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Lädt ... The Conversations: Walter Murch and the Art of Editing Film (2002)von Michael Ondaatje, Walter Murch
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Melde dich bei LibraryThing an um herauszufinden, ob du dieses Buch mögen würdest. Keine aktuelle Diskussion zu diesem Buch. A must-read for anyone even remotely interested in film production. The discussions with Murch, a veteran picture and sound editor, not only provide interesting behind-the-scenes anecdotes about several films (including "Apocalypse Now", "The English Patient" and the "Godfather" trilogy) but shed light on the process of editing -- all the decisions involved when you're given a jumble of footage and have to piece them back together into a coherent, cohesive narrative that may or may not resemble the original screenplay. Even when I disagreed with some of his theories, which is rare, I always appreciated the intelligence and perceptiveness with which he explained them. I'm not familiar with Ondaatje's novels and poetry, but he asks good questions and has some insights of his own regarding the differences between literature and film. ( ) A consistently thought-provoking conversation between two great artists, both undoubtedly in love with the moving image. It uses film editing as a starting point for an original disquisition on the art of film and artistic creativity in general, with many wonderful insights. Movie references abound; this is an undisputed gem of a book that no film-lover should miss. A wide-ranging discussion between two artists, as much about sound editing as film editing, and how both writing and editing deploy tactics gleaned from psychology or musical forms to establish meaning, pacing, pattern. There are anecdotes from films (from Murch's portfolio and films by others), usually highlighting a specific scene or situation, with correspondingly specific insights into the effect achieved or avoided. But even with such fascinating discussions from cinema, the book is really about how two interesting individuals think in general. I'm left motivated to follow up on various film studies references, but also novels and historical works mentioned in the course of their dialogues. Especially incisive is the allegory [210-214] of physicist John Wheeler's parlour game, Negative Twenty Questions, to explain the creative process responsible for wonderfully successful films, as well as failures that prompt the viewer to wonder how anyone, ever could have been persuaded that the idea was worth pursuing. Irreplaceable. Similarly but less developed in their discussion is the idea of cinematic notation, corresponding to musical notation, and how that technique (once developed) could foster innovation and sophistication on the order of polyphony, pattern, harmony in film. Murch suggests [296-301] the I Ching may serve as an interesting foundation for notating the dynamics in a scene, between characters, as expressed in their staging and actions. Provocative but preliminary. The quotes I focused on tend to be Murch's in this book and he clearly is a polymath mentality. I wonder how much Ondaatje's eclipsed presence is something Ondaatje fashioned deliberately, as the author of the book. Zeige 3 von 3 keine Rezensionen | Rezension hinzufügen
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'Observing Walter Murch edit The English Patientwas one of the enlightening experiences of my life.' During the filming of his celebrated novel, Michael Ondaatje became increasingly fascinated as he watched the veteran editor at work. The Conversations, which grew out of discussions between the two men, is about the craft of filmmaking and deals with every aspect of film, from the first stage of script writing to the final stage of the sound mix. Walter Murch emerged during the 1960s at the centre of a renaissance of American filmmakers which included the directors Francis Coppola, George Lucas and Fred Zinneman. He worked on a whole raft of great films including the three Godfatherfilms, Julia, American Graffiti, Apocalypse Nowand The Unbearable Lightness of Beingand many others. Articulate, intellectual, humorous and passionate about his craft and its devices, Murch brings his vast experience and penetrating insights to bear as he explains how films are made, how they work, how they go wrong and how they can be saved. He describes the science of sound as no one else ever has. His experience working on Apocalypse Now, both originally and more recently when the film was completely re-cut, provides a gripping story on its own, while his work with Anthony Minghella on The English Patient, for which Murch won Academy Awards for both sound and picture editing, much of which witnessed by Ondaatje, produces another illuminating highlight of the book. Keine Bibliotheksbeschreibungen gefunden. |
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