In the Blink of an Eye is a book by celebrated film editor Walter Murch, who has worked on such films as The Godfather, The Conversation, Apocalypse Now, and The English Patient. The book is a collection of essays and lectures that explore the art and craft of film editing from various perspectives and offer insights into the creative process of filmmaking. The book was first published in 1995 and revised in 2001 to include a new chapter on digital editing.
The book consists of nine chapters, each focusing on a different aspect of film editing. The first chapter, Cuts and Shadow Cuts, introduces the basic concept of editing as creating a shadow reality from fragments of film. The second chapter, Why Do Cuts Work?, examines the psychological and physiological reasons why cuts are effective and how they relate to the natural rhythms of human perception. The third chapter, Cut Out the Bad Bits, discusses the criteria for choosing what to keep and what to discard in editing, as well as the importance of intuition and emotion. The fourth chapter, Most with the Least, explores the principle of economy and elegance in editing, and how to achieve the maximum impact with the minimum amount of material. The fifth chapter, The Rule of Six, proposes a hierarchy of six criteria for evaluating a cut, ranging from emotion to continuity. The sixth chapter, Misdirection, analyzes the techniques of manipulating the audience's attention and expectations through editing. The seventh chapter, Seeing Around the Edge of the Frame, considers the role of sound and music in enhancing the visual dimension of film. The eighth chapter, Dreaming in Pairs, compares film editing to dreaming and suggests that editing is a way of creating a coherent narrative from disparate images and sounds. The ninth chapter, Methods and Machines: Marble and Clay, contrasts two different approaches to editing: one that is more planned and structured, like carving marble; and one that is more flexible and spontaneous, like molding clay.
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In the Blink of an Eye has been widely praised by critics and filmmakers as a valuable and insightful guide to film editing. Francis Ford Coppola, who wrote the foreword to the book, called it "a wonderful 'ride' through the esthetics and practical concerns of cutting film." Roger Ebert described it as "the best book ever written about editing." Steven Soderbergh said it was "a must-read for anyone interested in film." David Fincher called it "a bible for anyone who wants to make movies." The book has also been used as a textbook in many film schools and workshops around the world.