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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 ...”

“... and lies and apocalypse long before Sony cassette-players brought Jimi Hendrix to the jungle and Francis FordCoppola discovered it was cheaper to rent Asians in the Philippines. As the Christian Serbians evaporate the Bosnian Muslims, and the African butchers sharpen their machetes in the rain-forest, the song in ...”

“... crime to be the ‘Shame of a Nation’. But many people unashamedly rooted for the gangsters. As Francis FordCoppola would observe when he made the first two Godfather films, the set was crowded whenever they were doing shoot-’em-up scenes. And ‘Scarface’ was plainly an allusion to Al Capone, one of the first ...”

“... war generated, particularly when told by such as Tim O’Brien or Michael Herr or Philip Caputo or Francis FordCoppola, still seem a more effective way of dealing with its lingering legacy than the denials of black humour, or the ferocious fireworks display of Desert ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... purchaser might destroy the heritage. She won a charity raffle prize, a stay at a resort owned by Francis FordCoppola, and invited Ferlinghetti along. In a ‘run-down beach motel’ the poet composes ‘At Sea’ and dedicates it to Neruda, whom he published for the first time in Rexroth’s translation of Thirty ...”

“... than passing acquaintances, are Marguerite Yourcenar, Christopher Isherwood, Susan Sontag and Francis FordCoppola (among several interesting photographs is one of Richie beside a gawky, 19-year-old Sofia Coppola, who looks thoroughly lost). He knew Ozu and Kurosawa, and wrote ...”

“... 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 ...”

“... done with her? At the end of the mangy, scrambling movie decade that gave us Robert Altman, Francis FordCoppola, Steven Spielberg and Martin Scorsese, there was nary a murmur from her (just imagine what she might have made of Elaine May’s Mikey and Nicky). We know from Nunez and others that ...”

“... 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 ...”