IN THE BLINK OF AN EYE NEW EDN: New Edition

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Murch believe that film will become a ‘historical curiosity’ which hasn’t quite happened yet as a few film makers still use it, for example Christopher Nolan, but he is certainly in the minority. i90814174 |b1010002163363 |das |g- |m |h5 |x1 |t0 |i2 |j18 |k150129 |n08-21-2022 22:11 |o- |aTR899 .M87 2001 Glenn Farr, Lisa Fruchtman, Stephen A. Rotter, Douglas Stewart, and Tom Rolf - The Right Stuff (1983)

Shelton, Robert (July 29, 1961). "Folk Music Heard on 12-Hour Show". The New York Times . Retrieved 2017-04-03. A good rule of thumb for understanding this is to ask yourself: how will this cut affect the audience emotionally at this moment? Every shot has potential ‘cut points’, and once you have identified them, you will choose different points depending on what the audience has been thinking up to that moment and what you want them to think next. First, by cutting away from a certain character before he finishes speaking, the editor encourages the audience to think only about the face value of what the character said. Second, if the editor decides to linger on the character after the character finishes speaking, the editor wants the audience to judge what the character said from their eyes (the character was probably lying). In a conversation for example, blinks fall naturally at specific moments. Sometimes it’s a longer period, others a short one. People blink when they understand what you are saying and film editing is no different. Much like the conversation, the rhythm must be found and this will dictate whether to hold a shot or cut sharply. When we understand it as an audience, we can blink (i.e. cut). This is very interesting for those studying how the mechanics of film making have changed. Analogue to digital. Speed is important in a big budget film. Apparently a question asked when hiring an editor is 'how fast do they work?'Originally released in 1894, Murch's restoration was completed in 2000. One of several attempts to marry the archival film's sound and picture. It was later shown to be incomplete and has since been re-synchronized by professional motion picture archivists. [41]

In the early stages of fetal development, it is difficult to tell the difference between human and chimp embryos. And yet, as they grow, they reach a point where differences become apparent, and from that point on, the differences become more and more obvious. For instance, the choice of what comes first, the brain or the skull. In human beings, the priority is brain first, skull next, because the emphasis is on maximizing the size of the brain. Any time you look at a newborn human infant you can see that the skull is not yet fully closed around the top of the still-growing brain. With chimpanzees, the priority is reversed: skull first, then brain—probably for reasons that have to do with the harsher environment into which the chimp is born. The command from the chimp’s sequence is, “Fill up this empty space with as much brain as you can.” But there’s only so much brain you can get in there before you can’t fill it up anymore. At any rate, it seems to be more important for a chimp to be born with a hard head than a big brain. There’s a similar interplay between an endless list of things: The thumb and the fingers, skeletal posture, certain bones being fully formed before certain muscular developments, etc.” Balancing Detail and Brevity: While brevity is key, it's also important to provide enough detail to create a rich, immersive world. Economy in storytelling is about finding that balance.

If an actor is successful at projecting himself into the emotions and thoughts of a character, his/her blinks will naturally and spontaneously occur at the point that the character’s blinks would have occurred in real life. Thereby, the editor can align the cut points with the blink points. Ondaatje, Michael (2004). The Conversations: Walter Murch and the Art of Film Editing (New York: Random House). Malaparte, Curzio; Weschler, Lawrence (2012). The Bird That Swallowed Its Cage: The Selected Writings of Curzio Malaparte. Walter Murch (translation). Counterpoint Press. ISBN 9781619020610. Lewis, Alex (December 23, 2015). "Harry Potter director and Godfather technician visit Hatfield's University of Hertfordshire". Welwyn Hatfield Times. Murch talks about what films have in common with dreams. He discusses questions editors should ask themselves when shaping the narrative. Generally, he goes deep into his approach to film editing.

Originally In the Blink of an Eye was a lecture given by Walter Murch in Sydney, Australia, in 1988. It’s still 100% relevant today. The editor should put himself in the place of the audience considering what the audience is thinking at the moment, where the audience is looking at the moment, what does the editor want the audience to think of at the moment, what does the audience need to think about at the moment, and what should the audience feel at the moment. Like magicians, the editor would have to focus the attention of the audience on the wrong side, to help the large unveil at the end. The relation between a director and an editor is that of a dreamer and a listener. The dreamer would instigate a conversation with an idea, and the listener would imagine sequences (incorrect, perhaps) from the idea. As the dreamer listens to this, he would find himself protesting and the dreams are further explained by their inner memory. This is again worked on by the listener, and the cycle continues till the listener can draft out the dream sequence as imagined by the dreamer. The editor and director can play both roles here. In 1996, Murch worked on Anthony Minghella's The English Patient, which was based on Michael Ondaatje's novel of the same name. Murch won Oscars both for his sound mixing and for his editing. [28] Murch's editing Oscar was the first to be awarded for an electronically edited film (using the Avid system), and he is the only person ever to win Oscars for both sound mixing and film editing. [29] What we do seem to have difficulty accepting are the kind of displacements that are neither subtle nor total: Cutting from a full-figure master shot, for instance, to a slightly tighter shot that frames the actors from the ankles up. The new shot in this case is different enough to signal that something has changed, but not different enough to make us re-evaluate its context: The displacement of the image is neither motion nor change of context, and the collision of these two ideas produces a mental jarring-a jump that is comparatively disturbing. (...) Bob Dylan, 1961 - Radio Broadcasts (Including the first time Bob was broadcast on the radio)". YouTube.Lon Bender, Chris Duesterdiek, Martin Hernández, Frank A. Montaño, Jon Taylor and Randy Thom (2015)

In essence, economy in storytelling is about making every word, scene, and character count. It's a skill that involves careful planning, editing, and a deep understanding of what is essential to the story's core message and emotional impact. In 1979, he won an Oscar for the sound mix of Apocalypse Now as well as a nomination for picture editing. The movie was among the first stereo films to be mixed using an automated console. Additionally, the film is the first to credit anyone as Sound Designer, a professional designation that Murch is widely attributed to have coined as a means to help legitimize the field of post-production sound, much in the way William Cameron Menzies coined the term "Production Designer" in the 1930s. [24] Chion, Michel (1994). Audio-Vision: Sound on Screen (Columbia University Press). ISBN 0-231078-99-4.In 2012, Murch's translations of short stories by the Italian writer Curzio Malaparte were published as The Bird That Swallowed Its Cage. [23] Innovations and awards [ edit ] Impactful Storytelling: Ultimately, the goal is to tell a story that is impactful and engaging. By being economical, writers can create a narrative that maintains the audience's interest and delivers a powerful message or experience in a concise manner. 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. i66948812 |b1240058119844 |dssbnf |g- |m |h12 |x1 |t1 |i7 |j7 |k111119 |n10-31-2023 19:45 |o- |a777 |rMUR A common issue filmmakers, and storytellers alike face, is throwing out what doesn't work. Getting rid of our creations that aren't serving the story can be challenging, even emotional.