Neither Sofia Coppola nor Marc Jacobs were initially convinced that making a documentary was a good idea. Jacobs felt uncertain about being the subject, and Coppola was hesitant about handling the directorial pressure, especially since Jacobs was a friend of over 30 years. Concerns loomed about the film’s potential quality.
However, the concept, encouraged by producers R.J. and Jane Cha Cutler, gradually gained traction. Coppola, with her long-standing interest in fashion and creativity, and Jacobs, who trusted Coppola to put him at ease, decided to embark on this journey together.
“There were no boundaries,” Jacobs mentioned in a recent interview with Coppola for The Associated Press. “It was just about being authentic and accepting whatever came out of it.”
“Marc, by Sofia,” which premiered Tuesday at the Venice Film Festival, is a rich and quintessentially Coppola depiction of Jacobs’ inspirations, personal history, and his team’s efforts in developing a ready-to-wear collection.
“I’ve never approached something like this without a roadmap or script,” Coppola noted. “My aim was to capture his creative process surrounding this collection and weave in inspirations, references, and collaborative artists to form a comprehensive portrait.”
Described as a low-key production, Coppola sometimes filmed in the office using her handheld camera, occasionally assisted by her brother Roman Coppola. Coppola found the experience exhilarating, despite it being her first feature-length documentary, although she doesn’t see it as marking a new direction in her filmmaking career.
She was also privy to some rare behind-the-scenes experiences, like being backstage at fashion shows. “I had complete creative freedom, which was amazing. I simply filmed what piqued my interest,” she reflected. “It was akin to taking snapshots, which felt familiar to me.”
Coppola and Jacobs first met in New York in the early 1990s, when Coppola attended a Perry Ellis show he was involved in. They bonded over their mutual interests in art, music, fashion, and film, leading to numerous collaborations on handbags, dresses, commercials, and more. Jacobs has also visited Coppola’s film sets and contributed clothing for some of her characters, such as the coats worn by Scarlett Johansson in “Lost in Translation.”
Although Coppola wanted to highlight their friendship, even making a brief appearance in the film, she intended the focus to remain on Jacobs, not on herself or their relationship.
“I didn’t want it to focus too much on me,” Coppola explained. “I wanted it to feel personal and crafted by me—I wanted to be part of it. In that sense, it’s more than just a standard interview or portrait.”
Apart from showcasing the creation of the Spring 2024 ready-to-wear collection, “Marc, by Sofia” is enriched with film and art references, including clips from “Hello, Dolly!,” “All That Jazz,” “Sweet Charity,” and more of Jacobs’ favorite films. Jacobs was particularly impressed by Coppola’s ability to secure the rights to use these clips.
“It made me feel very special. I don’t believe just anyone could have achieved this,” Jacobs commented. “I felt it was permissible because it was for Sofia. That might not be entirely accurate, but that’s how I like to perceive it.”
The film also delves into Jacobs’ background, significant career milestones, and rare insights into his grandmother, who played a crucial role in his life, especially during his teenage years in New York, emphasizing the importance of caring for elegant clothing. Following the runway show, Coppola and Roman visit Jacobs at his home, where he, in his silk pajamas, talks about his post-event experience.
Jacobs uses a term from his friend, filmmaker Lana Wachowski, to describe this feeling: Post-art-um. “It just felt like a regular chat,” Jacobs said. “There was no sense of director and subject. It was just completely natural.”
Jacobs admitted to feeling anxious the first time Coppola screened the documentary for him. He worried about his appearance, voice, and the overall result.
“In my typical style, after watching it, I said I don’t hate myself after seeing it,” Jacobs laughed. “I found it all felt genuine. I wasn’t pretending; there was nothing artificial. Regardless of others’ opinions, I felt good about being myself and having Sofia capture that.”
