There are film editors, and then there's Walter Murch. Widely considered the world's greatest editor for his cutting of Apocalypse Now and The Unbearable Lightness of Being, to name just two, he has probably done more to illuminate the art of film editing than anyone, in several books both by and about him. Strangely enough, there has been little about him on film, until now. Murch is an epic sit-down with the man-a condensation of what is surely a many-hours-long conversation about, well, a lot of stuff that interests Murch: his theories on why we blink and what this has to do with cutting film; why he likes to stand while he works (does a surgeon sit, or an orchestra conductor or a butcher?); film acting (he calls it a “theater of thought,” stating that we as viewers watch people's thoughts flicker across their faces); Touch of Evil (which Murch reedited in 1998 guided by Orson Welles's detailed fifty-eight-page memo written some forty years earlier); that unique sense of “mass intimacy” in a movie theater; what cooking and editing have in common (adding something bitter to bring out the inherent sweetness of the dish); and much, much more. Murch is a generous and erudite man, in love with what he does and eager to share and explicate that passion. Studded with generous clips from many of his films, and codirected by one of his former assistant editors, Murch is the equivalent of an audience with the master.