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In between films, Film Independent curator Elvis Mitchell moderated a conversation with the filmmaker.
“My first film, as, like, a 12-year-old, was calledVino Fatale.
I don’t know where it is.
I can’t remember [much about it], but there was blood and wine.”
One trademark of her style that is absent from the psychodrama is an impeccably curated pop soundtrack.
“I wanted this movie to be more naturalistic and closer to the period,” Coppola explains.
“When I didMarie Antoinette, I was trying to do everythingnotto do a dusty period movie.
It was teenage and new romantic, and that was a whole different thing.
“That movie was in such a tacky, ugly world, and I wanted to cleanse myself.
I wanted to do something beautiful, so that was my starting point…
It was so depressing shooting in those kitchens in Calabasas.”
“I thought, ‘I would never make a remake of someone else’s movie.’
“She’s so good when she’s twisted.”
“I thought it was very self-indulgent, and that nobody would care about these characters.
I was very surprised that anybody connected with them.”
“I haven’t watched it in a long time,” Coppola admitted before the movie began.
“I hope it holds up.”
