After The Rainmaker , Coppola stepped away from directing for a time. He focused much of his energies on other ventures, especially his California winery. He has also been an executive producer for a number of films and television series, including Lost in Translation , Kinsey , Marie Antoinette and The Good Shepherd In , Coppola returned to hands-on filmmaking with Youth Without Youth , which he adapted from a novella by Mircea Eliade, a Romanian philosopher.
Switching genres, Coppola then directed and wrote the thriller Twixt. In addition to his own work, Coppola has many relatives in the film industry.
Sofia Coppola’s Adventures in Moviegoing
His sister is actress Talia Shire, and his nephew is actor Nicolas Cage. In addition to daughter Sofia, he and wife Eleanor also have a son named Roman who directs and acts as well. Their late son, Gian-Carlo Coppola, was an actor. He died in a boating accident in Gian-Carlo's daughter, Gia Coppola, made her first foray into directing and screenwriting with 's Palo Alto. We strive for accuracy and fairness. If you see something that doesn't look right, contact us!
Sign up for the Biography newsletter to receive stories about the people who shaped our world and the stories that shaped their lives. Tom Ford is a fashion designer and film director who was the Creative Director of Gucci from He founded his own Tom Ford fashion label in Harrison Ford is one of Hollywood's leading men, with an acting career that has spanned more than 50 years and included iconic roles such as Indiana Jones and Han Solo.
We're both very petite and have trouble finding things in our size. So we started Milk Fed. The company just took off. Now, we do four collections a year, and we make everything from underwear to overcoats. Although Coppola has less and less to do with Milk Fed, it is lucrative. Milk Fed is now sold almost exclusively in Japan, where the clothes are produced and where the company has a store called Heaven Yet another connection made.
It's set in the 70's in Grosse Pointe, the Detroit suburb, and tells the story of the beautiful, tragic Lisbon sisters.
I felt like Eugenides understood that feeling. I was in Napa with my mother when Gio died. It was a heartbreaking time. You never really get over something like that. Sofia began adapting the book for the screen even before she secured the rights to it. She worked slowly. She based the look of the Lisbon sisters on Stephanie Hayman's younger sister, Leslie, whom Sofia saw as cool, blond and every suburban teenage boy's dream, and after the script was done, she cast Leslie as one of the sisters.
The look and feel of ''The Virgin Suicides'' was inspired not by other films or even the setting it was actually filmed in Toronto of the movie but by contemporary art photography: the pictures of William Eggleston, Tina Barney, Bill Owens and others. While writing the script, Sofia contacted Julie Costanzo, an executive at her father's company, American Zoetrope; Costanzo tracked down the filmmakers who already held the rights to ''The Virgin Suicides.
She cast the child actress Kirsten Dunst, who was most famous for passionately kissing Brad Pitt in ''Interview With a Vampire,'' in her first ''adult'' role and gave Josh Hartnett his first major part. Here, as she is in ''Lost in Translation,'' Coppola is fascinated by memory, by moments -- good and bad -- that will never be forgotten, moments at the center of which are young women on the verge of something they cannot quite articulate but feel compelled to act upon.
It's these particular moments Coppola has captured on film so beautifully and movingly. One sunny July afternoon in Hollywood, Coppola pulled up in her dark blue Porsche at the Directors Bureau, the company that her brother, Roman, who is six years older than she is, co-owns. She and Spike Jonze live nearby, in a stone-and-stucco midcentury house in the hills of Los Feliz. Until recently, she drove a Cadillac ''my Mafia princess car'' ; the Porsche is a new toy.
Francis Ford Coppola: 10 essential films | BFI
She opened the car door and tugged at her keys, which were stuck in the ignition. That's why I have a big brother. At the Directors Bureau, Roman Coppola has spent most of his time channeling the late 60's. His feature film ''CQ'' was an homage to all things cool in from the vantage point of the year Roman also has directed videos for fellow aficionados of time tripping -- bands like the Strokes and, his new favorite, Phoenix, a French pop group whose music is featured in ''Lost in Translation. He made the pillow, which resembled a six-foot bubble, out of clear garbage bags, from ''Inflatacookbook,'' created by the 60's art collective Ant Farm.
Roman was constructing the plastic bubble for a Toyota Prius commercial that he would be shooting the next week. This was before he was flying off to Monte Carlo to play roulette, but that's another story. Reitzell plays drums with the French electronic group Air, which Sofia had tapped to compose the soundtrack for ''The Virgin Suicides. That way, the car has no reflections on it.
Roman paused. We're going into the pillow-making business. Sofia and Reitzell stepped into the bubble, which had expanded to fill the entry and blocked off the front door to the Directors Bureau. The bubble business is not Roman's only sideline. In the early 80's, there was an article about Belize, a little country that had a revolution.
And my Dad and Gio went to check it out. Then we started going there. Now he has a resort called Turtle Inn in Belize. He's a partner in a beauty line, Uvavita, that turns grape-seed extract into age-defying potions. And now he's a bubble designer. Everyone in the Sofia-orbit has side projects. Her husband Spike Jonze has two skateboard companies that also make clothes. This summer, Sofia designed some canvas bags for Marc by Marc Jacobs, his lower-priced line, and, two years ago, she inspired the scent of his perfume and appeared in the ads for it. Marc Jacobs told me, ''In this crowd, if you don't have at least two careers, you don't fit in.
Sofia sat down on the pillow's floor. Roman's cellphone rang. He handed the phone to Sofia. After they emerged from the bubble, Sofia and Reitzell decided to walk down the alley to the Sound Factory, where Phoenix was recording. At the Sound Factory, Phoenix, which has that Euro meets preppy look that characterized the early Stones, are standing around a recording console, going over their lyrics in English. The band plays their latest track.
It was an infectious pop song. Sofia leaned back in her chair at the console, surrounded by seven boys. She had found new members of the family. She was sipping iced tea at Il Buco, in the East Village, which is not far from her Manhattan apartment. That was the feel of the movie, and I didn't want to lose that mood.
Initially, with ''Lost in Translation,'' Sofia wrote a kind of short story instead of a script, and the film retains that loose, lyrical feel. The plot is minimal: an American movie star named Bob Harris arrives in Tokyo to film a commercial for a Japanese whiskey. His sense of midlife dislocation is matched by the something driftiness of Charlotte, an equally jet-lagged and sleep-deprived woman who winds up seated next to him late one evening in the hotel bar. When her husband, a self-involved fashion photographer, gets an opportunity to go off for a few days to shoot a rock band, he takes it, leaving his young wife to fend for herself.
Bob and Charlotte strike up an unlikely alliance. The relationship of the fashion photographer and his young wife may or may not have shadings of Coppola's own life and her relationship to Jonze. Giovanni Ribisi, who plays the photographer, speaks with Jonze's mannerisms, and Scarlett Johansson, as Charlotte, is dressed and styled to seem a lot like Coppola.
In the last few months, Jonze and Coppola have been distant, rarely living in the same city. Coppola right off wanted Johansson, who is only 18 but has been acting since she was 8, and Johansson said yes immediately. But Bill Murray, who was crucial to the success of ''Lost in Translation,'' was, as he always is, elusive.
Coppola was friendly with Mitch Glazer, a screenwriter who is one of Murray's best friends. She showed him her page treatment and asked for help. She's completely genuine, but she is as driven and tough as anyone I've met in Hollywood. And she wanted Bill.
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She had written it for him. When she was pursuing Bill, I talked to her more than I talked to my wife. She talked to me a thousand times. In that sweet way, but persistent.
In more than 20 years of friendship, I never said anything was perfect for Bill, and this time, I did. But Bill is difficult. He wouldn't give anyone an answer. Without Murray, Coppola knew that the movie wouldn't capture the mix of humor and sadness she was after. This went on for five months. Stalking Bill became my life's work. Wes Anderson was enlisted. Glazer invited Coppola, who was in town, to join them. When I saw them together, I realized it was done -- he'd do the movie. He was driving. He went through a red light, reversed the car and then ducked into this Japanese place that only he could see.
By the time the sake came, I knew he would do the movie. The pursuit of Bill Murray is typical of Sofia's directorial style. If she's not going to hit the note perfectly, she'd rather not hit the note at all. And yet, even after committing to ''Lost in Translation,'' Murray was worried.
Francis Ford Coppola filmography
In the end, I felt I couldn't let her down. You can't ruin somebody's dream. But Scarlett Johansson, who has the ripe looks and sensitive manner of Sofia herself, says working for Coppola is different from working for men. Now, I'm not a really physically fit type of person, and I was afraid to wear the underwear. Sofia said: 'I'm going to try on the underwear and show you what it looks like.
Then, if you don't want to do it, you don't have to. Only a female director could get me to wear the underwear. And we shot it. Coppola worked the cast and crew hard, but also let people do what they are good at, figuring she could edit what they had chosen to do later. She suggested, and she was happy to be surprised. Having spent so much of her life on movie sets, she easily created a familial environment.
Her friends were always nearby, working, talking, listening. Interestingly, and perhaps tellingly, she told very few people beyond those working with her that she was off shooting. I know a guy would have done things differently, and there are times I had that personality. During the 4 p. It was a beautiful afternoon, and an assistant opened the garage door onto West 12th Street. As it often does in Sofia's life, the scene outside fit perfectly with the video scene inside.
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The real-world mood -- a kind of polished bohemianism, full of interest -- and the movie mood matched, which is Sofia's way. This day, and most days, she had carefully chosen all aspects of her life, detail by detail, in what appeared to be an effortless manner. The jet lag in Tokyo was so bad that when we had to film the actual jet lag stuff in the movie, I was out for two and a half hours.
Sofia is attentive to the smallest nuances. She knew when she had it and when she didn't. And that can be very hard to tell with subtle material. But it's why we're here. Although the video production had brought in a food truck to cook lunch, Sofia ordered sandwiches from Tea and Sympathy, a restaurant that specializes in British food. This was for Kate Moss. And for ambience. The cucumber-and-egg-salad sandwiches, with their crusts neatly removed, set the tone Sofia sought.
I've been on sets as long as she has -- my father made 75 percent of his movies in our home -- and I don't know how to create atmosphere like Sofia. On location, she has her candles everywhere, and she puts up pictures of her friends and family, pictures that inspired the movie, and she puts them up with that good artistic tape. I travel a lot, and I don't do that. But that's just the way she is. You can see it in her work. Everything can be going mad around her, and she'll sit and have a glass of wine, and then she'll go back to being totally focused. She leans in and says something to an actor -- some small, key detail only she would notice -- and she gets exactly what she needs.
Cassavetes, who says she hopes to direct her first film this fall, sat down. She has a distinctive face that would work perfectly in an Italian movie from the 60's, and she was wearing a short skirt. You want to protect her. She sees the world a certain way, and I don't want the world to let her down. Cassavetes lighted a cigarette. Sofia smiled. Moss had changed into jeans and a loose chiffon top. She showed Coppola, who sat down across from Cassavetes, some photos of her month-old baby girl.
Sofia has worked for the magazine; two weeks ago, she sent Hack a photo she took of Kirsten Dunst at the Costume Institute gala at the Metropolitan Museum. Coppola's date that night was Marc Jacobs. As usual, the dots connect in a particularly spectacular way. Jack White, who was dressed all in black except for a white splint that protected a broken finger, sat at the end of the table. Earlier, Sofia asked his partner, Meg White, who, like her bandmate, sticks at all times to the White Stripes' color scheme -- black, white and red clothing -- if she had seen the Elizabeth Peyton portrait of Meg.
Sofia asked this sweetly, but as her worlds usually collide, she fully expected Meg White to know Elizabeth Peyton's work. He nodded and reached for a sandwich. Moss and Cassavetes both lighted another cigarette. The conversation turned to cigarettes in movies. Moss agreed. It's a striking moment: a rock star, the top fashion model in the world and the children of two men who changed modern cinema were chatting over tea sandwiches.
The quietest one at the table was Sofia, and yet, she was the motor that powered this scene.