After parting with two of his prized vineyards to generate the funds needed for his long-cherished cinematic dream, the epic film *Megalopolis*, legendary director Francis Ford Coppola now finds himself taking further drastic measures to stabilize his personal finances. The visionary filmmaker, celebrated for his indelible contributions to cinema through masterpieces such as *The Godfather* trilogy and *Apocalypse Now*, has decided to auction a selection of his personal treasures. This decision reflects not only the depth of his commitment to creative independence but also the precarious intersection between artistic ambition and financial reality.\n\nCoppola, who boldly invested more than one hundred million dollars of his own capital to self-finance *Megalopolis*, took a gamble that few in Hollywood would dare attempt. Driven by an unrelenting vision and a lifelong belief in artistic control, he chose to forgo the traditional studio system, betting instead on his own resources. However, the stakes have proven steep: since its theatrical debut last September, the film — an epic science-fiction odyssey set in a futuristic reimagining of New York City — has brought in just over fourteen million dollars worldwide. The commercial shortfall has left the 86-year-old filmmaker searching for practical ways to mitigate the heavy losses incurred from the production.\n\nHis immediate solution is a gesture that blends necessity with poignancy: the auctioning of seven luxury watches from his own collection, a trove of timepieces that embody both craftsmanship and personal attachment. As reported by *The New York Times*, one of these watches holds particular significance — a unique model conceived and designed by Coppola himself in collaboration with the Swiss horologist F.P. Journe. Distinguishing itself with exquisite artistry, the watch eschews traditional hour and minute hands, replacing them with a mechanical glove whose fingers appear and retract in differing arrangements to mark the passage of time. This exceptional piece, retailing at approximately one million dollars, encapsulates Coppola’s blend of innovation and imagination, even outside the cinematic realm.\n\nIn addition to this remarkable creation, the auction will feature several other distinguished watches, including two elegant Patek Philippes, a finely engineered Blancpain Minute Repeater, an IWC Chronograph, another F.P. Journe, and a timeless Breguet Classique. These pieces, which collectively span an estimated value range from three thousand to two hundred forty thousand dollars, will be offered at auction through Phillips — the prestigious auction house renowned for its expertise in fine timepieces — on December 6. Coppola candidly acknowledged the motivation behind this sale, telling the *Times*, “I need to get some money to keep the ship afloat,” underscoring the pragmatic urgency behind the decision.\n\nBeyond the sale of his watches, Coppola faces a parallel dilemma concerning *Megalopolis*: whether to license the film to a streaming platform in exchange for rapid returns. Yet the director has so far resisted that path, steadfast in his conviction that his ambitious sci-fi opus must be experienced on the grandeur of the theatrical screen rather than confined to the intimacy of home viewing. This insistence speaks to Coppola’s enduring belief in cinema as a communal art form — one that invites audiences into a shared sensory and emotional journey that digital distribution, in his view, cannot replicate.\n\nCoppola remains hopeful that time will vindicate his decision, as it has in the past. He recalled to the *Times* that many of his earlier works took years, even decades, to become financially successful. He cited his experience with *Apocalypse Now*, another self-financed gamble that initially sparked controversy and risked overwhelming debt but later achieved monumental acclaim, earning its place in film history and generating considerable revenue through ongoing ticket sales. Yet, he also acknowledged that the world of film distribution has changed markedly since those days. In the late twentieth century, ancillary markets — from VHS tapes to DVDs and Blu-ray discs — provided filmmakers with long-term revenue streams that helped recoup investment costs. Today, with such physical media largely obsolete and digital sales offering far more modest returns, the opportunities for a film like *Megalopolis* to reach profitability are limited.\n\nAdding to the complexity of the situation, Coppola has openly shared that his personal finances have dwindled to the point of near exhaustion. In various interviews following the film’s release, he has described himself as temporarily broke, despite simultaneously preparing his next project — an adaptation of Edith Wharton’s novel *The Glimpses of the Moon*. Speaking candidly on the podcast *Tetragrammaton with Rick Rubin*, he explained, “I don’t have any money because I invested all the money that I borrowed to make *Megalopolis*. It’s basically gone. I think it will come back over 15–20 years.” That statement encapsulates both his faith in the long arc of artistic reward and the toll such a sustained creative gamble can exact on even the most accomplished of artists.\n\nAs of now, representatives for Coppola have not provided additional comment regarding his financial strategies or future business plans. Still, his recent actions serve as a striking testament to the often unseen personal sacrifices that accompany artistic pursuit. For a filmmaker whose career helped define modern cinema, Coppola’s decision to part with cherished possessions is more than a financial maneuver — it is a reminder that visionary creation frequently demands profound personal cost, and that even legends are not immune to the risks inherent in following their artistic convictions to their fullest expression.
Sourse: https://www.businessinsider.com/francis-ford-coppola-selling-luxury-watches-megalopolis-flop-2025-10
