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Could we go back to early technology?
Walter Murch
Film-maker
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Views | Duration | |
|---|---|---|---|
| 41. Could we go back to early technology? | 1 | 106 | 00:51 |
| 42. The Godfather – our life raft | 1 | 105 | 03:47 |
| 43. 'Make sure you have something in your hands' | 1 | 95 | 02:35 |
| 44. Securing a decade of Paul Haggar's good will | 1 | 81 | 05:05 |
| 45. Crisis with music to The Godfather | 1 | 96 | 05:23 |
| 46. The score for the horse's head scene | 1 | 95 | 03:40 |
| 47. 'This is one of those moments': Bob Evans approves our work | 1 | 89 | 03:12 |
| 48. The right kind of directorial intervention | 1 | 94 | 05:06 |
| 49. Francis Ford Coppola's style of shooting | 1 | 139 | 01:51 |
| 50. 'Worldizing' the film sound | 1 | 106 | 04:34 |
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There's an argument to be made that it might be interesting to wilfully go back to an earlier technology. And if you're doing sound for a film, do it to a slightly degraded black and white image of the film, and see if that conjures up some kind of extra oomph from you to sort of fill in the gaps, that then will disappear, in a good way, when you see it in colour. It's a situation that was purely based on the conditions of the technology of the time.
Born in 1943 in New York City, Murch graduated from the University of Southern California's School of Cinema-Television. His career stretches back to 1969 and includes work on Apocalypse Now, The Godfather I, II, and III, American Graffiti, The Conversation, and The English Patient. He has been referred to as 'the most respected film editor and sound designer in modern cinema.' In a career that spans over 40 years, Murch is perhaps best known for his collaborations with Francis Ford Coppola, beginning in 1969 with The Rain People. After working with George Lucas on THX 1138 (1971), which he co-wrote, and American Graffiti (1973), Murch returned to Coppola in 1974 for The Conversation, resulting in his first Academy Award nomination. Murch's pioneering achievements were acknowledged by Coppola in his follow-up film, the 1979 Palme d'Or winner Apocalypse Now, for which Murch was granted, in what is seen as a film-history first, the screen credit 'Sound Designer.' Murch has been nominated for nine Academy Awards and has won three, for best sound on Apocalypse Now (for which he and his collaborators devised the now-standard 5.1 sound format), and achieving an unprecedented double when he won both Best Film Editing and Best Sound for his work on The English Patient. Murch’s contributions to film reconstruction include 2001's Apocalypse Now: Redux and the 1998 re-edit of Orson Welles's Touch of Evil. He is also the director and co-writer of Return to Oz (1985). In 1995, Murch published a book on film editing, In the Blink of an Eye: A Perspective on Film Editing, in which he urges editors to prioritise emotion.
Title: Could we go back to early technology?
Listeners: Christopher Sykes
Christopher Sykes is an independent documentary producer who has made a number of films about science and scientists for BBC TV, Channel Four, and PBS.
Tags: technology, filmmaking, film sound, colour
Duration: 51 seconds
Date story recorded: April 2016
Date story went live: 01 March 2017
