This article discusses Sofia Coppola's directorial debut film The Virgin Suicides, based on the novel of the same name. While Coppola wrote the screenplay without the rights to direct, she grew protective over translating the story faithfully. Key challenges included retaining the nonlinear storytelling through visuals alone. Overall, Coppola aimed to treat the source material delicately and find a visual way to present its essence, while realizing a film requires abandoning some novel elements.

2. Mariana Baldaia
Portfolio
Livro. 21 cm. x 29.7 cm.
Porto.2009
Design.Mariana Baldaia
Fotografia.Mariana Baldaia
Impressão.Digital Sempre
Encadernação.Digital Sempre

3. LRY
AR
FY T
LN
“(...)
Please,please,please
And now,
Americans for a Free Press...
take extreme pleasure
in welcoming to Cincinnati...
direct from jail...
cleared 100%
by the Appellate Court...
and the hustler publisher...
...that freedom fighter,
Larry C. Flynt!
(...)”
Larry Flynt
Projecto académico excerto do discurso de Larry
Livro. 20 cm. x 20 cm. Flynt, do filme “O escândalo de
ESAD.2006/2007 Larry Flynt”.

7. JM
I
J R UC
A M SH
Cinema Batalha
16-24 Fevereiro
Permanent Vacation (1980)
Stranger than Paradise (1984)
Down by Law (1986)
Mystery Train (1989)
Night on Earth (1991)
Dead Man (1995)
Year of the Horse (1997)
Ghost Dog: The Way of the Samurai (1999)
Coffee and Cigarettes (2003)
Jim Jarmusch Broken Flowers (2005)
Projecto académico
Cartaz. 50 cm. x 70 cm.
Postais + Embalagem. 11 cm. x 14,8 cm.
CD. capa filmes a passar na semana Jim
ESAD.2006/2007 Jarmusch - Integral

8. EE T
V NO
D S O TV
EP R I O
Evento Desportivo . Street Basket
Projecto académico
Cartaz. 50 cm. x 70 cm.
Postais. 11 cm. x 14,8 cm.
Publicidade. mupis e jornais
ESAD.2006/2007

12. DSN O
EE H
V CO I L
E T RA
Desenho Vectorial
Projecto académico
Software. Adobe Illustrator
ESAD.2006/2007

13. WO
H
MD
AE
WO
H
Who Made Who
Projecto académico
Promoção de single da banda
WHO MADE WHO, Rose
Livro + CD. 12 cm. x 24 cm.
ESAD.2006/2007

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18. S NA Ã
E SÇO
A DÇ O
U IÃ
José Mário Branco
Inquietação
Jane’s Addiction
I’ve been caught stealing
Jean Sibelius
Valse Triste
músicas trabalhadas
Sensações . Audição
Projecto académico
Livro de sensações . 18 cm. x 25 cm.
ESAD.2007/2008
dupla página

19. dupla página
dupla página

20. LS
O
HR A O
EMN S
Los Hermanos
Projecto académico
Lançamento do álbum
Los Hermanos, Perfil
Ficha técnica + CD + capa.
PUC - Rio de Janeiro.2007/2008

22. U B NC L R
R A OO
RA BO
OD O K
Urban Color Road Book
Projecto académico
Roteiro pela cidade do Porto
Roteiro metropolitano
Livro . 14 cm. x 20 cm.
Postais . 10,5 cm. x 14,8 cm.
ESAD.2008/2009
capa + lombada

23. C MA H
A PN Ã
dupla página

24. C S D M SC
AA A ÚI A
dupla página

25. S R AV S
ERLE
dupla página

26. RB I A
I ER

27. BL Ã
OH O

28. A R P RO
E OO T

29. CAMPANHÃ
CASA DA MÚSICA
SERRALVES
RIBEIRA
BOLHÃO
AEROPORTO

30. I E TD D
D NI A E
VS A N A
IU L C D
As an erasmus student I see NCAD as a college with a
different attitude, diferent spirit. People care about not
only design, but art as in arts & crafts. All the events
and parties are thought visually to the last detail. I
think the recent logo is too limited for this king of col-
lege, it doesn’t show how things work inside this insti-
tution. In my opinion it would work to Trinity College,
not an arts college. I wanted to do something strong,
something that you don’t forget that easily, something
that even an illiterate passes and stops to look at it.
To have that effect I chose for a heavy type opting for
having soft/dark colors as in the college. Black, grey
and blue as all the gates. This logo shouldn’t work only
as a logo, but also as an image that you can play around
for posters, brochures... It makes it multipurpose as I’ll
show further.
It can be a logo that as to be changed as the time pass-
es, and as the atittudes changes. Arts & Design are two
areas in constant evolution, constant change of lan-
guage. So I’d propose that it would be changed every
two years having college attitudes in consideration.
Identidade Visual NCAD
Projecto académico
Identidade Visual
National College of Arts & Design
Estacionário
Publicidade . mupis, cartazes, revista
NCAD Dublin . 2008/2009

31. revista mensal capa
cartões pessoais
NCAD
National College NCAD
Arts & Design National College
Arts & Design
100 Thomas Street
Dublin 8 Ireland
Tel. +353 1 636 4200
Fax +353 1 636 4207
www.ncad.ie
fios@ncad.ie www.ncad.ie
Tel. +353 1 636 4200 Fax +353 1 636 4207
100 Thomas Street fios@ncad.ie
Dublin 8 Ireland
100 Thomas Street Dublin 8 Ireland
NCAD
National College
Tel. +353 1 636 4200
Fax +353 1 636 4207
www.ncad.ie fios@ncad.ie
Arts & Design

32. Et nullaore er il utpat
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elenim quipisci blandit ad tatumsandre magna augiam et exer sim vulla feugait vele-
nim zzriliquat do eniamco nsectet alis at dolobor eraesenibh exercil iusto odiat utem
dunt landigna faci blam, sit la augait utet, quam verosto er irillaorero commodolore do
exero eugait lore tem zzrit, conum quatuercilis num dignit volorer cilissi tat dolobore
dolor sustie ea aliscidunt nonumsan ero conulput nulla feum enisl dolore exero od minci
blam, quat alit, quat am, conse cortinc illuptat nim adio conullaortis dolortis nostio conse
feuguer sed molorer ostismo dionsec tetumsa ndipit wis nosto ea am alit dolore volor se
corperil euismod del ut loboreros do dolent iriusci niatue magna feuguero conum autpat.
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ercipsustrud digna faci erciduis ent luptat. Iqui exeril ipsumsan volore dolore dolendipit
irit wismolo rperiuscin velesenit, vel ipsusti onsectem dolortion hendrem aute conse-
quisi. Henim vel et deleniam, quatums andrem zzrit ullut luptat. Ut nonsectem nostrud
dolore commodolorem dionull uptat. Em nummolor se feum amet, si tionsectem doloreet
aliquam zzriure tatuerat augue magna feuguer si ting erat, core cortin hent aliquisi. Am-
consecte euipis accumsan eliquam euipisim dolobor si. Nibh ercil ut nismodo lortis nim
dolut ullum venim zzriuscilla feuipisl ent ilismod eniscillan vulpute dolor se feuipsusci
blan venim zzrit velis nos ad tissi. Veliquis alit vent nonsequi blaorem nos ad digna facil-
lan ut nonsent diam, vulputpat. Ut alisi. Esent lorpercilis at ad dolortisim quate erit nibh
eraestrud tat lamcore erosto er ip ea commolor siscipit lorerci tat lorem endreetue tetum
at, sustin vel ero commy nos dolor sis autetue vullam vendre modigna faciduis alit la
consed magnisit ilis enit nisim vullam, vero odipsum niam vulput lum dolor atue eugiame
tuerci tat. Ut alit lam eugait ulputem nulluptatio odio diam vel incilit alit wismodiat, se-
niam quam, sequat, vullandre verit et, susto odio dolore commodo od dolore euisl iriure
envelope e papel de carta frente e verso

33. cartaz para as festas de 5a feira na universidade

34. cartazes individuais para a entrada (hall) da galeria da universidade.

35. LV O
IR S
C BN S
UA O
Livros Cubanos
Projecto académico
Capas . 12 cm. x 3 cm. x 21,5 cm.
NCAD.2008/2009
Geoff Simmons
Cuba: From Conquistador to Castro
Stephen Foehr
Waking up in Cuba
John Duncan
In the red corner:
A Journey into Cuban boxing
Depois da nossa viagem a Cuba, foi-nos pedido para fazer
três capas para três livros diferentes, tendo em conta que
seriam livros seriados, teriam que ter a mesma lingua-
gem.
O livro “Cuba: from Conquistador to Castro” fala-nos
da revolução, do desenvolvimento do povo cubano e do
próprio país.
O livro “Waking Up in Cuba” fala-nos da cultura musical
de Cuba desde a batucada Africana ao rock’n’roll ameri-
cano. A cultura do povo na rua é também abordada, da
vida urbana.
O livro “In the Red corner: a journey into cuban boxing”
conta a história da polémica luta de boxe entre cubanos e
o boxer Mike Tyson que por conflictos já conhecidos entre
E.U.A. e Cuba, nunca se chegou a realizar.

37. John Duncan
Duncan shows us how the lives of ordinary Cubans can be
damaged by the bureaucratic nightmare of the Castro
regime (and before any spotty student tries to tell you
otherwise it is without question a regime). Saddest of all
are the apartheid style rules that keep ordinary Cubans
well away from the most expensive tourist resorts.
Cuba is once again the play thing of the rich, but
this time only the Cuban government is allowed
to make any money out of it. Quite why Cuba has
traditionally succeeded in boxing is clear. The
manager of Cuban boxing, Alcides Sagarra, is
on the Central Committee of the Communist
Party of Cuba. In 1997 his goal was to plan
for the Olympics. The Olympics in mind
being those of...2008! Secondly Cuba has
In th
a clear ethos of sport for all - for love
not money. This
is particularly
e Re
refreshing to us in
the UK surrounded by
d Co
greedy footballers with
their bimbo girlfriends
and their grasping agents.
r ner
:
A Journey into Cuban Boxing

38. R WN
E ID
M G ZN
A AI E
Your task is to produce an experimental magazine
about INDPENDENT CINEMA.
The purpose of this work is to exhilarate the trial of
the visually art of experimental language. A magazine
focused on promoting non-commercial directors,
producers and to give the spectator a taste of each
others minds. Develop visual identity, photography,
illustration and editorial.
UM FILME DE ANTONIO VALE DA CONCEICAO
SOFIA COPPOLA
Revista Cinema Independente
the virgins suicides
Capa + interior . 15 cm. x 18 cm.
SPIKE LEE
25th hour
MICHAEL HANEKE
Rewind Magazine
la pianiste
Projecto académico
NCAD.2008/2009
TAKESHI KITANO
dolls
VINCENT GALLO
the brown bunny

39. When Sofia Coppola began writing
a screenplay based on Jeffrey Eu-
genides’ novel The Virgin Suicides,
someone else owned the film rights.
Though she’s part of a formidable
filmmaking family that includes fa-
ther Francis Ford Coppola, husband
Spike Jonze, and cousin Nicolas
Cage, the 27-year-old actress and
designer didn’t initially know that her
adaptation would become a feature
film — or that she would be at its
helm.
Four years later, Coppola is making
her directing debut with The Virgin RWD: You started writing the screenplay not subject of the novel, I’m curious about which
Suicides, a catastrophic fairy tale knowing that you would be able to direct this elements or qualities of the novel you thought
about the Lisbon sisters, five girls film. What was it about the story that grabbed translated well into the movie format, and which
growing up in suburban ‘70s America. you and made you want to lay into it on your elements were more challenging or just impos-
own? sible to pull off visually.
Coppola’s famous father may be on
board as a producer, but this is So- Sofia Coppola: Well, it’s hard to say exactly, SC: My motivation was to try to keep [the film]
fia’s pet project all the way, a dreamy but when I read the book, it became one of my true to the book. But then, as I was working on it,
and ominous vision of adolescence favorites. I really loved how the story had seri- I started to realize that a movie is something else
gone awry, starring Kirsten Dunst, ous and tragic sides, but was also funny. You entirely, and you have to abandon some ideas.
Josh Hartnett, Kathleen Turner and know how you get about those books that you The main thing I wanted to do is … whatever the
James Woods. love — “Oh, they’re going to make a movie of it! essence of the book is, to try to find a way to
Days before her film screened as the Are they going to do it right?” I had those feel- present that visually. The thing that I really liked
ings, and then I heard a little about how [others] about the book is how it jumped around in time
opening night selection of the San
were doing it, and I got the feeling that it wasn’t and had these flash-forwards and flashbacks.
Francisco International Film Festival, going to be treated as delicately as I thought That’s a lot harder to do in film without really jar-
Sofia Coppola talked to Reel.com the book deserved. I got protective of it and I ring the audience.
about the process of bringing Sui- started thinking, “Oh, the film should open like One challenge was when Cecilia falls on the
cides to the big screen, her future this, not like that,” and so I thought I’d start writ- fence, the book describes it as looking like a
ing it down, instead of talking about it. I started levitation act, and I tried to make it like that. I
writing a couple scenes, and then I got into it. I didn’t use blood and gore, because I wanted it
was doing it on the weekends. I thought, “Oh, I’ll to have the sort of unreal quality that [Eugenides]
just do one more scene. If nothing else, I’ll learn talks about.
how to adapt a book into a screenplay.” Did you
read the book? RWD: That leads to another question I had. By
the end, there has been a build-up all along —
RWD: No. When I found out I was going to re- starting with the title — to the suicides. How did
view the movie, I thought about picking it up. you decide to portray them as you did — more
I didn’t, mostly because I wanted to see the suggestively than graphically?
movie on its own terms. But while we’re on the

40. RWD: The screenplay was written ten, twelve have made sense to try. Film is an independent art
years ago? Why did you start working with this form, and it employs literature as an intellectual
material now? quarry. Elfriede Jelinek herself was fascinated to
MH: Firstly because someone suggested it, and see how another person made use of the material
secondly because the compelling thing about the she provided.
story is that extremely complex observations are
made about society, and they go beyond private RWD: Did you work together with the author?
interrelationships. This story is so full of associa- MH: I discussed the main character with her sev-
tions and it isn’t exhausted in the telling alone. In eral times at the beginning. The difficulty was that
addition, there are three great roles. One of my the novel is now 15 years old and it describes a
conditions when it was offered to me was hiring certain period with the apartment and the cloth-
Isabelle Huppert for the lead. ing. As I brought the film into the present so to
speak, the question arose of the extent to which
RWD: Why her in particular? she thinks that’s possible for the elements which
MH: Because in my opinion, she’s the best ac- are important to her. But in general, she con-
tress I know in Europe if not the entire world. She sciously stayed in the background. She doesn’t
has on the one hand the sensitivity and ability to demand recognition as the sole creator.
show suffering and on the other this character’s
cold-bloodedness, and she looks good, too. RWD: The female characters in your films are
always stronger and more mysterious than the
RWD: Can we expect more such films based on males.
literary works from you? MH: I’m not sure that they’re deeper or more
MH: No, but that has nothing to do with good mysterious. Both women and children - there
or bad experiences - I just have enough material are also a disproportionate number of the latter
already which I want to use. Because as an au- in my films - play an important role because vic-
teur, one writes for one’s own strengths, which is tims interest me more than perpetrators. Women
one of the reasons why auteur films are usually - and this is also true of other directors - are the
more interesting. The discussion concerning form more interesting characters because they’re far-
and content, which decides the quality of a film in ther down in the pecking order. The alternative to
the end, is easier to resolve when the screenwriter plumbing the depths of their psyches is the hero,
REWIND: The Piano Teacheris your first film from an addopted screenplay, based on a versy controver- and director are one and the same person. I find who has no psychology and is only a victor. All in
sial novel by Elfriede Jelinek. What did you find so interesting about the material? that principle more interesting, of course. all, I’m more interested in women - men bore me.
Michael Hanke: I thought it was interesting because it goes very far psychologically.
RWD: How do you deal with the issue of translat- RWD: One level which the book is unable to com-
RWD: When reading this novel, did you think that it was very filmic? ing language into film adequately? municate but which would be perfect for film is
MH: It’s filmic in that its structure is very linear, making it suitable for a cinematic version, but its linguistic MH: Language is used only in dialogs, and I in- music.
form is not at all suitable. The essence of Elfriede Jelinek’s literature is not in her stories, but in the narra- vented quite a few scenes which don’t appear in MH: That was my hobby while making this film.
tive form. Her main interest is language. This language is not transferable. The same story must be told the novel. I made an effort to describe the same Fundamentally, I’m of the opinion that film music
with the means offered by film. I didn’t make a film version of the book - I told the story. In that sense, internal universe in film, at the same time never has no place in movies because 99% of its func-
it’s not a film version of a literary work. thinking about how to include Jelinek’s language. tion is to compensate for a deficit in the suspense
That would never have worked, and it wouldn’t or excitement.

42. OS A
IE U
NI
OR
Oiseu Noir Projecto independente Cartaz + CD . 50 cm. x 70 cm. Porto.2008

44. C M A HA
O PN I
T AR
ETO
V+
Associação Cultural V+ Companhia de Teatro
Companhia de Teatro
Projecto Independente
Identidade Visual
Associação Cultural V+ Companhia de Teatro
Rua da Paz, 26 1º 4050-461 Porto | vmaisteatro@gmail.com | 917098315 914156744 968634205
Porto.2008
Rua da Paz, 26 1º 4050-461 Porto | vmaisteatro@gmail.com | 917098315 914156744 968634205
V+Companhia de Teatro Associação Cultural V+Companhia de Teatro
Rua da Paz, 26 1º 4050-461 Porto Associação Cultural
917098315 914156744 968634205 Rua da Paz, 26 1º 4050-461 Porto
vmaisteatro@gmail.com vmaisteatro@gmail.com
917098315 914156744 968634205
V+Companhia de Teatro
Associação Cultural
Rua da Paz, 26 1º 4050-461 Porto
vmaisteatro@gmail.com
917098315 914156744 968634205