In the Blink of an Eye
Walter Murch • 1993
In Short
A film editor collects his thoughts on the purpose and process of editing.
In Depth
Who's the author?
Walter Murch is a well-known film editor and sound designer who has won multiple awards for his work. He has worked on films like American Graffiti, Apocalypse Now, The Godfather Part II and Part III, and The English Patient.
What's the intention?
The book is based off of a public lecture Murch gave on film editing and presents a relatively concise survey of his thoughts and working methods. However, through the lens of his practice, he touches on a number of broader concepts like the creative process, collaboration, human experience, and storytelling. It was originally published in 1993, but I am reading from the second edition which was revised with additional material on digital film editing.
Who's it for?
In the preface, Murch states that the book is more of a personal set of notes to himself than a how-to for film editors. It’s true that the content of book mostly glazes over any practical advice for film editing, but Murch reveals a theoretical perspective on his process in a simple, relatable way which is absolutely valuable to anyone, editor or otherwise, who is interested in reflecting on the principles of the editing process.
So what?
Murch’s book made me consider the similarities between the film editing process and the design process. While I’ve seen ideas from filmmaking applied to interaction design before (especially in relation to storytelling and emotional experience), Murch gave me a slightly alternative perspective through his description of the particulars of film editing. In some ways, I feel the designer’s work is more akin to that of a film editor than it is to the director or writer.
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More
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On the Nature of Film Editing
Film
The similarities between the processes and principles of film editing and designing are worth examining for insight into how we might approach design.
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On the Audience
Human-centeredness • Film
A film editor’s role as “ombudsman for the audience” shares the practiced empathy that a designer should have for people who use their designs. At the same time, both the editor and the designer can’t follow their audiences blindly.
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On the Relationship of Dreamer and Listener
Film
The interaction between a “dreamer” and a “listener” is often what pushes a creative process forward, in both filmmaking and design. Both roles are vital.
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On Cinema as Mass Intimacy
Film
A single film is unchanging and aimed at general audiences, but manages to speak to different people in personal ways. Part of the way it accomplishes this is through a focus on human thought and the collaborative nature of its creation.