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The significance of good film editing
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Editing vs. single-take filming
Walter Murch
Film-maker
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Views | Duration | |
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| 281. The power of the single-take film | 35 | 02:31 | |
| 282. Editing vs. single-take filming | 33 | 01:26 | |
| 283. The significance of good film editing | 37 | 04:52 | |
| 284. Marlon Brando – the film editor's nightmare | 60 | 02:59 | |
| 285. Remedial work on Apocalypse Now with Harrison Ford | 53 | 05:40 | |
| 286. How to cure 'Steenbeck neck' | 45 | 05:21 | |
| 287. Benefits of standing over sitting while working | 37 | 05:05 | |
| 288. Instinct, emotion and logic in film | 27 | 05:44 | |
| 289. Synergy between the senses | 21 | 04:45 | |
| 290. One of life's many coincidences | 27 | 06:36 |
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The logistics of it, beyond a certain place, become absurd and counterproductive. There's also the feeling that we get from cutting from one shot to another that has a powerful and, I think, beneficial, recognisable place in our consciousness. If you think: how do you feel when you suddenly get an idea? You are sitting somewhere or walking, and in the middle of the 45th step, you go, that's it, I get it, something that you just realised, oh that's why something. Editing can make you feel that way by cutting from one thing to another, you feel, oh that's it, that's what I wanted to see, or that explains what was just happening. Now I know it's her who put the letter in the mailbox. And of course you can do this in single-take films, but it's much more cumbersome and clearly, if there are problems with a single-take film, then you have to resort to brute force to fix them somehow.
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: Editing vs. single-take filming
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: editing, single-take film
Duration: 1 minute, 26 seconds
Date story recorded: April 2016
Date story went live: 29 March 2017
