Time for another post discussing an instance when a director chose a sustained shot as opposed to a more conventional, edit-filled approach. Today is all about Francis Ford Coppola’s use of the camera in one scene in The Conversation.
My prior examples in this series (Laurel & Hardy’s The Finishing Touch; Ozu’s Tokyo Chorus; and Frank Oz’s Dirty Rotten Scoundrels) were static shots, with all the movement occurring via the blocking of the actors. Today’s example broadens the scope a little, since the camera does move, yet it’s the way it moves that makes it note-worthy. Coppola does something I call character-driven filmmaking, which is when a character’s emotions dictate the mechanics of the film, such as the editing, the lighting, and, in this case of this entry, the shooting. (I wrote about this before in my post about the editing in Silkwood.)
The Conversation (1974) is about surveillance expert Harry Caul. It’s a 70s character study disguised as paranoid thriller: Harry eavesdrops for a living but, not surprisingly, lives in fear of being watched or even noticed, preferring solitude.
In this scene, which happens early in the film, Harry enters his apartment at the end of the day. He checks his mail, calls his landlady, and takes off his pants. Such a straightforward scene could be shot and cut several different ways, all expanding our understanding of Harry. These possibilities include:
• a handful of medium shots where Harry’s décor is visible in the background, each with Harry in the frame as he walks from room to room
• a dolly shot either in front of him (camera dollying backwards) or behind him, showing only his back; in both cases his décor would be visible on the sides of the frames
• a slightly more esoteric approach: static medium shots or close-ups of parts of his apartment, without Harry in frame
So how does Coppola shoot it? Well, I think when a filmmaker is crafting a scene, he or she needs to constantly ask, “What information does the audience need to know right now?” Here’s how Coppola answers that question…
I love this shit. Coppola’s tableau is wide and sparse. Harry lives simply, so the director foregoes showing us his apartment in detail and instead lets the camera behave as an extension of Harry’s state-of-mind, which is one of surveillance. In fact, the first time he leaves the frame, he appears to be consciously trying to get away from the camera.
Gratefully, Francis Ford Coppola did an audio commentary for this film, so I can let him speak for himself. Here’s a minute-long clip of his explanation of this shot and its style:
Couldn’t be much clearer than that, could he? It’s nice to hear him say that, but, truthfully, when I first saw this film in the 80s, it was crystal clear to me.
(For what it’s worth, I think the lone CU in the scene—a generic birthday card from his bank—is so sad it only reinforces our understanding of Harry’s isolation. Instead of showing us one of Harry’s personal belongings, Coppola shows us the exact opposite: what could be more impersonal than a form birthday card?)
Obviously, such a self-conscious shot could be perceived as gimmicky, but if you haven’t seen the film, believe me: Coppola successfully uses this style for maximum effect, abetted enormously by Gene Hackman’s performance.
I could go on and on about this film—I freakin’ love it—but I’ll leave it at that. However, if you’re interested in a great essay about The Conversation, I recommend this post at Precious Bodily Fluids.
Next in the When Not to Edit series: Director Tod Browning thinks freaks work best without too many edits.
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By the way, the DVD for The Conversation is unique: It not only has a full-length commentary by the director, it has one by the editor. Why? you ask.
Those familiar with the history of this film are aware of the uncomfortable relationship between Coppola and editor Walter Murch. The director had to leave the project prematurely (to begin pre-production onThe Godfather, Part 2) and left a good deal of The Conversation in the hands of the editor. Murch’s changes to the structure of the film were radical enough for some to claim he saved the picture, and it seems it’s been a sore spot for both men ever since. Case in point: for the aforementioned DVD, they each say surprisingly little about the other’s input on the film.
Anyway, I had planned the second half of this post to dissect that seemingly rocky relationship, but, alas, that will have to wait for another post.
What Happens When You Meet Grover and He Curses?
I’ve devoted two recent posts to the film Dirty Rotten Scoundrels and director Frank Oz’s commentary for it (here and here). Now I’m going to put that topic to bed with one last post, this time about my experience as the field producer for the audio commentary, in May, 2001.
At the time, I was the East Coast pointman for the LA-based documentary company Automat Pictures. Besides producing the bonus features for the DVDs of Scorsese’s Raging Bull and The Last Waltz, I occasionally covered their NYC-based gigs, such as interviewing Isabella Rossellini about her vagina. 1
Frank Oz was due to record his audio commentary for Dirty Rotten Scoundrels in LA, but circumstances kept him on my coast, and so I got the call to field produce his session. The DVD’s producer was Ian Haufrect, a swell guy who was understandably crestfallen that he would not be able to cover the session personally. Still, he gave me great questions and did all the logistical arrangements. 2
The session was at Spin Cycle Post, a small facility where I had been a sound editor for a half-dozen years. It was just Frank; my old buddy Jason, who engineered the session; and me. Jason and I were very professional: courteous and calm, the whole time ignoring the fact that—Holy Shit!—we were in the same room with Cookie Monster, Miss Piggy, Grover, Fozzie Bear and Bert!!
Frank was a Commentary Producer’s dream come true: he spoke constantly, giving us an in-depth glimpse into his process. There was one moment of (self) constructive criticism I’ll never forget. Frank had just done a portion of commentary and suddenly stopped, asking us to play it back for him. It was a two minute chunk of his description of “what is funny,” and I have to admit, it was pretty meandering. Although when he asked us for our opinion, Jason and I were reflexively and blindly supportive: “Oh, it’s great, Frank! Just beautiful! It’s awesome, Sir!” etc.
“Really?” he asked incredulously. “No, it isn’t. It’s fucking boring.”
After that icebreaker, it was easy for us to offer genuine feedback. (And to this day, when re-reading something I’ve written, such as this post, I’ll sometimes hear Frank’s voice say, “It’s fucking boring.”)
Naturally, there were the requisite Star Wars junkies on hand. (Can you imagine a film editing facility that wouldn’t have them?) In this case, two assistant editors a few years younger than me, Chris and Jeff, though that day they were more like Mutt and Jeff, giddy over the possibility of an audience with Yoda. “OK, guys,” I said. “Keep yer pants on. This isn’t my session, technically. I’ve never met the man. I don’t know how he feels about shit like this, “ and so on, explaining that they could approach him at the end of the session. Every time I went into the lobby, they’d be there, like expectant fathers in a waiting room, wide-eyed, wondering if it was Time.
When the session was ended, Frank was glad to do a small meet-and-greet. I stuck my head outside of the studio and gestured for the groupies to come in. They did, each with brand new Sharpies and 8×10 glossies of Yoda that they purchased that morning. I rolled my eyes and stepped back so they could have their own private Comic-Con.
Frank was incredibly cool. Recently, I asked Jeff Marcello, who’s now an editor and filmmaker, for his recollections:
Jeff’s also generously offered this scan as proof of the momentous occasion.
That’s pretty much it, except for one noteworthy postscript. MGM would “pay” directors and actors for their time in DVDs. They’d provide a list of 200 or so titles and ask the talent to check off 15 that they wanted. Frank did this, grumbling as so many others did that the folks at MGM were being cheapskates, and I mailed it off to Ian. A few months later, I got a phone call at home:
“Hi. This is Frank Oz. I was wondering…where the fuck are my DVDs?”
I already knew that MGM was slow to “pay” talent, so I referred him to Ian in LA and that was the end of it. But there was that one stunned moment when I thought, “Did Yoda just curse at me?!” (“Off it pisses me!”)
All-in-all, it was my favorite audio commentary session, and I made one contribution that I’m proud of: Frank’s commentary for Dirty Rotten Scoundrel’s legendary teaser trailer. MGM hadn’t sent the trailer to the session—so Frank would have nothing to watch–but thanks to my film geekery, I knew that it was at the beginning of the VHS of Eight Men Out, so I rented it on my way in and—boom!—there it is on the DVD.
And that’s why MGM hired guys like me to produce those things!
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BACK TO POST 1 Of course, that story’s for a future post, but, hey, nice to see you’re using the nifty footnote function!
BACK TO POST 2 In fact, Ian was the first commentary producer to recommend I have an IMDB cast-and-crew list on hand to make life easier for directors (and if you’ve read this post, you know that I put a lot of stock in the commentary producer’s responsibilities).
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Tagged as audio commentaries, Dirty Rotten Scoundrels, Frank Oz, Yoda