The American Film Institute has zeroed in on a highly decorated pair of Hollywood creatives to honor at its upcoming ...

Released 40 years ago this week, The Wizard of Oz sequel Return to Oz was as scary as it was unconventional. It was a box ...

Walter Tandy Murch: Paintings and Drawings, 1925–1967, Rizzoli 2021, text by Walter Scott Murch, Robert Storr, and Winslow Myers' and Judy Collischan, foreword by George Lucas (image courtesy of ...

Walter Murch, who's lived in the Bay Area for more than 30 years, is one of the world's pre-eminent film editor/sound mixer/sound designers. He is a consummate craftsman and innovator who has ...

For Academy Award-winning editor and sound designer Walter Murch, the notion of re-editing "Apocalypse Now" once seemed as likely as the film's Capt. Willard returning to the jungles of Cambodia ...

Walter Murch is one film editor whose profile is much higher than most. His latest film, Jarhead, is based on former Marine Anthony Swofford's best-selling book about the Persian Gulf War.

“The Godfather” of modern sound design Walter Murch looks back at the first film he edited for Coppola and his groundbreaking sound work. Shot in the midst of an astonishing burst of ...

Walter Murch is extraordinary even within his own field, four times Oscar-nominated for film editing, three times nominated for sound mixing, achieving a landmark double when he won both for his ...

Walter Murch, one of Hollywood’s most accomplished film and sound editors, whose illustrious career includes nine Oscar nominations and three wins, also has quite the set of extracurricular ...

Twenty-three years ago, Walter Murch, A&S '65, became fascinated by the 17th-century astronomer Johannes Kepler through reading The Sleepwalkers, Arthur Koestler's 1959 history of Western cosmology.

A very special Film Stories podcast episode, as Walter Murch talks editing, the Droid Olympics, AI, The Conversation and much more… Multi-Oscar-winning editor, sound designer, writer and editor ...

Watching a documentary on film history, editor Walter Murch was struck by how different cinematographers tended to frame faces in close-ups similarly. “I noticed something peculiar,” he said. “No ...