SAN, 106, 114, 150, 184, 250
San Francisco Bay Area, 25–29
Santos, Henry, 66, 67, 100
Sara, 126, 263–267, 304
Saul Zaentz Film Center, 78, 91, 95–98, 104, 241
Sausalito, 26, 88
Saxton, Michael, 303
scale, film vs. TV, 155–156
“Scarlet Tide,” 296, 320
Scary Movie, 259
scene cards, 140–143, 175
scenes
cutting, 13, 169, 182, 198, 214–217, 261
flipping polarity of, 268
grouping, 174–175
soundscapes for, 288
transitions between, 239, 286
transposing, 13
Schalit, Larry, 103, 108
Schoonmaker, Thelma, 51
score. See music
screenings. See preview screenings
screenplays
changing relationship with book/film, 267
diminishing value of, 140
Minghella’s approach to, 124
time/space shifts in, 213
script notes, 45–46, 114, 141
script timing, 44, 140, 164
scrubbing, 208
Seale, John, 148, 158, 199, 272, 302–303
selects roll, 150
Serda, Tim, 67, 100
Serrurier, Iwan, 50
Shake, 250
shared area network. See SAN
Sheen, Martin, 261
Shires, Walt, 100
shooting ratio, 71, 143
Simeone, Frank, x
Skywalker Sound, 26
Sliding Doors, 21
“Snowflake” filmmaking, 332–333
Soderbergh, Steve, 84, 329
soft effects, 194
sound conversion problems, 128, 133–134, 159, 184, 221
sound design, 288–289
sound editors, 33, 194, 226, 234
sound effects, 226, 238, 239, 289
sound mixers, 285–286, 289
sound mixing, 237–244
for Cold Mountain, 237–244, 287–296
combining with film editing, 240, 287, 292–293
complementing story with, 238
components of, 238–239
cost considerations, 286
London facilities for, 237
Murch’s awards for, 240
planning for, 240
role of film director in, 285–287, 292–293
timing of, 286–287
sound system, 4
soundtracks
defining character of, 238
improvements in, 31
mixing sounds for, 238. See also sound mixing
and Murch’s “Law of Two-and-a Half,” 288–289, 295
for preview screenings, 8
and release prints, 9
SR encoded, 9
storage of, 8
synchronizing with picture, 8, 13, 159, 285
speakers, 4
special effects, 230–231. See also visual effects
speech, as “encoded” sound, 288
Spielberg, Steven, vi, 140, 329
splicing film, 8–9, 10, 11, 256
split tracks, 239
Stanley, Ralph, 296, 298, 299
Star Trek, 101
Star Wars, 26, 31
Steenbeck, Wilhelm, 51
Steenbeck editing machines, 51, 171
Stein, Will, 150–153, 155, 274
Sting, 311, 314, 320
storytelling, 330
streamer tracks, 241–242
studio system paradigm, 328
stuttering images, 157, 256
subframes, 92
subtitles, 316
surround sound, 61, 239, 286
synchronizing picture/sound, 8, 13, 159, 234, 285
System 10. See OS X
T
talent agencies, 48
Talented Mr. Ripley, The, 21, 32, 54, 275
“tang” effect, 124–128, 174, 215, 263, 266
“Tarry With Me,” 296
Taylor, John, 100
Teague, Captain, 213–214, 215–216, 268
television networks, 327
test screenings. See preview screenings
theater audiences
directing attention of, 295
drawing into film, 262
how Murch views, 18–20
maintaining respect for, 262
Murch on reaching, 322
soliciting comments from, 268–270
tailoring films to specific, 331–332
Three Days of the Condor, 21
THX-1138, 26, 33, 289
time/space transitions, 211–213
timecode, 100–101, 294
tintype photographs, 134–135
Titan, 234
titles/credits, Cold Mountain, 246, 295, 316
titling functions, Final Cut Pro, 316
toilet scene (in The Conversation), 42
Tootsie, 21
Touch of Evil, ix, 31, 54, 297
Toy Story, 86
transitions, 211–213, 239, 286
trial prints, 303
Tribeca Film Center, 247
trim bin, 144
trims, 50, 143–144
“Two-and-a-Half,” Murch’s Law of, 288–289, 295
U
Unbearable Lightness of Being, 12, 314
United Artists, 21, 167–168
United Kingdom, moviemaking community in, 187
USC graduate film school, 26, 48, 327–328
V
“vacuum tube theory” of power/coherence, 18–20, 279
Vaines, Colin, 270, 280, 312, 320
Veasey, Reverend, 210, 213, 267
Viacom, 6
Vietnam War, 328
violence, 262–263
Virtual PC, 134
visual effects, 230–231, 250, 254
von Trier, Lars, 329
W
Wang, Wayne, 329
Warner, Jack, 327
Warner Brothers, 34, 327
Way We Were, The, 21
Weinstein, Bob, 263, 270, 309
Weinstein, Harvey. See also Miramax Films
and Cold Mountain “final cut,” 301
and Cold Mountain final sound mix, 291–292, 312
and Cold Mountain marketing campaign, 309–310
and Cold Mountain preview screenings, 260, 277
and last-minute cuts to films, 215
and Miramax Films, 23
and origins of Cold Mountain project, 168
other Minghella/Murch projects with, 222
Welles, Orson, ix, 31, 54
Wenders, Wim, 329
Wexler, Haskell, 49
white noise, 288
William Morris, 48
Williams, Cindy, 38
Winstone, Ray, 213
Woodstock, 51
workprints, 7–8
X
XML plug-in, 224–225, 229–230, 233, 235, 244–245
Y
Yared, Gabriel, 225, 298, 311
Yeager, Chuck, 8
Yerxa, Ron, 21, 22, 167, 228
Z
Zaentz, Saul, 26–27, 95–97, 168. See also Saul Zaentz Film Center
Zellweger, Renée
arrival at Black Cove Farm, 209, 210, 220, 223
audience reactions to, 210, 270
and Christmas party scene, 304
and hairdo scene, 217
Renée Zellweger’s performance as, 169
and rooster scene, 260
Zinneman, Fred, 32, 34
zoetrope, 29
Zoetrope Studios, 26, 34
Zukor, Adolf, 327
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