Thread by @SamHarpoon

@coppollawines Dear Francis, for some reason my emails keep bouncing back so I'm writing via this message system. How are you and E? I wasn’t sure if you received the Taschen book I sent you last Christmas. (This will have to continue in the "note” attached below. I hope!) SH.

As I was saying, I think I heard you mention at some point that you like Schiele, so when I saw the book on sale I thought of you. I hope it brought some holiday cheer. That is, if it arrived. As I said, I never received an acknowledgment. But it's okay. (This will continue.) SH.

Please don’t feel you have to send any kind of “thank you” for the gift. It was just a book, so the cost was not the issue. I just want to make sure that you’re getting all of the mail and packages that are being sent to you. I am looking out for you! (This will continue.) SH.

So before I go on, I just want to make sure you understand that the book I sent last Christmas was purely a gift, with no expectation of thanks or acknowledgment or return gesture. I know you are busy and have many family obligations and distractions. (This will continue.) SH.

The reason I’m writing now, however, is not so pleasant. I’m not sure if you are aware, but there is a new movie (set for a “wide” theatrical release this weekend) which purports to tell, in part, the “behind the scenes” of my “Rainbow.” The movie is (This will continue.) SH.

The movie is called “Licorice Pizza,” for some reason, and by all accounts it is a real “turkey.” Riddled with inaccuracies, falsehoods, and fabrications. Nevertheless it is somehow attracting praise from critics who clearly do not know better. (This will continue.) SH.

It was “written” (if you can call it that) and “directed” (an increasingly meaningless descriptor) by a young filmmaker who comes out of the “Sundance” cookie factory, an entity which has never welcomed me into its "arms," not that I'd ever desire it. (This will continue.) SH.

From what I have heard, the film purports to tell the story of Hollywood in the 1970s, in all of its cinematic risk-taking -- Yes, I know, we were there, and no “movie” could ever get it right! -- and uses, by way of exemplifying such, my “Rainbow.” (This will continue.) SH.

That is to say, the film — according to some friends “in the know” — tells the story of “Rainbow”’s production, including my close (and, yes, challenging) relationship with Jack, and, apparently, the casting process. All without my involvement! (This will continue.) SH.

Yes, Francis, you read that correctly: they did not seek my input or consultation, nor did they properly compensate me (as far as I’m concerned) for the use of my story, my experience, my likeness… none of it. I was cut out entirely, and deliberately. (This will continue.) SH.

Furthermore, they have apparently turned my character into a fool, appearing secondary, even subservient, to Jack on the film. Whereas you and I both know the real story of what happened. This film intentionally seeks to smears my name and character. (This will continue.) SH.

How could this happen? And why? These are excellent questions, Francis, and I believe the answer is very simple: this is a director who is seeking petty revenge for some minor frustration/humiliation I may have caused him early in his career. (This will continue.) SH.

You see, several years ago, when I was making “Half Sour,” there was a PA who wouldn't leave me alone, always asking questions about my films, my theories of cinema. He was a sponge, but you don't always want a sponge on your hands. You need your hands! (This will continue.) SH.

You may recall, it was a very stressful film. The cast was fine, Arye Gross was very easy, but we had all that brine to deal with, crew constantly getting it in their eyes, peppercorns everywhere… a production nightmare. And this kid always at my heels. (This will continue.) SH.

Finally one day I just snapped. I lit into him, in front of everyone. There had been some issue with parking cones at a location, complaints from residents, I can’t remember exactly now, but I blamed him for it. It may not have been his fault but (This will continue.) SH.

As I said, it may not have been his fault “exactly,” but I think that, had he not been bothering me with these “questions,” I wouldn’t have had to keep seeking out the 2nd 2nd to get him off me, and whatever the problem was would have been dealt with. (This will continue.) SH.

So in a way, it was all his fault. And, by extension, all of the problems we had on that film were compounded and even created by his “curiosity.” I feel justified in how I treated him. It was not "cruel" of me to ceremoniously “strip” him of his walkie. (This will continue.) SH.

Nevertheless, ever since that incident — which, again, was, I feel, entirely appropriate, given his distracting (and, one could argue, destructive) behavior on set — he has held an unfair grudge against me. And when he was just a PA, it was fine. (This will continue.) SH.

The problem is, he didn’t stay a PA. He started making his own films. I won’t bore you with details, because the specifics don’t matter. My point is, he somehow developed a “name” for himself as an “artist.” For whatever that word is worth. (This will continue.) SH.

I admit I did feel a kind of pride at his accomplishments, because had it not been for me, and how I attacked him that day, it’s very possible he would not have gone on to become an “acclaimed” filmmaker. But I did not expect any thanks. (As with your gift.) (This will continue.)

Still, I certainly did not expect him to harbor this resentment, this grudge against me, and take it out in so public a manner as with this new film. He surely must know that it is not healthy to hold on to anger like that. And also he knows I sue. (This will continue.) SH.

(And Francis, lest you think I’m being paranoid, I have it on excellent authority that earlier this year, this filmmaker intervened to stop the American Cinematheque from presenting a tribute to me. It's true! Ask Grant Mogniner there! He will verify!) (This will continue.) SH.

Look, what’s done is done, in terms of this film. He has made his cinematic bed, and now he must sleep on it. But that doesn’t mean that everyone else has to sleep on it as well, which is where you come in, dear Francis. And why I am writing to you now. (This will continue.) SH.

Francis. My friend. You are, I believe, in “good standing” with the current regime at MGM/UA. They are currently blinded by short-sighted concerns like box office revenue, awards potential, glowing reviews… You know: all that Hollywood rat race BS! (This will continue.) SH.

I think you would be doing them, and their bottom line, a great service were you to contact them directly and make the case that they should shut down this film before it goes “too far.” By too far I mean a public statement, by you, against this film. (This will continue.) SH.

By “you” I mean “me” as well. We are in this together. But your name, let’s face it, means a lot more than mine these days. At least with these pencil-pushers at the top of the chain, who mindlessly only seem to respond to “celebrities.” And you are one! (This will continue.) SH.

Francis. Please. Do not think I am asking you to destroy this filmmaker’s career or anything so dramatic. I do not wish him ill. I just want this movie to be removed from theaters, at least until such time as I feel satisfied with the director’s apology. (This will continue.) SH.

(Incidentally, you should know that before I decided to “approach” you with this, I did first seek out the aid of others. Do you remember the writer Howard Rodman (son of Howard Rodman, the writer)? He is part of that “Sundance cabal” and has sworn his (This will continue.) SH.

He has sworn his allegiance to my cause, promising to contact Redford et al. (even my “nemesis” Kagan), to try to get them to put some "independent" pressure on the studio, but so far I have not heard of any “movement” on that front. (This will continue.) SH.

The truth is, this requires more “weight” than what the Sundance “Laboratory” (“Lobotomy-tory,” I have called it) group can offer. (Now that you have “slimmed down” I can make a comment like that without fear of offending! A nice side-benefit for all!) (This will continue.) SH.

In all seriousness, you are my last and best hope here. Howard has not written in days, which leaves me to think that he is ashamed of failing me. The truth is, when it comes to that "lot," he can only do so much. But you, Francis. You can do so much.) (This will continue.) SH.

I don’t think it’s too much to ask, but then again I'm someone who takes great pride in doing what is ultimately right, even if it is inconvenient in the short term. I don’t think that writing a simple note is such a big deal. It’s just one note. (This will continue.) SH.

If it’s the right thing to do, it’s the right thing to do. Whether it’s a small thing like thanking someone for a holiday gift, or a more significant thing, like threatening an organized boycott of an entire studio and its parent company and/or partners. (This will continue.) SH.

I really think you should consider what I’m asking. And also ask yourself, "if I was in Sam’s position, and someone had put out something that cast ME, the venerable Francis Coppola, in a negative light, wouldn’t I expect him to defend me at all costs?" (This will continue.) SH.

I promise you, Francis, if the roles were switched and you were asking me to contact MGM/UA and threaten to get Steve, Marty and everyone else to publicly attack their company unless this film is pulled and/or a personal apology offered, I would do it. (This will continue.) SH.

I really would, Francis. I would “go to bat” for you, not only because of the deep respect I hold for your work (even the weird ones) but because of our friendship. Yes, Francis, friendship. Which is exemplified by loyalty. You know something about that! (This will continue.) SH.

I would absolutely do this for you, if our roles were reversed. Unfortunately they are not, and you are the friend with the greater “power” and "pull" here. Not that I am complaining. I am happy and satisfied! Perhaps even more than you are. Who knows. (This will continue.) SH.

In any event, that is why I’m writing this note. It is a very delicate matter, as it requires great personal humility to explain, and make the “ask.” I hope we can keep it private and “between us,” aside from all the parties who you'll need to contact. (This will continue.) SH.

I think we both understand what I'm asking, and what is at stake. I think my point couldn’t be clearer, nor my argument stronger. I am glad we agree on what must be done. Francis, I am honored to consider you “familia” and I believe you feel likewise. (This will continue.) SH.

Francis, I wish you and E a wonderful Christmas and a Happy New Year. This is a time for reflection and appreciation, of enjoying all the good in our lives. I consider you a "great" good in my life, especially with your support in silencing this film. (This will continue.) SH.

Yours very truly, with a warm reminder of our binding friendship and loyalty no matter the situation or challenge, Sam. PS. Please don’t hesitate to contact me when you have updated on the progress of our “mission.” I look forward to your “report.” (This will continue.) SH.

PPS. I am available to discuss this in person, if you ever wish to have me up to the “compound.” I’m only a few hours away and would love to take a look at that Schiele book. I didn’t get much of a chance to flip through it before I sent it last Christmas. Let me know! SH.

PPPS. I just want to reiterate, to make it as clear as possible, that all I’m asking for, all I’m talking about, the whole thing, is one stupid little note. That’s all it is. Just one note. SH.