Seeing Sound
Sound editor Walter Murch (The Godfather, Apocalypse Now, The English Patient), sound designer Randy Thom (The Right Stuff, The Thin Blue Line), and radio artist Joe Frank deconstruct excerpts from their work...
Sound editor Walter Murch (The Godfather, Apocalypse Now, The English Patient), sound designer Randy Thom (The Right Stuff, The Thin Blue Line), and radio artist Joe Frank deconstruct excerpts from their work...
revealing the techniques, discoveries, and secrets within, forging a conversation about the ways sound can be used to create texture, build character, and add rhythm, mystery, and suspense to radio storytelling.
This panel discussion is moderated by Davia Nelson and Nikki Silva, the Kitchen Sisters.
Featuring
Joe Frank (1938 - 2018) began his radio career in 1976 at WBAI, Pacifica's New York station, and served as co-anchor of NPR's All Things Considered in the show's early days.
Randy Thom started his career in radio and music recording before making the transition to film in 1975, when he was hired on Apocalypse Now as a sound effects recordist. Since then, Thom has worked in a wide variety of creative capacities in over 30 films, and is currently a sound designer and mixer at Lucasfilm's Skywalker Sound facility. Thom received an Academy Award for sound for The Right Stuff, and is striving, along with a small group of other sound designers, to develop motion picture sound into an art form.
The Kitchen Sisters (Davia Nelson & Nikki Silva) are producers of the duPont-Columbia Award-winning and James Beard Award-nominated NPR series Hidden Kitchens, and the two Peabody Award-winning NPR series, Lost & Found Sound and The Sonic Memorial Project.
Walter Murch, a film editor and sound designer since 1969, has been nominated eight times by the Academy of Motion Pictures. He collaborated on the early films of Francis Coppola and George Lucas (THX-1138, The Godfather parts I and II, The Conversation, American Graffiti, and Apocalypse Now). In 1998 he re-edited and remixed Orson Welles's Touch of Evil, guided by a 58-page memo written by Welles after he had been fired from the film.