Known for movies

Short Info

Net Worth$250 million
Date Of BirthApril 7, 1939
SpouseEleanor Coppola, Eleanor Coppola
FactHe, 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.
PaymentsEarned 20% of gross from American Graffiti (1973)

Francis Ford Coppola is an American film director, producer, and screenwriter. He was born on April 7, 1939, in Detroit, Michigan, to parents Carmine Coppola and Italia Pennino. His father was a musician, and his mother was an actress. Coppola has two siblings, a sister, Talia Shire, and a brother, August Coppola. He was educated at Hofstra University and the University of California, Los Angeles.

Coppola’s career began when he wrote the screenplay for the 1967 film “You’re a Big Boy Now.” He went on to write and direct the 1971 film “The Godfather,” which was a critical and commercial success. The film won three Academy Awards, including Best Picture. Coppola followed up with the 1974 sequel “The Godfather Part II,” which was also a critical and commercial success. The film won six Academy Awards, including Best Picture.

In 1979, Coppola directed the Vietnam War epic “Apocalypse Now.” The film was a critical and commercial success, and won two Academy Awards. In 1982, he directed “The Outsiders.” The film was a critical and commercial success. In 1983, he directed “Rumble Fish.” The film was a critical success but a commercial failure.

In 1984, Coppola directed “The Cotton Club.” The film was a critical and commercial failure. In 1986, he directed “Peggy Sue Got Married.” The film was a critical and commercial success. In 1989, he directed “Batman.” The film was a critical and commercial success. In 1992, he directed “Bram Stoker’s Dracula.” The film was a critical and commercial success. In 1997, he directed “Jack.” The film was a critical and commercial failure.

In 2001, Coppola directed “Apocalypse Now Redux,” an extended version of “Apocalypse Now.” The film was a critical and commercial success. In 2007, he directed “Youth Without Youth.” The film was a critical failure but a commercial success. In 2011, he directed “Twixt.” The film was a critical and commercial failure.

Coppola has been married three times. His first wife was Eleanor Coppola, with whom he has three children: Gian-Carlo Coppola, Roman Coppola, and Sofia Coppola. His second wife was Gretchenfrage Wilhelmina Wendeln with whom he had two children: Gia Coppola and Gian-Carlo Coppola Jr.. His third wife is Eleanor Neil with whom he has two children: Maya Coppola and Gio Coppola.

Coppola has a net worth of $300 million. He has won five Academy Awards, two Golden Globe Awards, and a BAFTA Award.

General Info

Full NameFrancis Ford Coppola
Net Worth$250 million
Date Of BirthApril 7, 1939
Height1.82 m, 1.82 m
ProfessionScreenwriter, Television producer, Film producer, Film director, Actor, Film Editor, Businessperson, Television Director, Film director, Actor, Film producer, Screenwriter, Businessperson, Film Editor, Television Director, Television producer
EducationUCLA School of Theater, Film and Television, Hofstra University, John L. Miller Great Neck North High School, New York Military Academy, Stevens Institute of Technology, UCLA School of Theater, Film and Television, Hofstra University, New York Military Academy, Stevens Institute of Technology, John L. Miller Great Neck North High School


SpouseEleanor Coppola, Eleanor Coppola
ChildrenSofia Coppola, Roman Coppola, Gian-Carlo Coppola, Sofia Coppola, Roman Coppola, Gian-Carlo Coppola
ParentsItalia Coppola, Carmine Coppola, Carmine Coppola, Italia Coppola
SiblingsTalia Shire, August Coppola, Talia Shire, August Coppola


AwardsAcademy Award for Best Picture, Academy Award for Best Director, Palme d'Or, Academy Award for Best Writing Adapted Screenplay, Academy Award for Best Original Screenplay, Golden Globe Award for Best Screenplay - Motion Picture, Golden Globe Award for Best Director - Motion Picture, Princess of Astu...
NominationsGolden Globe Award for Best Motion Picture – Drama, BAFTA Award for Best Film, César Award for Best Foreign Film, BAFTA Award for Best Film Music, Edgar Award for Best Motion Picture Screenplay, Primetime Emmy Award for Outstanding Limited Series, Hugo Award for Best Dramatic Presentation, BAFTA ...
MoviesApocalypse Now, The Conversation, Bram Stoker's Dracula, The Godfather Part II, The Godfather, The Outsiders, Tetro, Rumble Fish, Twixt, The Rainmaker, Youth Without Youth, One from the Heart, The Godfather Part III, The Cotton Club, The Rain People, Tucker: The Man and His Dream, Jack, Peggy Sue Go...
TV ShowsSodankylä Forever, Sodankylä Forever

Social profile links


#Marks / Signs
1Protagonists are tough inside who want change the world around, more often than not for selfish reasons.
3Frequently casts Robert Duvall, the late John Cazale, Nicolas Cage, Diane Keaton, Matt Dillon, Harrison Ford, Laurence Fishburne and Marlon Brando.
4Often works with cinematographer Gordon Willis and producers Fred Roos and Gray Frederickson.
5Releases re-edited versions of his work years later (e.g., The Godfather (1972) and Apocalypse Now (1979)).
6Includes the original author's name in the title of his adaptations (i.e., Mario Puzo's The Godfather (1972), Bram Stoker's Dracula (1992)).
7Often 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.


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


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]
2The 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]
4I 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]
5You can neither make beautiful, great movies without risk as you can make babies without sex. Risk is part of the artistic process. [2016]
6I 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]
7Tamara 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]
8I 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]
9I 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]
10You 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]
11I 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]
12The 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]
13I 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]
15Who 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]
20The 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]
21I am fascinated by the whole idea of family.
22The 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.
23People 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.
24There'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.
25I 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.
26I don't think there's any artist of any value who doesn't doubt what they're doing.
27I think a sequel is a waste of money and time. I think movies should illuminate new stories.
28The 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.
30I 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.
32Here's a tip to young directors. They never fire you midweek.
33I think cinema, movies and magic have always been closely associated. The very earliest people who made films were magicians.
34Akira 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]
36In 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.
38I 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.
40As 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.
41I 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.
42Hollywood 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.
44I 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?
45I'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.
46The 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.
47They 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.
51I 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.
52I 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.
53There'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.
55Steven 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.
56Jack (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.
57I 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.
58I 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.
59The 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.'
60When 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.
61The 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.
63Initially, 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.
64I 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.
65I 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
66If you don't bet, you don't have a chance to win.
67If the movie works, nobody notices the mistakes... If the movie doesn't work, the only thing people notice are mistakes.
68Basically, 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.
69Wall 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]
70Lots of people have criticized my movies, but nobody has ever identified the real problem: I'm a sloppy filmmaker.
71I probably have genius. But no talent.
72I bring to my life a certain amount of mess.
73Anything you build on a large scale or with intense passion invites chaos.
74All 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.
75In 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.
76I 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.
77What 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]
79To 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]


1Along with Ernst Lubitsch, Jack Conway, Michael Curtiz, Victor Fleming, John Ford, Alfred Hitchcock, Sam Wood, Herbert Ross and Steven Soderbergh, he is one of ten directors to have more than one film nominated for Best Picture in the same year. The Godfather: Part II (1974) and The Conversation (1974) were both so nominated at the 47th Academy Awards in 1975 while the former won the award.
2Francis Ford Coppola's hands and feet were pressed into the cement outside the TCL Chinese Theatre in Los Angeles on April 29th, 2016.
3Coppola'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].
4His 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).
5Griffin 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]
6Director 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".
7Coppola is the first major American film director to earn a master's degree in filmmaking from a major university (UCLA in 1968).
8In September 2005 he visited Istanbul for vacation. According to him, he got drunk one night and suddenly had the initial idea for Twixt (2011).
9He visited Buenos Aires, Argentina for 4 days. [July 2006]
10He visited Buenos Aires, Argentina, making castings with Argentine actors and looking for locations for his film Tetro (2009). [June 2007]
11One 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.
12Says his greatest directorial influence is Elia Kazan.
13Was 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.
14Three 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.
15Is 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.
16His 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).
17President of the 'Official Competition' jury at the 15th Marrakech International Film Festival in 2015.
18Won 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).
19Is 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).
20Favorite movies from his own personal filmography: The Rain People (1969), The Conversation (1974), Apocalypse Now (1979), Rumble Fish (1983) and Youth Without Youth (2007).
21In 1986 his 22-year-old son, Gian-Carlo, died in a boating accident.
22As 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.
23His 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").
24Briefly 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).
25Uncle of Nicolas Cage, Christopher Coppola, Marc Coppola, Robert Schwartzman, Jason Schwartzman, John Schwartzman, Matthew Shire and Stephanie Schwartzman.
26Was named after his grandfather Francesco Pennino.
27He, 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.
28Currently 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.
29Since 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.
30There 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.
31Was 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".
32Co-owns the Rubicon restaurant in San Francisco with Robert De Niro and fellow Bay area resident Robin Williams.
33He 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.
34President of the 'Official Competition' jury at the 49th Cannes International Film Festival in 1996.
35The 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))
36In 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).
37Directed 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.
38Four 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.
39In 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.
40Serves 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.
41George Lucas said that he based the "Han Solo" character from the Star Wars trilogy on Coppola.
42Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945- 1985". Pages 227-234. New York: The H.W. Wilson Company, 1988.
43Was voted the 21st Greatest Director of all time by Entertainment Weekly.
44Made 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).
45Out 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.
46His wife arranged for him to meet Jane Powell as a 40th birthday present.
47As 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.
48Has released his own line of specialty foods.
49Grandfather of Gia Coppola. Great-uncle of Weston Cage.
50Francis 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.
51As of May 2002, the number of Coppola-family members appearing in or contributing to filmmaking stands at thirteen, spread over three generations.
52Was 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.
53Brother-in-law of Bill Neil.
54Coppola 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.
55Since 1978, owner and operator of a Rutherford, California vineyard making Rubicon wine.
56Received an M.F.A. in Film Production from the University of California in Los Angeles (1967).
57Son of composer Carmine Coppola and Italia Coppola.
58Father of Sofia Coppola, Roman Coppola and Gian-Carlo Coppola.
59Middle brother of Talia Shire and August Coppola.
60Like Martin Scorsese, Coppola was a sickly youth, a case of polio which allowed him time to indulge in puppet theater and home movies.
61Some 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.
62Caught polio when he was a child. During his quarantine, he practiced puppetry.




The Bling Ring2013executive producer
On the Road2012executive producer
Somewhere2010executive producer
Youth Without Youth2007producer
The Good Shepherd2006executive producer
Marie Antoinette2006executive producer
Forever Is a Long, Long Time2004Video short executive producer
Kinsey2004executive producer
Lost in Translation2003executive producer
Jeepers Creepers II2003executive producer
Platinum2003TV Series executive producer
Assassination Tango2002executive producer
Pumpkin2002executive producer
In My Life2002TV Movie executive producer
The Legend of Suriyothai2001executive producer
Jeepers Creepers2001executive producer
CQ2001executive producer
No Such Thing2001executive producer
First Wave1998-2001TV Series executive producer - 65 episodes
Dr. Jekyll and Mr. Hyde2000TV Movie executive producer
Sleepy Hollow1999executive producer
Goosed1999executive producer
The Third Miracle1999executive producer
The Virgin Suicides1999producer
The Florentine1999producer
Outrage1998TV Movie executive producer
Moby Dick1998TV Mini-Series executive producer - 2 episodes
Buddy1997executive producer
The Odyssey1997TV Series executive producer - 2 episodes
Survival on the Mountain1997TV Movie executive producer
Dark Angel1996TV Movie executive producer
Kidnapped1995TV Movie executive producer
Haunted1995executive producer
Tecumseh: The Last Warrior1995TV Movie executive producer
White Dwarf1995TV Movie executive producer
My Family1995executive producer
Mary Shelley's Frankenstein1994producer
Don Juan DeMarco1994producer
The Junky's Christmas1993Short producer
The Secret Garden1993executive producer
The Godfather Trilogy: 1901-19801992Video producer
Wind1992/Iexecutive producer
The Godfather: Part III1990producer
The Outsiders1990TV Series executive producer - 13 episodes
Wait Until Spring, Bandini1989executive producer - uncredited
Powaqqatsi1988Documentary executive producer
Lionheart1987executive producer
Tough Guys Don't Dance1987executive producer - as Francis Coppola
Gardens of Stone1987producer - as Francis Coppola
Mishima: A Life in Four Chapters1985executive producer - as Francis Coppola
Rumble Fish1983executive producer - as Francis Coppola
The Black Stallion Returns1983executive producer - as Francis Coppola
The Escape Artist1982executive producer - as Francis Coppola
Hammett1982executive producer
Koyaanisqatsi1982Documentary executive producer
Kagemusha1980executive producer: international version
The Black Stallion1979executive producer
Apocalypse Now1979producer - as Francis Coppola
The Godfather: A Novel for Television1977TV Mini-Series producer - 4 episodes
The Godfather: Part II1974producer
The Conversation1974producer
American Graffiti1973producer
Paper Moon1973executive producer - uncredited
The People1972TV Movie executive producer
THX 11381971executive producer
The Making of 'The Rain People'1969Documentary producer
The Terror1963associate producer - as Francis Coppola
Tonight for Sure1962producer


Distant Vision2016TV Movie
Distant Vision2015
Youth Without Youth2007
The Rainmaker1997
Making 'Bram Stoker's Dracula'1992TV Movie documentary
The Godfather Trilogy: 1901-19801992Video
The Godfather: Part III1990
New York Stories1989segment "Life without Zoe", as Francis Coppola
Tucker: The Man and His Dream1988
Gardens of Stone1987as Francis Coppola
Faerie Tale Theatre1987TV Series 1 episode
Peggy Sue Got Married1986as Francis Coppola
Captain EO1986Short
The Cotton Club1984as Francis Coppola
Rumble Fish1983
The Outsiders1983as Francis Coppola
One from the Heart1981as Francis Coppola
Apocalypse Now1979as Francis Coppola
The Godfather: A Novel for Television1977TV Mini-Series 4 episodes
The Godfather: Part II1974
The Conversation1974
The Godfather1972
The Rain People1969
Finian's Rainbow1968
You're a Big Boy Now1966
Dementia 131963as Francis Coppola
The Terror1963three or four days director - uncredited
Tonight for Sure1962
The Bellboy and the Playgirls1962
Nebo zovyot1959as Thomas Colchart, re-edited version with new footage


Distant Vision2016TV Movie
Distant Vision2015
Twixt2011written by
Tetro2009written by
Youth Without Youth2007screenplay
The Rainmaker1997screenplay
The Godfather Trilogy: 1901-19801992Video
The Godfather: Part III1990written by
New York Stories1989written by - segment "Life without Zoe", as Francis Coppola
Captain EO1986Short screenplay - as Francis Coppola
The Cotton Club1984screenplay - as Francis Coppola / story - as Francis Coppola
Rumble Fish1983screenplay
One from the Heart1981screenplay - as Francis Coppola
Apocalypse Now1979written by - as Francis Coppola
The Godfather: A Novel for Television1977TV Mini-Series screenplay - 4 episodes
The Godfather: Part II1974screenplay
The Conversation1974written by
The Great Gatsby1974screenplay
The Way We Were1973additional writer - uncredited
The Godfather1972screenplay
Patton1970screen story and screenplay
The Rain People1969written by
You're a Big Boy Now1966written for the screen by
Paris brûle-t-il?1966screenplay
This Property Is Condemned1966screenplay - as Francis Coppola
Dementia 131963written by - as Francis Coppola
The Haunted Palace1963additional dialogue - uncredited
Tonight for Sure1962written by - as Francis Coppola
The Bellboy and the Playgirls1962extra scenes


The Legend of Suriyothai2001presenter
My Family1995presenter
Dracula1993/IIVideo Game staff: American Zoetrope
The Spirit of '761990consultant - uncredited / consultant director - uncredited
Powaqqatsi1988Documentary presenter
Return to Oz1985assistant to director - uncredited
Mishima: A Life in Four Chapters1985presenter
Rumble Fish1983presenter
The Outsiders1983presenter
Apocalypse Now1979presenter
The Haunted Palace1963dialogue director - uncredited
Tower of London1962dialogue director
Nebo zovyot1959producer/scenarist - US version
Sadko1953script adaptor - 1962 version
Napoleon1927presenter - 1981 version


Palo Alto2013The Judge (voice, uncredited)
Apocalypse Now1979Director of TV Crew (uncredited)
The Young Racers1963uncredited
War Hunt1962Army Truck Driver (uncredited)

Assistant Director

The Wild Racers1968second unit director - uncredited
The Terror1963second unit director - uncredited
The Young Racers1963second unit director
Premature Burial1962assistant director


The Fantasticks1995uncredited


Apocalypse Now1979as Francis Coppola

Sound Department

The Young Racers1963sound




In the Name of the Father1993special thanks
The Godfather Family: A Look Inside1990TV Movie documentary thanks - as Francis Coppola
Kontakt1978Short special thanks
The Godfather: Part II1974special thanks - 2007 restoration
The Godfather1972special thanks - 2007 restoration
Five Came Back2017TV Series documentary very special thanks - 3 episodes
Two Forty-Six2015thanks
Lazarus: Apocalypse2014original inspiration
Palo Alto2013very special thanks - as Dada
The Bling Ring2013thanks - as Dad
Rakugo eiga2012grateful acknowledgment
A Glimpse Inside the Mind of Charles Swan III2012special thanks - as Mom & Dad
Killer Capone - Part 12012Short special thanks
In film la Nasu'2012Short thanks
The Wayshower2011very special thanks
Somewhere2010thank you - as Dad
All the Presidents' Movies: The Movie2009Documentary special thanks
Push Button House2008Documentary short special thanks
Expired2007special thanks
Marie Antoinette2006thanks - as Dad
Celebrating Schlesinger2006Video short special thanks
The Lost City2005additional thanks
She Hate Me2004thanks
Wonderland2003the producers and director wish to thank
Lost in Translation2003thanks - as Dad
Whether You Like It or Not: The Story of Hedwig2003Video documentary special thanks to the interviewees
Adaptation.2002special thanks - as Francis
Naqoyqatsi2002Documentary continuing thanks


Live Cinema Workshop2017Documentary post-productionSelf
What She Said: The Art of Pauline Kael2017Documentary post-productionHimself
Five Came Back2017TV Series documentaryHimself
The Family Whistle2016DocumentaryHimself
Gotta Keep Dreamin2016DocumentaryHimself
Jay Leno's Garage2015TV Series documentaryHimself
Today1989-2015TV SeriesHimself / Himself - Guest
Harold and Lillian: A Hollywood Love Story2015DocumentaryHimself
The Director's Chair2015TV SeriesHimself
Trespassing Bergman2013DocumentaryHimself - Interviewee
Seduced and Abandoned2013DocumentaryHimself
Teens Wanna Know2013TV SeriesHimself - Guest
Francis Ford Coppola: Pater Familias2012Documentary shortHimself
In film la Nasu'2012ShortHimself (voice)
The Godfather Legacy2012TV Movie documentaryHimself
Bergmans video2012TV Mini-Series documentaryHimself (2012)
13th Annual Young Hollywood Awards2011TV SpecialHimself - Award Presenter
The 83rd Annual Academy Awards2011TV SpecialHimself - Honorary Award Recipient
Sodankylä ikuisesti2010TV Series documentaryHimself
Che tempo che fa2009TV SeriesHimself - Guest
Ciak Point Torino 20092009TV MovieHimself
Made in Hollywood: Teen Edition2009TV SeriesHimself
Jornal Nacional2009TV SeriesHimself
Tavis Smiley2009TV SeriesHimself - Guest
Cinema 32009TV SeriesHimself
At the Movies2009TV SeriesHimself
Días de cine2009TV SeriesHimself
Le grand journal de Canal+2009TV Series documentaryHimself
Hollywood's Best Film Directors2009TV SeriesHimself - Interviewee
Cannes Moments2009TV Series documentaryHimself
I Knew It Was You: Rediscovering John Cazale2009Documentary shortHimself
Emulsional Rescue: Revealing 'The Godfather'2008Video shortHimself
Godfather World2008Video shortHimself
The Godfather: When the Shooting Stopped2008Video shortHimself
The Masterpiece That Almost Wasn't2008Video documentary shortHimself
Texas Monthly Talks2007TV SeriesHimself - Interviewee
The Kennedy Center Honors: A Celebration of the Performing Arts2007TV SpecialHimself
Up Close with Carrie Keagan2007TV SeriesHimself - Guest
Coda: Thirty Years Later2007TV Movie documentaryHimself
Rencontres de cinéma2007TV SeriesHimself
The Blood Is the Life: The Making of 'Bram Stoker's Dracula'2007Video documentary shortHimself
In Camera: The Naïve Visual Effects of 'Bram Stoker's Dracula'2007Video documentary shortHimself
Method and Madness: Visualizing 'Dracula'2007Video documentary shortHimself
The Costumes Are the Sets: The Design of Eiko Ishioka2007Video documentary shortHimself
Lights! Action! Music!2007TV Movie documentaryHimself
Watch 'The Rainmaker' with Francis Coppola2007Video shortHimself
AFI Life Achievement Award: A Tribute to Al Pacino2007TV MovieHimself
Fog City Mavericks2007DocumentaryHimself
The 79th Annual Academy Awards2007TV SpecialHimself - Presenter: Best Director
The Making of 'Marie Antoinette'2007Video shortHimself
Shootout2005-2006TV SeriesHimself
A Million Feet of Film: The Editing of Apocalypse Now2006Video documentary shortHimself (as Francis Coppola)
Heard Any Good Movies Lately?: The Sound Design of Apocalypse Now2006Video shortHimself (as Francis Coppola)
The Music of Apocalypse Now2006Video documentary shortHimself (as Francis Coppola)
Corazón de...2006TV SeriesHimself
The World's Greatest Actor2006TV Movie documentaryHimself
Celebrating Schlesinger2006Video shortHimself - Filmmaker
The Birth of 5.1 Sound2006Video documentary shortHimself
Movies That Shook the World2005TV Series documentaryHimself
Staying Gold: A Look Back at 'The Outsiders'2005Video documentary shortHimself (as Francis Coppola)
'Rumble Fish': The Percussion-Based Score2005Video shortHimself
There Is No Direction2005Documentary shortHimself
AFI Life Achievement Award: A Tribute to George Lucas2005TV SpecialHimself
Fred Roos and the Casting of 'The Outsiders'2005Video documentary shortHimself
Imagine2004TV Series documentaryHimself
A Legacy of Filmmakers: The Early Years of American Zoetrope2004Video documentaryHimself
Artifact from the Future: The Making of 'THX 1138'2004Video documentary shortHimself
Dateline NBC2004TV Series documentaryHimself
Tying the Knot2004DocumentaryHimself
Travel Channel Secrets2004TV SeriesHimself
The 76th Annual Academy Awards2004TV SpecialHimself - Co-Presenter: Best Adapted Screenplay
The 2004 IFP/West Independent Spirit Awards2004TV Movie documentaryHimself
Tinseltown TV2003TV SeriesHimself
Dean Tavoularis, le magicien d'Hollywood2003DocumentaryHimself
Whether You Like It or Not: The Story of Hedwig2003Video documentaryHimself
Dennis Hopper: Create (or Die)2003TV Movie documentaryHimself (as Francis Coppola)
A Decade Under the Influence2003DocumentaryHimself
Easy Riders, Raging Bulls: How the Sex, Drugs and Rock 'N' Roll Generation Saved Hollywood2003DocumentaryHimself
La semaine du cinéma2002TV SeriesHimself
On the Set of 'CQ'2002Video documentary shortHimself
R2-D2: Beneath the Dome2001TV Special shortHimself (uncredited)
Coppola and Puzo on Screenwriting2001Video shortHimself
Francis Coppola's Notebook2001Video documentary short
The Music of 'The Godfather'2001Video shortHimself
Breaking the Silence: The Making of 'Hannibal'2001Video documentaryHimself - N.Y. Premiere
Festival international de Cannes1996-2001TV SeriesHimself
Inside the Actors Studio2001TV SeriesHimself - Guest
Under the Hood: Making 'Tucker'2000Video documentary shortHimself
The 52nd Annual Directors Guild Awards2000TV SpecialHimself - Presenter: Honorary Award
Kurosawa: The Last Emperor1999TV Movie documentaryHimself
The Making of 'American Graffiti'1998TV Movie documentaryHimself
The 50th Annual Directors Guild of America Awards1998TV SpecialHimself - Winner
Howard Stern1998TV SeriesHimself - Guest
Late Night with Conan O'Brien1994-1997TV SeriesHimself - Guest
USSB Hollywood Insiders1997TV MovieHimself
In Search of Dracula with Jonathan Ross1996TV Movie documentaryHimself
Charlie Rose1996TV SeriesHimself - Guest
Marlon Brando: The Wild One1996TV Movie documentaryHimself
A Personal Journey with Martin Scorsese Through American Movies1995TV Movie documentaryHimself
Great Performances1994TV SeriesHimself
It's Alive: The True Story of Frankenstein1994TV Movie documentaryHimself
The 9th Annual ASC Awards1994TV SpecialHimself - Presenter: Lifetime Achievement Award
American Masters1993TV Series documentaryHimself
Writing with Light: Vittorio Storaro1992DocumentaryHimself
Blood Lines: Dracula - The Man. The Myth. The Movies.1992TV Short documentaryHimself
Crazy About the Movies: Dennis Hopper1991TV Movie documentaryHimself
The 19th Annual Rudolph Valentino Awards1991TV SpecialHimself - Winner
Hearts of Darkness: A Filmmaker's Apocalypse1991DocumentaryHimself (as Francis Coppola)
The 63rd Annual Academy Awards1991TV SpecialHimself - Nominee: Best Picture & Best Director
The 43th Annual Directors Guild Awards1991TV SpecialHimself
The 48th Annual Golden Globe Awards1991TV SpecialHimself - Nominee: Best Motion Picture - Drama, Best Director & best Screenplay
Memory & Imagination: New Pathways to the Library of Congress1990TV Movie documentaryHimself
The Godfather Family: A Look Inside1990TV Movie documentaryHimself
Hollywood Mavericks1990DocumentaryHimself
Live with Kelly and Ryan1989TV SeriesHimself - Guest
The Making of 'Captain Eo'1986TV Special documentaryHimself
Saturday Night Live1986TV SeriesHimself - Director
Reverse Angle: Ein Brief aus New York1982Documentary shortHimself
Late Night with David Letterman1982TV SeriesHimself - Guest
The Making of 'One from the Heart'1982Documentary shortHimself
American Mythologies1981Documentary
Inside the Coppola Personality1981Himself
Arena1981TV Series documentaryHimself
Rendez-Vous Video Magazine1981Video documentaryHimself (segment "Coppola")
The 37th Annual Golden Globe Awards1980TV SpecialHimself
Cultural Celebrities1979DocumentaryHimself
The South Bank Show1979TV Series documentaryHimself - Guest
Bitte umblättern1979TV Series documentaryHimself
The 51st Annual Academy Awards1979TV Special documentaryHimself - Co-Presenter: Best Director
Revista de cine1977TV SeriesHimself
The Godfather Comes to Sixth St.1976ShortHimself
The Lion Roars Again1975Documentary shortHimself
The Mike Douglas Show1974-1975TV SeriesHimself - Director / Himself - Guest
Dinah!1975TV SeriesHimself - Guest
Tomorrow Coast to Coast1975TV SeriesHimself - Guest
The 47th Annual Academy Awards1975TV SpecialHimself - Winner, Nominee & Accepting Best Supporting Actor Award for Robert De Niro
Film '721974TV SeriesHimself
The 45th Annual Academy Awards1973TV SpecialHimself - Winner & Nominee
Bald: The Making of 'THX 1138'1971Documentary shortHimself (as Francis Coppola)
The Godfather: Behind the Scenes1971Documentary shortHimself (uncredited)
Filmmaker1968Documentary short
The New Cinema1968TV Movie documentaryHimself
The World Premiere of 'Finian's Rainbow'1968ShortHimself

Archive Footage

Film '722015TV SeriesHimself - Interviewee
Listen to Me Marlon2015DocumentaryHimself (uncredited)
Once in a Lew Moon2015DocumentaryHimself
Alfonso Sansone produttore per caso2014
The Greatest Ever War Films2014TV Movie documentaryHimself (1979)
And the Oscar Goes To...2014TV Movie documentaryHimself
The Story of Film: An Odyssey2011TV Mini-Series documentaryHimself
Corman's World: Exploits of a Hollywood Rebel2011DocumentaryHimself (uncredited)
Moguls & Movie Stars: A History of Hollywood2010TV Mini-Series documentaryHimself
The People vs. George Lucas2010DocumentaryHimself - Director
Cámara negra. Teatro Victoria Eugenia2007TV Short documentaryHimself
Francis Ford Coppola Directs 'John Grisham's The Rainmaker'2007Video documentary shortHimself (as Francis Coppola)
Cannes, 60 ans d'histoires2007TV Movie documentaryHimself
Brando2007TV Movie documentaryHimself
La tele de tu vida2007TV SeriesHimself
Cannes 2006: Crónica de Carlos Boyero2006TV MovieHimself
Boffo! Tinseltown's Bombs and Blockbusters2006DocumentaryHimself
The Godfather and the Mob2006TV Movie documentary
Hollywood Greats2006TV Series documentaryHimself
Saturday Night Live in the '80s: Lost & Found2005TV Special documentaryHimself
Cinema mil2005TV SeriesHimself
On Location in Tulsa: The Making of 'Rumble Fish'2005Video shortHimself (as Francis Coppola)
Inside Deep Throat2005DocumentaryHimself
The Dream Studio2004Video documentary shortHimself
Final Cut: The Making and Unmaking of Heaven's Gate2004DocumentaryHimself
101 Biggest Celebrity Oops2004TV Special documentaryHimself - #28: Francis Ford Coppola casts Sofia in Godfather 3
Troldspejlet2002TV SeriesHimself
The Kid Stays in the Picture2002DocumentaryHimself
I Lars von Triers rige1999TV Short documentaryHimself (Cannes 1996 footage) (uncredited)
Frontline1987TV Series documentaryHimself
The Mike Douglas Show1976TV SeriesHimself - Director


Won Awards

2015Prince of Asturias AwardPrince of Asturias AwardsArts
2014Silver Medallion AwardTelluride Film Festival, USApocalypse Now (1979)
2011Irving G. Thalberg Memorial AwardAcademy Awards, USA
2009Gold Derby AwardGold Derby AwardsLife Achievement (Other)
2005Golden EagleGolden Eagle Awards, RussiaAchievement in World Cinema
2005Honorary Golden AlexanderThessaloniki Film Festival
2003Lifetime Achievement AwardDenver International Film Festival
2003OFTA Film Hall of FameOnline Film & Television AssociationCreative
2002Gala TributeFilm Society of Lincoln Center
2002Special 50th Anniversary AwardSan Sebastián International Film FestivalOn occasion of the 50th anniversary of the festival in recognition to his impressive career.
2001Mary Pickford AwardSatellite Awards
1998Board of the Governors AwardAmerican Society of Cinematographers, USA
1998Lifetime Achievement AwardDirectors Guild of America, USA
1997Billy Wilder AwardNational Board of Review, USA
1994CEC Career AwardCinema Writers Circle Awards, Spain
1994Fotogramas de PlataFotogramas de PlataBest Foreign Film (Mejor Película Extranjera)Dracula (1992)
1993Saturn AwardAcademy of Science Fiction, Fantasy & Horror Films, USABest DirectorDracula (1992)
1992Fotogramas de PlataFotogramas de PlataBest Foreign Film (Mejor Película Extranjera)The Godfather: Part III (1990)
1992Career Golden LionVenice Film Festival
1991Berlinale CameraBerlin International Film Festival
1988Audience AwardSESC Film Festival, BrazilBest Foreign Film (Melhor Filme Estrangeiro)Rumble Fish (1983)
1984FIPRESCI PrizeSan Sebastián International Film FestivalRumble Fish (1983)
1984OCIC AwardSan Sebastián International Film FestivalRumble Fish (1983)
1981DavidDavid di Donatello AwardsBest Foreign Producer (Migliore Produttore Straniero)Kagemusha (1980)
1980Golden GlobeGolden Globes, USABest Director - Motion PictureApocalypse Now (1979)
1980Golden GlobeGolden Globes, USABest Original Score - Motion PictureApocalypse Now (1979)
1980BAFTA Film AwardBAFTA AwardsBest DirectionApocalypse Now (1979)
1980DavidDavid di Donatello AwardsBest Foreign Director (Migliore Regista Straniero)Apocalypse Now (1979)
1979Palme d'OrCannes Film FestivalApocalypse Now (1979)
1979FIPRESCI PrizeCannes Film FestivalCompetitionApocalypse Now (1979)
1975OscarAcademy Awards, USABest PictureThe Godfather: Part II (1974)
1975OscarAcademy Awards, USABest DirectorThe Godfather: Part II (1974)
1975OscarAcademy Awards, USABest Writing, Screenplay Adapted From Other MaterialThe Godfather: Part II (1974)
1975DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Godfather: Part II (1974)
1975NSFC AwardNational Society of Film Critics Awards, USABest DirectorThe Conversation (1974)
1975WGA Award (Screen)Writers Guild of America, USABest Drama Adapted from Another MediumThe Godfather: Part II (1974)
1974Palme d'OrCannes Film FestivalThe Conversation (1974)
1974Prize of the Ecumenical Jury - Special MentionCannes Film FestivalThe Conversation (1974)
1974KCFCC AwardKansas City Film Critics Circle AwardsBest DirectorThe Godfather: Part II (1974)
1974NBR AwardNational Board of Review, USABest DirectorThe Conversation (1974)
1974Silver Medallion AwardTelluride Film Festival, US
1973OscarAcademy Awards, USABest Writing, Screenplay Based on Material from Another MediumThe Godfather (1972)
1973Golden GlobeGolden Globes, USABest Director - Motion PictureThe Godfather (1972)
1973Golden GlobeGolden Globes, USABest Screenplay - Motion PictureThe Godfather (1972)
1973DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Godfather (1972)
1973WGA Award (Screen)Writers Guild of America, USABest Drama Adapted from Another MediumThe Godfather (1972)
1972KCFCC AwardKansas City Film Critics Circle AwardsBest DirectorThe Godfather (1972)
1971OscarAcademy Awards, USABest Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or ProducedPatton (1970)
1971WGA Award (Screen)Writers Guild of America, USABest Drama Written Directly for the ScreenPatton (1970)
1969Golden SeashellSan Sebastián International Film FestivalThe Rain People (1969)

Nominated Awards

2008Gold Derby AwardGold Derby AwardsLife Achievement (Other)
2007Gold Derby AwardGold Derby AwardsLife Achievement (Other)
2002Cinema Brazil Grand PrizeCinema Brazil Grand PrizeBest Foreign-Language Film (Melhor Filme Estrangeiro)Apocalypse Now (1979)
2001Video Premiere AwardDVD Exclusive AwardsBest DVD Audio CommentaryThe Conversation (1974)
2001Video Premiere AwardDVD Exclusive AwardsBest Audio CommentaryThe Godfather (1972)
1998Primetime EmmyPrimetime Emmy AwardsOutstanding MiniseriesMoby Dick (1998)
1998USC Scripter AwardUSC Scripter AwardThe Rainmaker (1997)
1997Primetime EmmyPrimetime Emmy AwardsOutstanding MiniseriesThe Odyssey (1997)
1995CableACECableACE AwardsAnimated Programming Special or SeriesThe Junky's Christmas (1993)
1993HugoHugo AwardsBest Dramatic PresentationDracula (1992)
1991OscarAcademy Awards, USABest PictureThe Godfather: Part III (1990)
1991OscarAcademy Awards, USABest DirectorThe Godfather: Part III (1990)
1991Golden GlobeGolden Globes, USABest Director - Motion PictureThe Godfather: Part III (1990)
1991Golden GlobeGolden Globes, USABest Screenplay - Motion PictureThe Godfather: Part III (1990)
1991DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Godfather: Part III (1990)
1988ACECableACE AwardsDirecting a Theatrical or Dramatic SpecialFaerie Tale Theatre (1982)
1987Golden PrizeMoscow International Film FestivalGardens of Stone (1987)
1985Golden GlobeGolden Globes, USABest Director - Motion PictureThe Cotton Club (1984)
1983Golden PrizeMoscow International Film FestivalThe Outsiders (1983)
1980OscarAcademy Awards, USABest PictureApocalypse Now (1979)
1980OscarAcademy Awards, USABest DirectorApocalypse Now (1979)
1980OscarAcademy Awards, USABest Writing, Screenplay Based on Material from Another MediumApocalypse Now (1979)
1980Anthony Asquith Award for Film MusicBAFTA AwardsApocalypse Now (1979)
1980CésarCésar Awards, FranceBest Foreign Film (Meilleur film étranger)Apocalypse Now (1979)
1980DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesApocalypse Now (1979)
1980GrammyGrammy AwardsBest Album of Original Score Written for a Motion Picture or Television SpecialApocalypse Now (1979)
1980WGA Award (Screen)Writers Guild of America, USABest Drama Written Directly for the ScreenApocalypse Now (1979)
1975OscarAcademy Awards, USABest PictureThe Conversation (1974)
1975OscarAcademy Awards, USABest Writing, Original ScreenplayThe Conversation (1974)
1975Golden GlobeGolden Globes, USABest Director - Motion PictureThe Conversation (1974)
1975Golden GlobeGolden Globes, USABest Director - Motion PictureThe Godfather: Part II (1974)
1975Golden GlobeGolden Globes, USABest Screenplay - Motion PictureThe Conversation (1974)
1975Golden GlobeGolden Globes, USABest Screenplay - Motion PictureThe Godfather: Part II (1974)
1975BAFTA Film AwardBAFTA AwardsBest DirectionThe Conversation (1974)
1975BAFTA Film AwardBAFTA AwardsBest ScreenplayThe Conversation (1974)
1975DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Conversation (1974)
1975EdgarEdgar Allan Poe AwardsBest Motion PictureThe Conversation (1974)
1975WGA Award (Screen)Writers Guild of America, USABest Drama Written Directly for the ScreenThe Conversation (1974)
1974OscarAcademy Awards, USABest PictureAmerican Graffiti (1973)
1973OscarAcademy Awards, USABest DirectorThe Godfather (1972)
1972NSFC AwardNational Society of Film Critics Awards, USABest ScreenplayThe Godfather (1972)
1967Palme d'OrCannes Film FestivalYou're a Big Boy Now (1966)
1967WGA Award (Screen)Writers Guild of America, USABest Written American ComedyYou're a Big Boy Now (1966)

2nd Place Awards

1973NYFCC AwardNew York Film Critics Circle AwardsBest DirectorThe Godfather (1972)

3rd Place Awards

1974NYFCC AwardNew York Film Critics Circle AwardsBest ScreenplayThe Conversation (1974)
1974NYFCC AwardNew York Film Critics Circle AwardsBest DirectorThe Godfather: Part II (1974)
1972NSFC AwardNational Society of Film Critics Awards, USABest DirectorThe Godfather (1972)

Source: IMDb, Wikipedia

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