Lost in Translation (2003) - IMDb IMDb 17 January 2017 4:34 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A faded movie star and a neglected young woman form an unlikely bond after crossing paths in Tokyo. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 41 titles created 22 Aug 2012 a list of 31 titles created 13 Oct 2014 a list of 39 titles created 24 Aug 2015 a list of 40 titles created 11 months ago a list of 33 titles created 9 months ago Title: Lost in Translation (2003) 7.8/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 1 Oscar. Another 93 wins & 118 nominations.

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Director: Wes Anderson Edit Storyline Middle-aged American movie star Bob Harris is in Tokyo to film a personal endorsement Suntory whiskey ad solely for the Japanese market. He is past his movie star prime, but his name and image still have enough cachet for him to have gotten this lucrative $2 million job. He has an unsatisfying home life where his wife Lydia follows him wherever he goes - in the form of messages and faxes - for him to deal with the minutiae of their everyday lives, while she stays at home to look after their kids. Staying at the same upscale hotel is fellow American, twenty-something recent Yale Philosophy graduate Charlotte, her husband John, an entertainment still photographer, who is on assignment in Japan. As such, she is largely left to her own devices in the city, especially when his job takes him out of Tokyo. Both Bob and Charlotte are feeling lost by their current situations, which are not helped by the cultural barriers they feel in Tokyo, those cultural barriers extending far beyond just not... Written by Huggo Everyone wants to be found.

See more » Genres: Rated R for some sexual content | See all certifications » Parents Guide: 3 October 2003 (USA) See more » Also Known As: Perdidos en Tokio See more » Filming Locations: $925,087 (USA) (12 September 2003) Gross: Did You Know? Trivia Bob is asked to channel Roger Moore for his photo shoot. Later, we see a karaoke performance of "Nobody Does It Better", the theme to one of Moore's own Bond movies, The Spy Who Loved Me. See more » Goofs When Bob lies alone near the beginning of the movie (just before he gets a fax), the clock reads 4:20 in a close-up shot. At the end of the following long-distance shot, the clock is blurry, but clearly changes (probably to 4:21). In the following shots, it's back to 4:20. See more » Quotes Ms. Kawasaki : Welcome to Tokyo. Bob : Thank you very much. Ms. Kawasaki : My name is Kawasaki. Nice to meet you. Bob : I've heard of you. Thank you.

See more » Crazy Credits At the end of the closing credits, Hiromix ( Hiromi Toshikawa ), seen throughout most of the party sequence, waves to the camera. See more » Connections This FAQ is empty. Add the first question. User Reviews Filmed in Tokyo, with Bill Murray and Scarlett Johansson, one of the better movies I've seen in a while. 7 February 2004 | by TxMike (Houston, Tx, USA, Earth) – See all my reviews For anyone who wants a synopsis of this movie, the critics Ebert and Berardinelli have excellent, complete reviews of 'Lost in Translation', and they both give it their highest ratings. My wife and I saw it tonight on DVD, with DTS 5.1 sound and both think it is a remarkable movie. I like Bill Murray in just about everything, and this will go down as one of his strongest performances, as Bob, the actor in Japan for a week doing whisky commercials. Scarlett Johansson plays Charlotte, the young wife virtually abandoned in the city to do her own thing as her photographer husband (Ribisi) goes to various locations for shoots. What I liked most was the realistic feel.

Being in a strange city, with unusual customs and a language you have no hope of understanding. Meeting someone who because of circumstances (age, marital status) will only ever be a friend. Being able to talk freely. Reflecting on where we've been and where we might be going. Many of the negative comments about this movie relate to an impression that it is 'boring.' I'll put on my 'maturity hat' and state that anyone who thinks 'Lost In Translation' is boring simply was not able, at least while they watched it, appreciate the inner beauty of this movie. The scene that made the whole story come together for me was when they were in one of their hotel rooms (doesn't matter which), overhead shot, they were in bed talking, fully clothed, he is on his back staring at the ceiling, she is on her side, eyes probably closed, the tips of her feet barely touching the side of his leg, and he moves his hand and puts it on her feet. Then the scene fades to black. It is the kind of tender, non-sexual touch that tells us how close they have become, and that theirs is a relationship of mutual trust and admiration, not one of lust.

People like Bob and Charlotte really exist, and they really do meet up in very similar situations. After a week, they must go their separate ways, he to his family and activities of his kids, she to wait for her husband and figure out how to get out of the rut. We sense that he does not love her they way she needs, and we wonder what will happen. 259 of 358 people found this review helpful. Was this review helpful to you? Yes Sofia Coppola Discusses ‘Lost in Translation’ on Its 10th Anniversary - The Daily Beast Coppola’s Memories Sofia Coppola Discusses ‘Lost in Translation’ on Its 10th Anniversary On Sept. 12, 2003, the Tokyo-set love story, starring Bill Murray and Scarlett Johansson, opened in theaters. A decade on, the movie’s Oscar-winning filmmaker, Sofia Coppola, talks to Marlow Stern about making the film. 09.12.13 8:45 AM ET Getty;Everett Collection There are a handful of films that have carved out prime real estate in the hearts of millennials.

During one of your many aimless trips to the mall, you may have nabbed the movie’s poster from f.y.e. to grace the wall of your dorm room or moseyed over to Tower Records to cop the soundtrack. You may have even taken your fandom on the road, annoying the rest of your family mid-vacation with eager observations like “Oh, this is the place where _________ kissed!” Sofia Coppola’s Lost in Translation, which was released theatrically on Sept. 12, 2003, is one of those films. Bill Murray plays Bob Harris, an aging American actor who is in Tokyo to shoot a whiskey commercial, for which he’s being paid $2 million. Bob isn’t happy. His career is on the downslope, and the fire in his marriage has long been out. Also in Tokyo is Charlotte (Scarlett Johansson), a young college graduate whose hipster husband (Giovanni Ribisi) is a celebrity photographer on assignment in the city. Much to her chagrin, he seems more interested in palling around with a young American actress, Kelly (Anna Faris), than spending time with her.

The two marooned Americans keep running into each other at night in the hotel bar, and soon a relationship begins to form. In each other, these two lost souls have found exactly what they’d been missing, and they bust out of their hotel-prison to explore the vibrancy of Tokyo. Many millennials, in particular, connected with Lost in Translation’s themes of loneliness and ennui, and the movie grossed $120 million worldwide—against a budget of just $4 million—and was nominated for four Academy Awards, including Best Picture, Best Actor, Best Director, and Best Original Screenplay, with Coppola winning the latter. In honor of the 10th anniversary of the movie, Coppola spoke to The Daily Beast about the making of the film, her favorite memories of hanging out with Bill Murray in Tokyo, and much more. Where did you come up with the idea for Lost in Translation? I spent a lot of time in Tokyo in my 20s. I had a little clothing company with a friend, so we went there a few times a year. I was living in L.A. at the time, and I always thought about the little cultural differences between the two places.

I put a lot of things in that really happened. And since I was in my 20s and didn’t really know what I wanted to be doing, I think it’s my most personal movie because it’s about what I was going through at the time. And then Bill Murray , my fantasy hero, just swooped in. I know how hard it is to even try and nab Bill for an interview—going through his lawyer, etc.—so how did you corral him? When I was writing it I was picturing him and he really inspired it, and I wasn’t going to make the movie without him, so I was determined to convince him. I spent about a year trying to track him down and was asking random people who knew him through golf. I was on a mission. And he didn’t have an agent at that time, so he was very elusive. I showed my friend Mitch Glazer, who’s a writer, a very early version of the script, and he thought it had something and liked that I saw Bill in that way, so he helped introduce us.

We went to Japan without knowing if Bill was going to show up—he wouldn’t even tell us what flight he was on because he’s so elusive—so it was nerve-wracking, but he showed up right before we started shooting. Also, with Scarlett, she was a relatively green actor at the time. How did you arrive at her, and what made you feel she and Murray would have such great chemistry together? I just liked her from that movie Manny & Lo, and she was 17, but I had this idea of her being this young Lauren Bacall-type girl. I loved her low voice. You can’t really gauge the chemistry unless you do tests before you start shooting, and I don’t think they even met before we did, so I just picked someone I liked and hoped that it worked. And Bill is so lovable. One of the film’s many accomplishments is that, despite the big age difference, the relationship between Bob and Charlotte doesn’t come off as creepy. I’m glad! I think it’s a lot to do with the casting.

There were certain actors that people mentioned for the Bill part, and if they were lying in bed, that could have been creepy, but it’s just something about how Bill is that it never came off lecherous. Maybe because he’s such a kid. How autobiographical is the story? There have been all the rumors that Giovanni Ribisi’s character is based on your husband at the time, Spike Jonze , and that Anna Faris’s character is based on Cameron Diaz. The character of the actress was based on a bunch of people—just that type. I could probably name eight people that she was based on, just that bubbly, extroverted blonde that you see on talk shows. It was the opposite of the Scarlett character, where I was feeling very introverted and didn’t know what I was doing. It was just a certain actress type that I was hanging around sometimes. It wasn’t a slight at anyone in particular. But the character of the husband, I was just married and trying to figure it out, so that relationship was based on what I was going through at the time. Get The Beast In Your Inbox! Daily DigestStart and finish your day with the top stories from The Daily Beast.

Cheat SheetA speedy, smart summary of all the news you need to know (and nothing you don't). By clicking "Subscribe," you agree to have read the Terms of Use and Privacy Policy Subscribe Thank You! You are now subscribed to the Daily Digest and Cheat Sheet. We will not share your email with anyone for any reason The opening shot of Scarlett lying on the bed in her underwear is one of the film’s great images. What inspired that shot? There’s a painter called John Kacere who does paintings of girls in different underwear, so it’s taken from one of his paintings. When I started the movie, I had a reference book of different images that came to mind with the movie. I always collect reference pictures to make a book that I can show, and they were just snapshots around Tokyo, looking out the taxi and seeing neon lights going by, and I used to stay at the Park Hyatt Tokyo, so there were pictures of the view from the hotel bar. And the redheaded singer [in the film] was actually a singer I saw performing at the Park Hyatt Tokyo, and we got the manager to track her down. One hilarious moment is the “lip my stocking!” scene with Bob and the Japanese woman in the hotel room.

Where did that come from? That came from a story of a friend of mine who was working in Japan and had this story of, I don’t know if it was a prostitute or a co-worker, and thought she wanted some bondage thing, but it was a misunderstanding. And I was looking for stories of misunderstandings. The “Suntory Time” commercial shoot is so hilarious. I read that it was based on a real-life commercial that your father shot with Kurosawa? Yeah. My dad and Kurosawa did a Suntory commercial which they shot at our house in San Francisco. But going to Japan, you’d always see ads of people like Kevin Costner or someone promoting coffee. It’s this heightened, Japanese idea of Western culture. And I was cracking up the whole time during that shoot. That was a real photographer, and I was sitting with the photographer and I would say things to him and he would repeat it to Bill, so he was yelling things like, “Rat pack!” at Bill, and Bill would respond. And Bill improvised that entire scene. Any favorite memories of hanging with Bill during the making of Lost in Translation? He’s just so much fun.

I remember he would throw the hotel housekeeper lady over his shoulder and walk around with her. He was so funny and so fun. Bill’s been known to crash the occasional karaoke party. Did you know about his love of karaoke before making him sing it in the movie? I knew he sang because I remember that character on SNL of the lounge singer, and we all went out with the crew and would sing karaoke. That was definitely a highlight. I feel like Bill was kind of a classic rock guy, but I can’t remember what songs we did! I also heard that the crew was almost arrested a couple of times for filming in public in Tokyo— We didn’t have permits and would just go into the subway or on the street, and I think there was some Yakuza mix-up at some point. Apparently, we were on some Yakuza territory that we didn’t know about. That shot where Scarlett is crossing the street, there was a Starbucks upstairs so we just snuck up there, bought a coffee, and shot it from above. Nobody seemed to notice. And we got shut down a few times on the street but just moved on.

Problems with the cops and the Yakuza aside, what was toughest scene for you to film? The scene where [Bill and Scarlett] are lying in bed talking and the TV is on, it’s just really intimate. That was just off. I don’t know if they just weren’t in a good mood, but they weren’t getting along and it wasn’t going well. So we just stopped and tried again the next day. I just remember it being a bit tense, but it’s just such an intimate moment. And we shot the film in 27 days and it was super low budget, so the whole thing was tough, and there was a language barrier with the crew and cultural misunderstandings there as well. It was a messy adventure, but it was fun. The film has a great soundtrack, too. It was the first time many Americans had heard Phoenix. I always liked Phoenix , but they weren’t really known here until recently. They were just songs I liked and had been listening to, and Brian Reitzell would help me out and make me Tokyo dream-pop mixes. Phoenix’s “Too Young,” just the lyrics and the whole feeling of it, I loved it for that scene.

Thomas [Mars, lead singer of Phoenix] did a song with Air called “Playground Love” that was in The Virgin Suicides, and he performed it with them at Sundance, so we met a long time ago. But he lived in France, so I didn’t get to know him until I lived in France for Marie Antoinette. I feel like this film inspired a generation of young women to visit Japan. Are you a VIP in Japan now for life? That’s so funny. Probably the hardest thing was convincing the Park Hyatt hotel to let us shoot a movie there, because they didn’t want a movie shot there. They would only let us shoot in the hallways and the communal places at 3 or 4 in the morning, so we didn’t disturb any guests. We were always sneaking around the hotel. But now I’ve heard they have Lost in Translation tours there. I should go back and stay at the hotel! I heard that the kiss at the end between Bill and Scarlett was sprung on her, and she didn’t know it was coming. It was always meant to be this tender goodbye where they both knew that they had touched each other in some way.

And I remember sometimes he would always spring things on her, and it was fun to get her reaction. Is the statute of limitations up on what Bill whispers to Scarlett at the end? No, I still love that Bill says it’s between them! Do you think Bob and Charlotte would ever cross paths again? That’s so funny…I’ve never thought about that! I have different fantasies of what would happen to them, but I’d like people to form their own. Lost in Translation gained such a huge cult following. Why do you think it’s held up so well? For me, I was just writing these little notes about stuff that happened to me, or what I thought, and I didn’t think anyone was going to be interested, so it’s really a surprise to me that that many people have seen it and that it did as well as it did. I felt like it was really indulgent, so yeah, it was a surprise. And it’s still surprising to me. READ THIS LIST Lost in Translation Lost in Translation Now on DVD!

Awarded with three Golden Globes (including best comedy/musical), and nominated for four Oscars (including best picture), "Lost in Translation", directed by Sofia Coppola and starring Bill Murray, has become one of the year's most critically acclaimed movies. It was shot entirely in Japan. "Lost in Translation" tells the love story between Bob Harris (Bill Murray), an American actor in his mid life crisis, who travels to Japan for an appearance in a whiskey commercial, and Charlotte (Scarlett Johansson), an equally depressed, young American lady, who accompanies her husband on a business trip. Neon lights of Shinjuku "Lost in Translation" was almost entirely shot in Tokyo 's two loudest and most colorful districts, Shinjuku and Shibuya . Shinjuku, a large business and entertainment district around Japan's busiest railway station, is the location of the Park Hyatt Tokyo, the hotel where Bob and Charlotte stay and meet each other. Occupying the 14 top floors of a 52-storey skyscraper, the Park Hyatt Tokyo is one of the city's best and most expensive hotels. It can be reached in a 15 minute walk or 5 minute bus ride from Shinjuku Station.

Bob spends most of his nights in the New York Bar on the hotel's top floor. While the bar offers an amazing view of Tokyo, budget travelers note, that a bottle of domestic beer for 1,000 Yen is the most inexpensive item on the menu, and that a 2,000 Yen cover fee applies after 8pm (7pm on Sundays). If you want to get to know more of the Park Hyatt Tokyo, consider the hotel's "Tokyo Escape Package", which includes a one night stay, access to the hotel's spa and training facilities (also featured in the movie) and a free cocktail in the New York Bar for 55,000 Yen (double occupancy). A five night version named "Lost in Translation Package" for 380,000 Yen is also available. Several other scenes were also shot in the Shinjuku district, for example Charlotte's visit to a small temple in the beginning of the movie (she mistakenly calls the temple a shrine ). Note however, that you won't encounter chanting monks there most of the time.

The neon lit building facades, shown repeatedly in the movie, are located around the entrance to Shinjuku's notorious entertainment district Kabukicho along Yasukuni Dori, just northeast of Shinjuku Station. Intersection in front of Shibuya Station's Hachiko Exit Many other scenes of the movie were shot in Shibuya , a youthful entertainment district three stations south of Shinjuku on the Yamanote Line . They include the pictures of the busy intersection in front of Shibuya Station's Hachiko Exit, which gets periodically stormed by huge crowds of pedestrians and is surrounded by large and noisy advertising screens. Bob, Charlotte and their friends are enjoying karaoke at the Shibuya branch of Karaoke-kan (30-8 Utagawacho), less than five minutes from Shibuya Station by foot. Also found around Shibuya is the sushi restaurant Ichikan (9-5 Daikanyama), where Bob and Charlotte once dine. A few other Tokyo landmarks shown in the movie include Tokyo Tower and the Rainbow Bridge to Odaiba . Sanmon Gate of Nanzenji Heian Shrine The only scenes shot outside of urban Tokyo show Bob playing golf in front of Mt. Fuji and Charlotte traveling to Kyoto .

Riding the shinkansen (bullet train), Charlotte passes Mt. Fuji and the coastal hot spring resort of Atami (in the wrong geographical sequence). In Kyoto, she visits Heian Shrine and Nanzenji Temple , where she observes a newly wedded couple in traditional attire. Finally, if you happen to be in the Tokyo region on a Wednesday evening around 11:15pm, turn your television to channel 10 (TV Asahi) to watch "Matthew's BestHitTV", the crazy television show, which features Bob's guest appearance in the movie. The TV show is as real as Suntory, one of Japan's leading producers of alcoholic and non-alcoholic beverages . Advertisement Super Reviewer ½ Had to rewatch this as I've now been to Japan and seen it for myself. It makes the film much more believable and touches me in a different way now, a whole new experience as I can relate to the story and the surroundings. The thing that struck me is how accurate the film is, I know exactly how the main characters feel (mainly Johansson) in and amongst the huge sprawling, towering, crowded metropolis that is Tokyo.

The strange feeling of being alone around hundreds and not being able to communicate, not really being noticed, it is a perfect visual picture of feeling isolated or living in a strange solitary state. Coppola captures the small niches of the country and its people, how they live, eat and relax etc...its a very different world believe me and you can see this in Coppola's direction and use of locations. Of course the performances by Murray and Johansson are brilliant, just right, understated and subtle. Murray starts off in his familiar dry satire type way but evolves into a much deeper person, finishing on a very emotional finale that does put a lump in your throat. And not forgetting Faris as the superstar airhead, very good (and accurate) portrayal there, loved it. The atmosphere and visuals of the film are glorious of course, being filmed entirely in Tokyo and a little in Kyoto. It all looks so familiar now, makes me wanna go back. Much of the film was actually filmed live too, in front of hundreds of Japanese people who had no clue they were making a film! again that's impressive believe me.

It also shows how different the Japanese are, no one batted an eyelid to the filming, they saw it as normal or uninteresting and no one recognised Bill Murray. Not a clue who he was and they didn't much care either, anywhere else and people would crowd around making a huge scene. The plot is loose and pretty dull in places I admit, if you have no interest in Japan then you won't like this methinks. I believe a little interest in the country/culture helps here. But essentially its just the two main characters chatting, eating, meeting and going about their daily routines in Tokyo. Over time they fall in love but can't seem to reach out and express this to each other. They both have family/relationship situations which hold them back and make things difficult, its actually quite a realistic little story. Wandering around Tokyo lost a daze of neon lights and bizarre cultural differences. Murray is good with his little work/business sequences (dotted throughout) which offer some comedy, whilst Johansson does more discovering with a segment in Kyoto. A great couple of scenes with Faris offer more laughs when she promotes a Western action flick her character stars in.

And a glorious small dinner sequence with Johansson, Faris and the underrated Giovanni Ribisi which involves much awkward small talk and slobbering as Faris and Ribisi's characters flirt. Can't not mention the touching, soft, emotional almost spiritual soundtrack throughout. Absolutely gorgeous choices of music which compliment the individual sequences beautifully. As said the ending is a real tear jerker which you don't think will get you but it actually does. The track by 'The Jesus and Mary Chain' is playing as Murray's character leaves Johansson behind, gotta say this choked me up as its a lovely scene and really makes you care for the characters. A classic underrated love tale that manages to grab you when you think your above it. A surprise hit for me plus a wonderful memory of a beautiful country. Phil Hubbs Super Reviewer A beautiful, subtle journey detailing two lonely people's lives and the chance meeting they encounter with one another in Japan. Richly detailed in culture, this is a moving film that shows two Americans mumbling their way through a city they first both hate, but come to love just for the sake of being with each other.

Murray shows a different, lighter side that we haven't seen from him before, and Johansson is just as stunning as a distressed woman looking for companionship once her husband proves to be a consistent no-show in her life. This is a very touching film, with a quiet score to complement the two wonderfully restrained performances by Murray and Johannson. The ending is heartbreaking especially, I don't think it will ever leave me. Not everyone's cup of tea to be sure, but definitely a work of art. Dan Schultz What Else Was Lost In Translation - The New York Times The New York Times Style |What Else Was Lost In Translation Search Continue reading the main story IT doesn't take much to figure out that ''Lost in Translation,'' the title of Sofia Coppola's elegiac new film about two lonely American souls in Tokyo, means more than one thing. There is the cultural dislocation felt by Bob Harris (Bill Murray), a washed-up movie actor, and Charlotte (Scarlett Johansson), a young wife trying to find herself. They are also lost in their marriages, lost in their lives. Then, of course, there is the simple matter of language. Bob, who is in town to make a whiskey commercial, doesn't speak Japanese.

His director (Yutaka Tadokoro), a histrionic Japanese hipster, doesn't speak English. In one scene, Bob goes on the set and tries to understand the director through a demure interpreter (Akiko Takeshita), who is either unable or (more likely) unwilling to translate everything the director is rattling on about. Needless to say, Bob is lost. And without subtitles, so is the audience. Here, translated into English, is what the fulmination is really about. DIRECTOR (in Japanese to the interpreter): The translation is very important, O.K.? The translation. INTERPRETER: Yes, of course. I understand. Continue reading the main story DIRECTOR: Mr. Bob-san. You are sitting quietly in your study. And then there is a bottle of Suntory whiskey on top of the table. You understand, right? With wholehearted feeling, slowly, look at the camera, tenderly, and as if you are meeting old friends, say the words. As if you are Bogie in ''Casablanca,'' saying, ''Cheers to you guys,'' Suntory time! Advertisement INTERPRETER: He wants you to turn, look in camera. O.K.?

BOB: That's all he said? INTERPRETER: Yes, turn to camera. BOB: Does he want me to, to turn from the right or turn from the left? INTERPRETER (in very formal Japanese to the director): He has prepared and is ready. And he wants to know, when the camera rolls, would you prefer that he turn to the left, or would you prefer that he turn to the right? And that is the kind of thing he would like to know, if you don't mind. DIRECTOR (very brusquely, and in much more colloquial Japanese): Either way is fine. That kind of thing doesn't matter. We don't have time, Bob-san, O.K.? You need to hurry. Raise the tension. Look at the camera. Slowly, with passion. It's passion that we want. Do you understand? INTERPRETER (In English, to Bob): Right side. And, uh, with intensity. BOB: Is that everything? It seemed like he said quite a bit more than that. DIRECTOR: What you are talking about is not just whiskey, you know. Do you understand? It's like you are meeting old friends.

Softly, tenderly. Gently. Let your feelings boil up. Tension is important! Don't forget. INTERPRETER (in English, to Bob): Like an old friend, and into the camera. BOB: O.K. DIRECTOR: You understand? You love whiskey. It's Suntory time! O.K.? BOB: O.K. DIRECTOR: O.K.? O.K., let's roll. Start. BOB: For relaxing times, make it Suntory time. DIRECTOR: Cut, cut, cut, cut, cut! (Then in a very male form of Japanese, like a father speaking to a wayward child) Don't try to fool me. Don't pretend you don't understand. Do you even understand what we are trying to do? Suntory is very exclusive. The sound of the words is important. It's an expensive drink. This is No. 1. Now do it again, and you have to feel that this is exclusive. O.K.? This is not an everyday whiskey you know. INTERPRETER: Could you do it slower and ---- DIRECTOR: With more ecstatic emotion. INTERPRETER: More intensity. DIRECTOR (in English): Suntory time!

Roll. BOB: For relaxing times, make it Suntory time. DIRECTOR: Cut, cut, cut, cut, cut! God, I'm begging you. In an interview, Ms. Coppola said she wrote the dialogue for the scene in English, and then it was translated into Japanese for Mr. Tadokoro. The scene, she said, came out of her own experience promoting her first feature film, ''The Virgin Suicides,'' in Japan. Whenever she would say something, she said, the interpreter would seemingly speak for much longer. ''I would think that she was adding to what I was saying and getting carried away, so I wanted to have that in the scene.'' In the scene, Ms. Coppola said, Mr. Murray never did learn what the director was saying. ''I like the fact that the American actors don't really know what's going on, just like the characters,'' she said. Frankly, it's not clear that even if Bob-san had understood what the director said, it would have helped. Ms.

Coppola said she purposely gave the director ''lame directions,'' adding, ''He wasn't supposed to be the best director.'' Lost in Translation Movie Review (2003) | Roger Ebert Tweet Bill Murray's acting in Sofia Coppola 's "Lost in Translation" is surely one of the most exquisitely controlled performances in recent movies. Without it, the film could be unwatchable. With it, I can't take my eyes away. Not for a second, not for a frame, does his focus relax, and yet it seems effortless. It's sometimes said of an actor that we can't see him acting. I can't even see him not acting. He seems to be existing, merely existing, in the situation created for him by Sofia Coppola. Advertisement Is he "playing himself"? I've known Murray since his days at Second City. He married the sister of a girl I was dating. We were never friends, I have no personal insights, but I can fairly say I saw how he behaved in small informal groups of friends, and it wasn't like Bob Harris, his character in the movie. Yes, he likes to remain low key. Yes, dryness and understatement come naturally to him.

Sharing a stage at Second City with John Belushi , he was a glider in contrast to the kamikaze pilot. He isn't a one-note actor. He does anger, fear, love, whatever, and broad comedy. But what he does in "Lost in Translation" shows as much of a reach as if he were playing Henry Higgins. He allows the film to be as great as Coppola dreamed of it, in the way she intended, and few directors are so fortunate. She has one objective: She wants to show two people lonely in vast foreign Tokyo and coming to the mutual realization that their lives are stuck. Perhaps what they're looking for is the same thing I've heard we seek in marriage: A witness. Coppola wants to get that note right. There isn't a viewer who doesn't expect Bob Harris and Charlotte ( Scarlett Johansson ) to end up in love, or having sex, or whatever. We've met Charlotte's husband John ( Giovanni Ribisi ). We expect him to return unexpectedly from his photo shoot and surprise them together. These expectations have been sculpted, one chip of Hollywood's chisel after another, in tens of thousands of films. The last thing we expect is… what would probably actually happen.

They share loneliness. One of the strengths of Coppola's screenplay is that her people and everything they do are believable. Unlike the characters in most movies, they don't quickly sense they belong together, and they don't immediately want to be together. Coppola keeps them apart for a noticeably long time. They don't know they're the Girl and the Boy. They don't have a Meet Cute. We grow to know them separately. Advertisement We understand Charlotte loves her husband, and we understand how he wounds her, and why she cries on the phone. There's no possibility he will cheat on her with the Other Woman, the ditzy "star" Kelly, played by Anna Faris . John is simply a moth fluttering around her fame. That's what hurts Charlotte; he leaves her alone in the hotel for silly reasons that betray him as callow. We understand that Bob loves his wife and especially his children at home in America, but after years and years he knows and says that marriage and children are "hard." So they are. We know that. Few movie characters know it in the sense he means. After they start talking, Johansson is instinctive in striking the right note of tentative friendliness.

She knows Bob is a star, but doesn't care. Earlier their eyes met in the kind of telepathic sympathy strangers share when they know they're thinking the same thing about something happening in a room. Now they can't sleep and it's in the middle of the night in a hotel bar. She isn't flirting, and she isn't not flirting. He isn't flirting. He's composed and detached. He doesn't give away one hint of emotion. Without making it a big deal, he's almost studiously proper, as if making it clear he's not coming on to her. Of course he finds her attractive. He did when he saw her in the elevator and she didn't notice him. Or are we simply assuming he'd feel the same way we'd feel? Maybe he noticed her because they were the two tallest people in the elevator. I can't tell you how many people have told me that just don't get "Lost in Translation." They want to know what it's about. They complain "nothing happens." They've been trained by movies that tell them where to look and what to feel, in stories that have a beginning, a middle and an end. "Lost in Translation" offers an experience in the exercise of empathy.

The characters empathize with each other (that's what it's about), and we can empathize with them going through that process. It's not a question of reading our own emotions into Murray's blank slate. The slate isn't blank. It's on hold. He doesn't choose to wear his heart on his sleeve for Charlotte, and he doesn't choose to make a move. But he is very lonely and not without sympathy for her. She would plausibly have sex with him, casually, to be "nice," and because she's mad at her husband and it might be fun. But she doesn't know as he does that if you cheat it shouldn't be with someone it would make a difference to. Advertisement There is wonderful comedy in the film, involving the ad agency's photo shoot for the Suntory Scotch commercial and Bob's guest shot on the "Japanese Johnny Carson." But Coppola remains firmly grounded in reality. The Japanese director seems to be spouting hysterical nonsense until you find a translation online and understand what he's saying and why. He's not without humor. The translator seems to be simplifying, but now we understand what she's doing. There's nothing implausible about the scene.

Anyone who watches Japanese TV, even via YouTube, knows the TV show is straight from life. Notice the microscopic look Murray gives the camera to signal "just kidding." What is lost in translation? John understands nothing of what Charlotte says or feels, nor does he understand how he's behaving. (Ribisi's acting in the scene where he rushes out saying he loves her is remorselessly exact). Bob's wife and assistant don't understand how desperately indifferent he is to the carpet samples. And so on. What does get translated, finally, is what Bob and Charlotte are really thinking. The whole movie is about that act of translation taking place. The cinematography by Lance Acord and editing by Sarah Flack make no attempt to underline points or nudge us. It permits us to regard. It is content to allow a moment to complete itself. Acord often frames Charlotte in a big window with Tokyo remotely below. She feels young, alone and exposed. He often shows Bob inscrutably looking straight ahead (not at the camera; not at anything). He feels older, tired, patient, not exposed because he has a surer sense of who he is. That's what I read into the shots. What do you get?

When he brings them together they are still apart, and there is more truth in a little finger touching the side of a foot than a sex scene. Advertisement Catherine Lambert, who plays the singer in the hotel bar, is every pretty good lounge act in the world. It's more or less a foregone conclusion that they will sleep with one another. In won't mean anything to either one of them. When Charlotte discovers the singer is in Bob's room, she's startled but not angry or heartbroken. Sex wasn't what she and Bob were about, and he made that clear. When they meet next, they step carefully around that glitch and resume their deeper communication. So much has been written about those few words at the end that Bob whispers into Charlottes' ear. We can't hear them. They seem meaningful for both of them. Coppola said she didn't know. It wasn't scripted. Advanced sound engineering has been used to produce a fuzzy enhancement. Harry Caul of " The Conversation " would be proud of it, but it's entirely irrelevant. Those words weren't for our ears.

Coppola (1) didn't write the dialog, (2) didn't intentionally record the dialogue, and (3) was happy to release the movie that way, so we cannot hear. Why must we know? Do we need closure? This isn't a closure kind of movie. We get all we need in simply knowing they share a moment private to them, and seeing that it contains something true before they part forever. Popular Blog Posts Lost in Translation Reviews - Metacritic 10 apostolosaOct 18, 2009 A movie-trip across your heart! A sound deep into your soul! Yes, we are awake listening to Bob and Charlotte's whispers, taking us far away, above the cityscape of Tokyo! Sofia created a masterpiece! Just for the soul-listeners. 0 of 0 users found this helpful 10 NShep53 Jun 3, 2015 Bill Murray shows his great acting range in a personal favorite of mine. Lost in Translation is a beautiful film. Tokyo is a gorgeous city that really shines throughout the movie. Scarlett Johansson (in an early role) shows just how amazing of an actress she is (and just why she became a star).

If you want a true, deep love story or just watch a great piece of cinema, you can never go wrong with Sofia Coppola's Lost in Translation. 0 of 0 users found this helpful00 10 ryancarroll88 Aug 27, 2010 If "Titanic" was the iconic bloated romance novel of movies, then "Lost in Translation" is the quiet, poignant poem that is all the more affecting because of that. 22 of 26 users found this helpful224 9 Whatdoyouthink Apr 20, 2016 I enjoyed this movie because it captures the joy of chance meeting of two people and of making a real personal connection. It is like going on a weekend retreat where you had deep conversations with someone you never would meet otherwise. I did not read even the movie description before seeing it but knew Bill Murry and Scarlett Johansson somehow are strangers that become friends or something, so I had no clue what it was about. I thought ScarlettI enjoyed this movie because it captures the joy of chance meeting of two people and of making a real personal connection.

It is like going on a weekend retreat where you had deep conversations with someone you never would meet otherwise. I did not read even the movie description before seeing it but knew Bill Murry and Scarlett Johansson somehow are strangers that become friends or something, so I had no clue what it was about. I thought Scarlett may even be a kid in it, but she is a young woman in the movie. I could not get enough of the quirkiness of the characters, their conversations, and the situations they find in a new foreign place, Kyoto Japan. The movie is sometimes funny, yet also sometimes turns to serious yearning, and the combination is believable. If you want a normal romantic comedy then you may not want this, as it is more off beat and harder to label. The main actors and background characters do such a great job of giving the movie a feeling of not acting, more like they are just living a documentary. The side characters did great to make it feel real. I do wonder if anyone has an issue with the cultural portrayal of Japanese because they focus more on unusual characters but it is probably like viewing Las Vegas as a portrayal of American culture.

The movie stays with you and is memorable, and I enjoyed watching where it went and did not want it to end. At times we can only be ourselves when with strangers.… Expand 0 of 0 users found this helpful00 8 aadityamudhar Apr 18, 2016 If "Titanic" was the iconic bloated romance novel of movies, then "Lost in Translation" is the quiet, poignant poem that is all the more affecting because of that. 0 of 0 users found this helpful00 3 JackB.Nov 1, 2007 There are a few redeeming qualities to this movie: (a) scarlett, (b) bill, (c) the ending.

Why there are more non-redeeming qualities are as follows: (1) it's frankly not believable, (2) cliche' typical daddy save me complex-fantasy, (3) creating boring mood is plain boring (4) annoying by design to group Japanese culture as boring & silly, (5) it's pretentious & works hard to be clever (6) it's devoid of making a connection There are a few redeeming qualities to this movie: (a) scarlett, (b) bill, (c) the ending. Why there are more non-redeeming qualities are as follows: (1) it's frankly not believable, (2) cliche' typical daddy save me complex-fantasy, (3) creating boring mood is plain boring (4) annoying by design to group Japanese culture as boring & silly, (5) it's pretentious & works hard to be clever (6) it's devoid of making a connection (7) effectively leaves audience empty. The most frustrating part is this movie has more potential. Both these characters could have pulled off so much more, could still keep that somber mood & developed more mystery & intrigue. I kept wanting more of Bill to step out, and needed more of Scarlett to bust.

I have no patience for shallowness. This girl is in Tokyo. He is in Tokyo. Hard to be lost (souls) That is not believable. If they were in the middle of the Guam - maybe. If they can't bring energy to Tokyo, then they can't bring energy at all, and therefore these characters are frankly hopeless and that is the most unattractive part of this film. Why waste time with people that cant barely save themselves in the best of world-class circumstances. Yawn..ZZZZZzzzz.… Expand 6 of 12 users found this helpful 0 SomethingSep 10, 2005 The worst film ever made. Boring, pointless, meandering garbage that feels as though it was conceived by an infant. Sofia's dumb script is so tedious that the movie becomes instantly forgettable. I would sooner watch Deuce Bigalow 2. The makers of that film put more effort into it than anyone did in "Lost In Translation", which should have been lost in a dumpster. 0 of 0 users found this helpful Lost in Translation question?? - SoundtrackCollector.com Lost in Translation question?? Alright this is gonna sound strange but bear with me!

I purchased the soundtrack for the film "Lost in Translation" and was disappointed that the music played during the scene where Bill Murray waits alone at the "dance club" Orange was absent. Does anyone know what song that was or how I could go about getting it? Thank ye Kindly , March 26, 2004; 2:19 AM Answers Here is a chronological list of source cues used in "Lost In translation". "Brass in Pocket" Written by Chrissie Hynde and James Honeyman-Scott Performed by Scarlett Johansson Written and Performed by Peaches Courtesy of XL Recordings Limited "(What's So Funny 'Bout) Peace, Love and Understanding" Written by Nick Lowe Written by Buddy Buie, Robert Nix and Dean Daughtry Performed by Mark Willms Written by Tim Holmes and Richard McGuire Performed by Death In Vegas Courtesy of BMG UK & Ireland Ltd. Under license from BMG Special Products, Inc.

"Too Young" Written and Performed by Phoenix Courtesy of Source/Virgin France Under license from EMI Film & TV Music "Minuetto" Written by Paul Cook, Steve Jones, John Lydon and Glen Matlock Performed by Fumihiro Hayashi Written by Roy Hawkins and Rick Darnell Performed by Catherine Lambert Written and Performed by Sebastian Tellier Courtesy of Virgin Records Under license from EMI Film & TV Music "Torn Into" Courtesy of Emperor Norton Records "Scarborough Fair/Canticle" Written by Paul Simon and Arthur Garfunkel Performed by Catherine Lambert Performed by Shigekazu Aida, Happy End Courtesy of Art Music Publishing Co., Ltd. "Blue Atmosphere" Written by Francesco Santucci, Antonello Vannucchi, Giorgio Rosciglione and Giovanni Cristiani Courtesy of Promusic, Inc.

Performed by My Bloody Valentine Courtesy of Reprise Records By Arrangement with Warner Strategic Marketing And courtesy of Creation/SINE, a division of Sony Music Entertainment (UK) Limited "Love Gun" Under license from Universal Music Enterprises "Muyu" Written and Performed by Des-Row Union Under License from Konami Music Entertainment "Nobody Does It Better" Written by Marvin Hamlisch and Carole Bayer Sager Performed by Anna Faris "You Stepped Out of a Dream" Written by Gus Kahn and Nacio Herb Brown Performed by Catherine Lambert Written by Nicolas Godin and Jean-Benoit Dunckle Performed by Air Courtesy of Warp Records Limited "Midnight at the Oasis" Written by Tom Rowlands and Ed Simons Performed by The Chemical Brothers Courtesy of Virgin/Astralwerks Records Under license from EMI Film & TV Music "She Gets Around" Written by Jason Falkner, Roger Joseph Manning Jr. and Brian Reitzell Performed by TV Eyes Written by James Mcleish Reid and William Reid Performed by The Jesus and Mary Chain Courtesy of Warner U.K. Ltd.

By Arrangement with Warner Strategic Marketing "Feeling I Get" Performed by Mary Butterworth Group "La Dolce Vita" Written and Performed by Nino Rota (c) C.A.M. S.r.l. Written and Performed by Takeo Watanabe Courtesy of Sankyo Shinsha Inc. If you can I identify the track you are looking for, let me know which one it is, and we can take it from there. , March 27, 2004; 7:53 PM not a answer, but I'm really interested in that track as well. if you hear, can you let me know? deborah.brown@mailonsunday.co.uk thanks! , May 10, 2004; 12:55 PM The name of the song is "Fuck the Pain Away", it's performed by Peaches and it can be found on her debut album "The Teaches of Peaches".

You can also download it on epitonic.com , June 15, 2004; 12:43 AM Hello, You can purchase the song & CD " Feeling I Get" from the Lost in Translation movie featuring this Mary Butterworth theme at Regards, mb , November 1, 2004; 7:21 PM Hello, I need your help, does anybody know, what the song played in the disco during the scene "Party Time" is called ??? , April 4, 2005; 10:03 PM hi i want to know the name of the song in the scene at the first date of bob and charlotte(y the bar with withe ballons and fireworks)? , July 26, 2005; 4:41 AM Did anyone actually find out the name of the song played during the "disco scene". I would very much like to know myself. Cheers , October 1, 2005; 11:51 AM Hi all, an special davexxxj, the song played while the "disco scene", asked by davexxxj, is my main concern.

As anyone an answer to the question of davexxxj Best wishes , November 25, 2005; 6:21 PM Response to Lost in Translation question?? (the disco party song) I can't believe I found this song... I gave up all hope until I accidentally played it. As it turns out I had it all along in my playlist... Well, here it is: the song playing in the disco during the scene "Party Time" is called "The State We're In" by The Chemical Brothers. , November 29, 2005; 11:39 AM does somebody know the title of the song where bob has the foto-shoot? PLEASE HELP ME! and does NOW know somebody the song with the "firework"thing? water-joe , January 15, 2006; 10:45 AM hi the song during the photo shoot is "torn into" by mount sims. but it has never been released on any record.

damien.tabardel , February 26, 2006; 10:14 PM The song played around 1hr and 3 min I would really like to know the name of the music which starts playing when charlotte lies in bed just before a note is passed under the door from Bob asking if she wants to join him. leukvoorj , March 16, 2006; 3:59 PM never mind the previous question I already found it, Are You Awake? from Kevin Shields, I listened to the amazon previews again and only now I recognized it. leukvoorj , March 16, 2006; 4:09 PM does anyone know how to obtain a copy of 'muyu' by des-row union and 'torn into' by mount sims (though i hear hasn't been released on any record)- can these be obtained online or something? i tried itunes japan and found nada. damien_tabardel, you seem to know a lot about the obscure tracks on lost in trans movie- how do i get these songs?

the game soundtrack 'pop'n music 8 AC CS pop'n music 6' is pricey for just one track! how did you even find out about that? is there any other way to get that one song? thank you- jpropper , March 27, 2006; 1:37 AM jpropper --> the song by Des-ROW Union is this Pop'n music song playing when the boy with the white t-shirt dances in the arcade. I don't remember how I found that. Actually, I spent a lot of time in researchs to collect all the tracks used in the movie but not present on the offical soundtrack. You can order Pop'n music cd on this great website : Or if you search well, you can find it on emule. Concerning Mount Sims' Torn Into, as I know it has never been released on any record. If you're interested, a guy named Carlos is proposing a chart with LIT soundtrack details. I helped him complete it. Now, it's almost complete. It's the most detailed list on the net. Check it out here : Almost all tracks (even obscure ones) have been released on some records.

But some of them are really hard to find because they were never released for the public. The last tracks that were maybe never released on any records are the harp theme from 'La dolce vita', 'Tomei Tengu BGM' and 'Mount Sims Torn Into'. There is also this theme played when Charlotte listens to the spoken CD. It's not listed in the credits. I don't know yet where to find it. If you have other questions, or if someone can help me find these last tracks... Bye Damien damien.tabardel , April 10, 2006; 5:24 PM I got a question too. What is the track right after Just Like Honey in the credits? It's got really soft vocals in it? dperron , October 25, 2006; 2:05 PM it's "City girl" by Kevin Shields damien.tabardel , December 16, 2006; 6:31 PM Does anyone know what the song is that plays as they run out of the restaurant away from the bb guns during "A Night Out With Charlie"?

amtayrien , October 6, 2007; 7:44 PM Does anyone know where you can get a copy of "So Into you" which was performed my Mark Willms? doug_howell99 , November 10, 2007; 6:45 AM Hi all! Does anyone know title and artist of song played during the apartment party scene (the scene that starts right after Bob asks one of the partyers what kind of dope is it that he's smoking)? Bob, wearing his inside out camo shirt, dances with Charlotte and the cute Japanese woman in the black top.

nmhaigh , June 5, 2008; 1:21 PM amtayrien --> the song when they run out of the restaurant is "She gets around" by TV Eyes doug_howell99 --> as I know, the Mark Willms' version of "So into you" has never been released, but you can find the original version by Atlanta Rhythm Section nmhaigh --> don't remember precisely the scene but it has to be one of the following : - "The state we're in" by Chemical Brothers - "Too young" by Phoenix - "Feeling I get" by Mary Butterworth Group damien.tabardel , August 13, 2008; 4:56 AM Hey, Catherine Lambert here. I have the original recordings of mine and Mark Willms tunes from Lost in translation from the studio recording. I'll check with Mark to see if he minds if I mp3-it and send it to you. Cheers from Oz, clambert , September 24, 2009; 12:00 PM Hey Catherine Lambert, OMG I love Lost in Translation, my fav film , If this is really you?, you were fantastic.

Mark Wilms " so into you " was the best version yet. Sofia Coppola I believe owns the copyright to this song, be nice if it was released. If you have it, could you email me Mark Wilms " so into you " mp3. that would be amazing. Domo arigato gozaimasu in advance Catherine san. xxx jvchambers@hotmail.co.uk jvchambers , November 3, 2009; 12:46 PM Oh man Ms. Lambert I would be so greatful if you were able to do that for us. You were wonderful. scumm.bar.chef , November 5, 2009; 2:21 AM Hey guys, i ran through every scene of the movie while making a homemade version of the soundtrack that plays all the songs in order of appearance in the movie and i noticed that Kevin Shields 'Goodbye' is on the soundtrack cd and seemingly not in the movie at all even though it fits the mood. same story for '50 floors up'.

50 floors up sounds similar to tommib which is the song used for the scene where charlotte looks out the window; you would think 50 floors up would have been the song used for that scene having that title and all and sounding like tommib anyway, but it's not in the movie. Is there any explanation for these songs being missing from the movie but placed onto the soundtrack as if they were there? yellhigh445 , December 20, 2010; 1:34 AM Hi there, Does anybody know who the 3 djs on the lap tops were during the club scene? neelpatkar , March 28, 2011; 10:17 AM �Does someone has Mark Willms - "So into you", the exact version that appears in the movie? I would be very thankful... landmark1102 , December 14, 2012; 2:48 AM Dear Catherine, There is a tiny chance you still follow this thread, so here goes. I absolutely love your rendition of Midnight At The Oasis. It fits the movie perfectly. Is there any chance there is a recording of your song?

fox.chosen , December 21, 2013; 3:25 PM Hey Fox, I could record "Midnight at the Oasis" accapella for you!!!?? Cheers, Catherine With regards to those asking for Mark Willms version of "so into you" I have the original recordings from the studio that we used in Tokyo. I can check with Mark to see if he's ok with me sending it. clambert , December 22, 2013; 6:52 AM Dear Catherine, I'm patiently waiting for any recordings that you might share with me. I'm pretty sure you are very busy, but hopefully you haven't forgotten about me :) fox.chosen , February 26, 2014; 1:39 PM I for one would like to hear 'The Thrill Is Gone' in its entirety, not to mention the rest of the jazz songs from the movie. Having the MP3 would be great as well. M.J.

Question: In what city did the movie "Lost in Translation" take place?
Answer: Tokyo