WEBVTT - Top 5 Sofia Coppola Scenes | Archive

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<v Speaker 1>What kind of a show are you guys putting on

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<v Speaker 1>here today?

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<v Speaker 2>You're not interested in art?

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<v Speaker 3>No.

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<v Speaker 2>Well, look, we're going to do this thing.

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<v Speaker 4>We're going to have a conversation.

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<v Speaker 5>Hey, film spotters, time for our Wednesday archive drop. Sofia

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<v Speaker 5>Coppola's Marie Antoinette is getting a 20th anniversary re-release. Recently

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<v Speaker 5>got some love from me, actually, Josh. You're a huge

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<v Speaker 5>Sofia Coppola fan. Sam Van Halgren has gone crazy for

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<v Speaker 5>some Sofia Coppola releases in film spotting history, but I

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<v Speaker 5>like her work too. And I did love the musical choices.

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<v Speaker 5>And that's why I included one from Marie Antoinette on

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<v Speaker 5>our top five needle drops. We're now going to dig

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<v Speaker 5>into the archive to share a top five that unfortunately

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<v Speaker 5>I wasn't able to be a part of, but we

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<v Speaker 5>had a great critic filling in.

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<v Speaker 3>Yeah.

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<v Speaker 2>Angelica Jade Bastien, Chicago critic. She joined me and we

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<v Speaker 2>had a lot of fun with this. Definitely gave Marie

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<v Speaker 2>Antoinette its due in our list, I think. And the

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<v Speaker 2>other thing, Adam, is I'm just going to say, I'm

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<v Speaker 2>not going to give any picks away, but I must

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<v Speaker 2>have been being the gracious host. I wanted to be

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<v Speaker 2>the gracious host because Angelica's number one is kind of

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<v Speaker 2>like the right answer for Sofia Coppola. I feel like,

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<v Speaker 2>you know?

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<v Speaker 5>Sure.

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<v Speaker 2>And so I'm looking at it now and thinking, how

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<v Speaker 2>did I not have that? But maybe I'll just say

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<v Speaker 2>I was being nice.

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<v Speaker 5>I don't remember this list. It's certainly been a very

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<v Speaker 5>long time since I heard it. I'm trying to see

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<v Speaker 5>when it was from June 2017. Okay, so we're nine

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<v Speaker 5>years in. Did Angelica, and I'm not saying this as

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<v Speaker 5>a criticism, I am just curious, did she acknowledge Angelica?

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<v Speaker 5>that it's kind of an obvious choice, but she made

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<v Speaker 5>the case for it anyway?

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<v Speaker 2>I mean, I don't remember. This could have been a case.

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<v Speaker 2>Sometimes with guests, we will actually share lists in advance

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<v Speaker 2>and talk a little bit more about it. Could have

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<v Speaker 2>been a case where we were like, we've got to

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<v Speaker 2>have it on here somewhere and she wanted it. I

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<v Speaker 2>don't know.

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<v Speaker 5>Okay. Well, let's see how it played out.

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<v Speaker 2>We'll find out. As we get into our top five,

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<v Speaker 2>Sofia Coppola scenes. Now, I know we should probably say

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<v Speaker 2>at the start here that you found this a little

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<v Speaker 2>challenging because as you revisit some other films, you weren't

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<v Speaker 2>as enamored with them as maybe you were in your memory.

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<v Speaker 2>Or were there any of these you watched for the

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<v Speaker 2>first time for this list? How'd you go about forming

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<v Speaker 2>this list?

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<v Speaker 4>Well, overall with Coppola, I find her a very intriguing director,

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<v Speaker 4>but I've never been really obsessed or taken.

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<v Speaker 1>By her work.

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<v Speaker 2>Okay.

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<v Speaker 4>What surprised me was how much I forgot from these movies.

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<v Speaker 4>So I rewatched Marie Antoinette, and there's certain details I

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<v Speaker 4>just started to pick up on that I found really fascinating,

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<v Speaker 4>especially after watching The Beguiled and seeing how obsessed she

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<v Speaker 4>is with rituals of femininity. Really fascinating. So a lot

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<v Speaker 4>of my list picks up on moments that hone in

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<v Speaker 4>on that.

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<v Speaker 2>Sounds great. Let's jump right into it. What did you

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<v Speaker 2>put at number five?

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<v Speaker 4>So at number five is from The Virgin Suicides. It's

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<v Speaker 4>about a half hour into the movie when Josh Hartnett,

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<v Speaker 4>with that ridiculous wig, walks into the school, his jacket

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<v Speaker 4>flung over his shoulder, and all the women are looking

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<v Speaker 4>at him. And what intrigues me about that moment is

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<v Speaker 4>just how it's representative of Coppola's obsession with how women

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<v Speaker 4>look at the world and how... they kind of project

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<v Speaker 4>their desires onto different figures. And he's a very obvious

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<v Speaker 4>object of desire in The Virgin Suicides.

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<v Speaker 2>Yeah, and as I remember it, it's an extended montage.

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<v Speaker 3>Really?

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<v Speaker 2>Doesn't it follow him laying in his pool?

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<v Speaker 3>Yep.

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<v Speaker 2>And then a girl brings homework and brownies? Is that

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<v Speaker 2>part of this scene?

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<v Speaker 4>Yeah, this girl brings brownies and he has his towel

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<v Speaker 4>slung very, very, very low.

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<v Speaker 2>That's right.

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<v Speaker 1>I was like, they do that in high school? Did

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<v Speaker 1>I miss something?

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<v Speaker 5>Yeah.

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<v Speaker 2>And the use of music, too. I forget what exactly

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<v Speaker 2>the song is in that scene, but that's right. Yeah,

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<v Speaker 2>that's it. Yeah. So definitely a trait of hers, how

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<v Speaker 2>she weaves all of that together. So good pick from

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<v Speaker 2>The Virgin Suicides. That's where I'm going to start as

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<v Speaker 2>well with my number five, but with a different scene,

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<v Speaker 2>the homecoming dance. Now, as a reminder, this is the

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<v Speaker 2>movie that it was Coppola's debut, and it's about five

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<v Speaker 2>sheltered sisters who become this group object of fascination for

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<v Speaker 2>the boys in their 70s suburban neighborhood, and even more

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<v Speaker 2>so after the youngest sister commits suicide. So this is

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<v Speaker 2>a rare moment, this homecoming dance scene that I'm picking,

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<v Speaker 2>where the girls are let out of the house by

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<v Speaker 2>their parents to the homecoming dance, no less, of all

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<v Speaker 2>places to let them go. And the sister played by

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<v Speaker 2>Kirsten Dunst is announced as the homecoming queen. And it's

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<v Speaker 2>as if these girls come to life for the first time.

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<v Speaker 2>They're a little unsure of themselves earlier in the sequence,

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<v Speaker 2>but when she's announced and they're kind of like accepted

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<v Speaker 2>into this social gathering, they just come to life. And

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<v Speaker 2>Coppola perfectly captures that sort of effervescence that you would feel.

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<v Speaker 2>So it's the music that we were just talking about

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<v Speaker 2>that's coming into play here, the lighting, the use of props,

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<v Speaker 2>the balloons that come down from the ceiling, how the

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<v Speaker 2>characters interact with them. All of that really combines and

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<v Speaker 2>it captures, as I was saying in our Beguiled review,

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<v Speaker 2>sometimes what she does best is just a singular mood.

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<v Speaker 2>And to me, the scene is elation, you know, the

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<v Speaker 2>elation that these girls are feeling. So we're both starting

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<v Speaker 2>our lists with the beginning of Coppola's career. The Virgin Suicides.

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<v Speaker 2>Which way are you going to go for your number four?

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<v Speaker 4>I'm actually going to choose something from The Beguiled.

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<v Speaker 1>Fair enough.

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<v Speaker 4>Not a spoiler, but sort of harkens to this idea

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<v Speaker 4>of ritualism through femininity. And there's two really interesting dinner scenes.

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<v Speaker 4>I won't spoil it for you guys.

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<v Speaker 1>Don't worry.

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<v Speaker 4>What's most interesting to me is what happens right before

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<v Speaker 4>each of those dinner scenes and how the women get

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<v Speaker 4>ready and young girls and seeing them lace up their corsets,

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<v Speaker 4>putting pieces of fabric and ribbon around their wrists, trying

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<v Speaker 4>to basically ape what they think of as being a

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<v Speaker 4>woman and how it changes over the course of the

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<v Speaker 4>film when we have the second dinner scene. It's just

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<v Speaker 4>really beautiful mirroring of growth for these women. And I

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<v Speaker 4>thought it was just really fascinating. And I just really

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<v Speaker 4>love the ritual of getting ready myself. And I think

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<v Speaker 4>it's amazing that Coppola is so interested in the interior

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<v Speaker 4>lives of women. She hones in on these very small

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<v Speaker 4>details with care and without condescension. She thinks that girlhood

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<v Speaker 4>is as worthy of study.

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<v Speaker 1>As anything else.

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<v Speaker 4>And I think that's what I really love about her.

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<v Speaker 4>And rewatching the films, I liked moments like that from

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<v Speaker 4>her work.

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<v Speaker 2>So I'm right there with you. I have the beguiled

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<v Speaker 2>at number four. And I went with the exact same scene, actually, because...

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<v Speaker 2>It was, it's incorporating, as you said, all of these

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<v Speaker 2>things she's always been interested in, but how it would

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<v Speaker 2>play out not only in this specific setting, but to

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<v Speaker 2>these individual characters. This is an ensemble scene, but we

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<v Speaker 2>get a sense of how each of them are experiencing

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<v Speaker 2>it exactly through what you talked about, what they're wearing,

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<v Speaker 2>what they're eating. I wrote in my review of The

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<v Speaker 2>Beguiled how if you want to know how a Coppola

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<v Speaker 2>character is feeling, don't listen to what they're saying. Don't

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<v Speaker 2>listen to, you don't get any exposition about them. Watch

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<v Speaker 2>what they're wearing. And watch what they're eating. And usually

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<v Speaker 2>that is going to tell you. That's how they express

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<v Speaker 2>themselves and their inner lives are in those things, which

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<v Speaker 2>sounds reductionistic, but that's how we all are. I mean,

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<v Speaker 2>and that's the sort of detail that cinema can capture.

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<v Speaker 2>So I think it absolutely comes to the fore here

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<v Speaker 2>in this dinner scene where McBurney, the Colin Farrell character,

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<v Speaker 2>joins them. They look like overripe Easter eggs in some

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<v Speaker 2>of these dresses that they wear. It's just so overdone.

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<v Speaker 2>And I like how they make a fuss over the

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<v Speaker 2>lavish spread on the table, too. Isn't this the scene

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<v Speaker 2>where one of them, it might be Kirsten Dunst's character,

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<v Speaker 2>is sure to point out that it's her recipe that

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<v Speaker 2>was used?

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<v Speaker 3>Yes.

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<v Speaker 4>That moment, that first dinner scene, has a lot of

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<v Speaker 4>really sharp humor. And it specifically feels like the kind

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<v Speaker 4>of humor I'm used to hearing from Southern women who say,

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<v Speaker 4>bless your heart.

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<v Speaker 3>Okay.

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<v Speaker 4>And it's very specific how they're kind of jockeying for

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<v Speaker 4>his attention by mentioning all the labor they put into it.

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<v Speaker 1>It's my recipe. I picked the apples.

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<v Speaker 3>Yeah, yeah.

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<v Speaker 4>And it's more the fight between these actual girls and

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<v Speaker 4>women that's interesting than Colin Farrell himself, who is delighted, though,

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<v Speaker 4>and is just like cracking up.

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<v Speaker 2>Literally eating it up. Yeah, exactly. Yeah. And it's true.

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<v Speaker 2>It's kind of a passive aggressiveness. And there's a shift there, too,

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<v Speaker 2>where the women and girls start to turn against each other.

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<v Speaker 2>And then the movie turns where they go a different direction.

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<v Speaker 5>Yes.

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<v Speaker 2>All right, we'll leave that there. How about your number

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<v Speaker 2>three Coppola moment?

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<v Speaker 1>So my number.

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<v Speaker 4>Three comes from Marie Antoinette. And there's a lot of

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<v Speaker 4>really great moments and images from this film. So it

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<v Speaker 4>was really hard to pick one. But again, I think

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<v Speaker 4>because of watching The Beguiled really recently, I'm kind of

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<v Speaker 4>obsessed with how these characters dress and how they're clothed.

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<v Speaker 4>And there's a moment very, not just really a moment,

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<v Speaker 4>but a scene really early in Marie Antoinette when she's

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<v Speaker 4>traveling from Austria to France and she has to go

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<v Speaker 4>through that sort of tent fixture. She has to take

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<v Speaker 4>off everything she's wearing, everything that's a sign of her

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<v Speaker 4>past life in Austria to become a sort of girl woman.

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<v Speaker 4>She's not really a woman yet, but it's a very

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<v Speaker 4>sharp change in how she dresses, even how she stands

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<v Speaker 4>and presents herself. And the moment when she kind of

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<v Speaker 4>walks out on the side of France in this beautiful

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<v Speaker 4>blue dress I was just like I don't know I

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<v Speaker 4>was just really taken by it and just the change

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<v Speaker 4>in Kirsten Dunst's posture because of just wearing just a

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<v Speaker 4>more elaborate different gown with all these different fixtures to

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<v Speaker 4>keep her in place it was just really I think

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<v Speaker 4>it beautiful depiction of how clothing can affect identity. Sure.

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<v Speaker 2>Yeah. Another instance of costuming, projecting inner life or at

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<v Speaker 2>least inner experience that I considered too for a scene

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<v Speaker 2>from Marie Antoinette. I'm going to go with a different

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<v Speaker 2>film though for my number three. It comes from The

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<v Speaker 2>Bling Ring and it's the long distance robbery. So this

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<v Speaker 2>movie is from 2013. It's based on the true story

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<v Speaker 2>of a group of California teens who burglarized a string

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<v Speaker 2>of celebrity homes around L.A. And this was about 2009,

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<v Speaker 2>I think, when this was happening. So a lot of

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<v Speaker 2>these robberies are what you'd probably expect. They're Coppola parties.

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<v Speaker 2>They're celebratory. They're putting us in that ecstatic mood of

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<v Speaker 2>these young people who have pulled off these robberies and

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<v Speaker 2>are sometimes trying on the celebrities' clothes, basically being them

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<v Speaker 2>for a few moments. And it puts us in that experience,

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<v Speaker 2>the way she can do so well. But then there's

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<v Speaker 2>this scene, which is Completely different. It's a long, slow

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<v Speaker 2>zoom to depict the robbery of Audrina Partridge's house. It

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<v Speaker 2>begins really far away. It's like a distant establishing shot.

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<v Speaker 2>And we can see these two figures just slipping into

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<v Speaker 2>the house. And we slowly, slowly, really slowly zoom in.

0:11:33.540 --> 0:11:35.079
<v Speaker 2>Like one of these zooms where you hardly notice it

0:11:35.120 --> 0:11:37.620
<v Speaker 2>until you realize, oh, the house is now filling the frame.

0:11:38.080 --> 0:11:40.040
<v Speaker 2>But that's as close as we get. By that point,

0:11:40.120 --> 0:11:43.530
<v Speaker 2>they've rifled through all the rooms and they're making their

0:11:43.570 --> 0:11:47.420
<v Speaker 2>way out. And the scene ends there. Mm-hmm. I think

0:11:47.440 --> 0:11:50.099
<v Speaker 2>what's interesting about this one is that it's such an

0:11:50.160 --> 0:11:54.060
<v Speaker 2>anomaly for Coppola. You know, it's more, it's a moment

0:11:54.100 --> 0:11:58.660
<v Speaker 2>of detachment when I usually experience that we're completely in

0:11:58.710 --> 0:12:01.210
<v Speaker 2>the moment with her characters. We're right there alongside them.

0:12:01.809 --> 0:12:04.890
<v Speaker 2>And this just stands apart where it's observational, it's removed.

0:12:05.190 --> 0:12:08.670
<v Speaker 2>The characters as a result come across as little furtive.

0:12:08.710 --> 0:12:13.100
<v Speaker 2>They're even insignificant. So I don't know why, you know,

0:12:13.120 --> 0:12:16.040
<v Speaker 2>I probably need to spend more time thinking about why

0:12:16.240 --> 0:12:19.060
<v Speaker 2>at this point, or in this movie, she wants to

0:12:19.120 --> 0:12:22.000
<v Speaker 2>distance her camera from those characters. Like what's being said there?

0:12:22.040 --> 0:12:24.920
<v Speaker 2>We talked in our Beguiled review about, is there some

0:12:24.960 --> 0:12:28.710
<v Speaker 2>sort of self-awareness in her, maybe not in her as

0:12:28.730 --> 0:12:31.390
<v Speaker 2>a person, but her as a filmmaker, in her films growing?

0:12:31.450 --> 0:12:33.949
<v Speaker 2>Is the Beguiled a turning point there where we're starting

0:12:33.990 --> 0:12:37.829
<v Speaker 2>to take a step back from those moment-to-moment experiences? But

0:12:38.190 --> 0:12:41.410
<v Speaker 2>for whatever reason, it's a really remarkable moment in her

0:12:41.470 --> 0:12:44.290
<v Speaker 2>films that stands apart for being so different from the

0:12:44.330 --> 0:12:44.770
<v Speaker 2>other ones.

0:12:45.010 --> 0:12:49.120
<v Speaker 4>Oh, I definitely agree, especially because I think Coppola's defining

0:12:49.280 --> 0:12:53.470
<v Speaker 4>feature as a director is her intimacy. So to have

0:12:53.530 --> 0:12:55.370
<v Speaker 4>a moment like that completely like.

0:12:55.790 --> 0:13:00.290
<v Speaker 2>Yeah, not intimate at all, really. I mean, it's... Clinical almost. Clinical,

0:13:00.630 --> 0:13:03.329
<v Speaker 2>that makes sense. And it's almost as it's depicting an

0:13:03.390 --> 0:13:06.890
<v Speaker 2>invasion of intimacy too is interesting. So yeah, maybe there's

0:13:06.929 --> 0:13:11.440
<v Speaker 2>something there. So that gets us to our number two picks.

0:13:11.800 --> 0:13:14.920
<v Speaker 2>What did you have for your number two Coppola moment?

0:13:15.360 --> 0:13:16.699
<v Speaker 1>Oh, this was so hard.

0:13:16.800 --> 0:13:20.940
<v Speaker 4>So... I'm going to choose just a line from The

0:13:20.980 --> 0:13:21.920
<v Speaker 4>Virgin Suicide.

0:13:21.980 --> 0:13:22.400
<v Speaker 2>Fair enough.

0:13:22.840 --> 0:13:26.800
<v Speaker 4>Where, you know, like the older Tripp Fontaine, originally played

0:13:26.820 --> 0:13:30.700
<v Speaker 4>by Josh Hartnett, like they're doing the interviews like about

0:13:30.860 --> 0:13:34.240
<v Speaker 4>how they felt about these girls. And he describes Lux,

0:13:34.400 --> 0:13:38.860
<v Speaker 4>Kirsten Dunst's character, as a still point in a turning world.

0:13:39.380 --> 0:13:41.599
<v Speaker 4>And I think that can be used to describe pretty

0:13:41.640 --> 0:13:44.900
<v Speaker 4>much every female character in Sofia Coppola's work.

0:13:45.580 --> 0:13:47.959
<v Speaker 2>You know, that's perfect. And at first I was thinking, OK,

0:13:48.080 --> 0:13:50.140
<v Speaker 2>a line of dialogue. You don't think of her necessarily

0:13:50.179 --> 0:13:52.600
<v Speaker 2>as a writer or a dialogue writer. And maybe that

0:13:52.660 --> 0:13:57.360
<v Speaker 2>came from the original source novel. But it does describe

0:13:58.240 --> 0:14:00.579
<v Speaker 2>exactly what it's almost like she took that as a

0:14:00.640 --> 0:14:03.400
<v Speaker 2>model for here's how my movie should look as well.

0:14:03.460 --> 0:14:06.619
<v Speaker 2>So you see maybe a perfect pairing of source material

0:14:07.120 --> 0:14:09.819
<v Speaker 2>and filmmaker there very early on in her career.

0:14:10.140 --> 0:14:12.390
<v Speaker 4>Yeah, I just thought it was a very evocative line

0:14:12.630 --> 0:14:15.070
<v Speaker 4>and it was a line that jumped out just because

0:14:15.110 --> 0:14:18.190
<v Speaker 4>I think it can be used to describe her approach

0:14:18.290 --> 0:14:24.090
<v Speaker 4>to setting and character and perspective because that's what makes Coppola,

0:14:24.230 --> 0:14:28.150
<v Speaker 4>I think, such a distinctive director is her intimacy and

0:14:28.210 --> 0:14:30.750
<v Speaker 4>her obsession with really getting into the skin of her

0:14:30.770 --> 0:14:35.030
<v Speaker 4>characters and really seeing everything through their eyes to the

0:14:35.070 --> 0:14:37.390
<v Speaker 4>point where this isn't supposed to be a recreation of reality.

0:14:37.840 --> 0:14:40.940
<v Speaker 4>but a recreation of almost somebody's memory of what happened.

0:14:41.540 --> 0:14:43.600
<v Speaker 4>And so that line just really jumped out at me

0:14:43.640 --> 0:14:45.880
<v Speaker 4>and I thought was just a really beautiful line too.

0:14:46.060 --> 0:14:49.460
<v Speaker 2>Yeah, good pick. All right, number two, I'm getting to

0:14:49.480 --> 0:14:53.160
<v Speaker 2>my favorite Coppola film, Lost in Translation. Sorry to be

0:14:53.360 --> 0:14:56.520
<v Speaker 2>so conventional by naming it that way, but it certainly

0:14:56.580 --> 0:14:59.380
<v Speaker 2>offered the most moments to pick from for me, I thought.

0:14:59.780 --> 0:15:02.800
<v Speaker 2>And I ended up landing in the same place as

0:15:03.000 --> 0:15:05.540
<v Speaker 2>listener Jeff Milo, who left this voicemail.

0:15:05.850 --> 0:15:08.510
<v Speaker 6>Hey, Film Spotting, this is Jeff Milo from Ferndale, Michigan,

0:15:08.550 --> 0:15:11.890
<v Speaker 6>calling about the Sofia Coppola scenes. I know a lot

0:15:11.910 --> 0:15:14.850
<v Speaker 6>of people are going to tell you about Lost in Translation.

0:15:14.890 --> 0:15:18.370
<v Speaker 6>I'm sure the heaviest scenes, like the muffled whisper or

0:15:18.410 --> 0:15:20.220
<v Speaker 6>maybe that quiet moment that they have in the hallway.

0:15:20.270 --> 0:15:23.920
<v Speaker 6>But to me, the nexus of the film is the,

0:15:24.500 --> 0:15:28.060
<v Speaker 6>does it get easier scene? I can't say enough about it,

0:15:28.960 --> 0:15:33.040
<v Speaker 6>particularly that it's a really fascinating study in body language

0:15:33.080 --> 0:15:36.570
<v Speaker 6>from these two actors who are lying down and kind

0:15:36.610 --> 0:15:39.650
<v Speaker 6>of barely moving. Um, if you play the clip on

0:15:39.690 --> 0:15:43.390
<v Speaker 6>the air, uh, the regrettable thing is that the frequency

0:15:43.430 --> 0:15:47.320
<v Speaker 6>of Bill Murray's blinking won't be audible, but the, uh,

0:15:47.660 --> 0:15:52.280
<v Speaker 6>the often remarks upon subtleties of his acting style are,

0:15:52.400 --> 0:15:55.480
<v Speaker 6>are really concentrated so powerfully, uh, in this scene. And

0:15:55.500 --> 0:15:58.120
<v Speaker 6>I think, I think Johansson plays it great as well

0:15:58.160 --> 0:16:02.520
<v Speaker 6>in terms of being kind of curious and attempting compassionate

0:16:02.540 --> 0:16:06.070
<v Speaker 6>at the same time. But, uh, There's such a stunning

0:16:06.110 --> 0:16:09.710
<v Speaker 6>sense for pacing, like this is how people talk when

0:16:10.510 --> 0:16:13.370
<v Speaker 6>they're exhausted but can't fall asleep. Or, you know, this

0:16:13.410 --> 0:16:16.610
<v Speaker 6>is how people talk late, late into the night, you know,

0:16:16.650 --> 0:16:20.500
<v Speaker 6>when it's quiet. But the sentiments that he shares about

0:16:20.510 --> 0:16:23.960
<v Speaker 6>his life, 30 years advanced from hers, and the way

0:16:23.980 --> 0:16:27.700
<v Speaker 6>he kind of shows his wounds, but sort of downplays

0:16:27.740 --> 0:16:30.220
<v Speaker 6>those wounds at the same time because he doesn't want

0:16:30.240 --> 0:16:32.060
<v Speaker 6>to scare her. He wants to encourage her.

0:16:32.080 --> 0:16:32.640
<v Speaker 2>I don't know.

0:16:32.960 --> 0:16:33.400
<v Speaker 6>I could go on.

0:16:33.660 --> 0:16:34.140
<v Speaker 2>It's packed.

0:16:34.700 --> 0:16:37.040
<v Speaker 6>With subtext, and maybe you should just play the clip

0:16:37.080 --> 0:16:38.020
<v Speaker 6>instead of me rambling.

0:16:39.160 --> 0:16:40.110
<v Speaker 2>What about marriage?

0:16:40.180 --> 0:16:41.070
<v Speaker 1>Does that get easier?

0:16:42.990 --> 0:16:46.830
<v Speaker 3>That's hard. We used to have a lot of fun.

0:16:49.210 --> 0:16:52.250
<v Speaker 3>Lydia would come with me when I made the movies,

0:16:52.310 --> 0:16:57.950
<v Speaker 3>and we would laugh about it all. Now she doesn't

0:16:57.970 --> 0:17:03.390
<v Speaker 3>want to leave the kids, and she doesn't need me

0:17:05.869 --> 0:17:12.550
<v Speaker 3>The kids miss me, but they're fine. It gets a

0:17:12.590 --> 0:17:15.340
<v Speaker 3>whole lot more complicated when you have kids.

0:17:16.420 --> 0:17:17.540
<v Speaker 5>Yeah, it's scary.

0:17:20.240 --> 0:17:22.379
<v Speaker 3>It's the most terrifying day of your life, the day

0:17:22.420 --> 0:17:23.380
<v Speaker 3>the first one is born.

0:17:23.400 --> 0:17:27.050
<v Speaker 1>Yeah, nobody ever tells you that.

0:17:28.930 --> 0:17:36.790
<v Speaker 3>Your life, as you know it, is gone. never to return.

0:17:39.790 --> 0:17:41.649
<v Speaker 3>But they learn how to walk and they learn how

0:17:41.690 --> 0:17:48.389
<v Speaker 3>to talk and you want to be with them. And

0:17:48.410 --> 0:17:53.209
<v Speaker 3>they turn out to be the most delightful people you

0:17:53.230 --> 0:17:54.610
<v Speaker 3>will ever meet in your life.

0:17:56.390 --> 0:17:58.590
<v Speaker 2>So this scene takes place, of course, after a long

0:17:58.650 --> 0:18:01.950
<v Speaker 2>night of talking when Bill Murray's disaffected movie star and

0:18:01.990 --> 0:18:05.040
<v Speaker 2>Scarlett Johansson's disenchanted young wife are drifting off to sleep

0:18:05.510 --> 0:18:09.290
<v Speaker 2>At that moment, she unloads this really what's a desperate

0:18:09.490 --> 0:18:12.470
<v Speaker 2>question for her. Jeff's voicemail pretty much nails what makes

0:18:12.490 --> 0:18:15.400
<v Speaker 2>the moment great, but another listener, Peterson Hill, he added

0:18:15.440 --> 0:18:17.879
<v Speaker 2>a bit more on my Larson on Film Facebook page

0:18:17.920 --> 0:18:20.600
<v Speaker 2>that I wanted to share. He wrote, the way Coppola

0:18:20.640 --> 0:18:22.960
<v Speaker 2>frames the scene is beautiful, with much of it occurring

0:18:22.980 --> 0:18:25.639
<v Speaker 2>in that single shot from the bird's eye view. She

0:18:25.690 --> 0:18:28.950
<v Speaker 2>captures the humanity and the secret longing that makes this

0:18:29.190 --> 0:18:32.530
<v Speaker 2>her finest film. And re-watching Lost in Translation just a

0:18:32.530 --> 0:18:35.790
<v Speaker 2>couple days ago, I remember reading hoping that that bird's

0:18:35.850 --> 0:18:38.310
<v Speaker 2>eye view shot would sustain. And she does have to

0:18:38.330 --> 0:18:41.730
<v Speaker 2>cut eventually, whether it was her aesthetic choice or because

0:18:41.750 --> 0:18:45.470
<v Speaker 2>of something in the performances to a more traditional side-by-side shot.

0:18:45.490 --> 0:18:48.619
<v Speaker 2>But for that overhead view, because you get to see

0:18:48.740 --> 0:18:53.500
<v Speaker 2>some of those performance gestures that Jeff was talking about,

0:18:53.600 --> 0:18:57.119
<v Speaker 2>it's really a lovely moment. So that's my pick for

0:18:57.340 --> 0:19:02.010
<v Speaker 2>my number two, Does It Get Easier from Lost in Translation. Well,

0:19:02.130 --> 0:19:05.990
<v Speaker 2>that brings us to our number one picks. Angelica, what

0:19:06.030 --> 0:19:07.470
<v Speaker 2>did you end up going with there?

0:19:07.950 --> 0:19:08.570
<v Speaker 1>I went with.

0:19:08.510 --> 0:19:12.810
<v Speaker 4>Lost in Translation, partially because I rewatched it rather recently

0:19:13.830 --> 0:19:17.890
<v Speaker 4>and was really struck by certain moments. And I'm going

0:19:17.930 --> 0:19:22.560
<v Speaker 4>to highlight the ending between Bill Murray's character and Scarlett

0:19:22.580 --> 0:19:25.660
<v Speaker 4>Johansson and the whole unheard whisper thing, because I think

0:19:25.700 --> 0:19:29.100
<v Speaker 4>it sort of captures a lot of my issues and

0:19:29.890 --> 0:19:32.649
<v Speaker 4>And interest with Coppola at the same time.

0:19:32.830 --> 0:19:33.149
<v Speaker 2>Okay.

0:19:33.470 --> 0:19:34.389
<v Speaker 1>And I think she.

0:19:34.530 --> 0:19:39.560
<v Speaker 4>Sometimes has an issue with mistaking opacity for complexity.

0:19:39.580 --> 0:19:39.639
<v Speaker 2>Ah.

0:19:41.220 --> 0:19:43.760
<v Speaker 4>And I think that comes across a lot with that

0:19:43.980 --> 0:19:47.070
<v Speaker 4>one moment. And people's also obsession with figuring out what

0:19:47.109 --> 0:19:49.590
<v Speaker 4>he whispered in her ear, which, in my opinion, doesn't

0:19:49.950 --> 0:19:51.109
<v Speaker 4>matter at this point.

0:19:51.170 --> 0:19:51.830
<v Speaker 2>Yeah, I would agree.

0:19:52.290 --> 0:19:54.780
<v Speaker 4>There's also something about their kiss that sort of throws

0:19:54.820 --> 0:19:57.900
<v Speaker 4>me off now. And I think partially it's because just

0:19:57.940 --> 0:20:01.020
<v Speaker 4>how young Scarlett Johansson is. I mean, she was younger

0:20:01.040 --> 0:20:03.899
<v Speaker 4>than I am right now. And so it sort of

0:20:04.000 --> 0:20:06.820
<v Speaker 4>changes the tenor of the relationship for me.

0:20:06.869 --> 0:20:07.439
<v Speaker 2>As a woman.

0:20:07.950 --> 0:20:11.860
<v Speaker 4>So that ending... sort of got under my skin, I think,

0:20:11.880 --> 0:20:17.880
<v Speaker 4>in the wrong way. And so sometimes I feel Coppola's perspective,

0:20:18.030 --> 0:20:21.310
<v Speaker 4>instead of seeming light and beautiful, can curdle.

0:20:21.810 --> 0:20:25.490
<v Speaker 2>Yeah, that's fascinating because having rewatched it, I had the

0:20:25.510 --> 0:20:31.030
<v Speaker 2>same reaction how young Scarlett Johansson was. And also, it

0:20:31.090 --> 0:20:34.990
<v Speaker 2>was much less platonic on this viewing than in my memory.

0:20:35.330 --> 0:20:35.830
<v Speaker 1>Same.

0:20:35.950 --> 0:20:38.340
<v Speaker 2>But the movie obviously has not changed.

0:20:38.920 --> 0:20:39.379
<v Speaker 4>I have.

0:20:39.700 --> 0:20:41.970
<v Speaker 2>I don't know if I've seen Lost in Translation since

0:20:42.050 --> 0:20:44.750
<v Speaker 2>it first came out in what, 03? I agree. So,

0:20:45.430 --> 0:20:48.390
<v Speaker 2>you know, I'm at a different age. I, you know,

0:20:48.810 --> 0:20:52.020
<v Speaker 2>so I have a daughter who is closer to Scarlett

0:20:52.040 --> 0:20:55.359
<v Speaker 2>Johansson's age in that movie now. When I first saw it,

0:20:55.560 --> 0:20:57.440
<v Speaker 2>I was probably, I'd have to do the math, closer

0:20:57.480 --> 0:20:58.800
<v Speaker 2>to her age. You know what I mean? So you're

0:20:58.820 --> 0:21:02.280
<v Speaker 2>seeing it almost from a Pierce perspective to now maybe

0:21:02.359 --> 0:21:05.550
<v Speaker 2>the Bill Murray perspective. And when I was younger, I

0:21:05.550 --> 0:21:08.370
<v Speaker 2>remember admiring how platonic it was, how cool it was

0:21:08.430 --> 0:21:12.340
<v Speaker 2>that that could be this relationship, this mentor relationship could be.

0:21:12.820 --> 0:21:16.580
<v Speaker 2>And now I see that there was more going on there,

0:21:16.640 --> 0:21:19.800
<v Speaker 2>at least through my current lens, than what I had

0:21:19.820 --> 0:21:22.120
<v Speaker 2>thought initially. The kiss is part of that. I think

0:21:22.160 --> 0:21:24.580
<v Speaker 2>in the scene that I picked, the way there's that

0:21:24.700 --> 0:21:27.500
<v Speaker 2>one gesture towards her foot that, yes, ends in patting,

0:21:27.520 --> 0:21:31.520
<v Speaker 2>but that's very intimate to go for someone's barefoot. And

0:21:31.560 --> 0:21:34.720
<v Speaker 2>you may end it with a pat, like a fatherly pat.

0:21:35.180 --> 0:21:37.909
<v Speaker 2>But the fact that you went there and I'm not

0:21:37.930 --> 0:21:39.949
<v Speaker 2>saying this makes it a better or worse movie, that

0:21:39.970 --> 0:21:42.929
<v Speaker 2>I like it more or less. It's just fascinating to

0:21:42.970 --> 0:21:46.929
<v Speaker 2>me how I'm viewing it differently. And it sounds like

0:21:46.950 --> 0:21:48.630
<v Speaker 2>you're on the fence a little bit about whether the

0:21:49.430 --> 0:21:52.850
<v Speaker 2>unheard whisper is ultimately a positive thing or how much

0:21:52.910 --> 0:21:55.689
<v Speaker 2>is actually there. But I think it does speak to

0:21:55.710 --> 0:21:59.690
<v Speaker 2>this willingness to let lost in translation B, whatever you

0:21:59.750 --> 0:22:02.680
<v Speaker 2>want it to be, which is interesting in Coppola's career

0:22:02.700 --> 0:22:05.000
<v Speaker 2>too because we keep talking about how specific she is

0:22:05.080 --> 0:22:08.220
<v Speaker 2>in her character's points of view. Yet this one stands

0:22:08.260 --> 0:22:10.899
<v Speaker 2>a little bit apart where we're not always sure what

0:22:10.940 --> 0:22:13.760
<v Speaker 2>they're thinking. As intimate as the movie is and as

0:22:13.800 --> 0:22:17.109
<v Speaker 2>much as it captures that sense of dislocation, there's a

0:22:17.160 --> 0:22:21.350
<v Speaker 2>lot left up to us. And the fact that it

0:22:21.590 --> 0:22:24.209
<v Speaker 2>opened up other things to me on this reviewing, it's

0:22:24.250 --> 0:22:25.870
<v Speaker 2>why it's still my favorite film of hers.

0:22:26.520 --> 0:22:29.780
<v Speaker 4>Oh, I definitely agree. Rewatching it just a few days

0:22:29.820 --> 0:22:33.210
<v Speaker 4>ago as well, I was struck by how romantic parts

0:22:33.270 --> 0:22:35.730
<v Speaker 4>of it felt and intimate in a way that crossed

0:22:35.890 --> 0:22:39.030
<v Speaker 4>a line. That I was just like, this could, I

0:22:39.070 --> 0:22:41.530
<v Speaker 4>was expected scenes to go differently, even though I was like,

0:22:41.630 --> 0:22:42.669
<v Speaker 4>I know I've seen this movie.

0:22:42.730 --> 0:22:46.119
<v Speaker 1>It's not going to go in this direction. But you're right.

0:22:46.260 --> 0:22:49.420
<v Speaker 4>We do bring a lot of ourselves to what we watch.

0:22:50.220 --> 0:22:53.899
<v Speaker 4>And that totally affects our viewing and how we interpret things,

0:22:54.000 --> 0:22:55.220
<v Speaker 4>even over the course of time.

0:22:55.770 --> 0:22:58.430
<v Speaker 2>I definitely agree. And I can't think of another film

0:22:58.470 --> 0:23:01.929
<v Speaker 2>that I've experienced that so starkly as with this revisit

0:23:01.970 --> 0:23:04.729
<v Speaker 2>of Lost in Translation. So despite all the love for

0:23:04.770 --> 0:23:08.260
<v Speaker 2>Lost in Translation, it didn't land at my number one spot.

0:23:08.320 --> 0:23:10.960
<v Speaker 2>I actually went for a scene from Marie Antoinette at

0:23:11.000 --> 0:23:15.220
<v Speaker 2>number one. It's the shoes and cakes montage. I just

0:23:15.359 --> 0:23:19.129
<v Speaker 2>love all the anachronistic music in this movie in general.

0:23:19.170 --> 0:23:21.130
<v Speaker 2>You've got Susie and the Banshees. You've got The Cure.

0:23:21.150 --> 0:23:24.379
<v Speaker 2>You've got New Order. And then you have Bow Wow's

0:23:24.410 --> 0:23:27.919
<v Speaker 2>I Want Candy, which anchors this montage. Kirsten Dunst is

0:23:27.980 --> 0:23:31.000
<v Speaker 2>queen here. She's playing dress up all while indulging in

0:23:31.060 --> 0:23:43.960
<v Speaker 2>cakes and champagne. So this movie was such a bold experiment,

0:23:44.109 --> 0:23:47.810
<v Speaker 2>very controversial, not without its issues. We've already touched on

0:23:47.850 --> 0:23:50.889
<v Speaker 2>it in our Beguiled review, but I can't help but

0:23:51.320 --> 0:23:54.200
<v Speaker 2>but admire what she went for here. This is maybe

0:23:54.260 --> 0:23:57.600
<v Speaker 2>the starkest example of Coppola taking a massive story and

0:23:57.660 --> 0:24:01.580
<v Speaker 2>looking at it through the narrowest of lenses. But when

0:24:01.619 --> 0:24:04.939
<v Speaker 2>she captures that experience, that moment in that mood, when

0:24:04.980 --> 0:24:08.199
<v Speaker 2>she does it so ecstatically as she does here, you know,

0:24:08.220 --> 0:24:09.520
<v Speaker 2>what it would be like to have the whole world

0:24:09.560 --> 0:24:11.739
<v Speaker 2>at your feet and the endless shoes to put them in.

0:24:12.220 --> 0:24:14.640
<v Speaker 2>I just, I find the experience exhilarating that she's able

0:24:14.740 --> 0:24:17.380
<v Speaker 2>to do that. So I think that probably the shoes

0:24:17.420 --> 0:24:20.570
<v Speaker 2>and cakes montage is my number one, because only Coppola can,

0:24:20.970 --> 0:24:24.270
<v Speaker 2>would consider the story of Marie Antoinette and come up

0:24:24.470 --> 0:24:27.310
<v Speaker 2>with a scene like this. So number one for me.

0:24:27.330 --> 0:24:29.920
<v Speaker 4>That's a really good number one pick. I actually really

0:24:29.960 --> 0:24:34.740
<v Speaker 4>love that montage scene. Also, it's just so fun and

0:24:34.780 --> 0:24:40.310
<v Speaker 4>buoyant and distinctive. And I think as much as I

0:24:40.460 --> 0:24:45.950
<v Speaker 4>am usually a bit colder on Coppola, I do really

0:24:45.990 --> 0:24:49.070
<v Speaker 4>appreciate how she really goes for just really goes for it,

0:24:49.270 --> 0:24:51.510
<v Speaker 4>even if I don't agree with what it happens to

0:24:51.550 --> 0:24:53.710
<v Speaker 4>be a lot of times. And I think Marie Antoinette

0:24:53.750 --> 0:24:55.950
<v Speaker 4>is a good example of that because she does not

0:24:56.010 --> 0:25:00.169
<v Speaker 4>care about historical reality. She's just creating this mood and

0:25:00.250 --> 0:25:04.520
<v Speaker 4>presence and energy that feels very much like a young

0:25:04.580 --> 0:25:06.420
<v Speaker 4>girl getting power she does not know.

0:25:06.340 --> 0:25:06.900
<v Speaker 1>What to do with.

0:25:07.340 --> 0:25:10.480
<v Speaker 2>So those are our five picks. Do you want to

0:25:10.619 --> 0:25:14.220
<v Speaker 2>share a couple others that you considered? I have a

0:25:14.280 --> 0:25:17.199
<v Speaker 2>few here. The Whisper was definitely in the running for me.

0:25:17.920 --> 0:25:21.270
<v Speaker 2>The karaoke scene also from Lost in Translation, that's one

0:25:21.290 --> 0:25:25.570
<v Speaker 2>where we just get, I think, that moment, that exact

0:25:25.730 --> 0:25:28.730
<v Speaker 2>moment is captured so well that you're right there with them.

0:25:29.030 --> 0:25:32.170
<v Speaker 2>Really that whole night, that kind of bleary, wandering through

0:25:32.190 --> 0:25:34.619
<v Speaker 2>Tokyo night, I think she does well. And then I

0:25:34.650 --> 0:25:36.880
<v Speaker 2>had one more that almost made the list. It's going

0:25:36.920 --> 0:25:42.139
<v Speaker 2>back to the Virgin Suicides. There's this montage of the boys,

0:25:42.880 --> 0:25:45.899
<v Speaker 2>the neighborhood boys, getting up the courage to call the

0:25:45.940 --> 0:25:49.470
<v Speaker 2>Lisbon sister's But they only communicate by playing records. And

0:25:49.490 --> 0:25:51.570
<v Speaker 2>then they call them back. So this goes back and forth.

0:25:51.950 --> 0:25:55.429
<v Speaker 2>A listener on Twitter, Hot Dog Thursday, suggested this one

0:25:55.650 --> 0:25:57.750
<v Speaker 2>as well. It says, this is where the boys and

0:25:57.770 --> 0:26:02.350
<v Speaker 2>the Lisbon girls communicate through records. It's a mix of joy, desire, melancholy,

0:26:02.670 --> 0:26:05.870
<v Speaker 2>and mystery. And I think that captures that scene pretty well.

0:26:06.369 --> 0:26:07.770
<v Speaker 2>Did you have any others that you thought about?

0:26:07.790 --> 0:26:10.540
<v Speaker 4>I actually really do like that scene from The Virgin Suicides.

0:26:10.600 --> 0:26:13.240
<v Speaker 4>Also because it just feels like so high school.

0:26:14.010 --> 0:26:14.790
<v Speaker 1>In a lot of ways.

0:26:14.890 --> 0:26:15.450
<v Speaker 2>Oh, totally.

0:26:15.490 --> 0:26:18.689
<v Speaker 4>The technology may change, but just rewatching it, I was

0:26:18.730 --> 0:26:20.550
<v Speaker 4>just like, oh, this is so weird.

0:26:20.630 --> 0:26:24.240
<v Speaker 2>The awkwardness and yet the excitement of it. And then, yeah.

0:26:24.680 --> 0:26:26.940
<v Speaker 1>The sincerity, the earnestness.

0:26:27.000 --> 0:26:27.340
<v Speaker 2>Oh, yes.

0:26:27.359 --> 0:26:30.420
<v Speaker 4>Oh, it's just, it was a little intense rewatching, partially

0:26:30.460 --> 0:26:32.740
<v Speaker 4>because my 10-year high.

0:26:32.640 --> 0:26:34.159
<v Speaker 1>School reunion is this year.

0:26:34.560 --> 0:26:35.119
<v Speaker 2>Are you going?

0:26:35.800 --> 0:26:36.320
<v Speaker 1>Hell no.

0:26:38.180 --> 0:26:40.699
<v Speaker 4>But I just, it made me think about high school

0:26:41.450 --> 0:26:42.790
<v Speaker 4>and how I never want to return.

0:26:42.970 --> 0:26:43.290
<v Speaker 5>Yeah. Yeah.

0:26:43.750 --> 0:26:48.050
<v Speaker 2>Better left in the past. Any other moments you considered?

0:26:48.070 --> 0:26:52.130
<v Speaker 4>I just wanted to highlight how struck I was re-watching

0:26:52.190 --> 0:26:54.730
<v Speaker 4>Marie Antoinette. I was kind of cool on it the

0:26:54.750 --> 0:26:56.890
<v Speaker 4>first time I saw it, which was around the time

0:26:56.930 --> 0:26:58.540
<v Speaker 4>it came out, so I haven't seen it for a while.

0:26:59.000 --> 0:27:01.480
<v Speaker 4>And it's so interesting watching it next to the Beguiled

0:27:01.540 --> 0:27:04.399
<v Speaker 4>and see how much she's grown and is pushing herself

0:27:04.440 --> 0:27:07.480
<v Speaker 4>in a really interesting direction as an actress. So I

0:27:07.480 --> 0:27:09.740
<v Speaker 4>just wanted to highlight that. I think someone should write

0:27:09.760 --> 0:27:14.450
<v Speaker 4>a piece about Sofia Coppola, Kirsten Dunst, and their collaborations together.

0:27:14.730 --> 0:27:17.330
<v Speaker 4>Very rich, collaborative experiences.

0:27:17.510 --> 0:27:19.990
<v Speaker 2>I think that someone should be you. We'll look for that.

0:27:20.070 --> 0:27:24.899
<v Speaker 6>I'm afraid the Queen has a somewhat artistic temperament. It's

0:27:24.940 --> 0:27:25.820
<v Speaker 6>not too much, is it?

0:27:26.720 --> 0:27:29.200
<v Speaker 3>Oh, no.

0:27:29.560 --> 0:27:34.740
<v Speaker 5>Those were Josh's and Angelica's top five Sofia Coppola scenes

0:27:34.800 --> 0:27:38.530
<v Speaker 5>from June 2017. You can access top five lists and

0:27:38.730 --> 0:27:42.450
<v Speaker 5>other reviews online. like those from the Film Spotting Archive,

0:27:42.670 --> 0:27:45.889
<v Speaker 5>at your fingertips by being a Film Spotting Family member,

0:27:46.030 --> 0:27:48.570
<v Speaker 5>plus bonus shows and a whole lot more. You can

0:27:48.590 --> 0:27:52.669
<v Speaker 5>learn more at filmspottingfamily.com. We thank you for listening.

0:27:53.050 --> 0:27:55.990
<v Speaker 3>This conversation can serve no purpose anymore.

0:27:56.010 --> 0:27:57.310
<v Speaker 5>Goodbye.