Gia Coppola Transcript
Kerry Diamond:
Hi, everyone. You are listening to Radio Cherry Bombe and I'm your host, Kerry Diamond, coming to you from Good Studio in Brooklyn. Today's guest is Gia Coppola, director of “The Last Showgirl,” the wonderful and heartbreaking new film starring Pamela Anderson and set in Las Vegas. The film has been nominated for multiple awards and Pamela's moving performance as Shelly, a showgirl facing the end of her run garnered her best actress nominations from the Screen Actor's Guild and the Golden Globes. Gia also has her own namesake wine that's part of the Francis Ford Coppola Winery started by her legendary grandfather. We talk about what's new with her wines, her work with Coppola winemaker, Ali Davignon, and what her wine label has to do with the Ramones, the legendary punk band. Stay tuned for my chat with Gia Coppola.
Speaking of Las Vegas, team Cherry Bombe and I will be in Vegas for a special International Women's Day weekend. We're hosting three separate events, a kickoff party on Friday, March 7th at Velveteen Rabbit, then a networking breakfast with talks and panels on Saturday, March 8th at the Wynn. Then we have a wonderful dinner at the brand new Gjelina in the Venetian later that night. Tickets are on sale right now at cherrybombe.com. You can purchase individual tickets or, hey, if you're a high roller, buy a weekend pass. If you're a Bombesquad member, be sure to check your inbox for special member discounts on all the pricing. I love Las Vegas and can't wait to hang out with everybody.
Today's show is presented by Alex Mill, our new neighbor here at Radio Cherry Bombe. The fashion brand's latest outpost is at the world-famous Rockefeller Center, literally right next door to where we record our show. From where I'm sitting, I can literally see that Alex Mill is having a major denim moment. In the early days, the brand's goal was to craft the perfect shirt. Now, Alex Mill has set its sights on making the perfect jeans, one that are vintage-inspired and that you will reach for over and over again. Of course, no great pair of jeans is complete without some perfect pieces to wear together. I've got my eye on Alex Mill's heather fleece gray sweatshirt. It's that just worn in enough kind of cozy and for layering the oversized denim trucker jacket is something I will wear for years to come. I love wearing Alex Mill and know so many folks who feel the same. And then of course, there's everybody I see on Instagram rocking Alex Mill in their own distinct way. Alex Mill makes it easy to get dressed and look cool, classic, and effortless. If you're in the neighborhood, swing by the new Alex Mill shop at Rockefeller Center and tell them Cherry Bombe sent you. Who knows? You just might find the perfect pair of jeans. Denim dreams do come true.
Now let's check in with today's guest. Gia Coppola, welcome to Radio Cherry Bombe.
Gia Coppola:
Thank you for having me.
Kerry Diamond:
Congratulations on “The Last Show Girl.” It is such a beautiful movie. And I want to ask you, why did you want to make this film?
Gia Coppola:
I mean it's kind of a little bit of a long story in that I've loved Las Vegas since college. As soon as I turned 21, I was eager to go check out this city that I've heard so much about. I was going to college in Upstate New York and so every sort of summer winter break, I would drive cross country and stop there and I was a photo major and I would take pictures. I guess I just naturally feel like an observer, so it was really fascinating to me. It's such an unusual city. It feels like such a metaphor for America. You see so much commerce and it just takes hold of you in a way. You can be as weird as you want and no one will judge you, and it's kind of in this disguise of glitter and magic. I've always been sort of yearning for an opportunity to make a movie in Vegas, but I've never come across a story that really felt right.
My cousin, Matthew Shire, we were quarantining together during COVID and he was like, "I know who else loves Las Vegas as much as you do," and it's his wife, Kate Gersten and that she had written a play 10 years ago while she was at Julliard about the sort of final years of the Jubilee because she had been there and just was observing that time and how kind of heartbreaking it was. When I read it, I was just really struck with how interesting it was about there's this icon of the showgirl, which is so much a part of Vegas, yet that actual show doesn't exist. And to learn about what that show was, the level of production value that went into it, had beautiful characters and at the heart of it was a mother daughter story, which I relate to. I was raised by a single mom and I also relate to the sort of chosen family that you create in your workplace.
I loved that it was a play because I was really craving to just get up and make a movie. It's so frustrating to just always be waiting for some call or you can't make your movie because you need this actor to be in it and there's only four or five actors that qualify and they're all busy, and it's like, what if I just want to choose who I think is right for the part? I was raised with my family all being creative together, so it just made sense. Just all get together and make a movie how Cassavetes makes a movie and that was really how it kind of all started.
Kerry Diamond:
The film captures the intimacy of theater though, and I was curious how you managed to preserve that.
Gia Coppola:
When I approached her about wanting to make her play into a movie, she actually had a screenplay version, but I just sort of asked her, do you mind if we steer it back to the play form? One, because it had production sort benefits of less locations and cast, but I liked that intimacy. I think I'm always captivated by what goes on behind the scenes, that sort of dynamic.
Even when I do photography, I like when wires and things and the haphazard stuff that it takes to make whatever's in the forefront come alive. It was really her script. I just followed those guidelines. Because she had been observing the Jubilee, it was really written to the stairwell going around the corner to the stage and Pamela had been doing Broadway too, she really knows what that dynamic is where people are doing the same routine for years on end. It's ingrained in their body that they can just be talking about what they're having for dinner and then two seconds later they're doing their act. But for her, when she was doing Broadway and not to speak for her, but it was such an exciting new moment that there was so much not pressure, but so much to retain and to do singing and dancing and all these monologues, she had to stay really focused and not talk about dinner and things like that, but when it's that sort of secondhand nature.
Kerry Diamond:
Before we talk about Pamela, tell us about the main character Shelly. Who is she?
Gia Coppola:
Gosh, I mean, Shelly's a dreamer, but she's just also what I find is a real person and I think what I've always found so fascinating about her character is she sort of asks the question about selfishness and when are we selfish and it goes too far or when is our own selfishness okay and important, especially when it comes to parenthood. Sometimes you have to kind of be selfish in order to be a good parent.
I mean, I love her world of nostalgia. I connect with that and I felt that was also sort of this undertone of the whole theme of the movie of how our culture just sort of discards so effortlessly. You see this in the landscape of Las Vegas and to just make choices to shoot on film, it's so hard for me, because I feel close to it to have a bird's eye view of Shelly as a character other than just the sort of little dynamics that make her who she is. I always say that to Pamela, she's always making lemonade out of lemons or turning that frown upside down. And Pamela has this too. That sort of always a level of optimism no matter what sort of life throws at you, and I think that's an important quality to have.
Kerry Diamond:
Why did you want Pamela for the role?
Gia Coppola:
It just kind of was an aha moment when I saw her documentary. Again, my cousin Matt Shire was sort of like no one was really feeling right about who could play the role of Shelly. She's really specific on the page, you can really hear her. He was like, "I know who your Shelly is, watch Pamela's documentary." And it was kind of kismet and then I had seen a picture of her and I was like, well, what about her? But I don't know much about her. And then it was obviously out there. She was promoting her doc and when I watched it I saw a person that I really wanted to get to know.
Aside from having certain attributes that were in relation to Shelly, I just felt kind of in sync with Pamela and I saw that there's so much more than meets the eye. She's such an artist, she's a beautiful writer. She loves French New Wave and she loves philosophy and I just knew that I could relate to her and collaborate with her in a way or I felt a connection that she's Shelly and that we would get along really well. I was right.
Kerry Diamond:
I read that Pamela's former agent turned down the role and you went to Pamela's son to get his help. Are you someone who doesn't take no for an answer?
Gia Coppola:
I guess so. I don't see myself as that way, but I knew that I really wanted her and wasn't ready to give up on that yet.
Kerry Diamond:
And I was curious, how did you have the confidence to go around this traditional Hollywood power structure? You don't want to get a reputation for going around agents. That can come back to bite you sometimes.
Gia Coppola:
I guess. Yeah, I wasn't thinking about that. I just was thinking I need to find Pamela. I wasn't thinking about it, I just was trying to follow my vision.
Kerry Diamond:
So it was all in service to the art.
Gia Coppola:
Yeah. And I think you have to do that. I think you have to remember that you're in service to your project and your vision and it's a betrayal if you don't do that for yourself. I hope it can be kind of a lesson of perseverance. And if you feel strongly about something, go after it.
Kerry Diamond:
Let's go back to Las Vegas. You called Vegas an unusual city of magic and I love that description. What did you mean by that?
Gia Coppola:
I mean, I don't think there's any other place like it. Again, not to repeat myself, but it does feel like this metaphor for America. There's so much commerce but there's also so much artistry. It's glittery, there's neon, it's like eye candy and it's in the middle of the desert. I was really drawn when making this to journalists like Dave Hickey or Louis Theroux did an amazing kind of 30 minute documentary about gambling. And you see how it's a city that can take over a person and you watch some people just kind of slowly unfold and I remember that's so crazy that it can do that. How do you live your day-to-day life in that sort of amusement park? And it was funny to finally get the opportunity to do that and it's actually very suburban and you don't really kind of venture off into the strip as much as you need to other than just go to all the great restaurants.
Kerry Diamond:
We'll be right back with today's guest. I'm excited to announce that Cherry Bombe and OpenTable’s community dinner series Sit With Us is coming back. We started Sit With Us a few years ago as a way to connect with the Bombesquad in real life and highlight amazing female chefs and restaurateurs and the Cherry Bombe and OpenTable Networks with special one-night-only dinners. It's been so much fun traveling across the country to places like L.A., Austin, Chicago, and Atlanta celebrating food, community, and conversation, and meeting so many of you. For our upcoming event, we're headed down south to Raleigh, North Carolina on Monday, March 10th for dinner at Tamasha, a modern Indian restaurant co-owned by Tina Vora. I can't wait to check out Tamasha and meet Tina. We'll have a delicious three-course meal as well as a panel conversation featuring local culinary leaders. Of course, there will be plenty of opportunities to network and meet other like-minded folks in the area. Big thank you to OpenTable and I hope to see some of you on March 10th.
What kind of research did you do in the city?
Gia Coppola:
I mean, I think I had been sort of collecting over the years since college, I had tons of photographs of the way I sort of see Vegas, really drawing into photography and again, documentary and journalism, but also when we would go there it was so much the local community that was really so nice of them to be so generous with inviting us into their world because we got to work with Diane Palm who was a showgirl in the Jubilee Show, so she kind of came over to Pamela's house once and brought all those showgirls and told us about that time and what it meant to them. Dita, of course, helped get us the actual costumes from the Jubilee Show, which just like this movie wouldn't have worked had we not had those costumes and you just can't recreate that production value.
There were some podcasts I found with Bob Mackie kind of talking about that time. So it was really fun to kind of hear about the Jubilee era from just word of mouth and then the house that Pamela, Shelly's character lives in was a Gypsy Woods house who plays the girl in the Dirty Circus. We didn't really have to dress it that much. She really had all of those kind of estate sale artifacts all over her house and them also telling me like, oh, the Blue Angel's sort of a local landmark. So things just kind of really tied in a way by that local community support.
Kerry Diamond:
When did you film it and how long did it take? You referenced not wanting to be tied down by all that filmmaking bureaucracy and you wanted to make a movie.
Gia Coppola:
Yeah, I mean, there's pros and cons to that. In doing so you have to be very small, but there's a luxury in being small that I was excited about. We shot for 18 days, which is crazy because we made this movie last January and it's released this year, which is really fast for movies. Because I wanted to shoot on film, we had to forego certain lighting budget, but we were such a small crew that we could be really nimble and I just had my little clamshell monitor and no video village, no playback, so I could really just make it solely mine and have all those sort of choices that wasn't, as you said, sort of dictated by the bureaucracy of filmmaking.
Kerry Diamond:
I want to talk about the ageism in the film. Was that a topic that you wanted to tackle?
Gia Coppola:
I definitely know of people who are in Shelly's position, especially women who don't have the same sort of setup for retirement and this sort of societal confines, but I mean, that was something that Kate was really invested in and fascinated by and that's sort of what really stemmed her desire to tell this story. And so much of the scene with Pamela and her audition is sort of representative of the whole of how the world says, "Hey, you're at this point in your life, you're done. Go away, disappear." And how invisible you can feel. I'm in my late thirties, so I have a version of that, but not to that extent yet.
What I liked about this movie or this story is that it kind of approaches three different generations of women and how they sort of tackle this life change and how it affects them generationally. And just talking to Jamie and to Pamela and hearing their relationships to that and all of us women coming together and kind of approaching that theme and what does it mean having seen it, having been around it, having been privy to it. And even Jamie was like, I want to show the lengths it takes for women to feel beautiful, the locker room scene. She's taking off all the spanks, all the things that really restrict her to sort of be the "beautiful requirements" and I was so grateful to her that she was willing to go there and hurt her performance.
Kerry Diamond:
I couldn't help but draw parallels with “The Last Showgirl” to “Babygirl” and “The Substance” and the topics of beauty, ageism, power, lack of power. There's always a reason certain themes rise to the top in our culture. I was curious how much of it had to do with Me Too and that enough time had passed that what was dealt with back then is starting to surface in films.
Gia Coppola:
Yeah, I think it's opened the door to sort of tell those stories in a way, but also to be complicated and messy. I think that's what was so great about those movies is it's not tied up into some pretty bow or morally right. That's what we've all been sort of craving is to see just raw stories from a different perspective that we've always been shown. And I think it's so exciting to see all these amazing actors get to play roles that are much more fulfilling and dynamic than just being like someone's mom or something.
Kerry Diamond:
And you know what else popped in my head? There's no Prince Charming in those movies. Definitely what they have in common. You mentioned this earlier, but “The Last Showgirl” is also a story about mothers and daughters and I was curious how that aspect of the story resonated with you.
Gia Coppola:
I was raised by a single mom. My mom had me when she was 20 years old. So we have a very tight-knit relationship. She did the costumes on this movie.
Kerry Diamond:
I was so happy when I saw her name in the credits. I didn't realize that, so Jacqui Getty, everyone in fashion knows your mom.
Gia Coppola:
When I was a kid, she was a costume designer and she trained with and I had always sort of been begging her to go back to it because I was like, you're so talented. And so when I got her to do this movie, I had either my family or friends from high school or longtime friends as heads of department, so I kind of just let go because I trust them and for them to do their thing. And every once in a while you say, well, what about trying it this way? Or it becomes more of a collaborative creative play, which was really what I was craving. So I've always wanted to tell a mother-daughter story because we've just had such a unique relationship.
As I started to embark on it, I became a mother myself and I was like, oh, I couldn't have told this story had I not understood what motherhood entails. It's given me so much more compassion and I could kind of understand both sides of that relationship now, and I could see a lot of the hurdles that creative working mothers face and how it's not really set up for success in a lot of ways. It's very hard unless you have a lot of support. I thought that was interesting about the story. That was an interesting shade to it. And when Billy came onto the cast.
Kerry Diamond:
Billy Lord.
Gia Coppola:
I just admire her as an actress. I didn't really think about, oh, she's Carrie Fisher's daughter. When I offered her, take whatever role you're interested in and I would figured everyone wants to be a showgirl because you get to wear the fun costumes, but she came to me saying she liked the role of Hannah because she really related to that mother-daughter story and her relationship to Vegas and she saw so much of her mother's relationship to her mother's mother, Debbie Reynolds, and her relationship to her mother. It just made it multi-layered in a way that without having to be expositional or just it had a subliminal essence that made it deeper to me that I was intrigued to have that catharsis with her.
Kerry Diamond:
That's so fascinating about how you do casting. Do you often do that? Let folks choose your own role?
Gia Coppola:
No, I just like to get to talk to actors as people and what they respond to and run with that. I feel like after a certain point, the role belongs to the actor and it goes beyond my imagination and it's exciting to see where it goes. Even with Dave, I knew he wanted to do dramatic acting when I met him seven years ago. I reached out about the character of Eddie. I was so pleasantly surprised with the way he saw the character. He had so much more gentleness and empathy and struggling to communicate and even just visual choices. He thought the character should have hair and I didn't see it that way and I'm so grateful what he brought to the table because it brought so much more than what I could even imagine. I really feel like he's, in some sense, the heartbeat to this story. He's so gentle and loving. Behind camera, we're always like, oh, you're breaking our hearts.
Kerry Diamond:
I kept thinking that same exact thing watching the film, just how heartbreaking and wistful the whole thing was. I mean, Dave is wonderful. Billy is so good. The scene when she confronts her mother. Because you haven't seen her mother on stage, so you don't really know anything about her performance yet, and then when you understand it the way Billy sees it just... Oh, I was so crushed. But such a beautiful film. I really, really want everyone to see it. We're talking about family members and I know you lost your grandmother last year, Eleonor Coppola, and I'm so sorry about that. I know she was a formidable woman in her own right. I'm curious, how did she inspire what you do?
Gia Coppola:
So much. As a kid, I would always go be with my grandparents. She would take me picking the blackberries and make blackberry jelly and taught me to just be observant and appreciative of all that's around us. There's so much beauty everywhere in anything in whatever I choose to see. The way she kind of approached the world and fascinated by art and how to really follow where your soul wants to go and to kind of quiet all of that noise and to be introspective. She had a great goofy side too. I love her experimental art videos from the seventies. They're really meditative, but there's humor in them too. She's an incredible woman and I miss her so much and I feel like I'm recognizing all of her influence in me that she's gone.
Kerry Diamond:
Everyone who knows about you and your family. I mean, I think it's safe to say we all consider you sort of America's first family of filmmaking, but for those who know a little bit more know that you're all about entertaining and food and gatherings. And I'm curious what family meals and celebrations were like and who led the charge. Was it Eleanor?
Gia Coppola:
Yeah, she's like our quiet force matriarch. I'm so grateful that cooking has always been instilled. I knew how to chop at a really young age, and I see with my younger cousins, they know how to use a knife and they're still young. And my grandma would teach us what was edible in the wild nature, but my grandpa's really good and my uncle too, of just throwing anything together and improvising with what you have and cooking and certain recipes or traditions. Those are my favorite parts of the holidays is when we're just all coming together and then cooking. And it's so funny because I think it's a very Italian trait where once you're eating, you're already talking about what you're going to cook for your next meal, and we're like, "We're so full, we don't want to," but it's just like it's a fun creation in a way.
Kerry Diamond:
You're our kind of people, Gia. I loved that you slipped in a little... Maybe it was ad-libbed, but there was a little Ina Garten reference in “The Last Show Girl.” I think she's talking about her lemon salmon or one of Ina's salmon dishes, but Pamela slash Shelly talks about it. Did you know Pamela has a cookbook?
Gia Coppola:
I do. Yeah. It was fun while we were filming because she was sort of putting the finishing touches on her cookbook and making some of her recipes. The girls and I would go over there and she'd cook for us. That was how we'd get our vegetables.
Kerry Diamond:
Oh, right, because she's a vegan. Are you an Ina Garten fan?
Gia Coppola:
I don't have her cookbook actually. That was something that was in Kate's script, but yeah, I need to get it now.
Kerry Diamond:
I need to tell Ina. She'll be tickled that she's in the movie.
Gia Coppola:
Yes, that would be amazing.
Kerry Diamond:
Did you spend much time at the family winery, I should say founded by your grandfather Francis Ford Coppola?
Gia Coppola:
Yeah, I mean, it's right in front of our family house, so we could walk there and sometimes in the middle of the night you see the lights from the tractors and everyone's picking the grapes. And in October the whole county smells like wine, but I spend every holiday and summer there since I was a kid. I would fly there by myself where the little name tag and I love it there.
Kerry Diamond:
Today, Gia Coppola Wines is part of the Francis Ford Coppola winery. How did you wind up with your own wine?
Gia Coppola:
When I finished college, I studied photography and I didn't know what I wanted to do. I didn't want to just intern for a photographer. And I think my grandma actually had said the best thing for your art is to just do something totally left field to just inspire you and gain a different perspective of a different field that you don't know about. I needed a job. I finished school, got to get a place, pay my own rent. So I said I want to be a bartender.
And I went to bartending school and they do the whole thing where they have the flashing lights and they're grilling you on the different sort of trashy cocktails and it's all fake liquor and loud music. But in that I discovered I was really interested in the history of all the different spirits and how it all started and it felt like cooking in a way. It was a creative thing with your hands.
And then I got a job at a Thomas Keller's restaurant as a bar back and it was his new location in Beverly Hills, so you had to do this whole training program and part of it was a somm class. And so I got to learn about how to approach wine because I always felt very intimidated. It's always been on the table, but as a kid I would mix it with ginger ale. I knew with my family it wasn't pretentious, but anywhere outside of that environment I would get intimidated. People would hand me the wine list or something and be like, oh, wine, pick the wine. And I was like, I don't know, I just know what's around me.
So to take that class and just sort of learn and even then approaching the winery of wanting to learn, okay, what qualifies as good wine and then learning, it's all very subjective and it's whatever you are drawn to and it doesn't have to be pretentious, which is so much of what I think our wine is about is making good wine that doesn't feel unattainable. So I just wanted to make a wine for my generation and knowing what me and my friends are drawn to. What I think is so interesting and cool about the wine industry and different than the film industry is that it evolves. You kind of keep always experimenting and why not kind of have the wine grow as I grow? And so that's what it has sort of been doing.
Kerry Diamond:
Your wine portfolio has evolved and now your wines are made with 100% organic grapes. That's certainly an evolution. You worked with Coppola winemaker, Ali Davignon, on your project.
Gia Coppola:
Yeah, so I mean, what's fun about collaborating with people that are experts in their field and so much of movie making is similar of you hire your production designer who is passionate about at that aspect of the job, so you can kind of put a lot of trust in it and then you can set the table and then dictate from there little pieces to it. But with wine it's interesting too because I've always been sort of intrigued by being organic. I know that's important to my generation. Ali and I, she sort of took all the things that I generally like and went to Paso Robles sort of knowing that that's the new kind of spot and would mail me wines. And then I would be like, okay, I like A and B, but maybe a little more a or this, and then you write that and so you become these wine pen pals, which is really fun.
Kerry Diamond:
You mentioned you've got the Paso Robles Cabernet Sauvignon, you also have a Paso Robles Red Blend. How did those become your signature wines? Are you a red girl, Gia? Is that what it comes down to?
Gia Coppola:
I want to venture out, but I know that the marketplace is also a sort of learning lesson and they say to start with reds is a good place to go, and if you do well then you can expand.
Kerry Diamond:
So do you think there'll be an expansion of your line?
Gia Coppola:
I hope so. I would love to go back to doing an orange wine again. I'm really interested in a chilled red, so I feel like those would be fun to do. So again, the wine process is always sort of changing.
Kerry Diamond:
You have another winemaker Andrea Card who we actually interviewed for the magazine a few issues ago and we talked a lot about the influence of climate change on wine and the wine business and how much it's impacting it. So it's interesting just all the things you have to take into consideration.
Gia Coppola:
Yeah, I think that was what was so fun and interesting to learn about is there's so many different factors of what makes it a grape and it's like, oh, just the amount of rain you got or the amount of sun you got, or some crazy bug that came in.
Kerry Diamond:
Some winemakers will hate to hear this, but I'm one of those people who sometimes chooses a wine by the label and you have always been known for having great labels. And I'm curious, what is the connection to Johnny Ramone and the cat on your wine label?
Gia Coppola:
First off, I believe you can judge a book by its cover, so that one was kind of going off of that. My mom is friends with Linda Ramone and Johnny Ramone and that's their cat, Rusty, who's no longer around.
Kerry Diamond:
Oh, RIP Rusty.
Gia Coppola:
Lives on in the wine bottles. But that was just a picture I had taken a long time ago and I think in high school I went over there and I just took a picture of their cat and I always love that photo and I feel like everyone loves it, that cat wine.
Kerry Diamond:
And you are a bit of a cat lady, right?
Gia Coppola:
I am. My mom and I are really into... My mom especially. She rescues a lot of cats and so I love a cat. I'm a cat lady more so than a dog person, but I love animals.
Kerry Diamond:
Gia, are you good at trusting your gut?
Gia Coppola:
I like to think so. Yeah, it's hard to listen to it, but if you can take a moment for yourself and follow that. Yeah.
Kerry Diamond:
I've loved learning how collaborative you are. I feel like maybe even more so than trusting your gut, you trust other people.
Gia Coppola:
Yeah. When I'm around people that I trust, I feel like I can hear my gut more and I can feel more comfortable in sort of saying what I'm instinctually drawn to. It allows more space for you to kind of find it too.
Kerry Diamond:
Do you cook?
Gia Coppola:
I do.
Kerry Diamond:
Yeah.
Gia Coppola:
I need a recipe though. I'm not like my grandpa or my uncle that can just sort of whip something together. I think all the women in my family, we like order and recipes.
Kerry Diamond:
Do you have any favorite cookbooks?
Gia Coppola:
Yeah, my aunt got me this cookbook, “Small Victories.”
Kerry Diamond:
By Julia Turshen.
Gia Coppola:
Yeah, I love that book. It feels simple and easy. I mean, I do like the New York Times recipes a lot.
Kerry Diamond:
Okay, last question. If you had to be trapped on a desert island with one food celebrity, who would it be and why?
Gia Coppola:
Well, Kiernan Szybka, who's in our movie, she's a foodie and I feel like whenever in Vegas I was always like, where's this? Where do I get this? She just knows every city. She has it down of where to eat. I feel like she can get a reservation anywhere, no problem. So not that serves me on a desert island, but she might have some life hacks in there.
Kerry Diamond:
Gia, thank you so much for being on the show and for making this really beautiful, thoughtful film. Congratulations and congratulations on the film being so well received.
Gia Coppola:
Thank you.
Kerry Diamond:
That's it for today's show. I would love for you to subscribe to Radio Cherry Bombe on Apple Podcasts or Spotify and leave a rating and a review. Anyone you want to hear on an upcoming episode? Let me know. Our theme song is by the band Tralala. Thank you so much to Noah Ross at Good Studio and to the team at Sticky Paws Studio in Las Vegas. Our producers are Catherine Baker and Jenna Sadu, and our editorial coordinator is Sophie Kies. Thanks for listening everybody. You are the Bombe.