PRODUCTION THE LAST SHOWGIRL
curvature. He understands that what we ultimately create will be accompanied by particular lighting, to allow those lens characteristics to shine through. All this is to say, I wanted the women to look beautiful and strong.” The main challenge to Coppola and Durald Arkapaw’s vision for the film was a slim 18-day window for shooting. “We couldn’t have done it without gaffer Brian Bartolini, key grip Miguel Benavides, Ethan and their teams,” she enthuses. “I also brought on AD Jason Lombardo, with whom I work on commercials – he was amazing at guiding the film and integral to its success.” Everything was shot handheld. “I don’t see handheld as a challenge,” asserts Durald Arkapaw. “If you’re physically up for it and the story calls for it, it’s the best way to dance with your actor. I always operate this way, and it’s the only way I know how to emotionally tell the story.” Dancing – including an impromptu performance from Jamie Lee Curtis on a casino podium and dazzling sequences choreographed by Gregory Butler – was fundamental to the story. Durald Arkapaw’s experience on lower-budget music videos and musical numbers streamlined the shooting process. “It’s important to give the choreographer a sense of what the camera will actually capture and the time we have to work with,” she explains, “especially in our situation, as we didn’t really have an audience and our stage wasn’t very big. “It was important on the day to make sure we got all the details Gia wanted – to capture the breadth of what these women do nightly, as well as how beautiful and hardworking they are.” Among the key details were the vivid colours, flamboyant feathers and
STRIPPED BACK Shooting on film lends itself to the soft, dreamy quality Coppola was seeking
shimmering fabrics of Le Razzle Dazzle ’s costumes, designed by Coppola’s mother Jacqui. “They both have amazing taste, and I know what goes in front of the lens will have its own personality. I want the costumes to shine, so I take care to get the right contrast and light to reveal the details that matter. It was fun to get dailies back and see all the wonderful colours and reflections that came out of the images. And it was a treat to shoot the ladies in original Bob Mackie designs.” The marriage of cinematography and subject matter have earned The Last
Showgirl comparisons to works by John Cassavetes and Sean Baker, directors Coppola has cited as influences. But Durald Arkapaw reveals no other films were used as reference points: “Gia does send me references, but mostly photography. Some are exact, for mood, others are abstract. I know her so well I don’t have to ask for much explanation.” One of the most memorable scenes in the film is set on a rooftop at sunset – a sequined Anderson wearing a bold plume of orange and pink. “Gia liked the rooftop location because we could see the Strip and feel the weight of Vegas,” recalls Durald Arkapaw. “I made sure with the AD that we were up there at the right time for blue hour. I always like to shoot important wide shots right before the sky turns black. I remember after those dailies stills came in, I sent them to Gia. She said, ‘I think that’s the first image we release,’ and I agreed. It was so obvious when you saw it. “These women, both on and off the camera, have led such amazing and full lives – I wanted to make sure they looked powerful and gorgeous.”
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