Sad not to be happening for the wrong reazonz
if he always possessed this knowledge he would always have known; or if he has acquired the knowledge he could not have acquired it in this life, unless he has been taught geometry; for he may be made to do the same with all geometry and every other branch of knowledge. Now, has any one ever taught him all this? You must know about him, if, as you say, he was born and bred in your house.
So, needless to say,
I was happy when he showed up in Tokyo.
0:23 / 9:31
A Conversation with Bill Murray and Sofia Coppola (2003)
Transcript
0:12
I just couldn't think of anyone else that could be the Bob Harris I had in mind.
0:17
So it was scary because I didn't want to make the movie
0:19
if he wasn't going to do it, so...
0:20
And I really wanted to make the movie.
0:23
So, needless to say, I was happy when he showed up in Tokyo.
0:32
MURRAY: The bilingual challenge of working in Tokyo was significant.
0:37
We were a small crew, with a small budget
0:41
trying to overwhelm this gigantic city of maybe 20 million people.
0:46
It was clear that, you know, we had to remain calm.
0:52
It was almost like a war.
0:54
It's like it has a sort of a military feeling
0:56
like, "Okay, if we panic, we're really in trouble."
0:59
Because it seemed like you couldn't make yourself understood.
1:02
And Sofia never settled at all with them.
1:06
Just very politely smiled and said, "Yes, I see. I understand."
1:10
"No, what I really wanna do now is..."
1:12
And then just keep going ahead like some sort of a small burrowing animal
1:17
that's going to get through the clay eventually.
1:20
COPPOLA: Nice...
1:22
It is a pretty picture.
1:24
But she just...
1:25
I thought you were going to say, "Like a samurai," or something.
1:28
Okay, like a samurai.
1:29
Like a small burrowing samurai with a short knife.
1:33
The director of photography was...
1:35
It was Lance Acord, my friend...
1:37
MYRRAY: Mmm-hmm.
1:38
...and I just think he's so talented
1:40
and made the film look beautiful
1:43
and how I imagined and hoped and even better.
1:47
MURRAY: When you see light and you see beauty in light
1:50
you know "Uh-oh. Okay, this guy's got some stuff."
1:53
And the way he actually, sort of, made sure he got what he wanted
1:58
at the same time, showed people how it was done...
2:01
They were fascinated with watching him.
2:02
I think they really liked watching him...
2:04
...cause he has so much enthusiasm.
2:11
There was some sort of humor that usually accompanies a romance
2:16
that I thought I could tackle
2:19
and could make it to help tell the story.
2:22
And when this came, I thought, "Well, this...
2:26
"This is right where...
2:29
I can do this.
2:31
I know this.
2:33
I think I know this.
2:34
I know...
2:35
a little bit about being a movie star and a little bit about the scenes that...
2:40
of being a fish out of water...
2:42
I know what it's like to be a long ways from home.
2:44
So I thought I could do this.
2:46
The only question I had was how funny the boss wanted it to be
2:51
how funny this could be...
2:54
...without affecting the film that Sofia wanted to make.
3:06
"Help!"
3:17
And the art director?
3:18
COPPOLA: First, Anne Ross was there before you came
3:21
and she was designing the stuff in the hotel, mostly.
3:25
Then she had to leave..
3:26
..and then K.K.Barrett came from Los Angeles.
3:29
And he showed up, I think, the day before shooting
3:32
and he got off the plane and started working
3:34
and had great ideas for where to shoot in the city.
3:37
We turned this little clothing store into the strip club.
3:42
And the nightclub with the fireworks on the...
3:46
...he had an idea to get weather balloons to project the fireworks on.
3:52
And Bill did learn some Japanese that he shared with us
3:55
and kept things lively.
3:58
Do you remember your phrases still?
4:00
Am I what?
4:01
Do you still remember your phrases?
4:03
I have a couple, you know...
4:05
I had this book which I had in my library for maybe 10 or 12 years...
4:10
...called "Making Out in Japanese"
4:12
And...
4:14
Extremely helpful.
4:15
And I would take it with me to dinner...
4:16
Can I tell it?
4:17
I would take it with me to dinner wherever I'd go...
4:20
I saw you carrying that around.
4:22
And I would just...
4:23
Wherever I went, I had this thing,
4:25
and it was full of all kinds of phrases...
4:27
that a college kid on his first trip to the Orient would have.
4:31
And it had some helpful things.
4:34
But, more specifically, it had some magnificent things
4:36
for this type of individual, including, "Do you have a curfew?"
4:40
And things like that.
4:41
And I would ask this of elder, you know, waitresses in restaurants.
4:45
"Do you have a curfew?" in Japanese.
4:48
And...
4:51
'Do you think I could meet your family?" you know.
4:55
"Would your family approve of me?"
4:57
"Can we get into the backseat?"
5:02
ACORD: "You talking to me?" MURRAY: Yeah
5:04
Needless to say, he was a fun person to be in Tokyo with.
5:06
MURRAY: "Are you talking to me?"
5:09
"Do you have protection?"
5:10
I mean, I'd ask that of sushi chefs.
5:13
I'd say, "Do you have protection?"
5:14
And they would just fall apart.
5:16
It was kind of dangerous...
5:17
cause they always have a knife in their hands anyway.
5:19
I'm thinking, "Well, maybe they won't like that."
5:22
COPPOLA: Nancy Steiner was our costume designer.
5:24
MURRAY: Mmm-hmm.
5:25
And it was funny when you showed up.
5:27
I'd talked to Nancy and she came up with..
5:29
...you know, the look for Bob Harris.
5:31
And then Bill showed up, and we'd never talked about it.
5:35
And he'd brought some clothes and they were all exactly the same.
5:38
MYRRAY: Exactly the same.
5:39
COPPOLA: Like, the same color scheme and... MURRAY: It was really spooky.
5:41
COPPOLA: They were.
5:46
I'm stuck.
5:51
Does it get easier?
5:53
No...
5:56
Yes.
5:58
It gets easier.
6:01
Oh, yeah?
6:03
Look at you.
6:06
Thanks.
6:08
I think it's really a key scene in the film.
6:11
I think that's when most movie watchers
6:18
decide that they like the film.
6:21
Because there's...
6:25
there's a romantic-encounter structure
6:28
that we're all familiar with.
6:30
And usually it gets to a point where the writing is not...
6:38
makes a choice to go one way or another.
6:42
And usually both ways are sort of
6:45
...incorrect for me.
6:50
They're almost not true in a way.
6:53
In terms of writing up a story that's worth repeating maybe
6:58
people either have an affair
7:01
and consummate an affair or they do something different..
7:06
and turn on each other or something.
7:10
This was...
7:11
And when you get to a point
7:13
where you have the possibility to consummate an affair
7:17
usually people will belittle their other life.
7:21
You know, they will say it's less important to them
7:25
and less meaningful and less successful.
7:28
So, to justify to themselves and to the other person
7:32
that what choice they're goona make is gonna be okay.
7:36
And that was the tricky part about shooting the scene was...
7:40
It sort of wasn't clear yet how we were gonna get that across.
7:47
And it took a while to fugire it out.
7:50
It was a tough night and we did a little walking up and down the halls.
7:57
And made something that's...
8:00
Made a scene...
8:02
...that I'm very proud of.
8:04
It's one of the nicest scenes I've ever made.
8:09
And the makeup department?
8:11
And Morag!
8:12
Morag Ross is our hero.
8:14
She did the hair and makeup for Bill, Scarlett and Giovanni.
8:19
All the actors.
8:19
All the makeup and all the hair. One person.
8:21
And she was running all over.
8:22
And I thought she made you look very handsome
8:26
and she made Scarlett look beautiful.
8:29
And then, Richard Beggs, the sound designer.
8:31
He's a real artist.
8:32
I loved the moment when, after you bring Scarlett home
8:36
and you're carrying her down the hall.
8:38
and that "My Bloody Valentine" song was playing in the taxi,
8:40
and in the hallway, he muffles it.
8:42
So it's just like it's ringing in your ear.
8:43
It's just the residue of the song.
8:45
Do you remember that moment which...
8:46
I love working with Richard Beggs.
8:48
And then our fabulous producer, Ross Katz.
8:52
(MURRAY APPLAUDING)
8:53
...who kept it all together.
8:54
It was a hard shoot and you made it all happen.
9:00
Sofia C. Coppola.
9:02
This is Sofia C. Coppola.
9:04
She wrote and directed Lost in Translation.
9:08
Which is my favorite movie...
9:11
...that I've been in.
9:12
Oh, that's nice.
So, needless to say,
I was happy when he showed up in Tokyo.
0:23 / 9:31
A Conversation with Bill Murray and Sofia Coppola (2003)
Sofia is a gem.
7
REPLY
Transcript
0:12
I just couldn't think of anyone else that could be the Bob Harris I had in mind.
0:17
So it was scary because I didn't want to make the movie
0:19
if he wasn't going to do it, so...
0:20
And I really wanted to make the movie.
0:23
So, needless to say, I was happy when he showed up in Tokyo.
0:32
MURRAY: The bilingual challenge of working in Tokyo was significant.
0:37
We were a small crew, with a small budget
0:41
trying to overwhelm this gigantic city of maybe 20 million people.
0:46
It was clear that, you know, we had to remain calm.
0:52
It was almost like a war.
0:54
It's like it has a sort of a military feeling
0:56
like, "Okay, if we panic, we're really in trouble."
0:59
Because it seemed like you couldn't make yourself understood.
1:02
And Sofia never settled at all with them.
1:06
Just very politely smiled and said, "Yes, I see. I understand."
1:10
"No, what I really wanna do now is..."
1:12
And then just keep going ahead like some sort of a small burrowing animal
1:17
that's going to get through the clay eventually.
1:20
COPPOLA: Nice...
1:22
It is a pretty picture.
1:24
But she just...
1:25
I thought you were going to say, "Like a samurai," or something.
1:28
Okay, like a samurai.
1:29
Like a small burrowing samurai with a short knife.
1:33
The director of photography was...
1:35
It was Lance Acord, my friend...
1:37
MYRRAY: Mmm-hmm.
1:38
...and I just think he's so talented
1:40
and made the film look beautiful
1:43
and how I imagined and hoped and even better.
1:47
MURRAY: When you see light and you see beauty in light
1:50
you know "Uh-oh. Okay, this guy's got some stuff."
1:53
And the way he actually, sort of, made sure he got what he wanted
1:58
at the same time, showed people how it was done...
2:01
They were fascinated with watching him.
2:02
I think they really liked watching him...
2:04
...cause he has so much enthusiasm.
2:11
There was some sort of humor that usually accompanies a romance
2:16
that I thought I could tackle
2:19
and could make it to help tell the story.
2:22
And when this came, I thought, "Well, this...
2:26
"This is right where...
2:29
I can do this.
2:31
I know this.
2:33
I think I know this.
2:34
I know...
2:35
a little bit about being a movie star and a little bit about the scenes that...
2:40
of being a fish out of water...
2:42
I know what it's like to be a long ways from home.
2:44
So I thought I could do this.
2:46
The only question I had was how funny the boss wanted it to be
2:51
how funny this could be...
2:54
...without affecting the film that Sofia wanted to make.
3:06
"Help!"
3:17
And the art director?
3:18
COPPOLA: First, Anne Ross was there before you came
3:21
and she was designing the stuff in the hotel, mostly.
3:25
Then she had to leave..
3:26
..and then K.K.Barrett came from Los Angeles.
3:29
And he showed up, I think, the day before shooting
3:32
and he got off the plane and started working
3:34
and had great ideas for where to shoot in the city.
3:37
We turned this little clothing store into the strip club.
3:42
And the nightclub with the fireworks on the...
3:46
...he had an idea to get weather balloons to project the fireworks on.
3:52
And Bill did learn some Japanese that he shared with us
3:55
and kept things lively.
3:58
Do you remember your phrases still?
4:00
Am I what?
4:01
Do you still remember your phrases?
4:03
I have a couple, you know...
4:05
I had this book which I had in my library for maybe 10 or 12 years...
4:10
...called "Making Out in Japanese"
4:12
And...
4:14
Extremely helpful.
4:15
And I would take it with me to dinner...
4:16
Can I tell it?
4:17
I would take it with me to dinner wherever I'd go...
4:20
I saw you carrying that around.
4:22
And I would just...
4:23
Wherever I went, I had this thing,
4:25
and it was full of all kinds of phrases...
4:27
that a college kid on his first trip to the Orient would have.
4:31
And it had some helpful things.
4:34
But, more specifically, it had some magnificent things
4:36
for this type of individual, including, "Do you have a curfew?"
4:40
And things like that.
4:41
And I would ask this of elder, you know, waitresses in restaurants.
4:45
"Do you have a curfew?" in Japanese.
4:48
And...
4:51
'Do you think I could meet your family?" you know.
4:55
"Would your family approve of me?"
4:57
"Can we get into the backseat?"
5:02
ACORD: "You talking to me?" MURRAY: Yeah
5:04
Needless to say, he was a fun person to be in Tokyo with.
5:06
MURRAY: "Are you talking to me?"
5:09
"Do you have protection?"
5:10
I mean, I'd ask that of sushi chefs.
5:13
I'd say, "Do you have protection?"
5:14
And they would just fall apart.
5:16
It was kind of dangerous...
5:17
cause they always have a knife in their hands anyway.
5:19
I'm thinking, "Well, maybe they won't like that."
5:22
COPPOLA: Nancy Steiner was our costume designer.
5:24
MURRAY: Mmm-hmm.
5:25
And it was funny when you showed up.
5:27
I'd talked to Nancy and she came up with..
5:29
...you know, the look for Bob Harris.
5:31
And then Bill showed up, and we'd never talked about it.
5:35
And he'd brought some clothes and they were all exactly the same.
5:38
MYRRAY: Exactly the same.
5:39
COPPOLA: Like, the same color scheme and... MURRAY: It was really spooky.
5:41
COPPOLA: They were.
5:46
I'm stuck.
5:51
Does it get easier?
5:53
No...
5:56
Yes.
5:58
It gets easier.
6:01
Oh, yeah?
6:03
Look at you.
6:06
Thanks.
6:08
I think it's really a key scene in the film.
6:11
I think that's when most movie watchers
6:18
decide that they like the film.
6:21
Because there's...
6:25
there's a romantic-encounter structure
6:28
that we're all familiar with.
6:30
And usually it gets to a point where the writing is not...
6:38
makes a choice to go one way or another.
6:42
And usually both ways are sort of
6:45
...incorrect for me.
6:50
They're almost not true in a way.
6:53
In terms of writing up a story that's worth repeating maybe
6:58
people either have an affair
7:01
and consummate an affair or they do something different..
7:06
and turn on each other or something.
7:10
This was...
7:11
And when you get to a point
7:13
where you have the possibility to consummate an affair
7:17
usually people will belittle their other life.
7:21
You know, they will say it's less important to them
7:25
and less meaningful and less successful.
7:28
So, to justify to themselves and to the other person
7:32
that what choice they're goona make is gonna be okay.
7:36
And that was the tricky part about shooting the scene was...
7:40
It sort of wasn't clear yet how we were gonna get that across.
7:47
And it took a while to fugire it out.
7:50
It was a tough night and we did a little walking up and down the halls.
7:57
And made something that's...
8:00
Made a scene...
8:02
...that I'm very proud of.
8:04
It's one of the nicest scenes I've ever made.
8:09
And the makeup department?
8:11
And Morag!
8:12
Morag Ross is our hero.
8:14
She did the hair and makeup for Bill, Scarlett and Giovanni.
8:19
All the actors.
8:19
All the makeup and all the hair. One person.
8:21
And she was running all over.
8:22
And I thought she made you look very handsome
8:26
and she made Scarlett look beautiful.
8:29
And then, Richard Beggs, the sound designer.
8:31
He's a real artist.
8:32
I loved the moment when, after you bring Scarlett home
8:36
and you're carrying her down the hall.
8:38
and that "My Bloody Valentine" song was playing in the taxi,
8:40
and in the hallway, he muffles it.
8:42
So it's just like it's ringing in your ear.
8:43
It's just the residue of the song.
8:45
Do you remember that moment which...
8:46
I love working with Richard Beggs.
8:48
And then our fabulous producer, Ross Katz.
8:52
(MURRAY APPLAUDING)
8:53
...who kept it all together.
8:54
It was a hard shoot and you made it all happen.
9:00
Sofia C. Coppola.
9:02
This is Sofia C. Coppola.
9:04
She wrote and directed Lost in Translation.
9:08
Which is my favorite movie...
9:11
...that I've been in.
9:12
Oh, that's nice.
Comments
Post a Comment