Kill your facebook account
Posted by: Glover |Facebook is pretty inconsequential in the grand scheme of things. It has wormed it's little coding into our collective unconsciousness and made us feel that we are doing something proactive to be less lonely, miserable, depressed and isolated than we really are. Facebook is a digital simulation; mimesis of the Hyper-Real, faux communication which passes as "friendship," there is no "real" reason to maintain any presence on Facebook or any other digital social network. So I suppose I can't really give you any reason not to delete your account. It has certainly crossed my mind on a regular basis over the last few years. On the other hand you could jump in the car and come over to NYC where we could hang out and have a few "real" experiences which we can then promote on Facebook. Proving to others that we have "real" friends in the "real world."
Interview: Walter Murch By Michael Wohl
Posted by: Glover |Interview: Walter Murch
- Nov 1, 2001
Interview: Walter Murch
Walter Murch is one of the most admired and respected editors of our time. His inspiring book, In the Blink of an Eye, is a definitive theoretical text on editing. More than just a great film editor, he is also one of the most renowned sound mixers in the history of cinema. His editing credits include The Conversation, Julia, Apocalypse Now, The Unbearable Lightness of Being, American Graffiti, The Talented Mr. Ripley, and The English Patient (for which he won an unprecedented double Oscar for sound and picture editing). His credits as a writer and director include the dark, moving (and woefully underrated) Return to Oz. He took time out from cutting Kathryn Bigelow's K-19: The Widowmaker for this interview.
Michael Wohl: What do you think makes the film medium unique?
Walter Murch: I think every age has a medium that talks to it more eloquently than the others. In the 19th century it was symphonic music and the novel. For various technical and artistic reasons, film became that eloquent medium for the 20th century. It's partly because cinema synthesizes all of the arts: it's photography, and in a certain sense painting, and it's theater, and it's architecture, music, and the novel--all rolled up into one. And then--at its best--it has become something else which synthesizes and transcends all of its parts.