UPDATE: Utopia, which was founded and run by Coppola's nephew Robert Schwartzman, has secured the North American distribution rights for “Megadoc.” Following their collaboration with American Zoetrope and Lionsgate to release Megalopolis in the U.S. last year, Utopia is set to bring Megadoc to theaters this fall.
EARLIER: Mike Figgis shot a behind-the-scenes documentary about “Megalopolis,” with production lasting around 18 months, tackling prep, the shoot, and the catastrophic release. It’s called “MegaDoc.”
Last month, “MegaDoc” was privately screened in London for “friends” and “family,” and the event included a post-screening Q&A with Figgis, conducted by filmmaker Gareth Evans (“The Raid”). In case you’re wondering, Figgis says that he aims to officially premiere the film at “Venice or Telluride.”
Figgis promises “fly-in-the-wall” filmmaking, covering the ups and downs of both pre- and post-production work on “Megalopolis,” not to mention the dramatic shoot in Georgia.
Figgis, who was introduced to Coppola in the mid-’90s after directing the filmmaker’s nephew, Nicolas Cage, in “Leaving Las Vegas,” says “MegaDoc” features conversations with various cast members — Aubrey Plaza, Dustin Hoffman, Shia LaBeouf. George Lucas and Coppola’s late wife, Eleanor Coppola, were also interviewed for the doc.
Figgis says that there is talk of re-releasing “Megalopolis” with “Megadoc” being shown before, or a limited release of Megadoc in U.S cinemas. There is enough footage for five episodes, if done in parts.
Making “MegaDoc” has been “a year and a half crazy ride,” Figgis had previously told Deadline.
“I think Francis accepted the fact that by inviting me in, I’m not doing a behind-the-scenes puff piece, you know? It has to be honest, and finally we arrived at an agreement […] He never said, ‘You can’t be there or leave the room.’”
The film will also explore the moment when Coppola fired his entire special effects department while still in production, which Figgis says was due to their “relationship with the Marvel Universe mode of filmmaking.” Figgis adds that he felt Coppola was in the wrong when he decided to axe them.
How transparent Figgis will be in his document of the “Megalopolis” set remains to be seen. There was a lot of drama, with key creative talent, such as the visual effects production supervisor, production designer, and supervising art director, all being fired over “creative differences.”
It’ll be interesting to see just how unfiltered the doc actually is, which Figgis says is now in Coppola’s possession since he “owns everything” connected to “Megalopolis.”