The Rain People (1969)
Reviewed by Glenn Erickson
I looked at some of the poster artwork for The Happy Ending, and yes indeed, one of the main styles is indeed like the cover of this disc -- a photo of a rusty garbage
In a career that spans over 40 years, Murch is perhaps best known for his collaborations with Francis Ford Coppola, beginning in 1969 with “The Rain People.” After working with George Lucas on “Thx 1138” (1971), which he co-wrote, and “American Graffiti” (1973), Murch returned to Coppola for 1974’s “The Conversation,” receiving his first Academy Award nomination as a result. Murch’s pioneering achievements were acknowledged by Coppola on his follow-up, the 1979 Palme d’Or winner “Apocalypse Now,” for which he was granted, in what is seen as a film-history first,
Every artist – director, star, screenwriter – has some project that they want to make above all. A deeply personal, original idea; an autobiographical story; a favored story or hero they wish to celebrate. If a filmmaker is successful or lucky enough, they get a chance to produce them. Yet sometimes the reaction isn’t what they expect.
Francis Ford Coppola started his career directing exploitation films for Roger Corman, notably the horror film Dementia 13 (1963). Then he toiled as screenwriter and occasional director, helming the musical Finian’s Rainbow (1968) and the more personal The Rain People
As ubiquitous as Lucas and his creations loom in our cinematic dreamscapes, there's still a lot that most people don't know about him, from how he got his start to the famous folks who mentored him or were mentored by him, from the size of his fortune to what he plans to do now
Murch’s career has embraced first sound and then film editing as well, pursuing a concept of audio-visual composition that treats the two as inseparable.
His name is closely linked to the new generation of directors who emerged in the 1970s, such as George Lucas ("Thx 1138," 1971; "American Graffiti," 1973) and Francis Ford Coppola ("The Rain People," 1969; "The Godfather," 1972; "The Conversation," "The Godfather: Part II," 1974). His hugely impressive work with the latter filmmaker, as sound designer on "Apocalypse Now," won him his first Oscar in 1980.
Following his own directorial debut in 1985 with "Return to Oz," he subsequently won two more Academy Award statuettes for both sound and film editing on Anthony Minghella’s "The English Patient" (1996) – the first and only time in history the same person has won the Oscar in both categories. Although in this respect he was repeating an earlier record set when he won double BAFTA awards in 1975 for "The Conversation."
Murch has continually developed his editing talent and versatility, experimenting with every new and emerging system, from analogue to digital. His knowledge and artistry were distilled in his 2001 book, In the Blink of an Eye, an indispensable work of reference in the film editing world. He is also the subject of Michael Ondaatje's The Conversations: Walter Murch and The Art of Film Editing and Charles Koppelman's Behind the Seen.
Carlo Chatrian, the Festival’s Artistic Director, comments: “Having Walter Murch here, apart from the honor of his presence, also highlights the thinking behind this award, instituted two years ago. As Francis F. Coppola has written, « he is a true pioneer. A man we should listen to with great attention – and pleasure » . The way he works goes far beyond conventional notions of collaboration. The work on "The Godfather: Part II" or "Apocalypse Now," for example, prove that the great films are nearly always the outcome of a close working relationship between major creative talents. And it is to one of the most subtle and influential of these that the Locarno Festival pays tribute this year .”
Both the general public and the guests of the Festival will have an opportunity to meet Walter Murch and discover the secrets of his methods during a masterclass in Locarno. The Vision Award is supported for the second consecutive year by Nescens, Swiss anti-aging science.
The 68th edition of the Festival del film Locarno will take place 5 – 15 of August.
The 68th Locarno Film Festival (Aug 5-15) is to give its Vision Award - Nescens to award-winning editor and sound designer Walter Murch. The award has previously been given to special effects wizard Douglas Trumbull and “Mister Steadicam” Garrett Brown.
Murch worked with George Lucas on Thx 1138 (1971) and American Graffiti (1973) and Francis Ford Coppola on The Rain People (1969), The Godfather (1972), The Conversation (1974) and The Godfather: Part II (1974).
His work with Coppola as sound designer on Apocalypse Now won him his first Oscar in 1980.
Following his own directorial debut in 1985 with Return to Oz, he subsequently won two more Academy Awards for both sound and film editing on Anthony Minghella’s The English Patient (1996) – the first and only time in history the same person has won the Oscar in both categories. In this respect he was repeating an earlier record set when he won double BAFTA awards in 1975 for
“Murch’s career has embraced first sound and then film editing, pursuing a concept of audio-visual composition that treats the two as inseparable,” the prominent Swiss fest dedicated to indie filmmaking pointed out in a statement.
Case in point is Coppola’s “The Conversation,” for which Murch won double BAFTA awards, for both sound and film editing, in 1975. His other credits with Coppola include “The Rain People,” “The Godfather,” and “Apocalypse Now,” for which he won his first Oscar, for best sound, in 1980. Murch subsequently won two more Academy Awards,
The Oscar-winning filmmaker, now 73, has made some of the most iconic movies of all time, from 1972 mob classic The Godfather to 1979 war epic Apocalypse Now. But as an equally humble student and lover of film, he’s recently made smaller movies with tiny budgets such as 2009’s Tetro, starring Vincent Gallo, and murder mystery Twixt, with Val Kilmer and Elle Fanning.
Coppola spoke to EW about five of his films – Apocalypse Now, the extended version Apocalypse Now Redux, Tetro, 1974’s The Conversation, and 1982’s One From the Heart — all being
In April 1979, Francis Ford Coppola threw a characteristically grandiose bash to celebrate the completion of Apocalypse Now, the picture that had threatened to become his Waterloo. It was at the apogee of the 1970s Hollywood renaissance, whose directors were suspended in that delightfully rarified moment after their biggest blockbusters and before their flops – and they all had at least one gargantuan flop ahead of them.
Coppola, as usual, was ahead of the game, or so it seemed. Apocalypse Now's chequered production history had produced wild press rumours of directorial overindulgence, perhaps even of a full swandive into film-making insanity, and the film's subsequent lofty place in the cinematic firmament was then far from secure. The film historian Peter Biskind, in his book Easy Riders,
This event was a rare 85-minute chat directly with his audience and enjoyed all the hype of a red-carpet premiere. In fact, right after the talk Coppola unveiled his latest movie, Twixt, at a posh gala. Though Twixt has been enduring harsh reviews, Coppola was jovial as he recounted doing a location scout in Turkey and drinking one night in Istanbul. “I fell asleep and had vivid dream. I began
"Lots of artists have five or more classic albums (not including EPs or live records), but the ability to string them together back-to-back means being in the kind of zone that's normally associated with dominant college women's basketball dynasties."
It's a really fun test to apply to music -- The Replacements make the cut but The Rolling Stones don't -- which made me think that it would be equally fun to apply it to film. The five-movies test, though, is arguably even harder to pass than the five-albums test.
“I was as normal as you can get,” stated American filmmaker George Lucas when reflecting upon his childhood. “I wanted a car and hated school. I was a poor student. I lived for summer vacations and got into trouble a lot shooting out windows with my Bb gun.” The California native was not initially drawn to the medium which would bring him fame and fortune. “Modesto was a small town, and there were only a couple of theatres. When I went to the movies I really didn’t pay much attention. I was usually looking for girls or to goof off.” George Lucas, Senior owned a stationary store where he sold office supplies and equipment to support his son, three daughters, and frequently invalid wife. “He was conservative, and I’m very conservative,
“I used to have synchronized movies,” recalled filmmaker Francis Ford Coppola of his industrious childhood. “Most of them I cut together from home movies my family had shot.” Charging admission for the neighbourhood screenings, the cinematic venture proved to be a lucrative enterprise for the young Coppola. “When I was about eighteen, I became very interested in Eisenstein. I read all of his work and went to see his films at the Museum of Modern Art,” stated the Detroit, Michigan native. “Taking my example from him, I went to theatre school and worked very hard.” After directing a number of plays, Francis Ford Coppola was drawn back to moviemaking. “In my third year at Hofstra, I sold my car and bought a 16mm camera…I went out to make a short, which I never finished.
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