Ahh, Sophia Coppola…

Folks, she may have been the young woman bursting to age with mature sexuality and tragic misplaced love in The Godfather Part III but it turns out that this beautiful Italian bardess has one of the most intrictate understandings of storytelling and story arc structure within a physically confining medium (you really only get about 3 hours of the audience’s attention to tell a story on film).

SEE ASIDE#1 AT THE BOTTOM

And Sophia Coppola has consistently delivered us a consistent series of well-written and well-produced films which were both character-driven and universally applicable in terms of theme, circumstance and character reactions based on the words, actions and backstory we are allowed to see as an audience.

Many directors are able to deliver on the above laudation but Sophia Coppola has also given us interesting people with fantastic mannerisms that are so real you wouldn’t be surprised if they walked up to you on the street tomorrow and said, “Hello.”

And the relationships she displays to the audience, even in their dysfunctional mire and circling a plot without end or beginning; are real and interesting relationships worthy of further examination.

I could go on and on but suffice to say that if her past work is any indication; Marie Antoinette should be a very good film when it releases at the theaters.

ASIDES:

    There is a distinction between book writing and film writing that not too many people talk about in the coffee houses and writing workshops out there–that there is a much more intricate and focused skill set needed to successfully put a story on film with a three hour window of expression for an audience who is commercially supporting the definition of your work’s success in the marketplace. In other words, screen writers have to be more skilled in their craft than novelists due to the economics and audience participation in defining the success of their medium.

    This is why it takes hundreds of people to successfully execute a profit-producing piece of film work. Go ask George Lucas if you could have a penny for every man hour spent on bringing the six Star Wars films to screen. He’d probably look plainly at you through his beard and squint like the sun was in his eye. Then he’d say nothing and walk away. That’s how many man hours were spent bringing Star Wars to the big screens.

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