Francis Ford Coppola, Magazine Publisher - latimes YOU ARE HERE: LAT Home → Collections → Magazines Francis Ford Coppola, Magazine Publisher Publications: With Zoetrope Short Stories, the film director has put on another hat. His new quarterly is dedicated to short fiction. February 24, 1997 |SCOTT COLLINS | TIMES STAFF WRITER Francis Ford Coppola has never been satisfied being just a movie director. So over the years he has dabbled as, among other things, a vintner, cigar maker, resort innkeeper and studio chief. Now the director of "The Godfather" trilogy has added another line to his resume: magazine publisher. Over the past few weeks, Coppola and his minions have begun mailing copies of Zoetrope Short Stories, a new quarterly literary magazine dedicated to short fiction. The first issue runs 60 pages and includes seven stories and one essay, plus a letter to the reader from Coppola, who is listed on the masthead as publisher and founding editor. "I do hope that this publication will form a bridge to storytellers at large, encouraging them to work in the natural format of a short story," Coppola writes in the letter.

Like many Coppola projects, Zoetrope Short Stories seems a mix of the whimsical and grandiose. The publication was launched with a minimum of fanfare, quietly mailed out to writers, editors and students after its official start Jan. 30 (issues will also be available free at selected coffeehouses). John Masterton, an editor at the New York-based trade journal Media Industry Newsletter, said he was unaware of its existence until a reporter called to inquire about it. On the other hand, Coppola, 57, appears to have great expectations for his latest venture. The initial press run is 50,000 copies, which is five to 10 times the circulation for many established literary magazines. According to Editor Adrienne Brodeur, Coppola is planning what he describes as "barn-raising" parties in several large cities, including Los Angeles, to celebrate the magazine. (Coppola was said to be editing a trailer for his latest film, "The Rainmaker," and unavailable for an interview, although he did respond to some questions by fax.) But the magazine may serve another purpose beyond the sheer love of letters.

Coppola's letter to readers disdains the current state of screenwriting ("I have never met a person in the film business who enjoys reading a screenplay") and takes the unusual step of warning writers not to submit scripts or treatments. Screenwriters have strayed from the "storytelling tradition" of John O'Hara, Dorothy Parker, Ring Lardner, F. Scott Fitzgerald and others, Coppola writes. But he adds: "If Zoetrope publishes a single short story that evolves into a memorable film then, in my mind, it would more than justify our efforts to produce this magazine." Brodeur, 31, whose resume includes a six-month stint at Paris Review, confirms the magazine may prove useful to Coppola's San Francisco-based production company, American Zoetrope. "If [Coppola] fell madly in love with a story, he would certainly pursue developing it" as a movie, Brodeur said.

As if to telegraph that goal, the first issue concludes with a reprint of "The Wisdom of Eve," Mary Orr's 1947 short story that was the basis of the 1950 film "All About Eve." * Whatever its exact mission, Zoetrope Short Stories has dedicated itself to an increasingly marginal genre. Once a staple of popular magazines, short fiction has recently grown harder to find at the newsstand. The New Yorker, for instance, roughly halved the number of short stories it published after Editor Tina Brown took over in 1992. Over time, fiction has become the province of academic journals, the Internet, grass-roots newspapers and other relatively esoteric outlets. "I don't think there is a strong demand for magazine fiction," says Masterton, the industry newsletter editor, adding that readers apparently prefer to read fiction in novel form. Reginald Gibbons, editor of TriQuarterly, a respected 5,000-circulation literary journal based in Evanston, Ill., received the first issue of Zoetrope in the mail and his initial reaction was favorable. "I welcome anything that increases the audience for short fiction, that's for sure," Gibbons said.

"I only read the first story [a commissioned piece by Sara Powers called "The Baker's Wife"], but [the magazine] looks pretty lively. . . . Everything in there would be seriously considered [for publication] here." Although Gibbons said he believed the magazine was aimed at readers in their late 20s, Brodeur disputed that view: "I don't think there is a single story aimed exclusively toward a particular age group." Budget figures were unavailable, but Brodeur says Coppola is supporting the publication for now. The magazine has a full-time staff of two, including the editor, although a number of part-timers and volunteers also work in its New York offices, Brodeur says. The first issue, published on relatively inexpensive newsprint, contains no advertising and offers free subscriptions to readers who mail back address cards. While Coppola seems committed for the long haul, he has been forced to scale back or abandon ambitious projects in the past.

He lost his studio, also called American Zoetrope, to creditors in 1983, after the disastrous reception to his movie "One From the Heart." And after government officials in Belize hesitated to embrace his vision of a high-tech utopia in their country, Coppola built a luxury resort hotel there instead. But for now, Zoetrope Short Stories is marching headlong into the future. Asked how the magazine might change over time, Brodeur responded, "We prefer to keep our readers surprised." MORE: Francis Ford Coppola Francis Ford Coppola Nationality: United States Executive summary: The Godfather Francis Ford Coppola had polio as a boy, leaving him bedridden for large periods of his childhood, and allowing him to indulge his imagination with homemade puppet theater productions. Using his father's 8mm movie camera, he began making movies when he was 10. While attending college, Coppola was hired by low-budget movie maestro Roger Corman , and his first assignment was to re-script, dub, and re-edit a Russian science fiction film Corman had purchased, to make it appropriate for drive-in audiences.

The film, originally titled Nebo zovyot in Russian, was retitled Battle Beyond the Sun, and it was awful, but Coppola was delighted to be working in the movie business. On his own, Coppola wrote and directed a few porn films -- very mild by today's standards -- while earning Corman's trust. Coppola was the nominal director of The Terror with Boris Karloff and Jack Nicholson , though Corman took the on-screen credit. Coppola was first credited as director of Corman's Dementia 13 with Patrick Magee , made mere weeks after The Terror. After that, Coppola was hired at Seven Arts, a much more 'major league' studio, where he worked mostly as a writer, adapting Tennessee Williams ' This Property Is Condemned for Sydney Pollack and eventually writing and directing his coming-of-age comedy-drama You're a Big Boy Now. After leaving Seven Arts, he won his first Oscar as co-writer on Patton starring George C. Scott , then made his name with The Godfather with Marlon Brando , re-inventing the gangster genre with a story of thugs and killers as family.

Coppola suffered a nervous breakdown during the typhoon- and trauma-plagued shoot of his war epic Apocalypse Now with Martin Sheen , and over the subsequent decade he had limited success -- flops like One from the Heart and The Cotton Club, and films that were little noticed at the time but have subsequently grown in critical acclaim, The Outsiders with Matt Dillon , Rumble Fish with Dillon and Dennis Hopper , and the exuberant Tucker: The Man and His Dream with Jeff Bridges . In 1992, Coppola made a huge hit of Dracula with Gary Oldman and Winona Ryder , but after that the quality and box office success of his work diminished again, with the odd comedy Jack with Robin Williams and the adequate but unremarkable thriller The Rainmaker with Matt Damon . Coppola sued Warner Bros in 1998, claiming that the idea for Roberto Benigni 's Pinocchio had been his, and he was awarded $20-million in damages.

Coppola has been unable to find financing for a science fiction film he yearns to make, Megalopolis, which he describes as "a little bit like an Ayn Rand novel." He also hopes to produce, but not direct, an adaptation of Jack Kerouac 's landmark novel On the Road. Though he has made his mark as a director, Coppola has also directed plays, owns a hotel in the south of Italy, co-owns the Niebaum-Coppola Estate Winery, served on the board of directors at Metro-Goldwyn-Meyer, founded his own long-running production company American Zoetrope, and published City Magazine in San Francisco and the literary magazine Zoetrope. He has also mentored young moviemakers including George Lucas and Peter Bogdanovich , and produced other moviemakers' films, including Carroll Ballard's The Black Stallion, Godfrey Reggio 's Koyaanisqatsi, and Kenneth Branagh 's Frankenstein. Coppola's middle name honors the Ford Motor Company, which sponsored Ford Sunday Evening Hour, a 1930s radio program on CBS.

While Francis was in his mother's womb, the radiocast eased the family's financial worries by hiring Coppola's father, composer Carmine Coppola, as music arranger. The elder Coppola later scored several of his son's films, including The Godfather trilogy and Apocalypse Now. Actors Nicolas Cage and Jason Schwartzman are Coppola's nephews. Father: Carmine Coppola (composer, b. 11-Jun-1910, d. 26-Apr-1991) Mother: Italia Pennino (b. 1912, d. 20-Jan-2004) Sister: Talia Shire (actress, b. 1946) Brother: August Floyd Coppola (writer, Dean at San Francisco State University) Wife: Eleanor Jessie Neil (film director, b. 4-May-1936, m. 1963) Mistress: Melissa Mathison (screenwriter, liaisons in late 1970s, later married to Harrison Ford ) Daughter: Mary Coppola Daughter: Sofia Coppola (film director, b. 1971) Son: Roman Coppola (film producer, b.

1965) Son: Gian-Carlo Coppola (b. 17-Sep-1963, d. 26-May-1986 boating accident) Francis Ford Coppola Re-Launches Zoetrope.com, Will Showcase Short Films | Deadline Deadline Zoetrope.com Rex/Shutterstock Francis Ford Coppola today announced the relaunch of the Family Coppola’s Zoetrope.com site, which has become a virtual studio for the writing community. The redesign will include a showcase for short films. The Bart & Fleming Podcast Episode #6: The Godfather The website is an interactive crowd-sourcing, online writing workshop platform that originally launched nearly two decades ago, with the intention that it would be a network for artists but also would provide a great source of content and story ideas for Coppola’s acclaimed literary magazine, Zoetrope: All-Story. However, the platform quickly gained traction among writers as an online creative community. The website set the precedent for a new era of crowd-sourcing and writing workshops. “When I was a kid I remember looking in the locked gates of a movie studio which was across the street from the junior high school I was attending,” the filmmaker said in a statement.

“I was wishing that I could get in and see what these mythical movie studios were. Years later, I actually bought that studio, and I went to that junior high school and talked about it to the students. “I said, ‘All right, kids, let’s go,’ and I took them across the street and right in through the studio gates. And that’s what I was trying to do with this site – let everyone have access to a movie studio or set a new context of creative community for people interested in cinema, music, acting, art, graphics, photography, songwriting and so on.” Zoetrope.com added the short films section for screenwriters, directors and producers to receive peer feedback. The site encompasses acting résumés, photography, songwriting, short films, stories, novels, scripts, short flash fiction, poetry, music and photos. The way it works is for every story a member submits, they are required to review five other works, so each person gets exposed to other writing, which provides growing opportunities in addition to receiving feedback. Members also can create groups based on specific interests and areas of creativity, as well as invite friends and other members to join. Membership is free.

Work submitted also can be considered for inclusion in Zoetrope: All-Story, as well as the first short-story vending machine in the United States, designed by Short Edition and housed in Coppola’s San Francisco restaurant, Cafe Zoetrope. Two writing contests — the 20th annual Zoetrope: All-Story Short Fiction Contest and the 14h annual American Zoetrope Screenplay Contest — are running on Zoetrope.com, where anyone can submit entries. The grand prize for the fiction contest is $1,000 and $5,000 for the screenplay contest. Both contest winners also will receive consideration from top literary and talent agencies. Zoetrope.com : Terms of Use Francis Ford Coppola Re-launches His Virtual Studio, Zoetrope.com FOR IMMEDIATE RELEASE: Francis Ford Coppola Re-launches His Virtual Studio, Zoetrope.com, with New Short Films Section and Enhanced Platform San Francisco, CA (July 6, 2016) – Academy Award-winning director, producer, screenwriter and California vintner Francis Ford Coppola today announced the re-launch of The Family Coppola’s Zoetrope.com website, the premier home and virtual studio for the writing community.

The redesign showcases many enhanced options, one of the most notable additions being the highly anticipated section for short films. Zoetrope.com, an interactive crowd-sourcing, online writing workshop platform, was originally launched nearly two decades ago, with the intention that it would be a network for artists, but more importantly would provide a great source of content and story ideas for Coppola’s acclaimed literary magazine, Zoetrope: All-Story. However, the platform quickly gained traction among writers as a vibrant online community. A revolutionary use of the internet at the time, Zoetrope.com established itself as an early pioneer in social media. Writers that had been working in isolation now had an engaging community where they could share their stories, make contacts, and learn from one another. Directors, producers and other artists soon joined and the site transformed into a virtual studio. The website set the precedent for a new era of crowd-sourcing and writing workshops. Coppola has always envisioned the site as a means to benefit the creative community. Zoetrope.com is free to join, and always has been. “When I was a kid I remember looking in the locked gates of a movie studio which was across the street from the Junior High School I was attending.

I was wishing that I could get in and see what these mythical movie studios were. Years later I actually bought that studio, and I went to that Junior High School and I talked about it to the students and I said alright kids lets go, and I took them across the street and right in through the studio gates. And that’s what I was trying to do with this site – let everyone have access to a movie studio or set a new context of creative community for people interested in cinema, music, acting, art, graphics, photography, songwriting, and so on,” said Francis Coppola. The newly revitalized Zoetrope.com is not only comprehensive, modernized, more efficient and faster, it also has an added short films section in which screenwriters, directors and producers can receive peer feedback. The site encompasses acting resumes, photography, song writing, short films, stories, novels, scripts, short flash fiction, poetry, music, and photos. For every story a member submits, they are required to review five other works, so each person gets exposed to other writing which provides growing opportunities in addition to receiving feedback. Members can also create groups based on specific interests and areas of creativity, as well as invite friends and other members to join.

In addition to these benefits, work submitted may also be considered for inclusion in Zoetrope: All-Story, as well as the very first short story vending machine in the United States, designed by Short Edition and housed in Coppola’s San Francisco restaurant, Cafe Zoetrope. Recently launched alongside the revised Zoetrope.com are two writing contests, the twentieth annual Zoetrope: All-Story Short Fiction Contest and the fourteenth annual American Zoetrope Screenplay Contest, both of which are running on Zoetrope.com where anyone can submit entries. The grand prize for the fiction contest is $1,000 and $5,000 for the screenplay contest. Both contest winners will also receive consideration from top literary and talent agencies. For more information and to enter: About The Family Coppola The Family Coppola encompasses all of the things Francis loves most – cinema, wine, food, resorts, and adventure – and embraces quality, authenticity and pleasure.

Anchored in Sonoma County, Francis Ford Coppola Winery, is, as Francis puts it, “a wine wonderland, a park of pleasure where people of all ages can enjoy all the best things in life: food, wine, music, dancing, games, swimming and performances of all types. A place to celebrate the love of life.” Coppola’s second foray into Sonoma County came in 2015 with the launch of Virginia Dare Winery, American wines since 1835, ushering in a new era of elevated quality and vineyard-specific wines. The Coppola Resorts are a collection of unique properties where adventure meets serenity. Drawing upon inspiration from Coppola’s film career and travels around the globe to the far reaching corners of the world, the resorts are an ideal destination for exploring the natural wonders of off-the-beaten-track locales while relaxing in tranquil surroundings.

Additionally, The Family Coppola operates a venerable film production company, American Zoetrope; a virtual studio for online writing workshops, Zoetrope.com; the award-winning all-literary magazine, Zoetrope: All-Story; Cafe Zoetrope in San Francisco’s iconic Sentinel Building in North Beach; and Mammarella Foods, an authentic line of premium organic pastas and sauces. . About Zoetrope: All-Story Coppola founded Zoetrope: All-Story in 1997 to reinvigorate the American storytelling tradition, drawing his inspiration from the short story periodicals of the 1930s era that supported the careers of writers such as F. Scott Fitzgerald and Dorothy Parker. Under Coppola’s leadership, the magazine has become one of the world’s most celebrated literary publications, winning a number of international design commendations and many major story awards, including three National Magazine Awards for fiction, in 2001, 2012 and 2016. For more information on Zoetrope: All-Story, please visit . For subscriptions: .

### Wiki: Francis Ford Coppola - upcScavenger upcScavenger upcScavenger » 1939 Births » Wiki: Francis Ford Coppola Tag (3) Media Francis Ford Coppola (; born April 7, 1939) is an American film director , Film producer , and screenwriter . He is considered to have been a central figure of the New Hollywood wave of filmmaking. After directing The Rain People (1969), he won the Academy Award for Best Original Screenplay as co-writer, with Edmund H. North, of Patton in 1970. His directorial prominence was cemented with the release in 1972 of The Godfather , a film which revolutionized movie-making in the gangster genre, earning praise from both critics and the public before winning three Academy Awards—including his second Academy Awards (Best Adapted Screenplay, with Mario Puzo ), Best Picture, and his first nomination for Best Director. He followed with The Godfather Part II in 1974, which became the first sequel to win the Academy Award for Best Picture.

Highly regarded by critics, it brought him three more Academy Awards: Best Adapted Screenplay, Best Director and Best Picture, and made him the second director, after Billy Wilder , to be honored three times for the same film. The Conversation , which he directed, produced and wrote, was released that same year, winning the Palme d'Or at the 1974 Cannes Film Festival. He next directed 1979's Apocalypse Now . Notorious for its over-long and strenuous production, the film was nonetheless critically acclaimed for its vivid and stark depiction of the Vietnam War , winning the Palme d'Or at the 1979 Cannes Film Festival. In 1990, he directed the second Godfather sequel, The Godfather Part III, which he considers to be the series' epilogue . Coppola is one of only eight filmmakers to win two Palme d'Or awards. While a number of Coppola's ventures in the 1980s and 1990s were critically lauded, he has never quite achieved the same commercial success with films as in the 1970s.

Early life Coppola was born in Detroit , Michigan, to father Carmine Coppola (1910–1991), a flute with the Detroit Symphony Orchestra, and mother Italia (née Pennino; 1912–2004). Coppola is the second of three children: his older brother was August Coppola , his younger sister is actress Talia Shire . Born into a family of Italian immigrant ancestry, his paternal grandparents came to the United States from Bernalda , Basilicata . Peter Cowie (1988). 9780306805981, Da Capo Press. ISBN 9780306805981 His maternal grandfather, popular Italian composer Francesco Pennino, immigrated from Naples , Italy. Coppola received his middle name in honor of Henry Ford , not only because he was born in the Henry Ford Hospital but also because of his musician-father's association with the automobile manufacturer. At the time of Coppola's birth, his father was a flautist as well as arranger and assistant orchestra director for The Ford Sunday Evening Hour, an hour-long concert music radio series sponsored by the Ford Motor Company.

Two years after Coppola's birth, his father was named principal flautist for the NBC Symphony Orchestra and the family moved to New York, settling in Woodside, Queens, where Coppola spent the remainder of his childhood. Contracting polio as a boy, Coppola was bedridden for large periods of his childhood, allowing him to indulge his imagination with homemade puppet theater productions. Reading A Streetcar Named Desire at age 15 was instrumental in developing his interest in theater. Eager to be involved in film-craft, he created 8mm features edited from home movies with such titles as The Rich Millionaire and The Lost Wallet. As a child, Coppola was a mediocre student, but he was so interested in technology and engineering that his friends nicknamed him "Science". Trained initially for a career in music, he became proficient on the tuba and won a music scholarship to the New York Military Academy. Overall, Coppola attended 23 other schools before he eventually graduated from the Great Neck North High School. He entered Hofstra University in 1955 with a major in theater arts. There he was awarded a scholarship in playwriting.

This furthered his interest in directing theater despite the disapproval of his father, who wanted him to study engineering. Coppola was profoundly impressed after seeing Sergei Eisenstein 's , especially with the movie's quality of editing. It was at this time Coppola decided he would go into cinema rather than theater. Coppola says he was tremendously influenced to become a writer early on by his brother, August, in whose footsteps he would also follow by attending both of his brother's alma maters: Hofstra and UCLA . Coppola also gives credit to the work of Elia Kazan and for its influence on him as a director. 1960s Coppola enrolled in UCLA Film School for graduate work in film. There he directed a short horror film called The Two Christophers inspired by Edgar Allan Poe's "William Wilson", and Ayamonn the Terrible, a film about a sculptor's nightmares coming to life, before directing the experimental softcore comedy Tonight for Sure in 1962. At UCLA, Coppola met Jim Morrison . He later used Morrison's song "The End" in Apocalypse Now.

The company that hired him for Tonight for Sure brought him back to re-cut a German film titled Mit Eva fing die Sünde an directed by Fritz Umgelter . He added some new 3-D color footage and earned a writer's and director's credit for The Bellboy and the Playgirls, also a box-office failure. Coppola was hired as an assistant by Roger Corman and his first job for Corman was to dub and re-edit a Russian science fiction film, Nebo zovyot, which he turned into a sex-and-violence monster movie entitled Battle Beyond the Sun, released in 1962. Impressed by Coppola's perseverance and dedication, Corman hired him as dialogue director on Tower of London (1962), sound man for The Young Racers (1963) and associate producer of The Terror (1963). While on location in Ireland for The Young Racers in 1963, Corman, ever alert for an opportunity to produce a decent movie on a shoestring budget, persuaded Coppola to make a low-budget horror movie with funds left over from the movie.

Coppola wrote a brief draft story idea in one night, incorporating elements from Alfred Hitchcock Psycho, and the result impressed Corman enough to give him the go-ahead. On a budget of $40,000 ($20,000 from Corman and $20,000 from another producer who wanted to buy the movie's English rights), Coppola directed in a period of nine days Dementia 13, his first feature from his own screenplay. The film recouped its expenses and later became a cult film among horror buffs. It was on the sets of Dementia 13 that he met his future wife Eleanor Coppola . In 1965, Coppola won the annual Samuel Goldwyn Award for the best screenplay ( Pilma, Pilma) written by a UCLA student. This secured him a job as a scriptwriter with Seven Arts. In between, he co-wrote the scripts for This Property Is Condemned (1966) and Is Paris Burning? (1966).

However, with fame still eluding him and partly out of desperation, Coppola bought the rights to the David Benedictus novel You're a Big Boy Now and fused it with a story idea of his own, resulting in You're a Big Boy Now (1966). This was his UCLA thesis project that also received a theatrical release via Warner Bros. This movie brought him some critical acclaim and eventually his Master of Fine Arts Degree from UCLA School of Theater, Film and Television in 1967. "Profile: Francis Ford Coppola" , UCLA School of Theater, Film, and Television, Executive Board Following the success of You're a Big Boy Now, Coppola was offered the reins of the movie version of the Broadway musical Finian's Rainbow, starring Petula Clark in her first American film and veteran Fred Astaire . Producer Jack L. Warner was nonplussed by Coppola's shaggy-haired, bearded, "hippie" appearance and generally left him to his own devices. He took his cast to the Napa Valley for much of the outdoor shooting, but these scenes were in sharp contrast to those obviously filmed on a Hollywood soundstage, resulting in a disjointed look to the film.

Dealing with outdated material at a time when the popularity of film musicals was already on the downslide, Coppola's result was only semi-successful, but his work with Clark no doubt contributed to her Golden Globe Best Actress nomination. The film introduced to him George Lucas , who became his lifelong friend as well as production assistant in his next film The Rain People in 1969. It was written, directed and initially produced by Coppola himself, though as the movie advanced, he exceeded his budget and the studio had to underwrite the remainder of the movie. The film won the Golden Shell at the 1969 San Sebastian Film Festival. In 1969, Coppola took it upon himself to subvert the studio system which he felt had stifled his visions, intending to produce mainstream pictures to finance off-beat projects and give first-time directors their chance to direct. He decided he would name his future studio "Zoetrope" after receiving a gift of from Mogens Scot-Hansen, founder of a studio called Lanterna Film and owner of a famous collection of early motion picture-making equipment.

While touring Europe , Coppola was introduced to alternative filmmaking equipment and inspired by the bohemian spirit of Lanterna Film, he decided he would build a deviant studio that would conceive and implement creative, unconventional approaches to filmmaking. Upon his return home, Coppola and George Lucas searched for a mansion in Marin County to house the studio. However, in 1969, with equipment flowing in and no mansion found yet, the first home for American Zoetrope became a warehouse in San Francisco on Folsom Street. The studio went on to become an early adopter of digital filmmaking, including some of the earliest uses of HDTV . In his book The American Cinema, Andrew Sarris wrote, "Coppola is probably the first reasonably talented and sensibly adaptable directorial talent to emerge from a university curriculum in film-making... He may be heard from more decisively in the future." Andrew Sarris (1968). The American Cinema (Paperback ed.). New York, NY: EP Dutton and Co., Inc. p. 210. Patton (1970) Coppola co-wrote the script for Patton in 1970 along with Edmund H. North.

This earned him his first Academy Award for Best Original Screenplay. However, it was not easy for Coppola to convince Franklin J. Schaffner that the opening scene would work. Coppola later revealed in an interview: "When the title role was offered to George C. Scott, he remembered having read Coppola's screenplay earlier. He stated flatly that he would accept the part only if they used Coppola's script. 'Scott is the one who resurrected my version,' says Coppola." Gene Phillips (2016). 9780813123042, The University Press of Kentucky. ISBN 9780813123042 The movie opens with Scott's rendering of Patton's famous military "Pep Talk" to members of the Third Army, set against a huge American flag. Coppola and North had to tone down Patton's actual language to avoid an R rating; in the opening monologue, the word "fornicating" replaced "fucking" when criticizing the The Saturday Evening Post. Over the years, this opening monologue has become an iconic scene and has spawned parodies in numerous films, political cartoons and television shows.

The Godfather (1972) The release of The Godfather in 1972 was a milestone in cinema. The near 3-hour-long epic, which chronicled the saga of the Corleone family , received overwhelmingly positive reviews from critics and fetched Coppola the Academy Award for Best Adapted Screenplay, which he shared with Mario Puzo and two Golden Globe Awards: for Best Director and Best Screenplay. However, Coppola faced several difficulties while filming The Godfather. He was not Paramount Pictures first choice to direct the movie; Italian director Sergio Leone was initially offered the job, but declined in order to direct his own gangster opus, Once Upon a Time in America. Christopher Frayling Coppola's next film, The Conversation, further cemented his position as one of the most talented Auteur theory of Hollywood. The movie was partly influenced by Michelangelo Antonioni's Blowup (1966) Murch in Ondaatje, 2002, p. 152 and generated much interest when news leaked that the film utilized the very same surveillance and wire-tapping equipment that members of the Nixon administration used to spy on political opponents prior to the Watergate scandal .

Coppola insisted that this was purely coincidental. The script for The Conversation, was completed in the mid-1960s (before the election of Richard Nixon); the spying equipment used in the film was developed through research and use of technical advisers and not by newspaper stories about the Watergate break-in. However, the audience interpreted the film to be a reaction to both the Watergate scandal and its fallout. The movie was a critical success and Coppola won his first Palme d'Or at the 1974 Cannes Film Festival. During the filming of The Conversation, Coppola wrote the screenplay for The Great Gatsby. However, in the commentary track to the DVD of The Godfather Coppola states, "I don't think that script was actually made." Commentary track, The Godfather, The Godfather Collection 2008 Blu-ray, ASIN: B000NTPDSW, The Godfather Part II (1974) Coppola shot The Godfather Part II parallel to The Conversation and it was the last major American motion picture to be filmed in Technicolor . George Lucas commented on the film after its five-hour-long preview, telling Coppola: "You have two films.

Take one away, it doesn't work", referring to the movie's portrayal of two parallel storylines; one of a young Vito Corleone and the other of his son Michael Corleone . In the director's commentary on the DVD edition of the film (released in 2002), Coppola states that this film was the first major motion picture to use "Part II" in its title. Paramount was initially opposed to his decision to name the movie The Godfather Part II. According to Coppola, the studio's objection stemmed from the belief that audiences would be reluctant to see a film with such a title, as the audience would supposedly believe that, having already seen The Godfather, there was little reason to see an addition to the original story. However, the success of The Godfather Part II began the Hollywood tradition of numbered sequels. The movie was released in 1974 and went on to receive tremendous critical acclaim, with many deeming it superior to its predecessor. It was nominated for 11 Academy Awards and received 6 Oscars, including 3 for Coppola: Best Picture, Best Adapted Screenplay and Best Director.

The Godfather Part II is ranked as the #1 greatest movie of all time in TV Guide's "50 Best Movies of All Time" and is ranked at #7 on Entertainment Weekly's list of the "100 Greatest Movies of All Time". The film is also featured on movie critic Leonard Maltin 's list of the "100 Must-See Films of the 20th Century", as well as Roger Ebert's "Great Movies" list. It was also featured on Sight & Sound's list of the ten greatest films of all time in 2002, ranking at #4. Coppola was the third director to have two nominations for Best Picture in the same year. Victor Fleming was the first in 1939 with Gone With the Wind and The Wizard of Oz; Alfred Hitchcock repeated the feat the next year with Foreign Correspondent and Rebecca. Since Coppola, two other directors have done the same: Herbert Ross in 1977 with The Goodbye Girl and The Turning Point, and Steven Soderbergh in 2000 with Erin Brockovich and Traffic. Coppola, however, is the only one to have produced the pictures.

Apocalypse Now (1979) Following the success of The Godfather, The Conversation and The Godfather Part II, Coppola began filming Apocalypse Now, an adaptation of Joseph Conrad 's Heart of Darkness set in Cambodia during the Vietnam War (Coppola himself briefly appears as a TV news director). The production of the film was plagued by numerous problems, including , nervous breakdowns, the firing of Harvey Keitel , Martin Sheen 's heart attack, extras from the Philippine military and half of the supplied helicopters leaving in the middle of scenes to go fight rebels and an unprepared Marlon Brando with a bloated appearance (which Coppola attempted to hide by shooting him in the shadows). It was delayed so often it was nicknamed Apocalypse When? The 1991 documentary film , directed by Eleanor Coppola (Francis's wife), Fax Bahr and George Hickenlooper, chronicles the difficulties the crew went through making Apocalypse Now and features behind-the-scenes footage filmed by Eleanor.

After filming Apocalypse Now, Coppola famously stated: "We were in the jungle, there were too many of us, we had access to too much money, too much equipment and little by little, we went insane." The film was overwhelmingly lauded by critics when it finally appeared in 1979 and was selected for the 1979 Cannes Film Festival, winning the Palme d'Or along with The Tin Drum, directed by Volker Schlöndorff. When the film screened at Cannes, he quipped: "My film is not about Vietnam, it is Vietnam." Apocalypse Now's reputation has grown in time and it is now regarded by many as a masterpiece of the New Hollywood era and is frequently cited as one of the greatest movies ever made. Roger Ebert considers it to be the finest film on the Vietnam war and included it on his list for the 2002 Sight & Sound poll for the greatest movie of all time. In 2001, Coppola re-released Apocalypse Now as Apocalypse Now Redux, restoring several sequences lost from the original 1979 cut of the film, thereby expanding its length to 200 minutes.

One from the Heart (1982) Apocalypse Now marked the end of the golden phase of Coppola's career. His musical fantasy One from the Heart, although pioneering the use of video-editing techniques which are standard practice in the film industry today, ended with a disastrous box-office gross of $636,796 against a US$26 million budget, far from enough to recoup the costs incurred in the production of the movie and he was forced to sell his 23-acre Zoetrope Studio in 1983. He would spend the rest of the decade working to pay off his debts. (Zoetrope Studios finally filed for Chapter 11 bankruptcy in 1990, after which its name was changed to American Zoetrope ). Hammett (1982) Following the disastrous One from the Heart, Coppola co-directed Hammett along with Wim Wenders in the same year.

Although Coppola was not credited for his effort, according to one source, "by the time the final version was released in 1982, only 30 percent of Wenders' footage remained and the rest was completely reshot by Coppola, whose mere 'executive producer' credit is just a technicality." The Outsiders (1983) In 1983, he directed The Outsiders, a film adaptation of the novel of the same name by S. E. Hinton. Coppola credited his inspiration for making the film to a suggestion from middle school students who had read the novel. The Outsiders is notable for being the breakout film for a number of young actors who would go on to become major stars. These included major roles for Matt Dillon , Ralph Macchio and C. Thomas Howell. Also in the cast were Patrick Swayze , Rob Lowe , Emilio Estevez , Diane Lane and Tom Cruise . Matt Dillon and several others also starred in Coppola's related film, Rumble Fish , which was also based on a S. E. Hinton novel and filmed at the same time as The Outsiders on-location in Tulsa, Oklahoma.

Carmine Coppola wrote and edited the musical score, including the title song "Stay Gold", which was based upon a famous Robert Frost poem and performed for the movie by Stevie Wonder . The film was a moderate box-office success, drawing a revenue of $25 million against a budget of $10 million. Rumble Fish (1983) Rumble Fish was based on the novel of the same name by S. E. Hinton, who also co-wrote the screenplay. Shot in black-and-white as an homage to German expressionist films, Rumble Fish centres on the relationship between a revered former gang leader ( Mickey Rourke ) and his younger brother, Rusty James ( Matt Dillon ). The film bombed at the box office, earning a meagre $2.5 million against a budget of $10 million and once again aggravated Coppola's financial troubles. The Cotton Club (1984) In 1984 Coppola directed the Robert Evans-produced The Cotton Club. The film was nominated for several awards, including Golden Globes for Best Director and Best Picture (Drama) and the Oscars for Best Film Editing and Best Art-Direction.

However, the film failed miserably at the box-office, recouping only $25.9 million of the $47.9 million privately invested by brothers Fred and Ed Doumani. Peggy Sue Got Married (1986) In 1986 Coppola released the comedy Peggy Sue Got Married starring Kathleen Turner , Coppola's nephew Nicolas Cage , and Jim Carrey . Much like The Outsiders and Rumble Fish , Peggy Sue Got Married centered around teenage youth. The film earned Coppola positive feedback and provided Kathleen Turner her first and only Oscar nomination. It was the first box-office success for Coppola since Apocalypse Now and the film ranked number 17 on Entertainment Weeklys list of "50 Best High School Movies". Gardens of Stone (1987) The following year, Coppola re-teamed with James Caan for Gardens of Stone, but the film was overshadowed by the death of Coppola's eldest son Gian-Carlo Coppola during the film's production. The movie was not a critical success and performed poorly at the box office, earning only $5.6 million against a budget of $13 million.

Tucker: The Man and His Dream (1988) Coppola directed Tucker: The Man and His Dream the following year. A biopic based on the life of Preston Tucker and his attempt to produce and market the Tucker automobile , Coppola had originally conceived the project as a musical with Marlon Brando after the release of The Godfather Part II. Ultimately it was Jeff Bridges who played the role of Preston Tucker. Budgeted at $24 million, the film received positive reviews and earned three nominations at the 62nd Academy Awards, although its $19.65 million box office was a disappointment. Two awards came its way: Martin Landau won the Golden Globe for Best Supporting Actor and Dean Tavoularis took BAFTA's honors for Best Production Design. New York Stories (1989) In 1989 Coppola teamed up with fellow Academy Award -winning directors Martin Scorsese and Woody Allen for an anthology film called New York Stories. Coppola directed the Life Without Zoë segment, starring his sister Talia Shire and also co-wrote the film with his daughter Sofia Coppola .

Life Without Zoë was mostly panned by critics and was generally considered the segment that brought the film's overall quality down. Hal Hinson of The Washington Post wrote a particularly scathing review, stating that "It's impossible to know what Francis Coppola's Life Without Zoë is. Co-written with his daughter Sofia, the film is a mystifying embarrassment; it's by far the director's worst work yet." The Godfather Part III (1990) In 1990, he released the third and final chapter of The Godfather series: The Godfather Part III. While not as critically acclaimed as the first two films, it was still a box office success, earning a revenue of $136 million against a budget of $54 million. Some reviewers criticized the casting of Coppola's daughter Sofia Coppola , who had stepped into the leading role of Mary Corleone which had been abandoned by Winona Ryder just as filming began. The Godfather Part III . Retrieved October 18, 2010. Despite this, The Godfather Part III went on to gather 7 Academy Award nominations, including Best Director and Best Picture.

The film failed to win any of these awards, the only film in the trilogy not to do so. Bram Stoker's Dracula (1992) In 1992, Coppola directed and produced Bram Stoker's Dracula. Adapted from Bram Stoker 's Dracula , it was intended to be more faithful to the book than previous film adaptations. Coppola cast Gary Oldman in the film's title role, with Keanu Reeves , Winona Ryder and Anthony Hopkins in supporting roles. The movie became a box-office hit, grossing $82,522,790 domestically, making it the 15th highest-grossing film of the year. It fared even better overseas grossing $133,339,902 for a total worldwide gross of $215,862,692 against a budget of $40 million, making it the 9th highest-grossing film of the year worldwide. The film won Academy Awards for Costume Design, Makeup and Sound Editing. Jack (1996) Coppola's next project was Jack, which was released on August 9, 1996.

It starred Robin Williams as Jack Powell, a ten-year-old boy whose cells are growing at four times the normal rate, so at the age of ten he looks like a 40-year-old man. With Diane Lane , Brian Kerwin and Bill Cosby , Jack also featured Jennifer Lopez , Fran Drescher and Michael McKean in supporting roles. Although a moderate box-office success, grossing $58 million domestically on an estimated $45 million budget, it was panned by critics, many of whom disliked the film's abrupt contrast between actual comedy and tragic melodrama. It was also unfavourably compared with the 1988 film Big, in which Tom Hanks also played a child in a grown man's body. Most critics felt that the screenplay was poorly written, not funny and the dramatic material was unconvincing and unbelievable. Other critics felt that Coppola was too talented to be making this type of film. Although ridiculed for making the film, Coppola has defended it, saying he is not ashamed of the final cut of the movie. He had been friends with Robin Williams for many years and had always wanted to work with him as an actor.

When Williams was offered the screenplay for Jack, he said he would only agree to do it if Coppola agreed to sign on as director. The Rainmaker (1997) The last film Coppola directed in the 90s, The Rainmaker, was based on the 1995 novel of the same name by John Grisham . An ensemble courtroom drama, the film was well received by critics, earning an 88% rating on Rotten Tomatoes . Grisham said of the film, "To me it's the best adaptation of any of my... I love the movie. It's so well done." The film grossed about $45 million domestically. This would be more than the estimated production budget of $40 million, but a disappointment compared with previous films adapted from Grisham novels. Pinocchio dispute with Warner Bros. In the late 1980s, Coppola started considering concepts for a motion picture based upon the 19th century novel The Adventures of Pinocchio and in 1991, Coppola and Warner Bros. began discussing the project as well as two others involving the life of J. Edgar Hoover and the children's novel The Secret Garden.

These discussions led to negotiations for Coppola to both produce and direct the Pinocchio project for Warners, as well as The Secret Garden (which was made in 1993 and produced by American Zoetrope , but directed by Agnieszka Holland ) and Hoover, which never came to fruition. (A film was eventually to be made by Clint Eastwood in 2011 as J. Edgar, which was distributed by Warners.) But, in mid-1991, Coppola and Warners came to disagreement over the compensation to be paid to Coppola for his directing services on Pinocchio. The parties deferred this issue and finally a settlement was reached in 1998, when the jurors in the resultant court case awarded Coppola $20 million as compensation for losing the Pinocchio film project. However, they also awarded him a further $60 million in punitive damages on top, stemming from his charges that Warner Bros. sabotaged his intended version. This is the largest civil financial verdict ever against a Hollywood studio. Contact dispute with Carl Sagan/Warner Bros.

During the filming of Contact on December 28, 1996, Coppola filed a lawsuit against Carl Sagan and Warner Bros. Sagan had died a week earlier and Coppola claimed that Sagan's novel Contact was based on a story the pair had developed for a television special back in 1975, titled First Contact. Under their development agreement, Coppola and Sagan were to split proceeds from the project with American Zoetrope and Sesame Workshop , as well as any novel Sagan would write. The TV program was never produced, but in 1985, Simon & Schuster published Sagan's Contact and Warner Bros. moved forward with development of a film adaptation. Coppola sought at least $250,000 in compensatory damages and an injunction against production or distribution of the film. Even though Sagan was shown to have violated some of the terms of the agreement, the case was dismissed in February 1998 because Coppola had waited too long to file suit.

Question: What is the name of the literary magazine launched by Francis Ford Coppola in 1997?
Answer: Zoetrope