Walter Murch, the acclaimed editor and sound designer of films such as “American Graffiti,” “The Godfather” and “Apocalypse Now,” will be honored by the Locarno Film Festival with the Vision Award – ...

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 on a ...

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 interests.

Basically one long talking-head-interview shot of Walter Murch, broken by bountiful movie excerpts, "Murch" offers a master class on movie editing, enriched by numerous behind-the-scenes and ...

Coup 53, a tough-minded documentary debuting online today in the UK and United States from writer/director Taghi Amirani and three-time Oscar winner Walter Murch, unearths key new information about ...

While editing The Unbearable Lightness of Being in France, Academy Award-winning film editor and sound designer Walter Murch came across a reference to Italian writer Curzio Malaparte’s description 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 work ...

Mark Levinson’s “Particle Fever” is the first great doc of the year (and let’s hope it gets remembered next awards season). It’s about the ground-breaking, Nobel Prize-winning experiment that helped ...

The triple Oscar winner recreates the Francis Ford Coppola classic through sound. By Ariston Anderson Walter Murch, the triple Oscar-winning editor and sound designer, received a lifetime achievement ...

ROME – Walter Murch, the multiple-Oscar-winning U.S. film editor and sound designer, whose name is closely linked to 1970’s directors such as George Lucas (“THX 1138” and “American Graffiti”) and ...

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 ...