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Lost in Translation

Theatrical release poster
Directed by Sofia Coppola
Produced by Ross Katz
Sofia Coppola
Written by Sofia Coppola
Starring Bill Murray
Scarlett Johansson
Giovanni Ribisi
Anna Faris
Fumihiro Hayashi
Music by Brian Reitzell
Kevin Shields
Roger Joseph Manning Jr.
Cinematography Lance Acord
Editing by Sarah Flack
Studio American Zoetrope
Distributed by Focus Features
Release date(s) October 3, 2003
Running time 102 minutes
Country United States
Language English
Budget $4 million
Gross revenue $119,723,856

Lost in Translation is a 2003 American comedy-drama film starring Bill Murray and Scarlett Johansson. It was the second feature film written and directed by Sofia Coppola, after The Virgin Suicides. It was nominated for four Academy Awards, including Best Picture, Best Actor for Bill Murray, and Best Director for Sofia Coppola. Coppola won Best Original Screenplay.

The film explores themes of loneliness, alienation, insomnia, existential ennui, and culture shock against the backdrop of a modern Japanese cityscape.



Bob Harris (Murray) is an aging movie star arriving in Tokyo to film a Suntory whisky advertisement. Charlotte (Johansson) is the young wife of a celebrity photographer on assignment in Tokyo. Left behind in her hotel room by her husband, John (Giovanni Ribisi), she is unsure of her present and her future and about the man she has married. Bob's own 25-year marriage is tired and lacking in romance as he goes through a midlife crisis. Bob and Charlotte meet in the bar of the hotel where they are both staying and strike up a friendship. The two bond through their adventures in Tokyo together, experiencing the differences between Japanese and American culture, and between their own generations.

On the penultimate night of his stay, Bob attracts the attention of the resident vocalist of the hotel bar. The next morning, Bob awakens to find this woman in his room, having apparently slept with her, though not remembering it. Conflict is generated when Charlotte arrives at his room and learns that he slept with this woman, leading to tension over a subsequent lunch. Later that night, during a fire alarm, they reconcile and express how they will miss each other.

On the morning of his departure, Bob tells Charlotte goodbye at the hotel before checking out. While riding in a taxi to the airport, Bob sees Charlotte on a crowded street and he gets out and goes to her. The two embrace as Bob whispers something (substantially inaudible to the audience) in the tearful Charlotte's ear, kisses her, and then departs.



The concept of "lost in translation" occurs throughout the film with a number of meanings.[1] Bob, a Japanese director (Yutaka Tadokoro), and an interpreter (Takeshita) are on a set, filming the Suntory whiskey commercial — specifically the Hibiki 17 Year whiskey. In several exchanges, the director speaks several long sentences with passion, followed by a brief, inadequate translation from the interpreter. The scene (like all the film's Japanese dialogue) is played without subtitles.

Director [in Japanese, to the interpreter]: The translation is very important, O.K.? The translation.
Interpreter [in Japanese, to the director]: Yes, of course. I understand.
Director [in Japanese, to Bob]: Mr. Bob. You are sitting quietly in your study. And then there is a bottle of Suntory whisky 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, "Here's looking at you, kid," -- Suntory time!
Interpreter [In English, to Bob]: He wants you to turn, look in camera. O.K.?
Bob: Is that all he said?[2]


In an interview with AFI,[3] director Sofia Coppola recalled how elusive Bill Murray was and the difficulties she faced trying to track him down:

I got his voicemail number and I called him every day, and he called me back once like a month later but then my phone didn't work. [...] It was just this ongoing...I was supposed to meet him and then he had to cancel it. One of the low, low points was [...] I called Al Pacino 'cause I heard he lived in the same town as Bill Murray lived in. [...] The worst thing I said was: I wonder if you know Bill Murray?...Because I'm doing this script...

Murray arrived on the set on the first day of filming. The movie was filmed in 27 days in October 2002.[citation needed]

The bar featured throughout the film is the New York Bar, situated on the 52nd floor of the Shinjuku Park Tower (新宿パークタワー) and part of the Park Hyatt Tokyo hotel in Shinjuku, Tokyo.[4] Other locations include the Heian Jingu shrine in Kyoto and the steps of the giant San-mon gate at Nanzen-ji, as well as the fashionable club Air in the Daikanyama district of Tokyo. All locations mentioned in the film are the names of actual places, bars, or businesses that existed in Tokyo at the time of filming. A map of Tokyo with the locations used in Lost In Translation highlighted is available in the Japanese DVD edition of the film.



Box office

Lost in Translation was screened at the 2003 Telluride Film Festival.[5] It was given a limited release on September 12, 2003 in 23 theaters where it grossed $925,087 on its opening weekend. It was given a wider release on October 3, 2003 in 864 theaters where it grossed $4.1 million on its opening weekend. The film went on to make $44.5 million in North America and $75.1 million in the rest of the world for a worldwide total of $119.7 million.[6]

Critical response

Lost in Translation was boosted by critical acclaim – notably a 95% approval from review aggregator Rotten Tomatoes and an 89 metascore from Metacritic – and audience word-of-mouth. It was praised not only for Sofia Coppola's script and distinctive directing, but also for the work of Bill Murray. Film critic Roger Ebert gave the film four out of four stars and rated it the second best film of the year, describing it as "sweet and sad at the same time as it is sardonic and funny", while also praising Bill Murray and Scarlett Johansson.[7] In his review for the New York Times, Elvis Mitchell wrote, "At 18, the actress gets away with playing a 25-year-old woman by using her husky voice to test the level of acidity in the air ... Ms. Johansson is not nearly as accomplished a performer as Mr. Murray, but Ms. Coppola gets around this by using Charlotte's simplicity and curiosity as keys to her character".[8] Entertainment Weekly gave the film an "A" rating and Lisa Schwarzbaum wrote, "working opposite the embracing, restful serenity of Johansson, Murray reveals something more commanding in his repose than we have ever seen before. Trimmed to a newly muscular, rangy handsomeness and in complete rapport with his character's hard-earned acceptance of life's limitations, Murray turns in a great performance".[9] In his review for The New York Observer, Andrew Sarris wrote, "The result is that rarity of rarities, a grown-up romance based on the deliberate repression of sexual gratification ... It's worth noting that at a time when independent films are exploding with erotic images edging ever closer to outright pornography, Ms. Coppola and her colleagues have replaced sexual facility with emotional longing, without being too coy or self-congratulatory in the process".[10] USA Today gave the film three-and-a-half out of four stars and wrote, "Coppola's second feature offers quiet humor in lieu of the bludgeoning direct assaults most comedies these days inflict".[11] Time magazine's Richard Corliss praised Murray's performance: "You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn".[12] In his review for The Observer, Philip French wrote, "But while Lost in Translation is deeply sad and has a strongly Antonioniesque flavour, it's also a wispy romantic comedy with little plot and some well-observed comic moments".[13] Rolling Stone magazine's Peter Travers gave the film four out of four stars and wrote, "Before saying goodbye, they whisper something to each other that the audience can't hear. Coppola keeps her film as hushed and intimate as that whisper. Lost in Translation is found gold. Funny how a wisp of a movie from a wisp of a girl can wipe you out".[14] In his review for The Guardian, Joe Queenan praised Coppola's film for being "one of the few Hollywood films I have seen this year that has a brain; but more than that, it has a soul".[15] J. Hoberman, in his review for the Village Voice, wrote, "Lost in Translation is as bittersweet a brief encounter as any in American movies since Richard Linklater's equally romantic Before Sunrise. But Lost in Translation is the more poignant reverie. Coppola evokes the emotional intensity of a one-night stand far from home—but what she really gets is the magic of movies".[16] Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Six years later, we still have no clue what Bill Murray whispered into Scarlett Johansson's ear. And we don't want to. Why spoil a perfect film?"[17]

The Los Angeles Film Critics Association and National Society of Film Critics voted Bill Murray best actor of the year.[18][19] The New York Film Critics Circle also voted Murray best actor and Sofia Coppola best director.[20] In addition, Coppola received an award for special filmmaking achievement from the National Board of Review.[21] Lost in Translation also appeared on several critics' top ten lists for 2003.[22]


The film however sparked some controversy due to what some felt was a negative depiction of the Japanese characters in the film. Kiku Day in The Guardian states that "The anti-Japanese racism in Sofia Coppola's new film just isn't funny"[23] and describing every scene where a Japanese character appears purposely for the viewers to be "sledgehammered into laughing at these small, yellow people and their funny ways, desperately aping the western lifestyle without knowledge of its real meaning." She criticized Coppola in following "in the footsteps of a host of American artists" and typically "to the way white-dominated Hollywood used to depict African-Americans - as crooks, pimps, or lacking self control compared with white Americans." Asian Mediawatch stated that "The film has no meaningful Japanese roles, nor is there any significant dialogue between the main characters and the Japanese. Such portrayals perpetuate negative stereotypes and attitudes that are harmful to Asian Americans in the US, where a significant minority of Americans already have negative attitudes towards Asians."[24] and has been urging members of the Academy of Motion Picture Arts and Sciences to vote against the film. E. Koohan Paik from Color Lines stated that "The Japanese are presented not as people, but as clowns."[25] In response to this Coppola claimed "you can make fun, have a little laugh, but also be respectful of a culture."[26]

Awards and nominations

Lost in Translation won an Oscar for Best Original Screenplay. It was also nominated for Best Director and Best Picture, but lost both to The Lord of the Rings: The Return of the King. Bill Murray was also nominated for Best Actor, but lost to Sean Penn for Mystic River.

The film won Golden Globes for Best Musical or Comedy Motion Picture, Best Screenplay, and Best Musical or Comedy Actor. It was also nominated for Best Director, and Best Musical or Comedy Actress.[27]

At the BAFTA film awards, Lost in Translation won the Best Editing, Best Actor and Best Actress awards. It was also nominated for best film, director, original screenplay, music and cinematography. It won four IFP Independent Spirit Awards, for Best Feature, Director, Male Lead, and Screenplay.[28] The film was honored with the original screenplay award from the Writers Guild of America.[29]

Home media

Lost in Translation was released on DVD on February 3, 2004. Entertainment Weekly gave it an "A" rating and criticized "the disc's slim bonus features", but praised the film for standing "on its own as a valentine to the mysteries of attraction".[30]

Lost in Translation is currently only available on DVD and VHS format. The film was also released in high definition on the now defunct HD DVD format, but there has been no indication on whether the film will be released on to Blu-Ray.

See also


  1. ^ Rich, Motoko (2003-09-21). "What Else Was Lost in Translation". The New York Times. Retrieved 2007-11-04. "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." 
  2. ^ Rich, Motoko (2003-09-21). "What Else Was Lost in Translation". The New York Times. Retrieved 2007-11-04. 
  3. ^ Video at YouTube
  4. ^ Tokyo Bars: New York Bar, Peak Bar, Hotel Park Hyatt Tokyo, Japan
  5. ^ Mitchell, Elvis (September 1, 2003). "Telluride Marks Its 30th Year With a Passing of Torches". The New York Times. Retrieved 2009-03-25. 
  6. ^ "Lost in Translation". Box Office Mojo. Retrieved 2009-03-13. 
  7. ^ Ebert, Roger (September 12, 2003). "Lost in Translation". Chicago Sun-Times. Retrieved 2009-03-16. 
  8. ^ Mitchell, Elvis (September 12, 2003). "An American in Japan, Making a Connection". New York Times. Retrieved 2009-03-16. 
  9. ^ Schwarzbaum, Lisa (September 10, 2003). "Lost in Translation". Entertainment Weekly.,,479937,00.html. Retrieved 2009-03-16. 
  10. ^ Sarris, Andrew (September 28, 2003). "Lonely Souls in a Strange Land: Lost in Translation Maps the Way". New York Observer. Retrieved 2009-03-16. 
  11. ^ Clark, Mike (September 12, 2003). "Comedy doesn't get lost in Translation". USA Today. Retrieved 2009-03-16. 
  12. ^ Corliss, Richard (September 15, 2003). "A Victory for Lonely Hearts". Time.,9171,1005675,00.html?iid=chix-sphere. Retrieved 2009-03-16. 
  13. ^ French, Philip (January 11, 2004). "The odd Coppola". The Observer. Retrieved 2009-03-16. 
  14. ^ Travers, Peter (September 8, 2003). "Lost in Translation". Rolling Stone. Retrieved 2009-03-16. 
  15. ^ Queenan, Joe (January 10, 2004). "A yen for romance". The Guardian. Retrieved 2009-03-16. 
  16. ^ Hoberman, J (September 9, 2003). "After Sunset". Village Voice. Retrieved 2009-03-16. 
  17. ^ Geier, Thom; Jensen, Jeff; Jordan, Tina; Lyons, Margaret; Markovitz, Adam; Nashawaty, Chris; Pastorek, Whitney; Rice, Lynette; Rottenberg, Josh; Schwartz, Missy; Slezak, Michael; Snierson, Dan; Stack, Tim; Stroup, Kate; Tucker, Ken; Vary, Adam B.; Vozick-Levinson, Simon; Ward, Kate (December 11, 2009), "THE 100 Greatest MOVIES, TV SHOWS, ALBUMS, BOOKS, CHARACTERS, SCENES, EPISODES, SONGS, DRESSES, MUSIC VIDEOS, AND TRENDS THAT ENTERTAINED US OVER THE PAST 10 YEARS". Entertainment Weekly. (1079/1080):74-84
  18. ^ Mitchell, Wendy (January 9, 2004). "LA Critics Choose Splendor, Friedmans Follow-Up, Texas Picks, and More". indieWIRE. Retrieved 2009-03-13. 
  19. ^ Hernandez, Eugene (January 5, 2004). "National Film Critics Group Names American Splendor Top Film of ‘03". indieWIRE. Retrieved 2009-03-13. 
  20. ^ Hernandez, Eugene (December 16, 2003). "NY Critics Crown King Top Film of ‘03; SF & Boston Critics Also Weigh In". indieWIRE. Retrieved 2009-03-13. 
  21. ^ Mitchell, Wendy (December 4, 2003). "National Board of Review Says Mystic River is Tops For 2003". indieWIRE. Retrieved 2009-03-13. 
  22. ^ "Metacritic: 2003 Film Critic Top Ten Lists". Metacritic. Retrieved 2009-03-25. 
  23. ^ "The Guardian: Anti-Japanese racism". The Guardian. Retrieved 2009-05-20. 
  24. ^ "The Guardian: Asian Mediawatch". The Guardian. Retrieved 2009-05-20. 
  25. ^ "Racist?: Is Lost in Translation Racist?". Color Lines. Retrieved 2009-05-20. 
  26. ^ "The Guardian: Asian Mediawatch". The Guardian. Retrieved 2009-05-20. 
  27. ^ Hernandez, Eugene (January 26, 2004). "Lord of the Rings and Lost in Translation Big Winners at Golden Globes". indieWIRE. Retrieved 2009-03-13. 
  28. ^ Hernandez, Eugene (February 28, 2004). "Lost In Translation Tops Independent Spirit Awards, Station Agent Another Big Winner". indieWIRE. Retrieved 2009-03-13. 
  29. ^ Hernandez, Eugene (February 23, 2004). "WGA Opts for Translation and Splendor, While SAG Goes for Rings". indieWIRE. Retrieved 2009-03-13. 
  30. ^ Fonseca, Nicholas (February 13, 2004). "Lost in Translation". Entertainment Weekly.,,588239,00.html. Retrieved 2009-03-16. 

External links

Awards and achievements
Preceded by
Golden Globe for Best Picture - Musical or Comedy
Succeeded by


Up to date as of January 14, 2010
(Redirected to Lost in Translation article)

From Wikiquote

Lost in Translation is 2003 film about the journey of two Americans disconnected from their lives whom happen to find a their similarities in the most unlikely land, Tokyo, Japan.

Written and directed by Sofia Coppola.
Everyone wants to be found


Bob Harris

  • For relaxing times, make it Suntory time.
  • I don't get that close to the glass until I'm on the floor.
  • You want more mysterious? I'll just try and think, "Where the hell's the whiskey?"
  • Well you figure, you sleep one-third of your life, that knocks out eight years of marriage right there. So you're, y'know, down to sixteen and change. You know you're just a teenager, at marriage; you can drive it but there's still the occasional accident.
  • Can you keep a secret? I'm trying to organize a prison break. I need like, what, an accomplice. We have to first get out of this bar, then the hotel, then the city, and then the country. Are you in or you out?
  • My Japanese is getting better. We started speaking English.
  • Which one's burgundy?
  • My bathroom is messier than yours.
  • Wasn't there anybody else to lavish attention on you?
  • The more you know who you are, and what you want, the less you let things upset you.
  • Enjoy my jacket, which you stole.
  • Aren't you gonna say, "Have a good fright?"


  • You're probably just having a mid-life crisis. Did you buy a Porsche yet?
  • Let's never come here again because it will never be as much fun.
  • I tried taking pictures, but they were so mediocre. I guess every girl goes through a photography phase. You know, horses... taking dumb pictures of your feet.
  • Stay here with me. We'll start a jazz band.


  • Premium Fantasy woman: Oh Mr. Harris! Don't touch me! Mr. Bob Harris! Just lip my stocking!
  • John: Why do you have to point out how stupid everyone is all the time?


Director: [in Japanese] Mr. Bob-san, you are relaxing in your study. On the table is a bottle of Suntory whiskey. Got it? Look slowly, with feeling, at the camera, and say it gently - say it as if you were speaking to an old friend. Just like Bogie in Casablanca, "Here's looking at you, kid" - Suntory time.
Ms. Kawasaki: Umm. He want you to turn, looking at camera. OK?
Bob: That's all he said?
Ms. Kawasaki: Yes. Turn to camera.
Bob: All right. Does he want me to turn from the right, or turn from the left?
Ms. Kawasaki: [to director, in Japanese] Uh, umm. He's ready now. He just wants to know if he's supposed to turn from the left or turn from the right when the camera rolls. What should I tell him?
Director: [in Japanese] What difference does it make! Makes no difference! Don't have time for that! Got it, Bob-san? Just psych yourself up, and quick! Look straight at the camera. At the camera. And slowly. With passion. Straight at the camera. And in your eyes there's... passion. Got it?
Ms. Kawasaki: [to Bob] Right side. And with intensity. OK?
Bob: Is that everything? It seemed like he said quite a bit more than that.
Director: [to Bob, in Japanese] Listen, listen. This isn't just about whiskey. Understand? Imagine you're talking to an old friend. Gently. The emotions bubble up from the bottom of your heart. And don't forget, psych yourself up!
Ms. Kawasaki: Like an old friend. And, into the camera.
Bob: OK.
Director: [in Japanese] Got it? You love whiskey. It's Suntory time. OK?
Bob: OK.

Premium Fantasy woman: Mr. Kazu sent me- premium fantasy. My stockings. Lip them. Lip my stockings. Yes, please, lip them.
Bob: What?
Premium Fantasy woman: Lip them. HEY! Lip my stocking!
Bob: Hey? Lip them? Lip them? What?

Stills Photographer: Are you drinking, no?
Bob: Am I drinking? As soon as I'm done.

Stills Photographer: You know 007?
Bob: He drinks martinis, but all right.

Charlotte: So, what are you doing here?
Bob: Uh, a couple of things. Taking a break from my wife, forgetting my son's birthday. And, uh, getting paid two million dollars to endorse a whiskey when I could be doing a play somewhere.
Charlotte: Oh.
Bob: But the good news is, the whiskey works. [Charlotte laughs] What are you doing?
Charlotte: My husband's a photographer, so he's here working. I wasn't doing anything so I came along. And we have some friends that live here.
Bob: How long you've been married? [gives Charlotte a light]
Charlotte: Oh, thank you. Two years.
Bob: Try twenty-five.
Charlotte: You're probably just having a mid-life crisis. Did you buy a Porsche yet?
Bob: You know, I was thinking about getting a Porsche.
Charlotte: Twenty-five years. That's, uh, well it's impressive.
Bob: Well you figure, you sleep one-third of your life, that knocks out eight years of marriage right there. So you're, y'know, down to sixteen and change. You know you're just a teenager, at marriage; you can drive it but there's still the occasional accident.
Charlotte: [laughs] Yeah.
Bob: What do you do?
Charlotte: I'm not sure yet, actually. I just graduated last spring.
Bob: What did you study?
Charlotte: Philosophy.
Bob: Yeah, there's a good buck in that racket.
Charlotte: Well, so far it's pro bono.
Bob: Well, I'm sure you'll figure out the angles.
Charlotte: Yeah. I hope your Porsche works out. Cheers to that, huh?
Bob: Cheers to that.

Kelly: John, John. You are my favorite photographer.
John: Ohhh...
Kelly: No, you are. I only want you to shoot me. It's true. [both laugh] Oh my God, I have the worst B.O. right now. I'm sorry.

Kelly: I'm under Evelyn Waugh. Shh. Bye.
John: Ok, see you later.
[Kelly walks away]
Carlotte: Evelyn Waugh?
John: What?
Charlotte: Evelyn Waugh was a man.
John: [shocked] Oh, c'mon, she's nice. Not everyone went to Yale. Its just a pseudonym, it doesn't matter.
Charlotte: Why do you have to defend her?
John: I'm not, but do you have to point out how stupid everyone is.
Charlotte: No, I thought it was funny. Forget it.

John: I gotta go meet Kelly for a drink downstairs. She wants to talk about some photo thing.
Charlotte: Ok. Maybe I'll walk down with you.
John: [surprised] You wanna come?
Charlotte: Sure.
John: Ok.

Kelly: My dad was an anorexic.
Charlotte: Really?
Kelly: My dad fought on the American side at the Bay of Pigs in Cuba. So, when he was a prisoner, they would tell them they had put poison in their food and they would make themselves throw up.
John: Oh, that's too bad!

Charlotte: You ever switch seats?
Bob: Uh, I like this one. If I fall, someone will notice.
Charlotte: Yeah. So, you having a nice time?
Bob: Can you keep a secret? I'm trying to organize a prison break. I need like, what, an accomplice. We have to first get out of this bar, then the hotel, then the city, and then the country. Are you in or you out?
Charlotte: I'm in.
Bob: Good.
Charlotte: I'll go pack my stuff.
Bob: Get your coat.
Charlotte: See ya. [walks away]
Bob: I hope you've had enough to drink. It's gonna take courage

Charlotte: How long are you here for?
Bob: I'll be in the bar the rest of the week.

[Bob is wearing an orange camouflage t-shirt]
Charlotte: You really are having a mid-life crisis.
Bob: Really? I was afraid of that. I kept telling myself that I just wanted to be ready in case we go to war tonight.

Bob: I was feeling tight in the shoulders and neck, so I called down and had a Shiatsu massage in my room.
Charlotte: Mmh, that's nice!
Bob: And the tightness has completely disappeared and been replaced by unbelievable pain.
Charlotte: Yeah. I'm in pain, I got my foot banged up. Wanna see it?
Bob: [to Chef, sarcastically] How do you say no? Oh, my gosh! When did you do this?
Charlotte: I did it the other day. It hurts, y'know?
Bob: Didn't you feel any pain?
Charlotte: Yeah, it really hurt.
Bob: That toe is almost dead.
[Charlotte laughs]
Bob: I think I got to take you to a doctor. You can't just put that back in the shoe. Well, you either go to a doctor or you leave it here. [regarding Chef] He's smiling. You like that idea? See they love black toe in this country.

Charlotte: You know, the first time I saw you, you were wearing a tuxedo at the bar. You were very dashing. I liked the mascara.
Bob: [shakes his head] But the first time I saw you was in the elevator.
Charlotte: Really?
Bob: You don't remember?
Charlotte: Mmm, I guess you do kind of blend in here, huh? Did I scowl at you?
Bob: No, you smiled.
Charlotte: I did?
Bob: Yes, it was a complete accident. A freak. I haven't seen it since. Just that one time.

Charlotte: Why do they switch the r's and the l's here?
Bob: Uh, for yuks. You know? Just to mix it up. They have to amuse themselves, 'cause we're not making them laugh.
Charlotte: Let's never come here again because it will never be as much fun.
Bob: Whatever you say. You're the boss.

[Bob and Charlotte are lying on the bed]
Charlotte: I'm stuck. Does it get easier.
Bob: No. Yes. It gets easier.
Charlotte: Oh yeah? Look at you.
Bob: Thanks. The more you know who you are, and what you want, the less you let things upset you.
Charlotte: Yeah. I just don't know what I'm supposed to be, you know. I tried being a writer, but I hate what I write. I tried taking pictures, but they were so mediocre. You know, every girl goes through a photography phase. You know, horses... taking dumb pictures of your feet.
Bob: You'll figure that out. I'm not worried about you. Keep writing.
Charlotte: But I'm so mean.
Bob: Mean's okay.
Charlotte: Yeah? What about marrage, does that get easier?
Bob: That's hard. We used to have a lot of fun. Lydia would come with me when I made the movies, and we would laugh about it all. Now she doesn't want to leave the kids, and she doesn't need me to be there. The kids miss me, but they're fine. It gets a whole lot more complicated when you have kids.
Charlotte: It's scary.
Bob: The most terrifying day of your life is the day the first one is born.
Charlotte: Nobody ever tells you that.
Bob: Your life, as you know it... is gone, never to return. But they learn how to walk, and they learn how to talk and you want to be with them. And they turn out to be the most delightful people you will ever meet in your life.
Charlotte: [beginning to fall asleep] Hmm, that's nice.
Bob: Where'd you grow up?
Charlotte: Um, I grew up in New York, and I moved to Los Angeles when John and I got married. But it's so different there.
Bob: Yeah, I know.
Charlotte: John thinks so I'm snotty.
Bob: [chuckels] You're not hopeless.

Lydia Harris: [over the phone] Is this a bad time?
Bob: [pauses] No, it's always a good time.
Lydia Harris: The burgundy carpet is out of stock. It's going to take twelve weeks. Did you like any of the other colors?
Bob: Whatever you like. I'm just completely lost.
Lydia Harris: It's just carpet.
Bob: That's not what I'm talking about.
Lydia Harris: What are you talking about?
Bob: I don't know. I just want to... get healthy. I would like to start taking better care of myself. I'd like to start eating healthier - I don't want all that pasta. I would like to start eating like Japanese food.
Lydia Harris: [icily] Well, why don't you just stay there and you can have it every day?
Bob: How are the kids doing?
Lydia Harris: They're fine. They miss their father. Do I need to worry about you, Bob?
Bob: Only if you want to.

[during lunch after Charlotte caught Bob sleeping with the female jazz singer]
Charlotte: Well, I guess she's more around your age. You guys could talk about things in common, like growing up in the fifties. Maybe she liked the movies you did in the seventies when you were still making them.
Bob: Wasn't there anyone else around to lavish you with attention?

Charlotte: That was the worst lunch.
Bob: So bad. What kind of restaurant makes you cook your own food?
Charlotte: When are you leaving.
Bob: Tomorrow.
Charlotte: I'll miss you.

Bob: I don't want to leave.
Charlotte: Then don't. Stay here with me. We'll start a jazz band.


  • Everyone wants to be found.
  • Sometimes you have to go halfway around the world to come full circle.


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