NOVEL NEXT Exploiting Hollywood 1980.
Chapter 44 Whispers in my ear
Chapter 44 Whispers in my ear
Director Francis Coppola came onto the stage with a stinky face, and seemed a little dissatisfied with the sparse applause.The vast majority of film critics did not applaud, only some people in the industry applauded vigorously.
These people, Ronald thought, were either shocked by the new stereo technology used in the film, or by the smooth editing technology at the beginning of the film, or maybe some people were pure Doors fans.
As for those film critics, I always feel that they have some prejudice and resentment towards this movie, and they all look bad.Maybe Coppola didn't let them publish film reviews, which affected their reputation and income?
Coppola first thanked the industry insiders and film critics who came to see today, and then projected a cast and crew list on the screen.
Coppola explained it, in order to make the whole film artistically closer to the feeling of dreams.He worked hard to gain the understanding of the Directors' Union, Screen Actors' Union, Screenwriters' Union, and Photographers' Union.Not at the beginning and end, type the title and subtitles of the movie.And use the post-projection method to thank the actors and staff for their dedication.
Since the filming was delayed for more than 2 years, and the editing took more than a year, almost all the cast and crew of "Apocalypse Now" are already busy with other films.Couldn't spare the time to go to the test screenings, and then to the Cannes Film Festival.
For this trial screening, Coppola only brought two editors over this time.
There was a question-and-answer session in the preview, and several film critics in the audience asked some questions about artistic thoughts and selection for Cannes.Coppola explained his intentions in making the film and why he participated in the Cannes Film Festival.
Coppola said a lot, and Ronald summed it up in two sentences:
If it is dragged on for too long, it will not be popular, and the Cannes Prize will be sold back to China.
Still for the sake of the film's box office.Or in Coppola's words: "In order for more audiences to see this masterpiece that truly reflects the impact of the Vietnam War on people's hearts."
Seeing that there were no more problems, director Coppola took an editor and left first. The film has not been edited yet, and he is still racing against time to complete the final edit, trying to show a complete version at the Cannes Film Festival.
Ling, who stayed to answer questions, was a tall, thin editor who introduced himself as Walter, and he would answer questions about the technical aspects of the film.
Someone in a suit who looked like a studio executive stood up and asked about the opening helicopter prop stereo.
According to editor Walter, the film uses new technology, with two speakers at the rear of the theater, three speakers behind the screen, and one for dialogue.
When it is officially released, the diorama company will also cut out a 70mm film version, which will be screened at the Dome Cinema in Los Angeles, and you can hear better stereo effects at that time.
Seeing that no one in the audience asked any more questions, Walter declared the question-and-answer session over.
Ronald really wanted to know how the inner monologue that seemed to be in his ears was produced.Quickly took three steps and made two steps, and stopped Walter at the entrance of the theater.
"Uh, Walter, I'm Ronald Lee from New World, and I want to ask a question..."
"Please say".
It seems that Walter is a person who is very willing to communicate with people. He is about the same height as Ronald, with a thin body but very energetic. He has a beard on his upper lip that resembles the second leader of the Sowell Union.The whole person is capable and confident, but also kind.
"I would like to ask, why is the sound of the propeller of the helicopter, when I am circling back and forth, I can distinguish the direction of the sound, but the inner monologue of the protagonist, I only feel as if he is speaking in my ear? I am very strange, my ear There isn't a speaker on the side."
Walter Murch was a little surprised: "That's a good question. Actually, we experimented for a long time, and the dialogue is not suitable for stereo performance, so all the dialogue is output from the mid-range speakers placed behind the screen."
"Our brains process speech differently than other sounds. Any dialogue can come from the speakers directly in front of us, and our brains will automatically put it in the right place."
"And the effect of whispering in the ear is achieved by a special recording method. If you have the opportunity to come to the San Francisco Diorama Company, I can demonstrate it to you."
"Whoa, thank you, Walter...er... sir?"
"Murzy, Walter Murzy."
"Okay, Mr. Murch, I still want to ask, why at the beginning of this movie, when Captain Willard accepted the mission, the three actors who assigned him the mission were all looking directly at the camera?"
"I was trained to say that actors can't look directly at the camera, otherwise the audience will think that the actors are watching them and feel that they are acting. But when I watched that scene, I didn't feel like acting at all. Only after the show was over did I realize that they were straight. Looking into the camera."
Walter was very surprised by Ronald's question this time, "Are you also a video editor?"
"Um, I've been an editing assistant for a while, but I was actually doing odd jobs on the crew." Ronald was a little embarrassed.
"It's okay, most people in the industry start out as assistants."
"Your observation skills are amazing. In fact, the reason why you look directly at the camera in this section is very simple. Director Coppola did not shoot more material. This is the only one. I was very careful when editing, trying not to let people Notice these looking-in-cameras."
Walter is happy for someone to discover his own ingenuity:
"Actually, the reason why this group of shots will not be played is because the protagonist Captain Willard himself did not look directly at the camera, and his eyes were looking at the person he was talking to during the conversation.
And Willard is the protagonist, so the audience's brain will automatically substitute Willard's perspective.When the supporting characters look directly at the camera, the audience will understand that they are looking at the protagonist, so they will not feel out of place.Of course, this kind of lens can't be too much. "
Walter raised his hand and looked at his watch.
Ronald still had a problem, he was a little anxious and sped up his speech.
"Mr. Murch, I still have a question. Why do I have a dreamlike effect at the beginning of the movie? It seems that the switching of each shot is so natural, unlike other movies, I always It feels like someone cut a knife here..."
Walter Murray smiled, looked encouragingly at Ronald, and beckoned him to continue.
"At the beginning of the movie, it was like... like I was dreaming. Yes, I felt like I was dreaming throughout the movie, and it was the strongest in the first few minutes."
Ronald didn't know how to organize his words, "I don't know how to express it. In short, this movie is different from the movies I've seen before. I can't say why, and I can't ask specific questions. I just I want to know, why is this happening?"
"Er, do you see what I mean, Mr. Murch."
Walter smiled slyly, "I think I understand what you mean. You want to ask why the first few minutes of this film seem to be in sync with people's thinking. So that you don't feel that someone has moved the scissors, is that so?"
"Yes, that's what I want to express." Ronald said anxiously.
"This is a very complicated question, but there may be a simple answer to a complicated question." Walter Murch explained to Ronald in a calm tone as always.
"Many people compare movies to dreams. In fact, this metaphor has a solid psychological basis. A director who edits too frequently is like a wordy tour guide who can't wait to remind you, ah, this is the Mona Lisa, Here is the Sistine ceiling painting, here is the portrait of Napoleon..."
Ronald nodded in understanding.
"The really top directors dare to let the audience decide what they like to see. Just like some tourists, they are willing to watch in the Louvre by themselves and choose their favorite works of art.
Top directors have this magical ability to pre-perceive what most audiences want to see, and project what they want to see on the screen at the right time. "
Ronald was thoughtful, he understood what Walter Murch meant, but how could this state be achieved?
Maybe the editors are magicians who can see through people's hearts, and Walter saw Ronald's mind.From this young man, he seems to have seen the days when he was studying at the University of Southern California,
Back then, he was also hungry and eager to learn new knowledge, regardless of the occasion.There is another classmate who studies as madly as him: George Lucas.
So Walter Murray took out his wallet, took out a business card and handed it to Ronald: "Today's time is limited, I'm going to find Coppola to continue the final editing, prepare for the Cannes exhibition, and then I will do the 70mm version Sound design, it will be busy until mid-August. If you are willing to come to the diorama later, I would not mind having one more assistant."
"But I'm going to study film at New York University soon"
"My invitation is valid for a long time, as long as I am still working in the diorama." Walter Murch liked this young man very much. "Tomorrow, I will be invited by Roger to give a lecture on editing at New World Productions. You are welcome. Listen, Ronald."
Walter still has some of the spirit of selfless sharing of the first generation of hippies.It doesn't mean to cherish your own broom and hide your skills.
Carefully putting the business card back into his wallet, Ronald began to learn from a teacher.
(End of this chapter)
Director Francis Coppola came onto the stage with a stinky face, and seemed a little dissatisfied with the sparse applause.The vast majority of film critics did not applaud, only some people in the industry applauded vigorously.
These people, Ronald thought, were either shocked by the new stereo technology used in the film, or by the smooth editing technology at the beginning of the film, or maybe some people were pure Doors fans.
As for those film critics, I always feel that they have some prejudice and resentment towards this movie, and they all look bad.Maybe Coppola didn't let them publish film reviews, which affected their reputation and income?
Coppola first thanked the industry insiders and film critics who came to see today, and then projected a cast and crew list on the screen.
Coppola explained it, in order to make the whole film artistically closer to the feeling of dreams.He worked hard to gain the understanding of the Directors' Union, Screen Actors' Union, Screenwriters' Union, and Photographers' Union.Not at the beginning and end, type the title and subtitles of the movie.And use the post-projection method to thank the actors and staff for their dedication.
Since the filming was delayed for more than 2 years, and the editing took more than a year, almost all the cast and crew of "Apocalypse Now" are already busy with other films.Couldn't spare the time to go to the test screenings, and then to the Cannes Film Festival.
For this trial screening, Coppola only brought two editors over this time.
There was a question-and-answer session in the preview, and several film critics in the audience asked some questions about artistic thoughts and selection for Cannes.Coppola explained his intentions in making the film and why he participated in the Cannes Film Festival.
Coppola said a lot, and Ronald summed it up in two sentences:
If it is dragged on for too long, it will not be popular, and the Cannes Prize will be sold back to China.
Still for the sake of the film's box office.Or in Coppola's words: "In order for more audiences to see this masterpiece that truly reflects the impact of the Vietnam War on people's hearts."
Seeing that there were no more problems, director Coppola took an editor and left first. The film has not been edited yet, and he is still racing against time to complete the final edit, trying to show a complete version at the Cannes Film Festival.
Ling, who stayed to answer questions, was a tall, thin editor who introduced himself as Walter, and he would answer questions about the technical aspects of the film.
Someone in a suit who looked like a studio executive stood up and asked about the opening helicopter prop stereo.
According to editor Walter, the film uses new technology, with two speakers at the rear of the theater, three speakers behind the screen, and one for dialogue.
When it is officially released, the diorama company will also cut out a 70mm film version, which will be screened at the Dome Cinema in Los Angeles, and you can hear better stereo effects at that time.
Seeing that no one in the audience asked any more questions, Walter declared the question-and-answer session over.
Ronald really wanted to know how the inner monologue that seemed to be in his ears was produced.Quickly took three steps and made two steps, and stopped Walter at the entrance of the theater.
"Uh, Walter, I'm Ronald Lee from New World, and I want to ask a question..."
"Please say".
It seems that Walter is a person who is very willing to communicate with people. He is about the same height as Ronald, with a thin body but very energetic. He has a beard on his upper lip that resembles the second leader of the Sowell Union.The whole person is capable and confident, but also kind.
"I would like to ask, why is the sound of the propeller of the helicopter, when I am circling back and forth, I can distinguish the direction of the sound, but the inner monologue of the protagonist, I only feel as if he is speaking in my ear? I am very strange, my ear There isn't a speaker on the side."
Walter Murch was a little surprised: "That's a good question. Actually, we experimented for a long time, and the dialogue is not suitable for stereo performance, so all the dialogue is output from the mid-range speakers placed behind the screen."
"Our brains process speech differently than other sounds. Any dialogue can come from the speakers directly in front of us, and our brains will automatically put it in the right place."
"And the effect of whispering in the ear is achieved by a special recording method. If you have the opportunity to come to the San Francisco Diorama Company, I can demonstrate it to you."
"Whoa, thank you, Walter...er... sir?"
"Murzy, Walter Murzy."
"Okay, Mr. Murch, I still want to ask, why at the beginning of this movie, when Captain Willard accepted the mission, the three actors who assigned him the mission were all looking directly at the camera?"
"I was trained to say that actors can't look directly at the camera, otherwise the audience will think that the actors are watching them and feel that they are acting. But when I watched that scene, I didn't feel like acting at all. Only after the show was over did I realize that they were straight. Looking into the camera."
Walter was very surprised by Ronald's question this time, "Are you also a video editor?"
"Um, I've been an editing assistant for a while, but I was actually doing odd jobs on the crew." Ronald was a little embarrassed.
"It's okay, most people in the industry start out as assistants."
"Your observation skills are amazing. In fact, the reason why you look directly at the camera in this section is very simple. Director Coppola did not shoot more material. This is the only one. I was very careful when editing, trying not to let people Notice these looking-in-cameras."
Walter is happy for someone to discover his own ingenuity:
"Actually, the reason why this group of shots will not be played is because the protagonist Captain Willard himself did not look directly at the camera, and his eyes were looking at the person he was talking to during the conversation.
And Willard is the protagonist, so the audience's brain will automatically substitute Willard's perspective.When the supporting characters look directly at the camera, the audience will understand that they are looking at the protagonist, so they will not feel out of place.Of course, this kind of lens can't be too much. "
Walter raised his hand and looked at his watch.
Ronald still had a problem, he was a little anxious and sped up his speech.
"Mr. Murch, I still have a question. Why do I have a dreamlike effect at the beginning of the movie? It seems that the switching of each shot is so natural, unlike other movies, I always It feels like someone cut a knife here..."
Walter Murray smiled, looked encouragingly at Ronald, and beckoned him to continue.
"At the beginning of the movie, it was like... like I was dreaming. Yes, I felt like I was dreaming throughout the movie, and it was the strongest in the first few minutes."
Ronald didn't know how to organize his words, "I don't know how to express it. In short, this movie is different from the movies I've seen before. I can't say why, and I can't ask specific questions. I just I want to know, why is this happening?"
"Er, do you see what I mean, Mr. Murch."
Walter smiled slyly, "I think I understand what you mean. You want to ask why the first few minutes of this film seem to be in sync with people's thinking. So that you don't feel that someone has moved the scissors, is that so?"
"Yes, that's what I want to express." Ronald said anxiously.
"This is a very complicated question, but there may be a simple answer to a complicated question." Walter Murch explained to Ronald in a calm tone as always.
"Many people compare movies to dreams. In fact, this metaphor has a solid psychological basis. A director who edits too frequently is like a wordy tour guide who can't wait to remind you, ah, this is the Mona Lisa, Here is the Sistine ceiling painting, here is the portrait of Napoleon..."
Ronald nodded in understanding.
"The really top directors dare to let the audience decide what they like to see. Just like some tourists, they are willing to watch in the Louvre by themselves and choose their favorite works of art.
Top directors have this magical ability to pre-perceive what most audiences want to see, and project what they want to see on the screen at the right time. "
Ronald was thoughtful, he understood what Walter Murch meant, but how could this state be achieved?
Maybe the editors are magicians who can see through people's hearts, and Walter saw Ronald's mind.From this young man, he seems to have seen the days when he was studying at the University of Southern California,
Back then, he was also hungry and eager to learn new knowledge, regardless of the occasion.There is another classmate who studies as madly as him: George Lucas.
So Walter Murray took out his wallet, took out a business card and handed it to Ronald: "Today's time is limited, I'm going to find Coppola to continue the final editing, prepare for the Cannes exhibition, and then I will do the 70mm version Sound design, it will be busy until mid-August. If you are willing to come to the diorama later, I would not mind having one more assistant."
"But I'm going to study film at New York University soon"
"My invitation is valid for a long time, as long as I am still working in the diorama." Walter Murch liked this young man very much. "Tomorrow, I will be invited by Roger to give a lecture on editing at New World Productions. You are welcome. Listen, Ronald."
Walter still has some of the spirit of selfless sharing of the first generation of hippies.It doesn't mean to cherish your own broom and hide your skills.
Carefully putting the business card back into his wallet, Ronald began to learn from a teacher.
(End of this chapter)
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