While a big question for anybody of such advanced age, Coppola says there are at least two more films he hopes to make:

I’m working on two potential projects right now. One is a regular sort of movie that I’d like someone to finance and make in England, because I don’t have a big history with my wife in England. Everywhere else I go, I’m reminded of her all the time. The other is called Distant Vision, which is the story of three generations of an Italian American family like mine, but fictionalized, during which the phenomenon of television was invented. I would finance it with whatever Megalopolis does. I’ll want to do another roll of the dice with that one.

The first project refers, partly, to his wife Eleanor’s passing this last April, about which the piece offers some devastating insight, but doesn’t per se suggest it’s a film about mourning––at least not in the literal sense. Distant Vision, you may recall, is the project Coppola workshopped at UCLA and the Oklahoma City Community College about a decade ago, the subject of his fascinating journal / cine-history / memoir Live Cinema and Its Techniques, and which (per that title) he had staged an iteration of as a live production beamed by satellite to various theaters. This involved a rather complicated system of cameras, lighting, costuming––let’s just say the entire cinema apparatus––that would allow a truly proper feature to be made under such high-wire conditions. Given some of Megalopolis‘ known experiments with the film-audience barrier, one might anticipate him again staging it under these conditions.