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Walter Scott Murch (born July 12, 1943) is an American film editor, director, writer and sound designer. With a career stretching back to 1969, including work on THX1138, Apocalypse Now, The Godfather I, II, and III, American Graffiti, The Conversation, and The English Patient, with three Academy Award wins (from nine In the Blink of an Eye nominations: six for picture editing and three for sound mixing),[1] he has been referred to by Roger Ebert as "the most respected film editor and sound designer in the modern cinema."[2]
Murch was born in New York City, New York, the son of Katharine (née Scott) and Canadian-born Walter Tandy In the Blink of an Eye Murch (1907–1967), a painter.[4] As a boy, he began to experiment with sound recording, taping unusual sounds and layering them into new combinations.[5] He attended The Collegiate School, a private preparatory school in Manhattan, from 1949 to 1961. In the summer of 1961 he worked as a music librarian and In the Blink of an Eye production assistant at Riverside Church's newly founded radio station WRVR,
now WLTW. He assisted with the July 29th 1961 live broadcast of a 12-hour folk music Hootenanny produced by Izzy Young. This featured, among many other acts, the first radio performance of the 20-year-old Bob Dylan.[6] Murch then attended Johns In the Blink of an Eye Hopkins University from 1961 to 1965, graduating Phi Beta Kappa[7] in Liberal Arts. Murch spent the university school year 1963–1964 in Europe, studying Romance Languages and the History of Art in Italy at Perugia and in France at the Sorbonne.
While at Johns Hopkins, he met future director/screenwriter Matthew Robbins, In the Blink of an Eye cinematographer Caleb Deschanel, and philosopher Andrew Feenberg, with whom he staged a number of happenings.[8] In 1965, Murch and Robbins enrolled in the graduate program of the University of Southern California's film school, encouraging Deschanel to follow them. There all three encountered, and became friends with, fellow students such as In the Blink of an Eye George Lucas, Hal Barwood, Robert Dalva, Willard Huyck, Don Glut and John Milius; all of these men would go on
to be successful filmmakers. Not long after film school, in 1969, Murch, Lucas, and others joined Francis Ford Coppola at American Zoetrope in San Francisco. Murch and his family settled In the Blink of an Eye in Bolinas, California, in 1972.[5][9][10]
Murch started editing and mixing sound with Francis Ford Coppola's The Rain People (1969). Subsequently, he worked on George Lucas's THX 1138 and American Graffiti and Coppola's The Godfather before editing picture and mixing sound on Coppola's The Conversation, for which he received an Academy In the Blink of an Eye Award nomination in sound in 1974.[11] Murch also mixed the sound for Coppola's The Godfather Part II which was released in 1974, the same year as The Conversation. He did sound design work on Apocalypse Now, for which he won his first Academy Award in 1979[12] and he was also In the Blink of an Eye significantly involved in the re-editing work that resulted in the extended Apocalypse Now Redux in 2001.
In 1985 he directed his only feature film, Return to Oz, which he co-wrote
with Gill Dennis. After the film failed at the box office, he never directed another film again.
In 1988 Murch In the Blink of an Eye was one of the editors on The Unbearable Lightness of Being, directed by Phil Kaufman.[13][14]
Murch edits in a standing position, comparing the process of film editing to "conducting, brain surgery and short-order cooking" since all conductors, cooks, and surgeons stand when they work. In contrast, when writing, he does In the Blink of an Eye so lying down. His reason for this is that where editing film is an editorial process, the creative process of writing is opposite that, and so he lies down rather than sit or stand up, to separate his editing mind from his creating mind.[15]
Murch has written one book on In the Blink of an Eye film editing, In the Blink of an Eye (1995),[16] 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 In the Blink of an Eye rule of six" referring to the 6 criteria in a film that he examines when making a cut. In his book, Mur
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