Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hi, bitty, Yes, sir.
Speaker 2 (00:02):
You're on with Francis work Couplo.
Speaker 1 (00:05):
The legendary Francis Ford coach, well, the.
Speaker 2 (00:09):
Elderly Francis Wardlo. But you just call me Francis.
Speaker 1 (00:13):
This is an honor. It's a dream come true, and
it makes me wish my father was still with us
that I'm talking to you today. Welcome to the show.
Speaker 2 (00:23):
Thank you, you're so kind. Thank you.
Speaker 1 (00:25):
This is very a very interesting thing that you're choosing
to do here, bringing Megalopolis. Doing these Megalopolis screenings. We've
got one the Capitol Theater in port Chester, New York.
I'll have you know. It was my eighteen year old
son's favorite film of twenty twenty four was Megalopolis. We
were waiting on that sucker for a good long time.
Speaker 2 (00:47):
Well, that's thanks thanks to your your eighteen year old son.
That was very well, you know, very interesting to get
out of the norm with what kinds of movies are
being packaged and sold and go for something a little
more unusual.
Speaker 1 (01:04):
Yeah. Well, and as he was talking to me about
it and waiting for it to you know, waiting on
that first trailer. He's a movie geek, just like I am.
I have been my whole life. I was telling him,
how you know I've been reading you were trying to
make this movie for a long time, for decades, am
I remembering correctly? I had gotten excited about this several times.
Speaker 2 (01:28):
Well, you know, this is my way. I don't have
a kind of talent that some wonderful film directors do,
or just seeing the whole thing before me and saying, well,
now I know what to do. It takes me a
lot of work. And if I do have a gift,
that's the willingness to rewrite something a million times if
(01:49):
I have to. And so usually my projects are long
in the preparation and based on ideas I had years before,
and I kept working on them and then I abandoned
them and then went back to them. So it's a
process more than a fact.
Speaker 1 (02:08):
Did you go? Did it ever get to the point?
I'm always a sucker for these kinds of stories, Like
I'm a huge Adam Driver fan, and I think he
was fantastic in the role. I don't think he's turned
in a bad performance in anything yet. But was there
a time where you had other like in the eighties,
where you had somebody else, you know, attached to the role.
I always love hearing stories of who was attached previously.
(02:30):
And by previously, I don't mean just a few years before.
I mean, you know in the early nineties when you
almost went with it at one point.
Speaker 2 (02:37):
Then, well, I never was sufficiently ready to have anyone, Okay,
I mean there were people I was talking to many
years ago. First of all was the Niro I had
just worked with on The Second Godfather, and I said, well,
I have this idea. It's a crazy idea because it's
(02:58):
about the Roman ro public, but it's set in modern America,
and there was this character. In some history it was
a nobleman, and in some histories it was actually Caesar
was involved. And of course whenever you mentioned Caesar, actors
are immediately interested because he's such an incredible figure in
(03:23):
our idea of Roman history. But you know, I never
had anyone really attached for a while. I was, Yeah,
there were different people at a time, but I never
had the project sufficiently digested and in a form you
could have much less attach anyone get any finance.
Speaker 1 (03:44):
For Yeah, an ambitious undertaking, to say the least. And
you know, I think shil La Beau, I think Shia
LAbau was perfectly cast as well. Not that you need
nobody in New Haven, Connecticut to tell you that, but
he was perfect as clodial. And you know, it was
an interesting year twenty twenty four. I don't know if
(04:04):
you're aware. And again around with Francis Ford Coppola, there
was this funny thing taking place on social media where
women were mocking men. Mocking might be too strong a word,
but that We talk about the Roman Empire a lot,
because we do.
Speaker 2 (04:21):
Yes, well, you know what Roman empires in American history
are our founders who created America deliberately chose to copy
Rome because Rome had a republic and no king, and
of course our founders were all trying to get away
from the English king and the Romans, and ancient Romans
(04:42):
founded the Roman republic because they had a terrible king
that they wanted to get rid of. So basically both
parties both are founders, and the original Romans who created
this concept of a republic, you know, with the Senate
and everything we taught Roman law, did so because they
(05:02):
didn't ever want to have a king, and ironically, almost
two thousand years ago they lost their republic and ended
up with a king or an emperor. So this is
what the this this is what this story tells to
remind us of. Yeah.
Speaker 1 (05:19):
Yeah, and you know, at the outset here, I would say,
it's interesting to see you bringing this to theaters, screening
the film, doing Q and a's afterwards, all these people,
so many dreams coming true. Getting to ask a question
of Francis Ford Coppola, what kind of questions have you
been getting so far from audiences.
Speaker 2 (05:38):
I'm curious, Oh, I you know, I've been getting questions
of why, how did you come up with this idea?
What was your intention? Or because I get a lot
of personal questions from students like how do you how
do you become a film director or anything like that. Yeah,
but you know, I mean the questions are But what
(06:01):
I'm trying to do is get the audience involved in
imagining the world that could be a better, better world,
basically for our children. I mean, it's not possible, it's
not it's not necessary that we have a world of
destruction and children being killed. Uh, and and and and
(06:22):
and and enmity and hatred. I mean this, this isn't
our nature. Human beings emerged as the creature of the
intelligent creatures that we are out of a out of
a time when you need it to be friendly or
you wouldn't survive. And and and maybe we have to
learn that lesson.
Speaker 1 (06:41):
And you know, I think meg a lot poliss And
maybe this is another reason too, why you're you know,
you're doing this great tour and you're showing it yourself
and taking questions yourself. Is Uh, it went over a
lot of heads, a lot of audiences heads, But I
believe it's going to aid. I loved it. I love it.
I think it's going to age a fine wine pun
(07:02):
intended because I'm a huge fan of your wines, so
pun intended there. But I think it's going to age
very well. You know how some movies just do and
some don't.
Speaker 2 (07:11):
Well, my films tend to last a long time. And
I think it's because, yes, there certainly is a formula
that the film companies are using to try to get
you to think that movies are habit forming, that you
should look for the same way it develops and the
same way the story is cold, and the same kinds
(07:31):
of stories. Basically, you're the way they have it today.
You're looking at the same movie over and over again.
With different casts and different different marketing. But you know,
movies are not like that. Movies are not like Coca cola,
where you're drinking the same drink over and over and
(07:51):
over again. Movies changed with the different people make them,
and more important than different generations that you know, the
films your grandchildren will make will be almost beyond our
comprehension because they will have evolved so completely. Films. Art
does not stay the same. Art changes and change brings
(08:14):
it the one word that the folks now who finance
movies hate, which is risk. They want to have movies
with no risk, and the only way to have movies
with no risk is to have the movie be that
basically the same over and over again, just with different
casts and different titles.
Speaker 1 (08:33):
Did you see similarities as far as Adam Driver's concerned
with Paccino? I see a lot of similarities between the
two as actors.
Speaker 2 (08:41):
Well, both of them have a unique quality. Actors can
either be super intelligent and they get good performances out
of their intelligence, or they could be super talented and
they get great performances. That Pacino is both super talented
and super intelligent. Adam Driver is both super intelligent and
(09:04):
super talented, so they are similar on that account.
Speaker 1 (09:07):
Yeah, I'm just a huge fan of his. Uh, it's
a sprawling cast in Megalopolis. Outside of the younger talent,
Like had you worked with John Voight before or Laurence
fish Yeah, because well, of course Dustin.
Speaker 2 (09:25):
And I Fishburn I worked when he was fifteen in
Bacloms Now John Wright, I worked in John Grisham's The
rain Maker. I worked very well with John White in that.
Speaker 1 (09:37):
Yeah, and just a great up and comers tone and.
Speaker 2 (09:43):
The spectacular Aubrey Plow. Yeah, she's a wonder and she's
so funny and so smart and so committed. I mean,
she was just great. Oh. I loved the cast of Megalopolis.
Speaker 1 (09:56):
There's no exception, so do I You know, you hesitate
to say things like, you know, somebody stole the I
don't necessarily believe it's a catchphrase somebody stole you know,
stole a picture. But Aubrey Plaza sure as how if
we're going to use it, it would work here because
she she's a seene steeler. Just in general, she is great.
Speaker 2 (10:18):
And as I said, you know, the the beautiful thing
about my cast is that they're they're all over the
map politically. I mean it's not like they're all you
know sort of, It's in no way is to have
one political persuasion there. John Boyd is a is a
(10:39):
voted conservative and they're a wild liberal. I mean, it's
every kind of political person that you don't have to
feel that this movie is in any way politically aligned
with anything. It's all over the map.
Speaker 1 (10:54):
Yeah, and an interesting state. Were you trying to make
a statement as far as New York City in general
is concerned too, because I felt like one was made.
Speaker 2 (11:05):
Well, yeah, I'm trying to say basically, listen, let's face it,
we human beings are one family. So that means every
child on earth. If one child is lost, is killed
at accidentally or carelessly, we lose a potential genius. We
lose maybe one of some of those kids being killed
(11:28):
by the thousands in Sudan or in the Middle East
or anything. Those childs lost are loss to the human family,
and we might be losing the person who's going to
cure cancer or who can write most gorgeous symphonic music.
Since modes are we are a family, one family, and
our children are precious.
Speaker 1 (11:51):
That's beautiful and Megalopolis you're taking it doing this until
the end of the years. Are there are many more
dates lined up.
Speaker 2 (12:00):
About two weeks and then I'm going to continue to
show it, you know, without me necessarily there, because the film,
the film can take care of itself. If the thing
is to get people to watch movies in theaters with
big audiences, I agree, and become and be united with
the audience and in whatever it is they experience.
Speaker 1 (12:20):
And turn their gadgets off well, and turn their gadgets
off while they're in there, no distractions.
Speaker 2 (12:26):
Perfect absolutely is to enjoy the theater experience and uh
and to see what you can learn together. Because if
we can learn together, we can apply what we learn
to solving what seemed like impossible things to solve. We
can solve. We don't need to have this mutual destruction
(12:49):
going on, this hatred and and then there I say,
endless wars, they're not necessary. We can we can leap
above and beyond them. That's what the film is trying
to say, leap into the future. I'm afraid I love
it and.
Speaker 1 (13:04):
It's Megalopolis, and I just wanted to let you know
before I let you go. Started this interview by saying
my father would have loved to have heard.
Speaker 2 (13:11):
This.
Speaker 1 (13:11):
Was a huge fan of yours, lost him long ago.
But that nineteen year old son of mine that I
mentioned to you, his name is Luca because I told
my father I'm going to have a son. I said,
I'm going to name his name is going to be Luke.
And he was in hospice care at the time, and
he said, it can't be Luke. It has to be Luca,
like Luca Brazzi. That's what he said to me. Like,
(13:33):
I mean, who really, I don't know that Luca Brozi.
Any child should be named after Luca Brozi. But that's
why we called it. We named him Luca as opposed
to Luke.
Speaker 2 (13:43):
Well, Luca is a beautiful name without the assumption of
Luciabroi the beautiful.
Speaker 1 (13:50):
One of the last things he ever said, Francis, was
it's got to be Luca like Luca Brozzi.
Speaker 2 (13:55):
Is that?
Speaker 1 (13:55):
Do you hear crazy stories like that? Often?
Speaker 2 (13:58):
Sometimes I do. Where was your father from? Where was
he born?
Speaker 1 (14:03):
He was from Providence, Rhode Island. He was from Federal
Hill in Providence, Rhode Island.
Speaker 2 (14:09):
And was his family from Italy before?
Speaker 1 (14:11):
Yes or yes, sir, my grandmother and my grandfather were
both from Italy.
Speaker 2 (14:16):
What part of Italy do you know?
Speaker 1 (14:18):
Oh yeah, my grandmother from Caserta. My grandfather I can't
quite recall right now. I mean they both passed four
days apart in the late seventies.
Speaker 2 (14:31):
Well, that sounds like the South near Naples, where the
pizza was born. Yeah, Americans who favored food is pizza,
don't realize that before World War Two they didn't really
have the knowledge of pizza. The pizza came back with
the American gis who had gone through Naples and Caserta
(14:53):
and on their way up in the Second World War.
Speaker 1 (14:57):
Yeah, I love it, you know, since we're in too.
That was one of my favorite scenes is in The Godfather,
was when Michael went to Italy. I always wanted to
do you do you believe in the thunderbowlt? Do you
believe the thunderbolt is possible?
Speaker 2 (15:14):
Oh yeah, totally happens all the time. I want to,
but it's but it's God's trick to make babies.
Speaker 1 (15:23):
That is great stuff. Francis Ford Coble and I am
I've been a fan of your wine for for decades now. Yeah,
I mean going back I think to the late nineties,
so thank you.
Speaker 2 (15:35):
So much, and thanks for helping me bring my film
to the to the world. Because it's a film about
hope and positive feelings. It's not about negative or or
bad feel It's about good feelings, happy feelings, a happy
a future that we can make for our children where
they'll be in paradise.
Speaker 1 (15:55):
Yeah well no. Thank you for decades of entertainment and
for making a dream come true today. And I can't
wait to see Megalopolis again. Continued success and good health, sir.
Speaker 2 (16:05):
Good health to you. Thank you so much, and bye
bye
Hi, bitty, Yes, sir.
Speaker 2 (00:02):
You're on with Francis work Couplo.
Speaker 1 (00:05):
The legendary Francis Ford coach, well, the.
Speaker 2 (00:09):
Elderly Francis Wardlo. But you just call me Francis.
Speaker 1 (00:13):
This is an honor. It's a dream come true, and
it makes me wish my father was still with us
that I'm talking to you today. Welcome to the show.
Speaker 2 (00:23):
Thank you, you're so kind. Thank you.
Speaker 1 (00:25):
This is very a very interesting thing that you're choosing
to do here, bringing Megalopolis. Doing these Megalopolis screenings. We've
got one the Capitol Theater in port Chester, New York.
I'll have you know. It was my eighteen year old
son's favorite film of twenty twenty four was Megalopolis. We
were waiting on that sucker for a good long time.
Speaker 2 (00:47):
Well, that's thanks thanks to your your eighteen year old son.
That was very well, you know, very interesting to get
out of the norm with what kinds of movies are
being packaged and sold and go for something a little
more unusual.
Speaker 1 (01:04):
Yeah. Well, and as he was talking to me about
it and waiting for it to you know, waiting on
that first trailer. He's a movie geek, just like I am.
I have been my whole life. I was telling him,
how you know I've been reading you were trying to
make this movie for a long time, for decades, am
I remembering correctly? I had gotten excited about this several times.
Speaker 2 (01:28):
Well, you know, this is my way. I don't have
a kind of talent that some wonderful film directors do,
or just seeing the whole thing before me and saying, well,
now I know what to do. It takes me a
lot of work. And if I do have a gift,
that's the willingness to rewrite something a million times if
(01:49):
I have to. And so usually my projects are long
in the preparation and based on ideas I had years before,
and I kept working on them and then I abandoned
them and then went back to them. So it's a
process more than a fact.
Speaker 1 (02:08):
Did you go? Did it ever get to the point?
I'm always a sucker for these kinds of stories, Like
I'm a huge Adam Driver fan, and I think he
was fantastic in the role. I don't think he's turned
in a bad performance in anything yet. But was there
a time where you had other like in the eighties,
where you had somebody else, you know, attached to the role.
I always love hearing stories of who was attached previously.
(02:30):
And by previously, I don't mean just a few years before.
I mean, you know in the early nineties when you
almost went with it at one point.
Speaker 2 (02:37):
Then, well, I never was sufficiently ready to have anyone, Okay,
I mean there were people I was talking to many
years ago. First of all was the Niro I had
just worked with on The Second Godfather, and I said, well,
I have this idea. It's a crazy idea because it's
(02:58):
about the Roman ro public, but it's set in modern America,
and there was this character. In some history it was
a nobleman, and in some histories it was actually Caesar
was involved. And of course whenever you mentioned Caesar, actors
are immediately interested because he's such an incredible figure in
(03:23):
our idea of Roman history. But you know, I never
had anyone really attached for a while. I was, Yeah,
there were different people at a time, but I never
had the project sufficiently digested and in a form you
could have much less attach anyone get any finance.
Speaker 1 (03:44):
For Yeah, an ambitious undertaking, to say the least. And
you know, I think shil La Beau, I think Shia
LAbau was perfectly cast as well. Not that you need
nobody in New Haven, Connecticut to tell you that, but
he was perfect as clodial. And you know, it was
an interesting year twenty twenty four. I don't know if
(04:04):
you're aware. And again around with Francis Ford Coppola, there
was this funny thing taking place on social media where
women were mocking men. Mocking might be too strong a word,
but that We talk about the Roman Empire a lot,
because we do.
Speaker 2 (04:21):
Yes, well, you know what Roman empires in American history
are our founders who created America deliberately chose to copy
Rome because Rome had a republic and no king, and
of course our founders were all trying to get away
from the English king and the Romans, and ancient Romans
(04:42):
founded the Roman republic because they had a terrible king
that they wanted to get rid of. So basically both
parties both are founders, and the original Romans who created
this concept of a republic, you know, with the Senate
and everything we taught Roman law, did so because they
(05:02):
didn't ever want to have a king, and ironically, almost
two thousand years ago they lost their republic and ended
up with a king or an emperor. So this is
what the this this is what this story tells to
remind us of. Yeah.
Speaker 1 (05:19):
Yeah, and you know, at the outset here, I would say,
it's interesting to see you bringing this to theaters, screening
the film, doing Q and a's afterwards, all these people,
so many dreams coming true. Getting to ask a question
of Francis Ford Coppola, what kind of questions have you
been getting so far from audiences.
Speaker 2 (05:38):
I'm curious, Oh, I you know, I've been getting questions
of why, how did you come up with this idea?
What was your intention? Or because I get a lot
of personal questions from students like how do you how
do you become a film director or anything like that. Yeah,
but you know, I mean the questions are But what
(06:01):
I'm trying to do is get the audience involved in
imagining the world that could be a better, better world,
basically for our children. I mean, it's not possible, it's
not it's not necessary that we have a world of
destruction and children being killed. Uh, and and and and
(06:22):
and and enmity and hatred. I mean this, this isn't
our nature. Human beings emerged as the creature of the
intelligent creatures that we are out of a out of
a time when you need it to be friendly or
you wouldn't survive. And and and maybe we have to
learn that lesson.
Speaker 1 (06:41):
And you know, I think meg a lot poliss And
maybe this is another reason too, why you're you know,
you're doing this great tour and you're showing it yourself
and taking questions yourself. Is Uh, it went over a
lot of heads, a lot of audiences heads, But I
believe it's going to aid. I loved it. I love it.
I think it's going to age a fine wine pun
(07:02):
intended because I'm a huge fan of your wines, so
pun intended there. But I think it's going to age
very well. You know how some movies just do and
some don't.
Speaker 2 (07:11):
Well, my films tend to last a long time. And
I think it's because, yes, there certainly is a formula
that the film companies are using to try to get
you to think that movies are habit forming, that you
should look for the same way it develops and the
same way the story is cold, and the same kinds
(07:31):
of stories. Basically, you're the way they have it today.
You're looking at the same movie over and over again.
With different casts and different different marketing. But you know,
movies are not like that. Movies are not like Coca cola,
where you're drinking the same drink over and over and
(07:51):
over again. Movies changed with the different people make them,
and more important than different generations that you know, the
films your grandchildren will make will be almost beyond our
comprehension because they will have evolved so completely. Films. Art
does not stay the same. Art changes and change brings
(08:14):
it the one word that the folks now who finance
movies hate, which is risk. They want to have movies
with no risk, and the only way to have movies
with no risk is to have the movie be that
basically the same over and over again, just with different
casts and different titles.
Speaker 1 (08:33):
Did you see similarities as far as Adam Driver's concerned
with Paccino? I see a lot of similarities between the
two as actors.
Speaker 2 (08:41):
Well, both of them have a unique quality. Actors can
either be super intelligent and they get good performances out
of their intelligence, or they could be super talented and
they get great performances. That Pacino is both super talented
and super intelligent. Adam Driver is both super intelligent and
(09:04):
super talented, so they are similar on that account.
Speaker 1 (09:07):
Yeah, I'm just a huge fan of his. Uh, it's
a sprawling cast in Megalopolis. Outside of the younger talent,
Like had you worked with John Voight before or Laurence
fish Yeah, because well, of course Dustin.
Speaker 2 (09:25):
And I Fishburn I worked when he was fifteen in
Bacloms Now John Wright, I worked in John Grisham's The
rain Maker. I worked very well with John White in that.
Speaker 1 (09:37):
Yeah, and just a great up and comers tone and.
Speaker 2 (09:43):
The spectacular Aubrey Plow. Yeah, she's a wonder and she's
so funny and so smart and so committed. I mean,
she was just great. Oh. I loved the cast of Megalopolis.
Speaker 1 (09:56):
There's no exception, so do I You know, you hesitate
to say things like, you know, somebody stole the I
don't necessarily believe it's a catchphrase somebody stole you know,
stole a picture. But Aubrey Plaza sure as how if
we're going to use it, it would work here because
she she's a seene steeler. Just in general, she is great.
Speaker 2 (10:18):
And as I said, you know, the the beautiful thing
about my cast is that they're they're all over the
map politically. I mean it's not like they're all you
know sort of, It's in no way is to have
one political persuasion there. John Boyd is a is a
(10:39):
voted conservative and they're a wild liberal. I mean, it's
every kind of political person that you don't have to
feel that this movie is in any way politically aligned
with anything. It's all over the map.
Speaker 1 (10:54):
Yeah, and an interesting state. Were you trying to make
a statement as far as New York City in general
is concerned too, because I felt like one was made.
Speaker 2 (11:05):
Well, yeah, I'm trying to say basically, listen, let's face it,
we human beings are one family. So that means every
child on earth. If one child is lost, is killed
at accidentally or carelessly, we lose a potential genius. We
lose maybe one of some of those kids being killed
(11:28):
by the thousands in Sudan or in the Middle East
or anything. Those childs lost are loss to the human family,
and we might be losing the person who's going to
cure cancer or who can write most gorgeous symphonic music.
Since modes are we are a family, one family, and
our children are precious.
Speaker 1 (11:51):
That's beautiful and Megalopolis you're taking it doing this until
the end of the years. Are there are many more
dates lined up.
Speaker 2 (12:00):
About two weeks and then I'm going to continue to
show it, you know, without me necessarily there, because the film,
the film can take care of itself. If the thing
is to get people to watch movies in theaters with
big audiences, I agree, and become and be united with
the audience and in whatever it is they experience.
Speaker 1 (12:20):
And turn their gadgets off well, and turn their gadgets
off while they're in there, no distractions.
Speaker 2 (12:26):
Perfect absolutely is to enjoy the theater experience and uh
and to see what you can learn together. Because if
we can learn together, we can apply what we learn
to solving what seemed like impossible things to solve. We
can solve. We don't need to have this mutual destruction
(12:49):
going on, this hatred and and then there I say,
endless wars, they're not necessary. We can we can leap
above and beyond them. That's what the film is trying
to say, leap into the future. I'm afraid I love
it and.
Speaker 1 (13:04):
It's Megalopolis, and I just wanted to let you know
before I let you go. Started this interview by saying
my father would have loved to have heard.
Speaker 2 (13:11):
This.
Speaker 1 (13:11):
Was a huge fan of yours, lost him long ago.
But that nineteen year old son of mine that I
mentioned to you, his name is Luca because I told
my father I'm going to have a son. I said,
I'm going to name his name is going to be Luke.
And he was in hospice care at the time, and
he said, it can't be Luke. It has to be Luca,
like Luca Brazzi. That's what he said to me. Like,
(13:33):
I mean, who really, I don't know that Luca Brozi.
Any child should be named after Luca Brozi. But that's
why we called it. We named him Luca as opposed
to Luke.
Speaker 2 (13:43):
Well, Luca is a beautiful name without the assumption of
Luciabroi the beautiful.
Speaker 1 (13:50):
One of the last things he ever said, Francis, was
it's got to be Luca like Luca Brozzi.
Speaker 2 (13:55):
Is that?
Speaker 1 (13:55):
Do you hear crazy stories like that? Often?
Speaker 2 (13:58):
Sometimes I do. Where was your father from? Where was
he born?
Speaker 1 (14:03):
He was from Providence, Rhode Island. He was from Federal
Hill in Providence, Rhode Island.
Speaker 2 (14:09):
And was his family from Italy before?
Speaker 1 (14:11):
Yes or yes, sir, my grandmother and my grandfather were
both from Italy.
Speaker 2 (14:16):
What part of Italy do you know?
Speaker 1 (14:18):
Oh yeah, my grandmother from Caserta. My grandfather I can't
quite recall right now. I mean they both passed four
days apart in the late seventies.
Speaker 2 (14:31):
Well, that sounds like the South near Naples, where the
pizza was born. Yeah, Americans who favored food is pizza,
don't realize that before World War Two they didn't really
have the knowledge of pizza. The pizza came back with
the American gis who had gone through Naples and Caserta
(14:53):
and on their way up in the Second World War.
Speaker 1 (14:57):
Yeah, I love it, you know, since we're in too.
That was one of my favorite scenes is in The Godfather,
was when Michael went to Italy. I always wanted to
do you do you believe in the thunderbowlt? Do you
believe the thunderbolt is possible?
Speaker 2 (15:14):
Oh yeah, totally happens all the time. I want to,
but it's but it's God's trick to make babies.
Speaker 1 (15:23):
That is great stuff. Francis Ford Coble and I am
I've been a fan of your wine for for decades now. Yeah,
I mean going back I think to the late nineties,
so thank you.
Speaker 2 (15:35):
So much, and thanks for helping me bring my film
to the to the world. Because it's a film about
hope and positive feelings. It's not about negative or or
bad feel It's about good feelings, happy feelings, a happy
a future that we can make for our children where
they'll be in paradise.
Speaker 1 (15:55):
Yeah well no. Thank you for decades of entertainment and
for making a dream come true today. And I can't
wait to see Megalopolis again. Continued success and good health, sir.
Speaker 2 (16:05):
Good health to you. Thank you so much, and bye
bye
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Special Summer Offer: Exclusively on Apple Podcasts, try our Dateline Premium subscription completely free for one month! With Dateline Premium, you get every episode ad-free plus exclusive bonus content.
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.