In the blink of an eye book walter murch. In the Blink of an Eye (Murch book) 2022-10-27
In the blink of an eye book walter murch
In the Blink of an Eye is a book written by Walter Murch, a highly regarded film editor and sound designer. The book is a collection of Murch's thoughts and insights on the art and craft of film editing, drawn from his extensive experience working on some of the most iconic films of the past several decades.
One of the main themes of In the Blink of an Eye is the idea that film editing is not just about cutting and rearranging shots, but rather a form of storytelling in its own right. Murch argues that the editor has the ability to shape the emotional and psychological experience of the audience through the careful selection and arrangement of shots. He describes the process of editing as "collaborative solitaire," as the editor must work closely with the director and other members of the crew to craft a cohesive and compelling story, while also maintaining their own artistic vision.
In addition to discussing the art and craft of film editing, Murch also delves into the technical aspects of the job. He explains the various tools and techniques that editors use to create seamless transitions between shots and to manipulate the pace and rhythm of the film. He also discusses the importance of sound in film and the role of the sound designer in shaping the overall experience of the film.
Overall, In the Blink of an Eye is a thought-provoking and insightful look at the art and craft of film editing. It is a must-read for anyone interested in film or the creative process behind it.
In the blink of an eye (2001 edition)
The most useful take on the proliferation of digital Editing technology and footage for aspiring Editors is to be aware that now most people can get access to editing software, you will need to work hard to stand out in the noise. Retrieved 11 January 2016. Why, then, is watching a film such a natural, engrossing, emotional process? New to this second edition is Murch's lengthy meditation on the current state of digital editing. However, taking it out created a more seamless experience for the audience. It seems to him that the struggle should generally be placed between the artist and the work.
Walter Murch's Book in a Blink Of an Eye: The Notion Of Cutting an Eye
It is clear Murch struggles with his work. Whereas an experienced doctor studies you, takes an xray, and determines that the cause of the pain is probably a pinched nerve up in your shoulder—you just happen to feel it in your elbow. Likewise the inverse metaphor works. Much like a well place camera movement, it must be motivated. When I sit down to edit something that I shot, it is sometimes incredibly easy, and comes very quickly. When we understand it as an audience, we can blink i. After the first cut is assembled and you watch it back, the editor can still too vividly remember each cut and why they made it.
In the Blink of an Eye: A Perspective on Film Editing / Edition 2 by Walter Murch
Retrieved 11 January 2016. Sometimes, it is between the artist and the audience. Along the way, he offers his unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. Therefore, In The Blink Of An Eye should be read by anyone who wants to make, or indeed, analyze film and television. It would also be of interest to anyone keen on film history, as a large amount of the book is devoted to the movement from film to digital and its affects on the craft. In a conversation for example, blinks fall naturally at specific moments. I hope this summary of In the Blink of Eye was helpful to you! People blink when they understand what you are saying and film editing is no different.
In the Blink of an Eye (Walter Murch)
It is a privilege to read the perspective of such an experienced film editor when considering my own artistic editing decisions, and I will certainly remember some of what I read in this book for a while. One key idea for editors to take on board was that Editors must learn to think not just horizontally as they did with film, but vertically. There really is something so natural about film that it becomes what we are experiencing, yet also there is something so startlingly unexpected about film that keeps us questioning its purpose, motives, and existence in a world that existed for millions of years without it. As more full versions are cut and screened you slowly start to see the film for what it is, removing yourself from the work. Murch has that little story in the end of taking out that scene that Zinnemann had a profound connection to. If you are on a tour, you do want the guide to point things out for you, of course, but some of the time you just want to walk around and see what you see. Despite that, it still felt very emotional for Murch to unglue the film on that scene.
In the Blink of an Eye: A Perspective on Film Editing
For one to understand the entire filmmaking process, you need to understand each. Murch writes that while people often believe they experience the world continuously, they are in fact experiencing cuts with each blink of their eyes. Sometimes, I simply do not feel like getting myself to edit. They say a film is written three times: during the script, the shoot and the edit. Therefore, editing a movie is essentially finding the rhythm of thought.
In the Blink of an Eye (Murch book)
He kept going back to this idea throughout the book: technical editing is important but only through the idea that technical editing concepts are primarily rooted in conscious and subconscious emotional experiences we have every day. Then you wind up with not only the original pain but probably a pain in your wrist and your shoulder as well. Each shot leads into the next fluidly and you are the invisible string puller. Murch was very quick to express his awareness of film as a modern phenomenon, hardly a century old. Retrieved 11 January 2016.
In the Blink of an Eye by Walter Murch
The same goes for a poor edit. Murch explained that it works because of so many natural subconscious processes of ours. It can be very draining, and is not something that I can do passively. Sometimes, it is between the work and the audience. This is brilliant filmmaking, and may not be for every film consumer. Murch often found that when he would go to cut an actor, each time the right cut fell when the actor was blinking. People can make decisions much later in the production process, where previously they would have been locked it.
In other words, as Murch describes it, they have no knowledge of what was beyond the frame you see on the screen. Watching film is not so much a learned experience as previously thought. . And yet, do any of us paint on their level today? Murch takes that responsibility upon himself. Film editing is just as emotional during the creative process as painting, or photography.
The sunset in the distance. The audience should only struggle when the artist intends. Much like the conversation, the rhythm must be found and this will dictate whether to hold a shot or cut sharply. Table of Contents Foreword ix Preface to the Second Edition xi Preface xiii Cuts and Shadow Cuts 1 Why Do Cuts Work? What should they be feeling here? Film has the ability to make me incredibly angry, or unnecessarily excited. The key takeaway from In The Blink of an Eye regarding audience feedback from screenings is to listen to the emotions of the audience, but not necessarily the specific feedback. He recalls editing Gene Hackman and believing that he fully in habited the character as each blink was perfect for the rhythm of the movie and therefore the edit. The editor is responsible for what the audience sees of the film.
Along the way, he offers his insights on such subjects as continuity and discontinuity in editing, dreaming, and real life; the criteria of a good cut; and the blink of the eye as both an analog to and an emotional cue for the cut. If my emotions are a natural process that exist through some sort of creative process of God for a specific reason, then these feelings must be born of something fundamentally intrinsic to the human experience. In this second edition, Murch reconsiders and completely revises his popular first edition's lengthy meditation on digital editing which accounts for a third of the book's pages in light of the technological changes that have taken place in the six years since its publication. In 2001 it was revised to reflect changes in In particular, Murch uses his experience editing The English Patient to explore the digital side of editing. If in a conversation with someone blinking at unnatural intervals, the discussion will feel off and stilted. A decent editor will lead the audience to the point, but a great editor gives the audience an appropriate level of responsibility to struggle with the film as well. One must resist the urge to cut for cuttings sake.