Coppola would not direct another movie for 10 years but he was involved in the post-production of not one but two movies released in 2000: The Fantasticks, based on a long running musical, and the quasi erotic sci-fi thriller, Supernova, starring James Spader and Angela Bassett. Coppola acted as a sort of post production supervisor/fixer for the two troubled productions which their studio, MGM, was skeptical of at best. Bryan and A.J. go over what background they could find on each film and differ on which is the better made film vs which is the more entertaining film. Also discussed is the answer to how Knock at the Cabin came to have two cinematographers, Megalopolis rumors, and the best short film of the year, Romy Mars [Sofia Coppola’s daughter] Makes Vodka Sauce Pasta. This episode’s Coppola wine was: Diamond Collection Red Blend 2018.

A Knock at the Cabin from M. Night Shyamalan brings us out of hiatus and we return to being The M. Night Shift to discuss his latest horror/thriller. Bryan and A.J. talk about what works (stylistic choices, the cinematography, but most of all Dave Bautista’s excellent performance), what doesn’t work (nearly everything else), and how Shyamalan put his stamp on yet another adaptation. Naturally, we get into major spoilers and compare the ending of the movie to the very different ending of the novel. We also talk about “cabin” movies as genre and A.J. eventually says the title of this movie correctly. Tangents include a talk about novelizations, Avatar: The Way of Water, and Peter Bogdanovich. This episode’s Shyamalan Scotch was: Dewar’s White Label.

This episode we are joined by special guest Andras Jones (of Radio8ball and co-host of The World is Wrong podcast, along with Bryan) to discuss Francis Coppola’s adaptation of John Grisham’s The Rainmaker (1997). More than just a courtroom drama, this overlooked entry in Coppola’s filmography represents the end of a chapter for Coppola’s Hollywood career and provides a lot to discuss. We begin by going through the works of John Grisham on film, how they changed the legal thriller and courtroom drama, and how The Rainmaker stands apart even from other Grisham novels and films. Then we move on to The Rainmaker and its amazing cast, Coppola’s approach to working with the actors, how Coppola channels Frank Capra, why The Rainmaker reminds us of The Godfather, and much more. This episode’s Coppola wines were: Rosso & Bianco Pinot Grigio and Diamond Collection Cabernet Sauvignon 2018. This week’s non-Coppola wine was: Wycliff Brut Champagne. 6:00 Plot summary & reactions15:15 Grisham on film56:35 The Rainmaker discussionAlso checkout: The World is Wrong Podcast w/Bryan Connolly & Andras JonesRadio8Ball Podcast & App w/Andras Jones

It’s time for Bryan and A.J. to make sense of perhaps the oddest movie in Francis Coppola’s filmography, Jack (1996). We break down what works and what doesn’t as this kids movie swings from silly kid friendly comedy to heavy themes of mortality and whether or not Jack, a child who ages rapidly, will have a full life. Of course we talk about the career and performance of the late and forever great Robin Williams. We are surprised by how much there is to discuss about Jack and how it surprisingly ties into the rest of Coppola’s filmography. Our conversation leads to an unexpectedly emotional tangent about The Coneheads and a discussion of the 1996 Stinkers Bad Movie Awards. This episode’s Coppola wines were: Diamond Collection Pinot Grigio 2019 and 2020.Be sure to check out The World is Wrong Podcast w/Andras Jones and Bryan Connollyhttps://www.theworldiswrongpodcast.com/

Paramount Plus made us an offer we took reluctantly: The Offer (2022), a 10 part limited series dramatizing the production of The Godfather. Bryan and A.J. review the series as a whole and wonder if, given all the other books, documentaries, and DVD bonus features about the behind the scenes of The Godfather that already exist, this series needed to be 10 hours long, or is even necessary. The highlights for us included: scenes involving Francis Coppola (Dan Fogler, in a solid performance) and Mario Puzo (Patrick Gallo), Mathew Goode’s performance as notorious Paramount production chief Robert Evans (making us wish Paramount Plus has just made a movie version of Evan’s autobiography, The Kid Stays in the Picture), and the movie nerd catnip of scenes of cinematographer Gordon Willis (T.J. Thyne) and Production Designer Dean Tavoularis (Eric Balfour) arguing over blocking. However, neither Coppola nor Evans is the focus of the series. The actual main character is producer Albert S. Ruddy (Miles Teller), on whose memories the series is based. Unfortunately, his character is the least engaging element of the series. It’s probably not a good sign when a TV series just makes you want to watch other things (like The Kid Stays in the Picture, The Sopranos, or The Godfather itself). Also joining the conversation are two very rowdy dogs. This episode’s Coppola wine was: 2019 Pinot Noir Oregon.Also check out The World is Wrong Podcast with Andras Jones and Bryan Connolly: https://www.theworldiswrongpodcast.com/

We’ve crossed oceans of time to talk about Francis Coppola’s Bram Stoker’s Dracula (1992). At first glance Coppola’s follow up to The Godfather Part III seems like just a job for hire, and that is how the project came to him, yet Coppola couldn’t help but find interesting ways to make his version of Dracula distinct from all the others. Coppola’s Bram Stoker’s Dracula was a box office hit allowing Coppola to finally climb out of 10 years of debt and its influence is still felt on the horror and vampire genre today. It gets dismissed by some as either unnecessary or pure spectacle (the same criticisms it received when it was released), but we find Coppola’s Dracula not only stylish but very effective and scary. We discuss the cast and their eccentric accents, the unforgettable look of Gary Oldman as the Count, the award winning costumes by Eiko Ishioka, the spectacular, old-fashioned practical visual effects, the influence of Coppola’s time working for Roger Corman, and more. There’s so much to talk about that there’s not much time for tangents, but there is time for an anecdote about David Paymer. This episode’s Coppola wine was: Diamond Collection Black Label Claret 2018.

At last we come to the end of Michael Corleone’s story and then we come to the end of his story again as we discuss The Godfather Part III (1990) and Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone (2020). Bryan and A.J. talk about the long production history, what motivated Francis Coppola to finally agree to make another Godfather movie, and speculate on what really makes this sequel stand apart so much. We also review Coppola’s recent re-edit of the movie, titled Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone. Of course, we discuss the story behind the surprise and controversial casting of Sofia Coppola, her much maligned performance, and the overly harsh criticisms lobbed at her. Other topics include the 1991 Oscars, Catherine Scorsese, and A.J. finds a more relevant way to talk about The Irishman. This episode’s Coppola wines were: Sofia Rose Monterey County 2018 and Sofia Blanc de BlancAlso check out Bryan & Andras Jones on The World is Wrong Podcasthttps://www.theworldiswrongpodcast.com/

Francis Coppola closed out the 1980’s with a contribution to the omnibus film New York Stories, along with Martin Scorsese and Woody Allen. Coppola’s segment, “Life Without Zoe” has long been derided as the worst of the 3 short films and Bryan and A.J. discuss it perhaps more than it has ever been discussed. We also review Scorsese’s “Life Lessons” and Allen’s “Oedipus Wrecks” and look at where each filmmaker was at this point in their careers. We talk about the origins of New York Stories, the original choices for directors, why Coppola maybe wasn’t the best for this project, and how “Life Without Zoe” is secretly a Sofia Coppola film. This episode’s Coppola wines were: Cabernet Sauvignon 2018 and Rose of Pinot Noir 2019.Also check out: https://www.theworldiswrongpodcast.com

This Christmas you get a Tucker car! and you get a Tucker car! ,,,and that’s it because the upstart automobile designer Preston Tucker was only able to make 50 and in this episode Bryan and A.J. find out why. Francis Coppola’s biopic of Tucker, appropriately titled Tucker: The Man and His Dream (1988), chronicles his attempt to build the “car of tomorrow” with unheard of features like a third headlight that turns with the steering wheel, seatbelts, pop out glass, and an engine in the rear (where it belongs!). As you might imagine, Tucker (played by Jeff Bridges) ran afoul of the Big Three automakers in Detroit and their cronies in Washington. We talk about the crossover this film has with Martin Scorsese’s The Aviator (2004), the change in the dynamic of Coppola and George Lucas’s professional relationship, Martin Landau’s Oscar nominated performance, and Jeff Bridges’s charming screen presence. We also ask Robert Zemeckis for a sequel to Romancing the Stone with the original cast. This episode’s Coppola wine was Francis Coppola Diamond Collection 2018 Black Label Claret.

Happy Shocktober! For October (or as we call it, Shocktober) we’re taking a break from Coppola to revisit M. Night Shyamalan and review his latest, Old. We discuss the movie’s similarities to a classic episode of The Twilight Zone, themes and plots that Shyamalan revisits from his previous movies and perhaps improves on, share similar reactions to some of the stylistic choices, and wonder: is this Shyamalan’s best film in nearly two decades? Our conversation includes major SPOILERS. Tangents include candy corn, which directors are also good actors, and Tom Cruise’s COVID safety rant. This episode’s Shyamalan scotch was: Chivas Regal 12 Year Blended Scotch.

We’re back from summer hiatus to discuss Francis Coppola’s little seen Gardens of Stone (1987). This Vietnam War drama is about as far from Apocalypse Now as a movie about Vietnam could get. The plot follows Sergeant Hazard (James Caan) who runs the “Old Guard” that performs military funerals at Arlington National Cemetery and takes a young recruit (D. B. Sweeney) under his wing. We discuss the differences between Gardens of Stone and other Vietnam War movies of the era, whether the appearances by actors from Apocalypse Now are distracting, and try to figure out why, despite the talent in front of and behind the camera, the individual aspects of the movie don’t seem to add up. We also talk about the tragedy that occurred during filming: the sudden death of Coppola’s son, Gio. Finally, we get started planning our Shocktober schedule. This episode’s Coppola wine was: 2018 Black Label Claret 1910 Type.

This episode we review 3 very different Coppola short projects. In the mid 1980’s, Francis Coppola, laden with debt from the collapse of Zoetrope Studios, found some short projects that would help pay down his debt but also provide some room for artistic experimentation. First up we discuss “Rip Van Winkle” (1987), his contribution to Shelley Duvall’s excellent Showtime series for children, Faerie Tale Theatre. Next we talk about maybe the weirdest episode of Saturday Night Live ever, season 11 episode 13 (1986), hosted by George Wendt with Coppola playing the director of the episode. Though it’s clear Coppola didn’t actually direct this SNL episode and George Wendt is officially the host, Coppola is clearly the focus. We also discuss the talented but peculiar cast. Finally we review Captain Eo (1986), the Disney 3-D theme park experience starring Michael Jackson and directed by Coppola. We delve into the troubled and intricate production history of the 3-D music video which brought Coppola and George Lucas together in their first professional collaboration since Apocalypse Now. As a bonus, we also talk about the Captain Eo Grand Opening TV special, an hour long parade and concert to launch the new Disneyland attraction featuring: Coppola, Lucas, Patrick Duffy, Justine Bateman, Angelica Huston, Robert Palmer, Dolph Lundgren, John Ritter, Esther Willaims, Starship, and the cavalcade only goes on and on. This episode’s Coppola Wine is: Francis Coppola Diamond Collection Zinfandel 2017.

For this episode we’re whisked away to 1960 for a second chance at high school senior year in Peggy Sue Got Married (1986). Francis Coppola was a director for hire on Peggy Sue Got Married, replacing Jonathan Demme and Penny Marshall, but still committed fully to the project turning in a memorable picture. This time travel fantasy that takes the main character back to 1960 hit theaters a year after Back to the Future, which takes its main character back to 1955, but audiences were still in the mood to time travel. Peggy Sue Got Married was a hit with audiences and critics ending up on Siskel and Ebert’s Best of 1986 list and earning 3 Oscar nominations, including Best Actress for Kathleen Turner. We talk about Kathleen Turner’s great performance, the emphasis on the wistful, melancholy side of nostalgia, Nicolas Cage’s peculiar performance, and find out about the Edsel. We also take detours to discuss the 1986 Oscars and compare Peggy Sue Got Married to George Lucas’s American Graffiti. This episode’s Coppola wines were: Diamond Collection Cabernet Sauvignon 2019 and Sauvignon Blanc 2019

Robert Evans needed a hit. Francis Coppola needed a job. The result of the bitter rivals teaming up again to make another gangster movie, this time set in Harlem in the 1920’s and 30’s: The Cotton Club, starring Richard Gere, Gregory Hines, and Diane Lane. Their contentious working relationship had previously resulted in The Godfather, with each claiming to be the real cause behind the movie’s success. Neither wanted to work with the other again but both were at points in their careers where, for better or worse, they needed each other. Like many Coppola films The Cotton Club had a troubled production. Evans secured financing though some unsavory channels and found himself tied up lawsuits and police investigations. Coppola expanded the scope of the story running overschedule and over budget. The film flopped at the box office and was hit or miss with critics. In 2019, Coppola reworked the film releasing The Cotton Club Encore, adding and expanding scenes (such as musical numbers) and deleting others. We discuss the differences between the two versions, like pacing and which characters got more scenes to develop, the problems with each version, characters we wish had more screen time, the unexpected and incredible duo of Bob Hoskins and Fred Gwynne, and, of course, the musical performances. This episode’s Coppola wines were: Rose of Pinot Noir 2019 and Rosso Bianco Rosso.

The Motorcycle Boy Reigns. To help tackle Francis Coppola’s “art film for teenagers” we’re joined by Shane Hazen of the Phi Phenomenon podcast for a special crossover episode! Though this S.E. Hinton adaptation is light on plot there is a lot to discuss. We delve into the philosophical and existential themes, the experimental approach taken by Coppola and the rest of the crew, and begin to wonder if the 1980’s was a more interesting decade for films than it gets credit for. In addition to hosting the Phi Phenomenon podcast Shane Hazen has also worked as an editor on films like To the Wonder and The First Girl I Loved. Check out more of Phi Phenomenon here: https://phiphenomenon.com/ and wherever you find podcasts.

Stay gold, podcast listeners. We’re talking about Francis Coppola’s adaptation of S.E. Hinton’s beloved novel, The Outsiders. In the time between the bankruptcy and foreclosure of Zoetrope Studios, Coppola secured last minute financing and rushed to Tulsa with a cast of young unknowns that would become stars of the 80’s and beyond. We also delve into the 2005 director’s cut (AKA The Complete Novel) which restores 20 minutes of deleted scenes and has an entirely different soundtrack. Our discussion includes how music choices can completely change a movie, the insanely talented and charismatic cast, recurring Coppola themes, and tangents on pseudonyms, Repo Man, and Nightmare on Elm Street 2. This episode’s Coppola wines were: Diamond Collection Merlot 2016 and Diamond Collection Chardonnay 2017.

After our lengthy hiatus, we’re back to celebrate Noir-vember with Hammett (1982) directed by Wim Wenders for Francis Coppola’s short lived Zoetrope Studios. Based on a novel that has author Dashiell Hammett solving a mystery like the ones he wrote about, Hammett’s production faced almost as many troubles as Coppola’s One From the Heart. Coppola, acting as the studio head, actually shut production down, Wim Wenders left, then came back and reshot nearly the entire film with a different script. Ultimately, Hammett was a major box office flop and was forgotten about until its DVD release which sparked rumors that Coppola secretly directed the reshoots. We go over the sources of this rumor, examine the film for clues, and talk about Wenders’s other, more distinctive, films. We also talk about another film famous for being secretly directed by its producer (Poltergeist with Tobe Hooper as director and Steven Spielberg as producer), the Noir genre, David Lynch, and life advice from Garry Marshall. This episode’s Coppola wines were: Francis Coppola Diamond Collection Merlot 2017 and Sofia Blanc du Blanc.

This episode is from the heart, because the movie we’re talking about today is One From the Heart, Francis Coppola’s romantic pseudo-musical drama. Coppola didn’t bet the farm on the success of this movie, but he did bet his new studio, Zoetrope Studios, and, unfortunately, lost. One From the Heart was a massive flop and now we give it a reassessment. We discuss the cast, Tom Waits and Crystal Gale’s score, the intentional artificial aesthetic, and how a young Nicolas Cage helped out his uncle Francis. This episode’s Coppola wines were: Diamond Collection Chardonnay 2018 and Pinot Noir 2017.

Our motto: Apocalypse Now! Coppola’s most epic movie leads to our most epic episode as we tackle his surreal, nightmarish Vietnam War film: Apocalypse Now. Not only do we break down the iconic 1979 theatrical version, but also delve into the unreleased Workprint, the 2001 Redux version, and the 2019 Final Cut version. We also talk about the documentary Hearts of Darkness, chronicling the notoriously troubled production of Apocalypse Now. We compare the different versions, discuss if the restored scenes (especially the French Plantation scene) alter or enhance the story, and wonder if Apocalypse Now is a secret horror movie. This episode’s Coppola Wines: Diamond Collection Monterrey County Pinot Noir 2017 and Sofia Brut Rose 2018.

What would it be like to watch The Godfather Parts I and II in chronological order? We found out! We tracked down the hard to find The Godfather Saga, the TV miniseries which edits both Godfather films together in chronological order and includes additional scenes. It originally aired on NBC in 1977 and has aired on various TV stations since. We discuss what it’s like viewing the two films as one, things we overlooked the first time like ominous oranges, driveway scenes, a Roger Corman cameo, and which new scenes work and which don’t. This episode’s Coppola wine was Francis Coppola Diamond Collection Red Blend 2017.

It’s a prequel and a sequel in one movie: it’s The Godfather Part II. This episode we review the much acclaimed sequel to The Godfather, that, just like the first one, Francis Ford Coppola did not want to make. We work our way through the film’s parallel plotlines in different eras, dig into the themes, talk about the great performances, and much more. Once again we marvel at the lineup of the 1974 Academy Awards, spoil the less celebrated De Niro/Pacino movie Righteous Kill, and wonder who will be the next filmmaker to deliver two powerhouse films in the same year. This episode’s Coppola wines were: Director’s Coppola Sonoma County 2017 Cabernet Sauvignon and Francis Coppola Diamond Collection 2017 Cabernet Sauvignon.

After the massive success of The Godfather, Francis Coppola was finally able to make his passion project, a small scale personal film, The Conversation. Though Coppola first had the idea for the story of a surveillance expert that suspects the people he spied on are going to be murdered in the mid-60’s, The Conversation was made during the height of the Watergate scandal and released just after Nixon’s resignation, no doubt giving it a special resonance for audiences in 1974. We discuss Gene Hackman’s low-key performance, the contribution of Walter Murch, Catholic guilt, and how themes of privacy and surveillance keep The Conversation relevant today. We also marvel at the lineup at the 1974 Oscars and wonder if Adam Sandler has succeeded where Coppola did not. This episode’s Coppola wines were: Diamond Collection 2017 Black Label Claret and Diamond Collection Chardonnay 2018.

It’s a Francis Coppola scripted Robert Redford romance double feature! After shooting wrapped on The Godfather, Coppola, unsure of The Godfather’s success, took a job writing an adaptation of The Great Gatsby (1974), the final screenplay he wrote but did not direct. We also review the 1973 Barbara Streisand/Robert Redford romantic drama The Way We Were, on which Coppola was one of 11 uncredited screenwriters. We speculate on Coppola’s involvement on The Way We Were, discuss Robert Redford’s star persona, and go on a tangent about the Austin Film Festival. This episode’s Coppola wines were: Francis Coppola 2017 Black Label Claret and Sofia Blanc de Blancs.

It’s the episode we’ve been excited about since beginning the podcast! After a brief discussion about The Irishman and ice cream we delve into the landmark film, The Godfather (1972). There is so much to talk about in The Godfather that over two bottles of Coppola wine we discuss certain aspects in detail and only scratch the surface on others. We discuss the performances, Gordon Willis’s cinematography, the stylized presentation of the mafia, and how The Godfather permeated into pop culture. This episode’s Coppola wines were: 2017 Diamond Collection Blue Label Merlot and Rosso & Bianco Pinot Grigio.

This week we’re back to reviewing Francis Coppola’s work as a writer for hire with the epic war film Patton (1970). Coppola wrote his screenplay for Patton years before the film was actually made and released and was surprised how closely the final film followed his screenplay. Patton turned out to be a major hit and won 7 Academy Awards including Best Original Screenplay for Coppola, an important boost to his career. We discuss Coppola’s approach to presenting the character of Patton, George C. Scott’s incredible performance, and the 1970 Oscars. This episode’s Coppola wine was: 2017 Black Label Claret.

The characters in Francis Coppola’s The Rain People are on a cross country road trip but we are sheltering in place. After directing an old fashioned studio musical, Coppola returns to a more intimate, character focused story with The Rain People. Shirley Knight stars as a young housewife that leaves on a road trip to reevaluate her decisions. Her journey of self discovery takes a turn when she picks up a former college football star with brain damage (James Caan). In terms of style and technique this is as far away from Finian’s Rainbow as you can get. We talk about road movies, the “70’s movie ending”, and the Farrelly brothers come up, naturally. This episode’s wine was: Francis Coppola Diamond Collection Blue Label Merlot 2016.

Happy St. Patrick’s Day! It’s only appropriate that Bryan and A. J. discuss Frances Coppola’s roadshow musical flop Finian’s Rainbow. There’s so much wrong with this movie we don’t have much time for tangents. We talk about the death of the Hollywood musical, how this movie led to the friendship of Coppola and George Lucas, Bryan singles out the funniest moment in the movie, and A.J. compares this movie to Mallrats. The movie was a slog to watch but fun to talk about. Enjoy! This episode’s Coppola wine was: Coppola-Becker Unita Blend Cabernet Sauvignon 2017.

Happy New Year! Happy New Decade! Happy New Episode! Though You’re a Big Boy Now isn’t technically Francis Coppola’s first film, in many ways it’s his first film as an auteur. Coppola was working with material of his choice, great professional actors, and the backing of a major studio. We discuss the results and Geraldine Page’s protracted will they/won’t they history with the Academy Awards. This episode’s Coppola wine was: Coppola Sonoma County 2016 Cabernet Sauvignon.

Continuing our way through Francis Coppola’s work as a writer for hire, Bryan and A.J. march through the epic length movie of the liberation of Paris, Is Paris Burning? Writing Is Paris Burning? was a frustrating experience for Coppola who had to deal with the demands of studio executives and an intrusive Charles de Gaulle. The result was a mediocre epic movie of an important historical event. We try to keep track of the impressive but wasted ensemble cast, sort through the tangle of different storylines, and share the same frustration with the film’s poorly placed intermission. This episode’s Coppola wine was: 2017 Diamond Collection Black Label Claret 1910 Type Cab Sauvignon.P.S. Apologies for the clicking sound throughout the episode. That is A.J.’s dog wandering through the kitchen and dining room. He had no opinions to share but wanted his presence known.