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Walter Scott Murch (born July 12, 1943) is an American film editor, director, writer and sound designer. His work includes THX 1138 , Apocalypse Now , The Godfather I , II , and III , American Graffiti , The Conversation , Ghost and The English Patient , with three Academy Award wins (from nine nominations: six for picture editing and three for sound mixing).
Walter Murch has been editing sound in Hollywood since starting on Francis Ford Coppola's film The Rain People (1969).He edited sound on American Graffiti (1973) and The Godfather Part II (1974), won his first Academy Award nomination for The Conversation (1974), won his first Oscar for Apocalypse Now (1979), and won an unprecedented double Oscar for Best Sound and Best Film Editing for his work on The English Patient (1996).
Walter Murch has been editing sound in Hollywood since starting on Francis Ford Coppola's film The Rain People (1969).He edited sound on American Graffiti (1973) and The Godfather Part II (1974), won his first Academy Award nomination for The Conversation (1974), won his first Oscar for Apocalypse Now (1979), and won an unprecedented double Oscar for Best Sound and Best Film Editing for his work on The English Patient (1996).
Apr 8, 2017 · Walter Murch is the Godfather of sound design. A graduate from USC film school, his groundbreaking work with George Lucas (THX-1138, American Graffiti) and Francis Coppola (The Godfather trilogy ...
This feature-length documentary, approved by legendary film editor and sound designer Walter Murch himself (“The Conversation”, “Apocalypse Now”), was culled by Jon Lefkovitz from over 50 hours of Murch's lectures, interviews, and commentaries.
Apr 30, 2019 · Walter Murch. For Murch, one of the keys to his career was traveling north 400 miles to San Francisco with Lucas, who he had met at USC, and Coppola, who he worked with on “Rain People,” to ...
Jan 18, 2023 · Watching a documentary on film history, editor Walter Murch was struck by how different cinematographers tended to frame faces in close-ups similarly. “I noticed something peculiar,” he said. “No matter what the film was, the eyes of performers in close-up seemed to float along the same line from shot to shot.”
