Notes on a Life

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Overview

(Applause Books). Eleanor Coppola's first book, Notes on the Making of Apocalypse Now, was hailed as "one of the most revealing of all firsthand looks at the movies" ( Los Angeles Herald Examiner ). Now the author brings the same honesty, insight, and wit to this absorbing account of the next chapters in her life. In this new work we travel back and forth with her from the swirling center of the film world to the intimate heart of her family. She offers a fascinating look at the vision that drives her husband, Francis Ford Coppola, and describes

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Overview

(Applause Books). Eleanor Coppola's first book, Notes on the Making of Apocalypse Now, was hailed as "one of the most revealing of all firsthand looks at the movies" ( Los Angeles Herald Examiner ). Now the author brings the same honesty, insight, and wit to this absorbing account of the next chapters in her life. In this new work we travel back and forth with her from the swirling center of the film world to the intimate heart of her family. She offers a fascinating look at the vision that drives her husband, Francis Ford Coppola, and describes her daughter Sofia's rise to fame with the film Lost in Translation . Even as she visits faraway movie sets and attends parties, she is pulled back to pursue her own art but is always focused on keeping her family safe. The death of their son Gio in a boating accident in 1986 and her struggle to cope with her grief and anger lead to a moving exploration of her deepest feelings as a woman and as a mother. Written with a quiet strength, Eleanor Coppola's powerful portrait of the conflicting demands of family, love, and art is at once very personal and universally resonant.

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Editorial Reviews

Carolyn See
Eleanor is the glue that holds her family together, yet the tone of this memoir is always self-effacing, reticent, reserved…[she] quietly stands at the ready, watching for opportunities both to help and to make art, giving an entirely different meaning to that old poetic line: "They also serve who only stand and wait."
—The Washington Post
Sarah Kerr
…winning and quietly provocative
—The New York Times
Publishers Weekly

Coppola (Notes on the Making of Apocalypse Now) has gathered together excerpts from 20 years of her personal journals and in the process she captures the experiences of being a wife, mother and artist trying to find her own self-expression in the midst of a talented family. While there's an emotional price to pay in supporting her family's careers, Coppola has expressed herself in painting, conceptual art pieces and her documentary, Hearts of Darkness, which chronicled the creation of Apocalypse Now. As the author confesses: "I'm an observer at heart." As befits its source material, this book has a fragmented style; Coppola uses objects to spark memory, such as a pair of patent leather shoes found in 2002, which prompts her to recall a 1998 brunch when her husband advised their daughter about filmmaking. Some of the entries seem aimless and the jumps in time are occasionally forced, but Coppola's most touching memories, following the sudden death of her son Gio, are expressed with honesty and dignity. While this is certainly not a book for film buffs, it does supply an intriguing view of one of the central figures in the Coppola filmmaking dynasty. (May)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Library Journal

Coppola's story begins with an entry from her notebook, written at age 50 when she was contemplating the empty nest and the ability to reconnect with her "creative life left behind at age 26 when marriage and family took over my focus." Coppola has been married to director Francis Ford Coppola for 45 years. This series of diary entries starts in 1986 and covers such significant events in her life as the emergence of daughter Sofia as a director in her own right (The Virgin Suicides; Lost in Translation) and the devastating death of son Gio in a boating accident. Her notes show an almost weary life of devotion; yet, she wrote her first book, Notes on the Making of Apocalypse Now, mounted art exhibitions, and was very involved in her husband's films. She ends her new book in 2005 with a scene of her walking on her property in Napa (the Coppolas own a world-famous winery), happy with her life as a whole. This is a quiet, slow-moving book with lots of detail, giving an intimate, candid look inside a famous family; it is also a universal story of the conflicting demands women face. Recommended.
—Rosellen Brewer

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Product Details

  • ISBN-13: 9781423489054
  • Publisher: Hal Leonard Corporation
  • Publication date: 6/10/2010
  • Pages: 304
  • Sales rank: 999,968
  • Product dimensions: 6.20 (w) x 9.10 (h) x 1.00 (d)

Meet the Author

ELEANOR COPPOLA is an artist, documentary filmmaker and the author of Notes on the Making of Apocalypse Now. She lives in Napa Valley, California.

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Read an Excerpt

Notes on a Life
By Eleanor Coppola
Nan A. Talese Copyright © 2008 Eleanor Coppola
All right reserved.

ISBN: 9780385524995


May 12, 1986 Washington, D.C.


I am sitting at an old wooden table in this rented apartment in Washington, D.C., our home for Francis's next film, Gardens of Stone, a military story involving the honor guard who bury the dead from the Vietnam War in Arlington Cemetery. Francis is doing a final rewrite of the script. Gio is here preparing to shoot video of the rehearsals. During the production they will be working closely together as Gio will be responsible for the video tap to the main camera. He will record what the camera is shooting so that Francis can review the shots immediately rather than wait for film to be developed, and he will be electronically editing sequences. It takes a lot of technical skill. I am reminded of how much Gio has learned from working at Francis's side since the age of sixteen.

On the table top in front of me are note cards with reproductions of Matisse paintings. I am writing thank-you notes for gifts I received on my fiftieth birthday last week. Early this year I began to realize my experiences over the years had stretched me, expanded both my threshold of pain and of exhilaration, pushed me far beyond what I thought were my limits. I felt the family had somehow survived the highs and lows of our lives. The children are well and essentially grown. [Sofia will be fifteen in two days, Roman just turned twenty-one and Gio is twenty-two, soon to be twenty-three.] They are healthy, loving and creative. Myfear that our unconventional family life might harm them has begun to fade. I have nearly completed my part in raising them. I see a time of new freedom for me. A time to pick up threads of my creative life left behind at age twenty-six when marriage and family took over my focus.

By the time my birthday actually arrived, I felt happy and excited. Two days before, I had a dinner party upstairs at Chez Panisse surrounded by ten wonderful women friends. Alice Waters made a beautiful feast. I felt skinny and terrific in a black Donna Karan bodysuit and wrap skirt. Everyone looked radiant. All the gifts had something to do with flowers, a glass basket of miniature wild roses, a vintage flowered dressing gown, a silk scarf with a floral design, a small flowering tree, a photograph of flowers. I felt as if it was a message to me about blossoming. I told the story of visiting a Chinese fortune teller years ago who said, "Your life is like driving a Rolls-Royce over a bumpy road until you are fifty, and reach the pavement." The road ahead looks smooth.

The next day Sofia and I left home in Napa and flew to Washington, D.C., to celebrate with Francis and Gio on location for Francis's thirteenth feature film. Roman arrived from New York City where he is attending New York University. I told Francis what I wanted was to do something I had never done before. On the Sunday morning of my birthday he said, "Get dressed, we're going out to brunch." We drove to the river. I guessed he had made reservations at a restaurant overlooking the water. Instead he led us down a gangway onto a boat. A dozen friends in Washington for the film production were already aboard, along with food, champagne and a band of gypsy violinists. We sailed slowly down the Potomac, stopping for a private tour of Washington's beautiful home, and returned as the river reflected shades of purple and deep orange with the setting sun. I opened the gift from the cast and crew. It was a beautifully faceted Baccarat crystal flower vase. Alex [Tavoularis], from the film's art department, took pictures of our family: Francis in the middle with Sofia and me each tucked under a large arm and Gio and Roman on either side as we sat on the back of the boat, our hair blowing wildly in the wind, smiling happily.


May 13, 1986

Yesterday was Mother's Day. Gio and his girlfriend, Jacqui, invited me for lunch. They finally arrived nearly two hours late, their arms loaded with bouquets. They had driven around Washington looking for flower stores not already depleted by holiday shoppers. They brought nine bouquets. We put them everywhere in the small apartment, arranged in my new crystal vase, in pots, pans and a wastebasket. I felt as if Gio was trying to make up for the hard times he has given me since his teenage years. This past six months he has changed, he is living with Jacqui, is happy and more self-confident and has grown closer to me.

After lunch they took me to the National Gallery and the Smithsonian. I was startled. I brought the children to museums frequently when they were young but when they became teenagers they refused to go. This was the first time a child of mine invited me to a museum. Gio had his camera; he took photos as we walked of Jacqui and me, of street people, of a crowded hot dog stand. I was interested to see what he chose to shoot, how he composed an image, sometimes on the diagonal. His photography skills are developing.

In the evening Jacqui made a salad and Gio barbecued steaks on the tiny terrace of our apartment, trying to keep the thick smoke outside. Francis got home just in time for dinner. We ate in a hurry. I had to catch the last shuttle flight to New York. Gio carried my heavy suitcase out to the waiting taxi. He gave me a lingering hard hug in his distinctive bone-crunching style.

A few hours later I arrived at our apartment in New York City in the Sherry-Netherland hotel, and entered through the side door into the little kitchen. Piles of dirty pans and dishes crowded the stove, the sink and tiny counter; the smell of leftover tomato sauce and garlic overwhelmed the small room. Roman, looking tousled and sweet, gave me a kiss and a hug. As I stepped further into the apartment I could see his clothes in mounds on the floor of the bedroom. He said, "Yeah, I worked out a system, I only have to go to the laundromat once a month." There were guitars, drum pads, tapes, books and art projects strewn over the sitting room. His friend Greg was there. It looked as if they were having perfect college student fun.

I was happy to have seen two of my children on Mother's Day. I opened the doors to the part of the apartment that is usually kept locked and rented by the hotel when we are not using it, where I would be staying. It was clean and spacious. I noticed a smear of tomato sauce on the dining table. The boys confessed they had sneaked in with their dinner.

Today I spent making calls for apartment maintenance; the air conditioner isn't working, the shower ceiling is peeling. I waited for the new bed and headboard to be delivered and installed. There wasn't time to go out. I only took a few minutes to run across the street and look in the windows of Bergdorf Goodman; they often appear as if they are sculptures, well composed with witty elements and good lighting. The mannequins were wearing black cocktail dresses and standing in hundreds of broken white plates. Roman was still at school when I left for the airport. I was sad to miss hugging him goodbye.

Ice crystals are sparkling on the plane's oval window in the late afternoon sunlight. I am flying to San Francisco to be home for Sofia's fifteenth birthday tomorrow. I left some things unfinished in New York but am determined to be at home for her. Last night we talked on the phone. I was trying to complete arrangements for her party. She had changed her mind and wanted to go to a different restaurant after I had asked a friend as a special favor to get reservations at one she'd chosen. I could hardly hear her so I said, "Please speak into the phone, I can't understand what you're saying." She said, "My friends can all understand me. Why are you being so negative?" We began bickering. Finally, exasperated, I said, "I get along with my other kids, their girlfriends, my nephews, other people, the only difficult relationship I have is with you." She began crying. I felt awful. I told her I loved her and looked forward to seeing her. When we hung up I could feel the emotion in my chest radiating out through my arms. I was furious with myself for being unable to transcend a typical teenage daughter and mother encounter.

I am feeling isolated, here on this airplane in a seat next to the window, no one beside me; the members of the family are in different cities and I'm somewhere in between. I feel the contradictions in myself, an ongoing theme in my life, as I both appreciate the solitude of these few hours and also feel lonely and left out. Francis and Gio are excited about the new film on location in Washington, D.C., Roman is enjoying school in New York City. I am going home alone to take care of Sofia, who at the moment doesn't want to be with me.


May 16, 1986 Napa

In the late afternoon I went for a walk. As the back door slammed a large blue heron rose up from the pond. The baby swans had grown from the size of fuzzy tennis balls to large footballs of feathers. Two beautiful pomegranate trees were in bloom, their leaves an intense chartreuse and the small blossoms vibrant vermilion, colors so garish they seemed unnatural. I walked down the lane with vineyards on either side of me and inhaled the perfume of dry earth and thick leafy vines stretched out in the sun. I picked up trash: an empty Marlboro package lying as if it were an ornament on the freshly plowed dirt, a flattened beer can at the side of the road, several small yellow plastic flags left by the telephone linemen. Along the north side of the vineyard where the furrows were smooth I saw lines of jackrabbit tracks in the dirt with dog prints alongside.

Sofia and I had dinner on the porch, then I took her to a friend's house to stay overnight. With just the two of us here now, she tries to spend as much time as possible at her friends' homes. She said, "It's no fun here anymore."

Francis called: "Thursday is the first day of shooting." He said he'd had good rehearsals with the actors and was expecting everything to go well. I asked him how the Nigerian student I'd hired to clean the apartment was doing. "She's doing OK except when she changed the sheets she put the top sheet on top of the blanket instead of under it. Otherwise the apartment is comfortable and I'm looking forward to you and Sofia coming as soon as school is out."

Since Francis completed Apocalypse Now, in 1979, he has made four films on location. One from the Heart, The Outsiders, Rumble Fish, and Cotton Club. Over the years I thought by the age of fifty I would surely have resolved basic issues that plagued me as a young woman. Instead I am still groping along looking for solutions. When I go on location I still find myself disoriented away from home and feel the contrast of being simultaneously in Francis's very stimulating creative environment and my own personal dullness as I shop for the mop, frying pan, kitchen towels, firmer pillows, fresh flowers, groceries, wastebaskets, trash bags, laundry detergent, doormats, shampoo, duplicate door keys. I feel cut off from my friends and my creative life. I imagined that at this age I would be wise and able to balance the elements of my life; instead I feel as if my brain is a rusting file cabinet full of useless information: markets, dry cleaners, hardware stores, clothing shops in Los Angeles, Manila, New York, Tulsa, Washington, D.C., and more. In my mind's eye I can see the dry goods store in Ogallala, Nebraska, where we lived during the making of Rain People; there I bought our two little boys shorts and tennis shoes. The grocery store had penny candy machines and an old freezer containing Eskimo Pies covered with frost. I often took the boys to a coffee shop where there was a kind waitress who didn't get upset when they made magic potions of catsup, mashed potatoes and peas in their milk glasses.

Roman was three and Gio was four and a half. Some days I drove them to visit Francis while he was shooting. Other days we went to the dime store and got water guns, balloons, or plastic trucks and went to the small park in town. While the children took naps in the hot afternoons I sewed sitting next to the air conditioner in our motel room. Or I read. I was reading Siddhartha when the news of Robert Kennedy's assassination came on TV. Tears ran down my cheeks, the book was so beautiful and real life so tragic.


May 23, 1986

Roman called from New York. His voice was happy: "School is almost over. I got on the dean's list and am invited to go to London on a summer study program." I think I was more excited than he was. "The air conditioner in the apartment still isn't working. The repair guy says it's not worth fixing." He said he found a notice left by the company that made the headboard for the new bed wanting an additional payment before they would attach the casters. My days are full of the necessary tasks. Today I checked on the progress of the painters in the guest cottage and met with the woman doing the drapery. A workman brought samples of materials to use on a wall that needs repair in Roman's bathroom. The gardener told me that Sofia's small dog has been running into the vineyard with the ranch dogs where she may get hurt and asked me to keep her near the house. He asked where to plant the potted hydrangeas that were left on the porch after Easter.

In the afternoon I drove Sofia's car pool. There were three extra girls who wanted a ride so all seven of us squeezed into our small sedan. The girls gossiped brutally about what different students wore that day. "Did you see her shoes?" "That skirt is her mom's, I know it is." They got out at the market in St. Helena. Sofia stayed in town to visit friends.

I ate an early dinner by myself sitting in a patch of sunlight on the front lawn with my tray in my lap. Sofia came home with Stephanie. I heard them upstairs giggling as Sofia applied a new product tinting Stephanie's long blond hair pinkish-red. I could hear her screech when they used my travel dryer and got her hair caught in the fan. When they came down to the kitchen they decided to make French fries and needed more potatoes. They wanted to go to the little Mexican market across the highway on the motor scooter. It is not legal to drive the scooter on a public street so I made them promise to park it on our side of the highway at the end of the private road and walk from there. I was relieved when they returned. They cooked hot dogs and deep-fried neat little slices of potato.

Francis called. "Tomorrow is the first day Jimmy Caan shoots. He hasn't worked for four years and he's nervous." He said, "Gio is working really hard. There are problems with the equipment in the video van and he is having to be very ingenious to keep it working."

Continues...

Excerpted from Notes on a Life by Eleanor Coppola Copyright © 2008 by Eleanor Coppola. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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Reading Group Guide

1. Eleanor Coppola often refers to the contradictions within herself, these oppositions are an ongoing theme in her life. Discuss how you see this theme play out throughout Notes on a Life. What sort of contradictory characteristics have you encountered in your own experiences?

2. Discuss the various locations to which Eleanor travels with Francis and what effect these settings have on her existence and emotional state. How does filming on location in foreign lands differ from her life at home in Napa Valley? What role does cultural heritage play in shaping the lives of the Coppola family?

3. How does Eleanor react to being thrust into the spotlight when her documentary, Hearts of Darkness, receives critical acclaim? How does this compare to her later artistic endeavors? What does this imply about the nature of fame?

4. Discuss the effect of the non-linear narration on your understanding of Eleanor’s personal growth? How does her approach to time and memory, perspective and place, enhance the realism of her storytelling? When you look back at your life, do your memories follow a similar pattern?

5. How does the death of her son, Gio, affect Eleanor’s outlook on life and mortality? How does this new perspective manifest itself in her life and legacy? Discuss the hope and solace that lives on through Gio’s daughter, Gia.

6. What is the significance of the giant oak tree that grows on the Coppola estate in Napa Valley? Discuss in particular the two incidents in which the tree’s branch breaks off and the tree completely collapses. How does the illustration of the Niebaum-Coppola Estate, with the great tree towering above, affect you as a reader?

7. Often, Eleanor questions her decisions as a young woman and her role as a wife and mother. How does the nature of womanhood change from her generation to her daughter, Sofia’s? Discuss Eleanor’s reaction to this paradigm shift and how she reconciles her emotions with her desire to be a supportive mother.

8. How does artistic ambition play a primary role in shaping the lives of the Coppola family? Discuss in particular the ways in which art acts as educator, entertainer, and healer.

9. Discuss the role of Eleanor Coppola as a documentarian and observer of the creative process. How does her approach as a documentary filmmaker compare to her methods as an author of memoirs?

10. Eleanor quotes Tom Waits as saying, “Family and career don’t like each other … one is always trying to eat the other. You’re always trying to find balance. But one is really useless without the other. What you really want is a sink and a faucet. That’s the ideal.” How does this relate to Eleanor’s struggle to maintain her role as mother, wife, and artist?

11. What repetitions of certain numbers are significant in Notes on a Life? How does this culminate with Eleanor’s reflection on the death of Gio and birth of Gia?

12. How does Eleanor’s installation piece, Circle of Memory, help to heal the emotional wounds she has endured in life? What does this imply about the nature of life and death, hope and grief?

13. Discuss the role of the media in molding the image and identity of the famous family. How does Eleanor’s place in her own family alter according to the manipulation of the media? Is her role diminished due to the media? How does this seem to affect her personally?

14. In what ways do Francis and Eleanor have opposite views on ambition, travel, and leisure time? As a couple, how do they balance one another emotionally, personally, and artistically?

15. At one point, Eleanor describes Francis’s desire to create a new language of cinema to express time and consciousness. Discuss how Eleanor has achieved this goal in her own memoirs. Do your own reminiscences or journal entries possess cinematic traits?

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  • Anonymous

    Posted January 22, 2013

    An amazing insight into a truly amazing and strong woman...

    An amazing insight into a truly amazing and strong woman...

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