and long sequences, 160, 193, 195
and Mac operating systems, 105–106, 184–185
marketing of, to film industry, 104
and media handling, 90, 160–161, 164
Murch’s decision to edit Cold Mountain with, 56, 79–80, 94–95, 109
Murch’s first demonstration of, 91–92
Murch’s first use of, 99–100
Murch’s meetings at Pixar regarding, 86–94
and networking, 90, 106
and OMF export, 102–103
as “pro-sumer” application, 59
problems/concerns with, 76, 86, 90, 100–103, 150–151, 157
purpose of, 55
and rendering time, 86, 90
and reverse telecine process, 69
and sound conversion, 128, 133–134, 159, 184, 221
and sound mixing, 287
and stuttering images, 157
and system crashes, 73, 228
testing of Murch’s equipment for, 129–131
user group, 323
Final Draft, vi
Finding Nemo, 86
Flack, Sarah, 84
flashbacks, 211, 216, 231, 262, 301
flatbed film-editing system, 51–52
Fly Away Home, 26
focus groups, 20, 259, 268–272
Foley, 194
Ford, Harrison, 29, 41
Foreman, Jim, 116
Forrest, Frederic, 38
Fort, Dan, 100, 102
frame counter, 206
frames, 100–101, 157
Frazier, Charles, 44, 168, 182, 248, 249
G
Gallery (London firm), 184
gang synchronizer, 9
Garfield, Allen, 41
Gilbert, Mark, 184–185, 185
Glasman, Adam, 302, 303, 304
Godard, Jean-Luc, 329
Godfather, The, 26, 33, 34, 36–38, 272
Goldberg Brothers, 5
Goldberg cans, 4–5
Goldman, William, 15
Goldwyn, Samuel, 327
Gough, Matthew, 239, 314, 320
Grace, 318, 319
“grading” prints, 302
graduate film school, USC, 26, 48, 327–328
Grahamjones, Robert, 12, 91–94, 157, 240
graphics functions, Final Cut Pro, 316
Group Seven gang, v
Growing Up in Hollywood, 271
guillotine splicer, 10
Gulf+Western, 327
H
Hackman, Gene, 33, 35, 36, 39, 207–208
hairdo scene, 216–217
hard drives, 8, 9
hard effects, 194
harmonic superimposure, 289
Harris, Brooks, 103
Heaven, 21
Herzog, Werner, 329
high-definition video cassettes, 329
hog-butchering scene, 126, 264
Hollywood, London as alternative to, 187, 295
Hollywood Reporter, The, 177, 179
Horberg, Bill, 21, 22, 114–115
Horton, Mike, 323
Hudson, Bill, 84–85, 104, 108, 274
Huston, John, 207, 324
I
I Love Trouble, 54
In the Blink of an Eye, ix, 53, 74, 207, 208–209
Industrial Light & Magic, 26
Inman. See also Law, Jude
Ada’s letters to, 210–211, 213, 296
and chain gang scene, 267
and Cold Mountain story structure, 44, 210
concerns about hat worn by, 161
and crabs scene, 262
and death scene, 316, 318
getting audience to engage with, 261
and hog-butchering scene, 126, 264
relationship with Ada, 210
reunion with Ada, 268
and Sara, 126, 263–264, 266, 304
and story momentum, 267–268
International Creative Management, 48
Internet, distributing films via, 330
J
Jenkins, Allan, 256, 310–311, 312, 313
Jobs, Steve, vi, 83–84, 86, 87, 132–133
jog wheel, Final Cut Pro, 160
Joseph, Eddy, 194, 238
journal, Walter Murch’s, xi, 4
Julia, 32
Jumanjii, 26
Junior Redux scene, 169
Jurassic Park III, 26
K
K-19: The Widowmaker, 29, 32, 54, 324
Kary, Loran, 67, 68
Katrib, Ramy, 63–69, 76, 95. See also DigitalFilm Tree
Kazan, Elia, 34
KEM editing machines, 34, 51–52, 171
key codes, 70–71, 72
Key Grip, 54
Kidman, Nicole. See also Ada Monroe
ADR sessions, 241, 243
and Cold Mountain screenings, 20, 323
concerns about accent of, 161
role in Cold Mountain, 44, 78
and voiceovers of letters to Inman, 292, 296, 298
King of the Hill, 21
Kingston hard drives, 8, 9
Kinney National, 327
Kleiser, Randal, 328
Kodak, 6
Kodak Cinelabs, 8, 117–118
Koppelman-Brown, Walker, 333
Krauss, Alison, 298, 311, 313, 314
Kubrick, Stanley, 143
L
LAFCPUG, 323
Lang, Fritz, 31
laptops, running Final Cut Pro on, 179
Law, Jude. See also Inman
and ADR sessions, 241
and Cold Mountain story structure, 44
concerns about hat worn by, 161
and death scene, 316
and preview screenings, 20, 323
as replacement for Tom Cruise, 78
“Law of Two-and-a-Half,” Murch’s, 288–289, 295
Lee, Spike, 329
Leone, Sergio, 34
Levinson, Mark, 241–243
lighting techniques, 13
Linklater, Richard, 329
lip-syncing, 241
Littenberg, Susan, 84, 86
“little people” tool, 155–156
London
as alternative to Hollywood, 187, 295
CinemaSports’ Film-in-a-Day event, 332–333
Diorama in, 291
Murch’s home in, 190
National Film Theatre, 223, 236, 245
sound mixing facilities in, 237
London Symphony Orchestra, 225, 311
loop groups, 238, 242
looping, 206, 241–242
Los Angeles
Film School, 323
Final Cut Pro User Group, 323
preview screening of Cold Mountain, 322
Lowe, Dennis, 231
Lucas, George
and computer-controlled editing, 53
early approach to filmmaking, 26
multiple filmmaking roles performed by, 331
Murch on working with, 324
Murch’s early work with, 26, 33, 48
and USC graduate film school, 26, 48, 328
and Zoetrope Studios, 26
Lucasfilm, 26, 53, 86
M
Mac OS X. See OS X
Macintosh, 54, 61
MacRae, Elizabeth, 41
Macromedia, 54
mail rooms, studio, 48
Malkin, Barry, 51
Mancini, Henry, 272
Maya, 250
Mayer, Louis, 310
McGrane, Claire, 303
Meaney, Brian, 84–85, 105–106, 196, 274
media management, 90, 160–161, 164
Mehrabyan, Edvin, 66, 100
Mephistopheles’ cinematic black back, 332
MetaFlow, 184, 185, 234
MGM, 167, 168
Milius, John, 328
Minghella, Anthony
and ADR supervisors, 242
on British cinema, 295
and British Film Institute, 189
editing routine for Cold Mountain, 197
&nb
sp; FCP workstation of, 189–190
on filming Cold Mountain battle scenes, 148
and “final cut” prerogative, 301
and Final Cut Pro, 78, 95
on finishing a film, 320, 322
general approach to filmmaking, 55, 124
and Mirage Enterprises, 189
Murch’s ritual gift to, 135–136
Murch’s script notes to, 45–46, 114
and music for Cold Mountain, 225, 298
physical appearance of, 21
and preview screenings, 7, 16, 21, 216
relationship with Murch, 118–119
on revolution in cinema, vi
screening first assembly of Cold Mountain by, 192–193, 196
and soccer, 315, 318
and sound mixing, 292
and stress of completing Cold Mountain, 303
and “tang” effect, 124–128
theory of cinematic relativity, 262
and U.K. moviemaking community, 187
working environment created by, 158
on working with Murch, 199–200
Mirage Enterprises, 21, 167–168, 189
Miramax Films. See also Weinstein, Harvey
and Apple, 117, 132
and Cold Mountain budget, 132–133
and Cold Mountain marketing campaign, 309–310
and Cold Mountain preview screenings, 9, 236
New York City home of, 247
notes on Cold Mountain prior to final mix, 270–272
mixers. See sound mixers
mixing boards, 238–239
mixing sound. See sound mixing
Monroe, Ada. See Ada Monroe
Monsters, Inc., 86
Month of August, 74
.moov, 161
Motion Picture Sound, Association of, 279
motion pictures. See also films
complexity of soundtracks for, 238
effective sound design for, 288–289
going overtime on, 180
impact of TV on, 327
marketing of, 309–310
running-time considerations, 214–215
sound effects for, 226, 238, 239
trial prints of, 303
visual effects for, 230–231
Moviolas, 49–52, 171
Murch, Aggie, 26, 28, 88
Murch, Beatrice, 26, 28, 231
Murch, Walter (film editor)
and “5.1” sound format, 60
and “30 percent factor,” 146, 165, 215, 261
and actors on set, 32
on aiming for “B,” 204
on Apple’s role in Cold Mountain, 333–334
on art/technique of film editing, 254
and Avid editing system, 54, 61, 275–276
and “blink” theory, 207–208
book on film editing, ix, 53, 74, 207, 208–209
on cinematic experience, 329
and Cold Mountain. See Cold Mountain
and computer-controlled editing, 53–56
and The Conversation, 34–43, 51
on cutting for words/thoughts, 279
on deadlines, 272
“Dense Clarity—Clear Density” article, 288
and documentaries, 325
early career of, 26, 33, 48–49, 60
edit-on-the-fly technique, 157, 159, 206–207, 324
on editing endurance, 275
editing routine for Cold Mountain, 197
editing tools used by, 140–143, 155–156, 165
education of, 26
on effective sound design, 288–289
email correspondence of, xi
exercise routine of, 33, 173
family of, 26, 28, 232
fascination with new technology, 134–135
FCP workstation of, 153
and film directors, 45, 120, 324
on filmmaking in digital era, 31, 335
and Final Cut Pro. See Final Cut Pro
on finishing a film, 320, 321
first film edited by, 33
on focus groups, 269
on future of digital editing, 325
on future of filmmaking, 328–333
and George Cukor, 48
and grouping of editing activities/scenes, 174–175
home, boyhood, 5, 10–11
home, current, 25–26, 29, 190
journal kept by, xi, 4
and KEM flatbed editing machine, 51–52
and LAFCPUG, 323
on lighting techniques, 13
and Macintosh, 55, 61
on maintaining objectivity during film editing, 12–13, 32
Minghella on working with, 199–200
and Moviolas, 49, 50, 52
and music for Cold Mountain, 226, 298
and N-VIS-O splicing system, 8–9, 10
note-taking system used by, 175–178
and “parade syndrome,” 30, 279, 322, 328
physical appearance of, 4
on preview screenings, 16, 18–20
on producers, 223
relationship with Minghella, 118–119
on removing/transposing scenes, 13
ritual gift to Minghella, 135–136
and Robert Grahamjones, 91
and “rule of six,” 208–209
and Sean Cullen, 56, 60. See also Cullen, Sean
and sound mixing, 240, 287–289, 292–293, 297–298
on taking break between filming and editing, 192
on taking editing notes, 168–169
and “The Memo,” 45
on theater audiences, 18–20, 322
and USC graduate film school, 26, 48, 327–328
and use of hard drives in preview screenings, 8
on using FCP for next project, 334
“vacuum tube theory” of power/coherence, 18–20
on ways to keep film on schedule, 194–195
work schedule of, 173
Murch, Walter (film editor’s father), 5, 6
Murch, Walter Slater (film editor’s son), 4, 26, 28, 61, 332–333
Murch Bin, 143
music
adjusting volume for, 239
blending with effects/dialogue, 238
for Cold Mountain, 225–226, 228, 298, 310–311
as “embodied” sound, 288
and film deadlines, 272
music editors, 310–311
“My Ain True Love,” 311, 313, 320
My Time with Antonioni, 329
N
N-VIS-O splicing system, 8–9, 10, 11, 256
National Film Theatre, 223, 236, 245
Neeson, Liam, 29
negative cutting, 65, 66, 70, 253
negative key codes, 70–71
Never Cry Wolf, 26
New Jersey screening, Cold Mountain, 256, 259–260, 277
non-destructive editing, 52, 143
non-linear editing, 52, 72, 98, 143, 325
O
O Brother, Where Art Thou?, 21, 299
Old Chapel Studio, 189, 203
OMF export, 102–103, 185, 196
OMF Tool Kit, 103
Ondaatje, Michael, 30
One Flew Over the Cuckoo’s Nest, 26–29
OS X, 105, 106, 184–185
Out of Africa, 21
Oxygen Media, 77
P
Paper, Shawn, 74
paper cutouts, 155–156
parade syndrome, 30, 279, 322, 328
Paramount, 34, 327
Parrish, Robert, 271
Peachpit Press, x
personal computers, 53
Petersburg, Battle of, 44, 124, 210, 211, 296
Peterson, Gene, 327–328
photo boards, 140–143
photography, director of, 302
piano scene, 226–228
picture boards, 140–143
Pixar, 26, 86–87
Player, The, 21
Pollack, Sydney, 21, 22, 167, 189, 222
porch scene, 279
Portman, Natalie, 241
, 263. See also Sara
Powell, Dirk, 298
Premiere, Adobe, 54
premixes, 239, 241, 290
Prescription Bottle, Murch’s, 135–136
press screenings, 7
Prestwood-Smith, Michael, 239
“Pretty Bird,” 296
preview screenings
dealing with notes from, 249
film editor’s nervousness during, 16
fixing problems during, 10
preparing for, 8–9
projectionists for, 9–10
protocol regarding, 249
purpose of, 7, 12, 15–16
security during, 23
simulating film experience for, 7
soundtrack for, 8
survey questionnaires for, 20
use of hard drives for, 8
preview screenings (Cold Mountain)
London/National Film Theatre, 236, 245
Los Angeles, 322
New Jersey, 6–10, 20–23, 236
New York/Miramax, 247–249, 256
San Francisco Bay Area, 322–323
Primrose Hill, 190
print codes, 71
print masters, 306, 307, 320
Pro Tools
and FCP workflow, 159, 221, 224, 233
and OMF export, 102–103, 184, 196
and portable systems, 243
and sound mix, 238, 241, 313
vs. Avid, 92, 110
producers, xi, 21, 22, 222–223
projectionists, 9, 10
Pumpkin, 21
Q
QuickTime files, 162–163, 164, 250
Quiet American, The, 21
R
rabbit scene, 215–216, 296, 300
RAID drives, 88, 129
Rain People, The, 26, 33
re-recording mixers, 33
Redstone, Sumner, 6
release dates, 30
release prints, 9, 253, 331
rendering time, 86, 90
RenderMan software, 86, 250
Return to Oz, 16, 32, 250
reverberation, 239, 285
River Gorge Cafe, 11, 12
Robbins, Matthew, 26, 48, 328
Rodriguez, Robert, 331
Romania, 21, 116, 117, 131
Rome, 32
Ronstadt, Linda, 54
rooster scene, 260
Rorke, 184
Ross, Debbie, 246, 295
Rota, Nino, 272, 273
Ruby
arrival at Black Cove Farm, 209, 210, 220, 223
audience reactions to, 210, 270
and Christmas party scene, 304
and hairdo scene, 217
Renée Zellweger’s performance as, 169
and rooster scene, 260
“rule of six,” 208–209
rushes, 30
S
Sacred Harp Singers, 298
Saeed, Zed, 77, 78–79, 245
Behind the Seen Page 41
