Chapter 44 Whispering in the Ear

Director Francis Coppola came on stage with a sour face and seemed a little dissatisfied with the sparse applause. Most of the film critics did not applaud, only some industry insiders were applauding vigorously.

Ronald thought that these people were either shocked by the new stereo technology used in the film or shocked by the smooth editing technology at the beginning of the film, or some of them were simply fans of the Doors.

As for those film critics, it seemed that they had some prejudice and resentment against this film, and they all looked unfriendly. Maybe Coppola did not allow them to comment on the film, which affected their reputation and income?

Coppola first thanked the industry insiders and film critics who came to watch, and then projected a list of cast and crew on the screen.

Coppola explained that in order to make the whole film closer to the feeling of dreams, he worked hard to obtain the understanding of the Directors Guild, the Screen Actors Guild, the Writers Guild, the Photographers Association, etc. The title and subtitles of the film were not displayed at the beginning and end. Instead, the cast and crew were thanked for their efforts by projection after the film.

Since the filming of the film was delayed for more than 2 years and the editing took more than a year, almost all the cast and crew of "Apocalypse Now" were busy with other films. They could not spare time to attend the preview and the subsequent Cannes Film Festival.

For this preview, Coppola only brought two editors.

There was a question-and-answer session at the preview, and several film critics in the audience asked some questions about artistic thinking and participating in Cannes. Coppola explained his intention of shooting the film and why he participated in the Cannes Film Festival. Coppola said a lot, and Ronald summed it up in two sentences:

It took too long to be made, and it was sent to France for the award in Cannes.

It was still for the box office of the film. Or as Coppola said: "So that more audiences can see this masterpiece that truly reflects the impact of the Vietnam War on people's heart and mind."

Director Coppola saw that there were no more questions, so he took an editor and left first. The film was not edited yet, and they were still racing against time to complete the final editing, striving to screen a complete version at the Cannes Film Festival.

The editor who stayed to continue answering questions was a tall and thin man who introduced himself as Walter. He would answer questions about the film's technical aspects.

A man in a suit who looked like a senior executive of a film company stood up and asked about the stereo sound of the helicopter propellers at the beginning of the film.

According to the editor, Walter, the film used new technology, with two speakers at the back of the theater, three speakers behind the screen, and one speaker for playing dialogue.

When the film is officially released, Zoetrope will also cut a 70mm film version and show it in the Great Dome Theater in Los Angeles, where a better stereo effect can be heard.

Seeing that no one in the audience asked any more questions, Walter announced the end of the Q&A session.

Ronald wanted to know how the inner monologue that seemed to be in his ear was produced. He quickly took two steps at a time and stopped Walter at the entrance of the theater.

"Um, Walter, I'm Ronald Lee from New World Company. I want to ask a question..."

"Go ahead."

It seems that Walter is a person who is willing to communicate with others. He is about the same height as Ronald, a little thin and very energetic. He presented himself as very capable and confident.

"I would like to ask, why can I distinguish the direction of the helicopter's propeller sound when it is circling back and forth, but I only feel as if the protagonist's inner monologue is spoken next to my ear? I am very surprised, there is no speaker next to my ear."

Walter Merzi was a little surprised: "This is a good question. We have been experimenting for a long time, and the dialogue is not suitable for stereo performance, so all the dialogue is output by the intermediate frequency speakers behind the screen."

"Our brain processes language differently from other sounds. Any dialogue can be emitted from the speakers directly in front, and our brain will automatically fill it in the appropriate position."

"And the effect of whispering in the ear is achieved with a special recording method. If you have the opportunity to come to the San Francisco Zoetrope Company, I can demonstrate it to you." "

"Wow, thank you, Walter...uh...sir?"

"Murch, Walter Murch."

"Okay, Mr. Murch, I also want to ask, why at the beginning of this movie, when Captain Willard received the mission, the three actors who assigned him the mission were looking directly at the camera?"

"I know that normally actors can't look directly into the camera, otherwise the audience will think the actors are looking at them and it will feel out of place. But when I watched that scene, it didn't feel weird at all. It was only after it was over that I remembered that they were looking directly into the camera."

Walter was very surprised by Ronald's question this time: "Are you also a video editor?"

"Well, I was an assistant editor for a while, but I was doing odd jobs on the crew." Ronald was a little embarrassed.

"It's okay. Most people in the industry start as assistants."

"Your observation skills are amazing. In fact, the reason why this section uses direct-looking shots is very simple. Director Coppola didn't shoot more material. This is the only reason. I was very careful when editing and tried not to let people notice these direct-looking shots."

Walter was very happy that someone could discover his ingenuity: 

"The reason why this set of shots does not break the immersion is because Captain Willard himself does not look directly at the camera. When he is talking, his eyes are looking at the person he is talking to.

And Willard is the main character, 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 abrupt and out of the play. Of course, there should not be too many such shots."

After Walter finished speaking, he raised his hand and looked at his watch.

Ronald still had questions. He was a little anxious and spoke faster.

"Mr. Murch, I have another question. Why do I feel a dreamlike effect when I watch the beginning of the movie? It seems that the switching of each shot is natural, unlike in other movies."

Walter Murch smiled, encouraged Ronald with his eyes, and motioned him to continue.

"The beginning of this movie is like... like a dream. Yes, I felt like I was dreaming throughout the whole movie, and the first few minutes were the strongest."

Ronald didn't know how to organize his words. "I don't know how to express it. Anyway, 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 want to know why it's like this."

"Uh, do you understand 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 movie seem to be synchronized with people's thinking. So much so that you don't feel that there is no editing, is that right?"

"Yes, that's what I want to say," Ronald said anxiously.

"This is a very complicated question, but complicated questions may have simple answers." 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 tour guide who can't wait to tell you, ah, this is the Mona Lisa, this is the Sistine Chapel, this is the portrait of Napoleon..."

Ronald nodded to show his understanding.

"And the real top directors dare to let the audience decide what they like to watch. Just like some tourists, they are willing to look at the Louvre by themselves and choose their favorite works of art.

Top directors have this magical ability to perceive in advance what most audiences want to see, and project what they want to see on the screen at the right time."

Ronald's eyes looked at the stage thoughtfully. He understood what Walter Murch meant, but how can this skill be learned?

Perhaps editors are magicians who can see through people's hearts. Walter saw Ronald's thoughts. He seemed to see his days studying at the University of Southern California in this young man.

He was also hungry and thirsty at that time. When he encountered new knowledge, he wanted to learn it regardless of the occasion. There was another classmate who studied as crazy as him: George Lucas.

So Walter Murch took out his wallet, took out a business card, and handed it to Ronald: "Today's time is limited. I have to go with Francis to continue the final editing and prepare for the Cannes screening. Then, I will do the sound design for the 70mm version, which will take me until mid-August. If you are willing to come to Zoetrope later, I wouldn't mind having an extra assistant."

"But I... am going to study film at New York University soon."

"My invitation is valid for a long time, as long as I still work at Zoetrope." Walter Merz liked this young man very much. "Tomorrow, I will give a lecture on editing at New World Productions at Roger's invitation. You are welcome to come, Ronald."

Walter still has some of the selfless sharing spirit of the first generation of hippies. He does not want to hoard his skills and hide them.

After carefully putting the business card back into his wallet, Ronald wanted to become an apprentice and learn editing from him.