Francis smiled and explained, "Fox has become almost completely convinced of Irene's eye for talent and commercial potential, thanks to Legally Blonde and the upcoming Mean Girls.
They've developed a consensus internally that Irene represents a new trend: a precise understanding of the young women's market." He paused, then imitated the sort of thing Fox executives might say. "'The Coppola girls' seem to have figured out some code we've been overlooking. Since Irene has succeeded, then Sophia—with the same background and the same focus on women's perspectives—must have a project worth investing in, too."
Her mother, Eleanor, smiled and added, gently patting Irene's hand. "So Fox offered terms Paramount couldn't refuse and took over the distribution and creative control of The Virgin Suicides. They've been calling it... well, the 'Coppola Sisters Twin Star Project'?"
Marcia Lucas had been listening nearby and couldn't resist teasing her. "Wow, Irene, you're not just making movies yourself now—you're indirectly deciding the fates of other films, too? Looks like Sophia has you to thank."
Only then did Irene understand. She hadn't realized that the ripple effect of her success had reached all the way to Sophia's project.
She knew that The Virgin Suicides was a film with a sensibility entirely different from Mean Girls. It was more melancholy, more poetic, and more personal.
She hurried to say, "I... had no idea. Sophia's film is very unique. Fox won't hold her to the same commercial standards, will they?"
Francis waved a hand. "There'll always be pressure. The Coppolas are used to it by now. But look at it another way: this is a good thing, too. Because of your success, Fox is willing to give Sophia a bigger platform and more resources than she might have gotten at Paramount. As for the final result, that'll depend