Coppola will use revolutionary technology for his sci-fi film

For his future science fiction film MegalopolisFrancis Ford Coppola will employ state-of-the-art technology.

Mad dream of a living demiurge, Megalopolis has raised the wildest expectations since the announcement of the project by Francis Ford Coppola. Hampered by funding difficulties, the filmmaker’s next film Godfather experienced many problems during its production. Coppola had to commit his personal fortune to the business himself. Since then, a single hope has motivated him, to give birth to his best feature film.

In fact, the director is currently giving himself the means to fulfill his ambitions. For his work of science fiction, he sees things on a large scale and therefore does not hesitate to call upon the latest methods in order to carry out his dream project. And justly, according to producer Michael Bederman, but also the special effects box Prysm Stages, will use revolutionary technology.

Apocalypse Now, another revolutionary film by Coppola

Indeed, Prysm Stages, a company specializing in “virtual” shooting, wants to be at the forefront of progress. To put things into context, several recent or upcoming blockbusters were partly made in their Trilith studio, including Spider-Man: No Way Home, Black Panther: Wakanda Forever Where black adam. Big projects not necessarily exciting on paper given the result of some of their productions (yes, they also did she hulk), but it should be remembered that the working conditions on special effects with Marvel have been widely criticized.

Suffice to say that their technical know-how is not really to be proven and that a better working environment on a more ambitious project could convince us hands down. This is probably what motivated Coppola to collaborate with this company, as the Prysm Stages team announced on Twitter:

“Delighted to combine one of the most advanced technologies of the moment, Virtual Production, with the more traditional one of our Trilith LED studios for Megalopolis. Welcome to Atlanta, Mr. Coppola!”

An announcement followed by a few words from the President of Prysm Stages, Barbara Ford Grant, who said she was honored to have “the confidence of Coppola and his team” to make Megalopolis his magnum opus. For his part, Michael Bederman also expressed himself in a press release:

“It’s a unique and exciting experience to shoot with Prysm at Trilith Studios which concentrates, in one place, the equipment necessary for both traditional filming techniques and the design of the most advanced virtual visual effects… thus giving access directors both digital and physical options.”

Apocalypse Now : Fotograf Martin SheenDespite a difficult gestation, Megalopolis sticks its head out of the water

A rather enthusiastic double announcement which presages, we hope, a fruitful collaboration between the two parties. Prysm has also promised that the filmmaker will be able to use techniques never before seen when he realizes Megalopolis. If the LED technology, which will be used, has already proven itself on the series The Mandalorian, Coppola would also like to use traditional methods to keep, as he says, one foot in the past and another in the future.

Because yes, the story of Megalopolis will take place in an alternate version of America, where New York was rebuilt to follow in the footsteps of ancient Rome. Suffice to say that to give life to this “story of love and deep introspection on the nature of Man”, it will indeed be necessary to succeed in convincing on the visual and technical level to give this mixture of eras.

Apocalypse Now : Photo Robert DuvallI like to hear this kind of news in the early morning

Be that as it may, by securing the services of Prysm Stages and Trilyth Studios, Francis Ford Coppola has made great progress in the gestation of Megalopolis. Let’s not forget that the film will bring together Adam Driver, Forest Whitaker, Laurence Fishburne, Jon Voight and Nathalie Emmanuel (some rumors evoke the presence of other headliners like Oscar Isaac or Cate Blanchett). Colossal means for the benefit, we hope, of a future masterpiece.


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