I’ve spent much of the morning noodling around on the website for Francis Ford Coppola’s upcoming film, Youth Without Youth***.Sony Classics bought distribution rights to Coppola’s first film in a decade last March; at the time, Anne Thompson offered this description:

Inspired by his daughter Sofia to make a low-budget personal film, Coppola opted not to take the festival route, preferring to fly under the radar. The indie-financed film, which Coppola shot last year in Romania, is set during World War II and stars Tim Roth as a 70-year-old professor who is struck by lightning, suddenly turns 40 and becomes brilliant. (He also sprouts a doppelganger.) His quest is to discover the origin of language and consciousness. By movie’s end he and his lady love (Alexandra Maria Lara) speak in tongues—sans subtitles…The movie has been compared to an arty Raiders of the Lost Ark.

In keeping with Coppola’s apparent desire to keep the project personal, the web site functions as a kind of scrapbook documenting his inspirations for making the film. There are snapshots of his actors rehearsing, black and white photos of Bucharest, a bio of Mircea Eliade (the author of the novella on which the film is based) and, perhaps most significantly, three “diary entries” through which Coppola works through both his need to return to personal filmmaking, and his desire to reclaim a youthful exuberance for life and work. The diary entries are dated September 2005, so if they’re genuine (in this day and age, no one is above suspicion when it comes to doctored bloggery), they were generated 4-6 weeks before Youth went into production.

In one entry, Coppola explains how he was begrudgingly goaded into inflating one Godfather film into three:

Originally, I didn’t intend to make more than one Godfather film; yet economic forces at the studio were insistent: “Francis, you have the formula for Coca-Cola; are you not going to make more?” But the first film expended most of the arrows in my quiver or, more aptly, the slugs in my revolver. So, the second film had to stretch into new and more ambitious territory to show a few more; otherwise, it would have been weaker than the first. By the time the third arrived, the basic ideas that made the first fresh and excited were all but used up.

The diary is basically a manifesto. Coppola describes his predicament as typical for any aging artist–the temptation to keep draining the well that brought past success is too great, economic safety is too attractive to risk doing anything new. He decides that the only way to break that vicious cycle “is to become young again, to forget everything I know and try to have the mind of a student. To re-invent myself by forgetting I ever had any film career at all, and instead to dream about having one.”I’m not sure I buy the idea of the bright-eyed student risking it all to make a picture about an old man reclaiming his youth, but for the time being, I’ll give Frank the benefit of the doubt. Considering the fact that he could very easily while away his final years living off his wine fortune, you’ve got to throw him a bone for refusing to go down without a fight. Youth Without Youth is currently scheduled to play at the Rome Film Festival in October, before opening here on December 14.

***Not to be confused with The Best of Youth, the six-hour Italian TV miniseries that, when released theatrically in the States in 2005, became the best reviewed film of that year (it swept me up, too, although for the first couple of hours, it was hard to fight the nagging suspicion that I was watching the Italian Forrest Gump.)