McGrath, D 2015, ‘Film Editing, Plumbing, and Revolution’, Cineaste, 40, 4, pp. 8-12, Art Full Text (H.W. Wilson), EBSCOhost, viewed 17 March 2016.
One thought on “McGrath, D 2015, ‘Film Editing, Plumbing, and Revolution’, Cineaste, 40, 4, pp. 8-12, Art Full Text (H.W. Wilson), EBSCOhost, viewed 17 March 2016.”
This is a interview with Walter Murch, an American Oscar-winning edtior whose works include The Godfather I, II, and III, American Graffiti, The English Patient. The first part gives some information of his backgorund and the second part is the interview. In the interview, Murch talks about his early work American Zoetrope and the models inspired him when he and his generation graduated from film school. Interestingly, he describes himself as a revolutionaries against the system, ‘We all look like banditos!’ he said. It was 1965, when the French New Wave started to impress the whole industry and many young directors. When talking about Montage, he indicates that ‘Montage means to build , to put something together’, Those of us who put images together are doing a kind of metaphysic al plumbing — making the ideas and the emotions flow as effectively and as quickly as possible , without any blockage or spillage’(pp.10). He also answers many impressive questions like wether the edtior should provide a ‘second eye’ or leaving more space for audiences. In sum, this is a good and rich interview to study and think
This is a interview with Walter Murch, an American Oscar-winning edtior whose works include The Godfather I, II, and III, American Graffiti, The English Patient. The first part gives some information of his backgorund and the second part is the interview. In the interview, Murch talks about his early work American Zoetrope and the models inspired him when he and his generation graduated from film school. Interestingly, he describes himself as a revolutionaries against the system, ‘We all look like banditos!’ he said. It was 1965, when the French New Wave started to impress the whole industry and many young directors. When talking about Montage, he indicates that ‘Montage means to build , to put something together’, Those of us who put images together are doing a kind of metaphysic al plumbing — making the ideas and the emotions flow as effectively and as quickly as possible , without any blockage or spillage’(pp.10). He also answers many impressive questions like wether the edtior should provide a ‘second eye’ or leaving more space for audiences. In sum, this is a good and rich interview to study and think