Word: coppolas
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Francis Ford Coppola knew his only daughter would become a director by the time she was 3. "My wife and I were driving in the car with Sofia," he says, "and we were having a typical silly marital argument that was going on a little too long. All of a sudden this little voice in the back seat said, 'Cut!' She knew how to use that word at a very early...
Later, when Sofia was about 6, on the set of her dad's film Apocalypse Now she would draw elaborate pictures of palm trees and helicopters and tell stories connecting the pictures. "She was a very imaginative child," says her mother Eleanor Coppola, a documentary-film maker. "But when she played with her friends, she always wanted them to play her way--her story, her costumes. And I would have to say, 'Sofia, not everyone wants to play your way.'" But the kids, inevitably, did want to play Sofia's way. Says Eleanor: "She had that pattern of somehow gathering...
...companies and products. Lindvall's getting ready to shop around a television show, which she describes as "reality TV with a message"--starting a community garden or visiting a skateboard park to hear what kids have to say about anything from alternative-energy sources to world politics. And Roman Coppola, who directed Lindvall in last year's CQ in the dual role of Valentine, a bombshell actress, and Dragonfly, the Barbarella-esque heroine Valentine plays, is on board to create content for Collage...
Designers are using celebrities to invoke a new message: authenticity, even antiglamour. This spring, Jacobs used Winona Ryder in ads for his secondary line, Marc by Marc Jacobs, after she wore his designs at her shoplifting trial. Director Sofia Coppola designed a line of fall bags for the same label. And this season a severe-looking J. Lo stars in Jacobs' Louis Vuitton ads. Then there's the famous Madonna Gap commercial and Coke's recent "Real" campaign starring real couple Courteney Cox and David Arquette...
...machine, when idiosyncratic directors were able to persuade the moneymen to bankroll dark, even cynical, movies like MASH and Network for a mass audience. It's a familiar thesis--see Peter Biskind's 1998 book Easy Riders, Raging Bulls--but well fleshed out with interviews with big names (Scorsese, Coppola, Altman) who rise to the always daunting challenge of explaining why their work was so darn brilliant. The best insights come from actress Julie Christie, who distills the theme of '70s movies--"the quest for freedom"--while pointing out that said quest meant a lot of angry testosterone, making...