Reflecting on her journey as a filmmaker, Sofia Coppola credits her mother for teaching her to value authenticity and notice the subtle, odd details that populate her own films. She notes that her upbringing, often focused on the famous men in her family, was equally shaped by the influence of strong, creative women. I love how your films capture what it feels like to be a young girl growing up. Thank you, cherryEmma That’s nice to hear. Following what you’re interested in and seeing the beauty in your surroundings, i feel like I got a lot from my mom about being true to yourself. So a lot of my films are made up of those kinds of things, my mom always noticed odd details in life. Your films beautifully capture the isolation of hotel rooms – spaces completely detached from a character’s past or future.
Addressing the guerrilla-style production of 2003’s Lost in Translation, Coppola admits she is relieved the crew avoided expulsion while filming in Tokyo. While most scenes were permitted, sequences featuring Scarlett Johansson on the subway and at the Shibuya crossing were captured by slipping into public spaces like Starbucks to secure shots without official authorization. Regarding the film’s famously ambiguous ending, where Bob whispers to Charlotte, she maintains the mystery, deferring to Bill Murray’s stance: it remains between the characters.
Looking back at her 2006 film Marie Antoinette, Coppola explains that her decision to pair the period setting with a post-punk and new romantic soundtrack was inspired by the youth of the queen, who arrived at Versailles at 14 and ascended to the throne at 18. Despite some criticism for using contemporary music, the director intended to reflect the protagonists’ teenage perspective. During the production, her mother filmed nearly 80 hours of behind-the-scenes footage, a treasure she only recently revisited, capturing both the intense work and the beauty of the costumes and sets. A recent party at Versailles celebrating the film’s anniversary, where New Order performed, stands out as one of her most cherished memories. Hello, I’m Cherry, I’m 14 and an aspiring film-maker.
Coppola’s early career included working on Tim Burton’s 1984 short film Frankenweenie when she was approximately 12 years old. She remembers the experience as a fun introduction to film sets, recalling that Burton, who was fresh out of school at the time, would even create drawings for her. This early exposure fostered a lasting appreciation for the magic of filmmaking that she says she has never lost.
Discussing other projects, she recalls the organic process behind her 2003 music video for the White Stripes’ cover of I Just Don’t Know What to Do With Myself. After simply asking Kate Moss to participate, she was pleased that both the model and the band agreed to the concept. She also touched on The Virgin Suicides, noting that the cast members formed genuine bonds while cooking and rehearsing together, allowing their distinct personalities to shine through on screen.
While she expresses surprise at her status as a “girlblogger icon,” she appreciates that her older work continues to resonate with a new generation of young women. When asked about potentially erasing painful memories, Coppola refuses, emphasizing that such experiences are fundamental to personal growth and identity.
