FRANCIS FORD COPPOLA'S
PRODUCTION NOTES
ABOUT THE PRODUCTION
DIRECTOR'S STATEMENT
STORY SYNOPSIS
THE CATILINE CONSPIRACY
THE LOOK AND FEEL OF MEGALOPOLIS
THE ACTORS SPEAK
THE ARTISTS SPEAK
ABOUT THE CAST
ABOUT THE FILMMAKERS
CREDITS
FACT SHEET
U.S. Press Contact | 42West Sales Coordinator
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[email protected] May 13, 2024
ABOUT THE PRODUCTION
Francis Ford Coppola began developing Megalopolis in the early 1980s. The lengthy trajectory
of the project's history is part of Coppola lore. The story of Megalopolis was very loosely
inspired by his reading about the Catilinarian Conspiracy which took place in 63 BC. At the heart
of the event was a popular Roman aristocrat, Lucius Sergius Catiline, who was attempting to
overthrow the Roman Republic. Had Catiline's coup succeeded, he would have ousted the
reigning upper class and released himself and the lower classes from debt.
"I had cooked up this idea," Coppola remembered. "I very much wanted to write this story. I
just started filling notebooks with ideas or things I found while reading. I thought, you know,
everyone knows America is a reincarnation of Republican Rome because our founders didn't
want a king but wanted it to be like Rome's republic. You can't go to New York without realizing
it is covered with Roman buildings. So, my intent was to write a Roman epic set in a
contemporary New York that's copied Ancient Rome."
In the summer of 2001, he held table reads in New York. Robert De Niro, Paul Newman, Leo
DiCaprio, Uma Thurman, James Gandolfini, and Russell Crowe were some of the actors who
participated. That year, he also shot 30 hours of 2nd unit footage in and around the city. Shortly
after beginning pre-production, the tragedy of September 11th took place and work came to a
halt. Coppola said he could barely consider making a film about the possibility of utopia in New
York when everything had become so tragic and uncertain.
In the ensuing years, several of the actors that appear in the film had participated in workshops
or table readings. Jon Voight read the script in one of its earlier ideations, as did Laurence
Fishburne and Giancarlo Esposito. "I read the script 23 years ago, maybe 25 years ago," said
Esposito. "I thought, as with scripts that are so steeped in philosophy and in mythology and in
history, that I've got to read it once more. Now I can look at the era and all the surrounding
history and I get it. It’s a story to tell."
Coppola considered abandoning the project completely in 2007 when he couldn't get any
support developing it, but just couldn't leave the story behind. "In my mind, it was still
incubating," he said. "You know, I had made so many different pictures in so many different
styles, because I like to make movies I don't know how to make. Because if you don't know how
to make them, the movie starts telling you how to make it. And that's very exciting when you
listen."
The years passed with more script readings and workshops, but it was a combination of
Coppola turning 80 followed by the pandemic that provided the impetus for him to fully
develop the project. By August 2021, he was in formal discussions with actors and beginning
casting. Many actors were considered. Some had participated in previous script readings, such
as Shia LaBeouf and Jon Voight. Others such as Laurence Fishburne, Giancarlo Esposito, Talia
Shire, James Remar, and D.B. Sweeney had been featured in previous Coppola films. For the
role of WOW PLATINUM, Coppola wanted an actress with a comedic aspect, as well as
intelligence and beauty, who could give the role a 1930s screwball-comedy flavor ala Jean
Harlow or Myra Loy, and so Aubrey Plaza was a possible choice. Coppola’s old friend and
frequent collaborator James Caan requested a cameo part in what might be his last picture, and
Coppola created NUSH ‘The Fixer’ BERMAN for him. Caan died suddenly, and the great Dustin
Hoffman offered to take over this small cameo role. Coppola met Adam Driver (CESAR
CATILINA) in New York, and they had many lengthy conversations, at first resulting in Driver's
decision not to commit. Coppola says, "After thinking through his side of those discussions,
some ideas came to me, and while accepting his ‘no,’ I wanted to thank him and for the hell of
it mentioned these new ideas. I was very surprised when he wrote back that he liked them and
had reconsidered his decision and would do it." As Nathalie Emmanuel (JULIA CICERO) was in
Europe, Coppola 'met' her remotely. "I did one of my improvisation sessions with her in which
she astonished me with her willingness to just jump in and demonstrate the many ‘colors’ she
was capable of, on just one line [from The Color Purple], over and over in different ways: 'I loves
Harpo, but I’ll kill him dead ‘fo I let him beat me.'"
To make Megalopolis entirely on his own terms, Coppola self-financed, selling a piece of his
wine business to finance the film's production. He decided to film in Atlanta, Georgia, because
of the state's generous tax benefit, state-of-the-art studio facilities, well-trained local crews,
and the abundance of classical buildings to serve as sets.
On location in Atlanta, he purchased and renovated a former Days Inn motel to house himself
and his essential crew, creating facilities for rehearsal and post-production including editing
rooms, ADR recording studio, and an ATMOS sound mixing theater.
Principal photography began at Trilith Studios in Fayetteville, Georgia on November 7, 2022,
and was completed on March 11, 2023.
DIRECTOR’S STATEMENT — FRANCIS FORD COPPOLA
The seeds for Megalopolis were planted when as a kid I saw H.G. Wells' Things to Come. This
1930s Korda classic is about building the world of tomorrow, and has always been with me, first
as the ‘boy scientist’ I was and later as a filmmaker.
I wasn’t really working on this screenplay for 40 years as I often see written, but rather I was
collecting notes and clippings for a scrapbook of things I found interesting for some future
screenplay, or examples of political cartoons or different historical subjects. Ultimately after a
lot of time I settled on the idea of a Roman epic. And then later, a Roman epic set in Modern
America, so I really only began writing this script, on and off, in the last dozen years or
so. Also, as I have made many films of many different subjects and in many different styles, I
hoped for a project later in life when I might better understand WHAT my personal style was.
Always respecting the original writer in films I made, and always insisting that their names
appear above the title, such as it was with Mario Puzo’s The Godfather, or Bram Stoker’s
Dracula, it was only with The Rain People and The Conversation that it could have been
permitted to have my own name as original writer on it; but then I was too insecure to present
myself in such grandiosity. However, early on, I remember once I took 130 blank pages and put
on a title page boldly announcing Francis Ford Coppola’s Megalopolis and under that, All Roads
Lead to Rome. I pretended it wasn't totally blank, weighing it in my hands so I could imagine
what one day it would feel like, and believe one day it could exist. Then later, once I had a draft,
I must have rewritten it 300 times, hoping each rewrite would improve it, if only a half percent
better.
I considered many possibilities, becoming interested in an incident known as “The Catiline
Conspiracy,” accepting that Modern America was the historical counterpart of Ancient Rome
and that the Catiline Conspiracy as told by historian Sallust could be set in Modern America, just
as Joseph Conrad’s Heart of Darkness was set in the Vietnam War in Apocalypse Now.
I began with the essence of a plot: perhaps an evil patrician (Catiline) plotted to overthrow the
Republic, but was thwarted by Cicero, the consul. I renamed Catiline to Cesar as suggested by
Mary Beard because in Suetonius’s version, young Julius Caesar was very much in cahoots with
Catiline, and Cesar would be more familiar to audiences than Sergius (which was historical
Catiline’s name). I wondered whether the traditional portrayal of Catiline as ‘evil’ and Cicero as
‘good’ was necessarily true. In history, Catiline lost and was killed and Cicero survived. But since
the survivor tells the story, I wondered, what if what Catiline had in mind for his new society
was a realignment of those in power and could have even in fact been ‘visionary’ and ‘good’,
while Cicero perhaps could have been 'reactionary' and ‘bad’.
The story would take place in a somewhat stylized New York City, portrayed as the center of the
power of the world, and Cicero would be the mayor during a time of great financial upheaval,
such as the financial crisis under former Mayor Dinkins. Cesar, in turn, would be a master
builder, a great architect, designer, and scientist combining elements of Robert Moses
as portrayed in the brilliant biography The Power Broker, with architects like Frank Lloyd
Wright, Raymond Loewy, Norman Bel Geddes, or Walter Gropius.
Step by step with these beginnings, I researched New York City’s most interesting cases from
my scrapbooks: the Claude Von Bulow murder case, the Mary Cunningham/James Agee Bendix
scandal, the emergence of Maria Bartiromo (a beautiful financial reporter nicknamed ‘The
Money Honey’ coming from the floor of the New York Stock Exchange), the antics of Studio 54,
and the city’s financial crisis itself (saved by Felix Rohatyn), so that everything in my story would
be true and did happen either in modern New York or in Ancient Rome.
To that I added everything I had ever read or learned about.
In this work, Megalopolis, I wouldn’t have been able to make without standing as I do on the
shoulders of G.B. Shaw, Voltaire, Rousseau, Bentham, Mill, Dickens, Emerson, Thoreau, Fuller,
Fournier, Morris, Carlyle, Ruskin, Butler, and Wells all rolled into one; with Euripides, Thomas
More, Moliere, Pirandello, Shakespeare, Beaumarchais, Swift, Kubrick, Murnau, Goethe, Plato,
Aeschylus, Spinoza, Durrell, Ibsen, Abel Gance, Fellini, Visconti, Bergman, Bergson, Hesse,
Hitchcock, Kurosawa, Cao Xueqin, Mizoguchi, Tolstoy, McCullough, Moses, and the prophets all
thrown in.
Believing I had the basis of the project in 2001, I set up a production office in Park Slope,
Brooklyn, and began to work. I did casting, table read-throughs, and had a 2nd unit led by
brilliant photographer Ron Fricke, thinking it would be easier and cheaper to begin before we
actually announced principal photography. The 2nd unit was shot with an early model Sony
digital camera that I was risking would be of sufficient quality, to be shot through all seasons
and of elements of vital activities of the city (food distribution, sewage, garbage disposal) for
the rich and the poor. The script always had an element of an aging Soviet satellite falling out of
orbit and falling to earth, so we needed some shots of destruction and cleared areas, but of
course no one could have anticipated the events of September 11th, 2001, and the tragedy of
the World Trade Center. As we were shooting our 2nd unit at the time, we covered some of
those heartbreaking images.
My first goal always is to make a film with all my heart, so I began to realize it would be about
love and loyalty in every aspect of human life. Megalopolis echoed these sentiments, in which
love was expressed in almost crystalline complexity, our planet in danger and our human family
almost in an act of suicide, until becoming a very optimistic film that has faith in the human
being to possess the genius to heal any problem put before us.
I believe in America. Our founders borrowed a constitution, Roman law, and Senate for their
revolutionary government without a king. American history could neither have taken place nor
succeeded without classical learning to guide it.
It’s my dream that Megalopolis will become a New Year’s Eve perennial favorite, with
audiences discussing afterwards not their new diets, or resolutions not to smoke, but rather
this simple question: “Is the society in which we live the only one available to us?”
1
STORY SYNOPSIS
LOGLINE
A genius artist with the power to stop time fights an arch-conservative mayor to save the dying
modern world and inspire hope; told as a Roman Epic.
SHORT SYNOPSIS
Megalopolis is a Roman Epic set in an imagined Modern America. The City of New Rome must
change, causing conflict between Cesar Catilina, a genius artist who seeks to leap into a
utopian, idealistic future, and his opposition, Mayor Franklyn Cicero, who remains committed
to a regressive status quo, perpetuating greed, special interests, and partisan warfare. Torn
between them is socialite Julia Cicero, the mayor's daughter, whose love for Cesar has divided
her loyalties, forcing her to discover what she truly believes humanity deserves.
THE CATILINE CONSPIRACY
"When I set out to write Megalopolis, I had the idea that it could be a huge composition; a lofty
challenge like "The Alexandria Quartet" or something on that scale. I roamed around in search
of ideas, fragments that attracted me in books I had read; in history; in ideas. In reading the
Roman historian Sallust, and William Bolitho's "Twelve Against the Gods," I learned about
CATILINE, pieced together a character based in some part on him, and came up with the idea of
setting THE CATILINE CONSPIRACY in modern-day New York." —Francis Ford Coppola
Lucius Sergius Catiline (108 BC – 62 BC) was a Roman aristocrat and soldier, born of a
distinguished patrician family. He wished to be a consul but lost the election to political
opponent Marcus Tullius Cicero (106 BC – 43 BC). Cicero was a distinguished writer, poet,
lawyer, statesman, and considered one of Rome’s greatest orators. It was this skill of oration
that cost Catiline his consul position as Cicero famously denounced him before the Senate.
Catiline had campaigned to eliminate debt for the poor and wealthy alike, himself included,
which made him the champion of many.
THE LOOK AND FEEL OF MEGALOPOLIS
The production team, who worked together to accurately portray the singular sensibilities of
the Megalopolis world, included director of photography Mihai Malaimare Jr., concept artist
Dean Sherriff, production designers Bradley Rubin and Beth Mickle, and costume designer
Milena Canonero.
“I believe that collaboration is the sex of creativity," said Coppola. "That's where the good work
comes from. It's when you get the idea that someone got from you and then gave it back to you
differently, and then you go on rampantly. And I shouldn't call it ‘work’ because it's play, and
play is where human beings discovered their most important original ideas. I've worked with
Mihai and Milena many times. I first worked with Mihai when he was just out of film school so
I'm very comfortable with him, and I did three films with Milena.
I had an impression of what this film should look like, and I wanted it to be at first like a woven
mural or tapestry rather than a movie, so I needed imagery that could express this elusive
feeling. I found that by describing what I wanted to the art department, inevitably it would be
put into existing categories none of which I intended. It was then suggested that I work with an
artist to do keyframes for the scenes. I found that Dean Sherriff was receptive to my ideas and
my own stick-figure sketches back and forth and then would show me something based on
them, and I would say, 'Yes, that's exactly what I meant.' But this was frustrating to the art
department because they wanted to be in on the creation of the imagery. That wasn't working
for me because inevitably as a big department just completing an expensive Marvel production,
their solutions were more predictable and expensive, and my desire was for something that I
had never seen a film look like before and felt that daring originality could be cheaper as well.
I found that high budget movie productions had become more hierarchal, and when I went to a
particular number art director and said, 'I know you worked in theater so maybe you
understand this idea?' she replied, 'Well I can't step on toes, you have to go and tell that to the
supervising art director and then it has to go to the production designer.' And I said, "Well, I'm
the director, can’t I talk to anyone I want to, like being the captain of a ship?' But that's not the
way Marvel pictures are made, and I found that it was a struggle to get what I wanted. Now it's
all a hazy dream because the imagery does exist and the movie does exist, but it was not always
pleasant to arrive at a location or set and realize that they were preparing something that was
unlike what I had in mind. As the Christmas holidays approached, I was informed that the
$100M film with $20M contingency was now at $148M. This would of course have bankrupted
me and my family. I gave notice to all, that after the holidays we’d have to come back as a much
smaller team and work in a more efficient style without such an overblown production scheme
and have less of everything. When I proposed letting one of the five art directors go, the
response was that if I did that, they would ALL resign. I did. And they did (but in a very public
style via the now many loquacious ‘unknown sources’ quoted by The Hollywood Reporter).
The holidays over, our team became aggressive and efficient, and things went much better.
Before long, and thanks to our magnificent Asst. Director, Mariela Comitini, I was always able to
get what I wanted, and in fact after a difficult but productive 9 weeks, we were actually ahead
of schedule and wrapped production a week early and much closer to my $120M goal."
Along with the art department came the Visual Effects (VFX) Supervisor, and again
disagreement. Says Coppola, "My ‘hunch’ was to try as many live special effects as possible,
once again working with my son Roman, as we had done successfully with Bram Stoker's
Dracula. The VFX supervisor thought this approach would be a waste of money and stated that
the way they were doing it was better. Well, such opinion is the director’s job and as
with Dracula’s VFX, I fired him and replaced him with my experienced nephew Jesse James
Chisholm, who I could count on to embrace and deliver on my approach." Chisholm
immediately put together an eager international team consisting of RISE, UPP, GHOST, and
NARWHAL, and along with the kind advice of veteran VFX Supervisor Rob Legato, the many
complex visual effects were approved for a cost and delivery date that many executives were
sure would be impossible.
After the New Year's break, Bradley Rubin took over as Production Designer. He knew some of
the previous remaining art department team, so he already understood how Coppola preferred
to work, and what challenges the more theatrical elements of the project presented. "Francis
and his concept artist Dean Sherriff had already created all this key art with creative help from
Till Nowak, and there were illustrations of the story he wanted to tell," Rubin said. "Part of my
job was to help find what he wanted but there's also a really clever way in which we didn't have
to make some of those decisions on the day-to-day in the scenery because a lot of that organic
and magical material would be created later. For our purposes, anything that's Megalon was
more in the distance and behind as a set extension, rather than something tactile that we
needed to develop." The concept art, as Rubin put it, leaned “into a lot of flora and fauna and
just organic shapes.”
Rubin had to ask himself what type of efficient shots Coppola was after, as he arrived in a
production already underway and with a very busy director focused on that day’s shooting. He
quickly adapted to what was needed of him, “No ceiling, things can move in the wild to lean
into the theatric, the theater background that he has where everything should be flexible so we
can change it.”
Costume Designer Milena Canonero’s work was designed to literally “build the characters.” Her
costume designs traversed centuries and ranged from austere to outrageous, but always
referenced Ancient Rome. For Cesar, it was clear that the focus on his work eliminated the need
for anything that wasn't necessary. His clothing is timeless and made to last. Canonero’s
stripped down aesthetic for the character went beyond anything that resembled a trend. Her
goal was that other men would want to emulate Cesar’s sleek look, but they’d never pull it
off. Mayor Frank Cicero’s carefully constructed clothing matched his carefully constructed
image. His suits conveyed his rigid world view. Canonero worked closely with Giancarlo Esposito
to achieve clothing that’s a balance of hubris, rage, and despair.
If the contrast between costumes for the characters of Mayor Cicero and Cesar were stark,
Hamilton Crassus III is in another category altogether. The character’s extreme wealth was
transmitted through the opulence of the fabrics. At his excessive wedding, references of
Ancient Rome were found everywhere, including on the heads of the participants, who were
adorned with gold laurel leaf crowns. As per Jon Voight, "Every outfit in this piece is stunning. I
tried to get people to set up a photo booth just for us when we were in costume. They’re
amazing, as are the hair designs. I believe that this could set a trend. People may start dressing
better.”
The concept of the Megalon, the miracle building material invented by Cesar, was based in part
on the work of architect and designer Neri Oxman. Coppola had worked with her several years
ago to create studies for Megalopolis. One of Oxman's studies became Man-Nahāta, a four-
part model installation that looks at a changing Manhattan every 100 years but begins 400
years in the future. Oxman is regarded for her theory of Material Ecology, which considers
computation, fabrication, and the material itself as inseparable dimensions of design. Much like
Cesar Catilina, Oxman is immersed in the synergy of nature and humanity as it’s revealed
through design, technology, and biology.
The idea of future architecture being alive, growing from forms in nature, was the basis of many
of the futuristic sets. The interiors, Coppola said, were more challenging. "When you're dealing
with extraordinary environments, be it a city of the future, the problem to me always is what
will the interiors be like? Nature has provided living material that grows organically and
interacts with the human beings living amid it. The temptation is to make these extraordinary
sets, and then put extraordinary furniture and appointments in them, but what I'm finding is
that if you just put very normal chairs and tables and things without making them all
modernistically futuristic, it's better because in a way, they become invisible. You enjoy the
space they're in without the distraction of seeing all the strange furniture, which makes it look
like hobbits live there."
Coppola's intent for the look and feel of Megalopolis was that every setting have two sides—
the actual place where the story is taking place, and a representation for what the theme really
meant. As Coppola said, "I'm asking the audience to accept a movie in which the settings are
more metaphorical. If they want to, they can do a little work to fill in the logic of the setting as
being the components of a story, or they could just see it as a metaphor and not worry about
what the practicality of it is."
THE ACTORS SPEAK
Coppola has often said that he wanted to have a good time and real fun while making
Megalopolis. He also noted that he’s never enjoyed working with a cast more. He was inspired
by the actors’ willingness to search for the unconventional in the characters, and then happen
upon hidden solutions to resolve their turmoil or weakness.
CESAR CATILINA: Adam Driver
Cesar is a remarkably complex personality. He can be erratic and mercurial but his commitment
to a better world is unwavering. His rock star status is unimportant to him, and his healthy ego
is tempered by a humble reserve. He remains, despite his trauma, loving and compassionate.
He's also genuinely loved and respected by the friends and colleagues who share his vision.
I hadn't really started with base level who Cesar was. On the first day, I think I was wearing a
bandage on my head, and Francis was like, 'We're not being brave enough,' or 'We're not risking
enough,' something like that. It wasn't a condemnation of the actors. He said it in a way that
you felt that it was for everybody, including himself. For me, that was like, 'Oh, that's the kind of
movie we're making.' It was hitting me at a perfect time. I loved the way he was making it. It felt
rebellious.
The best example of an improv making its way into the movie is this whole thing of Julia
following Cesar around at the Madison Square Garden event. We were doing this rope pulling
improv the day before and day of the scene. I was walking in and was handed a rope, and we
did this little improv. We got rid of the rope but kept the improv going and shot the scene. It
doesn't realistically make sense if you think about it—but totally emotionally and playing it, it
made perfect sense.
His philosophy is obviously in the movie. There are no other ways he could have gotten the
sequences or the performances that he did or the captured moments that he did, without how
much this film, and all his films, are Francis.
MAYOR FRANKLYN CICERO: Giancarlo Esposito
Mayor Cicero is a man who believes in authority and its institutions. He's also judgmental, a
classicist, and deeply concerned with morality. He's under pressure from all sides and it's made
him blind to transformative ideas. While he truly wants to save the city, his personal limitations
keep him set at status quo.
It's not lost on me that I'm playing a very passionate man who has skill as an orator but who's
very heartfelt and is in many ways a poet, an organizer, someone who is an inspirer, all those
things, and which, of course, I aspire to and like to be. I want to be able to get it right. Also, in
this situation as the mayor, there's the juxtaposition of a mayor in New York, David Dinkins, who
was the first black mayor, who didn't succeed really. He had all these great intentions and all
these great ideas, but he was a flop. He was a wonderful man though. He did everything he
could for the city but didn't get the money he needed for the solutions he'd proposed. The
government let him hang out to dry. Sometimes you just get dealt the wrong hand.
I got texts just about every day from Francis to have a ‘word for the day’ and an idea, and most
of the time it was related to life or maybe the character but sometimes not. I don't want to say a
directive because that sounds a little like a dictator, it's not that at all. It's a suggestion about
what this scene may be about today, which allows me to know what his expectations are and
what he could be asking.
JULIA CICERO: Nathalie Emmanuel
Despite her remarkable beauty and reputation as a party girl, Julia isn't a shallow dilettante. She
has a keen intellect and is determined to make a difference in the world. Megalopolis becomes
her passion and Cesar her great love. Despite being able to stand up for what and who she
believes in, she loves her difficult father and doesn't want to see him hurt.
She's very privileged. She comes from privilege but she's also in this very, in my opinion, archaic,
patriarchal system. It's funny because she's framed at the beginning of the movie as this wild
girl, free spirit who challenges these things, but she doesn't challenge them that much. That was
tough for me to understand and there was a process of surrendering and learning to not judge
the character.
When you then come into the space it's a jump-off from whatever Francis throws at me. It's
funny because he's so, at times, experimental to the point where I feel a little bit thrown and
uncomfortable. In that discomfort, I'm terrified but I want to find out what can come out of this
discomfort.
Seeing the four cameras used in a different way like that is so great. It's a whole different way of
working. I've been so used to blocking the scene and knowing where my position is, and then we
go and we do it, and say the line. There's a freedom with Francis's style of directing and with the
way that he shoots that for me is unprecedented.
WOW PLATINUM: Aubrey Plaza
Wow, the "Money Honey," is a shallow, narcissistic, financial genius, who's sick of reporting on
the city’s debt. She truly loves Cesar, but her career is beginning to slump, her ratings are down,
and she wants her own money and power as well as a seat in that rarified circle. Whatever she
has, it's never enough.
Wow Platinum is a very ambitious woman who is determined to make a name for herself and
become wildly rich but on her own terms. She's also got a really good sense of humor too. She
has her eyes set on becoming part of the Crassus family because they're the richest family in the
world. She uses all her skills to get what she wants, which is money and limitless power.
I was doing White Lotus and Francis called me for a Zoom audition that I didn't think was an
audition. I was a little loose. I had been drinking wine and was going to go to a birthday party.
He said, 'Pick a line from anything you've ever done, and then I'm going to direct you to say this
line in many different ways,' and so I did that. It was like, 'Now you're a mother and your son's
dying, and this is the last thing you say to him. Now you're a stand-up comedian. You're on the
stage and this is the last joke of the night.' I was having a great time playing the various
scenarios and scenes with Francis and just enjoying the experience thinking there was no way I
would get the part. I found out weeks later that I got it.
CLODIO PULCHER: Shia LaBeouf
Clodio is narcissistic, self-important, and smart. He is cunning, which serves him well in most
situations—except those with Julia. He’s obsessed with her and insanely jealous of his cousin
Cesar. For the first time in his life he's committed to something—he wants to crush them both.
He also wants his grandfather's money and power albeit with no familial strings attached.
My role is such that the dude is so extreme. The way I've gone about building him is by watching
magicians because Clodio's tricky. I needed to find a bunch of tricky people. Then I watched a
bunch of spoken word poets because that's where I can find ways to make sense of the poems
that Clodio is spitting out all the time and make them work. The best way to describe Clodio is
that he needs and wants to be seen. He wants his grandfather to hand him the baton and he
wants his cousin to pay him attention. You can't really pin him down, you don't know what's
going to happen from one scene to the next. You don't know if it's adversarial or friendly.
From the first day of rehearsal till now, I've had a lot of freedom, occasionally being trapped by
a camera, but overall I've felt like I've had a lot of freedom with [Francis] and he's given me a lot
of trust to build something that is really a pretty balls-to-the-wall far-out performance for a role
that on paper, at least, didn't read as a really safe opportunity.
HAMILTON CRASSUS III: Jon Voight
The wealthiest man in New York, Hamilton Crassus III, can get anything he wants anytime he
wants it, so long as it serves his self-interest. He’s one-third Roman Senator, one-third feudal
lord, and one-third robber baron. He’s scion of both the Crassus and Pulcher families; his
grandchildren are a group of dim-witted 20-somethings who live to party. The only person he
seems to have genuine affection for is Cesar, his nephew.
My character, Crassus, is the banker. He is the richest man in this city of New Rome. He’s a
powerhouse and has tremendous influence. He's got a genius for a nephew in Cesar, who can be
very erratic and self-destructive in some fashion. Yet Cesar gives my character bragging rights.
At the same time, Clodio, my grandson, is the heir to the Crassus fortune and legacy. This causes
real conflict. Clodio is a challenge because he's dangerous. Crassus may be disappointed and
unhappy with him, yet he loves him.
Francis said, 'The script is just the bones, and we’re going to have to find out what it is.' That’s
the way he works. There’s a lot of improvisation. He sees what’s on the screen, and he’s right
there on the set and he’ll change course and say, 'Let’s go in this direction.'
I get a lesson every day from the way Francis sits and answers questions. I don't think I’ve ever
worked with a more open process. The things that I’ve done and the spontaneous moments that
have occurred, couldn’t have happened under other circumstances. He’s created a very
extraordinary circumstance for us to work.
FUNDI ROMAINE: Laurence Fishburne
Nothing escapes Fundi's observant eye. He appears to be aware of changes in the air before
anyone else is. He has a deep understanding of human nature and a disgust for those who
would abuse their fellow man. He’s a loyal and protective aide, driver, and friend to Cesar.
I'm playing a character called Fundi Romaine, who is essentially bodyguard, chauffeur, Man
Friday, the man who walks behind the man and whispers in his ear, protector, confidant, and
shield. He's also the story's narrator.
Francis reached out to me and sent me the script. He was like, 'I'm thinking about you for Mayor
Cicero.' I read it and there was this other part, Fundi. I thought Fundi was the character for me
because he was a poet, a philosopher, and a historian. The story had a narrator and I asked
Francis if he would consider me for that as well. I felt it was the best way for me to serve the
piece with the quality of my voice and my presence.
I was so young when I started working with him. I was 15 when I was cast in Apocalypse Now.
My relationship with Francis is very much father and son. I would not have the career that I have
were it not for my working with him. I would not have made the choices that I have made as an
artist were it not for working with him. He's been one of my greatest teachers and champions.
I've had the opportunity to work with him so many times as part of his company of actors. I was
in Apocalypse Now, One from the Heart, Rumble Fish, The Cotton Club, Gardens of Stone, and
now, Megalopolis. That's six films. One From the Heart I got cut out of, so it doesn't really count
but it does count in terms of just being in the environment and watching him work.
THE ARTISTS SPEAK
DESIGNING MEGALOPOLIS - by Dean Sherriff, Visual Concept Designer
In June 2022, I received an email from Francis Coppola introducing himself and his film,
Megalopolis. He said that I came recommended as a concept artist and asked if I had some time
available. He had included the script and a list of specific sequences he was most anxious to
work on. He wanted to collaborate with someone who knows there are other approaches
resolving complex VFX and design. I suggested the use of the keyframe concept art approach to
capture mood, lighting, and atmosphere for these scenes, and he agreed.
We talked for a long while about the project and I got to work. I began by watching a few of
Francis’s most seminal works with the intent to understand visually why they were so powerful.
It was the colors and what he wasn’t showing the viewer in the shadows and foreground
silhouettes that stood out to me. For example, The Godfather used warm golden tones
throughout to capture a specific mood. Francis’s love of Art Deco and the murals of the Public
Works Art Project of the 1930s also reflected the same tonality that I thought would work in the
keyframes. I felt I understood what he wanted visually right away, and his positive response
gave me the confidence to trust my intuition as we proceeded.
Megalopolis’s time period is nonspecific, somewhere in the 21st century. The story takes place
in a city similar to New York but named New Rome. Francis would talk about the American
Republic being similar to Old Rome. I looked at old paintings depicting Rome during the Roman
Empire as the basis to integrate aspects of the architecture. The immense wedding scene takes
place at Madison Square Garden and was to be like the Colosseum of Old Rome. The design
inside needed to include the grand wedding tableau, Mayor’s box, and various events in the
main arena included a 3-ring circus, chariot races, and wrestlers. The challenge was how to
depict all these elements in one master keyframe that Francis could use as a communication
tool for everyone. I blocked out the angle that would illustrate all the elements in one wide
master keyframe, dressing the arena as the Colosseum might be for a grand celebratory event.
Roman architectural language was the main influence of all the major set pieces. I did my best
to illustrate the energy of a lavish, celebratory feast for the senses. Francis was very happy with
this keyframe, and it became the guide for all departments moving forward.
I was invited up to his property in the Napa Valley to continue collaborating on designs. He
wanted me to have full access to his immense research library. I set up on an oversized drafting
table in the fiction room, surrounded by his brother August’s books. In the corner was a leather
club chair in which Francis would sit as he expressed what was in his thoughts for each scene
and what he hoped visually for the film. Often it was a word, a phrase, a piece of art, an image,
a book, an architect, or a film that would be expressed as an idea for the images. He would
leave me to interpret those thoughts into a visual for that scene. I would block something out
loosely, thinking about what we discussed.
Late one afternoon as we worked in the library, Francis asked if I ever wanted to do a freeform
brainstorming session. I replied we could do it now! Sitting in the club chair, he proceeded to
express various ideas and I started to take notes, but soon was so engrossed in the moment I
abandoned the pen and paper. It was a pure stream of consciousness as he talked about
literature, art, architecture, film, and music; the past and future and his wishes for mankind. It
was an enlightenment for me to see and understand his vision of the world. These thoughts and
ideas during this freeform session gave me a deeper understanding of what he is wanting to say
to the world through this film. From that point on I found myself repeatedly referring to what
was said in this session, and it became our shorthand for the visual interpretation.
THE CINEMATOGRAPHY OF MEGALOPOLIS - by Mihai Malaimare Jr., Cinematographer
In 2005, while in prep for Youth Without Youth, I remember seeing an amazing drawing of a
man and a woman standing on a giant clockface on top of a city. I was told it was an art concept
for Megalopolis. It was so visually striking I could never forget it. I also remember watching
second unit footage shot by Ron Fricke in 2001 with a Sony F900, a brand-new digital camera at
the time. Everybody else was still shooting film back then. I knew and admired Ron’s work in
Koyaanisqatsi and Baraka and all these second unit establishing shots had his visual signature. I
really wanted to see this movie get made. 22 years later we finished Megalopolis, with the giant
clockface image now a scene in the movie, and we used some of Ron Fricke’s footage as well.
Francis and I developed a visual language early on with Youth Without Youth. Inspired by
Yasujirô Ozu, the camera never moved. If someone was sitting in the scene and stood up, we
would never follow, tilt, or reframe; we would place a second camera at the standing height.
The idea seemed restrictive, but it forced us to compose better, more like still photography.
We would eventually have some dolly shots but they had to be done for the very good reason
of having to stand out within all the frozen compositions. We used this visual style for his next
two films, Tetro and Twixt [now recut as B’Twixt Now and Sunrise].
When we first started talking about Megalopolis, Francis told me he would like to move the
camera a little more this time. He was interested in certain floating crane moves and dolly shots
but keeping the bulk of the coverage locked and minimizing the panning and tilting. The other
idea was to have an IMAX release. We tested quite a few cameras and even if most could hold
the resolution for the really big screen, there was something about the Arri Alexa 65 that stood
out. In my mind IMAX is synonymous with 65mm. We had two Alexa 65s and one Alexa LF for
main unit and an Alexa Mini LF for second unit. Lenses were provided by Panavision: a
combination of wide Sphero 65s, Panaspeeds, and specialty lenses like the 200 and 250mm
detuned Primo Artiste, rehoused Helios, and even Lensbaby for certain scenes.
Megalopolis is not set in a specific time frame. Francis loved the idea of mixing old and new
elements, cars especially, and props like still photography cameras (we had everything from the
1940s Speed Graphic to Sony a7). Visually this can be a blessing and a curse at the same time,
as a certain time period will limit your options and yet guide you. For this reason, Francis
worked for a few weeks in prep with Dean Sherriff creating art keyframes that became a visual
map for the entire film. They weren’t just references but precise cues for the way he saw the
movie, including composition, color, lighting; every guide you could wish for. These keyframes
became a very strong foundation to build upon. But even with the best map, sometimes things
would change.
Francis and I have an interesting dynamic. Once in a while he would throw a crazy idea at me
that changed everything I thought about a certain shot or scene. He knows that I love the
challenge and somehow will find a solution to make it work. Every single time he did that it
made the scene better. I think there’s nothing more dangerous artistically speaking than being
in a comfort zone. Restrictions and crazy ideas will always make better art. He would also bring
up specific scenes from obscure movies, like the reflection in a dark water bowl the way they
did it in the 1945 Sherlock Holmes film The Woman In Green or shooting the first scene
between Julia and Cesar like the “Baby, It’s Cold Outside” scene in Neptune’s Daughter from
1949. Or, trying to figure out how Busby Berkeley would do the Madison Square Garden show.
There’s something really beautiful about all these tributes.
My favorite sequence in the movie is the driving scene where Julia is following Cesar and Clodio
is following her. We started with the poor man’s process in mind, having a stationary vehicle,
with artificial background, night and rain onstage, but we kept throwing crazy ideas at it,
moving lights and small set pieces, adding some exterior driving shots from Ron Fricke, some
real driving exterior shots and an amazing miniature car with human statues that Roman
Coppola, our second unit director, shot brilliantly.
For some reason we tend to think that the audience is craving for hyperreal shots, but movies
are about ideas. Every time someone was concerned on set about a certain element not looking
real enough, Francis would tell them, “This is poetic reality.”
THE COSTUMES OF MEGALOPOLIS - by Milena Canonero, Costume Designer
I have called Francis "Francesco il Grande" since I began to work for him on The Cotton Club at
Astoria Studios in Brooklyn in 1983. And ever since I can remember, Francis would bring up the
project Megalopolis. It was inspired by the clashes in Ancient Rome between Catilina, a
Roman aristocrat, and Cicero, a Roman Senator. This was the basis for Francis's story of two
different ambitious men fighting for their own ideals.
Once Francis decided to go ahead in January 2022, and to set me in the right direction, he
screened the material he had collected and shot many years ago around New York. It was of a
New York that angled towards an ancient neoclassical imperial look to which he wanted to add
and create a very futuristic look—a vision of a new world.
The word MEGALOPOLIS in Latin means BIG METROPOLIS. This was abundant for guiding me in
my search for a look that would be in harmony with the movie that Francis had been wanting to
make for so long. It was going to be operatic and 'big band' rich but in a 'classical movies' way
with a great cast and hardly any special effects.
Francis is an extremely generous director and artist. He never imposes any ideas on costumes
whenever I have worked with him. He gave me total freedom to express my concepts. In the
previous movies he liked me to go ahead without sharing, as he enjoyed being surprised when
the actors would appear on set. But on this film, I did not want him to be completely surprised
but see what was coming and if necessary, I would be ready to revise. I would send him a
rendering in Photoshop of the principal characters' looks and color palette. As it turned out,
Francis was always happy with what I presented to him.
We prepped a great part of the movie in Rome before going to Atlanta to finish the prep and
shoot it. In Rome I could have access to supplies and resources we did not have in Atlanta and
there we set up our first workshop. To be able to have continuity, Francis made sure I could
continue to work with my main collaborators in Atlanta as well, creating a mixture of Rome,
Atlanta, New York, and Los Angeles crew members. I had a wonderful multinational crew!
In Atlanta we had a great tailoring department, as well as a leather and fabric design shop and a
milliner with golden hands. We made most of the actors' clothes, as well as many of
the background costumes. Actors were flown in sometimes just before shooting, making it
hectic for us but my most wonderful crew was always ready to face the time constraint. We
were making a movie that had to have the same attention as a period movie and everything
had to be rethought and designed, whether it was a principal actor or an extra, giving them
each the same attention.
I tried to be in harmony not only with Francis's own direction and inspired by his vision, but also
to connect with his cinematographer and production designers to achieve the overall look.
Francis gave me the possibility to set up a great team in Atlanta with my usual precious
collaborators, but I also selected the makeup and hair keys Valli O'Reilly and Terrie Velasquez to
help me achieve a complete and harmonious look. The actors were excited and intrigued to be
part of Francis's movie and molded gladly into a chorus of different individual characters that all
will glue together. Inspired by Francis's vision, I went towards a look that reaches out to a
hopeful New World while also reflecting back to the ancient world of Rome that is
disappearing.
It was a wonderful and exciting and at times hectic gallop and now at last Francesco il Grande
has his Megalopolis.
EDITING MEGALOPOLIS - by Cam McLauchlin, Editor
They say a movie is made in three stages: writing, shooting, and editing. In all my years as an
editor, I have never been included as much as I have in all three aspects as I have while working
on Megalopolis.
I met Francis two years ago. He had seen a picture I had just cut, Nightmare Alley, and was
interested in meeting. He sent me the script and I read it—I read it again, and again, and again. I
was trying to make sense of it all, scribbling notes down all over. It was boundless, ambitious,
audacious, full of beauty, complexity, and splendor. And yet, almost impossible to track at
times. How was it going to look, sound, and feel? It was saying so many things about humanity,
history, and the future of our society, but it was elusive.
What I didn’t realize at the time was that the script was just a rough map of ideas, drawn by an
artist about to go on a wild adventure. I soon learned that Francis feels most at home in swirling
chaos. His best work is when he goes out into the unknown and trusts in himself as much as he
quests for the truth of the material and ideas he wants to uncover. To ride with Francis is not
just to test yourself and your craft, but also to ask yourself the questions he is posing.
As an editor, you eventually end up in that dark room with the director, staring down the
loaded barrel of truth. The material, the elements, the performances, the abundance of craft
culminating from every department into one single frame. And initially it’s a disaster, or several
mini-disasters strung together by moments of beauty. The chaos still looms, but there is hope.
Francis never looked at cut footage until after we wrapped, which was slightly terrifying for
me. Many directors nowadays are watching cut material daily and are altering the
performances of the actors and production as the film takes on a life of its own. With Francis it
was more of a theatrical style, almost live. In fact, at a certain point he started using classic
theater warmup techniques, as evidenced in a scene in which Cesar and Julia start to play tug of
war on an imaginary rope. That was a rehearsal take and as soon as we saw it in the dailies, it
was clear this movie could lean into the weird very easily, and Francis ran in that direction.
Editorially, I was in the trenches with my colleague Glen Scantlebury. Francis initially expected
us to grab scenes and work on them independently, but once we got the material, A) it was
evident that we had the time to keep up to camera; and more importantly, B) we began to play
with alternate versions. On the day of shooting the catwalks/model of the city scene, you
couldn’t hear a thing—the catwalk was noisy, actors couldn’t hear other actors speaking, it was
chaotic. So Francis devised a plan to pre-record all the dialogue and play it over a loudspeaker
for the wide shots. He then asked Adam Driver to launch into Hamlet. At the nightly screening
of dailies, Glen and I both laughed and thought, ok, this is just something to warm up the
crowd, give Adam a chance to perform in the space, help the vibe of the scene. When we
watched the dailies with Francis, he also laughed. Knowing Glen and I had this giant scene to
break down, he walked away, never mentioning Shakespeare. I said to Glen, “It will never be in
the film, but I’ll take a crack at cutting it, just so we have it anyway.”
Months later Francis had finished shooting, and he gave Glen the back half of the film and me
the front half. We worked away until we had the Director's Cut, with both Glen and I trading
sections of the film back and forth. Then Glen moved on to another project and Francis and I
continued to cut the film for another eight months. At around month two of this second stage,
he said, “Want to hear a crazy idea?” (Something he would say a lot during the edit.) “How
about we put in the Shakespeare scene?”
Francis and I would spend the next eight months experimenting and playing with the structure
of the film. We only screened for the postproduction crew, with a few exceptions. Two or three
nights a week we would watch the cut, and then invariably our conversation would turn to
something other than the film. But somehow, the ideas Francis was talking about, I knew they
were attached to the swirling mélange of what he was trying to unearth.
Francis is a writer, director, producer, but above all, an explorer of humanity, willing to risk
everything to uncover the meaning in what it is he is trying to unearth. His leadership style is
like no other director in that he relies on you to deliver your end of the bargain in what might
seem impossible conditions at times. Yet, he is right there with you. He is the calm within the
storm of his own making. Working with him challenged and elevated my abilities like no other
director has.
THE MUSIC OF MEGALOPOLIS - by Osvaldo Golijov, Composer
In March 2003 I received a handwritten letter by Francis that I have kept on top of my piano all
these years. He introduced himself and told me he had been working on an ambitious film
project and as the son of a classical musician, he was “most interested in the wedding of film
and music.” He then invited me to his home in California, to discuss this project of his “over a
meal and some wine.”
Soon after, I went to the Napa Valley to visit Francis and we read together the Megalopolis
script. He asked if I would compose a Megalopolis Symphony developing in music the themes of
the film. I loved the idea and set out to sketch it. Sometime later Francis told me he was
shelving the project for a while and would work on a smaller film: Youth Without Youth. I was
very happy when he invited me to write the music for it, followed by Tetro, and later B’Twixt
Now and Sunrise (together with Dan Deacon). I was even happier when 20 years after the initial
letter, Francis invited me to write the score for Megalopolis and sent me the new script: some
plotlines and scenes were completely new to me, and some I remembered from 20 years
earlier.
In February 2023 I visited the Megalopolis set in Atlanta. Francis's greeting, after several years
of not seeing one another, was, “Oh, Osvaldo, we need a big love theme… because the love
story is what will hook the audience the first time they see the film, and they’ll come back later
to absorb the other layers.” I said, “Great, what kind of love theme?” He replied, “Like
Tchaikovsky’s Romeo and Juliet, but geometric.” I laughed because that’s a perfect example of
the language Francis uses to convey his vision: utterly surprising yet surprisingly precise.
A few weeks later when the shoot wrapped, Francis showed me an assemblage of the film. As
the screening finished, he said, “Think of the music and the film as an adventure. This is my gift
to you: you can do whatever you want with the music.” This proved to be true, as long as it was
also what he wanted! Fortunately, I have always felt his trust in my work, even in the cues for
which I had to write many different versions.
Time that flows and time that stops is a big theme in the film, and, in the words of Fundi, “You
can lose it, waste it, and it also flies.” Musically speaking we express time in several ways.
Firstly, for Cesar’s time-stopping “superpower” we use the love theme in a few key scenes, but
played in a non-realistic, spooky way, by a musical saw. Which brings me to how important it is
for Francis to have unusual and specific musical fingerprints for each film. In this case I would
say that the color of the musical saw and of the glass harmonica provide those fingerprints for
the eerie cues, whereas the organ is featured prominently in the Madison Square Garden
sequence.
Another way of expressing time in the soundtrack is by blurring the line between music and
sound design: orchestral or percussive clocks that are mixed with sound design clocks, for
instance. Francis’s focus on rhythm is natural because rhythm is a manifestation of time, but
also because at some point in the scoring process he envisioned the texture of the movie as
constant rhythm, mentioning Black Orpheus as an example. So for practically every orchestral
cue, he wanted to have a clear rhythmic, propulsive element. Francis said he literally wanted
the audience to get into the aisles and dance!
The film takes place in New York sometime in the 21st century, but it is at the same time the
Roman Empire. But what is Roman Empire music? Nobody knows how Rome “sounded,” but
we have Hollywood’s Rome. Francis suggested that Miklós Rósza’s music for Ben-Hur had the
“Rome believability effect” we were after. I decided to write an entire Roman Suite that would
make sense on its own as a piece of music, unrelated to any specific scene, but with all its
themes stemming from the Roman themes in the film: a big imperial fanfare that acts as a
recurring chorus in the piece; a majestic, heroic, exuberantly paced section, noble at times (for
Cesar and Julia), and pompous for others (Crassus, Clodio, Claudettes); and Cleopatra-like
interludes, hazy, sensual, and with a certain Egyptian atmosphere. The Madison Square Garden
sequence is almost a film within the film, and it contains a lot of music. When Francis showed
me that sequence he simply said, “We are in Rome now.” He liked the Roman Suite and we
extracted from it cues for many scenes in the film.
Seeing the progression of the film throughout the post-production process has been one of the
great privileges of my life, and a powerful lesson in storytelling. There are perhaps two qualities
of Francis that continue to inspire me every day in my work: his fearlessness as an artist, and his
relentless search for the best way to tell a story. In his own words, film is “all illusion” and the
director’s job is “to unlock the combination that creates the emotion in the audience.”
ABOUT THE CAST
ADAM DRIVER (Cesar Catilina)
Driver garnered Academy Award® nominations for his roles in Noah Baumbach’s Marriage Story and
Spike Lee’s BlacKkKlansman. His many film credits include Michael Mann’s Ferrari, Ridley Scott’s The Last
Duel, Baumbach’s White Noise, Leos Carax’s Annette, Jim Jarmusch’s Paterson, Terry Gilliam’s The Man
Who Killed Don Quixote, Steven Soderbergh’s Logan Lucky, and Martin Scorsese’s Silence to name a few.
He is widely known for his role as Kylo Ren in the Star Wars sequel trilogy. He has received four Emmy®
nominations—three for his performance in HBO’s Girls, and one for his guest hosting role on Saturday
Night Live. Driver has starred in numerous roles on and off-Broadway, including John Osborne’s Look
Back in Anger, and most recently in the first Broadway revival of Lanford Wilson’s Burn This, which
earned him a Tony Award® nomination for Best Performance in a Leading Role, and a Drama League
Award nomination for Distinguished Performance. Driver is a Juilliard graduate and former Marine.
GIANCARLO ESPOSITO (Mayor Frank Cicero)
Giancarlo Esposito is an American actor and director born in Copenhagen to an Italian carpenter father
and an African-American opera singer mother. He is well-known for his iconic portrayal of drug kingpin
Gustavo “Gus” Fring in the critically acclaimed series Breaking Bad, for which he won the 2012 Critics’
Choice Award and earned an Emmy nomination. He reprised the role for Better Call Saul, which earned
him two Emmy nominations for Outstanding Supporting Actor in a Drama Series. The sixth and final
season included Esposito’s television directorial debut, Axe and Grind.
Esposito most recently starred in AMC’s Parish, which he also executive produced. He also starred in the
anthology series Kaleidoscope, and is a supporting cast member on Godfather of Harlem in which he was
nominated twice for a NAACP Image Award for Outstanding Supporting Actor in a Drama Series. For The
Mandalorian, he was nominated for a two Emmys. Other television titles include The Gentlemen, The
Boys, Westworld, The Get Down, Drunk History, and Community. He can also be seen in the films Beauty,
Stargirl, Okja, Coda, The Death Cure, The Maze Runner, Rabbit Hole, The Usual Suspects, Smoke, The Last
Holiday, Do the Right Thing, Mo’ Better Blues, School Daze, and Malcolm X. He first worked with Francis
Ford Coppola in the 1984 film The Cotton Club.
Esposito began his career working in theater, making his Broadway debut in the 1968 musical Maggie
Flynn. He also starred in the original cast of Merrily We Roll Along. His other stage credits include Cat on
a Hot Tin Roof, Sacrilege, and Don’t Get God Started.
NATHALIE EMMANUEL (Julia Cicero)
Emmy Award-nominated actress Nathalie Emmanuel is best known for starring in the critically acclaimed
HBO series Game of Thrones. Alongisde her fellow cast, Emmanuel received a total of 6 nominations for
“Outstanding Performance by an Ensemble in a Drama Series” at the Screen Actors Guild Awards
throughout the course of the show’s run. Emmanuel also stars in the Fast & Furious franchise as
“Ramsey,” most recently reprising her role in Fast X. Emmanuel can also be seen in this role in F9, The
Fate Of The Furious and Furious 7.
Notably, Emmanuel received a Primetime Emmy award nomination for her performance in Die Hart. She
later reprised her role in the sequel season Die Hart 2: Die Harter, which became the #1 Roku Original TV
series weekend premiere of all time. She received her second Primetime Emmy award nomination for
the role as well as an NAACP Image Award nomination. Additional credits include her lead role feature
debut in Screen Gems’ horror film The Invitation, Netflix’s heist comedy Army Of Thieves; Hulu’s
romantic comedy series Four Weddings and a Funeral, produced by Mindy Kaling; and lending her voice
to Netflix’s Dark Crystal: Age of Resistance.
Upcoming, Emmanuel will star opposite Omar Sy in Peacock’s The Killer, a reimagining of the 1989 John
Woo film, which the director is also set to helm and produce.
AUBREY PLAZA (Wow Platinum)
Aubrey Plaza is an award-winning actress and producer who has been critically praised for her
performances in drama and comedy. She starred in the second season of Mike White’s The White Lotus,
which garnered her Emmy and Golden Globe Award nominations, as well as a Screen Actors Guild Award
as part of the cast ensemble. Previously, she starred in the acclaimed feature, Emily the Criminal, which
she also produced under her Evil Hag Productions Company. For her performance, she was nominated
for a Gotham and Independent Spirit Award. She recently made her on-stage debut in the off-Broadway
production of Danny and the Deep Blue Sea, opposite Christopher Abbott, for which she was nominated
for a Drama League Award.
Plaza will be seen in Megan Park’s Sundance breakout My Old Ass, which will be released by Amazon
later this year, and Marvel’s Agatha: Darkhold Diaries opposite Kathryn Hahn and Patti LuPone. She
recently wrapped production on Legendary’s Animal Friends, alongside Ryan Reynolds, Dan Levy, and
Jason Momoa, and is currently in production on Ethan Coen and Tricia Cooke’s dark comedy, Honey
Don’t! opposite Margaret Qualley and Chris Evans.
Her other film credits include Black Bear (producer), Ingrid Goes West (producer), Happiest Season,
Operation Fortune: Rue De Guerre, Best Sellers, The Little Hours (producer), Funny People, Scott Pilgrim
vs. the World, Safety Not Guaranteed, Life After Beth, Mike and Dave Need Wedding Dates, Dirty
Grandpa, and The To Do List. She is well known for the Emmy-nominated series, Parks and Recreation.
She was named one of Time Magazine’s “100 Most Influential People of 2023.”
SHIA LABEOUF (Clodio Pulcher)
Shia LaBeouf received rave reviews for his performance in Honey Boy, which marked his first feature-
length film as a screenwriter. The film received a Special Jury Award for Vision and Craft at the Sundance
Film Festival. He also starred in The Peanut Butter Falcon which won the Audience Award at the 2019
SXSW Film Festival.
Other credits include Pieces of a Woman, The Tax Collector, Borg vs. McEnroe, American Honey, Fury,
Nymphomaniac: Vol. 1 and Vol. 2, the first three installments of Transformers, The Company You Keep,
Lawless, Eagle Eye, Disturbia, A Guide to Recognizing Your Saints, Bobby, The Greatest Game Ever
Played, Constantine, and made his feature film debut in the 2003 comedy Holes. On television, LaBeouf
garnered praise for his performance on the series Even Stevens, which earned him a Daytime Emmy
award for Outstanding Performer in a Children’s Series. In addition to his work in front of the camera,
Shia has also directed several projects including music videos for Kid Cudi and Future Unlimited.
JON VOIGHT (Hamilton Crassus III)
Jon Voight’s prolific career has spanned six decades. He came to prominence in the late 1960s with his
Academy Award–nominated performance in Midnight Cowboy. He then became a Hollywood star for his
work on Deliverance, The Champ, and Coming Home, for which he won an Academy Award for Best
Actor. Other notable films include Runaway Train, Heat, Mission: Impossible, Enemy of the State, and
Francis Ford Coppola's The Rainmaker, which earned him a Golden Globe nomination for Best
Supporting Actor.
Voight gave critically acclaimed biographical performances during the early 2000s, appearing in Ali and
Pearl Harbor. He then appeared in box office hits Lara Croft: Tomb Raider and Zoolander, and went on to
secure outstanding roles in hit franchises such as National Treasure, Transformers, and Fantastic Beasts.
He earned his fourth Golden Globe as well as two Primetime Emmy Award nominations for the series
Ray Donovan. On November 21, 2019, he was awarded the National Medal of Arts.
LAURENCE FISHBURNE (Fundi Romaine)
Laurence Fishburne has achieved an impressive body of work as an actor, producer, and director. He
starred in his first television show at age 10 in the drama One Life to Live, and made his feature film
debut at age 12 in Cornbread, Earl and Me. At 15, he appeared as “Clean” in Francis Ford Coppola’s
highly acclaimed Apocalypse Now.
Fishburne won a Tony Award for Two Trains Running and was nominated for his one-man show
Thurgood. He received his first Emmy Award for “The Box” episode of Tribeca. He received an Academy
Award nomination for Best Actor for What’s Love Got to Do with It and an Emmy Award nomination and
NAACP Image Award for his starring role in the telefilm Miss Evers’ Boys, which he also executive-
produced. He may be best known for his role in the blockbuster The Matrix trilogy, but his many film
credits include the John Wick franchise, Boyz n the Hood, The Color Purple, Searching for Bobby Fischer,
Higher Learning, Mystic River, Deep Cover, King of New York, the remake of Roots, TV miniseries
Madiba, and the audio drama Bronzeville. In 2020, he won an Audie Award for his narration of The
Autobiography of Malcolm X, and from 2021-22 he starred in American Buffalo on Broadway. In 2000,
he co-founded Cinema Gypsy Productions and has produced numerous award-winning projects
including Thurgood, Five Fingers, Akeelah and the Bee, Once in the Life, Always Outnumbered, and
Hoodlum. He produced the animated series Moon Girl and Devil Dinosaur, and the television hit series
black-ish, which earned both Emmy and Golden Globe nominations and two spinoff shows. He has
served as an Ambassador for UNICEF since 1996. In 2007, he was honored by Harvard University as
Artist of the Year for his Outstanding Contributions to American and International Performing Arts as
well as his humanitarian contributions.
TALIA SHIRE (Constance Crassus Catilina)
Talia Shire is best known for her roles as Connie Corleone in The Godfather trilogy and as Adrian Balboa
in the Rocky series. For these legendary performances, Shire received two Oscar nominations: Best
Supporting Actress for The Godfather Part II and Best Actress for Rocky, the latter for which she also
earned the National Board of Review Award and the New York Film Critics Circle Award for Best
Supporting Actress.
In addition to her dozens of screen credits, Shire has starred in such acclaimed films as I Heart
Huckabees, Palo Alto, Cold Heaven, Working Man, Chantilly Bridge, and her son Robert Schwartzman’s
directorial debut, Dreamland. On television, Shire is known for starring in the hit miniseries Rich Man,
Poor Man, and had recurring roles on the Emmy-nominated hit Grace and Frankie and the critically
lauded boxing drama Kingdom. Behind the camera, she made her directorial debut with the romantic
thriller One Night Stand, and produced the fantasy action film Lionheart. On Broadway, she produced
the Tony Award-nominated play Golden Child. Shire and her late husband Jack Schwartzman proudly
raised a combined family of five children—their sons together, Robert and Jason, as well as Talia’s son
Matthew Shire and Jack’s children John Schwartzman and Stephanie Kuhlman—all of whom are artists
who often collaborate as a family on their various film projects.
KATHRYN HUNTER (Teresa Cicero)
Kathryn Hunter is an American, Greek, and British Olivier Award-winning actress & director, and a New
York Film Critics Circle Award-winner for Best Supporting Actress for her role in The Tragedy of Macbeth.
She is best known for her appearances as Swiney in Yorgos Lanthimos’s Poor Things, Eedy Karn in the
Disney+ Star Wars, and Arabella Figg in the Harry Potter film series.
Kathryn made history in 1997 when she became the first female to play the ill-fated King Lear in Britain.
Her theatre credits are infinite; some of her most notable roles include Red Peter in Kafka’s Monkey,
Puck, in Julie Taymor’s A Midsumer Nights Dream, Richard the III at The Globe, King Lear at The Globe,
and Hideki Noda’s The Bee. Being a long-term associate of Théâtre de Complicité her credits include The
Visit, for which she won the Olivier Award for Best Actress, Drive Your Plow Over the Bones of the Dead,
Foe, The Chairs, Out of the House Walked a Man, Anything for a Quiet Life, Help! I’m Alive, The Winter’s
Tale.
GRACE VANDERWAAL (Vesta Sweetwater)
Grace VanderWaal is an actress and critically acclaimed musician who has been named to Billboard’s 21
Under 21 multiple times and was the youngest person to be included in Forbes’s 30 Under 30 Music List.
She starred in Hollywood Stargirl, where she performed the original song “Figure It Out.” In 2016, Grace
won the popular series America’s Got Talent, and has since released a best-selling full-length album, Just
the Beginning. She has headlined around the United States, and performed around the world, opening
for Florence + The Machine and Imagine Dragons.
CHLOE FINEMAN (Clodia Pulcher)
Chloe Fineman is a cast member on Saturday Night Live, entertaining viewers with her standout
impressions. Glamour raved “Chloe Fineman Can Impersonate Anyone” and the Washington Post called
her “The Comedian We Need Right Now.” Fineman made her film debut in the Father of the Bride
remake for HBO. Other titles include Babylon and White Noise. Her TV credits include Big Mouth, Search
Party, Dickinson, High Fidelity, and Twisted Metal. Fineman graduated from NYU’s Tisch School of the
Arts with Honors and is from Berkeley, California.
DUSTIN HOFFMAN (Nush 'The Fixer' Berman)
A two-time Academy Award winner and seven-time nominee, Dustin Hoffman first caught the world's
attention for his roles in The Graduate, Midnight Cowboy, Lenny, Tootsie (a film he also produced
through his company, Punch Productions), Wag the Dog, Kramer Vs. Kramer, and Rain Man. He starred
in Noah Baumbach’s critically acclaimed film, The Meyerowitz Stories which premiered at the 2017
Cannes Film Festival. He made his directorial debut with his feature Quartet, which was recognized by
the National Board of Review as one of the Top Ten Independent Films of 2012 and was awarded with
the Breakthrough Director Award by the Hollywood Film Awards.
His other credits include Meet the Fockers, Stranger Than Fiction, Finding Neverland, I Heart Huckabees,
Little Big Man, All the President's Men, Marathon Man, Hook, and Outbreak. On television, Hoffman
starred in HBO’s Luck, and won the International Emmy Award for Best Performance by an Actor in Esio
Trot. On stage, Hoffman made his Broadway debut in Jimmy Shine and his directorial debut with All Over
Town. He garnered a Drama Desk Award for Best Actor for his portrayal of Willy Loman in the Broadway
revival of Death of a Salesman as well as an Emmy Award for its special presentation on television.
Hoffman received a Tony Award nomination for his performance in The Merchant of Venice.
ABOUT THE FILMMAKERS
FRANCIS FORD COPPOLA (Writer, Producer, Director)
Francis Ford Coppola is one of the most influential and acclaimed filmmakers of our time; a five-
time Academy Award-winning director, writer, or producer of such films as Patton, The
Godfather trilogy, American Graffiti, The Conversation, Apocalypse Now, The Outsiders, and
Bram Stoker's Dracula. He joins a small group of filmmakers with multiple Palme d’Or awards,
Golden Globes, Writers and Director’s Guild awards, and the Academy’s prestigious Irving G.
Thalberg Memorial Award. As the co-founder of pioneering film company American Zoetrope
with George Lucas, he initiated and nourished the careers of filmmakers Carroll Ballard, John
Milius, Sofia Coppola, and actors Al Pacino, Robert De Niro, James Caan, Harrison Ford, Richard
Dreyfus, Diane Keaton, Robert Duvall, Laurence Fishburne, Matt Dillon, and Diane Lane.
Zoetrope-produced films have received sixteen Academy Awards® and seventy nominations.
As a writer, director, producer, and technological pioneer, Francis Coppola has created a body
of work that has helped to shape contemporary American cinema.
Born in Detroit in 1939 and growing up in Queens, New York, Coppola was the descendent of a
musically gifted family. His maternal grandfather Francesco Pennino was a songwriter, and his
father Carmine was principal flute in Toscanini’s NBC Symphony. Paralyzed by polio as a child,
Coppola wrote stories, played with puppetry, and developed an interest in film after being
given a toy movie projector. He found kindred spirits at Great Neck High School and again at
Hofstra University where his stellar contributions to theatre arts brought him many Dan
Laurence theater awards, and the school’s highest drama honor, the Beckerman Award. After
graduating in 1959 with a BFA in Theatre, he enrolled at UCLA for graduate work in film.
At UCLA, he won the 1962 Samuel Goldwyn Writing Award for his screenplay, Pilma Pilma,
which led to him being hired by Seven Arts as a screenwriter. After varied stints on Roger
Corman low-budget genre pictures, Corman allowed him to direct one of his own scripts,
Dementia 13. It was on the set of this film that he met Eleanor Neil, whom he would later marry
and have three children with: Gian-Carlo, Roman, and Sofia.
Early in his career, Coppola co-wrote Patton, which would go on to win seven Academy Awards
including his first Oscar, for Best Adapted Screenplay. His second film, You’re a Big Boy Now,
was presented as his MFA thesis at UCLA and marked his first trip to Cannes. Then came
Finian’s Rainbow and an original work, The Rain People. His ability to make The Rain People
independently of the studios inspired him and his friend George Lucas to found American
Zoetrope in San Francisco. Lucas’s first two features, THX 1138 and American Graffiti were
produced under its aegis. Later, with Zoetrope in financial hardship, Coppola was persuaded by
Lucas to direct a gangster picture based on the best-selling novel by Mario Puzo, The Godfather.
The film went on to create such a sensation that it altered the course of his career forever. Its
follow-up, The Godfather Part II, won six Oscars, and is credited with starting an industry-wide
trend by using numerals in titles and making sequels respectable—and immensely profitable.
In-between the two gangster epics, Coppola made The Conversation (1974) from his original
screenplay. It is an off-beat quasi-thriller about wiretapping and responsibility which endures as
one of his most admired and influential pictures and won the Cannes Palme d’Or.
In 1976, Coppola began filming Apocalypse Now, financing the Vietnam War epic himself.
Almost everything that could go wrong did: star Martin Sheen suffered a heart attack; co-star
Marlon Brando showed up grotesquely overweight; a typhoon destroyed the sets. Shooting
stopped, then re-started, and the budget skyrocketed, delaying the film’s release until 1979.
Stylistically and thematically, Apocalypse Now was so unusual, especially for a war film, that
critics were initially divided. Nevertheless, its box office was respectable and, over time, hugely
successful. Apocalypse Now has come to occupy a very special place in the annals of American
moviemaking, influencing generations of filmmakers across the globe.
In 1980, Coppola bought Hollywood General Studios and renamed it Zoetrope Studios.
Production immediately began on One From the Heart. Some of the innovations that came out
of this period were "previsualization" (a phrase coined by Coppola), use of ethernet as a means
of departments communicating, word processing for screenplays (which garnered much
suspicion from the Writers Guild who thought a computer was writing the scripts), re-
introduction of video assist, the development of 5.1 stereo sound (pioneered by the making of
Apocalypse Now), electronic editing, and experimentation with high-definition. He then made
two Oklahoma-based youth pictures, The Outsiders and its “antidote” Rumble Fish. The
Outsiders enjoyed commercial success, but it wasn’t enough to pay the bills and ownership of
Zoetrope Studios passed into the hands of creditors. Coppola's ensuing financial hardship led to
a decade of ‘work for hire’ pictures in order to pay off debts and provide financial security for
his family. Although he directed films in the corporate sphere that he had no rights of
ownership to, he chose projects that piqued his imagination and always endeavored to turn
them into beautiful and memorable films.
In the ensuing years, Francis and Eleanor's Napa and Sonoma wineries expanded, and Coppola
directed The Godfather Part III which garnered seven Oscar nominations. He later was able to
recut the film to his and Puzo’s original structure and title as Coda: The Death of Michael
Corleone. Then in 1992 came Bram Stoker’s Dracula which snared four Oscar nominations and
won three Awards. Dracula was a major financial success, and Coppola was finally free of his
financial obligations. In his mind, his career of 'work for hire' had come to an end and he went
on to make three personal films: Youth Without Youth, Tetro, and B'Twixt Now and Sunrise. In
2023, he realized his dream of making Megalopolis, a film he had first envisioned 40 years
earlier.
Francis Ford Coppola has always been a dreamer, but he is one of those rare people who
determinedly has turned his dreams into reality. With the imagination of a child and an ever-
curious mind, he continues to pursue his conviction that the magic combination of talent and
technology, which was the basis of the birth of the motion picture, can continue to combine in
ever new ways.
BARRY HIRSCH (Producer)
Barry Hirsch obtained his J.D. at the University of Southern California in 1957, and while a
student he won the Nathan Burkan Competition for the best article on copyright law. He later
obtained an M.A. in Behavioral Science from Azusa Pacific University and is a licensed marriage,
family, and child counselor. He received the Torch of Liberty Award from the ACLU in 1996, and
Entertainment Lawyer of the Year from the Beverly Hills Bar Association in 2007. His present
law practice includes the representation of actors, actresses, directors, writers, and producers
in motion pictures, television, and on the legitimate stage.
FRED ROOS (Producer)
Oscar-winning producer and “casting guru” Fred Roos has worked on many of the most seminal
films of the past 50 years, including American Graffiti, The Godfather trilogy, Star Wars, The
Black Stallion, Lost in Translation, and The Conversation. His sharp eye as a casting director
recognized the emerging careers of Harrison Ford, Jack Nicholson, Nicolas Cage, Al Pacino,
Richard Dreyfuss, Carrie Fisher, and many others. His long-term collaboration with Francis
Coppola earned him an Academy Award for producing the Best Picture winner The Godfather
Part II. In addition to producing or executive-producing numerous Coppola films, other
producing credits include Jack Nicholson’s Drive, He Said, as well as St. Vincent, The Black
Stallion, The Secret Garden, and Sofia Coppola’s The Virgin Suicides, Marie Antoinette,
Somewhere, The Bling Ring, and Eleanor Coppola’s celebrated documentary Hearts of Darkness.
MICHAEL BEDERMAN (Producer)
Michael Bederman executive-produced the feature film adaptation of Stephen King’s best-
selling novel Salem’s Lot, as well as Dear Evan Hansen, The King of Staten Island, Timmy Failure:
Mistakes Were Made, Collateral Beauty, Kill the Messenger, and Spotlight, which was
nominated for six Academy Awards and won two. Bederman also produced Motherless
Brooklyn and The Adjustment Bureau.
ANAHID NAZARIAN (Executive Producer)
Anahid Nazarian holds the unique distinction of having worked alongside Francis Coppola (and
on Megalopolis) for over 40 years. She began working for Coppola's company American
Zoetrope as director of Zoetrope's research library and has continued her long-time
collaboration with Coppola as his story editor, script supervisor, and executive producer of his
last four films. In addition to Coppola’s films, she has served as a script editor working with
many notable screenwriters including Ronald Bass, Arnold Schulman, Mario Puzo, David
Peoples, Sofia Coppola, John Le Carre, Carroll Ballard, and Paul Schrader.
BARRIE OSBORNE (Executive Producer)
Barrie M. Osborne is an Academy Award-winning producer who began working with Francis
Coppola in 1983 on The Cotton Club. Along with Peter Jackson and Fran Walsh, Osborne was
awarded the Academy Award for Best Picture for The Return of the King, which also earned him
the Producers Guild Award and a BAFTA Award. Additionally, he received Best Picture Oscar
nominations for the first and second films, The Fellowship of the Ring and The Two Towers.
Osborne served as executive producer for Mulan, Pete’s Dragon, The Great Gatsby, The Matrix,
The World’s Fastest Indian, Little Fish, The Fan, Dick Tracy, Child’s Play, Wilder Napalm, Rapa
Nui, and Peggy Sue Got Married.
DARREN DEMETRE (Executive Producer)
Darren Demetre began his television and film career working for Francis Coppola on The
Godfather Part III, followed by Bram Stoker’s Dracula. He has worked with Joel Silver, Jason
Bateman, Steven Spielberg, JJ Abrams, Sofia Coppola, Roman Coppola, and David Oyelowo. He
was nominated for an Emmy for his work as a producer for HBO’s Confirmation. His recent films
are Lean on Pete, American Animals, Bad Words, and The Waterman.
MIHAI MALAIMARE JR., ASC (Director of Photography)
Megalopolis marks Director of Photography Mihai Malaimare Jr.’s fourth collaboration with
Francis Coppola. His previous collaborations are Youth Without Youth, for which he received an
Independent Spirit Award nomination for Best Cinematography, Tetro, and B’Twixt Now and
Sunrise. Other works include HBO’s Winning Time: The Rise of the Lakers Dynasty, The Master,
The Harder They Fall, A Walk Among the Tombstones, and JoJo Rabbit, which earned Malaimare
Jr. the Hollywood Film Award for Cinematographer of the Year. He also won a coveted
Camerimage Golden Frog nomination for The Master, which earned five Best Cinematography
awards. In 2018, he shot The Hate U Give, which garnered more than 20 awards and was one of
the most critically acclaimed films of the year. A native of Romania, Malaimare Jr. began his film
career after attending the National University of Theatre and Film in Bucharest.
RON FRICKE (Special Cinematography)
Ron Fricke is an American film director and cinematographer, considered to be a master of
time-lapse photography and large format cinematography. He was the director of photography
for Koyaanisqatsi and directed the purely cinematic non-verbal and non-narrative feature
Baraka. He designed and used his own 65mm camera equipment for Baraka and his later
projects, and directed the IMAX films Chronos and Sacred Site. He worked as a cinematographer
for parts of the film Star Wars Episode III: Revenge of the Sith. His most recent credits include
Samsara and Journey of Hanuman.
DEAN SHERRIFF (Visual Concept Designer)
Born and raised in Toronto, Dean Sherriff comes from a family of three generations of architects.
After graduating with honors from the Ontario College of Art and Design University with a
degree in Illustration, Dean began his career in advertising and as a newspaper editorial
illustrator. His artwork was frequently published in international advertising campaigns and
national newspapers before he embarked on a design career in the animation industry. His first
feature film opportunity came in 2002 when he was hired to create concept designs for X2.
Since then, Dean has moved to Los Angeles and has worked on many films including Watchmen,
Sucker Punch, Jurassic World, Guardians of the Galaxy Vol. 2, Deepwater Horizon, Mission
Impossible: Ghost Protocol, and the Godzilla x Kong feature franchise series.
BRADLEY RUBIN (Production Designer)
Bradley Rubin is a production designer based in Los Angeles, California. Rubin was born in
Puerto Rico and grew up crisscrossing the United States. Along the way, he developed an
interest in experiential design which led him to pursue a bachelor’s degree in architecture from
Syracuse University. He was inspired to switch to film after meeting with set designer Paul
Sonski, and later visiting the art department of Rush Hour 3 during his college education,
though he kept with architecture for years after. He has collaborated and contributed to the
designs of numerous films and series including The Mandalorian, Westworld, A Star Is Born,
Ghostbusters, and Our Flag Means Death.
BETH MICKLE (Production Designer)
Beth Mickle first garnered international acclaim for her work on Half Nelson. In 2011, Mickle
worked with Nicolas Winding Refn on Drive, for which she received an Art Directors Guild
Award nomination for Excellence in Production Design. The two worked together again on Only
God Forgives. She collaborated with Ryan Gosling on his directorial debut Lost River, and then
joined directors John Requa and Glenn Ficarra for their film Focus, later reteaming with them
again on Whiskey Tango Foxtrot. Other credits include The Family Fang, Collateral Beauty, the
HBO series The Deuce, and An Englishman in New York, which earned her a BAFTA Award
nomination. In 2018, she received a Golden Satellite Award for her work on Motherless
Brooklyn. Most recently, she has worked on The Suicide Squad and Guardians of the Galaxy 3.
CAM MCLAUCHLIN (Editor)
Cam McLauchlin is a film & television editor based out of Toronto and Los Angeles. His work on
Guillermo Del Toro's The Shape of Water led to his being lead editor on Nightmare Alley, which
received an Academy nomination for Best Picture. Other works include Ana Lily Amirpour’s
episode of Del Toro’s Cabinet of Curiosities, The Outside, as well as The Girlfriend Experience,
The Kindness of Strangers, and acclaimed actor Max Minghella's directorial debut Teen Spirit.
GLEN SCANTLEBURY (Editor)
Glen Scantlebury's editing career began in San Francisco working for American Zoetrope. He has
worked on a number of films for Francis Coppola, including as an editor on The Godfather Part
III which garnered him an Academy Award nomination. He also served as an editor on Bram
Stoker’s Dracula. He has edited for other members of the Coppola clan including Eleanor
Coppola’s Paris Can Wait and Gia Coppola’s Palo Alto. His other credits include Armageddon,
Transformers, Con Air, The General’s Daughter, Lara Croft: Tomb Raider, Joy Ride, The Texas
Chainsaw Massacre, and Prisoner’s Daughter. He has edited several documentaries including
Little Dieter Needs to Fly, Muddy Track, and Cobain: Montage of Heck.
MILENA CANONERO (Costume Designer)
Milena Canonero is a four-time Academy Award-winning costume designer who grew up in
Genova, Italy before moving to England to finish her studies. Her film career began with Stanley
Kubrick, designing the costumes of three of his films: Clockwork Orange, Barry Lyndon, and The
Shining. Along with Barry Lyndon, she has won Oscars for her work on The Grand Budapest
Hotel, Marie Antoinette, and Chariots of Fire. Canonero’s collaborations with Francis Coppola
include The Cotton Club, Tucker: The Man and His Dream, and The Godfather Part III. Other
titles include Paris Can Wait, The Hunger, Midnight Express, Out of Africa, Damage, Dick Tracy,
Bulworth, Titus, The Life Aquatic with Steve Zissou, The Darjeeling Limited, The French Dispatch,
and Asteroid City. She was as an associate producer on Good Morning Babylon and co-produced
Hill of Vision and Someday This Pain Will Be Useful to You. She production-designed Single
White Female and Last Summer, and designed costumes for opera productions at La Scala, the
Vienna State Opera, the Metropolitan Opera, and the Guarnier Opera de Paris.
ROMAN COPPOLA (Second Unit Director)
Roman Coppola is a director, producer, inventor, and an Academy Award-nominated
screenwriter. Growing up in the world of filmmaking, Coppola wore many hats on set, which
included sound recording, cinematography, and visual effects, for which he earned a BAFTA
nomination for Bram Stoker’s Dracula. In addition to his personal feature films CQ and A
Glimpse Inside the Mind of Charles Swan III, Coppola has played an integral part in many other
films with frequent collaborators Sofia Coppola and Wes Anderson. These include On the Rocks,
Marie Antoinette, Lost in Translation, Somewhere, The Virgin Suicides, The French Dispatch,
Isles of Dogs, The Grand Budapest Hotel, The Darjeeling Limited, The Life Aquatic with Steve
Zissou, Asteroid City, and Moonrise Kingdom, which earned him an Academy Award nomination
for Best Original Screenplay. He founded the award-winning commercial and music video
production company The Directors Bureau, and has directed countless iconic music videos for
the likes of Sir Paul McCartney, Daft Punk, Air, The Strokes, and Phoenix.
OSVALDO GOLIJOV (Composer)
Osvaldo Golijov, recipient of a MacArthur Fellowship, is one of the most renowned classical
composers of our time. Megalopolis is his fourth film score for Francis Coppola, following Youth
Without Youth, Tetro, and B’Twixt Now and Sunrise. His classical works include the St. Mark
Passion, the opera Ainadamar, cello concerto Azul, The Dream and Prayers of Isaac the Blind for
clarinet and string quartet, and the song cycles Ayre and Falling Out of Time. His two most
recent works are LAIKA, written for Anthony Roth Costanzo and the Met Orchestra Ensemble,
and The Given Note, a work for violinist Johnny Gandelsman and The Knights orchestra. He was
born in La Plata, Argentina, in 1960, and lived in Jerusalem for several years before immigrating
to the US in 1986. He was Composer-in-Residence at the College of the Holy Cross and has
worked with many high-profile musicians including the Kronos Quartet and Yo-Yo Ma.
JESSE JAMES CHISHOLM (Visual Effects Supervisor)
Jesse James Chisholm began his career in visual effects in 1997 at Digital Domain. After working
there for over 19 years, he joined Marvel Studios in 2016. His illustrious movie career has
spanned from The Curious Case of Benjamin Button to the Marvel blockbuster Ant-Man and the
Wasp. Along the way, he’s done everything from sweeping set floors to supervising effects
shots alongside legendary directors David Fincher, Clint Eastwood, Steven Spielberg, and
Francis Coppola.
CREDITS
WRITTEN, PRODUCED AND DIRECTED BY FRANCIS FORD COPPOLA
...WITH THE GRACIOUS COLLABORATION OF ROMAN COPPOLA
SECOND UNIT DIRECTION
ADAM DRIVER
AS CESAR CATILINA
GIANCARLO ESPOSITO
AS MAYOR CICERO
NATHALIE EMMANUEL
AS JULIA CICERO
AUBREY PLAZA
AS WOW PLATINUM
SHIA LABEOUF
AS CLODIO PULCHER
JON VOIGHT
AS HAMILTON CRASSUS III
LAURENCE FISHBURNE
AS FUNDI ROMAINE
TALIA SHIRE
AS CONSTANCE CRASSUS CATILINA
JASON SCHWARTZMAN
AS JASON ZANDERZ
KATHRYN HUNTER
AS TERESA CICERO
GRACE VANDERWAAL
AS VESTA SWEETWATER
CHLOE FINEMAN
AS CLODIA PULCHER
JAMES REMAR
AS CHARLES COTHOPE
D.B. SWEENEY
AS COMMISSIONER STANLEY HART
ISABELLE KUSMAN
AS CLAUDINE PULCHER
BAILEY IVES
AS HUEY WILKES
MADELEINE GARDELLA
AS CLAUDETTE PULCHER
BALTHAZAR GETTY
AS ARAM KAZANJIAN
ROMY MARS
AS GIRL REPORTER
HALEY SIMS
AS SUNNY HOPE CATILINA
AND
DUSTIN HOFFMAN
AS NUSH 'THE FIXER' BERMAN
PRODUCED BY
FRED ROOS, BARRY HIRSCH, MICHAEL BEDERMAN
EXECUTIVE PRODUCERS
ANAHID NAZARIAN, BARRIE OSBORNE, DARREN DEMETRE
DIRECTOR OF PHOTOGRAPHY
MIHAI MALAIMARE JR., ASC
SPECIAL CINEMATOGRAPHY
RON FRICKE
VISUAL CONCEPT DESIGNER
DEAN SHERRIFF
PRODUCTION DESIGNERS
BRADLEY RUBIN, BETH MICKLE
FILM EDITORS
CAM MCLAUCHLIN, CCE, GLEN SCANTLEBURY, ACE
COSTUME DESIGNER
MILENA CANONERO
MUSIC BY
OSVALDO GOLIJOV
VISUAL EFFECTS SUPERVISOR
JESSE JAMES CHISHOLM
CASTING BY
COURTNEY BRIGHT & NICOLE DANIELS
UNIT PRODUCTION MANAGERS
ROBERT MAZARAKI, MICHAEL BEDERMAN
FIRST ASSISTANT DIRECTOR
MARIELA COMITINI
KEY SECOND ASSISTANT DIRECTOR
RACHEL JAROS
CHOREOGRAPHY BY
DANIEL EZRALOW
CO-PRODUCERS
JAMES MOCKOSKI, MASA TSUYUKI, MARIELA COMITINI
CAST
ZENA THE MODEL SONIA AMMAR
DR. LYRA SHIR NERI OXMAN
BALIN THE FRACTAL AJ CABA
ASSASSIN BOY MICHAEL MOURRA
FELIX THE BUTLER CHARLIE TALBERT
GENERAL TOMMY LEE DRIVER
CESAR'S SECRETARY CAROLINE BLOOM
BANDMASTER GEORGE DILLARD
RINGMASTER DONALD PITTS
CONTROL ROOM ENGINEER PHILIP DIDO
MRS. GAYLE GAYLE HOOKER
LAUGHING MAN JAMES KEANE
TV NEWSCASTER SEAN HANKINSON
SPANISH-SPEAKING PROTESTER ANDREW AYALA
MR. SINGH RITWIK CHATTERJEE
SERVILIA KENDRA STOUT
NON ENGLISH-SPEAKING DRIVER MAX BOJORQUEZ
BOARD CHAIRWOMAN RENEE MCNEIL
WALL STREET LAWYER SUZAN NORTON
WALL STREET LAWYER VINCE PASANI
ELVIS IMPERSONATOR ROBERT KIM
SUNNY PUPPET DANCER LAURA HAWKINS
TOWNHOUSE GUARD HENRY LOUIS ADAMS, JR.
DANCE INSTRUCTOR PAUL PUDNEY
VESTA LOOKALIKES VANESSA NICHOLE
NIKKI RUSH
TAMMY HURTADO
FAKE VESTA IN BED EMMA WEDEMEYER
LADY JUSTICE STATUE IVY LIGHTSEY
SAW LAW STATUE ART NEWARK
MOURNFUL LADY STATUE SAVANNAH POWERS
JANE DOE EMILY BERRY
STUNT COORDINATOR BUDDY JOE HOOKER
STUNT CO-COORDINATOR JASON GUPTON
(GEORGIA PEACH LOGO)
PRODUCTION SUPERVISOR GAVIN ATILANO
ARCHITECTURAL AND SCIENTIFIC ADVISOR NERI OXMAN
ASSOCIATE PRODUCERS JESSE JAMES CHISHOLM, ADRIANA ROTARU
ART DIRECTORS FREDDY WAFF, SAMANTHA AVILA, BRITTANY HITES
DAVE SCOTT, DOMENIC SILVESTRI
SET DECORATOR LISA SESSIONS MORGAN
LEADPERSON SUSAN TANNER
PROPERTY MASTER DREW PETROTTA
ASSISTANT PROPERTY MASTERS BRAD GOOD, HANNAH HINKEL
CONCEPT ARTIST TILL NOWAK
SET DESIGNERS KRISTEN JENKINS, DANIELA MEDEIROS, CHRIS SANFORD
RANDALL WILKINS
GRAPHIC DESIGNERS ELLEN LAMPL, STEPHEN FAUSTINA, ADEE SERRAO
‘A’ CAMERA OPERATOR MIHAI MALAIMARE JR., ASC
‘B’ CAMERA OPERATOR / STEADICAM HENRY TIRL
DIT ELI BERG
STILL PHOTOGRAPHER PHILLIP V. CARUSO
EDITOR ROBERT SCHAFER
ADDITIONAL EDITORS CHRISTOPHER DONALDSON, ACE, STEPHEN FLETCHER, PETER HAGAN
1
ST
ASSISTANT EDITOR GRETCHEN SCHROEDER
PRODUCTION COORDINATOR DENNIS M. MITCHELL II
ASSISTANT PRODUCTION COORDINATOR THOMAS SALOMON
SOUND MIXER MICHAEL “KOFFY” KOFF, CAS
BOOM OPERATOR IAN BENDER
SCRIPT SUPERVISOR ANAHID NAZARIAN
SPECIAL EFFECTS SUPERVISOR JOHN BAKER
KEY SPECIAL EFFECTS FOREMAN DYLAN KENNEDY
VIDEO ASSIST MASA TSUYUKI
GAFFER JEFF MURRELL
BEST BOY ELECTRIC JERRY WHEAT
KEY GRIP MACKIE ROBERTS
BEST BOY GRIP RICHARD ARNOLD
A-DOLLY GRIP KENNETH BOLTON
ASSISTANT COSTUME DESIGNERS RAFFAELLA FANTASIA, MARCO PIEMONTESE, PATRICIA COLIN
COSTUME SUPERVISOR DAVID DAVENPORT
"CESAR" COSTUMER JULIAN ANDRÉS ARANGO
MAKEUP DEPARTMENT HEAD VALLI O’REILLY
ASSISTANT MAKEUP DEPARTMENT HEAD KRIS EVANS
“CESAR” MAKEUP ARTIST SCOTT WHEELER
HAIR DEPARTMENT HEAD TERRIE VELAZQUEZ-OWEN
KEY HAIR STYLIST APRIL SCHULLER
“CESAR” HAIR STYLIST ALEXIS CONTINENTE
HISTORICAL ADVISORS COLLEEN MCCULLOUGH, MARY BEARD
LOCATION MANAGER IAN EASTERBROOK
SECOND 2
ND
ASSISTANT DIRECTORS DAVID STICKLER, LAURA BROOKS
INTIMACY COORDINATORS SAMANTHA MCDONALD, ASHLEY ANDERSON
CONTROLLER APRIL JANOW
PRODUCTION ACCOUNTANT SANDRA DIXON
KEY POST ACCOUNTANT KAREN JEWELL DELPIER
ASSISTANT POST ACCOUNTANT SAHAR CHAUDHRY
POST ACCOUNTING BY TREVANNA POST, INC.
ART DEPARTMENT COORDINATORS JENNIFER WANG, MOLLY FLICK
SET DECORATION COORDINATOR GRACE SMITH
KEY ON-SET DRESSER SCOTT JOHNSON
ON-SET DRESSER WILLEM ZUMWALT
TRANSPORTATION COORDINATOR ROB FOSTER
CAPTAIN HECTOR TAPIA
CASTING BY BRIGHT/DANIELS CASTING
CASTING ASSOCIATE JENNIFER BROOKS
EXTRAS CASTING BY ROSE LOCKE
UNIT PUBLICIST PETER J. SILBERMANN
KEY SET PRODUCTION ASSISTANT BEN GREGORY
APPRENTICES
ELLIE ASLANIAN FRANCIS COPPOLA ASSISTANTS AKSHAY BHATIA
(FILMMAKING) (FILMMAKING)
ELIN AHLSTROM (FILMMAKING) • ADITYA BHATIA (WRITING) • DOT CLOUD (ACTING/DOCU)
ENRICA DE SANTIS (WRITING/MUSIC) • JACK DUNCAN (ACTING) • ZARA EDWARDS (PRODUCING/PROPS)
• ZOE FRASSINELLI (FILMMAKING) • HARRY GREENBLATT (WRITING) •
JORDAN HOLIFIELD (PHOTOGRAPHY/SOUND) • LOU LANGMANN (WRITING/PRODUCING)
JOSEPH MCDANIEL (PRODUCTION) • TERENCE MCNAIR (GRIPS) • HANNA ROGERS (PRODUCING)
CONSTRUCTION COORDINATOR CHRIS SNYDER
CONSTRUCTION FOREMAN DALE SNYDER
SECOND UNIT
FIRST ASSISTANT DIRECTOR DARREN DEMETRE
SECOND ASSISTANT DIRECTOR LANCE RESCH-ANGER
RESEARCH AND UTILIZATION
WILLIAM BOLITHO, CATULLUS, CAO XUEQIN, MARCUS TULLIUS CICERO, LAWRENCE DURRELL, EURIPIDES,
GOETHE, WILLIAM GRAEBER, STEPHEN GREENBLATT, CLIVE HAMILTON, IBN KHALDUN,
COLLEEN MCCULLOUGH, GIOVANNI PICO DELLA MIRANDOLA, PLATO, SALLUST,
SHAKESPEARE, GEORGE BERNARD SHAW, SUETONIUS, H.G. WELLS, THORNTON WILDER
ITALY UNIT
LINE PRODUCER ALEX BARENDREGT/WB-PRODUCTION
BODYPAINTING ARTIST JOHANNES STÖTTER
FIRST
ASSISTANT DIRECTOR INTI CARBONI
NEW YORK CITY PLATE UNIT
UNIT PRODUCTION MANAGER SAHAR SHMOLEVITZ
FIRST ASSISTANT DIRECTOR ROSS CLYDE
ONTARIO UNIT
UNIT PRODUCTION MANAGER PETER HARVEY
FIRST ASSISTANT DIRECTOR ROSS CLYDE
JAPAN UNIT
PRODUCER / DIRECTOR OF PHOTOGRAPHY HIROYUKI NAKANO
PRODUCER SATOSHI TAKAHASHI
VOLUMETRIC CAPTURE RESHOOTS
VOLUMETRIC CAPTURE STUDIO PROVIDED BY CREATIVE MEDIA INDUSTRIES INSTITUTE, GEORGIA STATE
UNIVERSITY
SUPERVISING PRODUCER CANDICE ALGER
VOLUMETRIC CAPTURE SYSTEM 4DVIEWS HOLOSYS
POST-PRODUCTION SUPERVISOR ADRIANA ROTARU
POST-PRODUCTION COORDINATOR LANCE RESCH-ANGER
VISUAL EFFECTS ASSOCIATE PRODUCER CHRISTOPHER FINLEY
VISUAL EFFECTS COORDINATOR ELLIOT GOFF
VISUAL EFFECTS COORDINATOR KONRAD WILBRANDT
ON-SET VFX MANAGER ALEX COPPEDGE
VISUAL EFFECTS AND ANIMATION BY RISE | VISUAL EFFECTS STUDIOS
VFX SUPERVISOR OLIVER SCHULZ
VFX PRODUCERS KATRIN ARNDT, MEI LEE LIM
GHOST VFX
VFX SUPERVISOR KEVIN CHANDOO
VFX EXECUTIVE PRODUCER JON HOWARD
VFX PRODUCER DARCY ARTHURS
NARWHAL STUDIOS
STUDIO HEAD ANDREW MACLUSKY
VAD ART DIRECTOR SAFARI SOSEBEE
WILD CAPTURE
VOLUMETRIC CAPTURE SUPERVISOR WILFRED DRISCOLL
DIRECTOR OF PHOTOGRAPHY LOUIS NORMANDIN
VOLUMETRIC CAPTURE PRODUCER EVAN PESSES
PRE-VISUALIZATION BY DIGITAL DOMAIN
VISUALIZATION SUPERVISOR HUNT DOUGHERTY
UPP
VFX SUPERVISOR VIKTOR MÜLLER
VFX PRODUCER LENKA LÍKAŘOVÁ
VIRTUAL PRODUCTION SERVICES PROVIDED BY PRYSM STAGES - POWERED BY LUX MACHINA
VISUALIZATION BY THE THIRD FLOOR
VISUALIZATION SUPERVISOR SUZANNE CIPOLLETTI
SENIOR VIRTUAL PRODUCTION SUPERVISOR JOHNSON THOMASSON
SOUND EDITING AND DESIGN BY SOUND DOGS TORONTO
SUPERVISING SOUND EDITOR NELSON FERREIRA, MPSE
SOUND DESIGNER NATHAN ROBITAILLE, MPSE
DIALECT COACH ANDREA CABAN
FOLEY RECORDED AT FOOTSTEPS POST-PRODUCTION SOUND INC.
SOUND MIXED AT ALL-MOVIE HOTEL, PEACHTREE CITY, GEORGIA
RE-RECORDING MIXERS CHRISTIAN COOKE, BRAD ZOERN
SOUND MIXING BY COMPANY 3
FINISHING PRODUCER SARAH RILEY
VOCAL MUSIC SUPERVISION AND MUSIC CONSULTATION KRIS KUKUL
MUSIC EDITOR JEREMY FLOWER
ORCHESTRA BUDAPEST ART ORCHESTRA
CONDUCTOR ARTURO RODRIGUEZ
SCORE RECORDED AT EAST CONNECTION MUSIC RECORDING, STUDIO 22
TITLE DESIGN DERRICK SCOCCHERA
DIGITAL DAILIES BY COMPANY 3 ATLANTA
POST-PRODUCTION DI SERVICES BY PICTURE SHOP
SENIOR DI COLORIST WALTER VOLPATTO
RIGHTS AND CLEARANCES ADELE SPARKS
MUSIC CLEARANCES GRETCHEN O’NEAL & MELODEE SUTTON, 818 MUSIC GROUP
CLEARANCES BY PRODUCTION RESOURCES
“MY PLEDGE”
WRITTEN & PERFORMED BY GRACE VANDERWAAL
COURTESY OF COLUMBIA RECORDS
BY ARRANGEMENT WITH SONY MUSIC ENTERTAINMENT
PRODUCED AND ORCHESTRATED BY KRIS KUKUL
MATT STINE, 27 SOUND ENTERTAINMENT
“NO TURNING AROUND”
WRITTEN & PERFORMED BY GRACE VANDERWAAL
COURTESY OF COLUMBIA RECORDS
BY ARRANGEMENT WITH SONY MUSIC ENTERTAINMENT
MIGUEL “MIKE” ELIZONDO, PRODUCER
ED REYES, NO EXPECTATIONS MUSIC
RACHEL KURSTIN, NO EXPECTATIONS MUSIC
“ENTRY OF THE GLADIATORS”
WRITTEN BY JULIUS FUCIK
PERFORMED BY THE UNITED STATES MARINE BAND
“HIGH SCHOOL CADETS”
WRITTEN BY JOHN PHILIP SOUSA
PERFORMED BY THE UNITED STATES MARINE BAND
“US ARMY SONG (THE CAISSONS GO ROLLING ALONG)”
PERFORMED BY THE UNITED STATES ARMY BAND
“AZUL: PAZ SULFURICA, SILENCIO, TRANSIT”
WRITTEN BY OSVALDO GOLIJOV
PERFORMED BY YO-YO MA, THE KNIGHTS, AND ERIC JACOBSEN
COURTESY OF WARNER MUSIC GROUP
“LONELY PLANET”
WRITTEN BY MATT JOHNSON
PERFORMED BY THE THE
COURTESY OF SONY MUSIC ENTERTAINMENT (UK)
“DANIELLE (SMILE ON MY FACE)”
WRITTEN BY DANIELLE BALBUENA, MIKE DEAN, RONJAE ENGLAND, FRED GIBSON, BENJAMIN JAMES GIBSON, DAVE
HAMELIN, MARCO PARISI, GIAMPAOLO PARISI, SEAN SOLYMAR
PERFORMED BY FRED AGAIN FEATURING DANIELLE BALBUENA
COURTESY OF WARNE MUSIC GROUP
“WHAT A DIFF’RENCE A DAY MAKES”
WRITTEN BY STANLEY ADAMS AND MARIA GREVER
PERFORMED BY DINAH WASHINGTON
COURTESY OF THE VERVE MUSIC GROUP UNDER LICENSE FROM UNIVERSAL MUSIC ENTERPRISES
“CUANDO VUELVA A TU LADO”
WRITTEN BY MARIA GREVER
PERFORMED BY PEDRO VIA AND HIS ORCHESTRA
COURTESY OF RCA VICTOR/SONY MUSIC ENTERTAINMENT
“SENZA MAMMA [SUOR ANGELICA, OPERA LIRICA IN UN ATTO]”
WRITTEN BY GIACOMO PUCCINI AND GIOVACCHINO FORZANO
PERFORMED BY VIRGINIA ZEANI, ORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA, FRANCO PATANÉ
COURTESY OF DECCA MUSIC GROUP LIMITED UNDER LICENSE FROM UNIVERSAL MUSIC ENTERPRISES
“ALLEGRETTO [SYMPHONY NO. 7 IN A, OP. 92]”
WRITTEN BY LUDWIG VAN BEETHOVEN
PERFORMED BY SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS, RAFAEL KUBELÍK
COURTESY OF DEUTSCHE GRAMMOPHON GMBH UNDER LICENSE FROM UNIVERSAL MUSIC ENTERPRISES
"ROBIN'S LOVE NEST"
WRITTEN BY ITALIA PENNINO & F.F. COPPOLA
PERFORMED BY KRIS KUKUL
COURTESY OF AMERICAN ZOETROPE
ACKNOWLEDGEMENTS
LEGAL SERVICES
BRUNS BRENNAN BERRY PIKULIN & JACOBS PC
INSURANCE & RISK MANAGEMENT
E.P.I.C. MEDIA INSURANCE SERVICES
PAYROLL SERVICES PROVIDED BY CAST & CREW
ILLUSTRATION COURTESY OF ARTIST THOMAS KLEH
PRODUCTION WAS RECORDED AT TRILITH STUDIOS
TRAVEL ARRANGEMENTS BY FROSCH ENTERTAINMENT, A CHASE TRAVEL GROUP COMPANY
SPECIAL THANKS
DAVID BENEDICTUS
BRAD BIRD
CORA CAHAN
JESSICA CAMPBELL
RYAN COOGLER
THE COPPOLA FAMILY
GUILLERMO DEL TORO
WENDY DONIGER
JON FAVREAU
MIKE FIGGIS
JENNY GERSTEN
JOSH GRIFFITH
ZOEY GROSSMAN
MELLODY HOBSON
JOHN HOULIHAN
GEORGIA KACANDES
WILLIAM KENNEDY
KEVIN LEE
ROB LEGATO
BARRY LEVINSON
SAM LEVINSON
GEORGE LUCAS
BRIGHTON MCCLOSKEY
JENN MCLAUCHLIN
RANDY MANIS
JOHN MILIUS
WALTER MURCH
MATTHEW ROBBINS
JULIET SCHOR
THE SCHWARTZMAN FAMILY
STEVEN SODERBERGH
BEAUMONT 'MONTY' TITUS
BARRY ZEGEL
42WEST ANNALEE PAULO AND NESMA YOUSSEF
LUVIA MARTINEZ AND THE STAFF OF ALL-MOVIE HOTEL
SELECT JEWELRY DESIGNED BY GIANNI BULGARI – GB ENIGMA
SHE JEWELRY BY BARBARA AND MONIA SOLIGON
WATCHES SPECIALLY DESIGNED BY GIANNI BULGARI
ACCESSORIES BY FENDI
THIS PROJECT WAS COMPLETED WITH ASSISTANCE FROM THE GEORGIA FILM OFFICE,
A DIVISION OF THE GEORGIA DEPARTMENT OF ECONOMIC DEVELOPMENT
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THE CHARACTERS AND EVENTS DEPICTED IN THIS PHOTOPLAY ARE FICTITIOUS.
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