'ALL GOOD HERE’
When rumours started circulating in early January that the production of Francis Ford Coppola's long-in-gestation passion project Megalopolis was spiralling out of control, the veteran director wasted no time shutting them down. “I don't know what anyone's talking about,” he announced from his film's Atlanta set. “I love my cast, I love what I'm getting each day, I am on schedule and on budget.” Star Adam Driver was just as quick to rubbish a report that claimed the Godfather auteur's self-financed future opus had been beset by ballooning costs and crew exits. “All good here!” he stated bullishly. “Not sure what set you're talking about! I've been on sets that were chaotic, and this one is far from it.”
Given how long has taken to get in front of the cameras, you can't blame Coppola for feeling a little defensive. (He began writing the screenplay for his tale of an architect tasked with rebuilding New York City in the 1980s, only to pull, a 1982 folly whose lavish extravagances included a partial replica of Las Vegas’ McCarran Airport. And then, of course, there 1979's , a hallucinogenic war saga so monumentally bedevilled it spawned its own tell-all documentary (i99i's ).
