1996
Résultats de recherche
Il y a 1 jour · Fred Roos (who died on May 18) was a producer of both, as he was of other films by Mr. Coppola, his daughter, Sofia Coppola, and his wife, Eleanor Coppola (who died last month). Mr. Ruddy was born ...
Il y a 12 heures · Notas a Apocalypse Now es una crónica muy personal, incluso íntima, de lo que Eleanor Coppola vivió durante el rodaje de la película. Sus dificultades para criar a sus hijos pequeños en un país ajeno durante años en un permanente estado de provisionalidad, su desesperación, soledad y angustia mientras contempla cómo su marido se obsesiona hasta perder la cabeza durante el rodaje y ...
Il y a 2 jours · Francis Ford Coppola’s $120-million self-funded passion project is a bloated mess of philosophising and incomplete plotlines, made with such sincerity it becomes fascinatingly lovable. Reviewed from the 2024 Cannes Film Festival. A person could lose their mind in Megalopolis. It sure seems like Francis Ford Coppola did, though ‘lose’ is ...
Il y a 1 jour · Eleanor Coppola: Réalisatrice américaine. 87: Isabelle Coutant-Peyre: Avocate française, ancienne secrétaire de la conférence des avocats du barreau de Paris. 70: Santiago Dexeus: Gynécologue espagnol. 88 (es) Rubén Douglas: Basketteur panaméen et américain. 44 (en) Claude Ducert: Homme politique français. 89: Olga Fikotová
Il y a 5 jours · Eleanor Coppola - Letter from A. Broad In 2008 Eleanor Coppola published her book ‘Notes on a Life’. It did well, though was received with mixed reviews; some people were curious about the life of a Coppola, others about art and relationships, while others understood that a woman’s world is that – a woman’s world – and ...
Il y a 5 jours · Apocalypse Now was such a, well, apocalyptic shoot that Eleanor Coppola's documentary, Hearts of Darkness, might be better than the movie whose production it chronicles. For Eggers, these kinds of ...
Il y a 1 jour · Francis Ford Coppola’s Megalopolis took 41 years to make. It might take as long to understand. Coppola’s magnum opus, which premiered in competition at the Cannes Film Festival last night, is a movie of extraordinary highs and baffling lows, alternately dazzling and confounding. Sometimes, in the same moment, it’s both. When I asked colleagues who’d seen it—at a remote early-morning ...
