Observing that her father had finished reviewing the storyboards, Irene said, "Yes, I want to direct this project myself. I have envisioned it repeatedly. I can execute it."
This was not an exaggeration. To complete the script, she had replayed the film dozens of times in her mind. Each line and scene was clear to her.
"I appreciate your ambition," Francis said, his expression warm with pride. "Then we will produce it ourselves. I will provide the investment." He decided without extended deliberation.
Irene stood and embraced her father. "Really, Dad? You’re willing to fund it? But you always said not to use personal capital for films."
Francis smiled and patted her shoulder. "In addition to being a director, I am an investor. Your script has commercial potential, so participation is logical. No one declines a profitable opportunity." His tone was gentle but practical. "Make several copies of the script. I need to submit them for company evaluation. Regardless of my confidence in you, engaging a director your age involves risk."
That night, Irene could not sleep.
Excitement kept her awake as she considered future possibilities and planned subsequent steps.
The next day, her father tempered her expectations.
"A female director your age is without precedent, in Hollywood and elsewhere. Regardless of the film’s reception, there will be scrutiny. Have you considered how to address it?" Francis asked seriously.
Irene was not overly concerned. "Dad, regardless of when I begin directing or what I direct, there will be commentary because I am your daughter. I was born into this situation, wasn’t I?"
Francis realized he had become cautious with age. In his youth, he had been similarly determined.
"You are correct. But for now, your primary responsibility is to be a university freshman."
"I asked Ophelia to find housing near campus. If I am directing, living off-campus will be more practical." She now had a valid reason to avoid dormitory life.
"I will not object, provided Ophelia is with you."
"Dad, how much do you intend to invest?" Irene asked. After consulting Sophia, she estimated that producing the film properly would require at least eight million dollars, assuming no major stars were cast.
"I have allocated ten million. That should be sufficient. If our company handles production, we can reduce costs. Using an external company would increase expenses."
Ten million was two million more than she anticipated. It would be adequate.
"Then... if the film earns a profit, how is it divided?" she asked.
Francis laughed. "The project is still a script, and you are already negotiating distribution? Are you certain it will not lose money?"
"Of course. Even if I doubt myself, I trust your judgment. If you believed it would fail, you would not invest. You would have declined already."
"Very well, clever girl," Francis said. "If it loses money, I absorb the loss. If it generates profit, after recouping costs, I will take twenty percent, and the remainder is yours."
"It’s a deal. We should document it in the contract." She did not distrust her father, but the production company had other shareholders, and he had obligations to them. Clarity was necessary.
"Agreed." At that time, Francis believed the film had market potential and would not lose money, but he did not anticipate its eventual performance, so he accepted readily.
Box office profit in Hollywood was difficult to achieve.
Theaters retained up to fifty percent of box office revenue. Distributors charged ten to forty percent, including marketing expenses.
After salaries, insurance, and other costs, the production entity might receive approximately twenty percent of box office receipts.
Therefore, a film costing ten million would need roughly fifty million in box office to break even. That return was challenging for established directors, let alone an underage first-time female director.
If profit was unlikely, why invest?
Because Hollywood films did not rely solely on box office. International distribution, television rights, home video, and merchandise were the primary revenue sources.
Francis understood this. As the creator of The Godfather trilogy, he was familiar with the substantial returns from ancillary markets. Although no longer active in directing, he received numerous scripts daily. As long as The Godfather was viewed, his name retained value.
He also withheld certain terms. He offered Irene a portion of North American box office revenue only and did not mention other revenue streams. He intended this as a lesson: even close associates may withhold information.
Despite the extensive preparation required, Francis did not want Irene consumed by administrative tasks prematurely, fearing it would diminish her creativity.
Concerned she might be restless at home, he instructed Ophelia to pack and moved her to the rented apartment near USC so she could adjust to university life.
After the initial excitement subsided, Irene’s perspective stabilized, and she began to anticipate university. In her previous life, she had not attended, so she valued the opportunity now.
With her father overseeing the film, she felt secure and delegated authority, becoming less involved in daily decisions.
Francis contacted Shelly Ovitz promptly. As Irene’s agent, he should participate in the production, and his CAA connections were valuable resources.
As the project developed, information circulated.
"Did you hear? The younger Coppola daughter is directing a film."
"She isn’t even an adult, correct? Coppola is being reckless. Even if she wants early recognition, this is excessive. Does she understand storyboards? Does she know camera orientation?"
"Exactly. Isn’t his older daughter also directing? Creating competition between sisters—what is the family’s intention?"
"This will be interesting. Sisters competing. Whose side will the father support?"
Such remarks, and more extreme versions, spread quickly. Even George Lucas, engaged in a demanding shoot, heard the news and called Francis to inquire.
Francis reassured his friend. Some information had been released deliberately to redirect attention. He preferred that criticism be directed at him rather than Irene before she began work.