From "Krapp and Other Matters: A Conversation between Atom Egoyan and Rebecca Comay" about his recent cinematic production of Samuel Beckett's "Krapp's Last Tape" in 2001.
Comay: The voice is doubly disembodied. As a recording, it's disembodied from its original speaker. And as a projected filmic sound, it's disembodied from the visual image of the recorder itself, which no longer tethers it to any place. Simultaneously everywhere and nowhere, unlocatable: it has a spectral quality, even or especially in its liveliness and veracity, its living authenticity and presence . . .
Egoyan: That's a beautiful word—that's the word that I was searching for earlier, disembodied—it's such an interesting notion. At what point does something become disembodied? That is, released from the physical . . .