法蘭西斯·福特·柯波拉（英語：Francis Ford Coppola，1939年4月7日—），美國的電影導演，家族為義大利移民。其最著名的作品是《教父》三部曲、《現代啟示錄》和《吸血鬼：真愛不死》。柯波拉被認為是20世紀美國新浪潮運動的重要人物之一。
柯波拉曾在加州大學洛杉磯分校學電影，那時他已經拍攝了多部短片，其中還包括了色情電影。在1960年代後期，開始他的職業生涯，與羅傑·考曼一起製作低成本電影，並撰寫劇本。1969年，他與喬治·盧卡斯一起創建了美國西洋鏡公司，期望在倍受壓迫的好萊塢工作室制度外為電影製作者們創造一個能夠自由發揮的環境。他在為1974年重拍的《大亨小傳》寫劇本的同時，為喬治·盧卡斯的突破性電影《美國風情畫》做製片。柯波拉與喬治·盧卡斯一起為迪士尼主題公園導演了由麥可·傑克森主演的影片《伊奧船長》，創下了（每分鐘算）最昂貴的電影記錄。
他為《巴頓將軍》寫的劇本，贏得了奧斯卡獎。但是，他以電影製片的名銜所獲得的成功，是在1970年代的《教父》和《教父第二集》裡擔任共同編劇和導演，兩部影片都贏得了奧斯卡最佳影片獎，後者更成為首部獲獎的續篇電影。1974年繼《教父》成功後，他的另外一部電影《對話》獲得了第27屆坎城影展金棕櫚獎以及奧斯卡的最佳攝影和最佳原創劇本兩個獎項。
繼它們的成功之後，他著手把約瑟夫·康拉德的小說《黑暗之心》拍攝為電影，把影片中的時間背景設定在越戰期間，電影取名為《現代啟示錄》。拍攝期間遇到各種問題困擾，包括：颱風、濫用藥物和精神崩潰。因為受到如此多的耽誤，電影還被取了個綽號「不知何時啟示錄」。當電影最終上映時，受到影評人褒貶不一的評價，差點使柯波拉剛成立的美國西洋鏡公司破產。1991年的記錄片《黑暗之心：製片人的啟示錄》，由艾琳諾·柯波拉（柯波拉的妻子）、福斯·巴爾（Fax Bahr）和喬治·希根路柏執導，片中記載了製作《現代啟示錄》中的困難和全體的工作人員，還有艾琳諾拍攝的幕後花絮。
在經過對冗長的裁員，柯波拉帶著一些商業和關鍵的成功回來執導《教父3》。它是教父傳奇的第三部，在1990年上映。
柯波拉的女兒蘇菲亞·柯波拉也是一個影片製作人（參見《死亡日記》，和《愛情，不用翻譯》）。他的侄子尼可拉斯·凱吉（原名：尼古拉斯·金·柯波拉）則憑自己的實力，成為倍受稱讚的演員。
From "What I've Learned: Francis Ford Coppola" by Stephen Garrett for Esquire, August 2009
When I was sixteen or seventeen, I wanted to be a writer. I wanted to be a playwright. But everything I wrote, I thought, was weak. And I can remember falling asleep in tears because I had no talent the way I wanted to have.
Did you ever see "Rushmore"? I was just like that kid.
Ten or fifteen years after "Apocalypse Now," I was in England in a hotel, and I watched the beginning of it and ultimately ended up watching the whole movie. And it wasn’t as weird as I thought. It had, in a way, widened what people would tolerate in a movie.
I saw this bin full of, basically, garbage film. We had shot five cameras when the jets came and dropped the napalm. You had to roll them all at the same time, so there was a lot of this leader, which was just footage. So I picked something out of this barrel and put it in the Moviola and it was very abstract, and every once in a while you saw this helicopter skid. And then over in sound there was all this Doors music, and in it was something called “The End.” And I said, “Hey, wouldn’t it be funny if we started the movie with ‘The End’?”
To do good is to be abundant—that’s my tendency. If I cook a meal, I cook too much and have too many things. I was just watching a Cecil B. DeMille picture last night based on Cleopatra, and I realized how many parts of the real story he left out. So much of the art of film is to do less. To aspire to do less.
The ending was clear and Michael has corrupted himself—it was over. So I didn’t understand why they wanted to make another "Godfather."
I said, “What I will do is help you develop a story. And I’ll find a director and produce it.” They said, “Well, who’s the director?” And I said, “Young guy, Martin Scorsese.” They said, “Absolutely not!” He was just starting out.
The only thing they really argued with me about was calling it "Godfather Part II." It was always "Son of the Wolfman" or "The Wolfman Returns" or something. They thought that audiences would find it confusing. It was ironic, because that started the whole numbers thing. I started a lot of things.
I was in my trailer, working on "Godfather II" or III in New York, and there was a knock on the door. The guy working with me said that John Gotti would like to meet Mr. Coppola. And I said, “It’s not possible, I’m in the middle of something.” There’s an old wives’ tale about vampires—that you have to invite them in, but once they cross the threshold, then they’re in. But if you say you don’t want to meet them, then they can’t come in. They can’t know you.
I never saw "The Sopranos." I’m not interested in the mob.
摘自史蒂芬‧加勒特為《時尚先生》雜誌撰寫的《我所學到的：法蘭西斯‧福特‧科波拉》，2009年8月
我十六七歲的時候，想成為作家。我想成為一名劇作家。但我寫的所有東西，我覺得都很爛。我還記得自己曾經淚流滿面地睡著，因為我沒有自己想要的那種天賦。
你看過《青春年少》嗎？我當時就像那個孩子一樣。
《現代啟示錄》上映十年十五年後，我在英國的一家旅館裡，看了這部電影的開頭，最後看完了整部電影。它並沒有我想像的那麼怪異。在某種程度上，它拓寬了人們對電影的容忍度。
我看到一個裝滿垃圾膠卷的垃圾箱。當噴射機飛來投下凝固汽油彈時，我們用了五台攝影機拍攝。你必須同時啟動所有攝影機，所以有很多關於「領導者」的鏡頭，但那隻是一些膠片而已。於是我從桶子裡拿出一些東西，放進摩維奧拉錄音機裡，它非常抽象，不時你會看到一架直升機在滑行。然後聲音部分播放著大門樂團的音樂，裡面有一首叫做《魔鬼終結》的歌。我說：“嘿，如果我們以《魔鬼終結》作為電影的開場，是不是很有趣？”
行善就是富足──這是我的傾向。如果我做飯，我會做得太多，東西也太多。昨晚我剛看了一部塞西爾·B·德米爾根據《埃及豔後》改編的電影，我意識到他遺漏了多少真實故事的部分。電影藝術很大程度上就是少做。渴望少做。
結局很明確，麥可墮落了——一切都結束了。所以我不懂他們為什麼要再拍一部《教父》。
我說：「我會幫你們構思一個故事。我會找個導演來製作。」他們說：「嗯，導演是誰？」我說：「年輕人，馬丁‧史柯西斯。」他們說：「絕對不行！」他才剛出道。
他們唯一真正跟我爭論的就是叫它《教父2》。我以前總是叫它《狼人之子》或《狼人歸來》之類的。他們認為觀眾會覺得困惑。諷刺的是，這引發了整部電影的討論。我做了很多事。
當時我住在紐約的拖車裡，正在製作《教父2》或《教父3》，突然有人敲門。和我一起工作的人說約翰‧戈蒂想見科波拉先生。我說：「不可能，我正在忙。」有一個關於吸血鬼的古老傳說——你必須邀請他們進來，但一旦他們跨過門檻，他們就進來了。但如果你說你不想見他們，他們就進不來。他們不可能認識你。
我從未看過《黑道家族》。我對黑幫沒興趣。
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昨晚從英國報紙知道 Bob Hoskins過世的消息， 到YouTube去看了一些訪談和電影精彩處。
Bob Hoskins, Actor Who Combined Charm and Menace, Dies at 71
Bob
Hoskins, the bullet-shaped British film star who brought a singular mix
of charm, menace and cockney accent to a variety of roles, including
the bemused live-action hero of the largely animated “Who Framed Roger Rabbit,” has died. He was 71.
A
spokeswoman, Clair Dobbs, released a statement by his family on
Wednesday saying that he had died in a hospital, where he had been
treated for pneumonia. No other details were given. A much-honored,
Oscar-nominated actor, Mr. Hoskins had announced his retirement in
August 2012 after learning he had Parkinson’s disease.
Mr.
Hoskins, who had virtually stumbled into acting, found early acclaim as
the kind of ruthless British gangster he played in 1980 in his
startling breakthrough feature, “The Long Good Friday,” and later in Neil Jordan’s 1986 film “Mona Lisa,”
which earned him an Academy Award nomination for best actor. But his
filmography also included more playful roles. He was the pirate Smee in
two variations of “Peter Pan” — Steven Spielberg’s “Hook” in 1991 and the 2011 British television production “Neverland.” He played Cher’s unlikely love match in “Mermaids”
(1990). And he voiced Charles Dickens’s Old Fezziwig in the 2009
animated version of “A Christmas Carol,” directed by Robert Zemeckis.
It
was Mr. Zemeckis who cast Mr. Hoskins as the cartoon-hating
pulp-fictional detective Eddie Valiant in the landmark hybrid “Who
Framed Roger Rabbit,” in which Mr. Hoskins shared the screen with
animated characters, including the voluptuous Jessica Rabbit, voiced by
Kathleen Turner.
In
a 2009 interview with The Telegraph of London, Mr. Hoskins said his
doctor had advised him to take five months off after finishing the film.
“I
think I went a bit mad while working on that,” he said. “Lost my mind.
The voice of the rabbit was there just behind the camera all the time.
You had to know where the rabbit would be at every angle. Then there was
Jessica Rabbit and all these weasels. The trouble was, I had learnt how
to hallucinate.”
Mr. Hoskins received a number of prestigious acting awards over his four-decade career, including the Bafta award, the Golden Globe and the Cannes Film Festival
prize as best actor for “Mona Lisa,” in which he played an ex-convict
hired by a crime boss to act as chauffeur and unlikely bodyguard for a
high-priced call girl (Cathy Tyson). He also received an International
Emmy Award for episodes of “The Street” (2009); the Canadian Genie Award for the director Atom Egoyan’s “Felicia’s Journey” (1999), based on the William Trevor novel; and a Screen Actors Guild nomination as part of the cast of Oliver Stone’s “Nixon” (1995)in which he played J. Edgar Hoover.
Survivors
include his wife, the former Linda Banwell; their children, Rosa and
Jack; and two children, Alex and Sarah, from his first marriage, to Jane
Livesey.
Robert
William Hoskins was born on Oct. 26, 1942, in the historic Suffolk town
of Bury St. Edmunds, to which his mother, Elsie Lillian, had been
evacuated during heavy bombing in World War II.
An only child, he was reared in London, where his father, Robert, was a
bookkeeper and his mother was a cook at a nursery school.
After
leaving school at 15, he worked as a porter, truck driver and window
cleaner. He took a course in accounting but dropped out.
Then,
in 1968, he accompanied a friend to an acting audition where he was
mistaken for a candidate and was asked to read for a part. He was
offered the lead.
As soon as he started acting, he said, he knew it was for him.
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“I
fit into this business like a sore foot into a soft shoe,” he told The
Telegraph in 2009. “But when I started I thought, ‘Christ, I ought to
learn to act now I’m doing this for a living.’ I was a completely
untrained, ill-educated idiot. So I read Stanislavsky, but I thought it
was all so obvious. Same with Strasberg. He just seemed to be saying
look busy. Impress the boss. I soon realized actors are just
entertainers, even the serious ones.”
He would find success on television, in Dennis Potter’s 1978 BBC mini-series “Pennies From Heaven”; onstage, playing Nathan Detroit in the wildly successful 1982 revival of “Guys and Dolls,” directed by Richard Eyre, at the National Theater in London; and on film, in “Mona Lisa” as well as Terry Gilliam’s “Brazil” (1985) and Francis Ford Coppola’s “The Cotton Club” (1984), in which he played the British-born gangster Owney Madden.
In
the mid-1990s, however, came projects that he considered the low points
of his career. In one, he replaced Danny DeVito in “Super Mario Bros.,”
a 1993 film he dismissed as “a nightmare.” (He once joked that Mr.
DeVito might play the title role should a movie ever be made about Mr.
Hoskins’s life.) Another disappointment was “The Secret Agent,”
Christopher Hampton’s 1996 adaptation of the Joseph Conrad novel. Mr.
Hoskins blamed 20th Century Fox for not adequately supporting the film,
which drew poor reviews.
“I
was very proud of it,” he said in a 1998 interview with the British
newspaper The Independent. “Conrad is merciless. He don’t give you any
sympathy for any of the characters. It’s very slow, it’s very laborious,
but very good.
“Fox
killed it stone dead. I think they thought they were getting a
Victorian James Bond. But if you look at Conrad and you look at me, you
know different.”
He went on to star in “TwentyFourSeven,”
a 1997 film directed by Shane Meadows, a portly and bald man whom Mr.
Hoskins described as his fellow “cube.” He played Alan Darcy, a loner
who organizes idle working-class youths into a boxing club.
It was a role Mr. Hoskins called “a wonderful study in loneliness.”
“To
play a character as tough as this and yet to portray this socially
crippled character was the biggest challenge I’ve had in years,” he
added. “I’ll tell you this. This film is more important to me than
anything I’ve ever done.”
One
of the more widely circulated and humorous anecdotes about Mr. Hoskins
involved a film he wasn’t in at all: Brian De Palma’s “The Untouchables” (1987).
During
preparation for filming, Mr. Hoskins had been asked to come to Los
Angeles to talk about playing Al Capone, a part that eventually went to
Robert De Niro. In fact, as Mr. Hoskins told the story, Mr. De Palma was
quite straightforward about the fact that he really wanted Mr. De Niro,
but that Mr. De Niro’s price was creating consternation at Paramount.
Mr. Hoskins was engaged as a backup, in the event the studio could not
come to terms with Mr. De Niro.
Sometime
afterward, Mr. Hoskins received a check for £20,000 and a thank-you
note from Mr. De Palma. “I phoned him up,” Mr. Hoskins recalled, “and I
said, ‘Brian, if you’ve ever got any other films you don’t want me in,
son, you just give me a call.’ ”
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