Sofia Coppola with Kirsten Dunst on the set of The Beguiled. Courtesy of Ben Rothstein/Focus Features.
Sofia Coppola on the Dream Project She Didn't See Coming
Though she’s directed seven feature films, a fragrance campaign for Marc Jacobs, music videos, and an opera in London (La Traviata), Sofia Coppola is not immune to blank-page syndrome, as she revealed Tuesday. “The writing process is always the hardest for me,” she told Eugene Hernandez, deputy director of the Film Society of Lincoln Center, at the organization’s “Evening with Sofia Coppola.”
That’s why her wickedly fun thriller, The Beguiled—an adaptation of Thomas Cullinan’s 1966 Southern Gothic novel, arriving in theaters this Friday—turned out to be a dream project incarnate for Coppola, who has long been interested in exploring the nuances of sexual politics and expressions of femininity across decades. With both the book and Don Siegel’s 1971 adaptation at her fingertips, Coppola—whose films have dreamily painted portraits of such diverse settings as suburban Detroit, Tokyo, and Versailles—was free to fully immerse herself in the evocative visual world of the Civil War-era south. (Critics are already calling this film the most narratively cohesive in her oeuvre.) With an adaptation, she noted, “you don’t have the panic of a blank page . . . where you have to edit out the self-doubt.”
‘Sleeping Woman,’ Man Ray, 1929. Courtesy of the Museum of Modern Art.
When We Dream About Clothes:
Embracing the ‘Embodied Experience’ in Dreams
On a recent Saturday morning, I dream about clothes. On a single rack in a sparse space hang voluminous skirts in heavy, vintage fabrics of vermillion, baby pink, cherry red and monochrome; a jumpsuit in pastel stripes with rows of fringe; an off-the-shoulder dress of the softest silk in a rich, plum hue; and a collared shirt patterned with puzzle pieces. I run my hands over each piece, lovingly, longingly, prepared to buy and wear each one. They are completely within my grasp… Then, just as suddenly as I’d drifted off that evening, the dream ends, leaving me with little more than fragmented images of beautiful garments in a white-walled room. A question lingers, too: What – if anything – might the presence of these clothes in my dreaming mind mean? And why bother paying attention to them at all?
Talking Heads Bassist Tina Weymouth’s Electrifying Style
Tina Weymouth has always been more than ‘the girl in the band’. As the singular bassist in frontman David Byrne’s art-pop group Talking Heads, and later in Tom Tom Club, Weymouth’s sonic funkiness and playful performance style proved essential to solidifying each band’s distinct sound and image. One could argue that Talking Heads wouldn’t have been Talking Heads without her – or, at the very least, they wouldn’t have been half as cool. In light of Stop Making Sense director Jonathan Demme’s death a few weeks ago, AnOther reflects on Weymouth’s remarkable life in music thus far.