Academy Award-nominated screenwriter Roman Coppola is undoubtedly an all-round craftsman who is very productive behind the screen: as a leading member of the Coppola film dynasty—his father is the legendary Francis Ford Coppola while his younger sister Sofia is another trend-setting filmmaker of the family—Roman Coppola also is a renowned screenwriter, producer and director. Other accomplished relatives of his include nephews Nicolas Cage and director-producer Christopher Coppola, actor-writer Jason Schwartzman and his mother, actress Talia Shire (aunt). It seems all Coppola family members are terribly creative and multitalented: it’s in their genes.
Born in Paris, France, in 1965, as the son of Francis Ford Coppola and artist, documentary filmmaker and author Eleanor Coppola, his father was working there on the screenplay of “Is Paris Burning?” about the liberation of Paris, to be directed by René Clément. That was a few years before he became the Francis Ford Coppola.
Meanwhile, Roman Coppola went from project to project and became a successful director of TV commercials and several music videos (working with Marianne Faithfull, Kylie Minogue, the rock band Arctic Monkeys, etc.), while most of all he worked in various areas of film production, from occasional acting on the screen, to writing, producing and directing. Currently, Mr. Coppola is involved in the production of the TV series “Mozart in the Jungle,” now in its third season and which only recently earned two Golden Globes, including as Best Television Series—Comedy/Musical. Three years ago, he was nominated for an Academy Award for his original screenplay of “Moonrise Kingdom” (2012), shared with his frequent collaborator Wes Anderson.
As a film director, Mr. Coppola—also founder of the Los Angeles-based production company The Directors Bureau—made two features up until now, both based on his own original screenplays: “CQ” (2001) starring Gérard Depardieu, shot in Europe and set in Paris in 1969, about the filming of a sci-fi movie, with the movie within a movie being of its many highlights, and Italian actor Giancarlo Giannini standing out as a bombastic Italian film producer. In Mr. Coppola’s second feature as director, “A Glimpse Inside the Mind of Charles Swan III” (2012), a lesser-known character study set in the 1970s—a period that was very vibrant to Mr. Coppola when he was a young boy—Charlie Sheen playing the title character, supported by Jason Schwartzman, Patricia Arquette and Bill Murray in some of the other leading roles.
Time to ask Mr. Coppola a few questions about his family and its legacy, about his work, his skills as a screenwriter and his approach towards his craft as a filmmaker.
Mr. Coppola, there have been a few dynasties in Hollywood over the years, such as Mayer/Selznick/Goetz, the Zanuck family, the Goldwyns, the Fleischers, the Hustons, the Mankiewicz family, the Fondas,… All remarkably talented people working in different eras. Yet, if you take into consideration the number of people in your family involved in motion pictures, the films they made, the awards they won, the longevity of their careers, etc., the Coppola family is definitely one of the leading, most versatile and most distinguished of them all. How do you explain that?
This is sort of a tricky question. I can see why it’s posed but at the same time there is no special insight I have beyond any other person. The culture of our family is a great love of the arts and so for many generations, music and film were particularly important to our family life and culture and so these were things emphasized growing up. My parents were very inclusive and we would travel when they were working on a project, exposing us to interesting things. A lot of my early jobs were experiences working professionally in the world of cinema, so it’s only natural you develop a love for it.
Who or what gave you the inspiration to become involved in motion pictures?
Well, these are not black and white decisions. I was raised in the world of cinema, and participated in every level—as a child I was an extra, when I got older I helped in the makeup department, and slowly your role goes from casual to more significant. I was working as a makeup assistant on a film as a 16-year-old and then the sound mixer became ill and I helped that day because the boom, who was like an uncle, knew I could do it. Ultimately, the sound mixer stayed ill, and I ended up becoming the sound mixer on that production. Just an example you’re around something and you start getting responsibility and are able to make a difference. I have performed many functions within the family of jobs that go into making movies—and not out of a sense of obligation, but it was around my life, and I did the things that interested me within it.
If someone would come up to you and ask what you do for a living, what would you say? Because you write, direct, produce, you also acted sometimes in the past.
I would say I have worked in film (a generalization) in many different capacities and it depends on the context for this distinction. It depends on what I’m doing at the time. Currently I am working on the show “Mozart in the Jungle,” so my attentions are there, which is a different division of filmmaking—more executive producing and show-running.
Which one do you prefer and why?
It depends on the day you might ask me.
How do you choose your projects? Which standards do you use to accept or refuse a project?
I choose projects if they peak my curiosity—if they interest me somehow and if I can do or learn about something. Usually there’s a sense of adventure attached to the projects I work on, such as when Wes [Anderson] asked me to join him to travel around to develop “Darjeeling Limited” . It was an invitation that was alluring and what I wanted to be a part of it. Of the different invitations and opportunities have floated by, the ones that were attractive were the ones that created the path of my life: of curiosity and of learning things, and introducing me to something I haven’t done before.
When writing a screenplay, is it easier to do it by yourself, or in collaboration with others, such as with Wes Anderson and Jason Schwartzman for “The Darjeeling Limited” , and Mr. Anderson for “Moonrise Kingdom” ?
It is easier to do it with another person because you have that other energy to help you make progress, whereas writing on your own can be difficult to maintain the energy and stamina to keep going. It’s a different kind of experience when there is clarity about what you’re doing to do it on your own, but in my experience it takes a couple of years to get that clarity. This gestation period is so long you have to work through it before you have the downhill slide to create something on your own.
When you write a screenplay, do you have a favorite place / time to write, and if so, why?
What’s fun about writing is to get a place set up, whether it’s putting a desk in a room where it wasn’t before, or buying new pencils or if you are traveling and you find a nice porch. A lot of it is getting the pleasure of getting something set up. This only sustains for a short time, because when you have difficulty writing, the bloom can wear off. I think time can go any way, but when I am collaborating with my cousin Jason Schwartzman [for “Mozart” most recently], we work well at night. We will have a Martini and then we’ll get to work. When I have jet lag and get up really early before anyone is awake and there are no distractions, it can be a fantastic time to write—that solitude is helpful. Sometimes I find it productive to write where there is a lot of commotion (airports or cafes) and you feel a sense of privacy within that environment.
Do you, when writing alone or in a team, need some sort of feedback while you’re in the writing process, and are you a fast writer?
Every which way—with Jason for example, if it’s supposed to be funny, reading it back and hopefully laughing at one another or with one of our wives is always pleasurable. It’s especially fun to bounce ideas off of people when it’s something humorous—and then hear it and laugh or see a smile. With “Moonrise Kingdom,” we were in a house with a friend and we would spend the day writing a chapter and that evening over dinner or a cocktail we would describe all of what we had cooked up that day. We looked forward to that audience waiting for the next installment and it encouraged the writing. Solitude can also be a good way to get through it and saving it all for when it’s done.
Where do you get your inspiration and ideas? I once talked to screenwriter Steven Knight and he can easily work on more than one screenplay at the same time, while a French screenwriter once told me that he constantly takes the high speed train from Paris to Biarritz [in the south of France] and back, that’s a one day trip, and he uses the window in the train as his screen. That’s where he gets his inspiration. How does it work for you?
Not one particular way—I am sort of always finding new things to inspire. For me to detach from the phone and internet is quite essential, so that’s one thing. It’s tempting when you’re writing to research a word or a place, and this can be useful, but at the same time can be distracting. I think having some privacy can be productive, but I am a person with a lot of different approaches and patterns. When I am pregnant with an idea, it’s as if whatever I do, the idea will show itself. I might watch a movie, and everything I am thinking about shows itself in the movie. When there is a ripe thing bubbling up, it is inevitable it will take form in whatever it is you are doing.
When you write a script, do you already have certain actors in mind?
For certain roles, definitely. It helps to see the character, and there are certain actors with such unique qualities you write for them. Then you may not get them, but it works out and that’s pleasurable as well.
You have been nominated for several major awards up until now, but generally speaking, what’s the most gratifying recognition you got so far in your career?
Each step of the way has been satisfying. When I was a younger music video filmmaker, my Grammy nomination and MTV Award was satisfying. Most recently the Golden Globe win was very nice. I have no hierarchy. I can say it is gratifying to be nominated and to win unexpectedly at the Globes because there was no stress over it.
Is it a burden or a blessing to be a member of the Coppola family? Do people often compare your work with the work of your father or your sister, or are you able to do your work your own way, as any other filmmaker?
It is a blessing certainly. I am very close to my family and we share a lot of experiences together. I take pleasure in my work and our collaborations. I enjoy that experience and collaboration. In terms of people making comparisons, I don’t tend to put my credence in that. We are rather individual, and to look at all of our works there is quite a distinction.
Samuel Goldwyn, Jr. once told me: “A lot of people often ask me what it was like to grow up in Hollywood.” And then he’d say, “What do you mean?” “Well, with the movie stars and everything!” Mr. Goldwyn’s response was always the same: “What I remember best, is the day my father was able to pay back the bank the cost of a movie, that was always a big celebration in our family.” I realize your situation must have been different, but how do you remember your childhood?
This is interesting because in my family life it was rather similar. My dad was really committing to his work, and there were big things that affected us with his professional risks. As a kid growing up, the chapters in my life were often the movies occurring in that period. There was the familial aspect of that the crew members who were like aunts and uncles, and I remember more vividly the projects and where we were during that time versus grades in school.
Los Angeles, California
The trailer of “The Darjeeling Limited” (2007), directed by Wes Anderson, co-produced and co-scripted by Mr. Coppola
THE GODFATHER (1972) DIR Francis Ford Coppola PROD Albert S. Ruddy SCR Francis Ford Coppola, Mario Puzo (novel by Mario Puzo) CAM Gordon Willis ED William Reynolds, Peter Zinner MUS Nino Rota CAST Marlon Brando, Al Pacino, James Caan, Richard Castellano, Sterling Hayden, Robert Duvall, John Marley, Richard Conte, Diane Keaton, Abe Vidago, Talia Shire, John Cazale, Al Martino, Joe Spinell, Carmine Coppola, Gian-Carlo Coppola, Italia Coppola, Roman Coppola (Boy on the Street Attending a Funeral), Sofia Coppola
THE GODFATHER, PART II (1974) DIR – PROD Francis Ford Coppola SCR Francis Ford Coppola, Mario Puzo (novel by Mario Puzo) CAM Gordon Willis ED Barry Malkin, Peter Zinner, Richard Marks MUS Carmine Coppola, Nino Rota CAST Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, James Caan, John Cazale, Talia Shire, Lee Strasberg, Michael V. Gazzo, G.D. Spradlin, Marianna Hill, Troy Donahue, Joe Spinell, Abe Vigado, Harry Dean Sttanton, Danny Aiello, Kathleen Beller, Peter Donat, Roger Corman, Italia Coppola, Roman Coppola (Sonny Corleone as a Boy), Sofia Coppola, Richard Matheson
APOCALYPSE NOW (1979) DIR – PROD Francis Ford Coppola SCR Francis Ford Coppola, John Milius (novel by Joseph Conrad) CAM Vittorio Storaro ED Walter Murch, Gerald B. Greenberg, Lisa Fruchtman MUS Carmine Coppola, Francis Ford Coppola CAST Marlon Brando, Martin Sheen, Robert Duvall, Frederic Forrest, Sam Bottoms, Laurence Fishburne, Albert Hall, Harrison Ford, Dennis Hopper, G.D. Spradlin, Scott Glenn, Colleen Camp, Linda Carpenter, Marc Coppola, Christian Marquand, Aurore Clément, Roman Coppola (Francis de Marais – Redux version only), Gian-Carlo Coppola, Francis Ford Coppola, Charlie Sheen
THE BLACK STALLION RETURNS (1983) DIR Robert Dalva PROD Fred Roos, Doug Claybourne, Tom Sternberg EXEC PROD Francis Ford Coppola PROD ASSIST – SOUND REC Roman Coppola SCR Jerome Kass, Richard Kletter (novel by Walter Farley) CAM Carlo Di Palma ED Paul Hirsch MUS Georges Delerue CAST Kelly Reno, Vincent Spano, Allen Garfield, Woody Strode, Ferdinand Mayne, Jodi Thelen, Teri Garr
RUMBLE FISH (1983) DIR – EXEC PROD Francis Ford Coppola PROD Fred Roos, Doug Claybourne ASSOC PROD Roman Coppola, Gian-Carlo Coppola SCR Francis Ford Coppola, S.E. Hinton (novel by S.E. Hinton) CAM Stephen H. Burum ED Barry Malkin MUS Stewart Copeland CAST Matt Dillon, Mickey Rourke, Diane Lane, Dennis Hopper, Diane Scarwid, Vincent Spano, Nicolas Cage, Christopher Penn, Laurence Fishburne, Tom Waits, Sofia Coppola, Gian-Carlo Coppola, S.E. Hinton
CLOWNHOUSE (1989) DIR – SCR Victor Salva PROD Victor Salva, Robin Mortarotti, Michael Danty EXEC PROD Roman Coppola CAM Robin Mortarotti ED Sabrina Plisco-Morris, Roy Anthony Cox MUS Thomas Richardson CAST Nathan Forrest Winters, Brian McHugh, Sam Rockwell, Michael Jerome West, David C. Reinecker, Timothy Enos, Frank Damianti, Victor Salva
THE SPIRIT OF ‘76 (1990) DIR Lucas Reiner PROD Susie Landau Finch EXEC PROD Roman Coppola SCR Lucas Reiner (story by Roman Coppola, Lucas Reiner) CAM Stephen Lighthill ED Glen Scantlebury MUS David Nichtern CAST David Cassidy, Olivia d’Abo, Geoff Hoyle, Leif Garrett, Jeff McDonald, Steve McDonald, Barbara Bain, Julie Brown, Tommy Chong, Iron Eyes Cody, Carl Reiner, Rob Reiner, Moon [Unit] Zappa, Lucas Reiner, Sofia Coppola
DRACULA, a.k.a. BRAM STOKER’S DRACULA (1992) DIR Francis Ford Coppola SECOND UNIT DIR – VISUAL EFFECTS DIR Roman Coppola PROD Francis Ford Coppola, Fred Fuchs, Charles Mulvehill SCR James V. Haret (novel by Bram Stoker) CAM Michael Ballhaus ED Nicholas C. Smith, Anne Goursard, Glen Scantlebury MUS Wojciech Kilar CAST Gary Oldman, Winona Ryder, Anthony Hopkins, Keanu Reeves, Richard E. Grant, Cary Elwes, Bill Campbell, Tom Waits, Monica Bellucci
JACK (1966) DIR Francis Ford Coppola SECOND UNIT DIR Roman Coppola PROD Francis Ford Coppola, Fred Fuchs, Ricardo Mestres SCR James DeMonaco, Gary Nadeau CAM John Toll ED Barry Malkin MUS Michael Camen CAST Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez, Bill Cosby, Fran Drescher, Adal Zolotin, Todd Bosley, Marc Coppola
THE RAINMAKER (1997) DIR Francis Ford Coppola SECOND UNIT DIR Roman Coppola PROD Michael Douglas, Fred Fuchs, Steven Reuther SCR Francis Ford Coppola (novel by John Grisham) CAM John Toll ED Melissa Kent, Barry Malkin MUS Elmer Bernstein CAST Matt Damon, Danny DeVito, Claire Danes, Jon Voight, Mary Kay Place, Dean Stockwell, Teresa Wright, Virginia Madsen, Mickey Rourke, Roy Scheider, Danny Glover
GUNFIGHTER (1999) DIR – SCR Christopher Coppola PROD Michael Danty, Paolo Durazzo CAM Mark Kohl, Jeff Moore ED Tom Siiter MUS Jim Fox CAST Robert Carradine, Martin Sheen, George Nix, Dick Chaney, James Laughlin, Rick Haugh, Louis Schwiebert, Clu Gulager, Christopher Coppola, Roman Coppola (Bandido)
STAR WARS: EPISODE I – THE PHANTOM MENACE (1999) DIR – SCR George Lucas PROD Rick McCallum CAM David Tattersall ED Ben Burtt, Paul Martin Smith MUS John Williams CAST Ewan McGregor, Liam Neeson, Natalie Portman, Jake Lloyd, Ian McDiarmid, Pernilla August, Oliver Ford Davies, Hugh Quarshie, Ahmed Best, Terence Stamp, Samuel L. Jackson, Sofia Coppola, Keira Knightley, Roman Coppola (Senate Guard), Sally Hawkins
THE VIRGIN SUICIDES (1999) DIR Sofia Coppola SECOND UNIT DIR Roman Coppola PROD Francis Ford Coppola, Julie Costanzo, Dan Halsted, Chris Hanley SCR Sofia Coppola (novel by Jeffrey Eugenides) CAM Edward Lachman ED Melissa Kent, James Leons MUS Air CAST James Woods, Kathleen Turner, Kirsten Dunst, Josh Hartnett, Michael Paré, Scott Glenn, Danny DeVito, Robert Schwartzman
CQ (2001) DIR – SCR Roman Coppola PROD Guy Marcus EXEC PROD Francis Ford Coppola, Georgia Kacandes, Willi Bär CAM Robert D. Yeoman ED Leslie Jones MUS Ed Goldfarb CAST Jeremy Davies, Angela Lindvall, Élodie Bouchez, Gérard Depardieu, Giancarlo Giannini, Jason Schwartzman, Billy Zane, John Philip Law, Dean Stockwell, Barbara Sarafian, Sofia Coppola, Dean Tavoularis
LOST IN TRANSLATION (2003) DIR – SCR Sofia Coppola ADDITIONAL DIR [ADDITIONAL JAPAN UNIT] Roman Coppola EXEC PROD Francis Ford Coppola, Fred Roos PROD Sofia Coppola, Ross Katz CAM Lance Acord ED Sarah Flack MUS Kevin Shields CAST Bill Murray, Scarlett Johansson, Giovanni Ribisi, Anna Faris, Fumihiro Hayashi, Catherine Lambert
THE LIFE AQUATIC WITH STEVE ZISSOU (2004) DIR Wes Anderson SECOND UNIT DIR Roman Coppola PROD Wes Anderson, Barry Mendel, Scott Rudin SCR Wes Anderson, Noah Baumbach CAM Robert Yeoman ED David Moritz MUS Mark Mothersbaugh CAST Bill Murray, Owen Wilson, Cate Blanchett, Anjelica Huston, Willem Dafoe, Jeff Goldblum, Bud Cort, Seymour Cassel, Noah Baumbach
MARIE ANTOINETTE (2006) DIR – SCR Sofia Coppola SECOND UNIT DIR Roman Coppola PROD Sofia Coppola, Ross Katz EXEC PROD Francis Ford Coppola, Fred Roos, Paul Rassam SCR CAM Lance Acord ED Sarah Flack CAST Kirsten Dunst, Jason Schwartzman, Judy Davis, Rip Torn, Steve Coogan, Rose Byrne, Asia Argento, Molly Shannon, Shirley Henderson, Danny Huston, Marianne Faithfull
THE DARJEELING LIMITED (2007) DIR Wes Anderson SECOND UNIT DIR Roman Coppola PROD Roman Coppola, Wes Anderson, Scott Rudin, Lydia Dean Pilcher SCR Roman Coppola, Jason Schwartzman, Wes Anderson CAM Robert Yeoman ED Andrew Friedberg CAST Owen Wilson, Adrien Brody, Jason Schartzman, Amara Karan, Barbet Schroeder, Bill Murray, Anjelica Huston, Natalie Portman
YOUTH WITHOUT YOUTH (2007) DIR – PROD Francis Ford Coppola SECOND UNIT DIR Roman Coppola SCR Francis Ford Coppola (novel by Mircea Eliade) CAM Mihai Malajmare Jr. ED Walter Murch MUS Osvaldo Golijov CAST Tim Roth, Alexandra Maria Lara, Bruno Ganz, André Hennicke, Marcel Iures, Andrian Pintea, Matt Damon
TETRO (2009) DIR – PROD Francis Ford Coppola SECOND UNIT DIR Roman Coppola SCR Francis Ford Coppola (verse ‘Fausta’ by Mauricio Kartun) CAM Mihai Malajmare Jr. ED Walter Murch MUS Osvaldo Golijov CAST Vincent Gallo, Alden Ehrenreich, Maribel Verdú, Silvia Pérez, Rodrigo De La Serna, Érica Rivas, Klaus Maria Brandauer, Carmen Maura
FANTASTIC MR. FOX (animated, 2009) DIR Wes Anderson PROD Wes Anderson, Jeremy Dawson, Scott Rudin SCR Wes Anderson, Noah Baumbach (novel by Roald Dahl) CAM Tristan Oliver ED Ralph Foster, Stephen Perkins MUS Alexandre Desplat CAST (voices only) George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Wally Wolodarsky, Eric Anderson, Michael Gambon, Willem Dafoe, Owen Wilson, Adrien Brody, Wes Anderson, Roman Coppola (Squirrel Contractor)
SOMEWHERE (2010) DIR – SCR Sophia Coppola PROD Roman Coppola, Sofia Coppola, G. Mac Brown EXEC PROD Francis Ford Coppola, Fred Roos, Paul Rassam, Michele Anzalone, Roberta Senesi CAM Harris Savides ED Sarah Flack MUS Phoenix CAST Stephen Dorff, Elle Fanning, Chris Pontius, Ellie Kemper, Benicio Del Toro, Michelle Monaghan, Robert Schwartzman
ON THE ROAD (2012) DIR Walter Salles PROD Roman Coppola EXEC PROD Francis Ford Coppola, Patrick Batteux, Arpad Busson, Lyse Fafontaine, Jerry Leiber, Matías Mosterín, Tessa Ross, John Williams SCR José Rivera (novel by Jack Kerouac; French adaptation by Harold Manning) CAM Eric Gautier ED François Gédigier MUS Gustavo Santaolalla CAST Sam Riley, Garrett Hedlund, Kristen Stewart, Amy Adams, Tom Sturridge, Danny Morgan, Alica Braga, Elisabeth Moss, Kirsten Dunst, Viggo Mortensen, Steve Buscemi, Terrence Howard, Michael Sarrazin
A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III (2012) DIR – SCR Roman Coppola PROD Roman Coppola, Youree Henley CAM Nick Beal ED Robert Schafer MUS Liam Hayes, Roger Neill CAST Charlie Sheen, Bill Murray, Jason Schwartzman, Patricia Arquette, Mary Elizabeth Winstead, Aubrey Plaza, Colleen Camp, Maxine Bahns, Marc Coppola, Pascale Coppola
MOONRISE KINGDOM (2012) DIR Wes Anderson PROD Wes Anderson, Jeremy Dawson, Steven Rales, Scott Rudin SCR Roman Coppola, Wes Anderson CAM Robert D. Yeoman ED Andrew Weisblum MUS Alexandre Desplat CAST Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jared Gilman, Jason Schwartzman, Harvey Keitel, Lucas Hedges, Bob Balaban
THE BLING RING (2013) DIR Sofia Coppola PROD Roman Coppola, Sofia Coppola, Youree Henley EXEC PROD Francis Ford Coppola, Fred Roos, Darlene Caamano Loquet, Paul Rassam, Mike Zakin SCR Sofia Coppola (Vanity Fair article ‘The Suspect Wore Louboutins’ by Nancy Jo Sales) CAM Harris Savides, Christopher Blauvelt ED Sarah Flack MUS Daniel Lapotin, Brian Reitzell CAST Katie Chang, Israel Broussard, Emma Watson, Claire Julien, Taissa Farmiga, Georga Rock, Leslie Mann, Carlos Miranda, Marc Coppola, Lorenzo Hunt, Baily Coppola, Paris Hilton
THE GRAND BUDAPEST HOTEL (2014) DIR Wes Anderson DIR SPECIAL PHOTOGRAPHY UNIT Roman Coppola PROD Wes Anderson, Jeremy Dawson, Scott Rudin, Steven Rales SCR Wes Anderson (story by Wes Anderson, Hugo Guinness; inspired by the writings by Stefan Zweig) CAM Robert Yeoman ED Barney Pilling MUS Alexandre Desplat CAST Ralph Fiennes, F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Saoirse Ronan, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson, Bob Balaban
A VERY MURRAY CHRISTMAS (2015) DIR Sofia Coppola ASSOC DIR Roman Coppola PROD Lily Burns, John Skidmore EXEC PROD Roman Coppola, Sofia Coppola, Sarah Bowen, Bill Murray, Mitch Glazer, Tony Hernandez, Ted Sarandos, Keslie Kiley SCR Sofia Coppola, Bill Murray, Mitch Glazer CAM John Tanzer ED Sarah Flack CAST Bill Murray, Paul Shafer, Michael Cera, George Clooney, Miley Cyrus, Dimitri Dimitrov, Chris Rock