By Pierre Groppo
Coppola’s debut film immediately positioned her as one of the most singular and intimate filmmakers of her generation. Its anniversary was an opportunity to talk about the making of the film, its core femininity—linked, she says, to the fact that Coppola grew up mostly around boys—her appreciation for Jane Campion, and even Claude Pinoteau’s La Boum, which Coppola saw years after making this film.
At the end of the talk, Coppola sat down for an exclusive interview before beginning her summer in France. On July 1, she’ll be in Paris for a book signing at 7L, Karl Lagerfeld ’s studio-library turned Chanel cultural hub. The following day, she will be in the Cour Carrée du Louvre for a screening as part of the Cinéma Paradiso program. Coppola is also working on the artistic direction of the Bal du Musée des Arts Décoratifs, one of the most eagerly awaited events of Haute Couture Week.
Vanity Fair: How does it feel to see Virgin Suicides again?
Sofia Coppola: I’m so glad. I saw it recently for the first time in a long time, so I’m glad it holds up.
How does the younger generation—those born when you were making the film, or just after— perceive it?
It’s hard for me to say; you have to ask a young person. The time of daydreaming and becoming who you are through being in your room—I wonder nowadays how young people have that time. I’m sure there’s some nostalgia, because there’s a lot of stress and pressure with having a phone and social media all the time. I know my younger daughter was like, “Oh, I wish I was around in the ’90s.” I think it feels like a burden in some ways.
Was it a time you loved?
I’m just glad I was young then.
You love memorabilia, collections, and archives. Have you ever thought of making a documentary about your mother?
I am working on preserving some of her footage that hasn’t been seen yet. So I’m working on preserving her archive. She wrote a book that we’re working on getting published, and now I’m working on getting her last work out.
In this work, there’s the idea of transmission toward a new generation, which is also at the heart of the Nouvelles Vagues Festival, where you’ve just spoken.
I thought it was so nice that the focus of this festival is on young filmmakers and young voices. I’m happy to show my first film here, and that it still connects with young people. I want to share my work, and hope to be encouraging if I can.
Do you still have a special connection with adolescence?
Yeah, I still feel connected to that side. But at this point in my life, I’m also interested in themes of older people. It’s so different being a teenager today, but I still have a lot of respect for people that age because it is such a sensitive time. And when I was growing up, the movies that were made for teenagers weren’t made with respect to artfulness or whatever. But yeah, I am glad to not be that age. I’m glad to be my age.
Does Virgin Suicides occupy a special place in your heart?
Yeah. It’s my first film. I have a lot of really nice memories. It’s also where I met Kirsten Dunst, and we formed our friendship. She’s a close collaborator of mine, in my work and also my life. A lot of the people that worked on it, I’m still connected with. But I have a really nice memory of that summer in Toronto, making a low-budget movie and the feeling of everyone helping me. Ed Lachman, the cinematographer, really helped me learn how to develop my language on film. And I didn’t know I wanted to be a director until [I read] that book.
Is the first film always the most difficult?
I think they’re always difficult. It was hard to get it made—but when you’re young, you’re naive, and you don’t realize how hard things are. You have a courage that helps you; when you’re older, you know what it’s going to take. I think it’s lucky to make your first film, because you don’t know how hard it is to shoot in a car—all these things.
Fashion and music are always very important in your films. Which do you prefer?
All the elements build the character and the emotion. They all work together with the photography, so I can’t pick one element.
As far as fashion is concerned, you did an internship at Chanel, which is now the major partner of the Nouvelles Vagues Festival in Biarritz.
I think it’s great what they do for culture, carrying on the tradition of Gabrielle Chanel. They support the MoMA film archive and restoring films. I think people in film are so grateful to the support of places like Chanel; they really do a lot. For me, it’s nice to have that connection, because I met Karl [Lagerfeld] in the ’80s. It feels like a family friendship.
You’re an icon for the new generation. Whom do you follow among them?
It’s hard to see myself like that, but it means a lot that my work is appreciated by [the] younger generation. I like Alice Rohrwacher. It’s fun to discover new films.
What about music?
I love Mk.gee. Do you know Mk.gee?
Do you like reggaeton? What do you think about Latin music—Rosalía or Bad Bunny?
Oh, I love Rosalía! Yeah, I’m a fan.
In France, you would be—and are—a star of what is known as art house cinema. Do you have a special connection with this kind of French New Wave culture?
I think because of my father, we grew up with the idea of filmmaking being an art form, and less interested in Hollywood blockbusters. So I really try to approach it as a personal expression, which is a different thing than the Hollywood film industry.
You’re soon to take charge of the ball at the Musée des Arts Décoratifs in Paris. Has cinema inspired you?
I mean, of course The Leopard—those scenes are so beautiful. Great party scenes. I love in The Last Picture Show where they go to an after-party—they’re in the pool swimming, just impromptu. And Dolce Vita. There’s definitely moments and movies that are inspiring. But the ball, I don’t have a reference of a particular movie. I have Thierry Boutemy, who did the flowers for Marie Antoinette. He’s doing the flowers. I’m really happy that I get to be working in the museum and get to hire him. I can’t wait to see what he does.
Does Paris inspire you?
I love Paris. I always find it inspiring. I’m always happy to come to Paris. We visited when I was a kid, and so I feel a connection to Saint-Germain from coming as a kid. I love that France still has the culture of going to the movie theater, and it does such a good job of preserving that. In America, the government doesn’t support that. It’s really changed. So it’s great that in France, it’s still really part of the culture.
I’ve never been to Los Angeles or Tokyo, but I feel like I have because of your movies.
Oh, I’m glad. The places were inspiring to me. I spent a lot of time in Tokyo, and I wanted to make something about what that experience was like. So I’m happy that it comes through. And I think it’s just part of building the world. I enjoy that about movies, when I go into another world. And I try to bring that, so the audience can feel like they’re transported to another place. That’s what I love about film—getting to have an escape from your life.
One last question: What’s the best party you’ve ever been to?
I don’t know—it’s hard to pick one. I made a Christmas show with Bill Murray, and we had a party at The Carlyle hotel. All the rooms had different music in it, and it was really memorable. There was a conga line. Wherever Bill Murray is is usually the best party.
Original story in VF France.