Book description
During the filming of his celebrated novel THE ENGLISH PATIENT, Michael
Ondaatje became increasingly fascinated as he watched the veteran editor
Walter Murch 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 GODFATHER films, JULIA,
AMERICAN GRAFFITI, APOCALYPSE NOW, THE UNBEARABLE LIGHTNESS OF BEING and
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. His experience on APOCALYPSE
NOW - both originally and more recently when the film was completely
re-cut - and his work with Anthony Minghella on THE ENGLISH PATIENT
provide illuminating highlights. During the filming of his celebrated
novel THE ENGLISH PATIENT, Michael Ondaatje became increasingly
fascinated as he watched the veteran editor Walter Murch 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 GODFATHER films, JULIA, AMERICAN GRAFFITI,
APOCALYPSE NOW, THE UNBEARABLE LIGHTNESS OF BEING and 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. His experience on APOCALYPSE NOW - both
originally and more recently when the film was completely re-cut - and
his work with Anthony Minghella on THE ENGLISH PATIENT provide
illuminating highlights.
