The Art Of Short Cinema: An Interview of Christian Coppola

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text by Oliver Maxwell Kupper

photographs Pierre Auroux

Christian Coppola is an LA-based filmmaker and photographer with a few short films already under his belt. Informed by an early fascination with The Wizard of Oz, Coppola’s personal style incorporates dreamy colors and the ever-present dichotomy between home and away. His short film debut, Heartbreak Hotel and his upcoming short, Daddy, explore the complicated nature of hotels, and the opportunities offered by the short film genre. Fixated on the process of creating his personal style, Coppola’s own viewing process is predicated on the question, “could anyone else have made this?” We had a chance to catch up with the burgeoning filmmaker and discuss his upcoming film, development as an artist, and his desire to create a universe through film.

OLIVER MAXWELL KUPPER: How are you?

CHRISTIAN COPPOLA: Good, I'm sitting in my backyard looking at some palm trees, and it's a really beautiful day.

KUPPER: I assume you're in LA.

COPPOLA: Yeah, I'm here. I'm actually—I just shot this new film in New York. And I shot it January 16th through the 19th. Pretty quick shoot.

KUPPER: So this was a pretty fresh, new project.

COPPOLA: In the grand scheme of things, we just shot it. But now I'm—you know I've been here for a month just meeting with editors and people who are going to be involved in the post production process. And also hanging out with my friends, because I really love LA and all the things it offers. And New York is really cold right now, kind of a wasteland.

KUPPER: I keep hearing that about New York, and everyone's moving to LA. And it's not just for weather, it's also like the creative energy.

COPPOLA: Well it's nice—I went out for Valentine's Day and I went to this party in Chinatown and before, we kind of congregated in this space downtown at my friend's apartment. And I walked in and it was so big. It always blows my mind. I just sort of realized that we can actually congregate in a space that isn't someone's shoebox bedroom where we're all piled onto a bed talking about how we're all going to fit into an uber to go to this stupid fashion event that nobody even really wants to go to in the first place. It's a bit insane how you meet people who are able to not only sustain a life here, but sustain their creative work.

KUPPER: You're still quite young, but what are some films that you grew up watching that inspired you to make movies?

COPPOLA: Well, whenever I'm asked that question I always go back to The Wizard of Oz. Just in terms of the scope, and the imagery alone. In the sense that, when I watched it, I would act it out as it was playing on the screen. I was so enamored with all of the elements that went into making this movie, whether it was the music, the costumes, the lighting, the set design, the props, the story. That was a movie I watched where I kind of just had this aha moment of, "Holy crap, I need to be a part of this world."

KUPPER: So you want to make movies to sort of capture that feeling.

COPPOLA: I definitely want to make, not just movies, but anything that I create, I really strive to get the core of why we react or why we feel what we feel when we're watching something. It's really kind of powerful to be able to make something like The Wizard of Oz that is the most unrelateable story. It's about a girl that gets swept up in a tornado and ends up in this weird world where she's trying to run away from witches. But there's something about that that really strikes people deep down. And a lot of that's about going back home and going back to a place where you came from. And I think also this element of escapism and fantasy is a really big thing that I aim for as well.

KUPPER: When you called, your number came up as Grand Prairie, Texas. Are you—

COPPOLA: [Laughs] Yes, I always explain this whenever I call people. So I grew up in Dallas, Texas, which is in Highland Park. I have a lot of family that is in LA, in the California area. But, my parents really didn't have an interest in raising a family here. And even though a lot of my dad's side is here, that was something that my parents never really wanted to do. So that explains my Texas area code.

KUPPER: It also explains why you're so enamored with The Wizard of Oz.

COPPOLA: Really?

KUPPER: I mean yeah, if you think about it, growing up in a rural community and wanting to be somewhere over the rainbow where you can make movies and images and everything's in color. That's sort of LA, right?

COPPOLA: Yeah I think that's a really interesting reading, but also it's funny that every time I mention that I grew up in Texas they have a very preconceived idea of what that means. But where I'm from, it's called Highland Park. I do describe it as the southern version of Beverly Hills. Except it's a little more heightened, if that's possible. Because everything's bigger in Texas I suppose.

KUPPER: But anytime you sort of feel like you're outside of LA or New York or these cultural capitals, you sort of feel like you're in the middle of nowhere.

COPPOLA: Totally, I understand, I think I was fortunate enough to travel a lot when I was younger. And my parents really stressed taking lots of trips and seeing different corners of the world. But it was always really interesting to do that and then come back to a place like Dallas. Where people are really content there, and don't necessarily want to leave. There's something really to be said about that. Just like there's something to be said about the fact that people have a really hard time leaving LA.

KUPPER: So the traveling thing, that sort of ties in with the whole idea of your love of hotels. Was that your first short that you shot at the Bowery?

COPPOLA: So that was actually, that wasn't my first short. I made that in film school at NYU Tisch. I made that my junior year, and that was our intermediate thesis. I just shot it sort of as a school project. It was my take on a fashion film, but I also kind of—in that time period, I was really drawn to this format of the fashion film. But I wanted to put my own take on it, so I wanted to add these ideas of nostalgia and real people, but also this idea of acting that wasn't necessarily acting and giving these characters—casting it in a way where these really beautiful people that I knew almost embodied the real people that they were playing. I cast my friend Dylan, he's from Malibu, grew up in Malibu and he kind of has this really distinct James Dean flair to him. The imagery was really beautiful, shooting in a hotel sort of offers this timeless essence. Yeah, of course, and I think that's what draws me to hotels. I love the idea in shooting in spaces that are so intimate and private, but also accessible in a way. Where every time you go into that space, or every time I go into a hotel room, I sort of imagine what happened there before me. Who was in there before I was. Just this idea of: if a hotel room could speak, what would it say? There's just something really magical, there's a really magical quality about having a story play out in a hotel room. Because it's not someone's home. There's a different set of rules that come with being in someone's home. But when you're in a hotel room where—you're not gonna be there forever. There's a time limit. It's almost like the Cinderella complex. Everything's gonna turn back into a pumpkin at some point.

KUPPER: What came first, photography or filmmaking? Because you're a great photographer, you've shot a lot of really great people, where did your interest in photography come from?

COPPOLA: I suppose what's always been at the forefront is filmmaking. Because I remember always making videos on my family's video camera. Just sort of obsessively running around with it, and never really editing the footage together. And it wasn't really until I got access to my own computer and the internet and iMovie that I really started to piece things together and realize that this idea of putting clips back to back and creating your own universe was kind of at your fingertips when you had this editing software. For me, the two were interchangeable. Filmmaking and photography are interchangeable to my creative process because whenever I go somewhere I always carry my point-and-shoot 35 mm with me. It's a personal way of documenting.

KUPPER: So your current project, which you just finished filming, can you talk about it?

COPPOLA: So the title of this film is Daddy. It stars Dylan Sprouse and Ron Rifkin. Obviously two really great actors. Essentially it takes place at the plaza hotel. It's about an 80 year old man, played by Ron Rifkin, whose wife has just passed away. And to celebrate their first anniversary apart, he hires a male escort to take her place for the evening. And they have this really beautiful, sad, interesting night together. Ultimately, I think it's going to be really special. And what's really really exciting is that I think a lot of people are going to be blown away by how these two actors—or what these two actors bring to the table.

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KUPPER: What is that process like, casting and choosing actors?

COPPOLA: We knew that we wanted Dylan, and we also knew that we wanted Ron. But Ron is such a seasoned actor. Not to say that either were an easy get, but Dylan had been aware of the script since the summer. It was really just about figuring out scheduling with him. He wanted to do it, he was on board. We were basically in the final stages of getting him on board, and as we were casting the older man, we knew that we wanted Ron. It was just a question of if he's available, and if he's even interested. Luckily we were able to reach out to him through our casting associate. And he read the script and he just had such a fantastic response in connection to the story and wanted to have a meeting. And I met with him and from there he was on board.

KUPPER: When did you initially start writing this story idea?

COPPOLA: I knew that I wanted to do it since around last year this time. And I had this other project that I was fielding, which is now kind of more of a feature that I am kind of still in the process of developing. But I knew that this was just the most sensible next step for me to take in terms of a project. A lot of people asked me, "Is it a feature?" For me I think, there's something really special about a short form piece. Because it's a little tiny silhouette that's just so—it's probably going to be around 15-20 minutes, but there's something to be said about a contained piece that is thoughtful and really just gets to the point and is succinct

KUPPER: So how fast do you generally want to get back to the drawing board after you make a film?

COPPOLA: My last film that I made, I made in film school. And that was my thesis project. And I screened it this past summer. That was Him. And that was a really great experience. I was doing a lot of traveling in the post-production process. And I sort of put it on the back burner and let the editing process go on for quite a while. This time I realized that it took me a couple of years to get to the point where I shot Daddy, and there was such a span of time spent where I didn't have a different narrative project. I definitely want to keep my momentum up. And I've spoken a lot with my producer about this and kind of everyone working around me. Ultimately my biggest drive at the end of the day is to just keep creating as much as I can and putting out thoughtful content. In a good span of time. It feels good to be in this place, because I know what direction I want to head.

KUPPER: Yeah, evolving and cementing yourself your vision as a filmmaker. It seems like each one of those films you're gonna start to see a style.

COPPOLA: And I think that's—creating a style is one of, if not the most important thing that you should be doing as a director. You have to create a universe that people not only are interested in, but that you're interested in. And that you feel passionate about. With Daddy, that was sort of the first project that I felt was incredibly specific to the world that I wanted to explore. Ultimately that's something that, whenever I'm watching a film or looking at a director's work, one of the main things that I look for and one of the main questions that I ask is: could anyone else have made this?

KUPPER: So when do you expect it to be ready, when do you expect it to come out?

COPPOLA: We're probably going to be starting the editing process within the next month. I'm thinking hopefully we'll have it done by the beginning of summer. That's our aim, our trajectory. But it's been funny because, when we were shooting this film, and leading up to shooting this film, I kept everything so secret.

KUPPER: So are you gonna premiere it in—do you think you'll premiere it in New York first and then LA?

COPPOLA: So, the goal is to take it to festivals and just travel around with it. It's interesting because we shot this film before—Dylan is moving to China, and he's doing a project there. But we kind of had to rush because we really wanted him. It's funny because we wanted Dylan and we really made it work to get it shot in time before he left. But that's our goal.

KUPPER: Well congratulations on that.

COPPOLA: Oh thank you very much. We're really excited about it and I think people are going to be very delighted and intrigued. Because there's a lot of nice little surprises that are lace throughout the project. Everyone is really fantastic in it, but I think specifically Dylan and Ron, just they created something incredibly special between the two of them. And I'm very eager to share it.


Coppola's upcoming film, Daddy, will be available in 2019. Text by Oliver Maxwell Kupper, photographs by Pierre Auroux. Follow AUTRE on Instagram:


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