《教父》导演科波拉的新作《大都会》聚焦于一个幻想中的纽约。一名建筑师试图在纽约创建一个乌托邦，而这个想法遭到市长的强烈反对。科波拉提到建筑在影片中的重要性，尤其是通过对比古罗马与现代纽约的建筑，如中央车站和克莱斯勒大厦，表现时间与空间的交融。他还探讨了艺术创作中的风险，以及通过建筑反映社会变迁的理念。
The great artist and scientist Goethe once said, architecture is frozen music.
And I always thought, what a beautiful idea.
Time stop!
All artists stop time and control time, and they have from the very first little painting that someone did on a cave wall, because when you do a painting, you are taking an instant of reality and freezing it.
My name is Francis Coppola.
Today I would like to talk about architecture in my movie, Megalopolis.
Megalopolis is basically a fable and like a Roman epic, but it's set in modern America.
There are two principal characters who are in opposition.
One is a mayor of the city named Cicero, and of course he's an evolution of the famous Latin consul and writer, Cicero.
And his opponent is a sort of an amalgamation of modern people, namely Robert Moses and Walter Gropius who came here with his Bauhaus art school, and his first name is Caesar, and he is the artist architect of the story.
