We had done this Conrad story with only moderate success on the Mercury Theatre of the Air, and while it was a wonderful title, I never quite understood why Orson had chosen such a diffuse and difficult subject for his first film. I think, in part, he was attracted by the sense of corroding evil, the slow, pervasive deterioration through which the dark continent destroys its conqueror and exploiter—Western Man in the person of Kurtz. But, mainly, as we discussed it, I found that he was excited by the device—not an entirely original one—of the Camera Eye. Like many of Orson's creative notions, it revolved around himself in the double role of director and actor. As Marlow, Conrad's narrator and moral representative, invisible but ever-present, Orson would have a chance to convey the mysterious currents that run under the surface of the narrative; as Kurtz, he would be playing the character about whom, as narrator, he was weaving this web of conjecture and mystery.