Best 15 quotes of Walter Murch on MyQuotes

As I've gone through life, I've found that your chances for happiness are increased if you wind up doing something that is a reflection of what you loved most when you were somewhere between nine and eleven years old. [...] At that age, you know enough of the world to have opinions about things, but you're not old enough yet to be overly influenced by the crowd or by what other people are doing or what you think you 'should' be doing. If what you do later on ties into that reservoir in some way, then you are nurturing some essential part of yourself.

As I've gone through life, I've found that your chances for happiness are increased if you wind up doing something that is a reflection of what you loved most when you were somewhere between nine and eleven years old.

By manipulating what you hear and how you hear it - and what other things you don't hear - you can not only help tell the story, you can help the audience get into the mind of the character.

Every film is a puzzle really, from an editorial point of view.

Every film is hard work, and a few lucky people do get Oscars for what they do, and it's recognition for all that hard work on a certain level. If you didn't do the hard work, you wouldn't be standing there. On the other hand, people do a lot of hard work and don't get Oscars, so it's a mixture of glory and injustice at the same time.

Film editing is now something almost everyone can do at a simple level and enjoy it, but to take it to a higher level requires the same dedication and persistence that any art form does.

I think every age has a medium that talks to it more eloquently than the others. In the 19th century it was symphonic music and the novel. For various technical and artistic reasons, film became that eloquent medium for the 20th century.

Looking at a first assembly is kind of like looking at an overgrown garden. You can't just wade in with a weed whacker; you don't yet know where the stems of the flowers are.

Most of us are searching-consciously or unconsciously- for a degree of internal balance and harmony between ourselves and the outside world, and if we happen to become aware-like Stravinsky- of a volcano within us, we will compensate by urging restraint. By that same token, someone who bore a glacier within them might urge passionate abandon. The danger is, as Bergman points out, that a glacial personality in need of passionate abandon may read Stravinsky and apply restraint instead.

The Conversation' was the first film I edited on a flatbed machine - a KEM editing machine. I've been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way.

There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.

The word processor is a better tool than a quill pen because you can do so much more with it, but on the other hand, what you have to say and how you say it is the ultimate determination.

This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.

When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.

You can always make a film somehow. You can beg, borrow, steal the equipment, use credit cards, use your friends' goodwill, wheedle your way into this or that situation. The real problem is, how do you get people to see it once it is made?