1, and the 2001 film Mulholland Drive. Lynch visited northern England to scout a filming location for Ronnie Rocket, but found that the industrial cities he had hoped to use had become too modernized to fit his intended vision. The project has suffered setbacks because of the bankruptcy of several potential backers. Both Dino De Laurentiis' De Laurentiis Entertainment Group and Francis Ford Coppola's American Zoetrope were attached to the project at different times, but went bankrupt before work could begin. Lynch had stayed at Coppola's home in Napa County, California, while Coppola and Sting read the script several times; however, the failure of 1982's One from the Heart forced American Zoetrope to file for bankruptcy. Legacy Having been temporarily unable to begin production on the film for some time because De Laurentiis owned the rights, Lynch stopped actively pursuing Ronnie Rocket as a viable project in the early 1990s. However, he has never abandoned it officially, frequently referring to it in interviews as "hibernating". The director has expressed interest in producing the film in the same manner as Eraserhead, using a small crew, building the sets himself, and living on them during the film's production. He has also claimed he will revisit the film when he is at a stage in his career "when I don't really care what happens, except that the film is finished". However, in a 2013 interview, Lynch expressed the view that the passage of time—and the decline of "smokestack industry"—was making it more difficult to envisage the film, saying: It was still really alive in the '50s and '60s, but this industry is going away [...] And then a thing happened. This thing called graffiti. Graffiti to me is one of the worst things that has happened to the world. It completely ruined the mood of places. Graffiti kills the possibility to go back in time and have the buildings be as they were. Cheap storm windows and graffiti have ruined the world for Ronnie Rocket. The Guardian Danny Leigh has compared the script's reputation among film fans to those of Sergei Eisenstein's unproduced adaptation of An American Tragedy and Michael Powell's unmade adaptation of The Tempest. Leigh recalled having read a photocopied version of the script in the early 1990s, and felt that it "might have aged far better than Wild at Heart". In an article for The Daily Telegraph, Simon Braund described