In fact, this movie is ambiguous enough, especially at the end, that you could interpret it as strictly platonic -- or just the opposite.

I like that you don't hear everything they express to each other in that final resolution. It's a moment of acknowledgement, but viewers can make up their own minds about it. I like that better than spelling out how they feel. My niece, who is 16, told me, "I hope he gave her his e-mail address."

I understand you worked in Japan as a photographer in your 20s. How did that inspire the movie?

I remember going there at a time in my life when all the choices about what to do with myself seemed overwhelming. Then there was the jet lag; it was the worst I've ever had. And it was just so foreign that it felt like being on another planet. It was exciting, but it also felt daunting. I knew I wanted to set a movie there, because what I'd experienced I didn't feel like I'd seen in another American movie. Just the whole energy of the city reminded me of some "Dolce Vita" kind of feeling, where there's always something interesting happening, but it's more a mood or an atmosphere. Everything there is really extreme, either really modern or really ancient. It's fascinating to observe all those idiosyncrasies.

Both "Lost in Translation" and "The Virgin Suicides" are about alienation from society, due in part to forms of unhealthy adoration. Is it reading too much to wonder if this comes from your own experience growing up around celebrity? Have you ever wished your last name wasn't Coppola?

Oh, that's interesting, I've never thought of that. There is always that kind of romantic sense of alienation that I think is interesting to me, but I can't tell you that because of my name I feel alienated. I can walk down the street and not be noticed. And so far, when somebody in public does tell me "I love your movie," that's nice.

You've given some musicians with no experience in soundtrack work great opportunities, whether it's the French electronica duo Air in "The Virgin Suicides" or Kevin Shields from My Bloody Valentine for "Lost in Translation." How do you approach the question of music in your films?

I really wanted to work with people in my films who don't normally work in movies. I wanted there to be a different context, so it didn't just feel like a typical movie. It never even occurred to me to use a more traditional score or composer. For this one I loved working with Kevin Shields to create this kind of romantic melancholy, with a sort of droopiness too. It's such a huge part of the atmosphere.

Who are you listening to now?

I've been listening to a lot of the Jesus and Mary Chain. Brian Reitzell, our music supervisor for "Lost in Translation," got me into them. I've also been listening to a band called Darkland. Brian loaded up my iPod with a bunch of stuff like that. I like New Order a lot. Then my guilty pleasure is that Beyoncé song "Crazy in Love."

Because you come from such a film family, with your father and husband being directors and your cousin being a famous actor, it's easy to think of you only in that context. What are your other interests?

I like to travel a lot. That's why I went to Japan. And I'm going to Italy next week, and Vienna. We went to Iceland this year, which was really incredible. I also like going to see bands and to see art shows. I just went to a Philip-Lorca diCorcia show, and I just got a painting by Elizabeth Peyton. I like her a lot.

People are naturally inclined to wonder about your father's influence on your filmmaking, but who are some of the other people who have inspired and helped you become the artist you are?

My mom was always encouraging me to be true to myself. And my brother Roman is someone I've always been able to talk things over with. My photo teacher, Paul Jasmine, really encouraged me. Or the guy who plays Charlie in the movie, years ago he was at a fashion magazine and hired me to do photos. He liked the way I saw things through the camera, and that was really encouraging to me when I was younger.

Do you feel vindicated by the acclaim you've received as a filmmaker after the unduly harsh criticism you got after "Godfather III"? Or do you consider it apples and oranges?

I just don't even think about that. It was 12 years ago. I didn't really care then and I don't care now.

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