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“... like Sleepless in Seattle and The Truth about Cats and Dogs. You may not be surprised to hear that Francis FordCoppola has bought the film rights to this story, and has hired Bank to write the screenplay. My Hollywood source says that Coppola these days is more interested in his ...”

“... bats and wolves and the night, he carries the imagery of rabies and syphilis into the age of Aids. Francis FordCoppola’s lavish, stylish, sometimes silly, always engaging movie also includes the lines quoted above, but we hardly notice them because we’ve just been treated to a much more spectacular encounter ...”

“... too, and takes off on an extraordinary literary ramble from which it never returns and in which Francis Coppola and his team seem to have decided to do The Golden Bough as their Christmas pantomime. The confused ending weighs on the film but doesn’t wreck it, so we don’t need to hush up the confusion or pretend it isn’t confusion at ...”

“... landlord’s lament: Man, I have hated gin since the day I got to the UK. My old man sent me to Oxford. I hated every moment on that foul little island with those pasty-faced pricks. ‘Cept for the women, of course; they were fine. But I made this place look like it does now to remind me of those bad times ... Tourists are brave, not reasonable. In fact they ...”

“... The stretch of water known as San Francisco Bay was transformed in the 1930s. No one intended this, but the bay, famous for rapid shifts in weather, light and mood, became a kind of stage set for a drama that might have been entitled ‘What makes the US run?’ In November 1936, the Bay Bridge opened, linking San Francisco and Oakland and Berkeley, with Yerba Buena Island as a stepping-stone ...”

“... as many obstacles as in The Shadow-Line but reaches a different and more wondrous conclusion (Francis FordCoppola borrowed it for Apocalypse Now, his film version of Heart of Darkness). Touching shore at long last in the dark, Marlow wakes from the sleep of exhaustion to a silent dawn: I opened my eyes … and ...”

“... surreal looniness of it all has been rendered so often and vividly – in books such as Gustav Hasford’s The Short-Timers, films such as Kubrick’s Full Metal Jacket – that it has become harder than ever to comprehend the war as a historical fact. The success of The Sorrow of War derives largely from its formal inventiveness. Ninh structures fragments of ...”

“... a trace of the old, a remnant that memorialises its loss. There is a telling moment in Eleanor Coppola’s Hearts of Darkness, a documentary on the making of her husband’s film Apocalypse Now. An exasperated Francis FordCoppola attempts to persuade a strung-out Dennis Hopper ...”

“... Towne came across Ask the Dust and took up Fante’s cause. He optioned the novel and persuaded Francis FordCoppola to do the same for the book Fante was then working on, The Brotherhood of the Grape (1977). In 1978, the poet Charles Bukowski mentioned his debt to Fante in his novel Women; Bukowski’s ...”

“... reeking foxes. Two ambitious young or youngish American men operating out of the same city, San Francisco, forge an alliance of mutual misunderstanding through a love of words and thirst for fame. The celebrated episode that triggered the telegram took place on 7 October 1955 in the cramped confines of the Six Gallery, an auto-repair shop at Union and ...”

“... as something close to liberation, a stimulus to observation and analysis. ‘Japan has afforded him’ – the author – ‘a situation of writing,’ Roland Barthes wrote in Empire of Signs. This situation is ‘one in which a certain disturbance of the person occurs, a subversion of earlier readings, a shock of meaning lacerated, extenuated to the ...”

“... John Paul or Mickey Mouse. Lucas’s second movie and first hit, American Graffiti (produced by Francis Coppola, conceived and directed by Lucas), was the most profitable investment in Hollywood history: it brought in $117m against a production cost of $750,000. Raiders of the Lost Ark (conceived and produced by Lucas, directed by Steven Spielberg) has ...”

“... pictures grew less necessary, or compelling, and by 1972 he was scarcely employable. That’s when Francis Coppola insisted to Paramount that only Brando should play Vito Corleone in The Godfather. Other actors had been mentioned, including Laurence Olivier, Robert Mitchum and Sinatra. But Coppola held out; he shot a ...”

“... of Chicago, graduate study and a Master of Arts at Harvard, a fellowship at St Anne’s College, Oxford, where she attended lectures by Isaiah Berlin and had classes with A.J. Ayer, Stuart Hampshire and Iris Murdoch; most fatefully, a sojourn at the Sorbonne, where, like Audrey Hepburn pixie-ing through the new philosophy of Empathicalism in Funny Face, she ...”

“... who had given Khrzhanovsky carte blanche. Some have compared the pre-story of Dau to that of Francis FordCoppola’s Apocalypse Now, which began shooting in the Philippines in March 1976, ended principal photography in May of the following year, and went on general release more than two years later. Yet although ...”