1. New Hollywood Lesson 8 The Conversation (dir. Coppola, 1974)

2. Lumiere means light in French.

6. Simba means lion in Swahili.

7. Belle means beautiful in French.

8. It is translucent, implying his paranoia of being bugged, something that eventually happens when he is not wearing the coat. Also it harbours connotations of sleaziness and shame, both of which dog Harry on a daily basis. Guerard Rodgers clarifies where the idea for this unusual item came from: “Mr. Coppola chose the kind of raincoat that Mr. Hackman wore…It was a play on Mr. Hackman’s character name – Harry Caul, so it was kind of creepy to me…”

9. The meaning of Harry's last name, Caul, is a fetal membrane sometimes present at birth. This ties in strongly with both Harry's transparent rain jacket, which he wears for the majority of the film, and also the fact that Harry is occasionally viewed through a translucent sheet of plastic when threatened, such as by his rival during the party scene.

11. The paranoid thriller didn’t come into full bloom until the early 1970s when distrust in and fear of our own government was at an all-time high thanks to Watergate, Vietnam and the CIA. While such movies have waned in recent years, the paranoid thrillers made in the 1960s and 1970s remain popular.

12. Prestigious film program at UCLA Worked with B- movie king Roger Corman Corman gave him first shot of directing a feature film, 1963’s Dementia 13

14. Harry Caul: Modernist Hero? Coherence (Logical and consistent) Motivation and focus (a hero know what he’s doing and why) Development (heroes emerge enlightened, strengthened, etc.) Self assurance (the hero masters the environment(s) he encounters) Agency (the hero is simply able to change things for the better)

15. Robert Kolker: ‘The Modernist Project in New Hollywood’ A questioning/reconfiguring of US mainstream cinema on a technical and narrative/thematic level An examination of interiority of characters A general revision of the hero figure Self-reflexive style of film- making

16. A questioning/reconfiguring of US mainstream cinema on a technical and narrative/thematic level An examination of interiority of characters A general revision of the hero figure Self-reflexive style of film- making Lacks an appealing, in control protagonist Slow, meticulous narrative About ideas, rather than actions About cinematic technique, as much as narrative Experimentation with sound

17. Useful links http://classicfilm.about.com/od/articlesaboutthemovie s/tp/9-Paranoid-Thrillers.htm http://classicfilm.about.com/od/articlesaboutthemovie s/tp/9-Paranoid-Thrillers.htm http://www.hollywoodreporter.com/sites/default/files/ custom/Kimberly/coppola.pdf http://www.hollywoodreporter.com/sites/default/files/ custom/Kimberly/coppola.pdf http://www.filmsite.org/conv.html http://www.imagesjournal.com/issue10/reviews/conve rsation/ http://www.imagesjournal.com/issue10/reviews/conve rsation/ http://www.cinemablography.org/opening-scene.html http://www.theguardian.com/film/2010/oct/17/conver sation-crime http://www.theguardian.com/film/2010/oct/17/conver sation-crime