We use cookies to provide you with a better experience. If you continue to use this site, we'll assume you're happy with this. Alternatively, click here to find out how to manage these cookies

hide cookie message

Exclusive Interview: Walter Murch talks about Final Cut Pro X (part 1)

3 times Academy Award winner discusses the latest incarnation of Final Cut Pro


Walter Murch on Final Cut Pro X (part 1)

Watch Part 2 of the interview with Walter Murch


Watch Part 3 of the interview with Walter Murch

Walter Murch talks openly about Final Cut Pro X; the reaction of the editing community; and his thoughts on what he has seen of the latest incarnation of Final Cut Pro. Walter is highly regarded as someone who breaks boundaries and explores different approaches to filmmaking and the technology behind the process. His thoughts regarding the direction Apple has chosen to go are definitely worth hearing.

Walter Murch's career began in the 1960's when he was editing and mixing sound with Francis Ford Coppola's The Rain People (1969). Subsequently, he worked on George Lucas's THX 1138, American Graffiti and Coppola's The Godfather before editing picture and mixing sound on Coppola's The Conversation, for which he received an Academy Award nomination in sound. Murch also mixed the sound for Coppola's The Godfather Part II which was released in 1974, the same year as The Conversation. In 1985 he directed his one film, Return to Oz, which he co-wrote with Gill Dennis.

Other credits include: Julia (1977), Apocalypse Now (1979), Ghost (1990), The Godfather, Part III (1990), The English Patient (1996), Jarhead (2005), Youth Without Youth (2007), Tetro (2009).

Walter has won three Academy Awards: best sound for Apocalypse Now (1979) and a double Oscar, best sound and best picture editing, for the English Patient (1996). He has been nominated for Academy Awards on six other occasions.

Murch has earned a reputation as being innovative and daring with his approach to technology. He used Final Cut Pro to edit Cold Mountain in 2003, at a time when Final Cut Pro still had to prove itself suitable for feature film production.

Submit this entry:

<<prev article | back to index | next article>>