Exploiting Hollywood 1980

Director Francis Coppola stepped onto the stage with a stinky face, seemingly dissatisfied with the sparse applause. The vast majority of film critics did not applaud, only some industry insiders applauded vigorously.

Ronald thought, these people 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 Gate fans.

As for those film critics, they always feel that they have some prejudice and resentment towards this movie, and they all look bad. Maybe it was Coppola's refusal to let them publish reviews, affecting their reputation and income?

Coppola first thanked the industry insiders and 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 more artistically closer to the feeling of a dream. He struggled to gain the understanding of the Directors Guild, the Film Actors Guild, the Screenwriters Guild, and the Photographers Guild. Instead of the beginning and the end, type the title and subtitles of the movie. And the use of post-projection to thank the cast and crew for their efforts.

As the filming dragged on for more than two years and the editing took another year, almost all the cast and crew of "Apocalypse Now" have been busy with other films. Couldn't find time to attend the preview, and then the Cannes Film Festival.

For this test screening, Coppola brought only two editors over this time.

There was a question-and-answer session in the preview, where several critics in the audience asked some artistic thoughts about running for Cannes. Coppola explains why he made the film and why he was at the Cannes Film Festival.

Coppola said a lot, and Ronald summed it up in two sentences:

It won't be popular if it drags on for too long, and the Cannes prize will be sold back to China.

Or for the sake of the film's box office. Or in Coppola's words: "For a wider audience 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 brought an editor and left first. The film has not been edited yet, and he is still racing against time to complete the final editing, and strive to screen a complete version at the Cannes Film Festival.

The one who was left to answer questions was a tall, thin editor who introduced himself as Walter, who would answer questions about the technical aspects of the film.

A guy in a suit who looked like a studio executive stood up and asked the opening helicopter propeller stereo question.

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 a 70mm film version, which will be screened at the Grand Dome Cinema in Los Angeles, where you can hear a better stereo effect.

Seeing no more questions from the audience, Walter declared the question-and-answer session over.

Ronald wanted to know how the inner monologue that seemed to be in his ear came out. Taking three quick steps and two steps, he stopped Walter at the entrance of the theater.

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

"Please say".

It seemed that Walter was a person who was very willing to communicate with people. He was about the same height as Ronald, slightly thinner but very energetic, with a beard on his upper lip that resembled that of the second leader of the Soviet Union. The whole person is capable and confident, and there is no lack of kindness.

"I want to ask, why is the propeller sound of the helicopter, when 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 said it in my ear? I am very strange, my ear There isn't a single speaker on the side."

Walter Murkey was a little surprised: "That's a good question. In fact, 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 language differently than other sounds.

Any dialogue can be sent from the speakers directly in front, and our brain will automatically fill it into the right place. "

"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 Diorama Company, I can demonstrate it to you."

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

"Merzy, Walter Murzy."

"Okay, Mr. Murkey, I would also like to ask why at the beginning of this movie, when Captain Willard was assigned an assignment, the three actors who were assigned to him 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 they will feel like a play. But when I watched that scene, I didn't feel like a play at all. After I finished it, I remembered that they were straight. on the camera."

Walter was very surprised by Ronald's question this time, "Are you also doing video editing?"

"Well, I worked as an editing assistant for a while, but I was actually doing errands on the set." Ronald was a little embarrassed.

"It's okay, most insiders start out as assistants."

"Your observation skills are amazing. Actually, the reason why you use straight-up shots in this section is very simple. Director Coppola did not shoot more material, this is the only one. I am very careful when editing, try not to let people Notice these direct-looking shots."

Walter is delighted that someone can discover their own ingenuity:

"Actually, the reason why this set of shots doesn't show is because the protagonist, Captain Willard, doesn't look directly at the camera, and he is looking at the person who is talking when he is talking.

And Willard is the protagonist, so the audience's brain will automatically substitute Willard's point of view. 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. Of course, this lens can not be too much. "

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

Ronald still had problems, he was a little anxious, and he spoke faster.

"Mr. Murkey, I still have a question, why does the beginning of the movie have a dreamlike effect. It seems that the switching of each shot is so natural, unlike other movies, I always Feels like someone cut a knife here..."

Walter Murkey smiled and encouraged Ronald with his eyes, motioning him to continue.

"The beginning of the film was like... like I was dreaming. Yes, I felt like I was dreaming throughout the film, and the first few minutes were the strongest."

Ronald didn't know how to organize his language, "I don't know how to express it, in short, this movie is not the same as the movies I've seen before, I can't say why, and I can't ask specific questions, I just Want to know, why is this happening?"

"Um, do you see what I mean? Mr. Merzy."

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 minds. So you don't feel that someone has moved the scissors, is that so?"

"Yes, that's what I want to express." Ronald hurriedly said.

"This is a very complicated question, but a complicated question, maybe there is a simple answer." Walter Murkey explained to Ronald in a calm tone as always.

"Many people compare movies to dreaming, but this metaphor has a solid psychological foundation. A director who edits too often is like a wordy tour guide who can't wait to remind you, ah, this is the Mona Lisa, Here's the Sistine Ceiling, here's the Napoleon Portrait..."

Ronald nodded in 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 watch in the Louvre 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 pondered, he understood what Walter Murzy meant, but how can this state be achieved?

Maybe the editors are all penetrating magicians, and Walter sees Ronald's mind. From this young man, he seemed to see the days when he was studying at the University of Southern California,

Back then, he was also thirsty, and when he came across new knowledge, regardless of the occasion, he wanted to learn it. As crazy as he is, there is also a classmate: George Lucas.

So Walter Murkey took out his wallet, took out a business card and handed it to Ronald: "Today is limited, I'm going to go to Coppola to continue the final editing, prepare for the Cannes screening, and then make a 70mm version. The sound design will be busy until mid-August. If you are willing to come to the diorama later, I would not mind having an additional assistant.”

"But I'm... going to NYU to study film soon"

"My invitation is valid for a long time as long as I am still working in the diorama." Walter Murkey liked this young man very much, "Tomorrow I will be invited by Roger to give a lecture on editing to New World Productions, you are welcome to come. Listen, Ronald."

Walter also has some of the selfless sharing spirit of the first generation of hippies. He didn't mean to treasure his own skills and hide his skills.

Carefully putting the business card back into his wallet, Ronald thought about learning from a teacher.