Chapter 44: Whisper in the Ear  

Director Francis Coppola stepped onto the stage with a stinky expression on his face, apparently a bit dissatisfied with the sparse applause. The vast majority of film critics did not applaud; only a few industry experts clapped vigorously. 

Ronald thought to himself that these people were surprised by the new stereo technology used in the film, or by the fluid editing technology at the beginning of the film, or perhaps 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 they all have unkind expressions. Maybe Coppola's refusal to allow them to publish movie reviews affected his reputation and income? 

Coppola thanked the industry experts and the film critics who came to see him today and then projected a credits list onto the screen. 

Coppola explained this to artistically bring the entire film closer to the feeling of a dream. He worked hard to understand the Directors Guild, the Actors Guild, the Writers Guild, the Photographers Guild, etc. Instead of the beginning and the end, he writes the title and the subtitles of the film. Subsequently, projections were used to thank the efforts of the actors and actresses. 

Since the shooting of the film was delayed for more than 2 years and the editing took more than a year, almost the entire cast and crew of "Apocalypse Now" have been busy with other films. I couldn't waste time attending the preview screening and the subsequent Cannes Film Festival. 

For this test screening, Coppola only brought two editors. 

During the test screening, there was a Q&A session, and several film critics in the audience asked some questions about artistic reflections and the Cannes nomination. Coppola explained his intention in making the film and why he participated in the Cannes Film Festival. 

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

If it takes too long, it will lose popularity, and the Cannes awards will be sold to China. 

It remains for the sake of the film's box office. Or in Coppola's words: "So that a wider audience can see this masterpiece that truly reflects the impact of the Vietnam War on people's hearts." 

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

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

A suited man who seemed to be a movie studio executive stood up and asked about the stereo sound of the helicopter in the opening scene. 

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

When officially released, Peep Show Company will also record a 70mm film version and screen it at the Grand Dome Cinema in Los Angeles, where a better stereo sound effect can be heard. 

Seeing that no one in the audience had more questions, Walter announced that the Q&A session had ended. 

Ronald wanted to know how the internal monologue that seemed to be in his ears came about. Quickly, taking three steps and two steps at a time, he 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 go ahead." 

Walter seems to be a very willing person to communicate with others. He is about the same height as Ronald, a bit thinner but very energetic. He has a mustache similar to that of 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 swings back and forth, but the protagonist's internal monologue, I just feel as if he is speaking in my ear? I find it very strange, my ears. There is no speaker beside me." 

Walter Mersey was a bit surprised: "This is a good question. In fact, we have been experimenting for a long time, and dialogue is not suitable for stereo sound, so all the dialogue is broadcast through 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 place." 

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

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

"Merzy, Walter Merzy." 

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

"The training I received stated that actors should not look directly at the camera; otherwise, the audience would think that the actors are looking at them and would feel like they are in a drama. But when I saw that scene, I didn't feel like I was in a drama. After it ended, I remembered that they were looking directly depending on the lens." 

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

"Well, I worked as an editing assistant for a while, but I was actually working as maintenance staff on set." Ronald was a bit embarrassed. 

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

"Your observation skills are impressive. In fact, the reason why this section uses a direct view lens is very simple. Director Coppola didn't film more material; this is the only one. I was very careful when editing, trying not to let people realize these direct view shots." 

Walter is very happy that someone can discover his ingenuity: 

"In reality, the reason why this sequence of shots does not provoke drama is that the protagonist, Captain Willard, does not look directly at the camera. He looks at the person he is talking 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 at 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 injections." 

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

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

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

Walter Mersey smiled, encouraged Ronald with a look, and gestured for him to continue. 

"The beginning of this movie is like... it's like I'm dreaming. Yes, I felt I was dreaming throughout the 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 films I've seen before. I can't explain why and I can't ask specific questions. I just want to know, why does this happen? 

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

Walter smiled mischievously: "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 thoughts. So you don't feel like anyone moved the scissors, right?" 

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

"This is a very complicated question, but a complicated question can have a simple answer," Walter Mersey 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 detailed tour guide who can't wait to remind you, ah, this is the Mona Lisa. Here is the Sistine Chapel painting, here is the portrait of Napoleon..." 

Ronald nodded in understanding. 

"Truly outstanding directors dare to let the audience decide what they like to see. Just like some tourists, they are willing to see it at the Louvre and choose their favorite artworks. 

The best directors have this miraculous ability to sense in advance what most of the audience wants to see and project what they want to see on the screen at the right moment." 

Ronald was thoughtful. He understood what Walter Mersey meant, but how could he reach this state? 

Perhaps 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 studied at the University of Southern California. 

At that time, he was also very hungry. When he found new knowledge, he wanted to learn it regardless of the occasion. There was another classmate who studied as crazily as he did: George Lucas. 

Then Walter Mersey took out his wallet, pulled out a business card, and handed it to Ronald: "My time today is limited. I have to go to Coppola to continue the final cut and prepare for the screening in Cannes. Then I will make a 70mm film. The sound design will be busy until mid-August. If you are willing to come to the peep show later,

 I wouldn't mind having an additional assistant." 

"But I... will soon go to New York University to study film." 

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

Walter still retained some of the first-generation hippies' spirit of selfless sharing. He had no intention of being shy and hiding his skills. 

Ronald carefully put the business card in his wallet and began to think about learning from his master. 

End of the chapter