Walter Murch
Walter Murch
Walter Scott Murchis an American film editor and sound designer. With a career stretching back to 1969, including work on Apocalypse Now, The Godfather I, II, and III, American Graffiti, The Conversation, and The English Patient, with three Academy Award wins, he has been referred to as "the most respected film editor and sound designer in the modern cinema."...
NationalityAmerican
ProfessionEditor
Date of Birth12 July 1943
CountryUnited States of America
concrete constant greatly influenced mesmerized music work
I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.
believe cinema eight engines fact familiar hours marvelous night power secret spent thousands version work
I believe that one of the secret engines that allows cinema to work, and have the marvelous power over us that it does, is the fact that for thousands of years we have spent eight hours every night in a 'cinematic' dream-state, and so are familiar with this version of reality.
determination hands tools
The word processor is a better tool than a quill pen because you can do so much more with it, but on the other hand, what you have to say and how you say it is the ultimate determination.
thinking age artistic
I think every age has a medium that talks to it more eloquently than the others. In the 19th century it was symphonic music and the novel. For various technical and artistic reasons, film became that eloquent medium for the 20th century.
volcanoes balance-and-harmony personality
Most of us are searching-consciously or unconsciously- for a degree of internal balance and harmony between ourselves and the outside world, and if we happen to become aware-like Stravinsky- of a volcano within us, we will compensate by urging restraint. By that same token, someone who bore a glacier within them might urge passionate abandon. The danger is, as Bergman points out, that a glacial personality in need of passionate abandon may read Stravinsky and apply restraint instead.
hard-work hands people
Every film is hard work, and a few lucky people do get Oscars for what they do, and it's recognition for all that hard work on a certain level. If you didn't do the hard work, you wouldn't be standing there. On the other hand, people do a lot of hard work and don't get Oscars, so it's a mixture of glory and injustice at the same time.
cutting editing years
The Conversation' was the first film I edited on a flatbed machine - a KEM editing machine. I've been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way.
ideas two perfection
There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.
real people cards
You can always make a film somehow. You can beg, borrow, steal the equipment, use credit cards, use your friends' goodwill, wheedle your way into this or that situation. The real problem is, how do you get people to see it once it is made?
people lips silent
When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.
jobs editing people
This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.
reflection thinking years
As I've gone through life, I've found that your chances for happiness are increased if you wind up doing something that is a reflection of what you loved most when you were somewhere between nine and eleven years old…At that age, you know enough of the world to have opinions about things, but you're not old enough yet to be overly influenced by the crowd or by what other people are doing or what you think you 'should' be doing. If what you do later on ties into that reservoir in some way, then you are nurturing some essential part of yourself.
writing discovery limits
Writing is a process of discovery of what you really do know. You can't limit yourself in advance to what you know, because you don't know everything you know.
views film point-of-view
Every film is a puzzle really, from an editorial point of view.