|Lucas & Co-Producer Gary Kurtz discuss destruction of the Ford Galaxie|
|A Techniscope film frame|
"I'm not gonna say I was like a son to him, but it was sort of like that: I was like the student and he [Wexler] was like the teacher," says Lucas
Wexler and Bill Maley (Lighting Director) employed the effective technique of putting a truck up on jacks and flashing the headlights on and off to simulate the appearance of passing cars on the actor's faces. And, by using 4 or 5 battery operated dome lights inside the cars, they were able to light the actors so they were visible in the cars.
One of the most striking aspects of Graffiti is the convincing sound of street-cruising ambience supplied by sound designer, Walter Murch. Murch, the the son of Abstract Expressionist painter Walter Murch, (1907-68), had first met Lucas when they were both film students at the University of Southern California (USC). Lucas wanted something special to be done with the music in the film and Mr. Murch was just the person to provide it. At the time, Murch felt the available effects machines that produced reverb and echo sounded much too artificial so he set out to create his own effects for the film. To make the music bounce around the environment Murch employed a process he termed, "worldizing."
|Walter Murch & George Lucas|
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