Issue link: https://digital.copcomm.com/i/798465
70 DGA QUARTERLY ROSS: I remember on The Bling Ring (2013), when we were shooting in the Valley, we thought about how those people lived in these bland, beige boxes. COPPOLA: Defi nitely, and the beige, bland colors are in contrast to the bright world they enter. You want to follow the emotional state of the characters in a visual way. In Somewhere (2010), we wanted the Chateau [Marmont] to be blank, simple and neutral. For that fi lm, I think the starting point was: Let's make it as nor- mal as possible. I had just fi nished Marie Antoinette (2006), and I wanted to make a movie that was simple, as it's really about the father and the daughter. The locations, like the desert and the ice- skating rink, are about his solitude and trying to fi nd a connection to her, and not really being connected to the world around him. ROSS: Within those wider shots it was also about the personal things they carried and that were around them. DGA: Do you remember any specifi cs? COPPOLA: Anne had this idea that [Stephen Dor 's character] had some art that he never unpacked that was just lying around. Anne had also put some fl owers and other things around the house, but as the fi lm goes on, those elements were moved out. I love those little details of his transient life. R O SS: I remember on Lost in Translation (2003), we had long conversations about luggage, and we gave Bill [Murray] this Tumi luggage, because that's something her dad had and it was very male, not interested in fl ashy design. DG A: Speaking of Lost in Translation, I always wondered about that iconic triangular zebra-print wallpaper in the hallway of the karaoke bar. How did you fi nd it? And what attracted you to it? COPPOLA: It was the real place; in my 20s, the guy who plays Charlie Brown (Fumihiro Hayashi) would take me to these little places that you'd never fi nd on your own as a tourist. In Tokyo, there's this mixture of Western styles, and it's always interesting in the way that they interpret that. DGA: From the Park Hyatt in Lost in Translation to Paris Hilton's house in The Bling Ring, a lot of your collaborations have taken place in found locations. Why do you prefer that? COPPOLA: I've always preferred shooting in a real location. Even when I was working as a photographer, I never worked in a studio. People feel di erently in a real location, because it has a history. If you look out the window, you can see a real place outside. When we did the Very Murray Christmas special [in 2015], we created this fantasy TV station, which was di erent. But that worked because it was all fake. When it has to feel real, we love to work in a real location. On The Beguiled, we made the fi lm in two real CONTINUED FROM PAGE 41 626.405.2215 | FilmHuntington.org "Need a paradise? Call The Huntington" – Pasadena Star News Other heavenly options include: Themed gardens, lawns, ponds, mature trees, statues, and architecture DGA_Feb13.qxp_ArtDrectr1 04 1/26/17 1:17 PM Page 1 MARK b Director's Viewfinder The Award-Winning Technical Achievement Award from A.M.P.A.S. Engineering Award from A.T.A.S. The #1 choice of directors worldwide Covers Super 35mm digital sensors Available from dealers worldwide at alangordon.com /dealers ALAN GORDON e n t e r p r i s e s 5625 Melrose Ave. Hollywood, CA 90038 T: 323.466.3561 F: 323.871.2193 www.alangordon.com contactus@alangordon.com