Sofia Coppola and Thomas Mars
Air
It comes as little surprise to hear that a director Sofia Coppola, for which the music often plays a role of scene, enlisted Phoenix, the French rock band led by her boyfriend Thomas Mars, to mark his new film, "Somewhere."What is surprising, however, is that the creative collaboration between the couple, who now have two young daughters together, started before they would even met.In 1999 Mars was brought by his friends in the band Air establish test entry for the final song on their soundtrack for Coppola's "The Virgin Suicides," a song that was to be sung by David Bowie. Inspired by images of the film, Mars wrote and recorded the lyrics to "love of the game", and suddenly Mr. Bowie was a job.
"I was really happy when I heard," recalls Coppola. "The romantic and feel perfect for that time.
The track of Phoenix "too young" popped in Coppola next film, "Lost in Translation," party in a scene in which characters Scarlett Johansson and Bill Murray were outside the city of Tokyo.
"Is a kind of the best music video you could have: all to dance the song in a film," Mars observes.
Still, the two do not meet up to Coppola moved to Paris, after divorce, Director Spike Jonze.At the time of resumption began the "Marie Antoinette" in 2006, Coppola and Mars were a couple, and Phoenix put into a memorable cameo as musicians of Court entertaining young Queen of Kirsten Dunst with the song "Boivent Ou les Loups", completely in costume in wigs and waistcoats.
For the band of breeding of Versailles, the experience was doubly surreal. "When we were teenagers, we used to play in our cellar that was across the street, "says Mars, recalling the games of the laser tag pleas at night. "If you're a guy in Versailles, is your Castle."
Growing up in Hollywood, Coppola has done based on another castle: le Chateau Marmont, where "Somewhere" is set.In his general tone, this story underestimated empty celebrity and a bond father daughter is the antithesis of Rococo candy coated "Marie Antoinette" and the music follows suit.
"I was kind of sick of movies that are just bombarded with pop songs as a score, that I was guilty of," says Coppola."We tried to keep it really minimal. I don't want to have emotional scenes where the underscore was made by the music."
Its discussions with Phoenix began with the environmental score electronic sounds of Brian Eno and Giorgio Moroder for "American Gigolo," where "there is only one tone crossing something."
Coppola was taken primarily with song the band "love like a sunset," from their album Grammy winning "Wolfgang Amadeus Phoenix," and this composition of two parts, mainly instrumental provided de facto film Score.
"We just created a theme around parts and pieces of this song," explains Mars. "Isn't even a score; is perhaps 77 seconds of music, which is basically keyboards always in and out of tune."
At the opening of the film, the sound of Ferrari's character Stephen Dorff segues perfectly in the title sequence as he drives to the Chateau Marmont. While the "sunset" of the title of the song doesn't actually reference to Sunset Blvd. literal or a sunset, Mars reveals an indirect connection.
"Sofia loves Ed Ruscha," he says of the famous artist L.A. known for his cityscapes Sunset Strip, "and she got me into him. you know how you are so smart that you want to make your fantasies so some artists Always depicted him? painting these words, ' Love like a sunset ' .... So there's a link somewhere."
In some places, it is difficult to tell where music of Phoenix leaves off and into the atmosphere are the sounds of the city, but Coppola confirms that this is the score. "You just sort of just there, "says," but (Dorff) kind of puts in his world. "Contact the editors varieties at news@variety.com
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