Francis Ford Coppola is humbly preaching to a crowd of thousands, sharing the gospel of innovation and promising a new era in filmmaking. In his own soft-spoken way, he builds tension for the potential of his new project before pressing The Button. Nothing happens. In pin drop silence, film composer Dan Deacon shouts out, “The future of cinema is here!”, eliciting raucous laughter from a crowd in need of the release. Coppola charmingly plays it off, and the rest of the presentation goes relatively according to a plan that accounts for improvisational errors that can be charmingly played off. It’s 2011, Coppola is sharing his edited-on-the-fly, live cinema concept film Twixt with the world, and if the conversation I had afterward was any indication, the response was mixed. Typical for an experiment, I thought it was an exciting twist of convention from an eternally independent-minded director while my friend thought it was liking watching your war hero grandfather succumb to senility. That was then, and now Coppola is proclaiming that the future which Dan Deacon sarcastically prophesied is still the future of movies we can expect. Or at least one future.