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However, in his new release The Conversations: Walter Murch and the Art of Editing Film, Michael Ondaatje makes it his mission to disillusion readers of this unfair prejudice. According to Ondaatje, who spoke about the book last Monday at the Harvard Book Store, Murch is one of the great unknowns in the art world today. Besides editing the screen adaptation of Ondaatje’s novel The English Patient and winning multiple Oscars, Murch has worked on The Godfather Trilogy, Apocalypse Now, The Talented Mr. Ripley, and Ghost...

Author: By Matthew B. Sussman, CRIMSON STAFF WRITER | Title: Something to Talk About | 11/14/2002 | See Source »

...film. But more impressive than Murch’s work ethic is his creative power to shape a film in new directions not always intended by the director. In the double-murder scene in The Godfather, for example, Francis Ford Coppola had only one demand: no music. In response, Murch independently recorded the sound of an elevated train to accompany the silent footage. By slowly raising the volume of the train’s screeching, he mirrored Michael’s psychological anguish as he strengthens his resolve to kill. The scene is infinitely more effective with this subtle innovation...

Author: By Matthew B. Sussman, CRIMSON STAFF WRITER | Title: Something to Talk About | 11/14/2002 | See Source »

...Through extensive interviews with Murch, Ondaatje reveals a man whose intense perfectionism and extra-keen powers of perception have helped produce some of America’s greatest films. What does this imply about the role played by Ondaatje’s own editors? When asked by an audience member how he felt when before handing over his manuscript to his editors, Ondaatje said “terrified.” But he admitted that writing is far less collaborative than film. With the whim of his pen, a writer can transform Turkey into China—and then potentially...

Author: By Matthew B. Sussman, CRIMSON STAFF WRITER | Title: Something to Talk About | 11/14/2002 | See Source »

These characters are, alas, entirely typical of Director Walter Murch's gloomily recharted Oz. Even Billina, the feathered critic manque, is part of the problem. She is a substitute for Toto, Dorothy's beloved dog, unaccountably left behind this trip. But though she can talk, she has less animation, and character, than the mutt. The same lack of enchantment afflicts the new friends Dorothy makes on the journey. Instead of the Scarecrow, Tin Man and Cowardly Lion of blessed memory, she encounters a pumpkin with stick limbs, a tin soldier and something called a Gump, which looks suspiciously like your...

Author: /time Magazine | Title: Cinema: Some Sideshows of Summer | 7/1/1985 | See Source »

...Robert Murch (Sir Toby) and Michael Tolaydo (Orsino) do little more than get through their lines, though Mary Doyle wins a few points for her Maria. Making his professional debut here is Peter Francis-James, doubling the supporting roles of Valentine and an Officer. Though these offer little opportunity, it is at least apparent that Francis-James has learned to speak quite beautifully at the Royal Academy in London, where he played Orsino. I wish he had been entrusted with the role here...

Author: By Caldwell Titcomb, | Title: Here and There A 'Twelfth Night' | 7/18/1978 | See Source »

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