In particular in this conversation Ondaajte talks to Murch about re-editing Apocalypse Now. In this still we see the disembodied figure of Aurore Clementé behind the mosquito net. In this version she stays a ghostly figure, in the original Martin Sheen's character grabs her and they made love. The choices an editor makes upon discovery of connections, in this one she becomes a ghostly hovering silhouette and then you are back on the boat. This ghostliness unlocked the possibility of a new language for the version to be cut 24 years after the original. Trusting in the originality of the vision and the process that is more amazing the more original that vision is - that is the miracle of film making for Murch.
The shooting style of this film involved actors looking straight into the frame, the unwritten rule of what not to do, except maybe in a comedy. The idea of "breaking the frame" - would happen often, yet it was never talked about on set. He thinks maybe it was because of the intense subjectivity of the film that this was possible and accepted
No comments:
Post a Comment