Gang Of Four - Natural's not in it
New Order - Ceremony [Live in Glasgow]
The Radio Dept. - Pulling Our Weight
The Strokes - What Ever Happened? (Marie Antoinette)
Siouxsie and the Banshees - Hong Kong Garden - Live 1981
Actually, it dreamed an interesting dream and it woke up.
There is a director who is commenting on the art which doesn't have the feeling which is using the technology of the photograph at all and he is....
It was a dream about Akutagawa's photograph.
It made too early because it was even if it told Akutagawa's photograph excellently but to begin to get up.
The one that Akutagawa's photograph the photograph took thought transference with the existence which occurred in the moment in the moment
It isn't exaggerated even if it says that it is the record of the consideration of Akutagawa, Akutagawa's record of the life.
The photographer of the professional that to be familiar with the photograph is consequential should be taking one one sheet sheet of photographs perfectly theoretically.
Akutagawa is using a technology as the photograph hardly.
It will be as avoiding back light as much as possible at most.
Later, it is as choosing the day where the weather is as good as as much as possible.
Because it was such Akutagawa, it thought that it does the excellent dream which is called what.
This will have no choice but to go out of the bed once.
It noticed that there was a lens to be never using after beginning to use a camera in now yesterday.
Today, it decided that it would go to take flowers in Kyoto Botanical Gardens which Akutagawa loves plainly with the lens from yesterday.
The feeling arrived at the service which Kyoto-shi is doing during this GW period and the clapperloader who is a companion when arriving at Kyoto station and trying to buy a ticket at the subway answered it immediately.
Today, the subway is free-to-ride at the 1st, 600 yen.
Isn't it good?
If making to go to Daigo-ji behind the arboretum, it gets to lay terrible profit.
If being, today, as for somewhere, let's visit one already.
As hoped, camellia still bloomed.
In addition to it, now, it was taking all of the flowers which bloom in Kyoto Botanical Gardens.
It is when passing at 1 o'clock at noon on the way and becoming the time of the lunch.
It is in the eminent residential area that it says this Kitayama in Kyoto-shi, however and the good restaurant centers around Kyoto Botanical Gardens.
Because to return to the entrance, too, was terrible, when whether or not it would make a restaurant in the park, if saying, the known exit was in the immediateness for the first time.
If leaving there, at the restaurant, it is at once.
There was steak house Volks in the left hand.
It was good exactly because here was a salad smorgasbord.
The assistant chose that the bread is all-you-can-eat, soup all you can drink at the hamburger launch.
The thing where the kind of the salad is rich, and the fresh thing, the dressing, too, are very good.
It is to the extent that the stomach became big only with the salad.
It was very satisfactory lunch.
Then It returned to Kyoto Botanical Gardens and it resumed photography but if a feeling was stuck, it was passing half past three already.
Akutagawa thinks that this place is wonderful really.
This place is wonderful really even if whenever it comes and it comes many time.
There is a director who is commenting on the art which doesn't have the feeling which is using the technology of the photograph at all and he is....
It was a dream about Akutagawa's photograph.
It made too early because it was even if it told Akutagawa's photograph excellently but to begin to get up.
The one that Akutagawa's photograph the photograph took thought transference with the existence which occurred in the moment in the moment
It isn't exaggerated even if it says that it is the record of the consideration of Akutagawa, Akutagawa's record of the life.
The photographer of the professional that to be familiar with the photograph is consequential should be taking one one sheet sheet of photographs perfectly theoretically.
Akutagawa is using a technology as the photograph hardly.
It will be as avoiding back light as much as possible at most.
Later, it is as choosing the day where the weather is as good as as much as possible.
Because it was such Akutagawa, it thought that it does the excellent dream which is called what.
This will have no choice but to go out of the bed once.
It noticed that there was a lens to be never using after beginning to use a camera in now yesterday.
Today, it decided that it would go to take flowers in Kyoto Botanical Gardens which Akutagawa loves plainly with the lens from yesterday.
The feeling arrived at the service which Kyoto-shi is doing during this GW period and the clapperloader who is a companion when arriving at Kyoto station and trying to buy a ticket at the subway answered it immediately.
Today, the subway is free-to-ride at the 1st, 600 yen.
Isn't it good?
If making to go to Daigo-ji behind the arboretum, it gets to lay terrible profit.
If being, today, as for somewhere, let's visit one already.
As hoped, camellia still bloomed.
In addition to it, now, it was taking all of the flowers which bloom in Kyoto Botanical Gardens.
It is when passing at 1 o'clock at noon on the way and becoming the time of the lunch.
It is in the eminent residential area that it says this Kitayama in Kyoto-shi, however and the good restaurant centers around Kyoto Botanical Gardens.
Because to return to the entrance, too, was terrible, when whether or not it would make a restaurant in the park, if saying, the known exit was in the immediateness for the first time.
If leaving there, at the restaurant, it is at once.
There was steak house Volks in the left hand.
It was good exactly because here was a salad smorgasbord.
The assistant chose that the bread is all-you-can-eat, soup all you can drink at the hamburger launch.
The thing where the kind of the salad is rich, and the fresh thing, the dressing, too, are very good.
It is to the extent that the stomach became big only with the salad.
It was very satisfactory lunch.
Then It returned to Kyoto Botanical Gardens and it resumed photography but if a feeling was stuck, it was passing half past three already.
Akutagawa thinks that this place is wonderful really.
This place is wonderful really even if whenever it comes and it comes many time.
It reaches every day from goo “Today last year ".
The timetable of the galaxy train
2012/4/27
If seeing the photograph of the preceding chapter, suddenly, this music occurred and came.
By one of Akutagawa's durability songs of this song, too, of the close friends that Akutagawa spent the close and long time
In the narrow space on the side of that pianist, it will immediately remember... or:-) thing which was sung with this song, too, depending on Akutagawa many times with the accompaniment by that pianist of being beckoning cat with this Kita-Shinchi or:-)... like the singer of belonging exclusively at the shop.
The fact that Akutagawa loved the band and the singer which went, composing a piece of music with the succeeding of only 1 piece of music and doing disappearance ( of being only good music )
They disappear and don't go but the mistake will anyway not lie in that this music was the music of once-in-a-lifetime.
The timetable of the galaxy train
2012/4/27
If seeing the photograph of the preceding chapter, suddenly, this music occurred and came.
By one of Akutagawa's durability songs of this song, too, of the close friends that Akutagawa spent the close and long time
In the narrow space on the side of that pianist, it will immediately remember... or:-) thing which was sung with this song, too, depending on Akutagawa many times with the accompaniment by that pianist of being beckoning cat with this Kita-Shinchi or:-)... like the singer of belonging exclusively at the shop.
The fact that Akutagawa loved the band and the singer which went, composing a piece of music with the succeeding of only 1 piece of music and doing disappearance ( of being only good music )
They disappear and don't go but the mistake will anyway not lie in that this music was the music of once-in-a-lifetime.
ユー・メイ・ドリーム シーナ＆ザ・ロケット
It reaches every day from goo " Today last year ".
The timetable of the galaxy train
2012/4/27
Akutagawa wrote that Kyoto was before the wonderland which is the best in the world.
It searched Kyoto in Sakura, being the first time and it thought of it but Kyoto is " the floral town " which is the best of Japan.
At the yard in a lot of showplaces and at a lot of ruins, excellent Sakura, a Japanese apricot and a peach, an azalea, a rosebay and the flower which is etc. are being bloomed.
The flower blooms every season at the end of the garden at the house which is in Michinaka who heads for those places, too.
Actually, innumerably, it is.
It thought that such a town would be in the others.
The timetable of the galaxy train
2012/4/27
Akutagawa wrote that Kyoto was before the wonderland which is the best in the world.
It searched Kyoto in Sakura, being the first time and it thought of it but Kyoto is " the floral town " which is the best of Japan.
At the yard in a lot of showplaces and at a lot of ruins, excellent Sakura, a Japanese apricot and a peach, an azalea, a rosebay and the flower which is etc. are being bloomed.
The flower blooms every season at the end of the garden at the house which is in Michinaka who heads for those places, too.
Actually, innumerably, it is.
It thought that such a town would be in the others.
Thomas Mars, né le 15 avril 1976 à Versailles, est le chanteur du groupe d'indie pop Phoenix, fondé en 1995 avec deux de ses amis d'enfance.
Depuis 2005, il partage sa vie avec la réalisatrice Sofia Coppola. Il l'a rencontrée lors de la préparation de la bande originale de son premier long métrage, Virgin Suicides, en 1999. Il y interprète la chanson titre, Playground Love, au côté du groupe Air, sous le pseudonyme de Gordon Tracks. Depuis, il intervient sur les bandes originales de tous ses films, avec son groupe.
Thomas Mars et Sofia Coppola ont deux enfants, nés en novembre 2006 et en juin 2010. Le 27 août 2011, ils se sont mariés en Italie1.
Depuis 2005, il partage sa vie avec la réalisatrice Sofia Coppola. Il l'a rencontrée lors de la préparation de la bande originale de son premier long métrage, Virgin Suicides, en 1999. Il y interprète la chanson titre, Playground Love, au côté du groupe Air, sous le pseudonyme de Gordon Tracks. Depuis, il intervient sur les bandes originales de tous ses films, avec son groupe.
Thomas Mars et Sofia Coppola ont deux enfants, nés en novembre 2006 et en juin 2010. Le 27 août 2011, ils se sont mariés en Italie1.
Sofia Coppola
From Wikipedia, the free encyclopedia
Sofia Carmina Coppola (pron.: /ˈkoʊpələ/ koh-pə-lə; born May 14, 1971) is an American screenwriter, film director, producer and actress. In 2003, she received the Academy Award for Best Original Screenplay for Lost in Translation, and became the third woman (and first American woman) to be nominated for an Academy Award for Best Director. In 2010, with Somewhere, she became the first American woman (and fourth American filmmaker) to win the Golden Lion, the top prize at the Venice Film Festival.[1]
Coppola was born in New York City, New York, the youngest child and only daughter of set decorator/artist Eleanor Coppola (née Neil) and director Francis Ford Coppola (The Godfather and Apocalypse Now), granddaughter of the composer Carmine Coppola, sister of Roman Coppola and Gian-Carlo Coppola, niece of her father's siblings August Coppola and Talia Shire, and a cousin of Nicolas Cage, Jason Schwartzman and Robert Carmine.[2] When she was fourteen years old, her brother Gian-Carlo was killed in a boating accident. She attended high school at St. Helena High School and graduated in the class of 1989. She later went to Mills College and the California Institute of the Arts, and interned with Chanel when she was fifteen years old.[3][4] After dropping out, Coppola started a clothing line called Milkfed that is now sold exclusively in Japan.[5]
Career
Early career
Coppola's acting career, frequently described as based largely upon nepotism,[6][7][8] began as an infant: she made background appearances in seven of her father's films. The best known of these early roles is her appearance in The Godfather as the baby boy in the christening scene.[9][10] She is also seen in her father's film The Outsiders in a scene where Matt Dillon, Tommy Howell, and Ralph Macchio are eating at a Dairy Queen before the scene in which the church is discovered to be on fire.
Frankenweenie (1984) was the first film she performed in that was not associated with her father. However, it often goes unnoted due to her stage name, "Domino", which she adopted at the time because she thought it was glamorous.[11]
In 1986, Coppola was cast as Kathleen Turner's sister, Nancy Kelcher, in Peggy Sue Got Married. The film was directed by her father and costarred her cousin, Nicolas Cage.
The 1989 short film entitled Life Without Zoe was released as part of a tripartite anthology film, New York Stories. It was written by Sofia Coppola and her father (who also directed the film).
Her best-known acting role is Mary Corleone in The Godfather Part III (1990), for which she was cast by her father after Winona Ryder fell ill. Her critically panned performance (for which she was named "Worst Supporting Actress" and "Worst New Star" at the 1990 Golden Raspberry Awards) effectively ended her acting career, save for appearances in the 1992 independent film Inside Monkey Zetterland, and in the background of films by her friends and family. In 1999, she appeared as Saché in George Lucas' Star Wars Episode I: The Phantom Menace. She has since been quoted as saying she was not hurt by the criticism from her role in The Godfather Part III, because she never especially wanted an acting career.[12]
Coppola can also be seen in several music videos from the 1990s, appearing in The Black Crowes' "Sometimes Salvation", Madonna's "Deeper and Deeper", and the Chemical Brothers' "Elektrobank", which was directed by her future husband Spike Jonze.
[edit]Filmmaking
Her first short-film was Lick the Star (1998). It played many times on the Independent Film Channel. She made her feature-film directing debut with The Virgin Suicides (1999). It premiered in North America at the 2000 Sundance Film Festival and was released later that year.
Her second feature was Lost in Translation (2003). Coppola won the Academy Award for her original screenplay and three Golden Globe Awards including Best Picture. After Lina Wertmüller and Jane Campion, Coppola became the third female director to be nominated for an Academy Award for Directing. Her win for best original screenplay in 2003 made her a third-generation Oscar winner. In 2004, Coppola was invited to join the Academy of Motion Picture Arts and Sciences.[13]
Coppola in 2003.
Her third film was the biopic Marie Antoinette, adapted from the biography by British historian Antonia Fraser. Kirsten Dunst plays the title character, who marries King Louis XVI, played by Jason Schwartzman, Coppola's cousin. It debuted at the 2006 Cannes Film Festival[14] where, despite boos in the audience, it received a standing ovation.[15] Critics were divided.
Her fourth film was Somewhere (2010). The movie was filmed at Chateau Marmont. The plot focuses on a "bad boy" actor portrayed by Stephen Dorff who is forced to reevaluate his life when his daughter, played by Elle Fanning, arrives unexpectedly.[16] In November 2010, Coppola was interviewed by Joel Coen, who professed his admiration of Coppola's work, at the DGA screening of Somewhere in New York City.[17]
Coppola's next film is The Bling Ring. It is based on actual events centered around the Bling Ring, a group of California teenagers who burgled the homes of several celebrities over 2008 and 2009, stealing around $3 million in cash and belongings.[18] Emma Watson,[19] Taissa Farmiga,[20] Leslie Mann,[21] Katie Chang and Israel Broussard are starring in the film. The film will open the Un Certain Regard section of the 2013 Cannes Film Festival.[22]
[edit]Television
In the mid-1990s, she and best friend Zoe Cassavetes helmed the short-lived series Hi Octane on Comedy Central which spotlit performers in underground music. The show was cancelled after four episodes.[23]
In December 2008, Coppola's first commercial premiered during an episode of Gossip Girl. The advertisement which she directed for the Christian Dior fragrance Miss Dior Chérie which was shot in France with model Maryna Linchuk was very well received and continues to be popular on YouTube.[24]
[edit]Modeling
At the beginning of the 1990s, she was often featured in girl-oriented magazines like Seventeen and YM. In 1998, she cofounded the clothing line Milk Fed in Japan with friend Stephanie Hayman in cooperation with Sonic Youth's Kim Gordon.
In 2002, fashion designer Marc Jacobs hand-picked the actress/director to be the face of his house's fragrance. The campaign involved photographs of her shot by photographer Juergen Teller in his signature grainy style.
[edit]Awards
Coppola was nominated for three Academy Awards for her 2003 film Lost in Translation, in the categories of Best Picture, Best Director, Best Original Screenplay. She would go on to win for Best Original Screenplay, but lost the other two nominations to Peter Jackson's The Lord of the Rings: The Return of the King.
Her nomination for Best Director made her the first American woman in history to be nominated in that category, and the third overall, after Lina Wertmüller and Jane Campion. In 2010, Kathryn Bigelow became the fourth woman to be nominated, and the first to win the award. Coppola, however, remains the youngest woman to be nominated in the Best Director category.
Her win for Best Original Screenplay resulted in her family becoming the second three-generation Oscar winning family, her grandfather Carmine Coppola and her father Francis Ford Coppola having previously won Oscars. The first family to achieve this feat was the Huston family: Walter, John, and Anjelica.
For her work on Lost in Translation, Coppola also won a Best Screenplay Golden Globe and received a BAFTA nomination.
On September 11, 2010, Somewhere won the Golden Lion, the top prize at the 67th Venice Film Festival.[25]
[edit]Personal life
In 1999, Coppola married director Spike Jonze, whom she had first met in 1992; they divorced in 2003.
Coppola lives in Paris. She described her love for the city and her favorite places there, "The Palais-Royal, the Tuileries Garden, the Musée d'Orsay. You can tell I love the city, right? It's a filmmaker's dream there; the colors are beautiful!"[26] On November 28, 2006, Coppola gave birth to her first child, a daughter named Romy, who is named in honor of her brother Roman. The child's father is Thomas Mars, lead singer of the French rock band Phoenix.[27] Coppola first met Mars while producing the soundtrack to The Virgin Suicides.[28] They have since collaborated on Lost in Translation, Marie Antoinette[29] and her fourth film Somewhere.[30]
On December 10, 2009, Mars confirmed that Coppola was pregnant with their second child.[31] A second daughter named Cosima was born in New York City on May 18, 2010.[32]
Coppola and Mars were married on August 27, 2011 at her family's villa, ex "Palazzo Margherita" [33] in Bernalda, Italy
From Wikipedia, the free encyclopedia
Sofia Carmina Coppola (pron.: /ˈkoʊpələ/ koh-pə-lə; born May 14, 1971) is an American screenwriter, film director, producer and actress. In 2003, she received the Academy Award for Best Original Screenplay for Lost in Translation, and became the third woman (and first American woman) to be nominated for an Academy Award for Best Director. In 2010, with Somewhere, she became the first American woman (and fourth American filmmaker) to win the Golden Lion, the top prize at the Venice Film Festival.[1]
Coppola was born in New York City, New York, the youngest child and only daughter of set decorator/artist Eleanor Coppola (née Neil) and director Francis Ford Coppola (The Godfather and Apocalypse Now), granddaughter of the composer Carmine Coppola, sister of Roman Coppola and Gian-Carlo Coppola, niece of her father's siblings August Coppola and Talia Shire, and a cousin of Nicolas Cage, Jason Schwartzman and Robert Carmine.[2] When she was fourteen years old, her brother Gian-Carlo was killed in a boating accident. She attended high school at St. Helena High School and graduated in the class of 1989. She later went to Mills College and the California Institute of the Arts, and interned with Chanel when she was fifteen years old.[3][4] After dropping out, Coppola started a clothing line called Milkfed that is now sold exclusively in Japan.[5]
Career
Early career
Coppola's acting career, frequently described as based largely upon nepotism,[6][7][8] began as an infant: she made background appearances in seven of her father's films. The best known of these early roles is her appearance in The Godfather as the baby boy in the christening scene.[9][10] She is also seen in her father's film The Outsiders in a scene where Matt Dillon, Tommy Howell, and Ralph Macchio are eating at a Dairy Queen before the scene in which the church is discovered to be on fire.
Frankenweenie (1984) was the first film she performed in that was not associated with her father. However, it often goes unnoted due to her stage name, "Domino", which she adopted at the time because she thought it was glamorous.[11]
In 1986, Coppola was cast as Kathleen Turner's sister, Nancy Kelcher, in Peggy Sue Got Married. The film was directed by her father and costarred her cousin, Nicolas Cage.
The 1989 short film entitled Life Without Zoe was released as part of a tripartite anthology film, New York Stories. It was written by Sofia Coppola and her father (who also directed the film).
Her best-known acting role is Mary Corleone in The Godfather Part III (1990), for which she was cast by her father after Winona Ryder fell ill. Her critically panned performance (for which she was named "Worst Supporting Actress" and "Worst New Star" at the 1990 Golden Raspberry Awards) effectively ended her acting career, save for appearances in the 1992 independent film Inside Monkey Zetterland, and in the background of films by her friends and family. In 1999, she appeared as Saché in George Lucas' Star Wars Episode I: The Phantom Menace. She has since been quoted as saying she was not hurt by the criticism from her role in The Godfather Part III, because she never especially wanted an acting career.[12]
Coppola can also be seen in several music videos from the 1990s, appearing in The Black Crowes' "Sometimes Salvation", Madonna's "Deeper and Deeper", and the Chemical Brothers' "Elektrobank", which was directed by her future husband Spike Jonze.
[edit]Filmmaking
Her first short-film was Lick the Star (1998). It played many times on the Independent Film Channel. She made her feature-film directing debut with The Virgin Suicides (1999). It premiered in North America at the 2000 Sundance Film Festival and was released later that year.
Her second feature was Lost in Translation (2003). Coppola won the Academy Award for her original screenplay and three Golden Globe Awards including Best Picture. After Lina Wertmüller and Jane Campion, Coppola became the third female director to be nominated for an Academy Award for Directing. Her win for best original screenplay in 2003 made her a third-generation Oscar winner. In 2004, Coppola was invited to join the Academy of Motion Picture Arts and Sciences.[13]
Coppola in 2003.
Her third film was the biopic Marie Antoinette, adapted from the biography by British historian Antonia Fraser. Kirsten Dunst plays the title character, who marries King Louis XVI, played by Jason Schwartzman, Coppola's cousin. It debuted at the 2006 Cannes Film Festival[14] where, despite boos in the audience, it received a standing ovation.[15] Critics were divided.
Her fourth film was Somewhere (2010). The movie was filmed at Chateau Marmont. The plot focuses on a "bad boy" actor portrayed by Stephen Dorff who is forced to reevaluate his life when his daughter, played by Elle Fanning, arrives unexpectedly.[16] In November 2010, Coppola was interviewed by Joel Coen, who professed his admiration of Coppola's work, at the DGA screening of Somewhere in New York City.[17]
Coppola's next film is The Bling Ring. It is based on actual events centered around the Bling Ring, a group of California teenagers who burgled the homes of several celebrities over 2008 and 2009, stealing around $3 million in cash and belongings.[18] Emma Watson,[19] Taissa Farmiga,[20] Leslie Mann,[21] Katie Chang and Israel Broussard are starring in the film. The film will open the Un Certain Regard section of the 2013 Cannes Film Festival.[22]
[edit]Television
In the mid-1990s, she and best friend Zoe Cassavetes helmed the short-lived series Hi Octane on Comedy Central which spotlit performers in underground music. The show was cancelled after four episodes.[23]
In December 2008, Coppola's first commercial premiered during an episode of Gossip Girl. The advertisement which she directed for the Christian Dior fragrance Miss Dior Chérie which was shot in France with model Maryna Linchuk was very well received and continues to be popular on YouTube.[24]
[edit]Modeling
At the beginning of the 1990s, she was often featured in girl-oriented magazines like Seventeen and YM. In 1998, she cofounded the clothing line Milk Fed in Japan with friend Stephanie Hayman in cooperation with Sonic Youth's Kim Gordon.
In 2002, fashion designer Marc Jacobs hand-picked the actress/director to be the face of his house's fragrance. The campaign involved photographs of her shot by photographer Juergen Teller in his signature grainy style.
[edit]Awards
Coppola was nominated for three Academy Awards for her 2003 film Lost in Translation, in the categories of Best Picture, Best Director, Best Original Screenplay. She would go on to win for Best Original Screenplay, but lost the other two nominations to Peter Jackson's The Lord of the Rings: The Return of the King.
Her nomination for Best Director made her the first American woman in history to be nominated in that category, and the third overall, after Lina Wertmüller and Jane Campion. In 2010, Kathryn Bigelow became the fourth woman to be nominated, and the first to win the award. Coppola, however, remains the youngest woman to be nominated in the Best Director category.
Her win for Best Original Screenplay resulted in her family becoming the second three-generation Oscar winning family, her grandfather Carmine Coppola and her father Francis Ford Coppola having previously won Oscars. The first family to achieve this feat was the Huston family: Walter, John, and Anjelica.
For her work on Lost in Translation, Coppola also won a Best Screenplay Golden Globe and received a BAFTA nomination.
On September 11, 2010, Somewhere won the Golden Lion, the top prize at the 67th Venice Film Festival.[25]
[edit]Personal life
In 1999, Coppola married director Spike Jonze, whom she had first met in 1992; they divorced in 2003.
Coppola lives in Paris. She described her love for the city and her favorite places there, "The Palais-Royal, the Tuileries Garden, the Musée d'Orsay. You can tell I love the city, right? It's a filmmaker's dream there; the colors are beautiful!"[26] On November 28, 2006, Coppola gave birth to her first child, a daughter named Romy, who is named in honor of her brother Roman. The child's father is Thomas Mars, lead singer of the French rock band Phoenix.[27] Coppola first met Mars while producing the soundtrack to The Virgin Suicides.[28] They have since collaborated on Lost in Translation, Marie Antoinette[29] and her fourth film Somewhere.[30]
On December 10, 2009, Mars confirmed that Coppola was pregnant with their second child.[31] A second daughter named Cosima was born in New York City on May 18, 2010.[32]
Coppola and Mars were married on August 27, 2011 at her family's villa, ex "Palazzo Margherita" [33] in Bernalda, Italy
Lost in Translation (film)
From Wikipedia, the free encyclopedia
Directed by Sofia Coppola
Produced by Ross Katz
Sofia Coppola
Francis Ford Coppola
Written by Sofia Coppola
Starring Bill Murray
Scarlett Johansson
Music by Brian Reitzell
Kevin Shields
Roger Joseph Manning Jr.
Air
Cinematography Lance Acord
Editing by Sarah Flack
Studio American Zoetrope
Tohokushinsha Film
Distributed by Focus Features
Release date(s)
October 3, 2003
Running time 102 minutes
Country United States[1]
Language English
Budget $4 million
Box office $119,723,856
Lost in Translation is a 2003 American Comedy-drama film written and directed by Sofia Coppola. Her second feature film, after The Virgin Suicides (1999), it stars Bill Murray and Scarlett Johansson. The film revolves around an aging actor named Bob Harris (Murray) and a recent college graduate named Charlotte (Johansson) who develop a rapport after a chance meeting in a Tokyo hotel. The movie explores themes of loneliness, insomnia, existential ennui, and culture shock against the backdrop of a modern Japanese city.
Lost in Translation was a major critical success[2] and was nominated for four Academy Awards, including Best Picture, Best Actor for Bill Murray, and Best Director for Sofia Coppola; Coppola won for Best Original Screenplay. Scarlett Johansson won a BAFTA award for Best Actress in a Leading Role. The film was also a commercial success, grossing almost $120 million from a budget of only $4 million.
Contents
1 Plot
2 Cast
3 Analysis
3.1 Aesthetics
4 Production
4.1 Development
4.2 Filming
4.3 Music
5 Reception
5.1 Reviews
5.2 Criticism
5.3 Earnings
5.4 Accolades
6 Release
7 References
8 External links
[edit]Plot
Bob Harris (Murray), an aging American movie star, arrives in Tokyo to film an advertisement for Suntory whisky, for which he will receive $2 million. Charlotte (Johansson), a young college graduate, is left behind in her hotel room by her husband, John (Ribisi), a celebrity photographer on assignment in Tokyo. Charlotte is unsure of her future with him, as she believes he takes more interest in his celebrity models, most notably a young and popular American actress named Kelly (Faris), than he does in her. At the same time, Bob's own 25-year marriage is tired and lacking in romance as he goes through a midlife crisis.
One night, after a long photo shoot, Bob retreats to the hotel bar. Charlotte, sitting at a table with John and friends, notices Bob and has a waiter bring him a cup of sake from her table. Later, Bob and Charlotte have brief encounters each night at the hotel bar, until Charlotte invites Bob to meet up with some local friends of hers. Bob accepts and arrives later at her hotel room dressed in clothes that appear to be designed for a younger generation. The two begin a friendship and bond through their adventures in Tokyo together while experiencing the differences between Japanese and American culture, and between their own generations.
On the penultimate night of his stay, Bob attracts the attention of the resident vocalist. The next morning, Bob awakens to find the woman in his room, having apparently slept with her. Charlotte arrives at his room to go out for breakfast only to find the woman in his room, leading to conflict and tension over a subsequent lunch. Later that night, during a fire alarm at the hotel, Bob and Charlotte reconcile and express how they will miss each other as they make one more trip back to the hotel bar.
On the following morning, Bob is set for his departure back to the United States. He tells Charlotte goodbye at the hotel lobby shortly before checking out and sadly watches her retreat back to an elevator. While riding in a taxi to the airport, Bob sees Charlotte on a crowded street and gets out and goes to her. Bob embraces Charlotte and whispers something (substantially inaudible to the audience) in the tearful Charlotte's ear. The two share a kiss, say goodbye and Bob departs.
Cast
Bill Murray as Bob Harris
Scarlett Johansson as Charlotte
Giovanni Ribisi as John
Anna Faris as Kelly
Fumihiro Hayashi as Charlie Brown
Akiko Takeshita as Ms. Kawasaki
François Du Bois as the Pianist
Takashi Fujii as TV host
Hiromix as herself
[edit]Analysis
Over the course of the film, several things get "lost in translation".[3] Bob, a Japanese director (Yutaka Tadokoro), and an interpreter (Takeshita) are on a set, filming a commercial for Suntory whisky (specifically, 17-year old Hibiki). In several exchanges, the director gives lengthy, impassioned directives in Japanese. These are invariably followed by brief, incomplete translations from the interpreter.
Director [in Japanese, to the interpreter]: The translation is very important, O.K.? The translation.
Interpreter [in Japanese, to the director]: Yes, of course. I understand.
Director [in Japanese, to Bob]: Mr. Bob. You are sitting quietly in your study. And then there is a bottle of Suntory whisky on top of the table. You understand, right? With wholehearted feeling, slowly, look at the camera, tenderly, and as if you are meeting old friends, say the words. As if you are Bogie in Casablanca, saying, "Here's looking at you, kid,"―Suntory time!
Interpreter [In English, to Bob]: He wants you to turn, look in camera. O.K.?
Bob: ...Is that all he said?[4]
In addition to the meaning and detail lost in the translation of the director's words, the two central characters in the film―Bob and Charlotte―are also lost in other ways. On a basic level, they are lost in the alien Japanese culture. But in addition, they are lost in their own lives and relationships, a feeling, amplified by their displaced location, that leads to their blossoming friendship and growing connection with one another.[5]
By her own admission, Coppola wanted to create a romantic movie about two characters that have a moment of connection. The story's timeline was intentionally shortened to emphasize this moment.[6] Additionally, Coppola has said that since "there's not much happening in the story besides [Bob and Charlotte's relationship]", the filmmakers tried to keep an ongoing tension.[7]
The academic Marco Abel lists Lost in Translation as one of many films that belong to the category of "postromance" cinema, which he says offers a negative perspective of love, sex, romance, and dating. According to Abel, the characters in such films reject the idealized notion of lifelong monogamy.[8]
The author and filmmaker Anita Schillhorn van Veen interprets the film as a criticism of modernity, in which Tokyo is a contemporary "floating world" of fleeting pleasures that are too alienating and amoral to facilitate meaningful relationships.[9]
[edit]Aesthetics
The author and lecturer Maria San Filippo contends that the film's setting, Tokyo, is an audiovisual metaphor for Bob and Charlotte's world views. She explains that the calm ambience of the city's hotel represents Bob's desire to be secure and undisturbed, while the energetic atmosphere of the city streets represents Charlotte's willingness to engage with the world.[10]
Robert Hahn, an essayist writing for The Southern Review, has suggested that the filmmakers deliberately use chiaroscuro to support the story. He argues that the film's dominant light tones symbolize feelings of humor and romance, and they are contrasted with dark tones that symbolize underlying feelings of despondency. He compares this to the technique of the painter John Singer Sargent.[11]
The film's opening shot, which features a close shot of Charlotte resting in transparent pink underpants, has been noted by various commentators. In particular, it has been compared to the portraitures of the painter John Kacere and the image of Brigitte Bardot in the opening scene of the 1963 film Contempt. Filippo has written that while the image in Contempt is used to remark on sexual objectification, Coppola "doesn't seem to be making a statement at all beyond a sort of endorsement of beauty for beauty's sake."[12] Geoff King, a professor of film at Brunel University, contends that the shot is marked by an "obvious" appeal in its potential eroticism, and a "subtle" appeal in its artistic qualities. He uses the shot as an example of the film's obvious attractions, which are characteristic of mainstream film, and its subtle ones, which are typified by "indie" film.[13]
Production
[edit]Development
"I remember having these weeks there that were sort of enchanting and weird ... Tokyo is so disorienting, and there's a loneliness and isolation. Everything is so crazy, and the jet lag is torture. I liked the idea of juxtaposing a midlife crisis with that time in your early 20s when you're, like, What should I do with my life?"
―Sofia Coppola, 2003[14]
The idea for Lost in Translation emerged after Coppola saw her friend Fumihiro Hayashi perform a karaoke version of the Sex Pistols song "God Save the Queen", and she wanted to put it into a movie.[15] At that time, Coppola was working in Japan after Hayashi hired her to take photographs for his fashion magazine. Before Lost in Translation was written, she had visited the country numerous times and based the film's setting on her experiences there in her twenties.[16] Coppola was attracted to the neon lights of Tokyo and has described the Park Hyatt Tokyo, where most of the film's interior sequences take place, as one of her "favorite places in the world."[15] Particularly, she was attracted to its quietness, design, and "combination of different cultures", which include a New York bar and French restaurant.[17] Coppola spent six months writing the film, beginning with "short stories" and "impressions" that culminated into a 70-page script.[18][19] She wanted to create a story that was "a little more funny and romantic" than her previous feature, Virgin Suicides, and she spent little time planning or rewriting it.[7][20] Coppola has called the film a "valentine" to Tokyo,[21] in which she has displayed the city in the way that it is meaningful to her.
Ross Katz, who co-produced the film, said that Coppola "wrote the movie for Bill [Murray]", and that "she wasn’t going to make it if he didn’t do it".[19] Coppola said that she had always wanted to work with Murray and that she was attracted to his "sweet, lovable side".[15] She pursued him for five to eight months, relentlessly sending telephone messages and letters.[22][23] She enlisted help from Wes Anderson, who had directed Murray in two films, and screenwriter Mitch Glazer, who was a mutual friend.[23][19] In July 2002, Coppola and Murray finally met in a restaurant, and he agreed to participate because he "couldn't let her down".[23] Despite this, Murray did not sign a contract; when he finally arrived in Tokyo, Coppola described it as "a huge relief".[24] Coppola first noticed Scarlett Johansson in Manny & Lo, where she related to her "understated" and "subtle" demeanor.[25][26] Johansson, who was 17 years old at the time, immediately accepted the part and Coppola was happy with the maturity she brought to the character.[27][25] In writing the story, Coppola said she was influenced by the relationship between Humphrey Bogart and Lauren Bacall in Howard Hawks’ The Big Sleep.[26]
[edit]Filming
Lance Acord, the film's director of photography, has written that the cinematographic style of Lost in Translation is largely based on "daily experiences, memories and impressions" of his time in Japan.[28] He worked closely with Coppola to visualize the film, relying on multiple experiences he shared with her in Tokyo before production took place. Location scouting was carried out by Coppola, Acord, and Katz; and Coppola created 40 pages of photographs for the crew so that they would understand her visual intentions.[29] Acord sought to maximize available light during shooting and use artificial lights as little as possible. He described this approach as conservative compared to "the more conventional Hollywood system", for which some of the crew's Japanese electricians thought he was "out of his mind".[30] In particular, Acord did not use any artificial lights to photograph the film's night-time exteriors.[30] Lost in Translation was largely shot in an improvised, "free-form" manner, which Coppola described as "stealthy" and "almost documentary-style".[31][17] The crew shot in some locations without permits, including Tokyo's subways and Shibuya Crossing; they avoided police by keeping a minimal crew.[16] Acord avoided grandiose camera movements in favor of still shots to avoid taking away from the loneliness of the characters.[30] Most of the film was shot on an Aaton camera with 35 mm film stock, using Kodak Vision 500T 5263 stock for nightlight exteriors and Kodak Vision 320T 5277 stock in daylight. A smaller Moviecam Compact was used in confined locations. Coppola said that her father, Francis Ford Coppola, tried to convince her to shoot on video, but she ultimately decided on film, describing its “fragmented, dislocated, melancholic, romantic feeling", in contrast with video, which is "more immediate, in the present".[26] In interviews, she said she wanted to shoot Tokyo with a spontaneous "informality", similar to the "way a snapshot looks", and she chose to shoot on high-speed film stocks to evoke a "homemade intimacy".[16][26][32] Some scenes were shot wholly for mood and were captured without sound.[32]
Lost in Translation was shot six days per week in September and October 2002, over the course of 27 days.[32] During this time, videotape footage was mailed to editor Sarah Flack in New York City, where she began editing the film in a Red Car office.[33] The scenes with Bob and Charlotte together were largely shot in order.[34] Many of the interior scenes were shot overnight, because the hotel did not allow the crew to shoot until after 1 a.m.[16] Various locations were used during production; in particular, the bar featured prominently in the film is the New York Bar, which is situated on the 52nd floor of the Shinjuku Park Tower and part of the Park Hyatt in Shinjuku, Tokyo. Other locations include the Heian Jingu shrine in Kyoto and the steps of the San-mon gate at Nanzen-ji, as well as the club Air in the Daikanyama district of Tokyo. All of the locations mentioned in the film are the names of actual places that existed in Tokyo at the time of filming. Murray described the first few weeks of the shoot as like "being held prisoner", since he was affected by jet lag, and Johansson said the shoot made her "busy, vulnerable and tired".[35][36] Coppola spoke of the challenges of directing the movie with a Japanese crew, since she had to rely on her assistant director to make translations.[17] Much of the performances were improvised, and Coppola openly allowed modifications to dialogue during shooting. For example, the dialogue in the scene with Harris and the still photographer was unrehearsed.[37] Coppola has said that she was attracted to the idea of Bob and Charlotte going through stages of a romantic relationship all in one week ― in which they have met, courted, hurt each other, and discussed intimate life. To conclude this relationship, Coppola wanted a special ending even though she thought the concluding scene in the script was mundane. Coppola instructed Murray to perform the kiss in that scene without telling Johansson, to which she reacted without preparation. The whisper was also unscripted, but too quiet to be recorded. While Coppola initially considered having audible dialogue dubbed into the moment, she later decided that it was better to keep it "between the two of them."[38] After filming, Coppola and Flack spent approximately 10 weeks editing the film.[33] In the bonus features of the film's DVD, Murray called Lost in Translation his favorite film that he has worked on.[31]
Music
The film's soundtrack, supervised by Brian Reitzell, was released on September 9, 2003 by Emperor Norton Records. It contains five songs by Kevin Shields, including one from his group My Bloody Valentine. Allmusic gave the soundtrack four out of five stars, saying "Coppola's impressionistic romance Lost in Translation features an equally impressionistic and romantic soundtrack that plays almost as big a role in the film as Bill Murray and Scarlett Johansson do."[39] Agathi Glezakos, an academic writing a review of Lost in Translation shortly after its release, wrote that the music in the film's karaoke scene constitutes a common "language" that allows Bob and Charlotte to connect with some of the Japanese people amidst their alienation.[40] In that scene, the rendition of the Pretenders' "Brass in Pocket" was selected to showcase a lively side of Charlotte, and "(What's So Funny 'Bout) Peace, Love, and Understanding" was chosen to establish that Bob is from a different generation. Both Coppola and Murray finally selected Roxy Music's "More Than This" during the shoot itself because they liked the band and thought the lyrics fit the story.[41]
Track listing
No. Title Writer(s) Artist(s) Length
1. "Intro/Tokyo" 0:34
2. "City Girl" Kevin Shields Kevin Shields 3:48
3. "Fantino" Sébastien Tellier Sébastien Tellier 3:12
4. "Tommib" Tom Jenkinson Squarepusher 1:20
5. "Girls" Tim Holmes, Richard McGuire Death in Vegas 4:26
6. "Goodbye" Shields Kevin Shields 2:32
7. "Too Young" Phoenix Phoenix 3:18
8. "Kaze wo Atsumete" Takashi Matsumoto, Haruomi Hosono Happy End 4:06
9. "On the Subway" Roger J. Manning Jr., Brian Reitzell Brian Reitzell and Roger J. Manning Jr. 1:10
10. "Ikebana" Shields Kevin Shields 1:38
11. "Sometimes" Shields My Bloody Valentine 5:19
12. "Alone in Kyoto" Jean-Benoît Dunckel, Nicolas Godin Air 4:47
13. "Shibuya" Manning, Reitzell Brian Reitzell and Roger J. Manning Jr. 3:26
14. "Are You Awake?" Shields Kevin Shields 1:35
15. "Just Like Honey" James McLeish Reid, William Reid The Jesus and Mary Chain 11:02
16. "More Than This" (hidden track at the end of track 15) Bryan Ferry Bill Murray with Roger J. Manning Jr. and Brian Reitzell 1:35
[show]Japanese bonus track[42]
Reception
Reviews
Lost in Translation was boosted by critical acclaim and audience word-of-mouth. It has a rating of 95% on Rotten Tomatoes[43] and a rating score of 89% based on 44 reviews on Metacritic.[44] It was praised not only for Sofia Coppola's script and distinctive directing, but also for the work of Bill Murray. Film critic Roger Ebert gave the film four out of four stars and rated it the second best film of the year, describing it as "sweet and sad at the same time as it is sardonic and funny", while also praising Bill Murray and Scarlett Johansson.[45] In his review for The New York Times, Elvis Mitchell wrote, "At 18, the actress gets away with playing a 25-year-old woman by using her husky voice to test the level of acidity in the air ... Ms. Johansson is not nearly as accomplished a performer as Mr. Murray, but Ms. Coppola gets around this by using Charlotte's simplicity and curiosity as keys to her character".[46] Entertainment Weekly gave the film an "A" rating and Lisa Schwarzbaum wrote, "working opposite the embracing, restful serenity of Johansson, Murray reveals something more commanding in his repose than we have ever seen before. Trimmed to a newly muscular, rangy handsomeness and in complete rapport with his character's hard-earned acceptance of life's limitations, Murray turns in a great performance".[47] In his review for The New York Observer, Andrew Sarris wrote, "The result is that rarity of rarities, a grown-up romance based on the deliberate repression of sexual gratification ... It's worth noting that at a time when independent films are exploding with erotic images edging ever closer to outright pornography, Ms. Coppola and her colleagues have replaced sexual facility with emotional longing, without being too coy or self-congratulatory in the process".[48] USA Today gave the film three-and-a-half out of four stars and wrote, "Coppola's second feature offers quiet humor in lieu of the bludgeoning direct assaults most comedies these days inflict".[49] Time magazine's Richard Corliss praised Murray's performance: "You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn."[50] His performance has been likened to the sardonic persona of W. C. Fields.[5][51]
In his review for The Observer, Philip French wrote, "But while Lost in Translation is deeply sad and has a strongly Antonioniesque flavour, it's also a wispy romantic comedy with little plot and some well-observed comic moments".[52] In his review for The Guardian, Joe Queenan praised Coppola's film for being "one of the few Hollywood films I have seen this year that has a brain; but more than that, it has a soul."[53]
Rolling Stone magazine's Peter Travers gave the film four out of four stars and wrote, "Before saying goodbye, they whisper something to each other that the audience can't hear. Coppola keeps her film as hushed and intimate as that whisper. Lost in Translation is found gold. Funny how a wisp of a movie from a wisp of a girl can wipe you out."[54] J. Hoberman, in his review for the Village Voice, wrote, "Lost in Translation is as bittersweet a brief encounter as any in American movies since Richard Linklater's equally romantic Before Sunrise. But Lost in Translation is the more poignant reverie. Coppola evokes the emotional intensity of a one-night stand far from home―but what she really gets is the magic of movies".[55] Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Six years later, we still have no clue what Bill Murray whispered into Scarlett Johansson's ear. And we don't want to. Why spoil a perfect film?"[56]
The Los Angeles Film Critics Association and National Society of Film Critics voted Bill Murray best actor of the year.[57][58] The New York Film Critics Circle also voted Murray best actor and Sofia Coppola best director.[59] In addition, Coppola received an award for special filmmaking achievement from the National Board of Review.[60] Lost in Translation also appeared on several critics' top ten lists for 2003.[61]
Roger Ebert added it to his "great movies" list on his website.[62] Paste Magazine named it one of the 50 Best Movies of the Decade (2000-2009), ranking it at #7.[63]
From Wikipedia, the free encyclopedia
Directed by Sofia Coppola
Produced by Ross Katz
Sofia Coppola
Francis Ford Coppola
Written by Sofia Coppola
Starring Bill Murray
Scarlett Johansson
Music by Brian Reitzell
Kevin Shields
Roger Joseph Manning Jr.
Air
Cinematography Lance Acord
Editing by Sarah Flack
Studio American Zoetrope
Tohokushinsha Film
Distributed by Focus Features
Release date(s)
October 3, 2003
Running time 102 minutes
Country United States[1]
Language English
Budget $4 million
Box office $119,723,856
Lost in Translation is a 2003 American Comedy-drama film written and directed by Sofia Coppola. Her second feature film, after The Virgin Suicides (1999), it stars Bill Murray and Scarlett Johansson. The film revolves around an aging actor named Bob Harris (Murray) and a recent college graduate named Charlotte (Johansson) who develop a rapport after a chance meeting in a Tokyo hotel. The movie explores themes of loneliness, insomnia, existential ennui, and culture shock against the backdrop of a modern Japanese city.
Lost in Translation was a major critical success[2] and was nominated for four Academy Awards, including Best Picture, Best Actor for Bill Murray, and Best Director for Sofia Coppola; Coppola won for Best Original Screenplay. Scarlett Johansson won a BAFTA award for Best Actress in a Leading Role. The film was also a commercial success, grossing almost $120 million from a budget of only $4 million.
Contents
1 Plot
2 Cast
3 Analysis
3.1 Aesthetics
4 Production
4.1 Development
4.2 Filming
4.3 Music
5 Reception
5.1 Reviews
5.2 Criticism
5.3 Earnings
5.4 Accolades
6 Release
7 References
8 External links
[edit]Plot
Bob Harris (Murray), an aging American movie star, arrives in Tokyo to film an advertisement for Suntory whisky, for which he will receive $2 million. Charlotte (Johansson), a young college graduate, is left behind in her hotel room by her husband, John (Ribisi), a celebrity photographer on assignment in Tokyo. Charlotte is unsure of her future with him, as she believes he takes more interest in his celebrity models, most notably a young and popular American actress named Kelly (Faris), than he does in her. At the same time, Bob's own 25-year marriage is tired and lacking in romance as he goes through a midlife crisis.
One night, after a long photo shoot, Bob retreats to the hotel bar. Charlotte, sitting at a table with John and friends, notices Bob and has a waiter bring him a cup of sake from her table. Later, Bob and Charlotte have brief encounters each night at the hotel bar, until Charlotte invites Bob to meet up with some local friends of hers. Bob accepts and arrives later at her hotel room dressed in clothes that appear to be designed for a younger generation. The two begin a friendship and bond through their adventures in Tokyo together while experiencing the differences between Japanese and American culture, and between their own generations.
On the penultimate night of his stay, Bob attracts the attention of the resident vocalist. The next morning, Bob awakens to find the woman in his room, having apparently slept with her. Charlotte arrives at his room to go out for breakfast only to find the woman in his room, leading to conflict and tension over a subsequent lunch. Later that night, during a fire alarm at the hotel, Bob and Charlotte reconcile and express how they will miss each other as they make one more trip back to the hotel bar.
On the following morning, Bob is set for his departure back to the United States. He tells Charlotte goodbye at the hotel lobby shortly before checking out and sadly watches her retreat back to an elevator. While riding in a taxi to the airport, Bob sees Charlotte on a crowded street and gets out and goes to her. Bob embraces Charlotte and whispers something (substantially inaudible to the audience) in the tearful Charlotte's ear. The two share a kiss, say goodbye and Bob departs.
Cast
Bill Murray as Bob Harris
Scarlett Johansson as Charlotte
Giovanni Ribisi as John
Anna Faris as Kelly
Fumihiro Hayashi as Charlie Brown
Akiko Takeshita as Ms. Kawasaki
François Du Bois as the Pianist
Takashi Fujii as TV host
Hiromix as herself
[edit]Analysis
Over the course of the film, several things get "lost in translation".[3] Bob, a Japanese director (Yutaka Tadokoro), and an interpreter (Takeshita) are on a set, filming a commercial for Suntory whisky (specifically, 17-year old Hibiki). In several exchanges, the director gives lengthy, impassioned directives in Japanese. These are invariably followed by brief, incomplete translations from the interpreter.
Director [in Japanese, to the interpreter]: The translation is very important, O.K.? The translation.
Interpreter [in Japanese, to the director]: Yes, of course. I understand.
Director [in Japanese, to Bob]: Mr. Bob. You are sitting quietly in your study. And then there is a bottle of Suntory whisky on top of the table. You understand, right? With wholehearted feeling, slowly, look at the camera, tenderly, and as if you are meeting old friends, say the words. As if you are Bogie in Casablanca, saying, "Here's looking at you, kid,"―Suntory time!
Interpreter [In English, to Bob]: He wants you to turn, look in camera. O.K.?
Bob: ...Is that all he said?[4]
In addition to the meaning and detail lost in the translation of the director's words, the two central characters in the film―Bob and Charlotte―are also lost in other ways. On a basic level, they are lost in the alien Japanese culture. But in addition, they are lost in their own lives and relationships, a feeling, amplified by their displaced location, that leads to their blossoming friendship and growing connection with one another.[5]
By her own admission, Coppola wanted to create a romantic movie about two characters that have a moment of connection. The story's timeline was intentionally shortened to emphasize this moment.[6] Additionally, Coppola has said that since "there's not much happening in the story besides [Bob and Charlotte's relationship]", the filmmakers tried to keep an ongoing tension.[7]
The academic Marco Abel lists Lost in Translation as one of many films that belong to the category of "postromance" cinema, which he says offers a negative perspective of love, sex, romance, and dating. According to Abel, the characters in such films reject the idealized notion of lifelong monogamy.[8]
The author and filmmaker Anita Schillhorn van Veen interprets the film as a criticism of modernity, in which Tokyo is a contemporary "floating world" of fleeting pleasures that are too alienating and amoral to facilitate meaningful relationships.[9]
[edit]Aesthetics
The author and lecturer Maria San Filippo contends that the film's setting, Tokyo, is an audiovisual metaphor for Bob and Charlotte's world views. She explains that the calm ambience of the city's hotel represents Bob's desire to be secure and undisturbed, while the energetic atmosphere of the city streets represents Charlotte's willingness to engage with the world.[10]
Robert Hahn, an essayist writing for The Southern Review, has suggested that the filmmakers deliberately use chiaroscuro to support the story. He argues that the film's dominant light tones symbolize feelings of humor and romance, and they are contrasted with dark tones that symbolize underlying feelings of despondency. He compares this to the technique of the painter John Singer Sargent.[11]
The film's opening shot, which features a close shot of Charlotte resting in transparent pink underpants, has been noted by various commentators. In particular, it has been compared to the portraitures of the painter John Kacere and the image of Brigitte Bardot in the opening scene of the 1963 film Contempt. Filippo has written that while the image in Contempt is used to remark on sexual objectification, Coppola "doesn't seem to be making a statement at all beyond a sort of endorsement of beauty for beauty's sake."[12] Geoff King, a professor of film at Brunel University, contends that the shot is marked by an "obvious" appeal in its potential eroticism, and a "subtle" appeal in its artistic qualities. He uses the shot as an example of the film's obvious attractions, which are characteristic of mainstream film, and its subtle ones, which are typified by "indie" film.[13]
Production
[edit]Development
"I remember having these weeks there that were sort of enchanting and weird ... Tokyo is so disorienting, and there's a loneliness and isolation. Everything is so crazy, and the jet lag is torture. I liked the idea of juxtaposing a midlife crisis with that time in your early 20s when you're, like, What should I do with my life?"
―Sofia Coppola, 2003[14]
The idea for Lost in Translation emerged after Coppola saw her friend Fumihiro Hayashi perform a karaoke version of the Sex Pistols song "God Save the Queen", and she wanted to put it into a movie.[15] At that time, Coppola was working in Japan after Hayashi hired her to take photographs for his fashion magazine. Before Lost in Translation was written, she had visited the country numerous times and based the film's setting on her experiences there in her twenties.[16] Coppola was attracted to the neon lights of Tokyo and has described the Park Hyatt Tokyo, where most of the film's interior sequences take place, as one of her "favorite places in the world."[15] Particularly, she was attracted to its quietness, design, and "combination of different cultures", which include a New York bar and French restaurant.[17] Coppola spent six months writing the film, beginning with "short stories" and "impressions" that culminated into a 70-page script.[18][19] She wanted to create a story that was "a little more funny and romantic" than her previous feature, Virgin Suicides, and she spent little time planning or rewriting it.[7][20] Coppola has called the film a "valentine" to Tokyo,[21] in which she has displayed the city in the way that it is meaningful to her.
Ross Katz, who co-produced the film, said that Coppola "wrote the movie for Bill [Murray]", and that "she wasn’t going to make it if he didn’t do it".[19] Coppola said that she had always wanted to work with Murray and that she was attracted to his "sweet, lovable side".[15] She pursued him for five to eight months, relentlessly sending telephone messages and letters.[22][23] She enlisted help from Wes Anderson, who had directed Murray in two films, and screenwriter Mitch Glazer, who was a mutual friend.[23][19] In July 2002, Coppola and Murray finally met in a restaurant, and he agreed to participate because he "couldn't let her down".[23] Despite this, Murray did not sign a contract; when he finally arrived in Tokyo, Coppola described it as "a huge relief".[24] Coppola first noticed Scarlett Johansson in Manny & Lo, where she related to her "understated" and "subtle" demeanor.[25][26] Johansson, who was 17 years old at the time, immediately accepted the part and Coppola was happy with the maturity she brought to the character.[27][25] In writing the story, Coppola said she was influenced by the relationship between Humphrey Bogart and Lauren Bacall in Howard Hawks’ The Big Sleep.[26]
[edit]Filming
Lance Acord, the film's director of photography, has written that the cinematographic style of Lost in Translation is largely based on "daily experiences, memories and impressions" of his time in Japan.[28] He worked closely with Coppola to visualize the film, relying on multiple experiences he shared with her in Tokyo before production took place. Location scouting was carried out by Coppola, Acord, and Katz; and Coppola created 40 pages of photographs for the crew so that they would understand her visual intentions.[29] Acord sought to maximize available light during shooting and use artificial lights as little as possible. He described this approach as conservative compared to "the more conventional Hollywood system", for which some of the crew's Japanese electricians thought he was "out of his mind".[30] In particular, Acord did not use any artificial lights to photograph the film's night-time exteriors.[30] Lost in Translation was largely shot in an improvised, "free-form" manner, which Coppola described as "stealthy" and "almost documentary-style".[31][17] The crew shot in some locations without permits, including Tokyo's subways and Shibuya Crossing; they avoided police by keeping a minimal crew.[16] Acord avoided grandiose camera movements in favor of still shots to avoid taking away from the loneliness of the characters.[30] Most of the film was shot on an Aaton camera with 35 mm film stock, using Kodak Vision 500T 5263 stock for nightlight exteriors and Kodak Vision 320T 5277 stock in daylight. A smaller Moviecam Compact was used in confined locations. Coppola said that her father, Francis Ford Coppola, tried to convince her to shoot on video, but she ultimately decided on film, describing its “fragmented, dislocated, melancholic, romantic feeling", in contrast with video, which is "more immediate, in the present".[26] In interviews, she said she wanted to shoot Tokyo with a spontaneous "informality", similar to the "way a snapshot looks", and she chose to shoot on high-speed film stocks to evoke a "homemade intimacy".[16][26][32] Some scenes were shot wholly for mood and were captured without sound.[32]
Lost in Translation was shot six days per week in September and October 2002, over the course of 27 days.[32] During this time, videotape footage was mailed to editor Sarah Flack in New York City, where she began editing the film in a Red Car office.[33] The scenes with Bob and Charlotte together were largely shot in order.[34] Many of the interior scenes were shot overnight, because the hotel did not allow the crew to shoot until after 1 a.m.[16] Various locations were used during production; in particular, the bar featured prominently in the film is the New York Bar, which is situated on the 52nd floor of the Shinjuku Park Tower and part of the Park Hyatt in Shinjuku, Tokyo. Other locations include the Heian Jingu shrine in Kyoto and the steps of the San-mon gate at Nanzen-ji, as well as the club Air in the Daikanyama district of Tokyo. All of the locations mentioned in the film are the names of actual places that existed in Tokyo at the time of filming. Murray described the first few weeks of the shoot as like "being held prisoner", since he was affected by jet lag, and Johansson said the shoot made her "busy, vulnerable and tired".[35][36] Coppola spoke of the challenges of directing the movie with a Japanese crew, since she had to rely on her assistant director to make translations.[17] Much of the performances were improvised, and Coppola openly allowed modifications to dialogue during shooting. For example, the dialogue in the scene with Harris and the still photographer was unrehearsed.[37] Coppola has said that she was attracted to the idea of Bob and Charlotte going through stages of a romantic relationship all in one week ― in which they have met, courted, hurt each other, and discussed intimate life. To conclude this relationship, Coppola wanted a special ending even though she thought the concluding scene in the script was mundane. Coppola instructed Murray to perform the kiss in that scene without telling Johansson, to which she reacted without preparation. The whisper was also unscripted, but too quiet to be recorded. While Coppola initially considered having audible dialogue dubbed into the moment, she later decided that it was better to keep it "between the two of them."[38] After filming, Coppola and Flack spent approximately 10 weeks editing the film.[33] In the bonus features of the film's DVD, Murray called Lost in Translation his favorite film that he has worked on.[31]
Music
The film's soundtrack, supervised by Brian Reitzell, was released on September 9, 2003 by Emperor Norton Records. It contains five songs by Kevin Shields, including one from his group My Bloody Valentine. Allmusic gave the soundtrack four out of five stars, saying "Coppola's impressionistic romance Lost in Translation features an equally impressionistic and romantic soundtrack that plays almost as big a role in the film as Bill Murray and Scarlett Johansson do."[39] Agathi Glezakos, an academic writing a review of Lost in Translation shortly after its release, wrote that the music in the film's karaoke scene constitutes a common "language" that allows Bob and Charlotte to connect with some of the Japanese people amidst their alienation.[40] In that scene, the rendition of the Pretenders' "Brass in Pocket" was selected to showcase a lively side of Charlotte, and "(What's So Funny 'Bout) Peace, Love, and Understanding" was chosen to establish that Bob is from a different generation. Both Coppola and Murray finally selected Roxy Music's "More Than This" during the shoot itself because they liked the band and thought the lyrics fit the story.[41]
Track listing
No. Title Writer(s) Artist(s) Length
1. "Intro/Tokyo" 0:34
2. "City Girl" Kevin Shields Kevin Shields 3:48
3. "Fantino" Sébastien Tellier Sébastien Tellier 3:12
4. "Tommib" Tom Jenkinson Squarepusher 1:20
5. "Girls" Tim Holmes, Richard McGuire Death in Vegas 4:26
6. "Goodbye" Shields Kevin Shields 2:32
7. "Too Young" Phoenix Phoenix 3:18
8. "Kaze wo Atsumete" Takashi Matsumoto, Haruomi Hosono Happy End 4:06
9. "On the Subway" Roger J. Manning Jr., Brian Reitzell Brian Reitzell and Roger J. Manning Jr. 1:10
10. "Ikebana" Shields Kevin Shields 1:38
11. "Sometimes" Shields My Bloody Valentine 5:19
12. "Alone in Kyoto" Jean-Benoît Dunckel, Nicolas Godin Air 4:47
13. "Shibuya" Manning, Reitzell Brian Reitzell and Roger J. Manning Jr. 3:26
14. "Are You Awake?" Shields Kevin Shields 1:35
15. "Just Like Honey" James McLeish Reid, William Reid The Jesus and Mary Chain 11:02
16. "More Than This" (hidden track at the end of track 15) Bryan Ferry Bill Murray with Roger J. Manning Jr. and Brian Reitzell 1:35
[show]Japanese bonus track[42]
Reception
Reviews
Lost in Translation was boosted by critical acclaim and audience word-of-mouth. It has a rating of 95% on Rotten Tomatoes[43] and a rating score of 89% based on 44 reviews on Metacritic.[44] It was praised not only for Sofia Coppola's script and distinctive directing, but also for the work of Bill Murray. Film critic Roger Ebert gave the film four out of four stars and rated it the second best film of the year, describing it as "sweet and sad at the same time as it is sardonic and funny", while also praising Bill Murray and Scarlett Johansson.[45] In his review for The New York Times, Elvis Mitchell wrote, "At 18, the actress gets away with playing a 25-year-old woman by using her husky voice to test the level of acidity in the air ... Ms. Johansson is not nearly as accomplished a performer as Mr. Murray, but Ms. Coppola gets around this by using Charlotte's simplicity and curiosity as keys to her character".[46] Entertainment Weekly gave the film an "A" rating and Lisa Schwarzbaum wrote, "working opposite the embracing, restful serenity of Johansson, Murray reveals something more commanding in his repose than we have ever seen before. Trimmed to a newly muscular, rangy handsomeness and in complete rapport with his character's hard-earned acceptance of life's limitations, Murray turns in a great performance".[47] In his review for The New York Observer, Andrew Sarris wrote, "The result is that rarity of rarities, a grown-up romance based on the deliberate repression of sexual gratification ... It's worth noting that at a time when independent films are exploding with erotic images edging ever closer to outright pornography, Ms. Coppola and her colleagues have replaced sexual facility with emotional longing, without being too coy or self-congratulatory in the process".[48] USA Today gave the film three-and-a-half out of four stars and wrote, "Coppola's second feature offers quiet humor in lieu of the bludgeoning direct assaults most comedies these days inflict".[49] Time magazine's Richard Corliss praised Murray's performance: "You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn."[50] His performance has been likened to the sardonic persona of W. C. Fields.[5][51]
In his review for The Observer, Philip French wrote, "But while Lost in Translation is deeply sad and has a strongly Antonioniesque flavour, it's also a wispy romantic comedy with little plot and some well-observed comic moments".[52] In his review for The Guardian, Joe Queenan praised Coppola's film for being "one of the few Hollywood films I have seen this year that has a brain; but more than that, it has a soul."[53]
Rolling Stone magazine's Peter Travers gave the film four out of four stars and wrote, "Before saying goodbye, they whisper something to each other that the audience can't hear. Coppola keeps her film as hushed and intimate as that whisper. Lost in Translation is found gold. Funny how a wisp of a movie from a wisp of a girl can wipe you out."[54] J. Hoberman, in his review for the Village Voice, wrote, "Lost in Translation is as bittersweet a brief encounter as any in American movies since Richard Linklater's equally romantic Before Sunrise. But Lost in Translation is the more poignant reverie. Coppola evokes the emotional intensity of a one-night stand far from home―but what she really gets is the magic of movies".[55] Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Six years later, we still have no clue what Bill Murray whispered into Scarlett Johansson's ear. And we don't want to. Why spoil a perfect film?"[56]
The Los Angeles Film Critics Association and National Society of Film Critics voted Bill Murray best actor of the year.[57][58] The New York Film Critics Circle also voted Murray best actor and Sofia Coppola best director.[59] In addition, Coppola received an award for special filmmaking achievement from the National Board of Review.[60] Lost in Translation also appeared on several critics' top ten lists for 2003.[61]
Roger Ebert added it to his "great movies" list on his website.[62] Paste Magazine named it one of the 50 Best Movies of the Decade (2000-2009), ranking it at #7.[63]
It reaches every day from goo " Today last year ".
The timetable of the galaxy train
2012/4/27
" Marie Antoinette " however, come to think of it, the music in the 21st century like Akutagawa = it sounds and the sense to the... music which was pouring the music of:-) band which only the human being who is familiar in the boiling knows is good for Sofia Coppola ( one of the human beings whom Akutagawa likes ).
As Akutagawa felt her musical sense if attempting to open Wikipedia to confirm the title of above-mentioned movie
For show of most, it is not Coppola's daughter and it doesn't grow up in America for show.
The timetable of the galaxy train
2012/4/27
" Marie Antoinette " however, come to think of it, the music in the 21st century like Akutagawa = it sounds and the sense to the... music which was pouring the music of:-) band which only the human being who is familiar in the boiling knows is good for Sofia Coppola ( one of the human beings whom Akutagawa likes ).
As Akutagawa felt her musical sense if attempting to open Wikipedia to confirm the title of above-mentioned movie
For show of most, it is not Coppola's daughter and it doesn't grow up in America for show.
It reaches every day from goo " Today last year ".
The timetable 2012/4/27 of the galaxy train
As for more than this, to be one of the music which Akutagawa likes is to be needless to say but karaoke however, Bill Marray of the lead of movie preference's being flowing in that very good movie "Lost in translation" of Sofia Coppola thinks that will know about singing.
The timetable 2012/4/27 of the galaxy train
As for more than this, to be one of the music which Akutagawa likes is to be needless to say but karaoke however, Bill Marray of the lead of movie preference's being flowing in that very good movie "Lost in translation" of Sofia Coppola thinks that will know about singing.
It reaches every day from goo " Today last year ".
The timetable of the galaxy train
2012/4/27
That the originator is this is needless to say.
The timetable of the galaxy train
2012/4/27
That the originator is this is needless to say.
Roxy Music - More Than This (High Audio Quality)