In her first feature, The Virgin Suicides, Sofia Coppola emerged as a remarkably assured young talent with a bold approach to layering sound and image. Adapting Jeffrey Eugenides’s 1993 novel about five young girls living in 1970s suburbia, she used Ed Lachman’s beautifully textured cinematography and a dreamlike electronic score by the French band Air to evoke a wide range of female adolescent experience, including the thrill of young romance. Among the film’s most memorable moments is a make-out scene with one of the girls, Lux Lisbon (Kirsten Dunst), and high-school heartthrob Trip Fontaine (Josh Hartnett), who has just spent an evening with her family. At the end of the night, Trip is sitting inside his car when Lux unexpectedly barges in, having snuck out of the house in her pink nightgown. What follows is a burst of long-restrained desire, and Coppola made the inspired choice to score the scene with Heart’s “Crazy on You,” which she had played on-set to get her actors in the mood. In this excerpt from a new program on our release of The Virgin Suicides, Coppola, Dunst, and Hartnett recall what it was like to bring this intimate scene to life.
“Perfect Imperfection”: Neil Young Improvises Dead Man
Jim Jarmusch filmed Neil Young recording the score for his 1995 revisionist western. Watch a bit of the never-released footage here.
Discovering the Jazzy Sounds of Paul Whiteman
Musician Michael Feinstein talks about discovering Paul Whiteman, the wildly popular bandleader who stars in the early-Technicolor musical King of Jazz.
Playing with Color and Light in Women in Love
Cinematographer Billy Williams talks about his experience creating the lush images and expressive lighting in Ken Russell’s boldly stylized adaptation of Women in Love.
Fassbinder’s Anarchic Spin on a Classic Brecht Role
New German Cinema filmmaker Margarethe von Trotta shares her memories of working with Rainer Werner Fassbinder on the set of Volker Schlöndorf’s 1970 film Baal.
The Bells of Saint Joan
Composer Richard Einhorn talks about conceiving the oratorio Voices of Light, which has often accompanied Carl Theodor Dreyer’s he Passion of Joan of Arc over the past quarter century.