Roman Coppola: Redefining the Romantic Comedy
Last summer’s Oscar-nominated hit Moonrise Kingdom is a perfect example of the importance of storytelling in film. How one tells a story determines how one makes a film, and Roman Coppola has spent the past few years mastering (and re-mastering) the art of storytelling, as he worked on the scripts for Moonrise Kingdom and The Darjeeling Limited alongside writer/director Wes Anderson. Interestingly enough, the illustrated Moonrise Kingdom script was recently released, and it offers a glimpse inside that unforgettable world of young love, adventure and fantasy. Although Coppola has written another script with similar themes, we can expect a completely different style of execution, since he will be donning the director’s hat in the effort. A Glimpse Inside The Mind Of Charles Swan III is Coppola’s second feature film (CQ was released in 2001), and, in discussing his approach to this new story with Paste, he offers us a glimpse inside of his own mind, where fantasy meets biography (and often autobiography), and the romantic comedy gets a few new twists.
Paste: Everyone will have certain expectations of A Glimpse Inside the Mind of Charles Swan III, and those expectations will be based on the work we’ve seen you do with Wes Anderson, and also what we’ve seen from actors like Charlie Sheen and Jason Schwartzman. How will the movie fit in with some of those expectations and how, do you think, it will deviate from them or surprise some of us?
Coppola: It’s an interesting question and a hard one to answer because expectations are so hard to anticipate. People have been asking me if the film’s based on Charlie Sheen. You know, it’s about a guy who’s dealing with a breakup. And Charlie very much embodies the role. I cast him for a reason. He’s got a lot of charm and wit, and certain qualities that were very much like Charles Swan. At the same time, the two men are vastly different. So I would say the film is more of an invitation. I invite people to see how much these things relate to the real Charlie Sheen or not.
Also, in terms of what people can expect, my movie is kind of unusual. It’s a story of a breakup seen through this guy’s point of view, and this guy happens to have a wild imagination. It’s kind of kaleidoscopic. There are some fantasy sequences, time is slightly distorted, and it’s meant to resemble the sensation of breaking up with someone. It’s a little bit of a wild ride.
Paste: Last time Paste talked to you, when Moonrise Kingdom first came out, you discussed working with Anderson, and how it’s very pragmatic and very practical. Did you find yourself taking a similar approach with this project?
Coppola: With Wes, it’s awfully practical. With me, there was a bit more daydreaming. My script took me seven or eight years to really figure out. I knew I wanted to make a story about a really outlandish character who was sort of balls out and very imaginative, and also didn’t have his shit together [laughs]. I wanted it to be very free. If I wanted to have a dance scene, then there’d be a dance scene. If I wanted him to speak Portuguese, why not? That was sort of the preface—anything goes! But within that, you need to have a certain shape and form.
Paste: How did that style affect the development of this character, Charles Swan?
Coppola: I’d ask myself about the character—what kind of car would he drive? And I’d think, well, he’d probably drive an old Cadillac, a 1941 Cadillac two-door fastback. Great design! But being a graphic designer, would he just let the car be normal, or would he put some decoration on it? Well, he’d probably paint it. And what would he paint on it? How ’bout fried eggs and bacon? [laughs]