Lost in Translations

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Lost in Translation (film)

Lost in Translation adalah 2003 romantis komedi-drama Film [catatan 1] ditulis dan disutradarai oleh Sofia Coppola . Bill Murray berperan sebagai Bob
Harris, seorang bintang film Amerika yang sedang mengalami krisis paruh baya ketika dia melakukan perjalanan ke Tokyo untuk mempromosikanwiski
Suntory . Di sana, dia berteman dengan orang Amerika terasing lainnya bernama Charlotte, seorang wanita muda dan lulusan perguruan tinggi baru-
baru ini yang diperankan oleh Scarlett Johansson . Giovanni Ribisi dan Anna Farisjuga fitur. Film ini mengeksplorasi tema keterasingan dan pemutusan
hubungan dengan latar belakang perpindahan budaya di Jepang. Analisis lebih lanjut oleh para kritikus dan cendekiawan telah berfokus pada penolakan
film terhadap konvensi naratif arus utama dan penggambaran romansa yang tidak biasa. Teks asli
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Poster rilis teater
Diarahkan oleh Sofia Coppola
Diproduksi oleh Ross Katz
Sofia Coppola
Ditulis oleh Sofia Coppola
Dibintangi Bill Murray
Scarlett Johansson
Giovanni Ribisi
Anna Faris
Fumihiro Hayashi
Musik oleh Lihat § Soundtrack
Sinematografi Lance Acord
Diedit oleh Sarah Flack
Zoetrope Amerika
Perusahaan produksi
Film Elemental
Didistribusikan oleh Fitur Fokus (Amerika Serikat)
Tohokushinsha Film (Jepang)
Tanggal rilis 29 Agustus 2003 ( Festival Film Telluride )
12 September 2003 (Amerika Serikat)
17 April 2004 (Jepang) [1]
Durasi 102 menit [2]
Negara Amerika Serikat [3]
Jepang [3]
Bahasa Inggris [2]
Anggaran $ 4 juta
Film laris $ 118,7 juta
Coppola mulai menulis film tersebut setelah menghabiskan waktu di Tokyo dan menyukai kotanya. Dia mulai membentuk cerita tentang dua karakter
yang mengalami "melankolis romantis" [4] di Park Hyatt Tokyo , di mana dia tinggal sambil mempromosikan film fitur pertamanya, drama 1999 The Virgin
Suicides . Coppola membayangkan Murray memainkan peran Bob Harris sejak awal dan mencoba merekrutnya hingga satu tahun, tanpa henti
mengiriminya pesan telepon dan surat. Sementara Murray akhirnya setuju untuk memainkan peran tersebut, dia tidak menandatangani kontrak; Coppola
menghabiskan seperempat dari anggaran $ 4 juta film tanpa mengetahui apakah dia akan muncul di Tokyo untuk syuting. Ketika Murray akhirnya tiba,
Coppola menggambarkan perasaan lega yang signifikan.
Fotografi utama dimulai pada 29 September 2002, dan berlangsung selama 27 hari. Coppola memiliki jadwal yang fleksibel selama pembuatan film
dengan kru kecil dan peralatan minimal. Skenarionya pendek dan Coppola sering melakukan banyak improvisasi selama pembuatan film. Film direktur
fotografi , Lance Acord , digunakan cahaya yang tersedia sesering mungkin dan banyak tempat Jepang bisnis dan tempat umum digunakan sebagai
lokasi untuk pemotretan. Setelah 10 minggu pengeditan, Coppola menjual hak distribusi untuk Amerika Serikat dan Kanada kepada Focus Features , dan
perusahaan mempromosikan film tersebut dengan menghasilkan kata-kata positif dari mulut ke mulut sebelum rilis teatrikalnya.
Film ini ditayangkan perdana pada 29 Agustus 2003, di Telluride Film Festival dan sukses kritis dan komersial utama. Kritikus memuji penampilan Murray
dan Johansson, serta penulisan dan arahan Coppola; kritik terbatas diberikan pada penggambaran film tentang Jepang. Pada Academy Awards ke - 76 ,
Lost in Translation memenangkan Coppola Best Original Screenplay , dan film tersebut juga dinominasikan untuk Film Terbaik , Sutradara Terbaik
(Coppola), dan Aktor Terbaik (Murray). Penghargaan lain yang dimenangkan termasuk tiga Penghargaan Golden Globe dan tiga Penghargaan Film
Akademi Inggris .
Merencanakan
Bob Harris adalah bintang film Amerika pudar yang tiba di Tokyo untuk tampil dalam iklan yang menggiurkan untuk wiski Suntory . Dia tinggal di Park
Hyatt Tokyo kelas atas dan menderita ketegangan dalam pernikahannya selama 25 tahun dan krisis paruh baya. Charlotte, orang Amerika lainnya yang
tinggal di hotel, adalah lulusan Universitas Yale muda yang menemani suaminya John saat dia bekerja sebagai fotografer selebriti di Jepang. Charlotte
merasa sama bingungnya saat dia mempertanyakan pernikahannya baru-baru ini dan tidak yakin tentang masa depannya. Mereka berdua bergulat
dengan perasaan jet lag dan kejutan budaya tambahan di Tokyo dan sering menghabiskan waktu dengan bersantai di sekitar hotel.
Charlotte ditolak oleh aktris Hollywood yang hampa bernama Kelly, yang berada di Park Hyatt Tokyo mempromosikan film aksi dan membesut sesi
fotografi yang sebelumnya dia lakukan dengan John. Bob dan Charlotte sering bertemu satu sama lain di hotel dan akhirnya berkenalan di bar hotel.
Setelah beberapa pertemuan, ketika John sedang bertugas di luar Tokyo, Charlotte mengundang Bob ke kota untuk bertemu dengan beberapa teman
lokal. Keduanya terikat melalui malam yang menyenangkan di Tokyo, di mana mereka mengalami kehidupan malam kota bersama. Di hari-hari
berikutnya, Bob dan Charlotte menghabiskan lebih banyak waktu bersama, dan persahabatan mereka semakin erat. Suatu malam, saat masing-masing
tidak bisa tidur, keduanya berbagi percakapan intim tentang ketidakpastian pribadi Charlotte dan kehidupan pernikahan mereka.
Bob menghabiskan malam dengan penyanyi lounge dari bar hotel pada malam terakhir masa inapnya. Charlotte mendengar wanita itu bernyanyi di
kamar Bob keesokan paginya, menyebabkan ketegangan antara Bob dan Charlotte saat makan siang bersama di kemudian hari. Pasangan itu bertemu
kembali di malam hari ketika Bob mengungkapkan bahwa dia akan meninggalkan Tokyo keesokan harinya. Bob dan Charlotte berdamai dan
mengungkapkan bagaimana mereka akan merindukan satu sama lain, melakukan kunjungan terakhir ke bar hotel. Keesokan paginya, ketika Bob
meninggalkan hotel, dia dan Charlotte mengucapkan selamat tinggal yang tulus tetapi tidak memuaskan. Bob naik taksi ke bandara. Dia melihat
Charlotte di jalan yang ramai, menghentikan mobil, dan berjalan ke arahnya. Dia kemudian memeluk Charlotte dan membisikkan sesuatu di telinganya.
Keduanya berbagi ciuman, mengucapkan selamat tinggal, dan Bob pergi.
Pemeran
Bill Murray sebagai Bob Harris, bintang film yang mulai pudar
Scarlett Johansson sebagai Charlotte, lulusan perguruan tinggi baru-baru ini
Giovanni Ribisi sebagai John, suami Charlotte, fotografer selebriti
Anna Faris sebagai Kelly, seorang aktris Hollywood
Fumihiro Hayashi sebagai Charlie, teman Charlotte
Catherine Lambert sebagai penyanyi lounge [note 2]
Analisis
Tema
Penulis-sutradara film tersebut, Sofia Coppola , menggambarkan Lost in Translation sebagai cerita
Dia terjebak. ... Ketika Anda pergi ke negara asing,
tentang "hal-hal yang terputus dan mencari momen-momen hubungan", [7] sebuah perspektif yang
benar-benar asing, ada kejutan besar kesadaran
dibagikan oleh para kritikus dan cendekiawan. Dalam arti budaya, Bob dan Charlotte disorientasi yang datang pada Anda ketika Anda melihat
oleh perasaan jet lag dan kejutan budaya akibat perjalanan asing ke Jepang. Bob bingung dengan bahwa, "Ya Tuhan, hanya saya di sini." Tidak ada
interaksinya dengan seorang direktur komersial Jepang yang tidak dapat dia pahami, menyadari siapa-siapa, tidak ada tetangga, tidak ada teman,
bahwa makna komunikasinya "hilang dalam terjemahan" oleh seorang penerjemah. [8] [catatan 3]Selain tidak ada panggilan telepon — hanya layanan
kamar.
itu, keduanya tidak bisa tidur karena perubahan zona waktu, memilih untuk mengatasi keadaan
terjaga dengan melakukan kunjungan larut malam ke bar hotel. Perasaan seperti itu memicu rasa —Bill Murray, berbicara tentang Bob Harris [6]
keterasingan dari lingkungan mereka, tetapi mereka juga memperburuk pengalaman keterasingan
dan keterputusan yang lebih dalam dalam hidup mereka. [10] Bob dan Charlotte keduanya dalam
pernikahan bermasalah dan menghadapi krisis identitas yang serupa; Charlotte tidak yakin apa yang harus dilakukan dengan hidupnya dan
mempertanyakan peran apa yang harus dia rangkul di dunia, sementara Bob selalu diingatkan akan perawakannya yang memudar sebagai bintang film
dan merasa terasing dari identitas yang telah didefinisikannya. [11]
Pengalaman tersebut diperkuat oleh kontak karakter dengan lingkungan kota Tokyo; Bob merasa terasing saat melihat kemiripannya digunakan dalam
sebuah iklan saat ia diantar dari bandara ke hotelnya, dan pemandangan kota yang penuh warna ditampilkan sebagai lingkungan ingar-bingar yang
membuatnya kewalahan. [12] [note 4] Charlotte merasa terombang-ambing saat dia mencoba menemukan makna saat berkeliaran di Tokyo, [13] dan dia
merasa terisolasi saat dia mengintip kota dari jendela kamar hotelnya. [14] Park Hyatt Tokyo menawarkan kualitas kedap udara yang melindungi karakter
dari kota dan merupakan situs yang dipilih Bob untuk berlindung dari penyakitnya. [15]Kesan bersama tentang keterasingan ini menciptakan landasan
bersama bagi Bob dan Charlotte untuk memupuk hubungan pribadi. [10] Ketika Charlotte mengundang Bob untuk mengalami kehidupan malam Tokyo,
dia mengurangi rasa jaraknya dari kota [10] dan keduanya mengembangkan koneksi berdasarkan momen-momen kecil bersama. Dalam waktu singkat
yang mereka miliki bersama, masing-masing menyadari bahwa mereka tidak sendirian dalam mencari sesuatu yang lebih dalam dalam hidup mereka. [16]
Coppola, berbicara tentang singkatnya pertemuan mereka, berkomentar, "Untuk semua orang, ada saat-saat ketika Anda memiliki hari-hari indah
dengan seseorang yang tidak Anda harapkan. Kemudian Anda harus kembali ke kehidupan nyata Anda, tetapi itu membuat Anda terkesan. Itulah yang
membuatnya begitu hebat dan menyenangkan. " [17]
Geoff King, seorang sarjana yang menulis buku tentang film tersebut, berkomentar bahwa pengalaman para tokoh sentral adalah salah satu faktor yang
membuat Lost in Translation menjadi interpretasi yang beragam oleh para akademisi. [18] Todd McGowan membaca film tersebut dari perspektif
psikoanalitik Lacanian , dengan alasan bahwa film tersebut mendorong pelukan "ketidakhadiran" dalam kehidupan dan hubungan seseorang. [19] Dia
menggambarkan penggambaran Coppola tentang Tokyo "sebagai kota yang penuh dengan kelebihan", yang menawarkan janji kepuasan kosong. [20]
Dalam pandangannya, baik Bob dan Charlotte menyadari bahwa mereka tidak dapat menemukan makna dalam atraksi Tokyo, jadi mereka terikat pada
rasa kekosongan bersama di dalamnya. [20]Lucy Bolton menawarkan pembacaan feminis, dengan alasan bahwa Lost in Translation membangkitkan
pemikiran filsuf feminis Luce Irigaray dengan menyoroti isu-isu kewanitaan muda. Dia berpendapat bahwa film tersebut memberikan potret kompleks
subjektivitas perempuan Charlotte dan rendering optimis dari pengejaran karakter untuk ekspresi individu. [21]
Cerita
Lost in Translation telah diperiksa secara luas dalam hal struktur naratifnya, dengan komentator mencatat bahwa itu berisi sedikit peristiwa plot
dibandingkan dengan film-film di arus utama Hollywood. Peristiwa naratif sebagian besar difokuskan pada perkembangan hubungan Bob dan Charlotte,
[22]
dengan sedikit hambatan "eksternal" yang berdampak pada karakter sentral. [23] King mencatat, "Lebih banyak waktu diambil untuk membangkitkan
kesan, perasaan, dan pengalaman karakter sentral", [24] yang mewakili "pergeseran dalam pengaturan hierarki [elemen film]" yang memprioritaskan
pengalaman karakter daripada plot . [25]Kritikus sastra Steve Vineberg berpendapat bahwa "hubungan dari cerita memang ada, hanya saja itu bukan
hubungan sebab-akibat yang khas. Mereka dibentuk oleh emosi yang berkumpul di akhir satu episode dan mengalir ke episode berikutnya. ". [26] King
berpendapat bahwa sementara plot berkembang sesuai dengan kausalitas linier dasar, [22] "Jika kualitas episodik sering tampak kedepan, ini sebagian
adalah masalah mondar-mandir urutan individu yang sangat sering santai dan berdedikasi untuk pembentukan atau pengembangan mood dan
atmosfer ". [24] Coppola mengatakan dia ingin ceritanya menekankan kualitas momen intim, dan dia tidak ingin memaksakan perangkat naratif yang
megah pada karakter seperti "perang yang memisahkan mereka ".[27] [catatan 5]
Coppola berkata tentang pengambilan gambar

pembukaan film, "Saya tidak memiliki alasan yang
tepat untuk itu. ... Itu hanya bagaimana saya ingin
memulai film. Saya suka memiliki sedikit karakter
— seorang gadis muda yang manis menunggu di
sekitar di kamar hotelnya — dan kemudian
lanjutkan ke cerita ". [29] [catatan 6]
Pengambilan gambar pembukaan film telah menjadi poin diskusi lain di antara para kritikus dan cendekiawan. Bidikan 36 detik, yang menampilkan
bagian belakang Charlotte saat ia berbaring di tempat tidur mengenakan celana dalam merah muda transparan, didasarkan pada lukisan fotorealis John
Kacere [32] dan sering dibandingkan dengan penampilan awal Brigitte Bardot dalam film Contempt tahun 1963. . [note 7] Sementara beberapa orang
menggambarkannya sebagai bayangan romansa antara Bob dan Charlotte, [note 8]sejarawan film Wendy Haslem berpendapat bahwa "niat Coppola
dengan pengambilan gambar pembukaan ini tampaknya untuk menentang tabu dan merongrong ekspektasi seputar apa yang mungkin dianggap
sebagai 'tembakan uang' di bioskop yang lebih eksploitatif secara tradisional." [10] Sejalan dengan itu, akademisi Maria San Filippo menyatakan bahwa "
[Coppola] tampaknya tidak membuat pernyataan sama sekali di luar semacam dukungan terhadap kecantikan demi kecantikan." [33] catatan Raja bahwa
gambar berisi baik "halus" dan "jelas" daya tarik dalam kombinasi dari kualitas estetika dan erotis, yang menandakan Lost in Translation ' posisi s antara
arus utama dan film independen . [34]Pakar film Todd Kennedy menafsirkannya dalam kerangka konsepsi teoris film feminis Laura Mulvey tentang
pandangan laki - laki , dengan alasan bahwa pengambilan gambar "berlangsung selama menjadi canggung — memaksa penonton untuk menyadari
(dan bahkan mungkin mempertanyakan) pandangan mereka. partisipasi dalam tatapan. " [35]
Lost in Translation has also been noted for defying the conventions of mainstream romantic films. Haslem writes that the classic romantic comedy
assures the audience that the couple has a future, but Coppola defies expectations by refusing to unite the central characters.[10] She points to elements
such as Bob and Charlotte's lack of sexual consummation as one factor that obscures whether their pairing is more romantic or platonic. Writing about
the concluding sequence in which the characters make their final goodbyes, Haslem argues, "Conventionally in mainstream cinema, the kiss ... signifies
resolution by reinforcing the myth of romantic love. But in this new wave of contemporary anti-romance romance, the kiss signifies ambiguity."[10] The
academic Nicholas Y.B. Wong contends that the film's lack of "heart-melting connections and melodramatic (re)unions between characters" represents a
postmodern portrait of love, writing that Lost in Translation is "about non-love, the predominance of affairs and the complexities of intimacy. Characters
vacillate between falling in love and out of love. They are neither committed to someone nor emotionally unattached."[12] Coppola said Bob and
Charlotte's relationship is "supposed to be romantic but on the edge. ... [A] little bit more than friends but not an actual romance. ... To me, it's pretty un-
sexual between them—innocent and romantic, and a friendship."[36]
Production
Writing
Sofia Coppola promoting Lost in

Translation at the 2003 Toronto
International Film Festival
After dropping out of college in her early twenties,[37] Coppola often traveled to Tokyo, trying out a variety of jobs in fashion and photography.[38]
Unsure of what to do for a career, she described this period as a "kind of crisis"[37] in which she meandered around the city contemplating her future.[29]
She came to feel fond of Tokyo, noting an otherworldly quality brought on as a foreigner grappling with feelings of jet lag in an unfamiliar setting.[39]
After many years, she settled on a career in filmmaking and returned to the city, staying at the Park Hyatt Tokyo to promote her first feature film, the
1999 drama The Virgin Suicides.[17][note 9]
Coppola began writing Lost in Translation after returning home from this press tour.[7] Having been influenced by her background in Tokyo, she resolved
to write a screenplay set there[17][note 10] and began forming a story about two characters experiencing a "romantic melancholy" in the Park Hyatt
Tokyo.[4] Coppola was long attracted to the neon signs of the city and envisaged Tokyo taking on a "dreamy feeling" in the film.[38] She recruited her
friend Brian Reitzell, who ultimately served as the film's music producer, to create dream pop compilation mixes that she listened to while writing to help
establish this mood.[41]
Coppola did not initially write the screenplay in traditional script form, citing the difficulty of mapping out a full plot.[4] Instead, she opted to write "little
paragraphs" largely based on disparate impressions and experiences of her life in Tokyo, which she then adapted to a script.[4] Among the first images
she included was of her friend Fumihiro Hayashi performing a karaoke rendition of the Sex Pistols' "God Save the Queen", which Coppola saw him
perform during the time she worked in Tokyo.[29] After writing the first 20 pages with help from her brother, Roman Coppola, she returned to Tokyo for
further inspiration.[7] There, she videotaped anything she could use as a further writing aid.[36]
Coppola envisioned Murray playing the role of Bob from the beginning, wanting to show off "his more sensitive side"[36] and feeling amused by the
image of him dressed in a kimono.[17] She described her mental pictures of Murray as a significant source of inspiration for the story.[5] For the character
of Charlotte, Coppola drew from her own feelings of early-twenties disorientation, citing the strain in her relationship with her then-husband Spike Jonze
as an influence for the relationship between Charlotte and John.[42] She also drew inspiration from J. D. Salinger's character Franny in Franny and Zooey,
finding appeal in "the idea of a preppy girl having a breakdown".[37]
As she developed the relationship between Bob and Charlotte, Coppola was compelled by the juxtaposition of the characters having similar internal
crises at different stages of their lives.[43] She cited the dynamic between Humphrey Bogart and Lauren Bacall in The Big Sleep as a source of inspiration
for their relationship.[7] Coppola reported doing little re-writing of the script,[16] which took six months to complete[7] and culminated in 75 pages, much
shorter than the average feature film script.[44][note 11] Despite worrying that the screenplay was too short and "indulgent" for including assortments of
her personal experiences, she resolved to begin production of the film.[37]
Development
Bill Murray in 2014 ( left) and Scarlett Johansson in 2008 ( right)
Coppola maintained that she would not have made Lost in Translation without Murray.[32] The actor had an 800 number for prospective clients interested
in casting him, but he had a reputation as a recluse who was difficult to contact.[46] Coppola relentlessly pursued him and sent telephone messages and
letters for months.[43] She also sought people in her professional network that might help her make contact.[31] She recruited screenwriter Mitch Glazer,
who was a longtime friend of Murray's, to accept an early version of the script and try to persuade him.[42] Glazer was impressed with the story and said
he called the actor frequently, telling him, "You need to read this",[46] but he would not provide an answer.[42] After up to a year of cajoling, Murray finally
agreed to meet with Coppola at a restaurant to discuss the film.[42] He then accepted the role, saying "she spent a lot of time getting me to be the guy.
In the end, I felt I couldn't let her down."[31]
Despite Murray's agreement, Coppola had to take him at his word, as he did not sign a formal contract.[7] She described this as "nerve-wracking",
wondering if he would show up for filming in Tokyo.[7] She discussed the issue with director Wes Anderson, who had previously worked with the actor
and encouraged her, saying, "If he says he's going to do it, he'll show up."[7] For Murray's co-star, Coppola liked Johansson's performance in Manny & Lo,
remembering her "as a cute little girl with that husky voice".[17] She then invited Johansson to a restaurant to discuss the role.[30] Initially worried that the
17-year-old Johansson might be too young to play a character in her twenties, the director concluded that she appeared older and could convincingly
play the part.[47] Coppola offered Johansson the role without an audition, which she accepted.[30]
Feeling a sense of personal investment in the project, Coppola wanted to maintain final cut privilege and feared that a distribution deal with a North
American studio would threaten her influence.[7] It was also unlikely that a studio would provide such backing, given the short length of the screenplay
and Murray's lack of formal involvement.[48] Instead, she and her agent opted to sell foreign distribution rights to an assortment of companies to fund
production costs of $4 million.[7] She struck a deal first with Japan's Tohokushinsha Film, then with distributors in France and Italy, and finally with the
international arm of Focus Features for the remaining foreign market.[7] By piecing together the funding from multiple distributors, Coppola reduced the
influence of any single financier.[48] Still not knowing if Murray would show up in Tokyo, Coppola spent $1 million of the budget,[7] knowing that his
absence would doom the production. When he finally arrived, days before filming, she described feelings of significant relief.[49]
Filming
The production used bystanders as extras in

public areas such as Shibuya Crossing.
Principal photography began on September 29, 2002,[50] and lasted 27 days.[17] With a tight schedule and a limited $4 million budget, filming was done
six days per week and was marked by a "run-and-gun" approach: Coppola was keen to stay mobile with a small crew and minimal equipment.[36] She
conducted few rehearsals and kept a flexible schedule, sometimes scrapping filming plans to shoot something she noticed on location if she thought it
better served the story.[9][note 12] Since the screenplay was sparse, missing details were often addressed during shooting, and Coppola allowed a
significant amount of improvisation in dialogue, especially from Murray.[16] One example includes the scene in which Bob is being photographed for
Suntory whisky; Coppola encouraged Murray to react to the photographer spontaneously as she whispered names for the man to repeat to Murray as
unrehearsed dialogue, such as "Roger Moore".[16][5][note 13]
While key crew members were Americans that Coppola invited to Tokyo, most of the crew was hired locally.[9] This proved to be challenging for the
production, as most of the Japanese crew could not communicate with Coppola in English, so both sides relied on translations from a bilingual assistant
director and a gaffer.[36] The production encountered frequent delays while translations took place and suffered from occasional cultural
misunderstandings; in one example, Coppola described a shoot in a restaurant that ran 10–15 minutes late, something she said was normal on an
American shoot,[17] but it prompted the restaurant owner to feel disrespected; he subsequently disconnected the crew's lights and the film's Japanese
location manager resigned.[7] Despite this, Coppola said she worked to adapt to a Japanese style of filmmaking, not wanting to impose an approach that
her crew was not used to.[36]
Coppola worked closely to visualize the film with her director of photography, Lance Acord. She showed him and other key crew members a book of
photographs she created that represented the visual style she wanted to convey in the film.[16] To evoke a sense of isolation in Bob, Coppola and Acord
used stationary shots in the hotel and avoided conspicuous camera movements.[51] They also had numerous discussions about shooting on video, but
they ultimately decided that film better suited the romantic undertones of the story.[36] Coppola remarked, "Film gives a little bit of a distance, which
feels more like a memory to me. Video is more present tense".[36] Acord believed that new film stocks would reduce the need for excessive lighting,
ultimately using Kodak Vision 500T 5263 35 mm stock for night exteriors and Kodak Vision 320T 5277 stock in daylight.[52] Most of the film was shot on
an Aaton 35-III while a smaller Moviecam Compact was used in confined locations.[52]
With high-speed film stocks, Acord chose to utilize available light as often as possible,[53] only supplementing with artificial lights when necessary.[52] He
reported "never really" rigging lights for night exteriors, relying on the natural light on Tokyo's city streets.[52] For interior sequences in the Park Hyatt
Tokyo, he relied mostly on the hotel's practical lighting sources, shooting at a wide open f-stop and heavily cutting the light to eliminate reflections in
the hotel window.[54] Acord said he heard objections about lighting from some of the Japanese electricians, who were unaccustomed to relying so much
on available light and were concerned that the exposure would not be sufficient.[55] Acord, assured that the film stocks would hold up against lower
lighting, ultimately shot much of the film two stops underexposed.[53]
Many of the shooting locations were Japanese places of business and public areas at the time of filming, including New York Bar in the Park Hyatt Tokyo
and Shibuya Crossing in Tokyo. On public streets and subways, the production did not secure filming permits[32] and relied on city bystanders as
extras;[36] Coppola described the shooting as "documentary-style"[17] and was worried at times about getting stopped by police, so she kept a minimal
crew.[36] In the hotel, the production was not allowed to shoot in public areas until 1 or 2 a.m. to avoid disturbing guests.[56] In the film's concluding
sequence in which Bob and Charlotte make their final goodbyes, Coppola reported being unhappy with the dialogue she had scripted, so Murray
improvised the whisper in Johansson's ear.[16] Too quiet to be understandable, Coppola considered dubbing audio in the scene, but she ultimately
decided it was better that it "stays between the two of them".[16] After production concluded, Coppola supervised 10 weeks of editing by Sarah Flack in
New York City.[28]
Soundtrack
The film's soundtrack was released by Emperor Norton Records on September 9, 2003.[57] It contains 15 tracks, largely from the shoegaze and dream
pop genres of indie and alternative rock. The soundtrack was supervised by Brian Reitzell and contains songs from artists and groups including Death in
Vegas, Phoenix, Squarepusher, Sébastien Tellier, and Happy End. The Jesus and Mary Chain's song "Just Like Honey" and "Sometimes" by My Bloody
Valentine featured, and four original tracks were written for Lost in Translation by the latter band's frontman, Kevin Shields.[58] Other tracks produced for
the film include two co-written by Reitzell and Roger J. Manning Jr., and one by Air.[58] Songs featured in the film that are not in the soundtrack include
karaoke performances of Elvis Costello's cover of "(What's So Funny 'Bout) Peace, Love, and Understanding" and The Pretenders' "Brass in Pocket". A
further performance by Murray of Roxy Music's "More Than This" is included as a bonus track.[note 14]
During the screenwriting stage, Coppola spoke to Reitzell about the "moody" and "melancholic" qualities she wanted the music to convey in the film, as
well as what Reitzell understood to be the "strange, floating, jet-lagged weirdness" that would define the central characters.[41] Coppola said she wanted
the soundtrack "to be less like a score" and more like the dream-pop mixes Reitzell made to assist her writing of the film.[17] While Shields had released
little music since the release of Loveless in 1991,[59] at Reitzell's suggestion, he and Coppola enlisted him to help write original music for the film;[60]
Reitzell believed Shields "could capture that droning, swaying, beautiful kind of feeling that we wanted."[41] He then joined Shields in London for some
two months[61] of overnight recording sessions, and they used the screenplay and dailies from production as inspiration while they worked on songs for
the film.[41] Shields commented on the challenge he felt in songwriting for a film, saying "I was barely aware of the language of music that's not
essentially just for your ears. ... In the end, just the physical movement of the film, that was a delicacy. And I suppose that's why I ended up doing stuff
that was so delicate."[58]
King argues that music often plays the most significant role in setting mood and tone in the film, writing that it is substantial "in evoking the dreamy,
narcotised, semi-detached impressions of jet-lag" as well as broader feelings of alienation and disconnection, "making what is probably the largest single
contribution to the widespread understanding of the film as a 'mood piece'."[62] He points to the use of "Girls" by Death in Vegas, featured in the early
sequence in which Bob is driven from the airport to the hotel, arguing that it "plays a role equal to if not dominating that of the visuals ..., creating a
drifting, ethereal and somewhat dreamy quality that precisely captures the impressions of temporal and spatial disjunction".[63] He also points to the use
of "cool and distant" tracks like "Tommib", used in the extended sequence featuring Charlotte observing Tokyo while seated in her hotel room window,
as playing a significant role in establishing feelings of isolation and disorientation in the character.[64] In King's view, some sequences feature
combinations of music and visuals so as to function as "audio-visual set pieces", which offer distinct points of appeal in the film for its target audience.[65]
Release
Marketing
Coppola did not sell distribution rights for the United States and Canada until she and Flack finished editing the film.[44] In February 2003, the director
showed the film to top executives at the domestic arm of Focus Features,[44] the company to which it had already sold most of the foreign distribution.
The prior contract proved to be significant for Focus, as it received privileged access to the film while competing buyers complained that they were
restricted to the viewing of a three-minute trailer in the Focus offices at the American Film Market.[66] Coppola initially offered the domestic distribution
rights for $5 million, but she decided to sell them to Focus for $4 million, citing her appreciation for the international deals the company had secured for
the film.[44]
Once Focus was involved, it began promoting the film by employing a conventional "indie-style" marketing campaign.[67] The strategy involved
generating positive word of mouth for the film well before its September 2003 release.[68] The distributor arranged advance press screenings throughout
the summer of 2003 and combined this with a magazine publicity campaign.[68][note 15] Posters and trailers emphasized the recognizable star presence of
Murray, highlighting his performance in the film's comic sequences, which favored wider audience appeal.[69] Immediately prior to its release, Focus
placed Lost in Translation in film festivals and hosted "intimate media screenings" that included question-and-answer panels with Coppola and
Murray.[44] Many of these marketing tacks were designed to promote the film at minimal cost, a departure from more costly strategies often employed in
the Hollywood mainstream, such as major television advertising.[67]
Theatrical run
Lost in Translation had its premiere on August 29, 2003, at the Telluride Film Festival in the United States.[3] Two days later, it appeared at the Venice Film
Festival in Italy, and on September 5, 2003, it was shown at the Toronto International Film Festival in Canada.[3] It opened to the public in limited release
on September 12, 2003, at 23 theaters in major cities in the United States, including New York City, Los Angeles, and San Francisco.[70] The film had
already generated speculation about Oscar contention from advance screenings and was noted for opening several weeks earlier than expected for an
indie vying for awards—a risk being that opening too early might cause the film to be forgotten by the time nominations were made for major prizes like
the Academy Awards.[68][71] Focus Features co-presidents James Schamus and David Linde commented that the company chose an early release date on
the basis of factors including the film's quality and early marketing campaign, as well as a lack of competition from other films.[68] The strategy was
intended to give Lost in Translation more time to command the marketplace.[72]
Graph showing the estimated number of theaters in

which Lost in Translation played in the United States,
Canada, and Puerto Rico in 2003–2004. [73] Focus
Features expanded its theater presence in January after
it received nominations for the 76th Academy Awards.
The film grossed $925,000 in its opening weekend and was expanded the next week from 23 theaters to 183[68] in the top 25 markets of the country.[70]
There, it grossed more than $2.62 million over the weekend[74] and nearly paid off the total budget of the film. It entered wide release on October
3,[note 16] its fourth weekend, peaking at a rank of seven in the box office chart;[73] a week later, it expanded to an estimated 882 theaters, the film's
highest theater count over its run.[73] Lost in Translation grossed an estimated to-date total of $18.5 million through October 13[73] and was noted by The
Hollywood Reporter to have been performing well even "in smaller and medium sized markets where audiences don't always respond to this type of
upscale material".[68] Following this performance, Lost in Translation saw a gradual decline in theater presence progressing into the new year,[73] though
it was expanded again after the film received nominations for the 76th Academy Awards.[75] The film was widened from a late December low of 117
theaters to an estimated 632 at the end of January, ultimately ending its run in the United States and Canada on March 25 and earning $44.6 million.[73]
Its international release earned $74.1 million, for a worldwide total of $118.7 million.[73]
Home media
The DVD of Lost in Translation was released on February 3, 2004,[76] and includes deleted scenes, a behind-the-scenes featurette, a conversation about
the film featuring Murray and Coppola, and a music video for "City Girl",[77] one of the original songs composed for the film by Kevin Shields. Wanting to
capitalize on the publicity surrounding Lost in Translation's presence at the Academy Awards, Focus Features made the unusual move of releasing the
film on home media while it was still screening in theaters, immediately after its Oscar nominations were announced.[75] The strategy was seen as risky,
as the industry was generally concerned that theatrical revenues could be harmed by early home video release.[75] Lost in Translation ultimately earned
nearly $5 million from its first five days of video rentals and sold one million retail copies during its first week of release.[78] Early returns showed it was
the second-best selling DVD during this period[78] while the film screened in 600 theaters and box office revenues dropped 19% from the previous week,
which Variety described as "relatively modest".[79] Focus credited the performance to positive word of mouth and cited the marketing for the film on
both media as helpful for whichever platform consumers chose.[79] Lost in Translation was later released on the now-obsolete HD DVD format on May
29, 2007,[80] and on Blu-ray on December 7, 2010.[81]
Reception
Critical response
Lost in Translation received widespread critical acclaim, particularly for Murray's performance and for Coppola's direction and screenplay.[82] On Rotten
Tomatoes, the film has an approval rating of 95% based on 233 reviews, with an average rating of 8.4/10.[83] The site's critical consensus reads,
"Effectively balancing humor and subtle pathos, Sofia Coppola crafts a moving, melancholy story that serves as a showcase for both Bill Murray and
Scarlett Johansson."[83] On Metacritic, which assigns a normalized rating to reviews, the film has an average score of 89 out of 100 based on 44 reviews,
indicating "universal acclaim".[84]
Critics widely praised Murray's performance as Bob, commending his handling of a more serious role that was combined with the comic persona for
which he was already broadly known. Writing for Slate, David Edelstein argued that it was "the Bill Murray performance we've been waiting for", adding
that "his two halves have never come together as they do here, in a way that connects that hilarious detachment with the deep and abiding sense of
isolation that must have spawned it".[85] Lisa Schwarzbaum of Entertainment Weekly regarded Murray's performance as Oscar-worthy and lauded it as his
"most vulnerable and unmannered" to date; she praised his treatment of a more delicate role as well as his improvisations in the film's comic
sequences.[86] The New York Times critic Elvis Mitchell had similar praise, calling Lost in Translation "Mr. Murray's movie" and remarking that the actor
"supplies the kind of performance that seems so fully realized and effortless that it can easily be mistaken for not acting at all".[87][note 17]
Coppola received a similar level of acclaim for her screenplay and direction. Kenneth Turan of the Los Angeles Times commented that Lost in Translation
was "tart and sweet, unmistakably funny and exceptionally well observed—[which] marks ... Coppola as a mature talent with a distinctive sensibility and
the means to express it".[88] Much of the praise was directed specifically at her attention to qualities of subtlety and atmosphere; David Rooney of Variety
praised the film as "a mood piece", adding that its "deft balance of humor and poignancy makes it both a pleasurable and melancholy experience".[89]
Likewise, Salon critic Stephanie Zacharek lauded Coppola as a "stealth dramatist" whose understated narrative style made for an artful depiction of
emotion; she praised Lost in Translation as an intimate story that marks Coppola as an exceptional filmmaker.[90]
Praise was also offered for Johansson's performance as Charlotte; Rooney commented that she "gives a smartly restrained performance as an observant,
questioning woman with a rich interior life",[89] and Turan added that Johansson "makes what could have been an overly familiar characterization come
completely alive".[88] Lost in Translation was listed as a best film of the year by more than 235 critics[91] and has appeared on other "best of" lists in the
years after its release. Paste ranked it number seven on its list of "The 50 Best Movies of the 2000s",[92] Entertainment Weekly ranked it number nine on
its list of the decade's top ten,[93] and the film was ranked number 22 on a 2016 list of the BBC's 100 Greatest Films of the 21st Century, based on a poll
of 177 critics.[94]
Allegations of racism
While not a topic of most reviews, Lost in Translation received some charges of Orientalist racial stereotyping in its depiction of Japan.[95] The filmmaker
E. Koohan Paik argued that the film's comedy "is rooted entirely in the 'otherness' of the Japanese people", and that the story fails to offer balanced
characterizations of the Japanese, adding that "it is ... the shirking of responsibility to depict them as full human beings, either negative or positive, which
constitutes discrimination, or racism".[96] Similarly, the artist Kiku Day charged in The Guardian that "[t]here is no scene where the Japanese are afforded
a shred of dignity. The viewer is sledgehammered into laughing at these small, yellow people and their funny ways".[97] Prior to the film's release in
Japan, local distributors were reported to have concern about how it would be received there,[98] and the film was ultimately met with criticism in some
Japanese reviews; among them, critic Yoshiro Tsuchiya of Yomiuri Shimbun wrote that Coppola's representation of Japan was "outrageously biased and
banal".[99] Perceptions of stereotyping also led to a campaign against the film by an Asian American organization that urged members of the Academy of
Motion Picture Arts and Sciences to vote against it at the 76th Academy Awards.[100]
The film scholar Homay King argues that while the film ultimately does little to counter Orientalist stereotypes, it fails to establish the perspective from
which Japanese representations are made, writing that "the film [does not] sufficiently clarify that its real subject is not Tokyo itself, but Western
perceptions of Tokyo. ... When Japan appears superficial, inappropriately erotic, or unintelligible, we are never completely sure whether this vision
belongs to Coppola, to her characters, or simply to a Hollywood cinematic imaginary".[101] Moreover, Geoff King maintains that while depictions such as
Charlotte's alienation from experiences like ikebana are evidence that the film abstains from the Orientalist "mythology of Japanese tradition as source of
solace", the film often situates Japan as a source of "difference" for the characters by relying on crude jokes and stereotypes of the Japanese as "crazy" or
"extreme".[102] Coppola reported being surprised by such criticism, saying, "I think if everything's based on truth you can make fun, have a little laugh,
but also be respectful of a culture. I just love Tokyo and I'm not mean-spirited".[39]
Accolades
Lost in Translation received awards and nominations in a variety of categories, particularly for Coppola's direction and screenwriting, as well as the
performances of Murray and Johansson. At the 76th Academy Awards, it won Best Original Screenplay (Coppola) and the film received three further
nominations for Best Picture, Best Director (Coppola), and Best Actor (Murray).[103] The film garnered three Golden Globe Awards from five nominations:
Best Motion Picture – Musical or Comedy, Best Actor – Motion Picture Musical or Comedy, and Best Screenplay.[104] At the 57th British Academy Film
Awards, Lost in Translation won three awards: Best Actor in a Leading Role, Best Actress in a Leading Role (Johansson), and Best Editing.[105]
Lost in Translation also received awards from various foreign award ceremonies, film festivals, and critics' organizations. These include Best American Film
at the Bodil Awards,[106] Best Foreign Film at the César Awards,[107] and Best Foreign Film at the Film Critics Circle of Australia,[108] French Syndicate of
Cinema Critics,[109] and Deutscher Filmpreis,[110] as well as the Nastro d'Argento for Best Foreign Director.[111] The film also won the Independent Spirit
Award for Best Film,[112] Best Film – Comedy or Musical at the Satellite Awards,[113] and two prizes at the Venice International Film Festival.[114][3] From
critics' organizations, Lost in Translation received awards in the Best Film category from the San Francisco Film Critics Circle,[115] the Toronto Film Critics
Association,[116] and the Vancouver Film Critics Circle.[117]
References
Annotations
1. The film has been noted for its resistance to any singular genre classification. 6. Johansson was initially apprehensive about wearing sheer panties for the
While it has been labeled in terms such as "romantic comedy", the film has shot, but she conceded after Coppola showed her what they looked like by
been identified for integrating elements from multiple genres, including modelling them personally.[30] Johansson said she would not have worn them
romance, comedy, and drama. For one discussion of Lost in Translation's if the film's director was a man.[31]
position between genres, see King 2010, pp. 60–75.
7. For examples, see Kennedy 2010, pp. 46–47, San Filippo 2003, p. 26, and
2. Lambert was an actual performer in the bar at the Park Hyatt Tokyo. Coppola Haslem 2004.
saw her sing "Scarborough Fair" at the hotel a year before filming and later
8. For example, see Smith, Paul Julian (2004). "Tokyo Drifters". Sight & Sound.
induced a manager to help identify her so Coppola could cast her. Lambert
Vol. 14 no. 1. p. 13.
performed the same song in the film.[5]
9. Coppola has spoken favorably about her personal experiences staying at the
3. This scene is an homage to a Suntory commercial Coppola's father, Francis
hotel. She has described the locale as a "silent floating island" within the
Ford Coppola, shot with Akira Kurosawa in the 1970s.[9] Coppola said that like
"chaotic" city environment of Tokyo,[36] and she has named it one of her
Bob, Murray did not understand what the man playing the director was
"favorite places in the world".[17]
saying. She remarked that "I like the fact that the American actors don't really
know what's going on, just like the characters."[8] 10. After its release, Coppola called Lost in Translation a "valentine" to Tokyo[40]
and cited a desire to portray what she liked about the city as one reason for
4. Some commentators have described Tokyo itself as a third major character in
making the film.[36]
the film. For examples, see San Filippo 2003, p. 28, and Plate 2004, para. 4.
11. A feature film script is typically 90–120 pages.[45]
5. Coppola has acknowledged her appreciation for "meandering mood
pieces"[16] and cited influences for Lost in Translation from films such as 12. One example includes the sequence featuring Charlotte walking through
L'Avventura, La Dolce Vita,[5] and In the Mood for Love.[28] La Dolce Vita is Shibuya Crossing. When Coppola noticed that rain had made the area look
briefly featured by Coppola in a scene in which Bob and Charlotte are hazy and atmospheric, she scrapped filming plans in a nearby arcade to
watching the film on television while drinking sake. shoot the sequence.[7]
13. Other examples of significant improvisation during shooting include the 15. For one example of a magazine article cited by Focus as being part of this
scenes that occur in the karaoke box[7] and sushi restaurant.[17] campaign, see Hirschberg 2003.[68]
14. "(What's So Funny 'Bout) Peace, Love, and Understanding" was chosen for 16. "Wide release" is defined here as crossing the 600-theater threshold.
Bob to highlight his position in an older generation, "Brass in Pocket" was
17. In the bonus features of the film's 2004 DVD, Murray called Lost in
chosen for Charlotte to show her playful side, and "More Than This" was
Translation his favorite film that he has appeared in.
chosen extemporaneously by Coppola and Murray during shooting, after the
two discovered they had a mutual affinity for Roxy Music.[16]
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Bibliography
Acord, Lance (October 12, 2004a). "Lost in Translation". In Ballinger, Alex (ed.). McGowan, Todd (2007). "There is Nothing Lost in Translation". Quarterly Review
New Cinematographers . HarperCollins. pp. 19–26. ISBN 978-1856693349. of Film and Video. 24 (1): 53–63. doi:10.1080/10509200500486023 .
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Bolton, Lucy (July 28, 2011). Film and Female Consciousness: Irigaray, Cinema and
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and Film. 8 (1).
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Poster rilis teater

Diarahkan oleh Sofia Coppola

Diproduksi oleh Ross Katz

Ditulis oleh Sofia Coppola

Dibintangi Bill Murray

Musik oleh Lihat § Soundtrack

Sinematografi Lance Acord

Diedit oleh Sarah Flack

Didistribusikan oleh Fitur Fokus (Amerika Serikat)

Tohokushinsha Film (Jepang)

Tanggal rilis 29 Agustus 2003 ( Festival Film Telluride )

12 September 2003 (Amerika Serikat)

17 April 2004 (Jepang) [1]

Durasi 102 menit [2]

Negara Amerika Serikat [3]

Bahasa Inggris [2]

Film laris $ 118,7 juta

Scarlett Johansson sebagai Charlotte, lulusan perguruan tinggi baru-baru ini

Giovanni Ribisi sebagai John, suami Charlotte, fotografer selebriti

Anna Faris sebagai Kelly, seorang aktris Hollywood

Fumihiro Hayashi sebagai Charlie, teman Charlotte

Catherine Lambert sebagai penyanyi lounge [note 2]

Coppola berkata tentang pengambilan gambar

Sofia Coppola promoting Lost in

Bill Murray in 2014 ( left) and Scarlett Johansson in 2008 ( right)

The production used bystanders as extras in

Graph showing the estimated number of theaters in

56. Acord 2004a, p. 24. May 12, 2020.

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