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| In
the Blink of an Eye |
| Revised
2nd Edition |
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| Walter
Murch, 146 pages, 51/2 x 81/2, illus, 1-879505-62-2,
$13.95 paper |
“An
incredibly lucid trek into the formidable craft of film
editing, which in my opinion is the core of the cinematic
art form. Walter Murch’s depth of insight into
this subject is astonishing, and the book is a must
for anyone who is interested in truly understanding
the filmmaking
process.”
— George Lucas
“
The first time I saw Murch he was asleep on his KEM,
having worked all night on The Conversation. He’s
the only editor I know who actually sleeps with his
films. In fact, Murch has a love affair with every
film he’s involved with. In the Blink
of an Eye is his chronicle of passions—it’s where
he finally tells us some of the intimate details of
these affairs. Not for those who cannot love film.”
— Philip Kaufman
“ This small book contains a wealth of first-hand knowledge
about the mysteries of giving birth to a film. I think
it is of immense value to professionals and film buffs
alike.”
— Fred Zinnemann
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In
the Blink of an Eye is celebrated editor Walter Murch’s
vivid, multifaceted, thought-provoking essay of film
editing. Starting with what might seem to be the most
basic editing question—Why do cuts work?—he
treats the reader to a marvelous ‘ride’ through
the esthetics and practical concerns of cutting film.
Along the way, he offers his insights on such subjects
as continuity and discontinuity in editing, dreaming,
and real life; the criteria of a good cut; and the
blink of an eye as both an analog to and an emotional
cue for the cut. New to this second edition is Murch’s
lengthy meditation on the current state of digital
editing.
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Walter Murch has been honored by both British and American
Motion Picture Academies for his picture editing
and sound mixing. In 1997, Murch received an unprecedented
double Oscar for both film editing and sound mixing
on The
English Patient (1996, dir. A. Minghella),
as well as the British Academy Award for best editing.
Seventeen years earlier, he received an Oscar for
best sound for Apocalypse Now (1979, dir. F. Coppola),
as well as British and American Academy nominations
for his picture editing on the same film. He also
won a double British Academy Award for his film
editing and sound mixing on The Conversation (1974, dir. F. Coppola), was nominated by
both academies for best film editing for Julia (1977, dir. F. Zinnemann), and in
1991 received two Oscar nominations for Best Film
Editing for the films Ghost (dir.
J. Zucker) and The Godfather, Part III (dir. F. Coppola).
Among Murch’s other picture editing
credits are for The Unbearable Lightness of Being (1988, dir. P. Kaufman), House of Cards (1993,
dir. Michael Lessac), Romeo is Bleeding (1994, dir.
P. Medak), First Knight (1995, dir. J. Zucker), and The Talented
Mr. Ripley (1999, dir. A. Minghella)
Murch was the re-recording mixer for The Rainpeople (1969, dir.
F. Coppola), THX-1138 (1971, dir. G. Lucas), The Godfather (1972, dir.
F. Coppola), American
Graffiti (1973, dir. G. Lucas), The Godfather, Part II (1974, dir. F. Coppola),
and Crumb (1994, dir. T. Zweigoff), as well as all the recent
films for which he has also been picture editor.
He has also been involved in film restoration,
notably Orson Welles’ Touch
of Evil (1998) and Francis Coppola’s Apocalypse Now Redux (2001).
Screenplays on which Murch has collaborated include THX-1138,
directed by George Lucas, and The Black Stallion (1979, uncredited), directed
by Carroll Ballard. Murch directed and co-wrote
the film Return to
Oz, released by Disney in 1985. |
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