We’re pleased to be sharing this podcast conversation with legendary editor Walter Murch, conducted by Glenn Kiser and including questions from other leading sound designers including Randy Thom, Gary Rydstrom, and Ren Klyce, for the Dolby Institute Conversations with Sound Artists series. In this first part, he discusses documentaries’ effects on contemporary films, as well as aspects of his work on four of his most famous films: Apocalypse Now, The Conversation, The Godfather and The English Patient. We’ll post part two of the podcast tomorrow.
by Filmmaker Staff on Jan 11, 2017
This graphics-heavy analysis of a key scene from The Godfather juxtaposes images with the script directions, along with on-screen annotations and an audio assist from a Francis Ford Coppola interview.
by Filmmaker Staff on Jan 11, 2017
This 2016 supercut by Nikita Malko is notable for its intricate intercutting between a variety of pop-ish songs with lyrics and dialogue from the films chosen.
by Filmmaker Staff on Jan 10, 2017
Alexandre Gasulla pays tribute to the Coen brothers with this supercut connecting motifs and visuals from across their body of work.
by Filmmaker Staff on Jan 9, 2017
Another day, another 2016-in-cinema supercut, this time credited to YouTube user Beeblebrox.
by Filmmaker Staff on Jan 9, 2017
The supercut of 2016’s best cinematography edited by Scout Tafoya gets points for originality in including FX’s Atlanta.
by Filmmaker Staff on Jan 5, 2017
Martin Kessler’s supercut connects the visual dots across Andrei Tarkovsky’s filmography for eight minutes.
by Filmmaker Staff on Jan 4, 2017
The latest trailer-but-not-really for the much-anticipated return of Twin Peaks has David Lynch “in character” as FBI agent Gordon Cole eating a donut.
by Filmmaker Staff on Dec 19, 2016
With Silence out soon, it’s Martin Scorsese season. This video essay by Cole Smith looks at Elia Kazan’s approach to staging interior and urban spaces in films such as A Streetcar Named Desire and On the Waterfront, then moves on to consider his influence on Scorsese’s The Departed. New Yorkers: the film shows on 35mm this Saturday at the Museum of the Moving Image.
by Filmmaker Staff on Dec 12, 2016
Brian De Palma has been accused by detractors of being nothing more than a shameless Hitchcock imitator. Peet Gelderblom’s video essay puts that to the test, using De Palma’s beloved split screen to compare and contrast shots from both director’s films. Hitchcock is on the left, De Palma on the right.
by Filmmaker Staff on Dec 8, 2016