Walter Murch

Seduce me with your black and white photography.

you pretentious motherfucker what are we doing here gentlemen last time i checked we were deciding if something was a bad movie or not the best that they can do here is take something down a peg and this is reels of justice not reels of taking down a peg i didn't think about that touch of evil is such a rich text it's still reverberating through cinema history Orson Welles could have never imagined that his film would be re-edited to his specifications in a 58-page memo by the great Walter Murch 40 years later and released to a throng of sincere love and affection.

Few auteurs have been as beleaguered and sabotaged as Welles, despite what the prosecution may say, this being the last film he actually produced for the domestic market.

The man who gave us Citizen Kane, The Lady from Shanghai, and The Magnificent Ambersons, another film that was taken away from him and bastardized, was originally just hired as an actor.

I just saw a thing yesterday about my favorite.

I don't know if you guys know who Walter Murch is.

I believe he's retired, but he's still alive.

He's a very famous movie editor.

And for years, he was Francis Ford Coppola's editor.

He's cut a number of legendary, legendary films, including most famously Apocalypse Now.

And Walter Murch...

Walter Murch will not use, he won't scrub for shots.

Done by Edward Murch.

Walter Murch.

Walter Murch.

Walter Murch.

Yeah, yeah.

Yeah, what's interesting is actually, did you know this as well? David Shire, as you said, was Talia Shire's ex-husband.

So apparently Coppola wrapped filming four days ahead of schedule.

And there was apparently a bunch of scenes that were never filmed, that were in the script that were never filmed.

His visual and editing style is mostly minimalist.

I know that he had a strategy where basically when cutting to Bear's point of view, he would cut to that angle following the Walter Murch rule of six eye trace rule.

He also used limited depth of field in such shots to convey what the point of view of Bear was when he was looking at someone or something, which again places the audience into Bear's point of view, and that the film was shot in a third-person limited perspective.

To get us into Bear's mindscape, the use of dark humor has echoes of Verhoeven and others working in that capacity, so we'll see where Barker goes with that aspect.

Universal superimposed them over it in 1958.

But in 1998, Walter Murch, whoever he is, stripped them off.

And he also stripped off Mancini's music, replacing it with the radios and nightclub bands the camera passes.

That's why I wonder, because I think I would prefer that one if I could see that version.