Murch’s theory on why humans accept the cut of a movie so naturally is that it mimics our dreams. In the dream state, random combinations of images are juxtaposed next to each other and we are conditioned to accept this form of information transferral. Therefore, editing a movie is essentially finding the rhythm of thought. Meaningful Character: Writers focus on developing a few well-rounded characters instead of crowding the narrative with many underdeveloped ones. Each character in the story has a distinct purpose, whether it's driving the plot forward, revealing key themes, or contributing to the protagonist's journey. Murch has written one book on film editing, In the Blink of an Eye (1995), [19] which has been translated into many languages including Chinese, Italian, Hebrew, Spanish, French, German, Hungarian and Persian. His book describes many of his notable techniques used in his film editing. One of his most praised techniques he refers to as "the rule of six" referring to the 6 criteria in a film that he examines when making a cut. In his book, Murch also describes editing as more of a psychological practice with a goal of anticipating and controlling the thoughts of the audience.

It respects the three-dimensional continuity of the actual space (relation between players and objects to one another). Apocalypse Now Final Cut: With Sensual Sound, Coppola's Wartime Vision is Fully Realized". Boxoffice. August 15, 2019. i90814174 |b1010002163363 |das |g- |m |h5 |x1 |t0 |i2 |j18 |k150129 |n08-21-2022 22:11 |o- |aTR899 .M87 2001What do I mean by that? Well, if you learn to speak a foreign language, you will find that there is a gap between how well you can speak it and how well you can understand it when it is spoken to you. A human being’s ability to understand a foreign language is always greater than his ability to speak it.

Does the cut, transition, or edit, move the story in a meaningful way? Whatever decisions you make as an editor, do you keep the story in mind?This change allowed filmmakers to harness different angles and create ‘cumulatively greater impact’ within each moment of the film. Likened by Murch to Frankenstein’s Monster, cuts not only pull pieces together, but what they create is greater than the sum of its parts. The cuts give the story its soul. 👁️ Why Editing Is Like Blinking One key lesson of In The Blink of An Eye is not to overdo it with your editing. As Murch writes: ’You would never say that a certain film was well-edited because it had more cuts in it. Frequently, it takes more work and discernment to decide where not to cut—don’t feel you have to cut just because you are being paid to. You are being paid to make decisions, and as far as whether to cut or not, the editor is actually making twenty-four decisions a second: “No. No. No. No. No. No. No. No. No. No. Yes!” You can then apply this to your edit. Perhaps in that moment they should be feeling angry but it’s not working…but a cut to a close up could fix that! 🖼️ Seeing Around The Frame

In 2018, Murch was awarded an honorary doctorate of arts by the University of Hertfordshire, for his contribution to the film industry in the county of Hertfordshire [36] and his contribution towards The Elstree Project and the Film and Television Production degrees. There is a dedicated post-production lab on the Hertfordshire campus named for Murch which opened in 2015. [37] [38] Is this transition or cut in line with the general emotional experience of the story? General emotional experience of the story is the vibe or tone you have set. If you want to maintain this tone throughout the story, the cuts and transitions should match that tone.All of us can use it now, and it’s really the best feature for making sure that a specific cut works well. Nominated — Academy Award for Best Film Editing with Gerald B. Greenberg, Lisa Fruchtman and Richard Marks when Warner Bros. cancelled the financing for Zoetrope, the Apocalypse Now project was abandoned for a while. After the success of American Graffiti in 1973, George wanted to revive it, but it was still too hot a topic – the war was still on – and notobdy wanted to finance something like that. So George considered his options: What did he really want to say in Apocalypse Now? The message boiled down to the ability of a small group of people to defeat a gigantic power simply by the force of their convictions. And he decided, All right, if it's politically too hot as a contemporary subject, I'll put the essence of the story in outer space and make it happen in a galaxy long ago and far away. The rebel group were the North Vietnamese and the Empire was the United States. And if you have the force, no matter how small you are, you can defeat the overwhelmingly big power. Star Wars is George's transubstantiated version of Apocalypse Now.” In 1988 Murch was one of the editors on The Unbearable Lightness of Being, directed by Philip Kaufman. [16] [17] The first edition was published in 1995. The second edition, which accommodates for developments in digital editing, was published in 2001.