![]() ![]() But I’ve noticed that these same writers have a knack for crediting said music video-ness to Coppola’s soundtracks rather than Coppola herself. Writers sometimes invoke MTV while discussing Coppola’s work, or else speak to a sort of music video-ness that defines her features. How her most recent two features, The Beguiled and On the Rocks, are arguably her least musical, defined more by cacophony-distant cannon fire threatening an otherwise tranquil silence, the noise in one’s head upstaging that of the big city-than melody. As has her adjacency to the music industry itself-the famous friends and collaborators, the marriage to the guy who made this, the marriage to the guy who made this. The needle drops in Coppola’s narrative work, from Lick the Star through A Very Murray Christmas, have been waded into at length by writers like me. But understanding where that feeling is coming from, being able to articulate it-this is something else, something a lot thornier. In some respects, Coppola and I are both in the business of presenting music that makes us feel something to others, ideally so that they feel the same thing. “It’s very abstract to me.” I deeply relate to this sentiment, and am not sure what that says about me given that I write rather often about music, and professionally at that. ![]() “I love music, but I don’t really know how to talk about it,” Sofia Coppola said in 2004. Antonia Fraser, Marie Antoinette: The Journey (2001) ![]() “In the case of Madame Antoine, the enjoyment of music was from childhood central to her life.” ![]()
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