コッポラ監督、私財186億円を投じた豪華キャスト・巨大セット／映画『メガロポリス』メイキング映像
『ゴッドファーザー』シリーズ/『地獄の黙示録』フランシス・フォード・コッポラ監督、すでに話題騒然！構想40年！私財186億円を投じ、人生をかけた一大叙事詩を作り上げた『メガロポリス』の熱意が伝わる6分間のメイキング映像が解禁！
映像には、監督のフランシス・フォード・コッポラをはじめ、主人公カエサル役のアダム・ドライバー、ジャンカルロ・エスポジート、ナタリー・エマニュエル、オーブリー・プラザ、シャイア・ラブーフら豪華キャストが、メイキング映像とともに作品やキャラクターについて語っている。カメラの外でも真剣な表情で話し合う俳優陣の姿や、巨大セットの裏側、リハーサル風景まで映し出されている。
映像の冒頭、コッポラ監督は「この映画のコンセプトは人類の未来を垣間見ることだ」と述べ、40年の歳月をかけたこともあり、「台本にあった多くのことが実際に起ころうとしている。フィクションというより現実に近かった」と、本作の内容が偶然にも現在と地続きしている部分があることに触れている。
また主演のアダム・ドライバーは映像の中では、撮影の合間にコッポラ監督と熱心に語り合う場面も見られる。「届いた台本を読んだ時、それだけでは理解しきれないビジュアル要素があった。台本についてより深く語り合ううちに、監督は人の内面や感情に興味があると気づいた」と語っている。また現場では多くのシーンで即興的な演出が行われ、台詞や動きがその場で変化していく創作プロセスにも言及している。
またジャンカルロ・エスポジートも、「彼は大きな夢を抱いている。それは実際に体で感じるものだ」と述べており、キャスト・スタッフ全員が、ただのプロジェクトではなく“使命”としてこの作品に向き合っていたことがわかる。
またコッポラ監督自身もセットに立ち、俳優たちに語りかけ、演出に没頭する様子が印象的だ。全財産を投じてまで完成させた本作への執念と情熱が、わずか数分のメイキング映像からもひしひしと伝わる。
『メガロポリス』は2025年6月20日公開
© 2024 CAESAR FILM LLC ALL RIGHTS RESERVED
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[Music] The concept of the film which is to give glimpses of a world of the future that Given the long time that this movie has justated and and been abandoned, uh many of the things predicted in the script actually are beginning to happen. So it’s it’s it’s less fiction and more actuality. He’s got a big dream. It’s a dream. He sees it. He feels it. It’s visceral. I think Copela’s ambition in this film is nothing less than a consideration of a better world. He sent me the script and I read it and it it was obvious that there was a whole visual element that I couldn’t or wouldn’t understand from reading the script. But then the more we started talking about it, the more I started to realize that he really is more interested in subtext and the emotion of a scene. My character is a u he’s a banker. He’s the richest man in in this city, New Rome. He’s a member of a family that is running things. He’s got a genius for a nephew who is self-destructive in some fashion, but he’s a genius and he sees the future in some magical way. And he’s having a romance with a young lady who is the daughter of the the mayor of this town. And there’s conflict there. No time to talk of people’s future. Yet, there’s always time to convince them to use money they don’t have to buy things they don’t need to imitate people they don’t like. I play Julia Cicero um who is um Frank Cicero’s only child and pride and joy who is someone who has kind of lost her way slightly trying to figure out what she wants out of her life and what she’s passionate about and she falls in love and has a unique interest in her father’s like arch nemesis. It’s um a complicated love story. Claudia Poulture is the grandchild of Craas and the cousin to Caesar and in love with every female in the movie and uh a power-hungry narcissist. And the role, the way I’ve gone about building him is he’s tricky. So, I needed to like find a bunch of tricky people. Revenge tastes best while wearing the trick. So, I started watching magicians try to build that same kind of like you can’t really pin them 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. Going up. Yes, we are. We are going up and they are going down. We just have to get our affairs in order. Tell all the little boys what to [Music] do. I play Wow Platinum. She is a financial news reporter, very ambitious, who is determined to make a name for herself. Authorities newly demolished site, which everyone is now claiming as their own. And she has her eyes set on the Crass’s family because they’re the richest family in the world. And she’s worked her way up to a point where she is interacting with them. And then she uses all of her skills and powers to get what she wants. There’s a little switch in me that tells me it’ll work. But the whole thing, the acting, the lighting, the shot, I wait for that little click to happen in me. I don’t know. It’s just a a gut feeling that I’ve got it. I think he focuses on inspiring you to do things, which is my favorite kind of directing. He loves actors, and I feel that that’s what Francis wants as much as anything is just to enjoy it and have the actors enjoy it. It’s important to him. I love it when the actors are in the reality of the moment at the time. Brando used to say to me, you can’t care or they’ll see it on your face. Meaning, if you care whether you’re good or bad or it’s a good one or a bad one, if you care, it looks like you’re acting. Honestly, I feel like I’ve been waiting for him my whole life as a director. You own this. But I feel like I speak the same language. Action. So really from the first day of rehearsal till now, I’ve had a lot of freedom and a lot of trust to build something that is really a pretty far out performance. Enjoy the show. [Laughter] There’s the logic of a scene when you’re playing it with the text, but then there’s also the uh emotion of a scene, which I feel Francis is more interested in. He has a very theatrical process. He is a big proponent of rehearsal and improvisations. The best example of a of an improv making its way into the movie is that whole Julia following Caesar and we were doing this rope pulling improv the morning of when we got there. You know, it’s just random people. I was walking in and handed a rope and we’re just doing this little improv and then that then we wind up shooting the scene. He’s like that’s kind of what’s happening between these two people. So why don’t we just get rid of the rope and we’ll just we’ll pretend we’re holding the rope and that’s how we shot the scene. It doesn’t realistically make sense, but totally emotionally and playing it, it it made perfect sense. Everybody has really had a wonderful time making this movie. The the atmosphere on set is very joyful. All that he cares about in the moment is am I moved by this? And if I am, will other people be moved by this? He’s very collaborative on set and he’s welcoming of everybody else’s ideas. And uh it really feels like a family that’s come together to help, you know, him make this movie. [Music]