ON LINE ARTICLES

• Stretching Sound to Help the Mind See
  by Walter Murch 
  • Estirando el sonido para ayudar a liberar la mente
    "Stretching Sound.."   translated to Spanish

•  Dense Clarity Clear Density
  Article by Walter Murch on mixing 
  • Claridad Densa - Densidad Clara  
    Dense Clarity .. translated to Spanish
      
• Walter Murch in conversation with Joy Katz
  in Parnassus: Poetry in Review - The Movie Issue (vol 22, 1997, p124-153 

•  Walter Murch - The Search for Order in Sound & Picture
  by Tom Kenny (Mix Magazine April 1998) 
      
• Sound Doctrine:   An Interview with Walter Murch
  by Michael Jarrett

• Walter Murch - The sound film man
  by Kevin Hilton   (Studio Sound, May 98)
   
• The Sounds of Evil
  Tim Tully interviews Walter Murch about the 1998 re-edit of  "Touch of Evil"
  
  
• Q&A With Walter Murch Continued
  MovieMaker Magazine

• Apocalypse Now REDUX
  by Larry Blake (Mix Magazine Aug 1, 2001)
  
  
• The sound of Vietnam
  by Michael Sragow (Salon April, 2000)

• Foley Goes to Sea - Sounds in K19
  by Michael Axinn (Mix Magazine Aug 1, 2002)
  
  
• Walter Murch - The Godfather of Motion Picture Sound
  by Joel Braverman (ProRec June 1998) >> Articles by Joel Braverman
  
  
• Eyes Half Closed
  Wonderful 2002 conversation between Murch and writer Michael Ondaatje
  
  
• In Conversation with Walter Murch
  by Kiran Ganti

ARTICLES IN JOURNALS

• Spotnitz, F Stick it in your ear 
  American film 15, no 1, October 1989  p 40 - 45  --The art of creating sound effects told by Sound designers Walter Murch and Mark Mangini 
  
  
• Walter Murch - making beaches out of grains of sand 
  by Jordan Fox  in Cinefix 3, dec 1980, p. 42-57
  
  
• An Interview with Walter Murch" 
  by Larry Sturhahn in  Filmmakers Newsletter8. no. 2, dec-74, p 22-26 

ARTICLES IN BOOKS

Designing Sound for Apocalypse Now"  by Mark Cousins  (p 149 - 162) in Projections 6 : Film-Makers on Film-Making (1996) Boorman J & Donohue,W (edit)
"Sound Design: The Dancing Shadow"  by Walter Murch (p 237 - 251) in Projections 4: Film-makers on Film-making (1995) Boorman, J & Luddy, T & Thomson,D & Donohue,W (edit): This article is available in another form as Stretching Sound to Help the Mind See
Touch of Silence by Walter Murch Chapter 8  (p 83 - 102) in SOUNDSCAPE: Exploring the Art of Sound with the Moving Images - The School of Sound Lectures 1998-2001 ( 2003)
Walter Murch by Vincent LoBrutto  Chapter 9  (p 83 - 100) in Sound-on-Film: Interviews with Creators of Film Sound. (1994)

• "The Sound Designer with Walter Murch"
  in Madsen, Roy Paul: Working Cinema - Learning from the Masters Belmont, CA: Wadsworth Publishing, 1990
  
  
• Walter Murch
  in Getting started in Film, Laskin, Emily, ed,  New York: Prentice Hall, 1992 
  

COLD MOUNTAIN

• An Interview with the editor of Cold Mountain (Apple Pro) by Joe Cellini Meta Strategies in Editing, The Weight of Images, and Adapting to Digital
  
  
• Final Cutting Cold Mountain (Millimeter, Nov 1, 2003) by Michael Goldman
  
  
• Cold Mountain's Final Cut (Post Magazine, Dec 1, 2003)
  by Ken McGorry
  
  
• Cut to the chase (Hollywood Reporter, Dec. 04, 2002)
  by Sheigh Crabtree

MORE EDITING ARTICLES

• Restoring the Touch Of Genius to a Classic - TOUCH OF EVIL
  by Walter Murch
  
  
• Apocalypse Now and Then (MovieMaker Magazine)
  by Jennifer Wood
  
  
• Walter Murch Cuts From the Gut
  by Victor Wishalla
  
  
• Oscar-Winning Perspectives on Editing (MovieMaker Magazine Issue 45, Winter 2002)
  

• The Talented Mr. Murch 
  by Paula Parisi 
   
• Walter Murch Talks With Anne V. Coates
  by Walter Murch
  
  

• A Digital Cinema of the Mind? Could Be
  by Walter Murch   in New York Times, May 2, 1999 
  
  
• Dickson Experimental Sound Film from 1895
  

RETURN TO OZ ARTICLES

• A Conversation with Walter Murch
  by Bill Chambers  in Film Freak Central, Feb, 2000
   
• Return to Oz 
  by Brad Munson   in Cinefix 22, June 1985  (38 pages) 
   

The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje

Behind the Seen: How Walter Murch Edited Cold Mountain Using Apple's Final Cut Pro and What This Means for Cinema by Charles Koppelman (2004)

NPR (National Public Radio, USA)

• Murch, Makita, Player Piano ( 56 min) Mars 13, 2004
  Kurt Andersen and master film editor Walter Murch talk about the simple and complex tools we use to innovate in art.
  Pieces: Presidential Performances, Makita Man, Garden of Earthly Delights, Nancarrow's Player Piano. >> website of the show
  
  
• Walter Murch Interview (12:41) Aug. 3, 2001
  Apocalypse Now REDUX
  
  
• Tribute to Walter Murch (21:12) Nov. 3, 2000
  Michael Ondaatje etc
  
  
• Touch of Evil (03.34) Sept. 11, 1998

Walter Murch Lecture Part 1 (19:09) Part 2 (18:12) Part 3 (24:13) www.coffeysound.tv Post & Production sound seminars

The Conversation (1974) Commentary track 2: Editor and sound designer Walter Murch

Return to Oz (1985) Director: Walter Murch Considerably more faithful to the tone of L. Frank Baum's Oz novels, Return to Oz is exquisitely realized fantasy for smart youngsters and grownups.. -- John Boonstra This is one of the best fantasy films ... >> Read more than 170 reviews at Amazon.com

Lasting Impressions What Walter Murch remembers from an audio point of view   The Rain People (1969) My virgin film. It was the first film that I did sound on, and I did everything -- recording, transferring, cutting, mixing. It was a one-man band. Many of the lessons that I was to learn later are present in that film embryonically. The Godfather (1972) My first "Hollywood" film. Taking my personal way of doing things into an industrial environment. The expressionistic use of sound, but integrating it into the reality of the visual. Godfather II (1974) Sheer size. Three hours and 20 minutes. A very broad palette. Lots of dynamics. American Graffiti (1973) Theme and variation of world reverberence. The challenge of having almost two hours of continuous music in the background but making it seem to ebb and flow dramatically with the scenes. The Conversation (1974) Clarity and density. The first film where I also edited picture. Apocalypse Now (1979) Density and clarity. My first film in stereo. Striving for authenticity in both the exterior sounds of that war and the interior state of mind of the participants. Crumb (1994) Simplicity The English Patient (1996) Sound as an emotional guide-track through the complexities of story.