Conversations Walter Murch and the Art of Editing Film

ISBN-10: 0375709827

ISBN-13: 9780375709821

Edition: 2004

Authors: Michael Ondaatje

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Walter Murch emerged during the 1960s at the centre of a renaissance of American filmmakers. During the filming of his novel Michael Ondaatje became fascinated as he watched Murch at work. This text grew out of the discussions between the two men.
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Book details

List price: $22.00
Copyright year: 2004
Publisher: Knopf Doubleday Publishing Group
Publication date: 10/5/2004
Binding: Paperback
Pages: 368
Size: 7.00" wide x 8.50" long x 0.75" tall
Weight: 1.430
Language: English

Michael Ondaatje was born in Ceylon (now Sri Lanka) on September 12, 1943. He moved to Canada in 1962. He received a B.A. from the University of Toronto and a M.A. from Queen's University, Kingston, and teaches English at York University. He has written several volumes of poetry, novels, and other works including There's a Trick with a Knife I'm Learning to Do, The Dainty Monsters, Rat Jelly, Coming through Slaughter, Running in the Family, In the Skin of a Lion, Anil's Ghost, and The Cat's Table. He has won numerous awards including the Canadian Governor General's Award in 1971 for The Collected Works of Billy the Kid and the Booker Prize for Fiction for The English Patient, which was adapted into a film.

First Conversation
Humble Sounds
High School Confidential
"Strange Like Me"
Directors and Editors
Eyes Half Closed
There Is Only One First Time
The Dark Ages
"I'm not going to mix the picture upside down!"
Apocalypse Then and Now
Burning Celluloid
Willard's Gaze
On Editing Actors
The New Scenes
The Dead French
Apocalypse Now Redux
Second Conversation
The Right Time for the Invention of the Wheel
Murder Music
Five Types of Ambiguity
Two Rumours
Devil's Work
Watch How They Say It
Novels and Films-The Redundant Abundance
The Tragedy-of-Job Moments
The Non-Film Way of Living
Third Conversation
Editing The Conversation
The Invisible Partner
The Minor Key
What's Under the Hands?
"Night Was Night": Re-editing Touch of Evil
"As if Orson was sending us notes"
The Wrong Echo
The Most Characteristic Angle
Fourth Conversation
Negative Twenty Questions
Enforced Idleness
Two Kinds of Filmmaking
Why Did He Like It Better?
Family Life
The Unanticipated Collisions of Things
A Pebble, A Cricket, A Wrench
"The Blue Looked Dead"
A Wrong Reading
The Disappearing Brother
A Grease Pencil and Real Time
"Waiting for Provocation"
Last Conversation
Blessed Unrest
Writing Return to Oz
Just Below the Surface
A Wonderful Line from Rilke
Murch and the Movies
Photo Credits
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