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					           MARIE ANTOINETTE
From Academy Award®-winning screenwriter and Oscar® nominated director
Sofia Coppola, comes a youthful and contemporary 21 st century movie about an
18th Century legend — Marie Antoinette.


Often maligned, passionately debated and ultimately a misunderstood young
woman, Marie Antoinette (Kirsten Dunst) through Coppola’s vision emerges
neither as staid historical villain nor divine idol — but as a confused and lonely
teenage outsider thrust against her will into a decadent and scandal-plagued
world on the eve of disaster.


MARIE ANTOINETTE marks writer/director Coppola’s third feature film, and by
far her most ambitious. Based on Antonia Fraser’s acclaimed biography Marie
Antoinette: The Journey, Coppola has transformed the misunderstood Marie
Antoinette through her refreshingly modern and upbeat treatment that’s devoid of
conventions of period pieces and, in its place, presents a moving story of
adolescent angst and spirit. Coppola’s strikingly personal vision and deft visual
style re-imagines Marie Antoinette and the entire court of Versailles through the
lens of today’s pop culture.


“Everything we did is based on research about the period, but it’s all seen in a
contemporary way,” says Coppola. “My biggest fear was making a ‘Masterpiece
Theatre’ kind of movie. I didn’t want to make a dry, historical period movie with
the distant, cold tableau of shots. It was very important to me to tell the story in
my own way. In the same way as I wanted LOST IN TRANSLATION to feel like
you had just spent a couple of hours in Tokyo, I wanted this film to let the
audience feel what it might be like to be in Versailles during that time and to
really get lost in that world.”
Marie Antoinette today conjures up images of a glamorous Queen who lived in
luxury and uttered the immortal words — “Let them eat cake” while the French
peasant class starved. Ultimately the peasants revolted, and she was sentenced
to death for her perceived contempt and indifference. However, recent historical
research demonstrates that much of what we thought we knew about Marie
Antoinette was just a myth – and in fact she never uttered those immortal words
she is so famously credited with saying.


The real Marie Antoinette was a naïve and lost teenager who was unprepared to
take her place as a major player in the turbulent history of late 18 th century
France. The Austrian-born princess was shipped off to Versailles at 14, where
she was shocked by the rigid etiquette, brutal family infighting and merciless
gossip of the French royal court. Trapped in a dispassionate marriage and forced
to live in the unforgiving glare of the public spotlight, Marie Antoinette found her
escape in the only refuge allowed her — the sensual pleasures of youth. But her
frivolity unwittingly made her the object of scandal, a target for political
propaganda and a convenient scapegoat for a poverty-stricken society on the
verge of revolution. In the end, she faced her enemies and accepted her fate
with dignity and courage.


Kirsten Dunst stars as the youthful princess whose fateful life became the stuff of
myth and legend. The story begins when 14-year-old Marie Antoinette is whisked
away from her family and friends in Vienna and deposited in the sophisticated and
decadent world of Versailles, the lavish royal court near Paris. Marie Antoinette is
merely a pawn in an arranged marriage meant to solidify the harmony between
two nations. Her teenage husband, Louis (Jason Schwartzman), the Dauphin is
heir to the French throne. But Marie Antoinette is ill prepared to be the kind of
ruler for whom the French populace yearns.           Beneath her finery, she’s a
sheltered, frightened and confused young woman, surrounded by detractors,
flatterers, puppet masters and gossips. Trapped by the conventions of her station
in life, Marie Antoinette must find a way to fit into the complex and treacherous
world of Versailles.


Adding to her woes is the indifference of her new husband. Marie Antoinette’s
marriage goes unconsummated for an astonishing seven years. The awkward,
future king proves to be a disaster as a lover, which leads to grave concerns (and
relentless gossip) that Marie Antoinette will never produce an heir.


Overwhelmed and distraught, Marie Antoinette seeks refuge in the decadence of
the French aristocracy and in a secret love affair with the alluring Swedish Count
Fersen (Jamie Dornan). Her indiscretions are soon the talk of France. Whether
she is being idealized for her impeccable style or vilified for being unforgivably out
of touch with her subjects, reaction to Marie Antoinette is always extreme.


Yet, slowly, as she matures, she begins to find her way as a wife, mother and
Queen — only to be tragically swept up in a bloody revolution that alters the
history of France.


Columbia Pictures Presents in Association with Pricel and Tohokushinsha An
American Zoetrope Production MARIE ANTOINETTE starring Kirsten Dunst,
Jason Schwartzman, Judy Davis, Rip Torn, Asia Argento, Rose Byrne, Molly
Shannon, Shirley Henderson, Danny Huston and Steve Coogan. The film is
directed by Sofia Coppola, from a screenplay by Sofia Coppola based on the
book Marie Antoinette: The Journey by Antonia Fraser. The producers are Ross
Katz and Sofia Coppola. The executive producers are Fred Roos and Francis
Ford Coppola. The co-producer is Callum Greene. The director of photography is
Lance Acord, ASC. The production designer is KK Barrett. The editor is edited
Sarah Flack. The costume designer is Milena Canonero. The music producer is
Brian Reitzell.
A NEW VIEW OF MARIE ANTOINETTE

The true story of Marie Antoinette’s misunderstood life came to widespread
attention in 2002 with the publication of Antonia Fraser’s highly readable
biography Marie Antoinette: The Journey. The book immediately garnered
acclaim for its meticulous research, which offered a completely new and
compelling view of the much-maligned monarch. Fraser painted a picture not of
an imperious Queen oblivious to suffering but rather of a fanciful, lively teenager
who was warm and empathic by nature, yet unprepared for the demands of her
highly visible life in the French royal court of Versailles and the intrigues of
political power.


The irony was that, despite being surrounded by thousands of onlookers and
attendants, Marie Antoinette felt utterly secluded and alone – a young girl
trapped in a fantasy world that left her precious little freedom.


It was this unusual and surprising take on Marie Antoinette that caught the
attention of writer/director Sofia Coppola. Like most of us, Coppola was familiar
only with the standard myths about the world’s most infamous Queen. Through
Fraser’s biography, a more sympathetic and believably human young woman
emerged. Here was a Marie Antoinette who was vibrantly youthful and strikingly
contemporary in her struggles       — with loneliness, gossip, desire, love and
coming of age — except that the consequences of her journey unfolded on an
enormous historical stage.


“I had heard the usual clichés about Marie Antoinette and her decadent lifestyle,”
comments Coppola. “But I had never realized before how young she and Louis
XVI really were. They were basically teenagers in charge of running France
during a very volatile period and from within an incredibly extravagant setting, the
royal court of Versailles. That’s what first interested me: The idea that these
young kids were placed in that position and trying to find out what they went
through trying to grow up in such an extreme situation.”


The more she learned about her, the more Coppola became fascinated by Marie
Antoinette’s inner experience. She was intrigued by the story of how Marie
Antoinette was completely uprooted in the middle of adolescence, married off to
a royal figure who offered her no warmth or affection, subjected to severe
scrutiny, arbitrary rules and public ridicule — and at the same time given license
to satisfy her every whim.      Coppola wondered how a modern teenager would
have handled such a completely surreal situation.


“I became interested in the things Marie Antoinette went through that were
relatable on a human level,” Coppola continues. “She was basically regarded as
an outsider in France and had to deal with in-laws who didn’t approve of her, a
husband who wasn’t interested in her and this entire court, which was highly
critical of her.   She was like the new kid in school — but in a very alien
environment. I could imagine her going off to her private room with her friends to
escape the severe rules of court etiquette. I began to imagine what it would be
like to be in that situation. Throughout history she’s been portrayed as a villain,
but as I read about her, the more she seemed quite sweet, a little naïve or
sheltered, but mostly a good-hearted, creative person who was unaware of the
world outside of Versailles.”


Coppola was also interested in Marie Antoinette as a struggling young wife,
desperate to please her husband but incapable of making him happy. “I was
taken by the idea that, because she was so unhappy in her marriage, she started
shopping and going to parties as a distraction — like a contemporary rich wife in
a loveless marriage. She really didn’t want to go home to this guy who was
always rejecting her, so she found other ways to distract herself,” Coppola
observes.
In order to convey all these ideas, Coppola reasoned, she would have to write
Marie Antoinette’s story in a completely different way. Instead of the typical
sweeping costume epic, she wanted to tell a more intimate tale, invested with all
the energy and angst of a young woman’s coming of age. Her Marie Antoinette
was to be a flawed woman, ultimately redeemed by the grace she displays under
fire.



A FRESH APPROACH

“My main objective was to not make a big, historical epic,” says Coppola of her
original approach to MARIE ANTOINETTE. “Her life is a huge historical
chronicle, and while I was respectful of that, I wanted to tell a much more
impressionistic story from Marie Antoinette’s point of view as we watch her grow
and mature. Most of the stories we know about her come from other people’s
perceptions of her. I was much less interested in the political and historical views
of her and more in her personal experience. Rather than a stuffy, formal portrait, I
wanted to reveal the way people must have behaved when they were behind
closed doors.”


Right from the start, Coppola focused on an iconoclastic approach, not only in
the story, but in its presentation, involving a distinctly modern, graphic style,
hoping to turn a historical subject into one that was more immediate, emotional
and visceral. “The idea was to capture in the design the way in which I imagined
the essence of Marie Antoinette’s spirit,” Coppola explains. “So the film’s candy
colors, its atmosphere and the teenaged music all reflect and are meant to evoke
how I saw that world from Marie Antoinette’s perspective. She was in a total silk
and cake world. It was a complete bubble right up until the very end.”


Coppola approached historical biographer Antonia Fraser about adapting her
book into a highly stylized film. Fraser was both surprised and pleased by the
director’s singular approach toward shattering the myths surrounding Marie
Antoinette. “I was very attracted by Sofia’s enthusiasm,” says Fraser. “We come
from very different angles but she had her own vision of Marie Antoinette and a
wonderful intensity.”


“Sofia understood that the things that happened to Marie Antoinette were
absolutely extraordinary,” says Fraser. “First, she was essentially sold into
slavery to become a French princess. Then she was supposed to support Austria
at the age of 14. Then she’s got into this weird, unconsummated marriage but
was supposed to produce a child. Sofia shows very sympathetically how Marie
Antoinette tried to cope with this remarkable situation. All the shopping,
extravagance and decadence were a reaction to all of the terrible things that
happened to her yet were not of her making. I liked that approach very much.”


As she came at the story in her own way, Coppola found inspiration from other
modern sources as well – especially the New Romantic pop music movement of
the 1980s — which was itself heavily influenced by 18th century ideals of
extravagance. New Romantic artists such as Bow Wow Wow and Adam Ant
celebrated glamour, luxurious fashion and hedonistic fun during that period as a
kind of counterpoint to both the boredom of classic rock and the primal anger of
punk music. Coppola saw the music as a modern lens through which to view
Marie Antoinette – and songs such as Bow Wow Wow’s “I Want Candy” seemed
to serve as a perfect, modern expression of Marie Antoinette’s impulses to find
fulfillment through pleasure.


“I really wanted to bring a little of the New Romantic spirit into it because I felt it
had such a similar mix of youthfulness, color and decadence,” says Coppola.
“This is a more playful version of history that reflects teenagers in a decadent
time. At the same time, there is always a sense that while they’re partying into
oblivion the revolution is right around the corner.”
“I really wanted to bring a little of the New Romantic spirit into it because I felt it
had such a similar mix of youthfulness, color and decadence,” Coppola
continues. “This is a more playful version of history that reflects teenagers in a
decadent time and is reflected in the mixture of contemporary music with
classical 18th music. At the same time, there is always a sense that while they’re
partying into oblivion the revolution is right around the corner.”




FINDING MARIE ANTOINETTE

Even before Coppola started writing the screenplay for MARIE ANTOINETTE
she could only envision one actress in the lead role: Kirsten Dunst, who seemed
to possess both the sprite-like spirit and the dazzling, pale complexion for which
the French Queen was so famous. Dunst, who made her debut in Woody Allen’s
NEW YORK STORIES and went on to garner a Golden Globe for Neil Jordan’s
INTERVIEW WITH A VAMPIRE, first worked with Coppola in the director’s
acclaimed debut THE VIRGIN SUICIDES. She has since gone on to roles that
range from the popular teen hit BRING IT ON, to the femme fatale of the
blockbuster SPIDER-MAN® series, to the surreal comedy of ETERNAL
SUNSHINE OF THE SPOTLESS MIND.


Says Coppola: “In everything I read about Marie Antoinette, I pictured Kirsten.
She has that same quality of being a bubbly, full-of-life blonde who has a lot
more going on than people assume. Kirsten also had that same playful, creative
spirit that I sensed in Marie Antoinette. She has that certain mix of charm and
depth – and, being part German, she also has the perfect skin and look for the
role. I knew Kirsten could bring Marie Antoinette to life, as I had imagined her.”


Biographer Antonia Fraser was equally excited about the casting. “I thought,
‘that’s absolutely the right face,’” she says upon hearing that Dunst would tackle
the role. “That’s exactly the kind of jewel eye and prettiness that was so alluring.
When I saw her in person, I thought she was a perfect physical match. She
especially has that gracefulness for which Marie Antoinette was so renowned.”


Like Coppola, Dunst found herself riveted by the concept of Marie Antoinette as a
vivacious, sweet, yet slightly rebellious teen who found herself in incredible
circumstances of both luxury and scrutiny. She immediately drew a link between
Marie Antoinette and her modern-day counterpart — the late Princess Diana,
another young outsider who struggled to find herself amidst a stifling cult of
celebrity and royalty.


For Dunst, the parallels between Marie Antoinette and her own life as a child
actress also resonated. “I could really relate to her because I started acting when
I was 11 and since then, I’ve been constantly surrounded by adults, constantly
surrounded by people I’m trying to please. That’s why I really understood the
situation Marie Antoinette was in – leaving her home and coming to this place
where there were all these expectations and all these judgments about her.“


Dunst continues: “When there are so many people paying so much attention to
you and wanting so much from you, it can make you feel very isolated and lonely.
You’re constantly wondering, ‘Is this person using me?’ or ‘How do people see
me?’ It created a kind of sadness in Marie Antoinette that hasn’t really been seen
before. I think Sofia probably wanted me to play Marie Antoinette because she
saw that I had that same sadness and loneliness in me.”


Though the film covers some 19 years of Marie Antoinette’s life, and required
Dunst to move back in forth in time throughout the shoot, she saw Marie
Antoinette’s emotional evolution as often stunted by her very unusual
circumstances. “I think over the years Marie Antoinette developed into a kind of
wise child,” Dunst observes. “She came to Versailles as a teenager but there,
she was so isolated, that she remained child-like through much of her life. Her
tragedy is that she didn’t really come into her own and become an adult until it
was too late.”


For Dunst, part of the challenge of playing Marie Antoinette was creating a
character who doesn’t have a solid sense of being a completed person. “I had to
allow myself as much as I could not to worry about feeling solid,” she says. “But
that is part of what interested me in what Sofia was doing. This isn’t a history
piece so much as it is the story of a girl who was very human, very real and is
very understandable to us today. People don’t really act the way you often see
them in period films, and Sofia wanted something much more natural, without
accents. For me, it was more freeing and I think will help people to better
understand what Marie Antoinette went through.”


The chance to work again with Coppola was also a major draw for Dunst.
“Sofia’s almost like an older sister to me, in a way,” she remarks. “What’s nice is
that we didn’t ever really have to over-analyze the scenes or talk about them too
much because I pretty much know what she wants most of the time. I look up to
her and I admire her but she also makes me feel really confident in what I’m
doing. I also especially like working with a woman director. It was always a very
open and relaxed atmosphere.”


To prepare for the role, Dunst immersed herself in some of Marie Antoinette’s
most famous activities. “I took dance lessons, singing lessons, harp lessons,
etiquette lessons and more,” she notes. “I felt like I learned a little bit about the
things people did during that period.”


Dunst even had to learn the famous “Versailles glide” – the exaggerated
movement in which ladies in giant hoop dresses appeared to never touch their
feet to the ground.
Dunst faced not only emotional challenges in portraying Marie Antoinette’s
journey from playful child to tragic Queen but the physical challenges of being
transformed into an 18th Century fashion goddess complete with rib-crushing
corsets, truly massive hair and extensive makeup, including the lavish rouge
circles that were emblematic of the French aristocracy. “The daily process was
pretty brutal,” Dunst admits. “There was a constant flow of dry shampoo and hair
spray and they were always piling more and more stuff on me. I often needed a
break after the hair and makeup sessions because it was so stressful.”


When it came to wearing corsets, Dunst was amazed that women put up with it.
“It’s very hard to breathe and get a sense of your body in the clothes from that
era, so I tried to get away with wearing as little underneath as I possibly could. I
wore corsets in Versailles but once Marie Antoinette goes to Le Petit Trianon, I
wanted her to feel freer and to feel the fabric against my skin to convey that
change. I always felt like Marie Antoinette must have been like a bird – always
trying to get out of all these cages around her.”


AN UNEXPECTED LOUIS XVI

Just as Coppola envisioned Kirsten Dunst as Marie Antoinette, she had a similar
picture in her mind of Jason Schwartzman as King Louis XVI, known as France’s
most awkward, timid and reluctant monarch. Schwartzman, who came to the
fore with a lauded performance in Wes Anderson’s RUSHMORE, has more
recently been seen in such contemporary roles as David O. Russell’s I ♥
HUCKABEES and Steve Martin’s SHOPGIRL. He was an unexpected choice for
a period piece, which is part of what struck Coppola as being just right.


“I always felt there was something very sympathetic about Louis XVI,“ comments
Coppola. “He was never meant to be King and was only in that position because
his older brother died. I think he was plagued with this sense of being very
inadequate – he was near-sighted and said to be inept at a great many things.
So I really felt that Jason, who has this very vulnerable and sensitive side, would
make Louis more touching and believable. I think he brings heart to Louis XVI.
And another thing about Jason is that he looks like a Bourbon. When you look at
those old portraits, he fits right in, although Antonia Fraser said – and I agree –
that Jason is a lot more handsome than Louis.”


Coppola was also impressed with how Schwartzman threw himself into the role,
gaining more than 40 pounds to portray the famously chubby monarch and taking
extensive lessons in order to learn how to dance, ride horseback and carry
himself with 18th Century royal comportment – albeit in a uniquely nerdy and
myopic way.


Schwartzman was taken with Coppola’s intrepidly modern approach. “I liked the
idea of giving these historical figures some mouth-to-mouth resuscitation and
helping to bring Louis XVI fully to life,” he comments. “ We tend to forget that
when thinking about historical figures, or anyone from long ago — that they were
real moving people who were sometimes afraid and who sometimes got too full,
and sometimes slouched, and sometimes doubted this or that. I remember
seeing Amadeus when I was a kid and having my mind totally blown apart
because it was the first time I realized people from the 18th century laughed. I
was so young and my perception of the past was very much, ‘They were old and
cold and uptight.’ Seeing that film changed me, It made those people real and
accessible. What I found so compelling was that the film took the characters
seriously without ever losing sight of the fact that no matter what title they held,
or how genius they were, they were always, at the end of the day, just people. I
find that to be true with Marie Antoinette as well. It’s not like watching people up
on a pedestal from far away – you’re right in there with Marie Antoinette and
Louis in their daily lives. So it’s a very intimate story about something huge.”


Schwartzman immersed himself in Louis’ life in preparation for the role – a
process that led to at least as much confusion as certainty. “It seems that the
view of who Louis was is completely different in every historian’s interpretation,”
he says. “Even his personal diaries weren’t very personal. On the day he meets
Marie Antoinette, the woman he is going to spend the rest of his life with, he
writes in hunting log: ‘Met the Dauphine today.’ That’s it. And on their wedding
night, when they are supposed to consummate the marriage, he writes: ‘Nothing
happened.’ No more. So he’s quite tough to figure out. Ultimately, after all the
research, I decided to base everything on Antonia’s book and Sofia’s script.”


Schwartzman viewed Louis’ predicament sympathetically. “I came to see him as
a young man who was placed in a position in which he felt overwhelmed. He
didn’t see himself as strong enough, handsome enough or brilliant enough to be
King, but he also really believed that God had intended for him to be King,” he
says.


When it came to his young wife, however, Louis was completely at a loss. For his
scenes with Kirsten Dunst, Schwartzman recalls Coppola’s advice. “Her note to
me was that any time there was an uncomfortable silence, don’t try to fill it and
don’t try to make Kirsten comfortable; just let the tension be there,” he says.
“This was really difficult, especially because Kirsten is such a nice person. But I
think it worked very nicely because you see that Marie Antoinette is so eager to
be liked by Louis and he just can’t seem to find a way to make it easy for her to
be in his presence.”


In the bedroom, all the pressures on Louis and Marie Antoinette lead to an
incredible seven-year drought of passion. Although theories about just what was
wrong have ranged from the psychological to the physiological, Schwartzman
has his own view: “I think Louis had performance anxiety — on a huge leve,” he
observes. “It must have been tough to be so young and on the cusp of so much
power with all these people looking at you and wanting things from you – and at
the same time you still feel really awkward and uncomfortable in your own skin. If
you take two people in this predicament and throw them into a bedroom situation,
all kinds of inappropriate feelings are going to come up.”


Another challenge for Schwartzman was bringing his character to life with
precious few lines of dialogue. “Louis is a silent person but with Sofia, silence is
never really silence,” he explains. “We went through each of the scenes where
Louis is sort of just sitting there and talked about what he is really thinking about
in his head. We discussed all the things he really wanted to say but couldn’t. Was
that really what Louis XVI was thinking? Nobody can know for sure, but I think we
came up with a good synthesis between what is known and Sofia’s
interpretation.”


Throughout, Schwartzman especially enjoyed working with Coppola. “From the
second we started this film, I trusted her with my heart and soul,” he says. “I
think a lot of us on the set share similar experiences and she used a lot of
memories, references and pages from our lives to give us all a common ground
during the production. She would say ‘It’s like this song’ or ‘it’s like this movie’ or
‘it’s like that time we were at dinner’ – and you really understood what she was
talking about.”


Much of the role was a revelation for Schwartzman. “Being a King is something I
never thought I’d be asked to do,” he admits. “I learned how to ride horses, how
to dance a minuet, how to bow and how to use proper 18 th century etiquette. I
could now sit at a dinner table with the best of Versailles and fit right in. It’s been
a really enriching experience.”


CASTING THE COURT

From the moment she arrived in France, Marie Antoinette was surrounded by an
entirely new culture and a chaotic coterie of nobles at Versailles, who seemed to
either revere or revile her without really knowing her. To bring the human side of
Versailles to life, Sofia Coppola continued with her iconoclastic vision, choosing a
wide range of distinct personalities from around the world to breathe fresh air and
life into 18th Century figures who today are mostly just names in history books.


“Our cast is definitely eccentric,” Coppola admits. “We have Rip Torn, a Texan
King of France, Asia Argento, an Italian Madame Du Barry and Judy Davis, an
Australian Comtesse De Noailles, so it’s a very mixed group, which seemed right
because it was a very eccentric and decadent time and the cast really gives it
that flavor of extremism.      I loved watching these actors imagine those
characters.”


The actors were all drawn to the project for similar reasons – for the chance to
bring more color, verve and human foibles to historical characters, than is usually
required in movies. One actress who had an especially good time, she says, was
Judy Davis, the two-time Academy Award® nominee who plays the Comtesse de
Noailles, a woman who was known, even to her own family, as “Madame
Etiquette.” “She’s a real zealot,” says Davis, “and those characters are always
very interesting and amusing to play. I think there’s also quite a bit of humor to
be discovered in her. Marie Antoinette’s every impulse was to fight the whole
system of privilege, form and etiquette at Versailles, and meanwhile, my
character has an almost religious fervor for that system. It was her life and her
structure.”


Davis also enjoyed Coppola’s style on the set. “She’s a very playful director with
a light touch and that is quite refreshing,” she says. “And she’s written a cheeky
modern script.” That script reminded Davis of just how much the mythmaking that
went on centuries ago still effects our impressions. “The power of propaganda is
such that 18th century talk of Marie Antoinette still has potency today,” she
observes. “It will be interesting to see if anything can dismantle the rumors that
have been used to condemn her since she was a young girl.”
With his Shakespearean background, Emmy and Golden Globe winner Rip Torn
was also excited to return to the past – with a more modern point-of-view. Torn
plays King Louis XV as an unrepentant sensualist, whose main appreciation of
Marie Antoinette is based on her physical attributes. “Sofia said ‘I’d like to see
you in tights again,’” Torn laughingly recalls of his casting. “She said that she
remembered me doing Shakespeare and Molière and wearing all the costumes
of the day as if I had lived in them. I had pretty well figured I would never get a
chance to play this kind of role again so it’s been a kind of miraculous, stunning
experience for me.”


For author Antonia Fraser, Torn’s casting as Louis XV was one of the film’s most
intriguing. “He really captured the essence of an aging satyr,” she comments.


Meanwhile, leading British comic and rising screen star Steve Coogan (24 HOUR
PARTY PEOPLE, TRISTRAM SHANDY: A COCK AND BULL STORY) took on
the role of Count Mercy D’Argenteau, the elegant Austrian ambassador who was
handed the delicate mission of serving as advisor to Marie Antoinette when she
arrived at Versailles. “Count Mercy’s very political,” according to Coogan. “He
tries to coax and steer Marie Antoinette, knowing he can’t really confront her. He
always has to cloak his words in ways that won’t offend her majesty — though I
think sometimes he’d just like to kick her backside.”


Like the rest of the cast, Coogan was surprised by Coppola’s portrait of Marie
Antoinette. “In this version Marie Antoinette was really the first victim of bad PR,”
laughs Coogan. “What I really liked is the fact that Sofia tried to make a story
about her that would resonate with a younger generation. She has not made a
mannered sort of drama without any relevance to people today. She draws a
parallel with the current cult of celebrity that we’re all very aware of.”


American actress Molly Shannon was nine months pregnant when she heard she
was being considered for a role in MARIE ANTOINETTE.                 Her agent nearly
turned down the film, concerned that Shannon would want to take some time off
after giving birth, but Shannon told Coppola she would do anything she could to
take part. Ten days after she gave birth, she was on the set in France, her
newborn in her arms. "I think there are very few female directors doing what
Sofia is doing and I was so excited to work with her that I just couldn't miss it,"
says Shannon.


Best known for her work as part of the ensemble cast of "Saturday Night Live,"
Shannon also saw a comedic element in her role as royal Aunt Victoire, Louis
XV's meddlesome daughter. "The royal aunts were caught up in the goings-on
and petty gossip at Versailles," Shannon notes. "I think they were women who
never married, were sort of bored and sat around the castle with nothing better to
do than talk about who did what wrong, who was sleeping with whom, etc. In that
sense, they're great characters."


Another actress who had unique insight into her character is pop icon Marianne
Faithfull who plays Marie Antoinette’s iron-fisted, politically savvy mother, Maria
Teresa, Empress of Austria. Faithfull is not only often considered rock n’ roll
royalty, but is also a descendant of Viennese nobles. “My mother was an
Austrian aristocrat and I had 800 years of background to draw on for this role,”
notes Faithfull.


Filmmaker turned screen star Danny Huston, who plays Marie Antoinette’s
favorite older brother Emperor Joseph II, was also compelled by Coppola’s
unique way of retelling this legendary story. “Sofia reminds me of a contemporary
version of other great directors I have worked with,” says Huston. “She has a
very youthful eye and I think a good way to describe her version of Marie
Antoinette is ‘sexy candy.’ When I say that I don’t mean that it has no depth but
rather that it’s a very colorful look at these characters who were caught in a very
superficial world. But in the words of Oscar Wilde, ‘Only superficial people can’t
be superficial.’”
Echoing the sentiments of his cast-mates, Huston especially enjoyed working
closely with Dunst as Marie Antoinette. “She is absolutely wonderful in the role,”
he summarizes. “She’s like this child who’s trapped in this very elaborate, golden
cage. She’s so beautiful and dainty and personable, yet she’s also so alone.
Every time I looked at her, my heart went out to her.”


SECURING THE KEYS TO VERSAILLES

Though Sofia Coppola always had her own original vision for the look of MARIE
ANTOINETTE she hoped from the start to marry that with authentic locations.
Her wish was granted when the French government gave her special permission
to film in the Palace of Versailles, literally offering her the giant iron keys to the
palace’s most off-limit rooms — from Marie Antoinette’s bedroom to the
legendary Hall of Mirrors where Marie Antoinette once heard a young Wolfgang
Amadeus Mozart perform. Due to the Palace Director’s appreciation of Coppola’s
work, she became the first filmmaker to ever gain widespread access to the vast
historical monument. “I was given more access to Versailles than I was to the
Park Hyatt in Tokyo for LOST IN TRANSLATION,” Coppola remarks.


One of the world’s most famous historical monuments, and an enduring symbol
of wealth, royalty and luxury, the Château de Versailles was originally
commissioned by King Louis XIV — who brought in the talented architect Jules
Hardouin Monsart to create the largest palace in Europe on the site of his father’s
old hunting lodge.     The grand complex was surrounded by lavish gardens
designed by André Le Nôtre, while the interiors were decorated by the celebrated
painter Charles Brun. The walls were lined with the masterworks of French
artists. The result, completed in the early 1680s, was a truly massive, gilded
compound, capable of housing 20,000 – so large that historians note that by the
18th Century a significant portion of France’s faltering income was spent simply to
maintain the palace.
With more than 700 rooms, 2,000 windows, 1,250 fireplaces, 67 staircases and
some 1,800 acres of parkland lined with fountains, statues and formal gardens,
Versailles provided an inimitable location for filming. “It was thrilling to shoot in
the place where many of these events actually took place,” says Coppola. “And
they gave us remarkable freedom. They actually let us park our trucks right in
front of the palace and keep our camera equipment in Marie Antoinette’s
bedroom.”


She continues: “We were able to shoot Marie Antoinette’s wedding in the real
cathedral where she was married and, at the end of the film, we were able to
shoot the scene where she goes out onto a balcony with the mob below where it
actually happened. To be able to recreate these remarkable moments in the real
places where they happened was a very spooky and unique experience.”


Yet the challenges were also very real. Production designer KK Barrett quickly
realized that Versailles would be as tricky a location as it was inspirational.
“When I heard that we would have unprecedented access to Versailles, I was
very excited. Considering the scale of it and the wealth that was represented it
would have been nearly impossible to replicate,” he says. “But the reality is that
Versailles is a museum, a sort of frozen representation of how things were, and
we had to find a way to somehow depict it as completely alive. Little by little, we
were allowed to come in and embellish the rooms and bring in food and props
and draperies to make it feel as if thousands of people were living there.”


For preservation’s sake, there were also numerous rules that had to be followed.
“In some rooms, we couldn’t open the blinds because just exposure to sun could
destroy the color in the fabric and or cause it to start to disintegrate,” Barrett
explains. “We also couldn’t use any of the furniture in Versailles, which we
immediately respected, but it meant we had the task of finding and bringing in our
own furniture that would be competitive with the scale of what was already on the
walls, which was pretty daunting.”


Despite the film’s intimacy, Versailles also gave Barrett a chance to indulge in a
bit of wild ostentation. “There was a pattern of wealth and indulgence and
decadence at Versailles that we took to heart and elaborated upon, while at the
same time maintaining that kind of reckless innocence and naïveté that
characterized Marie Antoinette,” he says. “It’s not the Old World of France that
we see. Instead, everything is viewed through our Marie Antoinette’s rose-
colored glasses.”


Once the cast arrived at Versailles, they too found themselves caught up in the
grandeur of the place. “We were taken around and shown secret apartments and
secret staircases and all these little rooms and buildings no one else is allowed to
go into and it was truly amazing to have so much access to the past,” says
Schwartzman. “One thing that I found so incredible was just the scale of it. Now
when I go to London and see Buckingham Palace I think, ‘It’s so tiny.’”


Complicating matters throughout the shoot was the fact that Versailles is also a
major tourist attraction, which remained largely open to the public during
production. At one point, Schwartzman was walking in the gardens of Versailles
in his full Louis XVI costume trying to get into character for an upcoming scene
when a group of tourists came around the bend and surprised him. Comments
Coppola:   “He said he never broke character so I wonder if there were any
reported Louis ghost sightings that day.”


I WANT CANDY: THE “CANDY AND CAKE” WORLD OF
MARIE ANTOINETTE
Despite shooting at Versailles and other atmospherically rich historical French
locations, Sofia Coppola set out to bring her own distinctively contemporary style
to the storytelling. She always had a very strong vision of how she wanted the
film to look and feel – inspired by the sensual delights of the mouth-watering
colors and decadent fashions that brought Marie Antoinette solace. Long before
production began, she created collage books that reflected the core of the film’s
aesthetic.


“I definitely didn’t want your standard, generic, period look with the standard
rented costumes,” she explains. “I really wanted to do this my own way with hair,
makeup and costumes that feel completely unique to this movie.”


In collaboration with cinematographer Lance Acord, production designer KK
Barrett and costume designer Milena Canonero, Coppola developed a palette
that defies the usual gloomy, hazy look of the past – and instead bursts with
bright, light, sherbet-like colors and downright mod photography.        As Marie
Antoinette grows up, becomes a mother and heads to her artistic retreat at Le
Petit Trianon, the style shifts into more naturalistic colors and lighting, only
growing a bit darker and more austere in the final chapter of Marie Antoinette’s
life at Versailles, as the revolution looms and Marie Antoinette finds the courage
of adulthood.


Coppola says of her overall concept: “It was very much a girlish fantasy – every
frame was filled with beautiful flowers, enormous cakes, silk and tassels.”


Antonia Fraser, who spent years researching Marie Antoinette’s life, was
astonished by the completeness of Coppola’s vision. “I adore the look of the film,”
she says. “I thought it was magically beautiful. It’s something film can do that I
could never do. I can write page after page about the beauty of Versailles and
the grace of Marie Antoinette, but on film it’s so much stronger.“
Reuniting with Coppola after LOST IN TRANSLATION, cinematographer Lance
Acord was drawn to the challenge of doing something new and innovative with a
usually staid genre. “Sofia and I talked a lot about how you can make a period
movie without falling into the conventions of period films,” he says. “From our
earliest discussions, Sofia and I agreed that we wanted to avoid making paintings
but instead create a very imaginative, personal, alive story inside a real historical
past.”


“We embraced a bright, high key, approach to the lighting,” he continues. “So
often in period films the locations, furnishings, and costumes are distressed and
the mood is dark, cold, and dreary. Marie Antoinette lived in a world of luxury
goods. Everything from her furniture, to her wardrobe and bedding was to be
fresh and new. The color palette was inspired by Ladurée macaroons. We were
excited by the idea that we could open this world up, make it brighter, more
‘Pop.’”


Acord and Coppola, who have developed their own special communication when
they collaborate, continued to evolve their partnership on MARIE ANTOINETTE.
“We’ve never really worked from storyboards. Usually the actors would rehearse
and then we would take into account the emotion in the script, location, lighting,
and decide how to shoot the scene,” says Acord. “It’s a more intuitive process of
observation and discovering things as they present themselves to you. Sofia, in
her own quiet way, has a very clear and artful understanding of what she wants
and she really trusted me to help create that.”



Meanwhile, production designer Barrett, who also collaborated with Coppola and
Acord on LOST IN TRANSLATION, saw his role as creating a kind of infinite
pastel bubble of surface beauty around Marie Antoinette. He too was excited by
Coppola’s fresh vision of recreating history. “It was clear right from the start that
Sofia was going to take a very impressionistic approach,” he says. “The focus
isn’t on what the people around her thought about Marie Antoinette but on how
she personally absorbed the world around her and that’s what the audience
experiences. In a sense, it’s a very tightly focused, personal story just like THE
VIRGIN SUICIDES and LOST IN TRANSLATION.”


From the start, Coppola had Barrett thinking in terms of a “candy and cake
world.” “She put together a reference book that was filled with macaroon colors,
with mint greens and magentas and canary yellows instead of the royal blues
and burgundies you’d expect,” recalls Barrett. “We made a decision to stay away
from all browns and beiges, to avoid the cliché of sepia that says ‘You’re in
another time.’    We wanted it to feel like we were photographing in Marie
Antoinette’s world, that we happened to be able to document it before it all faded
with time. The idea is that you’re really there — with an immediacy and a youthful
vitality.”


Barrett especially enjoyed creating Marie Antoinette’s private world at her retreat,
Le Petit Trianon.    “Her world there was lighter, more colorful, more natural,
fanciful and relaxed — and much less imposed upon by the weight of history and
protocol. Back in the King’s world of Versailles, we see the stiffness, the gilding,
the mythic proportions.”


Because there were so many restrictions to shooting at Versailles and Le Petit
Trianon, the production also utilized several other chateaus from the period to
recreate the King and Queen’s bedrooms, and also Marie Antoinette’s pastoral,
pond-side hamlet, known as the “Hameau,” that she built at Le Petit Trianon. “We
found some châteaux that had wonderful period details but were in a good deal
of disrepair,” explains Barrett.    “So we were able to incorporate items and
surfaces they had but also bring in new walls to embellish or manipulate, close
off windows, add windows, build fireplaces, curve ceilings – we could do quite a
lot. But no matter what, there was always a mind-set for us not to get too settled,
to continually think of keeping it very alive rather than stiff and sedate.”
Of all the senses stimulated by MARIE ANTOINETTE, taste is among the
strongest – and one of the most unusual for a motion picture. Throughout the
film’s design, the gustatory delights of 18th Century France are on lavish display.
The creation of the towering plates of food for Marie Antoinette and Louis to dine
on was a favorite for Coppola.


“One of the ways that working in France brought so much to the movie is that we
were able to find people who actually specialize in 18th Century food
preparation,” she says. “There’s all this tradition to the way the food was made at
that time. It was all so elaborate, so over the top. It was really fun as a director to
have an entire ‘Cake Department’ devoted to creating macaroons and all these
ridiculously cute pink pastries that we used as set dressings. The whole palette
of the movie was a ‘cake and cookie’ kind of thing.”


A 21st CENTURY TAKE ON 18Th CENTURY FASHION

With her exuberant youth and pale-skinned beauty, Marie Antoinette continues to
be remembered as one of the most stylish and trend-setting women in European
history. She arrived in France at a time of extreme fashion extravagance among
the aristocracy – when bigger was always better – and she indulged in the
massive hoop dresses and long-trained gowns from the most famous fashion
houses of Paris. It was also the era of the “Belle Poule” – the infamous hairstyle
that was piled mile-high on the head and lined with fruit, toys and feathers –
which Marie Antoinette cultivated to an extreme degree. Yet later, Marie
Antoinette also ushered in a major fashion shift, turning France towards a period
of simpler, more free-flowing and natural dress that presaged a time of
tremendous change.


For Coppola, the costumes for MARIE ANTOINETTE were always a central part
of her bold vision for the film’s design. She knew she would need a designer who
possessed both an historical understanding of 18 th Century styles – and the
unbridled creativity to give them a distinctly modern flair.


That person was clearly Milena Canonero. A two-time Academy Award® winner
for CHARIOTS OF FIRE and BARRY LYNDON as well the recipient of five
additional nominations, Canonero is one of today’s most sought after costume
designers. She quickly developed a deep affinity for what Coppola was trying to
do with this unconventional take on a film about the past. “Sofia is a bit like me in
that she is most interested in the feelings that a costume gives to the audience,”
says Canonero. “So some of our work in MARIA ANTOINETTE is symbolic,
some of it is stylish and some of it is psychological. There is always a reason for
a particular texture or color.”


As soon as she came aboard, Coppola presented Canonero with a strong basis
for her work. “When I first met with Sofia, she had already been doing several
months of research in France and she told me about her ideas about the
macaroon colors – the bolds pinks, the gold yellows, the pistachio greens,”
recalls Canonero. “So we started with that as an inspiration and then we moved
into more graphic stripes and florals.”


She continues: “Sofia didn’t want the film to have the expected look of the period.
This is not a classic vision of Marie Antoinette but Sofia’s personal vision of her.
The film is a very modern look at her inner experience and therefore the clothes
had to respect that kind of language. We took the essence of how things were
and stylized them. We wanted more warmth and humanity to come through, so
the clothes had to have at the same time a kind of richness and a simplicity – a
contemporary vision.”


“So many of our costumes were in the framework of the song ‘I Want Candy,’”
says Canonero. “We chose colors and textures that remind you of things you
would want to eat. We go from very pale and soft to more shocking. You can say
we were very influenced by the period but we don’t present a classical vision. It’s
more of a fashion statement. At times, it was very rock and roll.”


Canonero used a mixture of authentic period pieces and original designs,
importing yards of tulle, organza, taffeta and silk from specialty houses in Italy
and England, as well as thousands of plumed feathers, to create a rainbow array
of royal costumes. She brought in milliners to put together hundreds of hats and
spent endless hours embroidering buttons. “Buttons are absolutely key to the 18 th
century look,” she notes.


As for footwear, one of Marie Antoinette’s obsessions, Canonero utilized the
designs of today’s trend-setting designer Manohlo Blahnik to create stylized
versions of 18th century shoes. “They’re not 100% period, yet they have that kind
of feeling,” she says.


In dressing Dunst, Canonero collaborated closely with Coppola. “Sofia wanted a
richness and a freshness for Marie Antoinette, and the clothes needed to show
her evolution from a very young girl to a sophisticated woman,” she says. “You
see through her dresses how she gains more confidence and even her
décolletage becomes more emphasized.”


Although many women wore wigs during the time of Marie Antoinette, Canonero
and Coppola chose a more natural look for Dunst, often using powder on her hair
in the 18th century manner but also allowing her blonde hair to remain natural.
“The hair is a departure from what we often associate with Marie Antoinette, but
we looked for what would suit Kirsten best in these more intimate moments,”
notes Canonero.


Dunst’s makeup – while extreme – was very much in keeping with the 18th
century fascination with heavy rouge. “If anything, the real look of the times was
even more bold,” explains Canonero.
While the gowns for Marie Antoinette could have occupied her team for months
by themselves, Canonero simultaneously was designing a broad array of
costumes for Mare Antoinette’s court – with each character getting his or her own
unique look.


In addition to Marie Antoinette, two of Canonero’s favorite female characters are
the Comtesse de Noialles, portrayed by Judy Davis, and Madame Du Barry,
played by Asia Argento. “They are unique women,” says Canonero. “For the
Comtesse de Noailles, the look was very elegant and striking – she wears lots of
yellow, citron and lime to represent her acidic qualities. Madame Du Barry,
however, is like an exotic bird, almost like a parrot. She’s a little over the top, full
of jewelry, turbans and feathers.”


When it came to Schwartzman’s Louis XVI, Canonero again moved away from
the standard clichés. “I didn’t want to cover him in embroidery the way you
always see him in paintings, so we tried for a bit more simplicity,” she explains.
“This was the height of French decadence but we wanted to emphasize that
Louis XVI was from a new generation and his clothes show a movement forward.
We used a very tailored look, strikingly graphic, with rich materials and a lighter
embroidery. But he does wear a lot of Louis XVI’s favorite colors – soft blues
and grays.”


Schwartzman found that when it came to going back in time, the clothes indeed
helped to make the man. “The costumes were a big help to me because there’s
something about putting on these kinds of outfits that just changes you
physically. Layer by layer, you start to travel back in time. You stand in a different
way. Your back goes up, your shoulders are tighter, and you walk and sit
differently, too. It’s very transporting,” he says.
Throughout the extensive process, Canonero’s team worked both day and night
shifts to keep the film’s entire cast of court members in fresh and spirited outfits.
Canonero was constantly presenting Coppola with choices, to assure that their
visions were in sync.


Coppola was thrilled by Canonero’s contribution to the film. “It was amazing to
see what she did and how she saw the big picture, because we would look at the
individual costumes separately in her studio. But when all the actors came
together on the set, you could see how all the different colors and incredible
details each worked together to create something very rich and beautiful,” she
says. “It was very exciting to watch that happen, to see what we had imagined
come to life.”


VERSAILLES’ EXTREME ETIQUETTE

Marie Antoinette once wrote to her mother: “I put on my rouge and wash my
hands in front of the whole world.” She was barely exaggerating. Far from a cozy
home for the King and Queen of France, Versailles was a complicated universe
unto itself, where thousands of royals and their servants lived — and watched in
rapt attention over the every move — no matter how trivial — the monarchs
made.


It is hard to imagine in the 21st Century, but Marie Antoinette’s life, body and
activities were not perceived as belonging to her but rather to the nation of
France and the entire royal apparatus. She was dressed by others, groomed by
others, had to eat her meals in full public view and every word she uttered was
supposed to be in accordance with the royal codes of behavior. Privacy was
impossible. Even on their wedding night, Marie Antoinette and Louis were far
from alone. Their nuptial bed had to be publicly blessed and as they climbed into
it for the first time, they were surrounded by a considerable crowd. Later, Marie
Antoinette even had to go through her entire child labor in front of curious
onlookers.


It was Louis XIV who first established many of Versailles’ outrageously elaborate
rules of etiquette in an attempt to keep better control over infighting among the
nobles. The protocol covered just about every aspect of behavior and dress and
involved stark definitions of who was superior to whom. When it came to Marie
Antoinette, the protocol was particularly intense, beginning each morning when
she faced elaborate dressing and grooming rituals. Highly specific rules covered
who could hand Marie Antoinette her underwear, who could give her a bar of
soap, who could apply her rouge, all the way down to who could have the
privilege of touching her skin in the bath. Meanwhile, every detail of her
existence, from the mundane to the embarrassing, from her sex life to her
menstrual cycle, was recorded for all to know.


It was all incredibly complicated and the remarkable scene in MARIE
ANTOINETTE in which a naked Marie Antoinette sits shivering while various
visitors pass along the right of handing the Dauphine her underwear is drawn
directly from Antoina Fraser’s research. The irony is that despite being
surrounded by thousands of onlookers and attendants, Marie Antoinette felt
utterly secluded and alone – a young girl trapped in a fantasy world that left her
precious little freedom.
MARIE ANTOINETTE: A TIMELINE

1755 The Archduchess is born in Vienna on November 2, the child of Holy
      Roman Emperor Francis I and Empress Maria Teresa.


1765 Emperor Francis I dies, leaving the tough-minded and highly political
      Maria Teresa in charge of the Hapsburg Empire. She begins a campaign
      to marry off her daughters to the crown heads of Europe. The 15 th child of
      Emperor Francis, Marie Antoinette is low on the list, until the death of her
      older sister Johanna Gabriella put her in position to marry the future King
      of France.


1769 Louis XV requests the hand of the 14-year-old Marie Antoinette to marry
      his heir, Louis Auguste, the teenager who will be the future King Louis
      XVI.


1770 Marie Antoinette must leave behind her friends, family, all her
      possessions, and even her clothes, as she makes the journey across the
      border to France. She will never see her home country again.


1770 The teenaged couple of Louis and Marie Antoinette are wedded in a lavish
      ceremony at Versailles.


      However, their marriage goes unconsummated for another seven years.


1774 Following the sudden death of Louis XV from smallpox, Louis and Marie
      Antoinette become King and Queen at the ages of 20 and 18 respectively,
      famously proclaiming: “Protect us Lord for we are too young to reign.”
1774 Marie Antoinette meets the notoriously handsome and sophisticated
      Swedish Count Hans Axel de Fersen, with whom she will begin a brief but
      passionate affair. He will remain devoted to her for the rest of her life.


1777 The first physical intimacy between Marie Antoinette and her husband is
      recorded.


1778 Marie Antoinette gives birth to her first child, a daughter, Marie Thérèse
Charlotte.


1780 Marie Antoinette makes her first appearance on the stage at the Theatre
      of the Trianon, fulfilling her dream of becoming an actress.


1780 Marie Antoinette’s mother, the Empress of Austria, passes away.


1781 The first son of Marie Antoinette is born: The Dauphin Louis-Joseph.


1785 Marie Antoinette bears a second son, Louis Charles de France.


1786 Marie Antoinette gives birth to a daughter, Sophie Béatrix, who doesn’t
      live to see her first birthday.


       Marie Antoinette is branded with the nickname “Madame Deficit” for her
      uninhibited spending, becoming a scapegoat for France’s massive
      economic crisis.


1789 Tragedy strikes as the first Dauphin, Louis Joseph, dies at the age of
      seven after a battle with tuberculosis.


1789 Storming of the Bastille takes place on the 14th of July and the French
      Revolution begins.
1790 An angry mob storms the Royal Palace, killing the Queen’s guards, but
      Marie Antoinette courageously goes out onto a balcony to address them.


1792 Now living in Paris at the Tuileries, the royals are once again descended
      upon by a mob. Marie Antoinette is given opportunities to escape but
      refuses, saying she must stay by her husband’s side. The royal guards are
      massacred and all royal authority is suspended. Marie Antoinette and
      Louis XVI are accused of treason.


1792 France is declared a Republic on September 21 and Louis XVI is soon put
      on trial.


1792 France declares war on Austria, making Marie Antoinette a foreign enemy.


1793 Louis XVI is guillotined on January 21st.


1793 Her children taken from her, a disconsolate Marie Antoinette is tried before
      a revolutionary tribunal. She is found guilty on all counts and guillotined on
      October 16th at the age of 37.
ABOUT THE CAST

KIRSTEN DUNST (Marie Antoinette) previously worked with Sofia Coppola in
her acclaimed and haunting film of adolescence THE VIRGIN SUICIDES. Dunst
most recently appeared in Cameron Crowe’s ELIZABETHTOWN opposite
Orlando Bloom and Susan Sarandon. Prior to that, she starred in WIMBLEDON
as a young tennis ace opposite Paul Bettany, reprised her role as Mary Jane in
SPIDER-MAN® 2 and starred in the acclaimed surreal comedy ETERNAL
SUNSHINE OF THE SPOTLESS MIND written by Academy Award® nominee
Charlie Kaufman, directed by Michael Gondry and starring Jim Carrey, Kate
Winslet and Mark Ruffalo. In 2003, she was seen in MONA LISA SMILE with
Julia Roberts, Julia Stiles and Maggie Gyllenhaal.


Dunst’s other credits including starring in the original SPIDER-MAN® opposite
Tobey Maguire, the independent film LEVITY starring Billy Bob Thornton and
Morgan Freeman, Peter Bogdanovich’s THE CAT’S MEOW in which she played
Marion Davies, the box office hit BRING IT ON, CRAZY/BEAUTIFUL directed by
John Stockwell, LITTLE WOMEN with Susan Sarandon and Winona Ryder,
JUMANJI with Robin Williams, MOTHER NIGHT with Nick Nolte, the Barry
Levinson film WAG THE DOG starring Dustin Hoffman and Robert DeNiro, Neil
Jordan’s INTERVIEW WITH THE VAMPIRE opposite Tom Cruise and Brad Pitt
and SMALL SOLDIERS with the late Phil Hartman.


Dunst has amassed a growing list of accolades. Her performance in INTERVIEW
WITH A VAMPIRE earned her a Golden Globe nomination, the Blockbuster
Video Award for Best Supporting Newcomer and an MTV Award for Best
Breakthrough Artist. The Hollywood Reporter also named Dunst “Best Young
Star” for her portrayal of a teenage prostitute for the hit series “E.R.”
Dunst got her start at the age of three, when she began filming television
commercials. With more than 50 commercials under her belt, she made the jump
to the big screen in 1989 with Woody Allen’s NEW YORK STORIES.


Her career has not been limited to the big screen. In addition to her work on
“E.R.,” she starred on Showtime’s “The Outer Limits” and “Devil’s Arithmetic”
produced by Dustin Hoffman and Mimi Rogers, the telefilm “Ruby Ridge: An
American Tragedy,” the Wonderful World of Disney’s “Tower of Terror” and
Lifetime Television’s “15 and Pregnant.”


She will again reprise her role as Peter Parker’s love, Mary Jane, in Columbia
Pictures’ SPIDER-MAN® 3.


JASON SCHWARTZMAN (King Louis XVI) made his motion picture acting debut
as Max Fischer, an eccentric high school sophomore in the acclaimed comedy
RUSHMORE opposite Bill Murray for director Wes Anderson. His performance
garnered a nomination for “Most Promising Actor” from the Chicago Film Critics
Association. He has since completed work on several feature films and recently
he left his position as lead drummer for the Los Angeles-based band, Phantom
Planet. Epic Records released their band’s second studio album “The Guest” in
February 2002, which was followed by a 14-month tour with Incubus.


Schwartzman’s recent credits include SHOPGIRL a love triangle with Claire
Danes and Steve Martin, based on Martin’s novel, BEWITCHED with Nicole
Kidman and Will Ferrell and a starring role in David O. Russell’s existential
comedy I ♥ HUCKABEES with Dustin Hoffman, Naomi Watts, Jude Law and Lilly
Tomlin.


Schwartzman made his television debut in the critically acclaimed comedy
“Cracking Up” written by Mike White and co-starring Molly Shannon.
Schwartzman has also starred in SPUN with Brittany Murphy, Patrick Fugit, John
Leguizamo and Mena Suvari. Other film credits include Roman Coppola’s
directorial debut C.Q., SIMONE starring Al Pacino and Catharine Keener and the
ensemble comedy SLACKERS.


RIP TORN (King Louis XV) has been honored repeatedly for his 50-year career
in film, television and on the stage.


Torn's uproarious portrayal of Artie, the acerbic talk show producer on Garry
Shandling's hit series "The Larry Sanders Show," garnered him an Emmy in 1996
for Best Supporting Actor in a Comedy Series, two CableACE Awards, the
American Comedy Award, and six consecutive Emmy nominations.


His recent film credits include a starring role in the comedy ZOOM with Tim Allen,
Chekov's THE SISTERS with Maria Bello, RETIREMENT with George Segal and
Peter Falk, the animated feature CAT TALE with Jerry Seinfeld, the Sundance
Film Festival Grand Prize winner 40 SHADES OF BLUE, DODGEBALL: A TRUE
UNDERDOG STORY with Vince Vaughn and Ben Stiller, YOURS, MINE AND
OURS with Dennis Quaid and Rene Russo, WELCOME TO MOOSEPORT with
Gene Hackman and Ray Romano, THE INSIDER and WONDER BOYS. He also
appeared in the two MEN IN BLACK™ films, ROLLING KANSAS, TRIAL AND
ERROR, and as the voice of Zeus in the animated feature HERCULES. At the
same time, his starring roles in such critically lauded independent films such as
WHERE THE RIVER RUNS NORTH have continued his stellar work in
independent classics such as PAY DAY, HEARTLAND and CROSS CREEK, for
which he received an Academy Award® nomination. Torn's role in the Albert
Brooks' comedy DEFENDING YOUR LIFE led to his being cast in "The Larry
Sanders Show."


Torn's many other film credits include PORK CHOP HILL, SWEET BIRD OF
YOUTH (reprising his role from Broadway), KING OF KINGS, THE CINCINNATI
KID and TROPIC OF CANCER. He also consulted on the Oscar®-winning
documentary HARLAN COUNTY USA.


Torn earned his reputation as "an actor's actor" on stage as well as on screen.
His numerous theatrical accolades date back to his portrayal of Brick in the
Broadway adaptation of "Cat on a Hot Tin Roof" as well as in Eugene O'Neill's
"Anna Christie." Through his own stage company, he recently directed his
daughter Angelica and son John in John Paul Alexander's "Strangers In The
Land of Canaan" at the Actors Studio. He has continued as a presence on the
New York stage as actor (numerous Obie® Awards with special note as a
leading interpreter of Tennessee Williams and Eugene O'Neill), director and
company director, while maintaining one of the busiest performing schedules in
theatrical films and television fare. Torn directed the stage productions "Richard
III," "Walter" and "Look Away," the latter starring Geraldine Page and Maya
Angelou. He directed and performed in "Two by Chekhov" and "The Village
Wooing." Torn produced "The Button and Spider Rabbit" and directed, co-
produced and performed in "The Bearding of the President."


JUDY DAVIS (Comtesse de Noailles) is one of the most versatile actresses
working today who has wowed audiences with a variety of memorable film and
television roles. The two-time Emmy Award winner is best known for portraying
formidable real-life women on TV, including Hollywood legend Judy Garland in
the miniseries “Life With Judy Garland: Me and My Shadows.” Davis made
television history when “Life With Judy Garland” received the most nominations
for a single performance and won every award she was nominated for, including
the Emmy, Golden Globe, Screen Actors Guild and the American Film Institute
awards. She most recently starred as the notorious felon Sante Kimes on the
Lifetime telefilm “A Little Thing Called Murder.”


Davis received Academy Award® nominations for her roles in A PASSAGE TO
INDIA directed by David Attenborough and Woody Allen’s HUSBANDS AND
WIVES. Her additional film credits include MY BRILLIANT CAREER, THE
WINTER OF OUR DREAMS, HEATWAVE, KANGAROO, IMPROMPTU, NAKED
LUNCH, BARTON FINK, THE REF, CHILDREN OF THE REVOLUTION,
ABSOLUTE POWER, DECONSTRUCTING HARRY and CELEBRITY.


ASIA ARGENTO (Madame Du Barry) is a director, writer and actress. She
recently directed and starred in THE HEART IS DECEITFUL ABOVE ALL
THINGS, adapting the screenplay from the short story collection by J.T. LeRoy.
She made her feature directorial debut with SCARLET DIVA, which she also
starred in and wrote.


As an actress, Argento's credits include Gus Van Sant’s LAST DAYS, George
Romero’s LAND OF THE DEAD, Rob Cohen's box office smash XXX, Michael
Radford's B. MONKEY, Abel Ferrara's NEW ROSE HOTEL, and Patrice
Chéreau's QUEEN MARGOT.


The daughter of famed director Dario Argento and actress/screenwriter Daria
Nicolodi, Argento began her acting career at the age of nine and has starred in
three films by her father: TRAUMA, THE STENDHAL SYNDROME and THE
PHANTOM OF THE OPERA. She has published numerous short stories and is
the author of a novel I Love You Kirk.


MARIANNE FAITHFULL (Empress Maria Teresa) is an internationally renowned
pop singer and actress who most recently starred in NORD PLAGE and FAR
FROM CHINA. She has also been in such movies as INTIMACY, CRIMETIME
and MOONDANCE. She will next be seen in PARIS J’TAIME, which features 20
filmmakers’ short films about Paris. Her early breakthroughs in film include
ANNA,    I’LL   NEVER     FORGET         WHAT’S’ISNAME,   THE   GIRL   ON    A
MOTORCYCLE and HAMLET as Ophelia. She has also recently played God on
the hit British sitcom “Absolutely Fabulous” and appeared as the Devil on stage
in Robert Wilson and Tom Wait’s acclaimed show “The Black Rider.” With a
recording career that spans four decades, she most recently released the album
“Before the Poison.”


DANNY HUSTON (Joseph) was already a director and filmmaker with several
film and television projects to his credit when he began taking roles as an actor.
Performing has since become his métier. For his breakthrough role as Hollywood
agent Ivan Beckman in Bernard Rose’s IVANSXTC he received an Independent
Spirit Award nomination for Best Male Lead. Huston most recently garnered
acclaim starring with Ralph Fiennes and Academy Award® winner Rachel Weisz
in the acclaimed thriller THE CONSTANT GARDENER. His other film credits as
an actor include Mike Figgis’ LEAVING LAS VEGAS, TIMECODE and HOTEL,
Jonathan Glazer’s BIRTH opposite Nicole Kidman, Bernard Rose’s ANNA
KARENINA, John Sayles’ SILVER CITY, Martin Scorsese’s THE AVIATOR,
Alejandro Gonzalez Inarritu’s award-winning 21 GRAMS, and most recently, the
Australian Western THE PROPOSITION with Guy Pearce.


His forthcoming films include Oliver Parker’s FADE TO BLACK, in which he
portrays Orson Welles, Alfonso Cuaron’s THE CHILDREN OF MEN based on the
P.D. James novel and Joel Schumacher’s THE NUMER 23 alongside Jim
Carrey.


MOLLY SHANNON (Aunt Victoire) came to the set of MARIE ANTOINETTE to
play Aunt Victoire just ten days after giving birth. Shannon began her career in
television, then segued to diverse roles on the silver screen. Shannon is
preparing to begin production on YEAR OF THE DOG for writer-director Mike
White. This year, Shannon’s roster of appearances include EVAN ALMIGHTY,
the sequel to the hilarious comedy Bruce Almighty, opposite, Steve Carell, as
well as Keenen Ivory Wayans' LITTLE MAN, TALLADEGA NIGHTS: THE
BALLAD OF RICKY BOBBY with Will Ferrell and a cameo in the box-office
smash hit SCARY MOVIE 4. Molly also just wrapped production on two
independent films: Sue Kramer's GRAY MATTERS and Bruce Leddy's SHUT UP
AND SING. Her recent work includes the FOX sitcom "Cracking Up" with Jason
Schwartzman, the comedy MY BOSS'S DAUGHTER opposite Ashton Kutcher
and a recurring role on "Will and Grace" as Will's neighbor Val. In the world of
animation, Shannon has been a guest star on "American Dad," and provided her
voice to PETER COTTON TAIL: THE MOVIE and the CGI animated film THE
GOOD BOY!

Shannon's films also include the remake of the classic musical "The Music Man,"
the romantic comedy SERENDIPITY opposite John Cusack and Kate
Beckinsale, OSMOSIS JONES an animated comedy co-starring Bill Murray, the
indie feature WET HOT AMERICAN SUMMER opposite Janeane Garofalo and a
cameo role opposite Tim Allen in SANTA CLAUSE 2. She also portrayed Betty
Lou Who in Ron Howard's HOW THE GRINCH STOLE CHRISTMAS and the title
role in the comedy SUPERSTAR, the film about Mary Katherine Gallagher, a
favorite character from her years on "Saturday Night Live." Additional credits
include A NIGHT AT THE ROXBURY based on the popular nightclubbing
brothers on "SNL," the hit comedy ANALYZE THIS opposite Billy Crystal, Todd
Solondz's critically admired HAPPINESS and the romantic comedy NEVER
BEEN KISSED with Drew Barrymore.


Shannon spent six seasons as a member of the repertory company at "SNL,"
where she became known for the eclectic characters that she created. She was
also praised for her parodies of Courtney Love, Liza Minnelli, Monica Lewinsky
and Meredith Vieira. Prior to joining "SNL," Shannon appeared at The Up Front
Comedy Theater in Los Angeles in "The Rob and Molly Show," an
improvisational show which she co-wrote with Rob Muir. Her television credits
also include multiple appearances on HBO's "Sex & The City."


STEVE COOGAN (Count Mercy D’Argenteau) is one of the icons of British
comedy. He has created some of British television’s most beloved comedy
characters, including the inimitable Alan Partridge, for which he received several
BAFTA Awards. A prolific writer and producer who has been called a “comic
genius,” Coogan is becoming increasingly well known both as a comic and
dramatic actor. His recent film credits include the starring role in Michael
Winterbottom’s acclaimed comedy TRISTRAM SHANDY: A COCK AND BULL
STORY, as well as Don Roos’ HAPPY ENDINGS, AROUND THE WORLD IN 80
DAYS and Jim Jarmusch’s COFFEE AND CIGARETTES.


Coogan began doing stand-up and skits in his native Manchester after
graduating from drama school. For years he was a regular voice on “Spitting
Image,” a hugely popular puppet show that lampooned famous political and
cultural figures. He soon moved on to creating his own characters, who
immediately became a part of the British cultural landscape and inspired
programs such as “The Office” and “Little Britain.” In 1992, he won the respected
Perrier Award for his show “Steve Coogan in Character With John Thompson,”
where he launched Paul Calf, a foul-mouthed, beer swilling Northerner who was
soon joined by his sex-mad sister Pauline. But it was to be Alan Partridge, the
nerdy radio DJ from Norfolk with a terrible taste in sweaters and an inflated ego
who thrust Coogan into celebrity status.


Coogan created his first big screen vehicle with writing partner Harry Normal,
THE PAROLE OFFICER, which received impressive reviews and went on to be
one of the top grossing British films of the year. He received rave reviews for his
portrayal of Tony Wilson in Michael Winterbottom’s sleeper hit 24 HOUR PARTY
PEOPLE, about the rise and fall of Factory Records. His production company,
Baby Cow Productions, has continually come up with award-winning programs
including Rob Brydon’s “Marion and Geoff” and “Human Remains.” The
company’s animated series “I am Not an Animal,” featuring Coogan in two roles,
has been seen in the U.S. on the Sundance Channel.


ROSE BYRNE (Duchessse de Polignac) will next star in Danny Boyle’s sci-fi
drama SUNSHINE. The Australian native known for her ethereal beauty and
dramatic versatility earlier gained international recognition playing the role of
Dorme, a character that achieved cult status, in George Lucas’s STAR WARS
EPISODE II: ATTACK OF THE CLONES. In 2004, Byrne starred in Wolfgang
Peterson’s epic TROY with Brad Pitt, Eric Bana, Peter O’Toole and Orlando
Bloom.    She then reunited with O’Toole in the acclaimed BBC Drama
“Casanova.” Most recently, she appeared in Danny Green’s THE TENANTS
opposite Dylan McDermott and Snoop Dogg.


Her additional credits include Paul McGuigan’s thriller WICKER PARK with Josh
Hartnett and the acclaimed I CAPTURE THE CASTLE, based on the classic
English romance. She originally rocketed to fame in Australia with her role in the
gritty crime comedy TWO HANDS in which she starred with Heath Ledger. She
went on to star in Clara Law’s THE GODDESS OF 1967 for which she was
awarded Best Actress at the Venice Film Festival.


SHIRLEY HENDERSON (Aunt Sophie) is proving to be one of the most popular
and prolific actresses of her generation with a list of notable roles in film,
television and theatre. Most recently, she could be seen in the lead part of Kath
in FROZEN directed by Juliet McKoen, for which she won a Scottish BAFTA for
Best Actress and the Best Actress Award at the Cherbourgh/Octeville Festival of
British and Irish Films – the only actress to have won this award twice in the
history of the festival, having also won it for AMERICAN COUSINS. She also
portrayed The Cleaner in Sally Potter’s YES, Moaning Myrtle in HARRY
POTTER AND THE GOBLET OF FIRE and Susannah in Michael Winterbottom’s
TRISTRAM SHANDY: A COCK AND BULL STORY.


Other notable film roles include the part of June in the BRIDGET JONES films,
Sally in INTERMISSION, for which she received a London Film Critics’ Circle
Nomination for Best Supporting Actress, the part of Alice in WILBUR (WANTS
TO KILL HIMSELF) for which she won a Best Actress Award at the Bordeaux
International Film Festival and received a nomination for Best Supporting Actress
from the British Independent Film Awards.           She was the Bowmore/Scottish
Screen/Sunday Times Actress of the Year in 2004, and was awarded Best
Comedy Actress at the Newport Beach Film Festival for her portrayal of Alice in
AMERICAN COUSINS. She is a regular collaborator with Michael Winterbottom,
having also appeared in WONDERLAND, THE CLAIM and 24-HOUR PARTY
PEOPLE. She is also a favourite of Mike Leigh with whom she worked on
TOPSY-TURVY.         Her   first   notable   film   role   was   in   Danny   Boyle’s
TRAINSPOTTING.


Henderson’s many television credits include, most recently, the part of Kate in
the BBC’s “Taming of the Shrew,” Charlotte in the BAFTA-nominated “Dirty Filthy
Love” (Granada), the part of Catherine of Braganza in “Charles II: The Power and
the Passion” and Marie Melmotte in “The Way We Live Now” (BBC) for which
she received the Royal Television Society Nomination for Best Actress in 2001.


Henderson is equally at home in the theatre. Most recently she played Lynn in
“Anna Weiss” at the Whitehall Theatre under the direction of Michael
Attenborough, and she contributed to the Royal Court’s 50th Anniversary
celebrations by performing the lead part of Maggie in the rehearsed reading of
David Hare’s “Teeth ‘N Smiles” directed by Mark Ravenhill.



ABOUT THE FILMMAKERS

SOFIA COPPOLA (Director/Screenplay by/Producer) won the Academy Award
for Best Original Screenplay and received nominations for Best Director and Best
Picture for her second feature film LOST IN TRANSLATION starring Bill Murray
and Scarlett Johansson as two lonely Americans in Tokyo. Coppola also won
the Golden Globe for Best Screenplay, garnered a Golden Globe nomination for
Best Director and won Best Director, Best Screenplay and Best Feature at the
Independent Spirit Awards, among numerous other honors.
Coppola grew up in Northern California, and after doing costume design on two
feature films, she studied Fine Art at California Institute of the Arts. She then
wrote and directed the short film LICK THE STAR, which had its world-premiere
at the Venice International Film Festival.


Coppola’s feature film directorial debut was THE VIRGIN SUICIDES, which she
adapted from Pulitzer Prize winner Jeffrey Eugenides' novel of the same name.
The movie starred Kirsten Dunst, Josh Hartnett, James Woods, and Kathleen
Turner. A world premiere at the Cannes International Film Festival, THE VIRGIN
SUICIDES subsequently earned her the MTV Movie Award for Best New
Filmmaker.


ANTONIA FRASER (Based on the book by) has, since 1969, written many
acclaimed historical works which have been international bestsellers, including
Marie Antoinette, Mary Queen of Scots (James Tait Black Memorial Prize),
Cromwell: Our Chief of Men, The Six Wives of Henry VIII and The Gunpowder
Plot: Terror and Faith in 1605 (St. Louis Literary Award; CWA Non-Fiction Gold
Dagger).


Antonia Fraser was made CBE (Commander of the British Empire) in 1999, and
awarded the Norton Medlicott Medal by the Historical Association in 2000. She is
married to the playwright Harold Pinter and lives in London.


ROSS KATZ (Producer) received Best Picture Academy Award® and Golden
Globe nominations and won Best Feature at the Independent Spirit Awards as
producer on Sofia Coppola’s LOST IN TRANSLATION. He previously garnered
Best Picture Academy Award® and Golden Globe nominations for Todd Field's
IN THE BEDROOM, which starred Sissy Spacek, Tom Wilkinson and Marisa
Tomei (all of whom received Academy Award® nominations for their
performances).
Katz's first job in the movie business was as a grip on Quentin Tarantino's
RESERVOIR DOGS. He later worked with producers Sydney Pollack and
Lindsay Doran on Ang Lee's SENSE AND SENSIBILITY. After joining the leading
New York based independent film company Good Machine, he spent five years
working on some of the company's most notable productions, such as Ang Lee's
THE ICE STORM and Todd Solondz's HAPPINESS.


His first feature as producer was Jim Fall's TRICK, which debuted to acclaim at
the 1999 Sundance Film Festival. The independent romantic comedy starred
Christian Campbell, J.P. Pitoc, and Tori Spelling. Katz also received an Emmy
Award nomination for executive-producing HBO’s “The Laramie Project,” which
had its world-premiere at the 2002 Sundance Film Festival.


In 2002, Katz inaugurated his own production company, Elemental Films.


FRANCIS FORD COPPOLA (Executive Producer) is one of the most respected
and acclaimed talents in motion pictures. He has won five Oscars® as writer,
producer and director, the first of which was for his screenplay for PATTON,
which he co-wrote with Edmund H. North.


Coppola's impressive body of work includes directing 20 feature films including
the highly acclaimed THE GODFATHER trilogy, and APOCALYPSE NOW, THE
CONVERSATION, THE OUTSIDERS, RUMBLEFISH and BRAM STOKER’S
DRACULA.


Throughout his career, Coppola has always searched for better tools for
filmmakers and is considered a technological film pioneer. Many of the
techniques he developed have become the industry standard.
Coppola's San Francisco-based film company, American Zoetrope, develops and
produces film projects for both the large and small screen. In its first 30 years,
American Zoetrope has produced some of the most important films in American
cinema, including AMERICAN GRAFFITI, THE GODFATHER (PARTS II AND
III), THE BLACK STALLION, THE OUTSIDERS AND RUMBLEFISH, PEGGY
SUE GOT MARRIED, BARFLY, THE CONVERSATION, APOCALYPSE NOW,
BRAM STOKER'S DRACULA, DON JUAN DEMARCO, MI FAMILIA, THE
VIRGIN SUICIDES and CQ.


American Zoetrope films have received 15 Academy Awards® from a total of 68
nominations. Four of the company's films were included in the American Film
Institute's ranking of the Top 100 American Films.      American Zoetrope has
constantly embraced the creative possibilities of technology, and has launched
many of today's cinema technologies: Video Assist, Pre-visualization, electronic
editing and network-enabled creative services. Under Coppola's leadership,
American Zoetrope has become known for orchestrating alternative approaches
to filmmaking.


FRED ROOS (Executive Producer) has worked with some of Hollywood’s most
gifted filmmakers and actors over the last four decades producing some of the
most unique films of our time.


Roos’ long-term collaboration with Francis Ford Coppola includes producing the
Academy Award®winning Best Picture The Godfather, Part II and the Academy
Award® nominated Best Pictures Apocalypse Now, The Godfather, Part III and
The Conversation (winner of the Palme D’Or at Cannes). Other films Roos has
produced with Coppola include: One From the Heart, The Outsiders, Rumble
Fish, The Cotton Club, Gardens of Stone, New York Stories, Tucker: The Man
and His Dream and the upcoming Youth Without Youth (as executive producer).
Among Roos’ other producing credits are: Wim Wenders’ Hammett, Jack
Nicholson’s Drive, He Said (as associate producer), Barbet Schroeder’s Barfly,
Peter Chelsom’s Town and Country, Agnieszka Holland’s The Secret Garden
and the documentary Hearts of Darkness: A Filmmaker’s Apocalypse (winner of
Cable Ace Award, Best Documentary). He also produced The Black Stallion
(Carroll Ballard) and the Walt Disney release in Imax, The Young Black Stallion
(Simon Wincer).    Roos co-produced Sofia Coppola’s debut film The Virgin
Suicides and served as executive producer on Sofia Coppola’s Lost in
Translation.


Before he began producing films, Roos had a legendary career as a casting
director on such films as: The Godfather, American Graffiti, Five Easy Pieces,
The King of Marvin Gardens, Fat City, Petulia and Zabriskie Point. He served as
casting consultant on Star Wars.


CALLUM M. GREENE (Co-Producer) received an MFA in Film from
Columbia University, earning the Arthur Krim fellowship for producers from
James Schamus. Greene went on to work at the production company
Good Machine, where he worked as assistant director on such projects as
THE STICKY FINGERS OF TIME and LOVE GOD, as well as LAYIN’
LOW for The Shooting Gallery.


Greene co-produced LONG TIME SINCE starring Paulina Porizkova and
Julian Sands, which was shown at the Berlin and Toronto film festivals,
THE FARMHOUSE and IN THE WEEDS. He has also served as line
producer and unit production manager on a variety of films including
HAMLET, JANE DOE, PAID IN FULL, ANTIGONE IN NEW YORK,
BETTER LIVING, 15 MOMENTS, THUMBSUCKER, STARDOM, LOVE
WALKED IN and Sofia Coppola's award-winning LOST IN TRANSLATION.
Through his production company Keep Your Head Productions, he and partner
Anthony Katagas, have worked with several European and Canadian companies
on the New York segments of such productions as NEAREST TO HEAVEN, THE
FAVORITE GAME and "Rudy" for USA Television. Keep Your Head also co-
produced the Showtime film "3 AM" with 40 Acres and a Mule starring
Danny Glover. They produced both HAPPY HERE AND NOW and THIS
SO-CALLED DISASTER with director Michael Almereyda, Second Best
starring Joe Pantoliano and Jennifer Tilly, which was written and directed
by Eric Weber (Sundance 2004 – American Spectrum), and HOMEWORK
written and directed by Kevin Asher Green (Winner Grand Jury Prize –
Slamdance 2004).


In 2004, Greene was nominated for an IFP Independent Spirit award. He is
currently producing Mike Mills' latest documentary for IFC TV and executive
producing VANTAGE POINT with British director Pete Travis. His last film,
DAVID CHAPELLE’S BLOCK PARTY, was recently released.


LANCE ACORD, ASC (Director of Photography) previously collaborated with
Sofia Coppola as cinematographer on her short film LICK THE STAR and her
Academy Award®-winning LOST IN TRANSLATION.


After studying photography and filmmaking at the San Francisco Arts Institute,
the   Northern   California   native   began   his   career   with   acclaimed
photographer/filmmaker Bruce Weber making documentaries, commercials, and
music videos. Acord continued to work extensively in the latter mediums on his
own. He earned the MTV Video Music Award for Best Cinematography for his
work on Fatboy Slim's "Weapon of Choice," which memorably featured
Christopher Walken and was directed by Spike Jonze. Stéphane Sednaoui,
Jonathan Dayton, Valerie Faris, Mark Romanek, and Michel Gondry are just a
few of the talented directors Acord has worked with. He has shot numerous
highly acclaimed television commercial campaigns for innovative advertisers
such as Levi's, Volkswagen and Nike.


He made his first foray into narrative feature filmmaking with Vincent Gallo's
BUFFALO 66. Since then, he has been the director of photography on Spike
Jonze's award-winning features BEING JOHN MALKOVICH and ADAPTATION,
as well as Peter Care's THE DANGEROUS LIVES OF ALTAR BOYS.


KK BARRETT (Production Designer) was nominated for an Excellence in
Production Design Award from the Art Directors Guild for his work on Sofia
Coppola’s LOST IN TRANSLATION. Barrett previously designed Spike Jonze’s
ADAPTATION and BEING JOHN MALKOVICH, as well as Michel Gondry’s
HUMAN NATURE.         His most recent film was David O. Russell’s I ♥
HUCKABEES.


SARAH FLACK (Editor) won a BAFTA Award and was nominated for the
American Cinema Editors' Eddie Award and a Cinemarati Award for her editing of
Sofia Coppola's Academy Award®-winning LOST IN TRANSLATION.             Flack
most recently worked with Michel Gondry on DAVE CHAPPELLE'S BLOCK
PARTY.


Flack has collaborated with Steven Soderbergh as editor of THE LIMEY, FULL
FRONTAL and SCHIZOPOLIS.         Her credits as film editor also include John
Polson's SWIMFAN. She has also been film editor on such independently made
features as Jim Simpson's THE GUYS, Michael Showalter's THE BAXTER and
Edward Burns' LOOKING FOR KITTY.


Flack graduated from Brown University with a B.A. in Political Science and
Semiotics/Film. After working on the set of Soderbergh's KAFKA in Prague, her
first apprentice editing jobs were on Nicolas Roeg's HEART OF DARKNESS and
Thomas Carter's SWING KIDS. She later worked as an assistant editor with
Claire Simpson (on Caroline Thompson's BLACK BEAUTY and Robert Towne's
WITHOUT LIMITS), with Nancy Richardson and Pietro Scalia (on Desmond
Nakano's WHITE MAN'S BURDEN) and with Jill Bilcock (on Baz Luhrmann's
ROMEO + JULIET).


MILENA CANONERO (Costume Designer) won Academy Awards® for her
costumes for CHARIOTS OF FIRE and BARRY LYNDON, the latter shared with
Ulla-Britt Sîderlund. She received five additional Academy Award® nominations
for THE AFFAIR OF THE NECKLACE, TITUS, DICK TRACY, TUCKER: THE
MAN AND HIS DREAM and OUT OF AFRICA. Canonero also won two BAFTA
awards for THE COTTON CLUB and CHARIOTS OF FIRE. She was also
nominated for DICK TRACY, OUT OF AFRICA and BARRY LYNDON.                     The
Costume Designers Guild has honored Canonero with its Career Achievement
Award.


Her numerous film credits also include SOLARIS, BULWORTH, DEATH AND
THE MAIDEN, ONLY YOU, LOVE AFFAIR, DAMAGE, SINGLE WHITE FEMALE
(on which she was also production designer), THE GODFATHER PART III,
REVERSAL OF FORTUNE (as a consultant), BARFLY, THE HUNGER, THE
SHINING, MIDNIGHT EXPRESS and A CLOCKWORK ORANGE. She most
recently designed the costumes for Steven Soderbergh’s OCEAN’S TWELVE
and Wes Anderson’s THE LIFE AQUATIC.


A native of Turin, Italy, Canonero studied costume design and art history in Paris
and London. She has also designed costumes for operas at the Vienna Opera
House, the Espoleto Festival and the Metropolitan Opera House and has worked
in theater for the Teatro di Roma. Canonero returned to Italy to design the
costumes for Roman Polanski's theatrical production of "Amadeus.”


BRIAN REITZELL (Music Supervisor/Music Producer) previously collaborated
with Sofia Coppola on LOST IN TRANSLATION and THE VIRGIN SUICIDES. A
musician by trade, he has recorded with such artists as Air, Beck, and Turin
Brakes, and was formerly the drummer for the beloved L.A. punk/pop band Redd
Kross. Reitzell's other credits include Mike Mills’ THUMBSUCKER, Peter Berg’s
FRIDAY NIGHT LIGHTS and Roman Coppola's CQ.




“ACADEMY AWARD®” and “OSCAR®” are the registered trademarks and service
marks of the Academy of Motion Picture Arts and Sciences.”

				
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