Exploiting Hollywood 1980

Director Francis Coppola came on stage with a stinking look on his face, seemingly dissatisfied with the sparse applause. The vast majority of film critics did not applaud, only some industry insiders applauded vigorously.

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

As for the film critics, I always feel that they have some prejudices and resentments about the film, and all of them have unkind expressions. Perhaps Coppola's refusal to allow them to publish film reviews affected their reputation and income?

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

Coppola explained that in order to make the entire film artistically closer to the feeling of a dream. He worked hard to gain the understanding of the Directors Guild, Screen Actors Guild, Screenwriters Guild, Photographers Guild, etc. Instead of the beginning and end, type the title and subtitles of the film. Later projections were used to thank the actors and actresses for their efforts.

Since the filming of the movie has been delayed for more than 2 years and the editing has taken more than a year, almost all the cast and crew of "Apocalypse Now" have been busy with other movies. I couldn't spare the time to attend the preview screening and the subsequent Cannes Film Festival.

For this test screening, Coppola only brought two editors.

There was a Q\u0026A session at the test screening, and several film critics in the audience asked some questions about artistic reflections and candidacy for Cannes. Coppola explained his intention 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:

It took too long to gain popularity, and the Cannes prizes were sold back to China.

It’s 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."

Director Coppola saw that there were no more problems, so he took an editor and left first. The film had not been edited yet, and he was still racing against time to complete the final edit and strive to have a complete version screened at the Cannes Film Festival.

The editor who was left to continue answering questions was a tall and lanky man who introduced himself as Walter. He would answer questions about the technical aspects of the film.

A man in a suit who looked like a film company executive stood up and asked about the helicopter propeller stereo in the opening scene.

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

When it is officially released, Peep Show Company will also cut a 70-film version and screen it in the Grand Dome Cinema in Los Angeles, where you can hear a better stereo sound effect.

Seeing that no one in the audience asked any more questions, Walter announced that the Q\u0026A session was over.

Ronald wanted to know how he came up with the inner monologue that seemed to be in his ears. He quickly took three steps at a time and stopped Walter at the entrance of the theater.

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

"Please say".

It seems that Walter is a person who is very willing to communicate with others. He is about the same height as Ronald, slightly thinner but very energetic. He has a beard on his upper lip similar to the second leader of the Soviet Union. The whole person is capable and confident, but also kind-hearted.

"I would like to ask, why can I distinguish the direction of the sound of the helicopter propeller when it is circling back and forth, but the inner monologue of the protagonist, I only feel as if he is speaking in my ear? I am very strange, my ears There is no speaker next to it.”

Walter Mersey was a little surprised: "This is a good question. In fact, we have been experimenting for a long time, and the dialogue is not suitable for stereo sound, so all the dialogue is output from the mid-frequency speakers placed behind the screen."

"Our brains process language differently from other sounds. Any conversation can come from a speaker directly in front of you, and our brains will automatically move it to the appropriate location."

"And the effect of whispering in the ear is achieved using 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...er...sir?"

"Merzy, Walter Merzy."

"Okay, Mr. Mersey, 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 all looking directly at the camera?"

"The training I received said that actors should not look directly into the camera, otherwise the audience will think that the actors are looking at them and feel that they are in a drama. But when I watched that scene, there was no sense of drama at all. After the show, I remembered that they were looking directly at them. Depending on the lens.”

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

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

"It doesn't matter, most people in the industry started as assistants."

"Your observation skills are very amazing. In fact, the reason why this section uses a direct-looking lens is very simple. Director Coppola did not shoot more material, this is the only one. I was very careful when editing, trying not to make people Notice these direct-viewing shots.”

Walter was delighted that someone could discover his ingenuity:

“Actually, the reason why this sequence of shots doesn’t work is because the protagonist, Captain Willard, does not look directly into the camera. He looks at the person he is speaking to during the conversation.

And Willard is the protagonist, so the audience's brain will automatically assume Willard's perspective. If the supporting characters look directly into the camera, the audience will understand that they are looking at the protagonist, so they will not feel out of place. Of course, you can’t have too many of these shots. "

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

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

"Mr. Mersey, I have another question. Why does the beginning of the movie have a dream-like effect when I watch it? It seems that every shot transition is so natural. Unlike other movies, I always feel... I feel like someone cut a knife here..."

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

"The beginning of this movie, it's like... it's like I'm dreaming. 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. In short, this movie is different from the movies I have seen before. I can't explain why, and I can't ask specific questions. I just Want to know, why is this happening?”

"Um, do you understand what I mean? Mr. Mersey."

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 thoughts. So that you didn't feel that anyone moved the scissors, is that right?"

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

"This is a very complicated question, but a complicated question may have a simple answer." Walter Mersey explained to Ronald in a calm tone as always.

"Many people compare movies to dreaming. In fact, this metaphor has a solid psychological foundation. A director who edits too frequently is like a verbose 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 truly top directors dare to let the audience decide what they like to see. Just like some tourists, they are willing to watch it in the Louvre and choose their favorite works of art.

Top directors have this miraculous ability to sense in advance 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 Mersey meant, but how could he achieve this state?

Maybe editors are magicians who see through people's minds, and Walter saw what Ronald was thinking. 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 very hungry. 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 Mersey took out his wallet, took out a business card and handed it to Ronald: "Today's time is limited, I have to go to Coppola to continue the final editing and prepare for the Cannes screening, and then I will make a 70 version. Sound design will be busy until mid-August. If you are willing to come to the peepshow later, I won’t mind having an assistant.”

"But I...I'm going to New York University to study film soon."

"My invitation is valid for a long time, as long as I am still working at Peep Show." Walter Mersey liked this young man very much. "Tomorrow, at Roger's invitation, I will go to New World Production to give a lecture on editing. You are welcome to come. Listen, Ronald."

Walter still had some of the selfless sharing spirit of the first-generation hippies. I have no intention of being self-conscious and hiding my skills.

Carefully putting the business card back into his wallet, Ronald began to think of learning from his teacher.