Walter Murch Famous Quotes
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Film editing is now something almost everyone can do at a simple level and enjoy it, but to take it to a higher level requires the same dedication and persistence that any art form does.
My job as an editor is to gently prod the attention of the audience to look at various parts of the frame. And that - I do that by manipulating how and where I cut and what succession of images I work with.
Looking at a first assembly is kind of like looking at an overgrown garden. You can't just wade in with a weed whacker; you don't yet know where the stems of the flowers are.
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.
I re-mastered 'The Conversation' a few years ago for DVD. '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. Truth be told, I couldn't.
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.
If you want to freak your cat out, stare at your cat. If you want to reassure your cat, stare at your cat, then very deliberately and very slowly blink. Like that. The cat will also deliberately, slowly blink back at you, and I almost guarantee that she will start to purr. That's a feline reassurance.
I would be happy if they just gave out nominations and there weren't any Oscars. But winning them is definitely an experience - to get up there and make a speech. 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.
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?
Sound is a huge influence on peoples' attention.
Every film is a puzzle really, from an editorial point of view.
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.
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.
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.
Blinking is some way of tabulating - a kind of carriage return, click, or save to disk - that helps the process of 'Okay, now change the subject.' Every time you move your eyes, there's an interruption in the visual field - you go momentarily blind when your eyeballs are moving.
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.
There's a big link between trains and film. One of the first filmed objects was a train. The clickety-clack of the projector and the clickety-clack of the train are similar. There is the idea of the voyage - every voyage is a story. I wonder if film would have been invented without the train.
One of the rules of the road is that if you want to create the sense of silence, it frequently has more pungency if you include the tiniest of sounds. By manipulating what you hear and how you hear it and what other things you don't hear, you can not only help tell the story, you can help the audience get into the mind of the character.
