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Francis Ford Coppola Net Worth, Biography, Wiki in 2017-2016

How rich is Francis Ford Coppola?

Francis Ford Coppola net worth:
$250 Million

Francis Ford Coppola information

Francis Ford Coppola information

Birth date: October 15, 1976
Birth place: Detroit
Height:5 ft 11 in (1.82 m)
Profession:Screenwriter, Film Producer, Film director, Television Director, Television producer, Actor, Film Editor
Nationality:United States of America

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Francis Ford Coppola Net Worth, Biography, Wiki 2017-2016

Francis Ford Coppola was born on 7 April 1939, in Detroit, Michigan USA of Italian ancestry, and is a famous screenwriter, film director and producer, as well as a television director and producer. Coppola is best known for directing the film “The Godfather”(1972), during his rise to prominence in the 1970s.

So just how rich is Francis Ford Coppola? Sources estimate that Francis’ net worth is now over $100 million, his wealth having been accumulated during his outstanding career in the film industry, and associated business activities.

Francis Ford Coppola Net Worth $100 Million

Francis was a very average student, but as he had polio as a boy and was confined to bed, he became a prolific reader of largely fiction, and developed a keen interest in theatre and films. Coppola apparently attended more than 20 schools, and became a competent tuba player as he trained for what was supposed to be a music career in music, even winning a scholarship to the New York Military Academy.  However, he eventually entered Hofstra College in 1955 majoring in theater arts, where he won a scholarship in playwriting. Francis then attended the UCLA Film School graduating with a degree in film making.

Coppola started producing films in the early 60s, and prior to his big breakthrough, worked on directing several films, such as “The Two Christophers”, “Tonight For Sure” and “Dementia 13”. In the 1970s, Coppola became a member of the so-called “New Hollywood” wave in film making, which included sucg future outstanding directors Brian De Palma, Steven Spielberg, George Lucas, Martin Scorsese as well as Woody Allen.

Francis Ford Coppola came to real notice in the film industry in 1970, when he won the Academy Award for Best Original Screenplay for the biographical war film he co-wrote with Edmund H. North called “Patton”. Coppola’s directorial career reached its peak several years later with the release of “The Godfather”, in which the main roles were played by Marlon Brando, James Caan and Al Pacino. The movie was based on the novel written by Mario Puzel, and soon became a worldwide phenomenon with over $250 million grossed at the box office, and engraved Puzel’s ruthless character Michael Corleone in the American subconscious.

The movie remains the highest-grossing film of 1972 and with three wins for Oscars and a number of nominations, is considered to be the second greatest film in the history of American cinema.

The success of “The Godfather” resulted in the sequel called “The Godfather Part II”, which together with its predecessor remains as one of the most influential films in the gangster genre. Coppola ended the iconic movies with the final installment called “The Godfather Part III” released in 1990. Even though the movie received largely mixed reviews, “The Godfather” saga is a truly remarkable contribution to the American film history.

In between filming of “The Godfather” trilogy, Coppola had been working on several other projects, which resulted in the release of an epic war film “Apocalypse Now” with Marlon Brando and Martin Sheen, “The Outsiders” with Matt Dillon, Emilio Estevez and Rob Lowe, as well as “Gardens of Stone”. Even though Francis Ford Coppola did not reach as huge a success as he did with “The Godfather”, he is still recognised as one of the most influential film directors, with well over 50 films to his credit, and an uncountable number of nominations for, and awards won.

In addition to his career as a director, Coppola is a known businessman too. Coppola is an owner of a privately run film studio “American Zoetrope”, a production studio “Zoetrope Virtual Studio”, “Inglenook Winery”, as well as several hotels, resorts, cafes and restaurants all around the world. A winner of a Lifetime Achievement Award and Irving G. Thalberg Memorial Award, Francis Ford Coppola has a net worth of $100 million.

In his personal life, Francis Ford Coppola has been married to Eleanor Jessie Neil since 1963, and the couple has three children.


More about Francis Ford Coppola:

  • Filmography
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Producer

Producer

TitleYearStatusCharacter
Jeepers Creepers III 2017 producer pre-production
The Bling Ring 2013 executive producer
On the Road 2012 executive producer
Twixt 2011 producer
Somewhere 2010 executive producer
Tetro 2009 producer
Youth Without Youth 2007 producer
The Good Shepherd 2006 executive producer
Marie Antoinette 2006 executive producer
Forever Is a Long, Long Time 2004 Video short executive producer
Kinsey 2004 executive producer
Lost in Translation 2003 executive producer
Jeepers Creepers II 2003 executive producer
Platinum 2003 TV Series executive producer
Assassination Tango 2002 executive producer
Pumpkin 2002 executive producer
In My Life 2002 TV Movie executive producer
The Legend of Suriyothai 2001 executive producer
Jeepers Creepers 2001 executive producer
CQ 2001 executive producer
No Such Thing 2001 executive producer
First Wave 1998-2001 TV Series executive producer - 65 episodes
Dr. Jekyll and Mr. Hyde 2000 TV Movie executive producer
Sleepy Hollow 1999 executive producer
Goosed 1999 executive producer
The Third Miracle 1999 executive producer
The Virgin Suicides 1999 producer
The Florentine 1999 producer
Lanai-Loa 1998 producer
Moby Dick 1998 TV Mini-Series executive producer - 2 episodes
Outrage 1998 TV Movie executive producer
Buddy 1997 executive producer
The Odyssey 1997 TV Series executive producer - 2 episodes
Survival on the Mountain 1997 TV Movie executive producer
Dark Angel 1996 TV Movie executive producer
Jack 1996 producer
Kidnapped 1995 TV Movie executive producer
Haunted 1995 executive producer
Tecumseh: The Last Warrior 1995 TV Movie executive producer
White Dwarf 1995 TV Movie executive producer
My Family 1995 executive producer
Mary Shelley's Frankenstein 1994 producer
Don Juan DeMarco 1994 producer
The Junky's Christmas 1993 Short producer
The Secret Garden 1993 executive producer
The Godfather Trilogy: 1901-1980 1992 Video producer
Dracula 1992 producer
Wind 1992/I executive producer
The Godfather: Part III 1990 producer
The Outsiders 1990 TV Series executive producer - 13 episodes
Wait Until Spring, Bandini 1989 executive producer - uncredited
Powaqqatsi 1988 Documentary executive producer
Lionheart 1987 executive producer
Tough Guys Don't Dance 1987 executive producer - as Francis Coppola
Gardens of Stone 1987 producer - as Francis Coppola
Mishima: A Life in Four Chapters 1985 executive producer - as Francis Coppola
Rumble Fish 1983 executive producer - as Francis Coppola
The Black Stallion Returns 1983 executive producer - as Francis Coppola
The Escape Artist 1982 executive producer - as Francis Coppola
Hammett 1982 executive producer
Koyaanisqatsi 1982 Documentary executive producer
Kagemusha 1980 executive producer: international version
The Black Stallion 1979 executive producer
Apocalypse Now 1979 producer - as Francis Coppola
The Godfather: A Novel for Television 1977 TV Mini-Series producer - 4 episodes
The Godfather: Part II 1974 producer
The Conversation 1974 producer
American Graffiti 1973 producer
Paper Moon 1973 executive producer - uncredited
The People 1972 TV Movie executive producer
THX 1138 1971 executive producer
The Making of 'The Rain People' 1969 Documentary producer
The Terror 1963 associate producer - as Francis Coppola
Tonight for Sure 1962 producer

Director

Director

TitleYearStatusCharacter
Distant Vision 2016 TV Movie
Distant Vision 2015
Twixt 2011
Tetro 2009
Youth Without Youth 2007
The Rainmaker 1997
Jack 1996
Making 'Bram Stoker's Dracula' 1992 TV Movie documentary
The Godfather Trilogy: 1901-1980 1992 Video
Dracula 1992
The Godfather: Part III 1990
New York Stories 1989 segment "Life without Zoe", as Francis Coppola
Tucker: The Man and His Dream 1988
Gardens of Stone 1987 as Francis Coppola
Faerie Tale Theatre 1987 TV Series 1 episode
Peggy Sue Got Married 1986 as Francis Coppola
Captain EO 1986 Short
The Cotton Club 1984 as Francis Coppola
Rumble Fish 1983
The Outsiders 1983 as Francis Coppola
One from the Heart 1981 as Francis Coppola
Apocalypse Now 1979 as Francis Coppola
The Godfather: A Novel for Television 1977 TV Mini-Series 4 episodes
The Godfather: Part II 1974
The Conversation 1974
The Godfather 1972
The Rain People 1969
Finian's Rainbow 1968
You're a Big Boy Now 1966
Dementia 13 1963 as Francis Coppola
The Terror 1963 three or four days director - uncredited
Tonight for Sure 1962
The Bellboy and the Playgirls 1962
Nebo zovyot 1959 as Thomas Colchart, re-edited version with new footage

Writer

Writer

TitleYearStatusCharacter
Distant Vision 2016 TV Movie
Distant Vision 2015
Twixt 2011 written by
Tetro 2009 written by
Youth Without Youth 2007 written by
The Rainmaker 1997 screenplay
The Godfather Trilogy: 1901-1980 1992 Video
The Godfather: Part III 1990 written by
New York Stories 1989 written by - segment "Life without Zoe", as Francis Coppola
Captain EO 1986 Short screenplay - as Francis Coppola
The Cotton Club 1984 screenplay - as Francis Coppola / story - as Francis Coppola
Rumble Fish 1983 screenplay
One from the Heart 1981 screenplay - as Francis Coppola
Apocalypse Now 1979 written by - as Francis Coppola
The Godfather: A Novel for Television 1977 TV Mini-Series screenplay - 4 episodes
The Godfather: Part II 1974 screenplay
The Conversation 1974 written by
The Great Gatsby 1974 screenplay
The Way We Were 1973 additional writer - uncredited
The Godfather 1972 screenplay
Patton 1970 screen story and screenplay
The Rain People 1969 written by
You're a Big Boy Now 1966 written for the screen by
Paris brûle-t-il? 1966 screenplay
This Property Is Condemned 1966 screenplay - as Francis Coppola
Dementia 13 1963 written by - as Francis Coppola
The Haunted Palace 1963 additional dialogue - uncredited
Tonight for Sure 1962 written by - as Francis Coppola
The Bellboy and the Playgirls 1962 extra scenes

Miscellaneous

Miscellaneous

TitleYearStatusCharacter
The Legend of Suriyothai 2001 presenter
Gunfighter 1999 presenter
My Family 1995 presenter
Dracula 1993/II Video Game staff: American Zoetrope
The Spirit of '76 1990 consultant - uncredited / consultant director - uncredited
Powaqqatsi 1988 Documentary presenter
Barfly 1987 presenter
Return to Oz 1985 assistant to director - uncredited
Mishima: A Life in Four Chapters 1985 presenter
Rumble Fish 1983 presenter
The Outsiders 1983 presenter
Hammett 1982 presenter
Kagemusha 1980 presenter
Apocalypse Now 1979 presenter
The Haunted Palace 1963 dialogue director - uncredited
Tower of London 1962 dialogue director
Nebo zovyot 1959 producer/scenarist - US version
Sadko 1953 script adaptor - 1962 version
Napoleon 1927 presenter - 1981 version

Actor

Actor

TitleYearStatusCharacter
Palo Alto 2013 The Judge (voice, uncredited)
Apocalypse Now 1979 Director of TV Crew (uncredited)
The Young Racers 1963 uncredited
War Hunt 1962 Army Truck Driver (uncredited)

Assistant Director

Assistant Director

TitleYearStatusCharacter
The Wild Racers 1968 second unit director - uncredited
The Terror 1963 second unit director - uncredited
The Young Racers 1963 second unit director
Premature Burial 1962 assistant director

Editor

Editor

TitleYearStatusCharacter
Supernova 2000/I uncredited
The Fantasticks 1995 uncredited

Composer

Composer

TitleYearStatusCharacter
Apocalypse Now 1979 as Francis Coppola

Sound Department

Sound Department

TitleYearStatusCharacter
The Young Racers 1963 sound

Soundtrack

Soundtrack

TitleYearStatusCharacter
The Godfather: Part III 1990 "CAVALLERIA RUSTICANA"

Thanks

Thanks

TitleYearStatusCharacter
Two Forty-Six 2015 thanks
Lazarus: Apocalypse 2014 original inspiration
Mantus 2014 thanks
Palo Alto 2013 very special thanks - as Dada
The Bling Ring 2013 thanks - as Dad
Rakugo eiga 2012 grateful acknowledgment
A Glimpse Inside the Mind of Charles Swan III 2012 special thanks - as Mom & Dad
Killer Capone - Part 1 2012 Short special thanks
In film la Nasu' 2012 Short thanks
The Wayshower 2011 very special thanks
Somewhere 2010 thank you - as Dad
All the Presidents' Movies: The Movie 2009 Documentary special thanks
Push Button House 2008 Documentary short special thanks
Expired 2007 special thanks
Marie Antoinette 2006 thanks - as Dad
Shortbus 2006 thanks
Celebrating Schlesinger 2006 Video short special thanks
The Lost City 2005 additional thanks
She Hate Me 2004 thanks
Wonderland 2003 the producers and director wish to thank
Lost in Translation 2003 thanks - as Dad
Whether You Like It or Not: The Story of Hedwig 2003 Video documentary special thanks to the interviewees
Adaptation. 2002 special thanks - as Francis
In the Name of the Father 1993 special thanks
The Godfather Family: A Look Inside 1990 TV Movie documentary thanks - as Francis Coppola
The Godfather: Part II 1974 special thanks - 2007 restoration
The Godfather 1972 special thanks - 2007 restoration

Self

Self

TitleYearStatusCharacter
What She Said: The Art of Pauline Kael 2017 Documentary post-production Himself
Live Cinema Workshop 2016 Documentary post-production Self
Gotta Keep Dreamin 2016 Documentary post-production Himself
The Family Whistle 2016 Documentary Himself
Jay Leno's Garage 2015 TV Series documentary Himself
Today 1989-2015 TV Series Himself / Himself - Guest
Harold and Lillian: A Hollywood Love Story 2015 Documentary Himself
The Director's Chair 2015 TV Series Himself
Andre: The Voice of Wine 2013 Documentary Himself
Trespassing Bergman 2013 Documentary Himself - Interviewee
Seduced and Abandoned 2013 Documentary Himself
Milius 2013 Documentary Himself
Teens Wanna Know 2013 TV Series Himself - Guest
In film la Nasu' 2012 Short Himself (voice)
The Godfather Legacy 2012 TV Movie documentary Himself
13th Annual Young Hollywood Awards 2011 TV Special Himself - Award Presenter
The 83rd Annual Academy Awards 2011 TV Special Himself - Honorary Award Recipient
Sodankylä ikuisesti 2010 TV Series documentary Himself
Che tempo che fa 2009 TV Series Himself - Guest
Ciak Point Torino 2009 2009 TV Movie Himself
Made in Hollywood: Teen Edition 2009 TV Series Himself
Jornal Nacional 2009 TV Series Himself
Tavis Smiley 2009 TV Series Himself - Guest
Cinema 3 2009 TV Series Himself
At the Movies 2009 TV Series Himself
Días de cine 2009 TV Series Himself
Le grand journal de Canal+ 2009 TV Series documentary Himself
Hollywood's Best Film Directors 2009 TV Series Himself - Interviewee
Cannes Moments 2009 TV Series documentary Himself
I Knew It Was You: Rediscovering John Cazale 2009 Documentary short Himself
Emulsional Rescue: Revealing 'The Godfather' 2008 Video short Himself
Godfather World 2008 Video short Himself
The Godfather: When the Shooting Stopped 2008 Video short Himself
The Masterpiece That Almost Wasn't 2008 Video documentary short Himself
Texas Monthly Talks 2007 TV Series Himself - Interviewee
The Kennedy Center Honors: A Celebration of the Performing Arts 2007 TV Special Himself
Up Close with Carrie Keagan 2007 TV Series Himself - Guest
Coda: Thirty Years Later 2007 TV Movie documentary Himself
Rencontres de cinéma 2007 TV Series Himself
The Blood Is the Life: The Making of 'Bram Stoker's Dracula' 2007 Video documentary short Himself
In Camera: The Naïve Visual Effects of 'Bram Stoker's Dracula' 2007 Video documentary short Himself
Method and Madness: Visualizing 'Dracula' 2007 Video documentary short Himself
The Costumes Are the Sets: The Design of Eiko Ishioka 2007 Video documentary short Himself
Lights! Action! Music! 2007 TV Movie documentary Himself
Watch 'The Rainmaker' with Francis Coppola 2007 Video short Himself
AFI Life Achievement Award: A Tribute to Al Pacino 2007 TV Movie Himself
Fog City Mavericks 2007 Documentary Himself
The 79th Annual Academy Awards 2007 TV Special Himself - Presenter: Best Director
The Making of 'Marie Antoinette' 2007 Video short Himself
Shootout 2005-2006 TV Series Himself
A Million Feet of Film: The Editing of Apocalypse Now 2006 Video documentary short Himself (as Francis Coppola)
Heard Any Good Movies Lately?: The Sound Design of Apocalypse Now 2006 Video short Himself (as Francis Coppola)
The Music of Apocalypse Now 2006 Video documentary short Himself (as Francis Coppola)
Corazón de... 2006 TV Series Himself
The World's Greatest Actor 2006 TV Movie documentary Himself
Celebrating Schlesinger 2006 Video short Himself - Filmmaker
The Birth of 5.1 Sound 2006 Video documentary short Himself
Movies That Shook the World 2005 TV Series documentary Himself
Staying Gold: A Look Back at 'The Outsiders' 2005 Video documentary short Himself (as Francis Coppola)
'Rumble Fish': The Percussion-Based Score 2005 Video short Himself
There Is No Direction 2005 Documentary short Himself
AFI Life Achievement Award: A Tribute to George Lucas 2005 TV Special Himself
Fred Roos and the Casting of 'The Outsiders' 2005 Video documentary short Himself
Imagine 2004 TV Series documentary Himself
A Legacy of Filmmakers: The Early Years of American Zoetrope 2004 Video documentary Himself
Artifact from the Future: The Making of 'THX 1138' 2004 Video documentary short Himself
Dateline NBC 2004 TV Series documentary Himself
Tying the Knot 2004 Documentary Himself
Travel Channel Secrets 2004 TV Series Himself
The 76th Annual Academy Awards 2004 TV Special Himself - Co-Presenter: Best Adapted Screenplay
The 2004 IFP/West Independent Spirit Awards 2004 TV Movie documentary Himself
Tinseltown TV 2003 TV Series Himself
Dean Tavoularis, le magicien d'Hollywood 2003 Documentary Himself
Whether You Like It or Not: The Story of Hedwig 2003 Video documentary Himself
Dennis Hopper: Create (or Die) 2003 TV Movie documentary Himself (as Francis Coppola)
A Decade Under the Influence 2003 Documentary Himself
Easy Riders, Raging Bulls: How the Sex, Drugs and Rock 'N' Roll Generation Saved Hollywood 2003 Documentary Himself
La semaine du cinéma 2002 TV Series Himself
On the Set of 'CQ' 2002 Video documentary short Himself
R2-D2: Beneath the Dome 2001 TV Special short Himself (uncredited)
Coppola and Puzo on Screenwriting 2001 Video short Himself
Francis Coppola's Notebook 2001 Video documentary short
The Music of 'The Godfather' 2001 Video short Himself
Breaking the Silence: The Making of 'Hannibal' 2001 Video documentary Himself - N.Y. Premiere
Inside the Actors Studio 2001 TV Series Himself - Guest
Under the Hood: Making 'Tucker' 2000 Video documentary short Himself
The 52nd Annual Directors Guild Awards 2000 TV Special Himself - Presenter: Honorary Award
Kurosawa: The Last Emperor 1999 TV Movie documentary Himself
The Making of 'American Graffiti' 1998 TV Movie documentary Himself
The 50th Annual Directors Guild of America Awards 1998 TV Special Himself - Winner
Howard Stern 1998 TV Series Himself - Guest
Late Night with Conan O'Brien 1994-1997 TV Series Himself - Guest
USSB Hollywood Insiders 1997 TV Movie Himself
In Search of Dracula with Jonathan Ross 1996 TV Movie documentary Himself
Charlie Rose 1996 TV Series Himself - Guest
Marlon Brando: The Wild One 1996 TV Movie documentary Himself
A Personal Journey with Martin Scorsese Through American Movies 1995 TV Movie documentary Himself
Great Performances 1994 TV Series Himself
It's Alive: The True Story of Frankenstein 1994 TV Movie documentary Himself
The 9th Annual ASC Awards 1994 TV Special Himself - Presenter: Lifetime Achievement Award
American Masters 1993 TV Series documentary Himself
Writing with Light: Vittorio Storaro 1992 Documentary Himself
Blood Lines: Dracula - The Man. The Myth. The Movies. 1992 TV Short documentary Himself
Crazy About the Movies: Dennis Hopper 1991 TV Movie documentary Himself
The 19th Annual Rudolph Valentino Awards 1991 TV Special Himself - Winner
Hearts of Darkness: A Filmmaker's Apocalypse 1991 Documentary Himself (as Francis Coppola)
The 63rd Annual Academy Awards 1991 TV Special Himself - Nominee: Best Picture & Best Director
The 43th Annual Directors Guild Awards 1991 TV Special Himself
The 48th Annual Golden Globe Awards 1991 TV Special Himself - Nominee: Best Motion Picture - Drama, Best Director & best Screenplay
Memory & Imagination: New Pathways to the Library of Congress 1990 TV Movie documentary Himself
The Godfather Family: A Look Inside 1990 TV Movie documentary Himself
Hollywood Mavericks 1990 Documentary Himself
Live with Kelly and Michael 1989 TV Series Himself - Guest
The Making of 'Captain Eo' 1986 TV Special documentary Himself
Saturday Night Live 1986 TV Series Himself - Director
Reverse Angle: Ein Brief aus New York 1982 Documentary short Himself
Late Night with David Letterman 1982 TV Series Himself - Guest
The Making of 'One from the Heart' 1982 Documentary short Himself
American Mythologies 1981 Documentary
Arena 1981 TV Series documentary Himself
Rendez-Vous Video Magazine 1981 Video documentary Himself (segment "Coppola")
The 37th Annual Golden Globe Awards 1980 TV Special Himself
Cultural Celebrities 1979 Documentary Himself
The South Bank Show 1979 TV Series documentary Himself - Guest
Bitte umblättern 1979 TV Series documentary Himself
The 51st Annual Academy Awards 1979 TV Special documentary Himself - Co-Presenter: Best Director
Revista de cine 1977 TV Series Himself
The Godfather Comes to Sixth St. 1976 Short Himself
The Lion Roars Again 1975 Documentary short Himself
The Mike Douglas Show 1974-1975 TV Series Himself - Director / Himself - Guest
Dinah! 1975 TV Series Himself - Guest
Tomorrow Coast to Coast 1975 TV Series Himself - Guest
The 47th Annual Academy Awards 1975 TV Special Himself - Winner: Best Director / Best Adapted Screenplay / Best Picture / ...
Film '72 1974 TV Series Himself
The 45th Annual Academy Awards 1973 TV Special Himself - Winner: Best Adapted Screenplay & Nominated: Best Director
Bald: The Making of 'THX 1138' 1971 Documentary short Himself (as Francis Coppola)
The Godfather: Behind the Scenes 1971 Documentary short Himself (uncredited)
Filmmaker 1968 Documentary short
The New Cinema 1968 TV Movie documentary Himself
The World Premiere of 'Finian's Rainbow' 1968 Short Himself

Archive Footage

Archive Footage

TitleYearStatusCharacter
I Lars von Triers rige 1999 TV Short documentary Himself (Cannes 1996 footage) (uncredited)
Frontline 1987 TV Series documentary Himself
The Mike Douglas Show 1976 TV Series Himself - Director
Film '72 2015 TV Series Himself - Interviewee
Orson Welles, autopsie d'une légende 2015 TV Movie documentary Himself
Listen to Me Marlon 2015 Documentary Himself (uncredited)
Once in a Lew Moon 2015 Documentary Himself
Alfonso Sansone produttore per caso 2014
The Greatest Ever War Films 2014 TV Movie documentary Himself (1979)
The Story of Film: An Odyssey 2011 TV Mini-Series documentary Himself
Corman's World: Exploits of a Hollywood Rebel 2011 Documentary Himself (uncredited)
Moguls & Movie Stars: A History of Hollywood 2010 TV Mini-Series documentary Himself
The People vs. George Lucas 2010 Documentary Himself - Director
Cámara negra. Teatro Victoria Eugenia 2007 TV Short documentary Himself
Francis Ford Coppola Directs 'John Grisham's The Rainmaker' 2007 Video documentary short Himself (as Francis Coppola)
Cannes, 60 ans d'histoires 2007 TV Movie documentary Himself
Brando 2007 TV Movie documentary Himself
La tele de tu vida 2007 TV Series Himself
Cannes 2006: Crónica de Carlos Boyero 2006 TV Movie Himself
Boffo! Tinseltown's Bombs and Blockbusters 2006 Documentary Himself
The Godfather and the Mob 2006 TV Movie documentary
Hollywood Greats 2006 TV Series documentary Himself
Saturday Night Live in the '80s: Lost & Found 2005 TV Special documentary Himself
Cinema mil 2005 TV Series Himself
On Location in Tulsa: The Making of 'Rumble Fish' 2005 Video short Himself (as Francis Coppola)
Inside Deep Throat 2005 Documentary Himself
The Dream Studio 2004 Video documentary short Himself
Final Cut: The Making and Unmaking of Heaven's Gate 2004 Documentary Himself
101 Biggest Celebrity Oops 2004 TV Special documentary Himself - #28: Francis Ford Coppola casts Sofia in Godfather 3
Troldspejlet 2002 TV Series Himself
The Kid Stays in the Picture 2002 Documentary Himself

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2015 Prince of Asturias Award Prince of Asturias Awards Arts
2014 Silver Medallion Award Telluride Film Festival, US Apocalypse Now (1979)
2011 Irving G. Thalberg Memorial Award Academy Awards, USA
2009 Gold Derby Award Gold Derby Awards Life Achievement (Other)
2005 Golden Eagle Golden Eagle Awards, Russia Achievement in World Cinema
2005 Honorary Golden Alexander Thessaloniki Film Festival
2003 Lifetime Achievement Award Denver International Film Festival
2003 OFTA Film Hall of Fame Online Film & Television Association Creative
2002 Gala Tribute Film Society of Lincoln Center
2002 Special 50th Anniversary Award San Sebastián International Film Festival On occasion of the 50th anniversary of the festival in recognition to his impressive career.
2001 Mary Pickford Award Satellite Awards
1998 Board of the Governors Award American Society of Cinematographers, USA
1998 Lifetime Achievement Award Directors Guild of America, USA
1997 Billy Wilder Award National Board of Review, USA
1994 CEC Career Award Cinema Writers Circle Awards, Spain
1994 Fotogramas de Plata Fotogramas de Plata Best Foreign Film (Mejor Película Extranjera) Dracula (1992)
1993 Saturn Award Academy of Science Fiction, Fantasy & Horror Films, USA Best Director Dracula (1992)
1992 Fotogramas de Plata Fotogramas de Plata Best Foreign Film (Mejor Película Extranjera) The Godfather: Part III (1990)
1992 Career Golden Lion Venice Film Festival
1991 Berlinale Camera Berlin International Film Festival
1988 Audience Award SESC Film Festival, Brazil Best Foreign Film (Melhor Filme Estrangeiro) Rumble Fish (1983)
1984 FIPRESCI Prize San Sebastián International Film Festival Rumble Fish (1983)
1984 OCIC Award San Sebastián International Film Festival Rumble Fish (1983)
1981 David David di Donatello Awards Best Foreign Producer (Migliore Produttore Straniero) Kagemusha (1980) · George Lucas
1980 Golden Globe Golden Globes, USA Best Director - Motion Picture Apocalypse Now (1979)
1980 Golden Globe Golden Globes, USA Best Original Score - Motion Picture Apocalypse Now (1979) · Carmine Coppola
1980 BAFTA Film Award BAFTA Awards Best Direction Apocalypse Now (1979)
1980 David David di Donatello Awards Best Foreign Director (Migliore Regista Straniero) Apocalypse Now (1979)
1979 Palme d'Or Cannes Film Festival Apocalypse Now (1979)
1979 FIPRESCI Prize Cannes Film Festival Competition Apocalypse Now (1979)
1975 Oscar Academy Awards, USA Best Picture The Godfather: Part II (1974) · Gray Frederickson
· Fred Roos
1975 Oscar Academy Awards, USA Best Director The Godfather: Part II (1974)
1975 Oscar Academy Awards, USA Best Writing, Screenplay Adapted From Other Material The Godfather: Part II (1974) · Mario Puzo
1975 DGA Award Directors Guild of America, USA Outstanding Directorial Achievement in Motion Pictures The Godfather: Part II (1974) · Michael S. Glick (unit production manager plaque)
· Newt Arnold (assistant director plaque)
· Henry J. Lange Jr. (assistant director plaque)
1975 NSFC Award National Society of Film Critics Awards, USA Best Director The Conversation (1974)
1975 WGA Award (Screen) Writers Guild of America, USA Best Drama Adapted from Another Medium The Godfather: Part II (1974) · Mario Puzo
1974 Palme d'Or Cannes Film Festival The Conversation (1974)
1974 Prize of the Ecumenical Jury - Special Mention Cannes Film Festival The Conversation (1974)
1974 KCFCC Award Kansas City Film Critics Circle Awards Best Director The Godfather: Part II (1974)
1974 NBR Award National Board of Review, USA Best Director The Conversation (1974)
1974 Silver Medallion Award Telluride Film Festival, US
1973 Oscar Academy Awards, USA Best Writing, Screenplay Based on Material from Another Medium The Godfather (1972) · Mario Puzo
1973 Golden Globe Golden Globes, USA Best Director - Motion Picture The Godfather (1972)
1973 Golden Globe Golden Globes, USA Best Screenplay - Motion Picture The Godfather (1972) · Mario Puzo
1973 DGA Award Directors Guild of America, USA Outstanding Directorial Achievement in Motion Pictures The Godfather (1972) · Fred C. Caruso (unit production manager plaque)
· Fred T. Gallo (assistant director plaque)
· Steven P. Skloot (assistant director plaque)
1973 WGA Award (Screen) Writers Guild of America, USA Best Drama Adapted from Another Medium The Godfather (1972) · Mario Puzo
1972 KCFCC Award Kansas City Film Critics Circle Awards Best Director The Godfather (1972)
1971 Oscar Academy Awards, USA Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced Patton (1970) · Edmund H. North
1971 WGA Award (Screen) Writers Guild of America, USA Best Drama Written Directly for the Screen Patton (1970) · Edmund H. North
1969 Golden Seashell San Sebastián International Film Festival The Rain People (1969)

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
2008 Gold Derby Award Gold Derby Awards Life Achievement (Other)
2007 Gold Derby Award Gold Derby Awards Life Achievement (Other)
2002 Cinema Brazil Grand Prize Cinema Brazil Grand Prize Best Foreign-Language Film (Melhor Filme Estrangeiro) Apocalypse Now (1979)
2001 Video Premiere Award DVD Exclusive Awards Best DVD Audio Commentary The Conversation (1974)
2001 Video Premiere Award DVD Exclusive Awards Best Audio Commentary The Godfather (1972)
1998 Primetime Emmy Primetime Emmy Awards Outstanding Miniseries Moby Dick (1998) · Robert Halmi Sr. (executive producer)
· Fred Fuchs (executive producer)
· Franc Roddam
· Kris Noble
· Steven R. McGlothen
1998 USC Scripter Award USC Scripter Award The Rainmaker (1997) · John Grisham (author)
1997 Primetime Emmy Primetime Emmy Awards Outstanding Miniseries The Odyssey (1997) · Fred Fuchs (executive producer)
· Nicholas Meyer (executive producer)
· Robert Halmi Sr. (executive producer)
· Dyson Lovell (producer)
1995 CableACE CableACE Awards Animated Programming Special or Series The Junky's Christmas (1993) · Francine McDougall (producer)
· James Grauerholz (writer)
1993 Hugo Hugo Awards Best Dramatic Presentation Dracula (1992) · James V. Hart (screenplay)
· Bram Stoker (based on the novel)
1991 Oscar Academy Awards, USA Best Picture The Godfather: Part III (1990)
1991 Oscar Academy Awards, USA Best Director The Godfather: Part III (1990)
1991 Golden Globe Golden Globes, USA Best Director - Motion Picture The Godfather: Part III (1990)
1991 Golden Globe Golden Globes, USA Best Screenplay - Motion Picture The Godfather: Part III (1990) · Mario Puzo
1991 DGA Award Directors Guild of America, USA Outstanding Directorial Achievement in Motion Pictures The Godfather: Part III (1990)
1988 ACE CableACE Awards Directing a Theatrical or Dramatic Special Faerie Tale Theatre (1982)
1987 Golden Prize Moscow International Film Festival Gardens of Stone (1987)
1985 Golden Globe Golden Globes, USA Best Director - Motion Picture The Cotton Club (1984)
1983 Golden Prize Moscow International Film Festival The Outsiders (1983)
1980 Oscar Academy Awards, USA Best Picture Apocalypse Now (1979) · Fred Roos
· Gray Frederickson
· Tom Sternberg
1980 Oscar Academy Awards, USA Best Director Apocalypse Now (1979)
1980 Oscar Academy Awards, USA Best Writing, Screenplay Based on Material from Another Medium Apocalypse Now (1979) · John Milius
1980 Anthony Asquith Award for Film Music BAFTA Awards Apocalypse Now (1979) · Carmine Coppola
1980 César César Awards, France Best Foreign Film (Meilleur film étranger) Apocalypse Now (1979)
1980 DGA Award Directors Guild of America, USA Outstanding Directorial Achievement in Motion Pictures Apocalypse Now (1979)
1980 Grammy Grammy Awards Best Album of Original Score Written for a Motion Picture or Television Special Apocalypse Now (1979) · Carmine Coppola
1980 WGA Award (Screen) Writers Guild of America, USA Best Drama Written Directly for the Screen Apocalypse Now (1979) · John Milius
1975 Oscar Academy Awards, USA Best Picture The Conversation (1974)
1975 Oscar Academy Awards, USA Best Writing, Original Screenplay The Conversation (1974)
1975 Golden Globe Golden Globes, USA Best Director - Motion Picture The Conversation (1974)
1975 Golden Globe Golden Globes, USA Best Director - Motion Picture The Godfather: Part II (1974)
1975 Golden Globe Golden Globes, USA Best Screenplay - Motion Picture The Conversation (1974)
1975 Golden Globe Golden Globes, USA Best Screenplay - Motion Picture The Godfather: Part II (1974) · Mario Puzo
1975 BAFTA Film Award BAFTA Awards Best Direction The Conversation (1974)
1975 BAFTA Film Award BAFTA Awards Best Screenplay The Conversation (1974)
1975 DGA Award Directors Guild of America, USA Outstanding Directorial Achievement in Motion Pictures The Conversation (1974)
1975 Edgar Edgar Allan Poe Awards Best Motion Picture The Conversation (1974)
1975 WGA Award (Screen) Writers Guild of America, USA Best Drama Written Directly for the Screen The Conversation (1974)
1974 Oscar Academy Awards, USA Best Picture American Graffiti (1973) · Gary Kurtz
1973 Oscar Academy Awards, USA Best Director The Godfather (1972)
1972 NSFC Award National Society of Film Critics Awards, USA Best Screenplay The Godfather (1972) · Mario Puzo
1967 Palme d'Or Cannes Film Festival You're a Big Boy Now (1966)
1967 WGA Award (Screen) Writers Guild of America, USA Best Written American Comedy You're a Big Boy Now (1966)

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
1973 NYFCC Award New York Film Critics Circle Awards Best Director The Godfather (1972)

3rd place awards

3rd place awards

YearAwardCeremonyNominationMovieAward shared with
1974 NYFCC Award New York Film Critics Circle Awards Best Screenplay The Conversation (1974)
1974 NYFCC Award New York Film Critics Circle Awards Best Director The Godfather: Part II (1974)
1972 NSFC Award National Society of Film Critics Awards, USA Best Director The Godfather (1972)

TitleSalary
The Godfather: Part III (1990) $6,000,000 + % of profits
The Cotton Club (1984) $2,500,000 + % of the gross
The Godfather: Part II (1974) $1,000,000 to write, direct and produce the film
American Graffiti (1973) 20% of gross
The Godfather (1972) $175,000

#Fact
1 Francis Ford Coppola's hands and feet were pressed into the cement outside the TCL Chinese Theatre in Los Angeles on April 29th, 2016.
2 Coppola's legal drama The Rainmaker (1997) is widely regarded by film critics as the best of the many John Grisham adaptations. Grisham himself said of the film, "To me it's the best adaptation of any of [my books]. ... I love the movie. It's so well done." [Entertainment Weekly 2004].
3 His ten favorite films are: Ashes and Diamonds (1958), The Best Years of Our Lives (1946), I Vitelloni (1953), The Bad Sleep Well (1960), Yojimbo (1961), Singin' in the Rain (1952), The King of Comedy (1982), Raging Bull (1980), The Apartment (1960) and Sunrise (1927).
4 Griffin O'Neal was found guilty of negligently operating a boat in relation to the death of Gian-Carlo Coppola, Coppola's 23-year-old son. Coppola died on the South River near Annapolis when a boat that O'Neal was operating went between two other boats and a tow line struck Coppola in the head throwing him to the deck and smashing his skull. O'Neal was cleared of manslaughter and also acquitted of two charges of recklessly operating a boat. [December 1986]
5 Director and screenwriter John Milius: "Francis is the best of us all. He has the most talent and the most daring. There are a lot of faults in Francis, but I think he's the leader".
6 Coppola is the first major American film director to earn a master's degree in filmmaking from a major university (UCLA in 1968).
7 In September 2005 he visited Istanbul for vacation. According to him, he got drunk one night and suddenly had the initial idea for Twixt (2011).
8 He visited Buenos Aires, Argentina for 4 days. [July 2006]
9 He visited Buenos Aires, Argentina, making castings with Argentine actors and looking for locations for his film Tetro (2009). [June 2007]
10 One of nine directors to have won the Palme d'Or twice at the Cannes Film Festival, the others being Bille August, Alf Sjöberg, Emir Kusturica, Shôhei Imamura, Luc Dardenne & Jean-Pierre Dardenne, Michael Haneke and Ken Loach.
11 Says his greatest directorial influence is Elia Kazan.
12 Was plagued with demeaning nicknames in his childhood, such as "Ichabod" in military school, which was also one of 24 schools he attended before he entered college.
13 Three of the movies he co-wrote have a minor, but significant, character who acts arrogantly and tough towards those around him: General George S. Patton from Patton (1970) (portrayed by veteran actor, George C. Scott), Captain McCluskey from The Godfather (1972) (portrayed by veteran actor, Sterling Hayden) and Lieutenant Colonel Bill Kilgore from Apocalypse Now (1979) (portrayed by veteran actor, Robert Duvall). Scott won the Oscar for his role and Duvall was nominated. Hayden received neither. Further, neither demise is shown of Patton or Kilgore, yet McCluskey's demise was shown.
14 Is the only director to direct two actors in Oscar-winning performances in the same role: Marlon Brando in The Godfather (1972), and Robert De Niro in The Godfather: Part II (1974). Since that time, only two other actors have been nominated for roles in which a previous actor already won an Oscar: José Ferrer and Gérard Depardieu as Cyrano de Bergerac, and John Wayne and Jeff Bridges as Rooster Cogburn.
15 His first two Oscar-winning screenplays were for Patton (1970) and The Godfather (1972), both movies also won for Best Actor. In both of these films, both leading actors - George C. Scott and Marlon Brando, respectively - turned down their awards (although it was the second Oscar which Brando won).
16 President of the 'Official Competition' jury at the 15th Marrakech International Film Festival in 2015.
17 Won five Oscars in four years - one in 1971 for Patton (1970), one in 1973 for The Godfather (1972), and three in 1975 for The Godfather: Part II (1974).
18 Is a big fan of actress Diane Lane and has cast her in no less than 4 films, The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984) and Jack (1996).
19 Favorite movies from his own personal filmography: The Rain People (1969), The Conversation (1974), Apocalypse Now (1979), Rumble Fish (1983) and Youth Without Youth (2007).
20 In 1986 his 22-year-old son, Gian-Carlo, died in a boating accident.
21 As a hold-over from his days directing theater when he was young, he always engages his cast in a lengthy rehearsal period before filming. Occasionally, he finds film actors that are not used to this will bristle against the process.
22 His middle name was given to him to honor Henry Ford. Francis was born at the "Henry Ford" Hospital in Detroit; Francis's father participated in a music show that Henry Ford really liked and they, in fact, met. So the middle name Ford was to honor Henry Ford himself. (Source: Francis Ford Coppola, "Inside the Actor's Studio").
23 Briefly attended the New York Military Academy where Troy Donahue was his classmate...until Coppola decided to drop out early on, so he called a taxi and left school. He and Donahue later worked together on The Godfather: Part II (1974).
24 Uncle of Nicolas Cage, Christopher Coppola, Marc Coppola, Robert Schwartzman, Jason Schwartzman, John Schwartzman, Matthew Shire and Stephanie Schwartzman.
25 Was named after his grandfather Francesco Pennino.
26 He, George Lucas and Steven Spielberg presented Martin Scorsese with his first ever Oscar for Best Director for The Departed (2006). All four directors were part of the "New Hollywood" movement in the 60s and 70s.
27 Currently owns 2 resorts in Belize and 1 in Guatemala. They are the Blancaneaux Lodge in the Pine Ridge Region, Turtle Inn in Placencia and La Lancha near Tikal in Guatemala.
28 Since the mid-90s (and possibly even earlier), he has been writing and re- writing an original screenplay entitled "Megalopolis". Described as "one man's quest to build utopia set in modern-day New York following a major disaster," the project has been delayed due to Coppola's constant tinkering with the script and the fact that the director is attempting to finance it himself. He admitted to taking on studio films such as Jack (1996) and The Rainmaker (1997) in order to make this happen. Several A-list actors have had their names attached to it and a great excess of second-unit footage (shot in 24p HD) has been captured by Coppola and the film's cinematographer, Ron Fricke of Baraka (1992) fame. However, the terrorist attacks on New York on September 11th 2001 made the movie's subject matter too sensitive, and the project was shelved indefinitely, although Coppola hasn't fully ruled it out.
29 There are three generations of Oscar winners in the Coppola family: Francis, his father Carmine Coppola, his nephew Nicolas Cage and his daughter Sofia Coppola. They are the second family to do so, the first family is the Hustons - Anjelica Huston, John Huston and Walter Huston.
30 Was involved in both movies that his father, Carmine Coppola, and his daughter, Sofia Coppola, won Oscars: he was the director of The Godfather: Part II (1974), which won his father an Oscar for "Best Music, Original Dramatic Score", and he was the executive producer of Lost in Translation (2003), which won his daughter the Oscar for "Best Writing, Screenplay Written Directly for the Screen".
31 Co-owns the Rubicon restaurant in San Francisco with Robert De Niro and fellow Bay area resident Robin Williams.
32 He is among an elite group of seven directors who have won Best Picture, Best Director and Best Screenplay (Original/Adapted) for the same film. In 1975 he won all three for The Godfather: Part II (1974). The others are Leo McCarey, Billy Wilder, James L. Brooks, Peter Jackson Joel Coen and Ethan Coen, and Alejandro G. Iñárritu.
33 President of the 'Official Competition' jury at the 49th Cannes International Film Festival in 1996.
34 The only person to direct a sibling in an Oscar-nominated performance (his sister Talia Shire was nominated as "Best Actress in a Supporting Role" for The Godfather: Part II (1974))
35 In 1975, he accepted the Oscar for "Best Actor in a Supporting Role" on behalf of Robert De Niro, who wasn't present at the awards ceremony. De Niro won for his performance in Coppola's The Godfather: Part II (1974).
36 Directed 12 different actors in Oscar-nominated performances: Geraldine Page, Marlon Brando, Al Pacino, James Caan, Robert Duvall, Robert De Niro, Michael V. Gazzo, Lee Strasberg, Talia Shire, Kathleen Turner, Andy Garcia and Martin Landau. Brando and De Niro won their Oscar for their performances as Vito Corleone.
37 Four of his relatives have been involved in the Star Wars films of his friend George Lucas. His brother-in-law, Bill Neil, worked at Industrial Light and Magic during the production of the original trilogy. His daughter, Sophia, and son, Roman, played a handmaiden and Naboo guard, respectively, in Star Wars: Episode I - The Phantom Menace (1999). His nephew, Christopher Neil, who worked as a dialogue coach for both Francis (on Jack (1996) and The Rainmaker (1997) and Sophia (on The Virgin Suicides (1999)), did the same job on Star Wars: Episode III - Revenge of the Sith (2005)--a job for which Coppola recommended him. In addition, his late older son was named Gian-Carlo. In Star Wars: Episode I - The Phantom Menace (1999), there is a Naboo vehicle called the Gian Speeder.
38 In 1971 and 1973, George C. Scott and Marlon Brando refused their respective Best Actor awards for Patton (1970) and The Godfather (1972) - both written by Coppola.
39 Serves as the Honorary Ambassador of the Central American nation of Belize in San Francisco, California, USA. On their official roster of worldwide honorary consulates found on their official website, he is referred to as "His Excellency Ambassador Francis Ford Coppola," although he is not a Belizean citizen.
40 George Lucas said that he based the "Han Solo" character from the Star Wars trilogy on Coppola.
41 Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945- 1985". Pages 227-234. New York: The H.W. Wilson Company, 1988.
42 Was voted the 21st Greatest Director of all time by Entertainment Weekly.
43 Made a commercial for Suntory whiskey with legendary Japanese director Akira Kurosawa in the 1970s, an event which later influenced a salient plot point in his daughter Sofia's movie, Lost in Translation (2003).
44 Out of all his peers who rose to fame and power in the 1970s "Golden Age" era, he is perhaps the only filmmaker still married to his first wife.
45 His wife arranged for him to meet Jane Powell as a 40th birthday present.
46 As a child, his bedroom was covered with pictures of his favourite film star, Jane Powell. When he discovered she'd married Geary Anthony Steffen, Jr., he tore them all down.
47 Has released his own line of specialty foods.
48 Grandfather of Gia Coppola. Great-uncle of Weston Cage.
49 Francis Ford Coppola has been in competition with Bob Fosse on several occasions. In 1972, Coppola was nominated for the Best Director Oscar (The Godfather (1972)), but lost to Fosse (Cabaret (1972)). In 1974, Fosse was nominated for Best Director (Lenny (1974)) but lost to Coppola (The Godfather: Part II (1974)). In 1979, both were nominated as directors (Apocalypse Now (1979) and All That Jazz (1979)), but both lost. When Fosse won the Palme d'Or at the Cannes Film Festival (Coppola won the previous year), he tied with Akira Kurosawa, whose movie was produced by George Lucas and Francis Ford Coppola.
50 As of May 2002, the number of Coppola-family members appearing in or contributing to filmmaking stands at thirteen, spread over three generations.
51 Was in the early stages of developing a script for a fourth Godfather film with Mario Puzo which was to tell the story of the early lives of Sonny, Fredo and Michael. After Puzo's death in July of 1999, Coppola abandoned the project, stating that he couldn't do it without his friend.
52 Brother-in-law of Bill Neil.
53 Coppola began his winery enterprise by buying a portion of the historic Inglenook estate in 1975. His success in the field is explored in the book "A Sense of Place" by Steven Kolpan, 1999.
54 Since 1978, owner and operator of a Rutherford, California vineyard making Rubicon wine.
55 Received an M.F.A. in Film Production from the University of California in Los Angeles (1967).
56 Son of composer Carmine Coppola and Italia Coppola.
57 Father of Sofia Coppola, Roman Coppola and Gian-Carlo Coppola.
58 Middle brother of Talia Shire and August Coppola.
59 Like Martin Scorsese, Coppola was a sickly youth, a case of polio which allowed him time to indulge in puppet theater and home movies.
60 Some sources say he is the uncle of Alan Coppola, but Alan's name does not appear on any family tree authorized by the Coppola family.
61 Caught polio when he was a child. During his quarantine, he practiced puppetry.

#Quote
1 [on his 'Live Cinema' project] I'm thrilled that I'm in a position to search for what the possibilities [of cinema] are. I do feel it's a pity that the concept of performance has been lost. That basically since the invention of the phonograph and the cinema that all our art forms are canned. By 'Live Cinema', I don't mean like in the form of a television version of a play. I mean cinema, still, with the rules and language of cinema but performed live. That could be very thrilling. (...) Risk is part of the artistic process. That's why I like performance, because performance is walking a high wire. [2016]
2 The Cotton Club (1984) was sort of made on the battlefield between the various people who put up the money and the producer [Robert Evans]. At the time, they looked at it and said, "Oh, there's too many black people in it. Can we cut out some of the tap dancing and put the emphasis less on the black people in the story?" I happened to have a Betamax very rough copy of what the movie had been before all that happened. I realized the movie had been 35 minutes longer. Much of the film had been lost, but through hook and crook, I was able to put it back together. [April 2016]
3 [on the vanishing distinction between TV, cinema and new media] Cinema is cinema. It can be a minute or less, or it can be 90 hours or more like The Sopranos (1999). It can be shown in theaters and at the same time you can see it in your living room. It's true you could see it on your iPhone. I'm not sure you would want to, but you could. [2016]
4 I always thought of myself, or charged myself, to be searching and to be somewhat experimental. I didn't just make one style of movie and then just stick with that. Every film I made I approached differently according its theme. Whereas The Godfather (1972) films, that I'm probably best known for, had a certain classic, Shakespearean style, Apocalypse Now (1979) was totally different. Almost a different person made it. One from the Heart (1981) was yet another experiment and Rumble Fish (1983) was another. I always was trying to learn about cinema by approaching it experimentally and trying to uncover what it was that really connected with me. And I'm still doing it at age 77. I'm still trying to look at it from the standpoint of: What can I learn? [2016]
5 You can neither make beautiful, great movies without risk as you can make babies without sex. Risk is part of the artistic process. [2016]
6 I remember I went to see Punch-Drunk Love (2002) and I said, I never saw a movie like this before. For that reason I loved it even though I don't know if it was good or not. All I know is that I never saw a movie like that. And that's why I like, even though other people were disappointed, I like The Life Aquatic with Steve Zissou (2004) because it was weird. It was the first time I saw that movie. I like movies to be the first time. (...) There is this whole group, but it's any kind of political movement. Movies have to be this! Well, movies don't have to be anything except beautiful and in some way illuminate life and get you thinking and stuff. [2007]
7 Tamara Jenkins made the Slums of Beverly Hills (1998) how many years ago? She's a wonderful talent and she has no money at all, that girl. She just lives like a poor person because she doesn't want to take the money and make movies she doesn't love. I think you have to love what you make, in anything, not just movies. If you are making products, make products you love and then they'll be good products and you'll be successful. [2007]
8 I think the secret of life is to not be afraid of risk. People go through life risking their money, risking losing this, risking losing that. But the truth of the matter is, there is only one risk. Because for sure you're gonna die, you are there and you're thinking about your life and you say, 'Oh, I wish I'd done this, I wish I'd done that.' That's the risk. So basically, I try to say yes more than no. [2009]
9 I think the language of cinema and the reason that in just 100 years we've become so comfortable with making cinema is from thousands of years of man dreaming. I think it is based on the dream, and the whole language of cinema comes from dreams. [2008]
10 You can't have great art without risk. It's simply impossible. If you want to eliminate risk, then you'll end up making the same movie over and over again, which is what they're doing now. [2008]
11 I wanted to be like those great European filmmakers of the '50s and '60s, and if I was hit by lightning it was The Godfather (1972); that changed my whole life. So I just want to get back to what I was doing when I was first falling in love with films. [2008]
12 The wine business is like having a $100 million hit every year. The wine business is really a business. The film business isn't a business; it's a very screwy arrangement where you do all this work and the money all gets emptied into this hopper called distribution, and then it slowly trickles down, and when it gets to the people who actually make the film, there's little left - which is what all the strikes are about. You can't become really wealthy on the scale of what that means today in the film business, but in the wine business you can, because it took off. That wasn't my doing. It was an accident and I was luckily in it early on, so I benefited. [2008]
13 I think it's better to be overly ambitious and fail than to be underambitious and succeed in a mundane way. I have been very fortunate. I failed upward in my life! [2007]
14 [on Youth Without Youth (2007)] I was given some quotes from Mircea Eliade, who I didn't know very well. And it turned out he was this professor of religious philosophy who used to entertain himself by writing these Borges-like short stories that were kind of like "Twilight Zones." And I read this one story, and every two or three pages something that I didn't expect happened. And it had a love story, and it had all sorts of things that I found intriguing, and all sorts of things that I wanted to learn about, like the origins of language and the nature of human consciousness and the concept of time. And I was getting richer as this was going on - my companies were successful - and I thought, well, why don't I just finance this myself and run off and make it? (...) Many times while making this movie I thought, well, should I just dumb this down and cut this out? And I said, what a pity! Will that make it less commercial? Well, who knows what it'll be? Maybe people will get a kick out of it. And at each point, since I had no studio to boss me around, I thought, I'll do it. And I still tried to make the film be a fun experience. But on the other hand when you think about it at night you might percolate some good ideas. (...) To this day I don't understand Last Year at Marienbad (1961) but I think it's beautiful, and I'm intrigued by it. There's plenty of books that I've read that I'm not sure that I got at all, but I feel enriched by having read them. So, like you said, who's to say it's best to cut out the idea and instead of the middle ground have no idea? [2008]
15 Who said that all the ideas of how you tell a story or express the cinematic language were all in the silent era? Why aren't there new ideas that are changing the language of film now? It's partially because film is much more controlled. In those days guys went out and made movies and no one knew what a movie was so if they wanted to invent the close shot the producer wasn't going to argue with him. Today, what is he doing? We want to make money on the film. We can't just make experimental films. [2007]
16 [on the style of Youth Without Youth (2007)] So I tried to tell the story in a more classical [way], more like The Godfather (1972), but more extreme. Most like Yasujirô Ozu where the camera never moves. When a camera doesn't move then movement is more accentuated because every time and actor walks in, the next movie you see look at the corner of the frame and you'll see it's always doing this. It never stops. In this movie the camera is that and that's it. Everything is accomplished in a classical shot to another shot, which then gives you more, which is one way to make a movie, but I felt that was appropriate for this because by giving it a very classical style then you could relax about that, and not feel, where am I, I can't see anything because it's cutting so fast. And then you might feel more comfortable to follow the story, but then ruminate. That's interesting. It's a dream and in the dream he's reading books. So I made the style very deliberately classical and also got to do what I've always wanted to do, is to make a movie without any movement just to see what happens. [2007]
17 [on filmmaking today] Well, for under $10,000 you can buy everything you need. So now we have to undo the brainwashing of the past 50 years about what a movie can be: that it must be commercial, it must go down easy, it must be structured so that it appeals to the widest possible audience. Even people who read sophisticated books expect that when they go to see a movie, it won't involve any thinking. They're willing to give more to a work of literature. A movie is supposed to be something light that you go to, and you have a good time, and you don't think too much, and you laugh, or you get scared, or you're in awe of the violence, and you go home, and you forget it. And that has to be broken. [2008]
18 [on Youth Without Youth (2007)] We've got a job and so and so and so, but sometimes we say, what is life? Where did I come from? What is going to happen when I die? What's really important? All those kind of ruminations should also be in a movie, I thought. (...) I thought of it as a love story wrapped in a mystery like in Vertigo (1958). Except in "Vertigo" the mystery is some guy is trying to kill his wife. In my movie the mystery is the real mystery that we are really all in. [2007]
19 [on the vanishing distinction between TV and cinema] It has all become one. (...) There is no more film, there is no more television - there is cinema. And it can be everywhere and anywhere and it can do anything. [Screendaily 2015]
20 The language of cinema was invented at the turn of the last century by pioneers who were free to experiment but today you can't dare to experiment. People who control the motion pictures want to make (profitable films). Now we're at a turning point: As artists we can change the world but to do that we need to be free to experiment. [Variety 2015]
21 I am fascinated by the whole idea of family.
22 The trouble with American filmmaking is that producers don't allow the risk of failure. If a good film can't risk being a failure, it won't be really good.
23 People feel the worst film I made was Jack (1996). But to this day, when I get checks from old movies I've made, "Jack" is one of the biggest ones. No one knows that. If people hate the movie, they hate the movie. I just wanted to work with Robin Williams.
24 There's no doubt that, by the end of The Godfather: Part II (1974), Michael Corleone, having beaten everyone, is sitting there alone, a living corpse. There's no way that man will ever change. I admit I considered some upbeat touch at the end, but honesty - and Pacino - wouldn't let me do it.
25 I try always to do something that's a little beyond my reach, so that I'll try my best. Sometimes I fail. Sometimes I almost succeed, but I think this is what life's all about.
26 I don't think there's any artist of any value who doesn't doubt what they're doing.
27 I think a sequel is a waste of money and time. I think movies should illuminate new stories.
28 The only TV I would be interested in exploring would be live television. There's no substitute for a team of artists performing at their peak live when failure is possible. It's a high-wire act. That excites me.
29 [if he'd be annoyed if the studio decided to make more sequels to The Godfather (1972)] Well, yeah, because I feel that all films shouldn't be sequels. Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.
30 I think people have realized that The Godfather (1972) was never sequel material. I've always maintained there should have been one "Godfather," though I'm proud of the second one, and I thought the third should have been considered a coda and not called The Godfather: Part III (1990).
31 [on George Lucas] In many ways, because of Star Wars: Episode IV - A New Hope (1977), we were deprived of the films that he was going to make and would have made. All the merchandising and financial success of those films aren't one-tenth to what he is worth as an artist and a filmmaker.
32 Here's a tip to young directors. They never fire you midweek.
33 I think cinema, movies and magic have always been closely associated. The very earliest people who made films were magicians.
34 Akira Kurosawa is one of the greatest directors ever to work in the cinema. His films meant an enormous amount to me when I was starting my own career.
35 [on shooting and finishing Youth Without Youth (2007) in Romania] It's a country with a fantastic intellectual tradition - theatre, poetry, cinema - and right now it's going through a renaissance in cinema. Their films are winning awards all over the world and everyone under 35 speaks English. They're very well educated and it's a very cinema-friendly country, but they're lacking in the visual effects department and other areas. We did the post in Bucharest and Walter Murch came over to edit and help oversee all the post. (...) The great thing about post now is that digital cinema has become a reality, so a filmmaker has more ability to compose picture and sound than ever before, and all because of these new tools, such as the latest editing systems like Final Cut Pro, Pro Tools and so on, which are also becoming less and less expensive. [Feb.2008]
36 In the 60s they were four filmmakers who represented cinema and influenced everyone who came after: Fellini, Kurosawa, Bergman and Kubrick.
37 [on Robert De Niro] I like Bob, I just don't know if he likes himself.
38 I was offered Thirteen Days (2000). I said I would do it but I had a very experimental way of doing it. My idea was: what if in that moment of history I got called up and they said, "Listen, Mr Coppola, the President is about to go through an extremely difficult period, he's got to make some terrifying, heartbreaking decisions and he wants you to document it. But you can't go close to him because he's going to be in many difficult meetings through the night. So what you can do is have a 16mm team using very long lenses. We don't want them to know you're shooting." And then make it that way. That's what I wanted to do, but they didn't have the courage to do it. So I said, "Make it like a regular movie." They did a pretty good job.
39 [on Unforgiven (1992)] We developed that script, David Webb Peoples and I. We worked on it for months. The film was made based on that script we finished. Nobody wanted to make it. I'd even sent it to Clint Eastwood to act in it. I don't know whether he read it. Finally after two or three years of paying the options, I let it go and then Clint picked it up.
40 As I grow older, I realise that I always wanted to be a writer. With The Godfather (1972) being such a success, I was launched into a more industry-type career, which is wonderful, but I always wanted to be the director of my own material. I have always credited the writer of the original material above the title: "Mario Puzo's The Godfather", "Bram Stoker's Dracula", or "John Grisham's The Rainmaker". I felt that I didn't have the right to 'Francis Coppola's anything' unless I had written the story and the screenplay. I view Tetro (2009) as the second film of my second career. From now on I'm always going to writing the scripts, and every film will be personal. I'm going to be the kind of filmmaker I wanted to be when I was beginning.
41 I think Tetro (2009) is the most beautiful film I've ever done in terms of how it was made. I don't know what people will make of the picture, but just the filmmaking part of it, I've learnt to put it together beautifully.
42 Hollywood doesn't really exist. What we're talking about now is the "big industry" film - films that are packaged as a certain idea of action, and in many cases violence or thrills or mystery. These films aren't expressions of the writer, but a compendium of ideas that could work as a blockbuster hit. That's not Hollywood - it's just wherever people want to make a lot of money. The less expensive a film is, the more ambitious the ideas and themes can be. And the converse is true - the more a film costs, the more salary everyone makes, the more limited the subject-matter has to be.
43 [on Marlon Brando] Marlon was never hard to work with. His behaviour was a little eccentric on the set. He was like a bad boy and did what he wanted. But as an actor he was never hard to work with.
44 I don't think The Godfather (1972) ever should have had more than one movie, actually. It was not a serial, it was a drama. The first movie wrapped up everything. To make more than one "Godfather" was just greed. Basically, making a movie costs so much money that they want it to be like Coca-Cola: you just make the same thing over and over again to make money, which is what they're doing now. But "Godfather" was not really a serial, you know?
45 I'm in a unique situation. I'm like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.
46 The Godfather (1972) films are personal. And they are, even though our family were never gangsters, and we only heard about somebody who knew a gangster. But still, the real day-to-day reality of the Italian family that was put into the gangster film was based on my family and what I remember as a kid. You can't make films without them being personal to some extent.
47 They say that A Streetcar Named Desire (1951) really is Tennessee Williams' expression of himself as Blanche, as someone talented and fragile, fragile in a world of harsh reality.
48 [on Marlon Brando] Brando wants to do what you want, but he wants people to be honest and not try to manipulate him.
49 [on Ingmar Bergman] My all-time favorite because he embodies passion, emotion and has warmth.
50 [on The Godfather (1972)] I had been so conditioned to think the film was bad - too dark, too long, too boring - that I didn't think it would have any success. In fact, the reason I took the job to write The Great Gatsby (1974) was because I had no money and three kids and was sure I'd need the money. I heard about the success of "The Godfather" from my wife, who called me while I was writing "Gatsby". I wasn't even there. Masterpiece, ha ! I was not even confident it would be a mild success.
51 I have always been a little disappointed about One from the Heart (1981) because I really wanted to make it more like live cinema. I really wanted to shoot it with 12 cameras and edit it all in the camera. At the last minute I chickened out because the photographer chickened out. So for me with "One From The Heart", I always feel that I should have gone that last yard. It was only the cinematographer coming to me saying, "Oh please, I don't want to shoot it with 12 cameras because I can't light it." I think, no question, it was beautiful photographically - he was right. But to me the experiment was a little incomplete. It had wonderful music, wonderful songs. It would be nice if people liked "One From The Heart" because it was my big failure.
52 I wanted to make films like Youth Without Youth (2007) and the one I'm doing next in my 20s. Instead, I made The Godfather (1972). In a way, "Youth Without Youth" is a natural continuation of what I was doing with The Rain People (1969) and The Conversation (1974). I made "The Godfather" and it just totally changed my life. Suddenly I was an important director. I wasn't this young, experimental filmmaker that I'd hoped to be.
53 There's something in my heart that isn't yet fulfilled. Maybe it's a sickness. But I'm definitely not satisfied. It's not do to with money - I'm richer than I ever thought I would be. It's not fame - I'm more famous than I've ever been. It's something else. Something personal. I would like to leave ten films that I have written, original work. That would satisfy this itch. [2007]
54 [on The Cotton Club (1984)] It was a nightmare. It was deceptive. I was sucked in without knowing what was going on. It was like a pretty girl who gets seduced. I didn't realize that the only reason I was getting sweet-talked and enticed by Robert Evans to do "The Cotton Club" was that he needed me to get the money. It was a terrible experience. I like Gregory Hines very much, Richard Gere is basically a good guy, Diane Lane is a sweet person. But it was Bob Evans again. He was back and trying to take control of it. About 20 to 30 minutes were taken out of the Gregory-Hines-and-his-brother storyline, the back story. I'd like to see it as the long version.
55 Steven Spielberg is unique. I feel that the kinds of movies he loves are the same kinds of movies that the big mass audience loves. He's very fortunate because he can do the things he naturally likes the best, and he's been very successful. Martin Scorsese, I think, is different. If Exxon went to Martin and said, "Martin, we feel you're one of the best artists in the world today and we're going to finance any movie you want to make because we believe that at the end of your life those will be very valuable movies," he would be making very different movies from what he's making now. I think he probably has scripts that he's trying to get someone to enable him to make and then another one comes on and they say, "Look, we have Jack Nicholson and so on and so on. Would you do it? And of course he says, "Okay. Not that he doesn't like it or they're not good movies, but I think that his heart is maybe in more personal filmmaking.
56 Jack (1996) was a movie that everybody hated and I was constantly damned and ridiculed for. I must say I find "Jack" sweet and amusing. I don't dislike it as much as everyone, but that's obvious - I directed it. I know I should be ashamed of it but I'm not. I don't know why everybody hated it so much. I think it was because of the type of movie it was. It was considered that I had made Apocalypse Now (1979) and I'm like a Marty Scorsese type of director, and here I am making this dumb Disney film with Robin Williams. But I was always happy to do any type of film.
57 I think The Godfather: Part III (1990) had a lot of good things about it. It had good potential. I think it was made a little too rushed because it was made in one year and they wanted it out that Christmas. It was a big, complex, difficult story. I think if I had spent more time writing it I would have solved or defined some of the issues better, rather than doing it while we were shooting. Also I think the loss of Robert Duvall as a character made a difference. As I look back on it, he was a very important part of that story. Clearly he was the most important character still living from the other movies. So I think ultimately losing the Hagen character was more than I was able to write my way out of so quickly. I could have done it had we not started shooting right away.
58 I didn't particularly want to make The Godfather: Part II (1974) ! I always felt that The Godfather (1972) was a perfectly good drama and ended all the aspects of the story: It resolved the character and was really meant to be one movie. It only got to be a second and a third out of the greed of companies wanting to make more of them. On "The Godfather: Part II", I had just as much control over the production as I had with Youth Without Youth (2007) because it was my own. Because "The Godfather" was so successful, I could do anything I wanted. But even though maybe "The Godfather: Part II" was a good film or a better film, I still feel that "The Godfather" was complete. I only did "The Godfather Part II" because I thought it would be interesting to make a film about a man and his father at the same age and tell the two stories in parallel, which is what I did. And that was an achievement.
59 The Godfather (1972) changed my life, for better or worse. It definitely made me have an older man's film career when I was 29. So now I say, 'If I had my older career when I was young, as an older man, maybe I can have a young film-maker's career.'
60 When you lose your kid, it's the first thing you think of when you wake up in the morning for about seven or eight years. Then there's the first morning when that's not the first thing you think of. You get brave.
61 The easiest way to make sure a movie is successful is to make a traditional movie very well. If you make a slightly unusual movie or [don't] exactly follow the rules as everyone sees them, then you get in trouble or, like with Apocalypse Now (1979), wait 20 years to hear that was really good.
62 [on Akira Kurosawa] Most directors have one masterpiece by which they are known, or possibly two. Kurosawa has at least eight or nine.
63 Initially, the idea of a sequel seemed horrible to me. It sounded like a tacky spin-off, and I used to joke that the only way I'd do it was if they'd let me film 'Abbott and Costello Meet the Godfather'- that would have been fun. Then I entertained some Russian film executives who were visiting San Francisco and they asked me if I was going to make The Godfather: Part II (1974). That was the first time I heard the phrase used; I guess you could say I stole the title from the Russians. In short, it seemed like such a terrible idea that I was intrigued by the thought of pulling it off. Simple as that.
64 I had a little fantasy that goes like this: I'm getting to be an influential person in San Francisco; what if I and five other powerful guys with cigars got together in a smoke-filled room to decide who would be the next mayor of San Francisco? We'd do it because we're good guys and we really want the city to be wonderful for everybody. Then I thought, what's the difference between five good guys holding that kind of power and five bad guys? Just good intentions, and intentions can be corrupted.
65 I think if there was a role that Robert De Niro was hungry for, he would come after it. I don't think Jack Nicholson would. Jack has money and influence and girls, and I think he's a little bit like Marlon Brando, except Brando went through some tough times. I guess they don't want to do it anymore
66 If you don't bet, you don't have a chance to win.
67 If the movie works, nobody notices the mistakes... If the movie doesn't work, the only thing people notice are mistakes.
68 Basically, both the Mafia and America feel they are benevolent organizations. And both the Mafia and America have their hands stained with blood from what it is necessary to do to protect their power and interests.
69 Wall Street got interested in film and communications, and these are the people who brought you the Big Mac. In the past twelve years, I can't think of one classic they've made. [1996]
70 Lots of people have criticized my movies, but nobody has ever identified the real problem: I'm a sloppy filmmaker.
71 I probably have genius. But no talent.
72 I bring to my life a certain amount of mess.
73 Anything you build on a large scale or with intense passion invites chaos.
74 All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross- pollinated each other.
75 In a sense, I think a movie is really a little like a question and when you make it, that's when you get the answer.
76 I just feel that at a certain point you have to go back to the beginning again. The best thing for me at this point in my life is to become a student again and make movies with the eyes I had when I was enthusiastic about it in the first place.
77 What the studios want now is "risk-free" films but with any sort of art you have to take risks. Not taking risks in art is like not having sex and then expecting there to be children.
78 [on Apocalypse Now (1979)] My movie is not about Vietnam... my movie is Vietnam. [Cannes 1979]
79 To me the great hope is that now that these little 8mm video recorder and stuff now, some - just people who normally wouldn't make movies are going to be making them. And, you know, suddenly one day some little fat girl in Ohio is going to be the new Mozart, and you know, and make a beautiful film with her father's little camera-corder and for once this whole professionalism about movies will be destroyed forever and it will become an art form. That's my opinion. ["Heart of Darkness: A Filmmaker's Apocalypse", 1991]

#Trademark
1 Protagonists are tough inside who want change the world around, more often than not for selfish reasons.
2 Beard
3 Frequently casts Robert Duvall, the late John Cazale, Nicolas Cage, Diane Keaton, Matt Dillon, Harrison Ford, Laurence Fishburne and Marlon Brando.
4 Often works with cinematographer Gordon Willis and producers Fred Roos and Gray Frederickson.
5 Releases re-edited versions of his work years later (e.g., The Godfather (1972) and Apocalypse Now (1979)).
6 Includes the original author's name in the title of his adaptations (i.e., Mario Puzo's The Godfather (1972), Bram Stoker's Dracula (1992)).
7 Often casts his own real-life extended family members in his films. In the case of the Godfather films, their characters' relationships to "Michael Corleone" often paralleled their real-life relationship to Coppola. He cast his sister, Talia Shire, as Michael's sister Connie, and his daughter, Sofia Coppola, as Michael's daughter Mary - named for Coppola's other daughter. In addition, Diane Keaton said that she modeled her performance as Kay Adams after Elanor Coppola, since both Kay and Coppola are protestants who married into Italian Catholic families.

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