|He'd kill us if he got the chance.|
Friday, February 3, 2012
He'd kill us if he got the chance
Take 3 …
Ann: This film we’re in, it’s a metaphor. Those six microphones they’re pointing at us.
Mark: Yeah. Metaphors for guns.
Ann: They’re having a hard job recording us.
Ann: Shotguns? See, I told you. He’d kill us if he got the chance.
Mark: You’re obsessing about him killing us. We’re just actors.
Harry Caul is a surveillance expert, who contracts to record people’s conversations. He’s good at his job; he takes the craft of deciphering incomprehensible speech to the level of art.
Significantly, The Conversation, (1974), a Francis Ford Coppola film, owes much of its acclaim to the editing of Walter Murch, the sound designer. Harry collects sounds, filters out the distractions, and constructs his eavesdroppings. A sound editor like Walter Murch works like this too. Harry, in the way he works, is a metaphor for a sound editor.
But Harry’s job takes him into other people’s private spaces. Then Harry becomes obsessed that his own privacy has been compromised, in his apartment.
And so it has. Just as ours is by the internet, by Google, by FaceBook. We are never alone now.