Osvaldo Golijov ended up ditching his first 'Megalopolis' score to compose a new eclectic version fitting director Francis Ford Coppola's evolving vision.
There’s a scene in “Megalopolis” where the visionary architect Cesar shares a kiss with Julia atop construction rafters hanging high above the city of New Rome — and time stops. When he first saw it, composer Osvaldo Golijov assumed writer-director Francis Ford Coppola staged it like that just to be original. He inquired why the kiss was set a thousand feet above the ground, and Coppola explained: “Because a kiss is a very dangerous thing.
” The filmmaker had been dreaming of this “New Roman” epic since the 1980s, and he asked Golijov to write a tone poem based on the script, something in a “muscular, American, midcentury idiom,” says Olijov, “a kind of industrial, mechanical thing.” That iteration of the film stalled, and in the meantime Golijov scored Coppola’s “Youth Without Youth,” “Tetro” and “Twixt.” Finally, after Coppola sold part of his wine business to finance his passion project, “Megalopolis” was reborn.
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