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
カテゴリ
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ショートトランスクリプション
00:00作詞・作曲・編曲・編曲 初音ミク
00:29Given the long time that this movie has gestated and abandoned, many of the things predicted
00:36in the script actually are beginning to happen. So it's less fiction and more actuality.
00:43He's got a big dream. It's a dream. He sees it. He feels it. It's visceral.
00:49I think Coppola's ambition in this film is nothing less than a consideration of a better world.
00:59He sent me the script and I read it and it was obvious that there was a whole visual element
01:14that I couldn't or wouldn't understand from reading the script. But then the more we started
01:19talking about it, the more I started to realize that he really is more interested in subtext
01:24and the emotion of a scene.
01:26My character is a banker. He's the richest man in this city. New Rome. He's a member of a family
01:34that is running things. He's got a genius for a nephew who is self-destructive in some fashion,
01:41but he's a genius. And he sees the future in some magical way. And he's having a romance
01:48with a young lady who is the daughter of the mayor of this town. And there's conflict there.
01:52No time to talk of people's future. Yet there's always time to convince them to use money they
01:59don't have, to buy things they don't need, to imitate people they don't like.
02:03I play Julia Cicero, who is Frank Cicero's only child and pride and joy, who is someone who
02:16has kind of lost her way slightly trying to figure out what she wants out of her life and
02:22what she's passionate about. And she falls in love and has a unique interest in her father's
02:28like arch nemesis. So it's a complicated love story.
02:37Claudio Poulter is the grandchild of Crassus and the cousin to Caesar and in love with every
02:44female in the movie and a power hungry narcissist. And the role, the way I've gone about building
02:50him is he's tricky. So I needed to like find a bunch of tricky people.
02:55Revenge tastes best while wearing a dress.
02:58So I started watching magicians try to build that same kind of like, you can't really pin them down.
03:03You don't know what's going to happen from one scene to the next. You don't know if it's
03:06adversarial or friendly.
03:08Going up? Yes, we are. We are going up and they are going down. We just have to get our affairs in order.
03:18Tell all the little boys what to do.
03:25I play Wild Platinum. She's a financial news reporter. Very ambitious, who is determined to make a name for herself.
03:36An authority's newly demolished site, which everyone is now claiming as their own.
03:41And she has her eyes set on the Crassus family because they're the richest family in the world.
03:47And she's worked her way up to a point where she is interacting with them.
03:50And then she uses all of her skills and powers to get what she wants.
03:54There's a little switch in me that tells me it'll work.
03:59But the whole thing, the acting, the lighting, the shot, I wait for that little click to happen in me.
04:06I don't know. It's just a gut feeling that I've got it.
04:09I think he focuses on inspiring you to do things, which is my favorite kind of directing.
04:15He loves actors. And I feel that that's what Francis wants as much as anything.
04:20Is just to enjoy it and have the actors enjoy it. It's important to him.
04:24I love it when the actors are in the reality of the moment at the time.
04:29Brando used to say to me, you can't care or they'll see it on your face.
04:33Meaning if you care whether you're good or bad or it's a good one or a bad one.
04:37If you care, it looks like you're acting.
04:42Honestly, I feel like I've been waiting for him my whole life as a director.
04:47You own this.
04:48I feel like I speak the same language.
04:49Action.
04:50So really from the first day of rehearsal till now, I've had a lot of freedom.
04:54A lot of trust to build something that is really a far out performance.
04:59Enjoy the show.
05:04There's the logic of the scene when you're playing it with the text.
05:07But then there's also the emotion of a scene, which I feel Francis is more interested in.
05:11He has a very theatrical process.
05:13He is a big proponent of rehearsal and improvisations.
05:17The best example of an improv making its way into the movie is that whole Julia following Caesar.
05:23And we were doing this rope pulling improv the morning of when we got there.
05:27You know, it was just random people.
05:29I was walking in and handed a rope and we're just doing this little improv.
05:33And then we wind up shooting the scene and he's like, that's kind of what's happening between these two people.
05:37So why don't we just get rid of the rope and we'll just, we'll pretend we're holding the rope.
05:41And that's how we shot the scene.
05:42It doesn't realistically make sense, but totally emotionally and playing it, it made perfect sense.
05:49Everybody has really had a wonderful time making this movie.
05:52The atmosphere on set, he's very joyful.
05:55All that he cares about in the moment is, am I moved by this?
06:00And if I am, will other people be moved by this?
06:02He's very collaborative on set and he's welcoming of everybody else's ideas.
06:06And it really feels like a family that's come together to help, you know, him make this movie.