That picture was definitely in my mind when I worked on the film.
At one art fair, I first saw the photographs of Bill Owens—his series on suburbia—so when I started working on Virgin Suicides those Bill Owens pictures became a reference.
She continued working as an actress till early 2000s and then quit in order to place her complete focus on becoming a director and screenwriter.
The form allowed Coppola to engage all her passions, especially photography, which has been central to shaping her cinematic language.
How did you make the transition from taking snapshot-like photographs to making movies? Coppola: But not in a serious way.
I ended up writing the script and putting a book of visual references together—photographs—to show how I wanted to make the film.
I sat in on his classes.