Original subtitles

Downloaded from YTS.BZ

Official YIFY movies site: YTS.BZ

Let me see your knees.

Sit up.

Odile, can I just see for one second?

- Like that? - Let me see you with that.

I'm basically a shy person

and hate to intrude.

It's counter to my personality to shoot a documentary.

Yet over and over, I do it.

I will constantly be in people's way

and be somewhat of an irritant to the production.

The last thing I want is to be annoying,

especially to Sofia.

It's a rare opportunity to see my child at work,

to be included in her world.

I'm in an Eleanor Coppola movie!

Can't believe it.

Attention, please!

So this is a--

- Silence, please. - Silence!

This is a tradition that we do in my family

before every movie for good luck.

And we say the word "puwaba" three times as loud as we can.

"Puwaba."

So I guess on the count of three, maybe?

One, two, three.

Puwaba! Puwaba! Puwaba!

Are you all ready to go?

Now, we gotta go get our first shot.

Action!

Take two. Mark it, please.

Cut. That was good.

Maybe just one, a little more that

mixed with just a little bit, like, "whoa, this is weird,"

- and like-- - Trepidation.

- Elaborate, yeah. - OK.

A little excited.

Like, you've never seen anything that beautiful.

Still nervous.

I feel a little rusty the first day.

Is that OK?

So many emotions,

so many worries are running

through my heart and mind.

Sofia looks too small and unprepossessing

to be the director of a $40 million movie.

I know her well enough to see the tension

in the set of her shoulders.

That's good right there, Christophe.

I wondered why she'd chosen this difficult project,

requiring 57 days of shooting,

in complicated, far-flung locations.

Why did she choose as her subject

a historical figure

in a foreign culture?

So what are your fears and aspirations about Marie Antoinette?

It's always scary to put something out there

that you've worked on for a long time,

especially when it's a personal thing that you put yourself into.

You can't say, "Oh, I didn't try," you know?

But it'll be fun to show my friends and people working on it and stuff.

- Show you. - Yeah.

That's sweet.

Your films all contain this main character girl

who's isolated and misunderstood.

Yeah, I don't know.

I wonder if I'm always going to make this same movie.

There's definitely themes that are related, but...

And I've always loved 18th century and the idea of Versailles

and how they lived with...

the costumes and wearing powdered wigs,

all seemed strange and always kind of fun and decadent to me. But,

when I started to read about Marie Antoinette,

I never realized how young she was,

having to navigate through this really critical court,

trying to become her own person.

I looked up to see the huge palace

in silhouette against the gray morning sky.

I'd forgotten how truly enormous it is.

The French government granted the production

unprecedented access to Versailles.

A rare privilege.

I felt as if my cells were responding

with recognition and excitement to the adventure ahead.

- You want to try that? - Yeah, let's try it.

OK, so you'll have it on this one.

But do you feel them on the edge? I don't see anyone right now.

Should we just position a couple that kind of stay there?

Yeah.

And this our lovely queen of France.

Look at this.

Hello. I like your hair decoration.

Look, we're shooting in Versailles.

- Can you believe it? - No, and it looks incredible.

Wow.

This is really amazing, isn't it?

Look at Louis!

- Oh, you look great. - King is here.

You look great.

Oh, yeah.

OK.

This is Marie Antoinette's point of view of a really boring court dinner.

You guys can be really catty and gossiping

and saying not very nice things about people.

We're going to rehearse.

Wait, cut.

K.K., should we have those gelatin things here?

Yeah, we can do that.

This looks disgusting.

I don't even know how you did this, K.K.

Yeah.

- This is wrong. - Yeah.

Did they eat what was in the egg? Or that's just decoration?

In the egg? Yeah, they ate them.

I don't know if we can top this one. The next one's fish.

I look forward to it.

- Sof? - Yeah?

Milena wants to talk to you.

The intent of it was to use the same costume for three scenes?

No, I was just saying that I looked at the script,

and 38 should be a different day than 37.

Can you make sure Milena's on her way, 'cause we might change wardrobe

and it's gonna delay us.

We've gotta keep moving.

We've got a lot to do today.

Milena, I love the blue ribbon on her neck.

How are you feeling about all this?

This shoot's very different from my other two films.

Moving on to scene 65.

Much longer and a much bigger crew.

I never had to cast so many characters

and think about how they're all going to work together.

Go to the next wardrobe, and that's it.

You're getting a lot of pressure already,

so you're a little bit fed up at this point

Oh, yeah.

- Can I just... - Yeah?

We should normally be...

- OK. - Be quitting at seven.

- Otherwise, it means going-- - How long it will take to turn around?

We're looking into eight o'clock.

Just a bigger production.

That's definitely overwhelming.

Over the last 15 months,

Sofia and I have driven to Versailles 100 times.

Letter writing, meeting after meeting after meeting.

Everyone told us you'll never get this access.

And here we are

with our drapes, our huge crew,

our huge amount of extras.

Our set dressing has never been allowed before.

They've never allowed lit candles here.

You think it looks cool?

Yeah, it's super cool--

I caught a glimpse of myself in a dusty mirror across the room.

Everyone's fine looking here.

I'd forgotten how I actually look in my gear.

Black shirt, black pants.

I want to be as invisible as possible on set.

My husband and children are directors,

each used to being the center of their worlds.

Hi, Mom.

When did you get here?

I become the audience, maneuvering ever so slightly

to keep things smooth.

...it's beautiful but you feel vulnerable.

Today, Kirsten saw me and smiled sweetly, as if to say,

"Oh, you again, shooting a documentary."

It was a friendly, resigned acceptance

that I was going to be photographing her

in between shots,

when she would prefer to feel relaxed

with no camera pointing at her.

Your mom's always there.

I know, I'm so self-conscious.

Ellie, I don't want to be on camera. You must cut me.

It's so hard to talk.

- I know. - Sorry, Eleanor.

In fact, this is my role.

Mom, this is Molly Shannon.

To shoot during the in-between times.

This is your mom? Oh my God!

Oh, no.

Catching the cast and crew at unguarded moments.

I forget that I have the mic on sometimes.

- Oh, yeah. - Oh, I don't.

I think it fell off.

- Oh no, it's there. - In the water, yeah.

It's so cool.

We have a lot of pictures of you.

Sleeping in bed.

Oh, that's cute.

That's very "come hither."

Do you want to see our movie?

I feel like Marie Antoinette with everybody in my face all the time.

Like, ch-ch-ch-ch.

I'm like, I want to hide.

I can relate a lot to this movie.

I mean, I definitely have that relationship

that Marie Antoinette did have.

Starting as a young girl, coming to these different,

like, movie sets, and having all these expectations of you,

and all these judgments of you, and everybody talking about you.

Hopefully, I won't get my head--

I won't be beheaded before I come into my own.

You know, that's really interesting,

I hadn't thought about it in terms of your life.

- I see it in Sofia's life. - Oh, really? Yeah.

Like, being in school, but being kind of a celebrity famous something or other.

Always having people... Right.

I mean, I can understand why Sofia would feel that way

and relate to the story, and also me, myself.

And that's probably why she wanted me to do this movie,

is because she saw that in me too.

What I want her to do, the "Virgin Suicide"

set your hand out the window, feeling the wind.

Just on the edge, like that.

Dreaming.

Like letting him know who's boss.

That's great.

Look how young you guys are and everything on your shoulders.

That was very moving, though.

Excuse me.

- How do I stop coughing? - I don't know.

I was thinking, as soon as we have this all prepared

and ready to go,

I'll just hand-held, do some stuff with people's hands

coming in and opening things.

If we can have the dogs all running

in the background of that shot.

And in terms of the shopping, she can actually

pick these things up.

So we don't really need to see this table so much,

'cause it's going to be so close in the foreground,

it'll be out of frame.

Maybe I can look at it on the lens,

because I like just being in the middle of their mess.

You will be.

Then as we get here, it'll just be probably her hands in frame.

Well, I just wanna-- Let's look through the lens

'cause I like having all the junk in the foreground and you see them.

I think we'll see it. We'll see.

I have to look.

Can we try a rehearsal one time like that,

just to see how it works out?

Why can't we get the table and them in the same frame?

Let's try. Let's try this one time.

- It's beautiful. - I love these.

I'll have these in the pink and in the blue.

Has Madame read the brief

on our current situation?

No, I haven't read it yet.

Can't you just tell me about it?

Well, the reforms in Poland by King Poniatowski

have led to civil war.

Do you like this sleeve or the shorter sleeve?

Have you been paying any attention?

Your mother is depending on you to smooth over this crisis.

Where will I be if there's a rupture between our two families?

Cut. Good.

Hey, Kirsten?

I was just thinking about this scene.

And it's kind of like the first time

that you ever show them that you're a real person,

'cause in the other ones, you're always kind of playing them off.

- And I was kind of thinking like-- - Pay attention to them.

Well, but also when you say that,

it's sort of like, there's people that I work with

that kind of just treat me like I'm a dumb girl.

And I just let them. I just kind of ignore it, like whatever.

But once in a while,

you let them know that you're not an idiot, you know?

So it's good that you're looking at your sleeves and stuff,

but you are hearing what he's saying.

So what is different about working with Sofia than other directors?

And you work with a lot.

Well, I mean, Sof,

I mean, first, I don't know,

I feel like this thing with Sof,

like she's kind of almost an older sister to me, in a way.

And I ask her for advice.

And I look up to her a lot.

I admire her a lot.

I know.

She really makes me confident in what I'm doing.

It's nice because we don't really have to overanalyze scenes.

I feel like I pretty much know what she wants.

No, it's good.

The last two were perfect.

But enough to see the bed and--

But I'm still so nervous

because I didn't realize that I was in every scene of the movie

until I started the movie.

Let's go again right away.

- If it comes down-- - That's great.

- We're going to do one more. - Yeah.

Just take a pause and then do another one.

Let's do one more like that.

It's just like every single moment.

I've never done that before.

It's really a lot.

When we're on him in the bed--

He just entertains Kirsten all day.

I know. That's great.

That ruffly thing is so funny.

OK, now let's see what--

You're gonna carry a pillow when you get into bed?

No, that's just me.

Just get rid of the pillow.

- No way. - Come on, toss the pillow.

We're not going to have that like that.

Is that OK, Sofia, to be covering 'cause I'm nervous?

Yeah.

That's great.

How cute is Jason in his nightie?

What a hunt today.

I'm exhausted.

And then, Jas, I think turn away from her.

- Oh you want me to do-- - At the end.

I should try to--

I'm gonna spoon ya!

I'm going to make you love me.

- Fucker. - Yeah.

Want to try to get a little closer?

Try to warm yourself up.

Whoo!

Are those your feet?

They're like icicles.

It should be believable,

but like you have a silly kinda girly laugh.

That's good right there.

My girlfriend Danielle, she fucking loves you.

- You wanna make out? - Will you kiss me?

Yeah.

Just so I can say that I made out with you.

She'd love that.

Ooh.

Are those your feet?

They're like icicles.

Cut.

I'm glad we have lovable co-stars.

But you think it was alright?

It was great.

You don't have to film this part.

It's part of the creative process, the doubt, the self-doubt.

I loved it. I wouldn't, I really wouldn't have--

What if it's like in every aspect of my life, but like--

You sure I should have ordered the chicken last night?

Do you think I ordered it alright?

You think it was like commanding enough?

You're sort of in both time periods right now.

Yeah.

I'm in 18th century and after the shower.

At the same time. After the bath.

But I love robes.

I could just have a million robes and not wear much else.

How was it to work with Sofia, in terms of someone you know so intimately?

I think it's scary to work.

And I think that it's really embarrassing for some reason.

And I just like, it's just, it's hard to act or to try to act

or to be in a movie with all these people around you,

with walkie-talkies.

You gotta try and forget all of that and do this scene.

And it's just so unnatural in a weird way.

And Sofia just makes that easy.

You know, she'll say, "It's like that song, or it's like that movie,"

or "it's like that time that we were at dinner."

It's just like there's all--

She's got a whole slew of memories, references, pages from our lives.

Just the ground is so common that we're standing on.

We're almost done.

I want to find a quiet corner.

OK, yeah.

Do you feel like depressed?

Oh, no. I just-- it's like day five.

And I have this flu cold.

And I feel worn out.

I feel like I should be the leader and energized in leading the troops.

And I just want to get in bed, and

I just feel out of it.

I have a lot to do.

Yeah, I don't know how we're going to do as much as scheduled for each day.

But...

I want to go home and have chicken soup.

It should be here any moment now.

I think if we can open these as much as you can so it's easy to put on.

You don't have anything without sleeves, do you?

Sofia tried alternative therapies to deal with her constant coughing.

No, but it works.

Without telling her,

I asked the producer to bring in a doctor.

She had bronchitis and was given antibiotics.

I'm concerned about Sofia's stamina

with many long weeks of shooting ahead.

That's fine. And then right in here,

you see you'd be blocked in that next shot.

And then over to there, now you've cleared to the other side.

It keeps it moving.

Can you say that one more time for the camera?

I didn't get that.

I can't say it again.

I'll feel like a faker.

But I can tell you, thank God for Lance.

He's fast, and he's always moving, and

it always looks beautiful.

Let's take it from the address and acknowledgment.

The address and acknowledgment of every person--

Everyone needs to bow when she stands up.

The Princesse de Lamballe is a princess of the blood

and would receive this greeting.

And then everyone bow.

And everyone needs to bow

when Lamballe--

They did a bow for Lamballe also, right?

Because it is his title.

Because for the Duchess, you have to bow.

She's Countess, she's a noble.

It is only that, because it cannot end up--

Corinne, will you show Aurore the bow that she needs to do?

It depends if she does the bow for me

or if she does it here.

What we have told them is not to bow before she bows herself.

- The last one? - So if she doesn't bow, nobody bows.

But Lamballe bows...

And everybody bows with her.

Then Kirsten bows.

And then everyone needs to bow when she enters the room.

You were saying

how you want to make the film your way.

What do you think about your vision?

I'm scared that we're making Masterpiece Theatre.

Like a dry historical period movie with these big tableau shots.

It feels a little too professional and not sloppy.

I just feel like nervous that I'm not making it my style.

Like I'm being well-behaved and doing what I'm supposed to be doing.

Hey, let's shake it up a little.

That's the attitude.

Funny, the more bowing, the better.

And then when she gets out of bed, they bow again.

Incredible.

The colors, and the costumes, it's kind of psychedelic.

It's like etiquette crazy.

This is ridiculous.

This, Madame, is Versailles.

So nuts, the bowing.

And then we have two other no I/E scenes, 35 and 44.

- Tomorrow? - Mm-hmm.

We've got to pick up the pace.

The costume changes are getting better.

They're gonna be faster and faster.

And that makes me nervous to sit still for too long.

Christophe, I think it'll be faster if we can have something

without sleeves that slips over her head.

Can she have some pajama pants or something that we can have low?

You seem nervous about

all the clothing changes.

Yeah, the schedule is really tight.

But we have to wait for changes in the wardrobe,

which could take hours to redo hair and makeup

and do these elaborate costumes.

It's really frustrating.

So how long would it technically take to change Nora's costume?

An hour to 35 to be safe.

You've got to hustle and get it.

It's stressful because we're in such a rush all the time

because we have limited access to a certain location.

So she'll have a shoulder--

I just want to get done on time and on budget.

I don't wanna go over budget. And I don't wanna... go over schedule.

Oh my God.

It's so weird walking through this.

It'd be good to put a cluster of your favorite people in a similar area.

Oh, yeah.

Are they all part of... this meeting group?

She might be sitting there, or she could be

standing right behind them if it's easier to get the shot.

For the most part, people that become film directors

are generally very egocentric and aggressive and...

Pushy's the word that comes to mind.

They make pushy movies

because that's kind of what it takes to be a director.

Sofia is very refreshing because her personality,

although she's firm and stubborn and pushes in her own way,

her manner is much more poetic and reserved and sensitive.

Yeah, that looks nice.

- When we come back to them-- - Well, when we do stop,

we should have a little bit of whatever the beginning ceremony is.

You'll see it in the--

OK.

She's just very individual.

I'm excited and intrigued to see the movie

that I think this will be.

Action.

One, two.

I noticed you looked over a little bit to check the other guy.

Just try just to look forward as much as you can.

Roman came to direct the second unit

and shoot the second camera for Sofia.

It kind of went like this.

She is so completely at ease with him,

trusts his taste without question,

knows he will help her in any way

and truly be on her side.

- I like it! - I like this one.

OK, cool. Let's do another one.

Sofia came over and said with relief

and the deepest appreciation

that she was so glad Roman was here.

There was so much emotion in my throat, I just murmured.

Their relationship is one of the most profound treasures in my life.

Moviemaking, which as I grew up seemed so exotic,

was how my family spent an evening together.

Remember Lexi's garden apartment?

Hi, Mom.

I can't wait.

I'm very excited about these scenes.

- You're like a lamb. - Beautiful.

This is my design today.

Very nice. I love it.

It looks really good.

Oh, hi, you look cool.

Hi.

You're so great.

Big win, big win. Big win!

You know those fireworks that are on top of the cake?

- Yeah? - As soon as they go onto silk,

they make holes immediately.

OK, so what if she doesn't get too close.

You know when girls see each other at a party, they go like, "Hi!"

- Hi! OK. - You're like that with Lamballe.

Hi!

And wave to your friends.

- Hi. - Hi!

- That is good. - Hi!

There's lots of good stuff there. It looked like a real party. Yeah.

Roll again.

I won!

Action.

I'd love some of the little cherries behind her head.

Kirs, let's see you lean back with a feather.

What drove your choices for the music you're using?

It's a mixture of classical music of that period

and then more contemporary stuff.

There's a New Order song when it's her birthday party,

and people were surprised by that.

I always wanted it to be a little bit in this kind of New Romantic spirit

that bands in the early '80s were into that era,

like Bow Wow Wow and Adam Ant,

that had this romantic idea of the 18th century.

I want it to have sort of an irreverent, teenage quality to it.

- Bye. - Bye.

Go there and have a look.

In this film you have plumes, plumes, plumes, lots of feathers.

Lots and lots of feathers.

It's a marathon, a marathon with an avalanche coming,

following you all the time, running, running--

Exactly, following you!

Trying to keep ahead of the avalanche.

Four, five scenes in one day, different scene, different period,

all changes, never just--

New costumes, every day new costumes.

There's always an entourage which has to change,

not maybe as much as she has to change.

- Yeah. - So it's quite a lot.

As I looked around the room,

I could see that Milena had outdone herself.

I loved seeing all the extravagant ball gowns and costumes,

including wigs that had to be washed, dried,

restyled and freshly powdered each day.

Why don't you just give me the ribbon there?

Milena designed 72 original dresses for Kirsten.

The back!

Instead of this thing that looks like an alien a little bit,

what if it-- Do they kinda come back...

Milena is an extreme perfectionist.

It's amazing to watch her work.

Let's call Sofia.

Sofia, do you like it?

I think it looks cool, but...

I could see Sofia's vision executed to perfection.

I mean, do you think that this thing is a little too small,

or do you think it's just right?

- This? I'll open it? - Yes.

- That'd be great. - Yeah.

'Cause no one will notice that.

He's watching you to make sure you don't...

He's trained.

If you make one move, he attacks.

I bring him along with me everywhere. He's a costume expert.

He's just making sure that you guys are doing good.

He's from the Guild.

So go for a walk or something today?

No, no, no, please don't. I don't want to change anything.

Sit.

Bellissimo.

Now you all may sit.

See, this guy is working so hard.

Take a load off. Don't get off the couch.

Thank you.

Really wonderful stuff.

How does it feel? Does it feel tight?

It... uh... In some places.

Like, it's not like western clothes.

It's not like normal.

They've been made a little bit small to make me look a little bit bigger.

And then the sleeves are always a little bit...

I don't have full...

Only close hooks.

I don't think I can reach out.

But I mean, I'll ask Milena.

Can I ask you a question? Is it bad--

Jason, you have to use delicate movements.

Yeah, I realize.

- Use delicate movements. - No, but if it's only with the clothes.

OK.

This is week five.

And we have like eight more weeks of shooting.

I'm stressed. I don't want to fall behind this week.

Clearing those people out.

They would shut the door in the background.

Let's see what you're wearing.

We're having such a miscommunication today.

Yeah, but with the purple.

But that's your wardrobe for this scene?

Because you're playing croquet.

Are you in mourning still? And you're playing croquet?

I don't think you should be in black.

I just wonder if we had a misunderstanding

that she's supposed to be playing croquet.

No, no, no. They were all in a hurry.

They were playing croquet and they all rushed inside to have a meeting.

So she needs to be in her wardrobe for that.

I don't know who you talked to about that.

But maybe I should look at it.

I'll call the guy.

I want to show that a little time has passed.

Do you have any other colored dresses that don't look bright?

Kirsten, can we come see your dress?

Oh, that's a bruise color.

That's nice.

But it's still somber.

So I leave Jason in the pink waist.

But I think that's really beautiful.

So we got the bruised. Alright, fine.

- Yeah. - I'll put the...

This is where Marie Antoinette really walked,

and really was. Isn't that amazing?

To think that she was really here?

I know!

Yeah, we could look at her bedroom.

It's right next door. Let me get my stuff.

So, when you come on a set, do you feel like you want to be in charge?

Not at all. No, no, no.

I'm so happy to not be in charge.

You know the guy who invented this fish pole?

That boxer, originally it was a painting...

He went and bought a painting pole.

Ellie, tilt up and show the fish pole.

Yeah, he went and he got a, like, for painting with rollers,

and he put the microphone on it.

So did you have any advice for her?

I told her to make it totally the way she wanted,

and the more personal it was,

and the more it was her impression of what all this was like,

that the better it would be.

That she should just be throwing a Marie Antoinette party

and invite everyone to come to it.

And people are all around. And Marie Antoinette can already be there.

Maybe we don't even need a shot of Marie Antoinette from the aunts' POV.

Maybe it's just on the aunts and she enters the frame with them.

You know what I mean?

I feel like we need one shot of her coming towards them.

And then when Marie Antoinette and Louis leave,

I picture following Marie Antoinette and Louis,

and she says, "Those are my last words

"to that creature," or whatever.

So what's cooking today, Sof?

What's going on here?

Um...

Shooting in the Hall of Mirrors, our first day,

and it's meant to be sort of like the high school quad.

Silence, please!

So this is a little bit of a standoff,

like "Chicken," where you guys are both walking,

and she kind of doesn't get out of the way,

so you kind of get pushed out.

Like maybe then I see her,

and maybe I almost try to be nice,

- Yeah. - and then she'll do that,

and then I'll be hurt by her, like--

Yeah, and you can kind of brush her shoulder.

Just be a bully. It's like high school bully.

Action!

And that was a little much.

That looked a little like in a mosh pit.

- Yeah. - It was a little too--

I think it should just be more of a brush.

OK, that was funny.

That looked like you went straight for her.

What did I do?

You're going down.

The whole problem is it feels really empty without people standing around.

- Yeah. - Should we do closer and then do this

and get more extras in here?

Sure.

Is it an option to--

Do we have extras standing by that if we went closer

and then came back to this shot, we could put more people in here?

'Cause we're seeing this whole wall, and it's pretty empty.

Are there people that are going to be ready that we could bring in?

We have one left.

For now, I have another set of extras being prepared for this.

Could they be done by the time we get to--

If we go closer and then go to the shot at the end?

I could find out.

- Jean for Christophe. - I mean...

When we go on du Barry, are we going to bring these people back here?

- Or we have more people...? - I have more people to work with, but--

I feel like I was left out of this discussion

about making it empty and crowded,

'cause this is the first time we're seeing the Hall of Mirrors

and to establish that people are all here watching everyone.

This is something we will discuss and assemble together.

OK, no, I like that you're building it, but anyway,

the point is behind du Barry, do we have more people?

- Yeah, we have more people. - OK.

Well, it seems like one of your strengths is to be able to keep your vision,

in the force of other people's opinions.

Can you sort of talk about that?

That's good right there, Christophe.

That's my job there.

That's what I have to do is be opinionated.

And just my personality doesn't totally change when I'm on set.

I don't turn into a dictator.

But this right here has some--

Some men on the crew say, "Well, why this? Why that?"

No, no, no, the man in black is behind--

But it's important for me to really make it

my own way, my own version.

The masterful flower arranger

and his assistants created bouquets that adorned mantels and tables,

color-coordinated with the costumes,

upholstery and wallpaper.

Usually fake flowers are used on sets.

I was breathing in short gasps,

an involuntary response to seeing such visually dense,

exquisitely beautiful detail.

Is that real?

Oh, yeah, you can eat everything.

Yeah, because you guys have to really be eating.

Everything's edible.

But I should ask.

This is like the ultimate craft service.

Yeah, right. This is how a craft service should be.

They can eat anything they want.

She just read my hand.

She read my hand.

She told me that I'm gonna have one major love of my life.

That's the one I'm going to marry, with a couple of others on the side.

It's very rare. She's never seen that. Especially from the States.

Really? I want to see mine.

Which hand do you have to do?

The left one.

Now I'm the fortune teller.

I see a lot of love.

Oh, good.

And then let's see the kids... Two.

- Two. - Two kids.

Wait, where are the kids? Where are the kids?

- Where's the love? - The kids are here.

I don't know. She said I had two.

So would it be these two lines?

Like right here?

Asia, is it two or three?

I see...

Two.

- Do you have twins in your family? - I don't,

- but I always felt like I had one. - Very quiet, please.

- There you go. - Silence, please.

Yeah, we're gonna have a shot looking through this side of the table.

We're just in the midst of a dinner, and feel free to chat to your companions.

- Open your mouth. - It's actually further down.

- Say 33. - Are you a proctologist?

Are you and Jason cousins?

Yeah, I used to push him in a stroller when he was two.

Oh, that's so cute.

And we did a play together.

- He told me that. - I directed him in his first play.

We did.

We hung out.

Shooting a documentary is like fishing.

You're always waiting for something interesting to happen.

Sometimes you think it's going to be this big moment

between the actor and director.

Music playing. There's musicians in the other room.

But it isn't.

There's something going on to the side.

And you have to be willing to give up what you expected to shoot

and capture what's really interesting.

Oh, this is easy.

Something about a beard, or...?

Like in Italian.

That means I don't give a shit.

I like that Asia's gonna give us a "How to Be Italian" tutorial.

- Yeah. - For like California Italian.

This is very important, the hand gestures.

Quiet, please!

Like this. Show me how you do this.

- Look at Jason. - That's pretty good.

Quiet, please.

Not in the song.

But not a bad chord anyway.

Everything's a good chord on the harpsichord.

Thank you guys for coming out tonight.

My name's Sally.

And I'm a rocket man.

This is all smoked glass and black and white frames.

It doesn't work when you're closer to it.

You lose...

You need to actually be wide to do what you're saying.

I just think-- Look at it a little wider,

so you still see the dead body.

This is the last scene of the day.

It's going to be terrible.

And the hair, even just transporting him, is not going to work.

We can wrap here so we can wrap everyone else out of there.

Yes, now that's an official decision.

Can you confirm for me that a 7:30 would work for a call tomorrow?

This'll be it.

- OK, what? - Uh... hello?

I think he needs to be closer.

Let's try one to see what it looks like.

It looks great. It looks great.

Wait, wait, wait.

Too much smoke. Too much smoke. Hang on.

Fucking Spinal Tap me...

No, too much foreground smoke.

Here we go. Is it rolling?

Not yet.

I love watching my mom when she's filming sometimes.

Like she'll go off on a tangent.

It's such a shock to be in these historic places

with all the characters and period dress.

And then somebody yells, "Cut!"

And the tourists walk by.

I love seeing where the illusion of the set meets reality.

I can see you right now, Eleanor.

I was thinking about time.

How on a movie set the shot is maintained

in the same time,

no matter how many takes and hours pass.

When the shot is finished

and the plugs are pulled,

time seems to leap forward

in a matter of seconds.

See that? Remember that?

My thoughts are skipping around,

as if my life is on a videotape in my mind,

pausing randomly here and there.

1977, on the set of Apocalypse Now.

Sofia is playing director, yelling "action,"

pretending she has a camera in her hands,

focusing through her fingers.

Moments in Sofia's adolescence

when she had rejected me.

I felt such pain.

Though I knew she needed to separate from me

to become her own person

with her own artistic vision.

2004, at the Oscars, Sofia wins and thanks me

for always encouraging her to make art.

Tears flow out of the corners of my eyes,

streaking my makeup.

Perhaps making movies is a step toward being able to move

backward and forward and in and out of linear time.

You're longtime friends of Sofia's. Why do you think she brought you out here?

Because she's desperate for some real talent

in this movie. Desperate.

And God knows, there's a pile of crap in there though.

He's determined to do the wedding scene.

He wants to be the bride of Frankenstein.

These people are dressed like punks.

Like punks?

Like punks, you know.

It's a very punk movie.

It's day 37 of shooting.

This is one we've been really, really nervous about.

And it's a very difficult day.

We're doing three operas, three different sets.

I'm just waiting for some more extras.

Yeah, yeah, yeah. We need a lot more people.

We have to change 50 people in costume.

Right. 50 of 100.

Yeah, 50 of the 100.

Then we have another 50 that comes a little later.

Now, I had heard from Emily that

we weren't prepared to dress those 50.

I'm just worried about we're not going to have enough extras.

We were always to have 100,

plus 50 that could change.

No 50, no 50, plus 20.

So we're talking about changing 40 women.

- The wig. No costume. - The wig.

Right. So now, the wig is typically

hour and a half.

We're ready to shoot this shot now.

So if we can just put the rush on this going on here.

We're all delirious.

It's nice to have the operas behind us.

I'm going to grab some inserts of people like...

Every day we just have too much on the schedule.

It's a fight to get everything done.

It's fun to have a challenge, but

it's frustrating 'cause we're all,

everyone's doing... we're all doing our job.

There's not anything I can do to make it go faster.

It'd be nice to pull off what we're trying to do.

But if not, I tried.

Everyone stay still.

Action.

And cut.

This on the mirror, right?

It's funny it's all like guys making, like the girliest movie ever.

I want something more natural.

Oh my God. I'm cracking myself up.

I know.

She took too many Prozac today.

That's funny.

Marie Antoinette wasn't very interested in politics

and she was naive

and not aware of what was going on.

So I'm trying to keep the movie in that bubble.

It was good. And cut.

It's lunch!

OK, let's go to lunch!

Let's go to lunch.

Shall we do that photo?

Yeah, totally.

This looks pretty out in this field.

I treasure the experience of being with Sofia in her world.

There are so few women's voices in the film industry.

Only a fraction of directors are women.

I appreciate Sofia's determination

and her pushing against boundaries

in this profession dominated by men.

I always tried to make Sofia feel

she could do anything she wanted.

- You got it? - OK.

- Medicine? - Thank you.

We need to get everyone out of here quickly.

All the room clear, everyone clear.

Keep an eye out for the cutest boy in the world.

Oh yeah, any minute, right?

Yeah.

I still have to introduce him to my mom.

- Hello. - Hello.

Hello.

- That was really good. - How're you?

- Good. - Are you happy?

Yeah, it's been fun today.

And we just finished another one.

Hello. She's like the only one that's like sad around here.

Oh, bonjour!

It's great. Merci beaucoup.

Mom, this is Thomas.

...in front of the camera. Hello. Nice to meet you.

Well, I hope you have a good fitting for your rock star wardrobe.

Yeah, I think so.

OK, bisous.

A little badass band photo.

- Oh, badass. - Attitude.

- That's it. - Hey.

Thomas's a good sport, huh?

Right here? Everyone look right here.

Right here. Hand down for one.

Just look right here.

Right here, right in.

You guys are the best for doing this.

Oh, I'm not shocked.

I have to.

- Thank you. - She said it depends on the future.

This should be one of your music videos.

Having a little concert.

Business calls me Trouble down the waterfront

You know, I tried to But now I'm running out of lies

It's a clear view When all you are is getting paid

No more favors I know what we can do about it

I think I'd better run, run, run, run

You didn't catch me falling

Falling falling Falling falling

Falling falling falling

Sofia's generation is so different.

She and her women friends understand that

marriage and family can be parts of a fulfilling life.

But they also have career aspirations.

When I was Sofia's age,

I already had three children.

And too often my creative self

was pushed to last place on my to-do list.

At my age,

shouldn't I be engaged in my own creative process?

Not just observing the creative work of my talented family.

So it's already after midnight?

It's 2:45.

Um...

Everyone is really exhausted.

This week is very intense

because we don't want to add a day of shooting.

It's very expensive,

and we have four weeks left to shoot.

The budget is fine, but it's lean.

You know, people are pretty wiped out.

Poor Kirsten is really falling asleep.

I know.

Please watch that.

You seem a little tired.

What do you do for yourself when you're tired?

I'm just tired. I'm tired, but maybe I need to just...

not be interviewed so I can come on to set fresh and not irritated

that I've been doing a press junket

for an hour in my trailer with my mom.

It's six.

What time is our day over today?

We're doing this in 11-hour days.

Let's keep it quiet as much as possible.

Oh, excuse me. We're going to pick up the pace.

I've been shooting long hours and find it exhausting.

One of the hardest lessons for me to learn about growing older

is setting a pace that's right for me.

Not just expecting to keep up with a production

where everyone is in their 20s and 30s.

This one looks good. Let's do another one.

I think it's nicer if you're just like...

OK.

Full of hope and optimism.

I'm sure plenty of people have said to Sofia,

"Why are you making Marie Antoinette?

"You, an American girl, presume to present French history?"

Yet she has the belief in her vision to forge ahead.

And then a little melancholy that you have to leave.

My mood is a mix of resentment that I'm not doing my own thing...

and exhilaration that I'm shooting a camera

in a stunning location in the lovely French countryside.

With my daughter at the helm of a major production she wrote

and is now directing with clarity, grace, and her own hip approach to history.

So what is everybody waiting for?

We lose between one and two hours every day

because of hair and wardrobe.

That becomes ten hours a week, so it's almost a day.

So we lose a day a week and out of the 12-week schedule,

we lose almost two weeks of shooting.

So the only issue or solution is to wait and be patient and keep smiling.

That, I'm starting to be very good at.

We have this beautiful lighting,

and it's kind of starting to get cloudy outside now.

So it's a little bit painful.

We've had this beautiful frame set up for three hours now

and I just hope that it stays like this when we actually shoot the shot.

- Seven minutes? - But uh...

Seven minutes before she's here?

- Yeah, good. - Good. That's good news.

That's a good photo.

Yeah.

You've gotta get stills, haven't you?

And Mrs Coppola has to make her film.

It's your mom and you wanna please her.

OK.

And then embrace her.

Aw, that's sweet.

I think we should make Marianne a little taller.

Yeah. We could do a little row of apple boxes

about that high that Kirsten stays after.

Make sure I don't fall off.

How tall are your shoes you have on?

I don't know, babe.

You don't have any stilettos in your trailer, do you?

Fuck no.

I'm not a stiletto girl.

Not stilettos, but we could try, I mean--

Yeah. Yeah, the big...

Sofie?

Sofia, do you like the costume

and all the baubles and jeepers?

You look great. I love it.

Because Milena worked terribly hard.

Now she's doing her tit pushing.

I like that Marianne's really a bad girl under there.

Do you know that her mom was an Austrian baroness?

Roll sound, please.

The Court of France is not like Vienna.

The people of France can say, "I sent an angel."

And cut.

You're a great empress. It's great 'cause she's intimidating,

but there's warmth, motherly warmth too.

- I'm trying to get all of it. - Yeah, it's all in there.

- You know, I've got a scar. - We won't see it.

- Oh, alright. - Promise.

Come a little bit more towards the camera.

So, what is the requirement

to get into the Marianne Faithfull

- School of Bad Living? - School of Bad Living?

The Marianne Faithfull School of Bad Living

is meant to end up

with you really understanding how to live and not fuck up.

- You can join. Yeah. - I can?

I can be in the Marianne Faithfull School of Bad Living?

Absolutely, and I'll let you know when you've graduated.

OK, you will.

And it won't be when you think...

OK. Is there anything I have to do?

Do I have an assignment?

Just live life.

Live your life.

Live it well, as best you can.

- OK. - And do your work.

- And have a good time. - And have a good time.

That's all.

Maybe have a baby one day.

You're a sound girl.

- Reasonably sound girl. - That sounds boring.

- Well, you're not that sound. - No, OK.

- Don't worry. - Making this movie isn't that sound.

No.

It's very subversive.

Your Sofia is a little bit naughty.

She's got a twinkle in her eye.

Guys, you should move quicker.

Yes, but no, I have some huge problems here.

What do you think of me turning into a redhead?

I like it for a change. Why not?

Voilà! Shall we go?

When I say red, I meant red this color.

So what happened there?

This wasn't the right color.

They wanted the wig to be more like this.

So we have to do it again.

Let's try another one.

Then for the moment, the butterfly thing is the best.

It looks to me like this is too big.

Let's try one more, but it should be greener.

Yes.

This is probably for me the sweetest of them all.

There she is. So cute.

Wow.

Milena, these look great.

We got to find some good places for them.

- I feel crazy. - You look crazy.

But cute crazy.

We're just setting up to do Fersen and Marie Antoinette

looking at each other across the hall.

Hey, Rose.

If we can have you on this side of Kirsten, drinking champagne,

up to no good.

If you can be here, Jen, flirting with him.

But like right... Like that, yeah.

And Kirsten, you should be tilted back like that

and then look at him.

We're going to see her point of view.

Do we get a sense of him flirting with her?

Yeah, they're looking at each other.

So then in addition to her POV of him,

we need his POV of her and we need a shot

that corresponds with his POV of her

that may be different than her POV of him.

You know what I mean? Just in terms of the lensing of it.

It might feel like you're with--

Well, can't we just be with her?

Just don't stay in her POV.

You don't have to be in his POV just because they're flirting.

We don't have to be with him responding to her.

We can see him responding to her and her POV.

You can see him looking at her from a distance.

And we're just with her looking at him

and then her point of view.

I think it's stronger in her point of view.

I like working with these guys.

I trust their taste, and they're smart and everything

but you still have to stick with, in the end, what you originally wanted

or there was a reason why you wanted something a certain way.

Some stuff I was shooting with Lance,

like, he kept wanting to show it, you know, show Louis

or show it from Louis' angle or punctuate that

and I had to keep fighting that.

No, it's her story, it's from her point of view.

It's not the guy's story. And people would put their opinion on--

Even Dad when he read the script, he was saying something like,

"Well, everyone's going to be wondering what Louis is doing here

"or whatever and are they going to be mad that she's with Fersen?"

And I'm like, "Well, this is the story. It's from her point of view.

"It's not the guy's story."

You know, like you can go make the story of Louis then.

So let's find where we're gonna do Marie Antoinette's big staircase entrance.

We kind of dolly back and they all kind of, like, go "vroom" and through frame.

- Yeah, that's cool. - Nice, a little sweep kind of--

OK.

That's gonna look cool and it'll be good with the music too.

And then it ends up kind of over here?

She looks great coming down the stairs.

Yeah.

That looks great.

You look at it through here.

It's much better.

Oh. Oh!

I never saw that before.

Look through-- Roman, look through this.

- I saw that. - Did you look at it?

Put it in front of the lens.

Will it work through the-- you can't--

Look up the light.

Mom, does it-- Can you see it?

- OK, back to work. - Yeah, back to work.

I'm overwhelmed with getting everything done.

It just hit me.

I just got the overwhelm of getting everything done.

We only have today and tomorrow.

OK.

Alright. Thanks, bye.

So I'm just trying to pack everything up.

I can't believe that we're already almost done.

Can you believe that?

So weird.

So how do you feel about it overall?

I learned the secret that if you change your shoes at lunch,

your feet don't hurt the whole time.

I feel like I've come a long way as a director.

Just in that tidbit.

I've learned that you have to push and not be lazy or not...

When you get that doubt, you have to change it,

because later you'll regret it, and those little things will bug you.

So...

I've learned not to make big movies.

I've learned not to do period movies

and to make sure to have a very small cast and crew.

I enjoyed it, but I wouldn't want to do this again.

It was really fun to see all of Milena's costumes

and sets and everything.

I guess I'm glad I've done this once in my life,

but I've learned that I'd much rather do, you know,

more where I can do more stuff myself.

Do you want to come to the location?

How's it go?

They get it right.

I, like, love you now.

Today when I saw my video camera,

an unexpected emotion started in my chest

and rose up to my throat.

I was surprised at the passion I felt for my camera.

I'd spent so many hours holding it at shoulder height,

my arms and back aching,

watching intoxicating images of Sofia's film being made.

We should see this shoe in it--

I realized that the miniature world in my viewfinder

is constantly fascinating to me.

And turn and walk away.

Alright, done.

Thank you very much.

- Let's get out of here. - Let's go. It's a long drive.

Goodnight, Momma.

This is our last shot on day 57.

Day 57.

- How do you feel? - I feel like we made it.

I feel like I've been running a marathon.

This is my reference photo for this shot.

The lipstick is cool.

Oh, that's great.

Let me see your arm up.

And then lean in and sit up.

I think we should do the earrings even though it looks cool without.

Or it could be a necklace.

No parquet creaking, please.

OK.

And you can't be bothered. You're taking a bath.

And action.

Let them eat cake.

And then say it just leaning back.

Let them eat cake.

That's good.

And more of an order, it's so obvious.

And don't bother me.

Action.

Let them eat cake.

That was good.

A bunch of good ones in there.

Sofia?

- Yes, Ross? - The gate is good.

- Did we get your movie? - Alright!

Yes. Thank you, everyone.

Ladies and gentlemen, that's a wrap on Marie Antoinette!

Thank you.

Thank you, Jason.

Thanks for my good...

Odile's crying.

I'm going to cry.

The film finished on May 28 at 5:35 am.

Sofia said excitedly,

"Mom, can you believe we finished on time and on budget?"

I could feel my body releasing tension

coiled in my flesh for these months.

Worried for Sofia,

for the huge project she had undertaken.

I'm an observer at heart

who has the impulse to record what I see around me,

what I experience.

Another glorious day is illuminating the stage before me.