By MCN Editor editor@moviecitynews.com

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

Posted Thursday, June 30th, 2011 - Comments Off on NEW FRANCIS FORD COPPOLA FILM CONFIRMED FOR PANEL PRESENTATION AT 2011 COMIC-CON
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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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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon