Index
2K scanning, 253
“5.1” sound format, 60
“30 percent factor,” 146, 165, 215, 261
A
Absence of Malice, 21
Acmade numbering machine, 71
Ada Monroe. See also Kidman, Nicole
and Captain Teague, 213–214, 215–216
and Cold Mountain story structure, 44, 210
and Inman death scene, 316, 318
Inman’s efforts to return to, 267–268
letters to Inman, 210–211, 213, 296
maturing of, 262
and rabbit scene, 215–216, 296
reunion with Inman, 268
and rooster scene, 260
adaptable release prints, 331
Adobe Systems, 54
ADR, 194, 236, 238, 241–243, 286
All the King’s Men, 271
American Zoetrope, xii, 29, 61, 63, 83
AMPS, 279
“anamorphic” squeezing, 253
Anders, Alison, 329
Andrews, Steve, 181
Antonioni, Michelangelo, 329
Apocalypse Now, 31, 34, 60, 146, 261
Apocalypse Now Redux, 54
acquisition of Key Grip, 54–55
concerns about use of FCP for Cold Mountain, 150–151, 155
Murch’s first meeting with, 103–107, 109
Murch’s proposed barter arrangement with, 132–133
Murch’s working relationship with, 95
release of Final Cut Pro, 55
rumors about financial role in Cold Mountain, 129–130
support for Cold Mountain project, 333–334
and XML plug-in, 224–225, 233, 235, 244–245
Arriflex Loc-Pro projector, 148
Association of Motion Picture Sound, 279
atmospheres, 194
audiences. See theater audiences
audio conversion problems. See sound conversion problems
audio transitions, 239
automatic dialogue replacement. See ADR
Avid editing system
backup support for, 61
and EDLs, 70
impact on editing assistants, 171
limitations of, 54
and long sequences, 160
Murch’s initial experience with, 54
Avid Express DV, 280
Avid Free DV, 280
B
Bailey, John, 328
Ballard, Carroll, 26
Battle of Petersburg, 44, 124, 210, 211, 296
Battle of the Crater, 165, 218, 297
cutting, 206
length of, and FCP, 160
Minghella on filming of, 148
Minghella on Murch’s editing of, 163
Berger, Albert, 21, 22, 167, 228
Bernstein, Cal, 49
“Black Box” filmmaking, 332, 333
Black Cove Farm, 120, 124, 211, 217, 220, 254
Blow Out, 238
Bode’s Law, 135
Bona Fide Productions, 21, 167–168
Bos, Fernand, 310–311, 312, 313
Bouton, Charles, 291
Brando, Marlon, 261
Bricknell, Tim, 295–296, 303–304
“bride bed full of blood” episode, 125–126
British Film Institute, 189, 295
Broadcast Wave files, 128, 134
Bucharest, 8. See also Romania
Bug’s Life, A, 86
Burnett, T-Bone, 21, 22, 228, 298, 311
Burns, Ken, 213
C
camera rolls, 150
Canvas screen, FCP, 157
Carpathian Mountains, 118
Carroll, Tim, 6
Caul, Harry, 33. See also Conversation, The
chain gang scene, 267
Chambre 666, 329
change lists, 72–73, 90, 159, 179, 236–237
Christmas party scene, 304
Christy halogen projectors, 9
Cinecittà Studios, 32
Cinema Tools
Apple’s purchase of, 68
and conform process, 236
developer of, 100
and film assembly list, 220
importance to digital editing, 76
original name of, 68
and timecode conversion, 100–101
versions, and Cold Mountain schedule, 132, 151
CinemaSports’ Film-in-a-Day event, 332–333
cinematic black box, Mephistopheles’, 332
cinematic experience, Murch’s thoughts on, 329
cinematic relativity, Minghella’s theory of, 262
Citizen Kane, 31
Civil War
and Ada-Inman relationship, 210
Ken Burns PBS series on, 213
munitions, 238
music, 298
sound effects, 291
claymation, 250
Close Encounters of the Third Kind, 26, 31
CMX system, 53
Coen brothers, 299
auction for film rights, 168
best-seller status of, 167
multiple point-of-view construction in, 44
relationship with film/screenplay, 267
storytelling challenge posed by, 210
Cold Mountain (film)
admixture of love and death in, 124
attempts to cut costs for, 132–133, 134
color correction for, 254, 272, 302, 321
completing first assembly of, 192
concerns about going overtime on, 180–181
conforming process for, 236–237, 320
cutting scenes from, 169, 198, 214–217, 261
and digital intermediates, 253, 302
editing methodology for, 56
filming battle scenes in, 148. See also battle scenes
final picture cutting for, 277–281
final picture editing for, 316–326
first day of principal photography on, 136–137
first theatrical showings of, 223
“grading” print for, 302
locking of, 281
major alterations prior to last preview, 267–268
marketing campaign for, 309–310
matching digital/film versions of, 7, 236–237
Minghella/Murch editing routine for, 197
and Miramax Films, 9, 167, 168
Murch’s decision to use FCP for, 56, 79–80, 94–95, 109
Murch’s first notes to director of, 45–46
music for, 225–226, 228, 298, 310–311
preview screenings. See preview screenings
producers of, xi, 21, 22, 222–223
relationship with book/screenplay, 267
resolving problems with beginning of, 218–220, 296–298
scouting locations for, 118
screening first assembly of, 194–195, 196
sound mixing for, 237–244, 287–296
story structure for, 44–45, 210
structural issues during editing of, 204–206
subtitles for, 316
and “tang” effect, 124–128, 174, 215, 263, 266
testing of equipment for, 129–131
time/space transitions in, 211–213
titles/credits for, 246, 295, 316
total film footage for, 145
visual effects for, 230–231, 254
working environment created by Minghella for, 158
color correction, 254, 272, 321
color-timing, 302
computer-controlled editing, 53–56, 143
Computer Film Company. See CFC
computer-generated images, 250
computer-generated special effects, 230–231
conforming process, 236–237, 320
challenges of editing, 36–37, 51
how toilet scene was conceived for, 42
and Murch’s on-the-fly technique, 207
Murch’s role in, 33–34, 41, 43
plot summary, 38
Conversations: Walter Murch and the Art of Editing Film, The, 30
Coppola, Francis Ford
and “5.1” sound format, 60
and computer-controlled editing, 53
early approach to filmmaking, 26
Murch on working with, 324
and Steenbeck editing machine, 51
and Zoetrope Studios, 26
corporate media, 331
crabs scene, 262
Creative Artists Agency, 48
credits/titles, Cold Mountain, 246, 295
Cukor, George, 48
and Avid editing systems, 61, 276
and Cold Mountain dailies, 148, 162
and Cold Mountain workflow, 100, 104, 128, 163
and DigitalFilm Tree, 68–69, 73, 74, 100
and Mac systems issues, 106
and planning for Cold Mountain, 64
and XML plug-in, 224
cut lists, 70
D
D-Vision, 53
Daguerre, Jacques Mandé, 291
and Broadcast Wave format, 128
copying to DVDs, 159
selects vs. non-selects, 150
transferring to DV format, 67
vs. rushes, 30
DAW, 238
De Lane Lea studios, 237, 241, 290, 310
De Niro, Robert, 247
De Palma, Brian, 238
deadlines, 272
“Dense Clarity—Clear Density,” Murch article on, 288
desanguination, 262
Deschanel, Caleb, 328
destructive editing, 52, 72, 143
DFT. See DigitalFilm Tree
dialogue
adjusting volume for, 239
blending with music/effects, 238
lip-syncing, 241
replacing “production,” 238. See also ADR
Dickson, W. K. L., 279
digital audio workstations, 238
digital color correction, 254, 272
digital editing, 7, 8, 76, 143, 325
digital intermediates, 253, 272, 302
DigitalFilm Tree. See also Katrib, Ramy
and Final Cut Pro, 66–67, 76, 95
how Murch team found, 63
Murch’s impact on, 75
testing of Murch’s equipment by, 129–131
and XML plug-in, 224–225, 235, 244–245
Director, Macromedia, 54
director of photography (DP), 302
directors. See film directors
distribution, film, 310, 330, 331
Dolby sound system, 4, 9, 31, 287
Doran, Lindsay, 167
Double Negative, 250
Douglas Fairbanks Studios, 50
Dove Films, 49
DP (director of photography), 302
Dragonslayer, 26
Dreamworks SKG, 21
Droid Olympics, 88
Dumbarton Bridge, ix
Duncan, Stuart, 298
dupe negatives, 253
Duvall, Robert, 38
DVD feature, Final Cut Pro, 159
E
E-Pix, 53
Eastman, George, 6
Eastwood, Clint, 143
edge numbers, 71
Edgewater Multiplex Cinemas, 6, 11
Edison, Thomas, 279
Edit Decision Lists. See EDLs
edit-on-the-fly technique, 157, 159, 206–207, 324
editing stations
editors. See film editors; sound editors
effects editors, 291
Election, 21
EMC, 53
Emeryville, 87
Encyclopedia Britannica Educational Films, 49
English Patient, The
editing system used for, 54
financing of, 168
how Minghella adapted book for, 124
Murch’s assistant on, 12
opening shots in, 314
shooting script for, 140
explosion scene
and alternative story structures, 220
and Murch’s “rule of two-and-a-half,” 295
visual effects for, 252
“eye on the pole” story, 174
Eyemo cameras, 148
Eyes Wide Shut, 21
F
Fairbanks Studios, 50
Fantasy Records, 95
Fassbinder, Rainer Werner, 329
FCP. See Final Cut Pro
feature filmmaking, x, 330, 334. See also filmmaking
Figgis, Mike, 329
FileMaker Pro, 144
Film Composer, Avid, 54, 70, 275
film dailies. See dailies
film directors. See also specific directors
Murch anecdotes on specific, 324
Murch’s method of working with, 45, 120
role of, in sound mixing, 285–287, 292–293
combining sound mixing and, 240, 287, 292–293
destructive vs. non-destructive, 52
estimating time required for, 146
with flatbed editing system, 51–52
incorporating randomness into, 141
learning, 33
maintaining objectivity during, 12–13
Minghella/Murch routine for, 197
Murch on art/technique of, 254
Murch on structural issues in, 204–206
Murch’s book on, ix, 53, 74, 207, 208–209
reducing first assembly, 196
taking break between shooting and, 192
film editors. See also specific editors
assistants to, 170–171, 182–183
craft boundaries for, 33
and film distribution/marketing, 310
and sound mixers, 240, 287, 292–293, 297–298
subliminal source for creative thought in, 198
tools used by, 140–143, 155–156, 165, 171
Film-in-a-Day event, CinemaSports’, 332–333
film industry, marketing of Final Cut Pro to, 104
film production, stages of, 133
film scanners, 253
Film School, Los Angeles, 323
film school, USC graduate, 26, 48, 327–328
FilmLogic, 67
Antonioni on future of, 329–330
“Black Box” vs. “Snowflake,” 332–333
as collaborative effort, 330
comparison with fresco painting, 330
and digital technologies, 31, 328–333, 335
Minghella on revolution in, vi
Minghella’s general approach to, 55, 124
and studio system, 328
this book’s point of view about, x
films. See also motion pictures
analog vs. digital editing of, 7, 8
choosing music for, 226
color-timing, 302
completing first assembly of, 192
conforming process for, 236–237, 320
correcting out-of-rack, 10
dealing with problem of scale in, 155–156
discovering hidden secrets of, 314–315
editing. See film editing
“grading” print for, 302
keeping track of bits of, 143–144
marketing campaigns for, 309–310
Minghella/Murch on finishing, 320, 321, 322
post-production activities, 250, 286
processing, 30
shooting, 140
shooting ratio for typical, 71
“spotting,” 238
tailoring to specific audiences, 331–332
testing, 15–16. See also preview screenings
trial-and-error nature of printing, 303
trimming, 146
Final Cut Express, 334
advantages of, 73, 74, 91, 93, 109, 325
and Apple. See Apple
and assistant editors, 170–171, 182–183
and “Black Box” filmmaking, 333
and change lists, 90, 159, 179, 236–237
and CinemaSports’ Film-in-a-Day event, 332
cost considerations, 73, 109, 110, 331
cutting sound in, 92
deleting empty audio tracks in, 160–161
and DigitalFilm Tree. See DigitalFilm Tree
DVD feature, 159
equipment required for editing with, 109, 114
first attempts at editing film with, 67–68, 74, 98
and frame-accurate stopping, 157
getting sound from, 102–103, 159, 221, 234
graphics/titling functions, 316
and long sequences, 160, 193, 195
and Mac operating systems, 105–106, 184–185
marketing of, to film industry, 104
and media handling, 90, 160–161, 164
Murch’s decision to edit Cold Mountain with, 56, 79–80, 94–95, 109
Murch’s first demonstration of, 91–92
Murch’s meetings at Pixar regarding, 86–94
as “pro-sumer” application, 59
problems/concerns with, 76, 86, 90, 100–103, 150–151, 157
purpose of, 55
and reverse telecine process, 69
and sound conversion, 128, 133–134, 159, 184, 221
and sound mixing, 287
and stuttering images, 157
testing of Murch’s equipment for, 129–131
user group, 323
Final Draft, vi
Finding Nemo, 86
Flack, Sarah, 84
flashbacks, 211, 216, 231, 262, 301
flatbed film-editing system, 51–52
Fly Away Home, 26
focus groups, 20, 259, 268–272
Foley, 194
Foreman, Jim, 116
Forrest, Frederic, 38
frame counter, 206
Frazier, Charles, 44, 168, 182, 248, 249
G
Gallery (London firm), 184
gang synchronizer, 9
Garfield, Allen, 41
Godard, Jean-Luc, 329
Godfather, The, 26, 33, 34, 36–38, 272
Goldberg Brothers, 5
Goldman, William, 15
Goldwyn, Samuel, 327
“grading” prints, 302
graduate film school, USC, 26, 48, 327–328
Grahamjones, Robert, 12, 91–94, 157, 240
graphics functions, Final Cut Pro, 316
Group Seven gang, v
Growing Up in Hollywood, 271
guillotine splicer, 10
Gulf+Western, 327
H
Hackman, Gene, 33, 35, 36, 39, 207–208
hard effects, 194
harmonic superimposure, 289
Harris, Brooks, 103
Heaven, 21
Herzog, Werner, 329
high-definition video cassettes, 329
hog-butchering scene, 126, 264
Hollywood, London as alternative to, 187, 295
Hollywood Reporter, The, 177, 179
Horberg, Bill, 21, 22, 114–115
Horton, Mike, 323
Hudson, Bill, 84–85, 104, 108, 274
I
I Love Trouble, 54
In the Blink of an Eye, ix, 53, 74, 207, 208–209
Industrial Light & Magic, 26
Inman. See also Law, Jude
Ada’s letters to, 210–211, 213, 296
and chain gang scene, 267
and Cold Mountain story structure, 44, 210
concerns about hat worn by, 161
and crabs scene, 262
getting audience to engage with, 261
and hog-butchering scene, 126, 264
relationship with Ada, 210
reunion with Ada, 268
and Sara, 126, 263–264, 266, 304
International Creative Management, 48
Internet, distributing films via, 330
J
Jenkins, Allan, 256, 310–311, 312, 313
Jobs, Steve, vi, 83–84, 86, 87, 132–133
jog wheel, Final Cut Pro, 160
journal, Walter Murch’s, xi, 4
Julia, 32
Jumanjii, 26
Junior Redux scene, 169
Jurassic Park III, 26
K
K-19: The Widowmaker, 29, 32, 54, 324
Katrib, Ramy, 63–69, 76, 95. See also DigitalFilm Tree
Kazan, Elia, 34
KEM editing machines, 34, 51–52, 171
Key Grip, 54
Kidman, Nicole. See also Ada Monroe
and Cold Mountain screenings, 20, 323
concerns about accent of, 161
and voiceovers of letters to Inman, 292, 296, 298
King of the Hill, 21
Kinney National, 327
Kleiser, Randal, 328
Kodak, 6
Koppelman-Brown, Walker, 333
Krauss, Alison, 298, 311, 313, 314
Kubrick, Stanley, 143
L
LAFCPUG, 323
Lang, Fritz, 31
laptops, running Final Cut Pro on, 179
Law, Jude. See also Inman
and ADR sessions, 241
and Cold Mountain story structure, 44
concerns about hat worn by, 161
and death scene, 316
and preview screenings, 20, 323
as replacement for Tom Cruise, 78
“Law of Two-and-a-Half,” Murch’s, 288–289, 295
Lee, Spike, 329
Leone, Sergio, 34
lighting techniques, 13
Linklater, Richard, 329
lip-syncing, 241
London
as alternative to Hollywood, 187, 295
CinemaSports’ Film-in-a-Day event, 332–333
Diorama in, 291
Murch’s home in, 190
National Film Theatre, 223, 236, 245
sound mixing facilities in, 237
London Symphony Orchestra, 225, 311
Los Angeles
Film School, 323
Final Cut Pro User Group, 323
preview screening of Cold Mountain, 322
Lowe, Dennis, 231
Lucas, George
and computer-controlled editing, 53
early approach to filmmaking, 26
multiple filmmaking roles performed by, 331
Murch on working with, 324
Murch’s early work with, 26, 33, 48
and USC graduate film school, 26, 48, 328
and Zoetrope Studios, 26
M
Mac OS X. See OS X
MacRae, Elizabeth, 41
Macromedia, 54
mail rooms, studio, 48
Malkin, Barry, 51
Mancini, Henry, 272
Maya, 250
Mayer, Louis, 310
McGrane, Claire, 303
Meaney, Brian, 84–85, 105–106, 196, 274
media management, 90, 160–161, 164
Mephistopheles’ cinematic black back, 332
Milius, John, 328
Minghella, Anthony
and ADR supervisors, 242
on British cinema, 295
and British Film Institute, 189
editing routine for Cold Mountain, 197
on filming Cold Mountain battle scenes, 148
and “final cut” prerogative, 301
general approach to filmmaking, 55, 124
and Mirage Enterprises, 189
Murch’s ritual gift to, 135–136
Murch’s script notes to, 45–46, 114
and music for Cold Mountain, 225, 298
physical appearance of, 21
and preview screenings, 7, 16, 21, 216
relationship with Murch, 118–119
on revolution in cinema, vi
screening first assembly of Cold Mountain by, 192–193, 196
and sound mixing, 292
and stress of completing Cold Mountain, 303
theory of cinematic relativity, 262
and U.K. moviemaking community, 187
working environment created by, 158
on working with Murch, 199–200
Mirage Enterprises, 21, 167–168, 189
Miramax Films. See also Weinstein, Harvey
and Cold Mountain budget, 132–133
and Cold Mountain marketing campaign, 309–310
and Cold Mountain preview screenings, 9, 236
New York City home of, 247
notes on Cold Mountain prior to final mix, 270–272
mixers. See sound mixers
mixing sound. See sound mixing
Monroe, Ada. See Ada Monroe
Monsters, Inc., 86
Month of August, 74
.moov, 161
Motion Picture Sound, Association of, 279
motion pictures. See also films
complexity of soundtracks for, 238
effective sound design for, 288–289
going overtime on, 180
impact of TV on, 327
running-time considerations, 214–215
sound effects for, 226, 238, 239
trial prints of, 303
Murch, Walter (film editor)
and “5.1” sound format, 60
and “30 percent factor,” 146, 165, 215, 261
and actors on set, 32
on aiming for “B,” 204
on Apple’s role in Cold Mountain, 333–334
on art/technique of film editing, 254
and Avid editing system, 54, 61, 275–276
book on film editing, ix, 53, 74, 207, 208–209
on cinematic experience, 329
and Cold Mountain. See Cold Mountain
and computer-controlled editing, 53–56
and The Conversation, 34–43, 51
on cutting for words/thoughts, 279
on deadlines, 272
“Dense Clarity—Clear Density” article, 288
and documentaries, 325
early career of, 26, 33, 48–49, 60
edit-on-the-fly technique, 157, 159, 206–207, 324
on editing endurance, 275
editing routine for Cold Mountain, 197
editing tools used by, 140–143, 155–156, 165
education of, 26
on effective sound design, 288–289
email correspondence of, xi
fascination with new technology, 134–135
FCP workstation of, 153
and film directors, 45, 120, 324
on filmmaking in digital era, 31, 335
and Final Cut Pro. See Final Cut Pro
first film edited by, 33
on focus groups, 269
on future of digital editing, 325
on future of filmmaking, 328–333
and George Cukor, 48
and grouping of editing activities/scenes, 174–175
and KEM flatbed editing machine, 51–52
and LAFCPUG, 323
on lighting techniques, 13
on maintaining objectivity during film editing, 12–13, 32
Minghella on working with, 199–200
and music for Cold Mountain, 226, 298
and N-VIS-O splicing system, 8–9, 10
note-taking system used by, 175–178
and “parade syndrome,” 30, 279, 322, 328
physical appearance of, 4
on preview screenings, 16, 18–20
on producers, 223
relationship with Minghella, 118–119
on removing/transposing scenes, 13
ritual gift to Minghella, 135–136
and Robert Grahamjones, 91
and Sean Cullen, 56, 60. See also Cullen, Sean
and sound mixing, 240, 287–289, 292–293, 297–298
on taking break between filming and editing, 192
on taking editing notes, 168–169
and “The Memo,” 45
on theater audiences, 18–20, 322
and USC graduate film school, 26, 48, 327–328
and use of hard drives in preview screenings, 8
on using FCP for next project, 334
“vacuum tube theory” of power/coherence, 18–20
on ways to keep film on schedule, 194–195
work schedule of, 173
Murch, Walter (film editor’s father), 5, 6
Murch, Walter Slater (film editor’s son), 4, 26, 28, 61, 332–333
Murch Bin, 143
adjusting volume for, 239
blending with effects/dialogue, 238
for Cold Mountain, 225–226, 228, 298, 310–311
as “embodied” sound, 288
and film deadlines, 272
“My Ain True Love,” 311, 313, 320
My Time with Antonioni, 329
N
N-VIS-O splicing system, 8–9, 10, 11, 256
National Film Theatre, 223, 236, 245
Neeson, Liam, 29
negative cutting, 65, 66, 70, 253
Never Cry Wolf, 26
New Jersey screening, Cold Mountain, 256, 259–260, 277
non-destructive editing, 52, 143
non-linear editing, 52, 72, 98, 143, 325
O
O Brother, Where Art Thou?, 21, 299
OMF Tool Kit, 103
Ondaatje, Michael, 30
One Flew Over the Cuckoo’s Nest, 26–29
Out of Africa, 21
Oxygen Media, 77
P
Paper, Shawn, 74
parade syndrome, 30, 279, 322, 328
Parrish, Robert, 271
Peachpit Press, x
personal computers, 53
Petersburg, Battle of, 44, 124, 210, 211, 296
photography, director of, 302
Player, The, 21
Pollack, Sydney, 21, 22, 167, 189, 222
porch scene, 279
Portman, Natalie, 241, 263. See also Sara
Powell, Dirk, 298
Premiere, Adobe, 54
Prescription Bottle, Murch’s, 135–136
press screenings, 7
Prestwood-Smith, Michael, 239
“Pretty Bird,” 296
dealing with notes from, 249
film editor’s nervousness during, 16
fixing problems during, 10
protocol regarding, 249
security during, 23
simulating film experience for, 7
soundtrack for, 8
survey questionnaires for, 20
use of hard drives for, 8
preview screenings (Cold Mountain)
London/National Film Theatre, 236, 245
Los Angeles, 322
New York/Miramax, 247–249, 256
San Francisco Bay Area, 322–323
Primrose Hill, 190
print codes, 71
Pro Tools
and FCP workflow, 159, 221, 224, 233
and OMF export, 102–103, 184, 196
and portable systems, 243
producers, xi, 21, 22, 222–223
Pumpkin, 21
Q
QuickTime files, 162–163, 164, 250
Quiet American, The, 21
R
rabbit scene, 215–216, 296, 300
re-recording mixers, 33
Redstone, Sumner, 6
release dates, 30
Rodriguez, Robert, 331
Rome, 32
Ronstadt, Linda, 54
rooster scene, 260
Rorke, 184
Ruby
arrival at Black Cove Farm, 209, 210, 220, 223
audience reactions to, 210, 270
and Christmas party scene, 304
and hairdo scene, 217
Renée Zellweger’s performance as, 169
and rooster scene, 260
rushes, 30
S
Sacred Harp Singers, 298
Saul Zaentz Film Center, 78, 91, 95–98, 104, 241
Saxton, Michael, 303
Scary Movie, 259
scenes
cutting, 13, 169, 182, 198, 214–217, 261
flipping polarity of, 268
soundscapes for, 288
transposing, 13
Schoonmaker, Thelma, 51
score. See music
screenings. See preview screenings
screenplays
changing relationship with book/film, 267
diminishing value of, 140
Minghella’s approach to, 124
time/space shifts in, 213
scrubbing, 208
Seale, John, 148, 158, 199, 272, 302–303
selects roll, 150
Serrurier, Iwan, 50
Shake, 250
shared area network. See SAN
Sheen, Martin, 261
Shires, Walt, 100
Simeone, Frank, x
Skywalker Sound, 26
Sliding Doors, 21
“Snowflake” filmmaking, 332–333
soft effects, 194
sound conversion problems, 128, 133–134, 159, 184, 221
sound editors, 33, 194, 226, 234
sound effects, 226, 238, 239, 289
for Cold Mountain, 237–244, 287–296
combining with film editing, 240, 287, 292–293
complementing story with, 238
cost considerations, 286
London facilities for, 237
Murch’s awards for, 240
planning for, 240
role of film director in, 285–287, 292–293
sound system, 4
soundtracks
defining character of, 238
improvements in, 31
mixing sounds for, 238. See also sound mixing
and Murch’s “Law of Two-and-a Half,” 288–289, 295
for preview screenings, 8
and release prints, 9
SR encoded, 9
storage of, 8
synchronizing with picture, 8, 13, 159, 285
speakers, 4
special effects, 230–231. See also visual effects
speech, as “encoded” sound, 288
Spielberg, Steven, vi, 140, 329
splicing film, 8–9, 10, 11, 256
split tracks, 239
Star Trek, 101
Steenbeck, Wilhelm, 51
Steenbeck editing machines, 51, 171
Stein, Will, 150–153, 155, 274
storytelling, 330
studio system paradigm, 328
subframes, 92
subtitles, 316
synchronizing picture/sound, 8, 13, 159, 234, 285
System 10. See OS X
T
talent agencies, 48
Talented Mr. Ripley, The, 21, 32, 54, 275
“tang” effect, 124–128, 174, 215, 263, 266
“Tarry With Me,” 296
Taylor, John, 100
Teague, Captain, 213–214, 215–216, 268
television networks, 327
test screenings. See preview screenings
directing attention of, 295
drawing into film, 262
maintaining respect for, 262
Murch on reaching, 322
soliciting comments from, 268–270
tailoring films to specific, 331–332
Three Days of the Condor, 21
time/space transitions, 211–213
Titan, 234
titles/credits, Cold Mountain, 246, 295, 316
titling functions, Final Cut Pro, 316
toilet scene (in The Conversation), 42
Tootsie, 21
Touch of Evil, ix, 31, 54, 297
Toy Story, 86
transitions, 211–213, 239, 286
trial prints, 303
Tribeca Film Center, 247
trim bin, 144
“Two-and-a-Half,” Murch’s Law of, 288–289, 295
U
Unbearable Lightness of Being, 12, 314
United Kingdom, moviemaking community in, 187
USC graduate film school, 26, 48, 327–328
V
“vacuum tube theory” of power/coherence, 18–20, 279
Vaines, Colin, 270, 280, 312, 320
Veasey, Reverend, 210, 213, 267
Viacom, 6
Vietnam War, 328
Virtual PC, 134
visual effects, 230–231, 250, 254
von Trier, Lars, 329
W
Wang, Wayne, 329
Warner, Jack, 327
Way We Were, The, 21
Weinstein, Harvey. See also Miramax Films
and Cold Mountain “final cut,” 301
and Cold Mountain final sound mix, 291–292, 312
and Cold Mountain marketing campaign, 309–310
and Cold Mountain preview screenings, 260, 277
and last-minute cuts to films, 215
and Miramax Films, 23
and origins of Cold Mountain project, 168
other Minghella/Murch projects with, 222
Wenders, Wim, 329
Wexler, Haskell, 49
white noise, 288
William Morris, 48
Williams, Cindy, 38
Winstone, Ray, 213
Woodstock, 51
X
XML plug-in, 224–225, 229–230, 233, 235, 244–245
Y
Yeager, Chuck, 8
Z
Zaentz, Saul, 26–27, 95–97, 168. See also Saul Zaentz Film Center
Zellweger, Renée
arrival at Black Cove Farm, 209, 210, 220, 223
audience reactions to, 210, 270
and Christmas party scene, 304
and hairdo scene, 217
Renée Zellweger’s performance as, 169
and rooster scene, 260
zoetrope, 29
Zukor, Adolf, 327