YOU SEEM TO MAKE MOVIES ABOUT PEOPLE WHO ARE TRAPPED IN THEIR OWN LIVES OF LUXURY AND PRIVILEGE — MARIE ANTOINETTE STUCK IN VERSAILLES PALACE, THE ACTORS HOLED UP IN FANCY HOTELS INLOST INTRANSLATION ANDSOMEWHERE.
I think they're more about people who are stuck in a role they didn't pick for themselves, which are symbolized by those kinds of places. To me, the films are about how everyone has to decide how they want to live their life, as opposed to how they're supposed to.
THE LUSH SETTING IS COUNTERED BY AN AUSTERE STYLE. SOME HAVE COMPAREDSOMEWHERE'S MINIMALISM TO ANTONIONI.
I think that's cool. I appreciate his work, but I'm not trying to emulate it or have it in mind. He definitely dealt with another era, and I'm talking about things in our contemporary life.
THE ENDING OF THE FILM REMINDS ME OFBLOW-UP, ESPECIALLY WHEN THE DAVID HEMMINGS CHARACTER, WHO'S AN ALIENATED ARTIST LIVING A DECADENT LIFESTYLE LIKE JOHNNY MARCO, PICKS UP THE IMAGINARY TENNIS BALL AND, IN EFFECT, RENOUNCES THE ILLUSIONS OF HIS LIFE.
I haven't seen it in so long. I have to see it again. I don't remember that moment. I like his [Antonioni's] films, but I never can get through them all.
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Features
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, Francis Ford Coppola, Academy Awards, Sofia Coppola, film, Lost in Translation, Elle Fanning, Venice Film Festival, Somewhere, Stephen Dorff, Francis Ford Coppola, Less 
