VOL 95 (2014) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

 

ASC Logo smallSIDE

From ASC CLOSE UP american-cinematographer-logo Vol 95(2014)

What’s The Best Professional Advice you’ve received?

MICHAEL BONVILLAIN, ASC

‘Never stand when you can sit, and never sit when you can  lie down.’

JAVIER AGUIRRESAROBE, ASC, AFC

I don’t remember ever receiving advice about my work from anyone except my gaffers, who advised me not to be so impatient.However, I once received  this general advice : ‘ A movie is like the Tour de France: It’s not necessary to win all the stages. It’s more important to resolve the worst situations,maintain the consistency, and then arrive in Paris as the winner’.

REXFORD METZ, ASC

‘Never say no!’

GEORGE MOORADIAN, ASC

At the bottom of a silver mine in Park City, Utah, 1 1/2 Miles underground Garland Wilde intoned, ‘Don’t be afraid of the Dark.’ You can take that advice anywhere.

JAMES A. CHRESSANTHIS, ASC

Vilmos Zsigmond told me, ‘Jim, it takes 10 years to become a cinematographer, so be patient and remember, nice guys finish first. And promise me that when you are a successful, you will help the next person.’

ALEX FUNKE, ASC

‘Never ask the crew to undo something  they already done!’ And, ‘Always finish the day leaving a shot ready to start right away the next morning.’

KRAMER MORGENTHAU, ASC

‘In this business, if you aren’t early, you are late.’

JONATHAN FREEMAN, ASC

‘Trust your instinct. Your first choice is usually the best.’

KEN KELSCH, ASC

John Cassavetes told us at NYU not to stop shooting.Just figure it out a way to do it.

JULIO G. MACAT, ASC

When you shoot, take chances, don’t play it safe; push the envelope into that scary and dangerous place; do not settle  for mediocre work. There is always  for improvment . Be original; do ordinary things in a extraordinary way. Don’t forget you are telling a story- so what does each shot say? Shoot images that you would enjoy watching.

To Be Continued… –つづく…

VOL 90 ( 2009 ) FROM ASC CLOSE UP-BEST PROFESSIONAL ADVICE RECAP

ASC Logo smallSIDE

From ASC CLOSE UP american-cinematographer-logo Vol 90(2009)

What’s The Best Professional Advice you’ve received?

GABRIEL BERISTAIN, ASC, BSC

Kate Nelligan , a superb actor, once told me that if I could light women beautifully, I would not help many careers, but I would also definitely help mine.

PETER SUSCHITZKY, ASC

I Was once invited to a dinner where Billy Wilder was one of the guests.He asked me what I was doing, to which I replied, ‘Oh , a small movie’ He said,’ There’s no such thing, just good ones and bad ones.’ For the rest, I listened to an inner voice that said,’Develop as many interests as you can, as you will need them to fill the long gaps between movie and enrich life in general.’

PETER  WUNSTRORF, ASC

‘Be Yourself’. I was about to interview for the aforementioned pilot (Millennium), and I was nervous.;my Good friend Dominique Fortin said, ‘Just be yourself;they will like you.’ I didn’t try to fake it. I thought it went badly, but in prep, the producer told me, ‘You came in and only spoke about the work,and that’s all Chris Cater cared about.’

THOMAS ACKERMAN, ASC

Legendary gaffer George ‘Popeye’ Dahlquist used to tell his lamp operatos ‘Boys,if you’re not 10 minutes early,you’re 10 minutes late.’Readiness is a big part of what we do.

JOHN LINDLEY, ASC

When I wanted to quit a miserable show, the director, Virgil Vogel,said,’Kid, never quit.If you have to leave, get fired.If you quit,it will always reflect on you.’

ALAN CASO, ASC

From John Frankenheimer: ‘Alan, whatever you do in this business,don’t ever let them push you into shooting something you know is just bad,something you’ll end up regretting or hating.Simple rule of thumb: ‘don’t shoot s**t!’

MARK IRWIN, ASC, CSC

When director Gil Cates chose me to shoot a love story starring Bea Arthur and Richard Kiley, he said he liked what i’d done on The Fly.I reminded him that Jeff Goldblum and Geena Davies were in a horror film, not a love story.He said,’No,they were in love, and that’s what the audience saw. Sometimes you have to ignore the words and let the pictures tell the story.

AARON SCHNEIDER, ASC

When I was starting out, a veteran first assistant  told me the 2-make Rule,’ make your leading ladies look beautiful and make your day.’

ALEXANDER GRUSZYNSKI, ASC

I think it was Sven Nykvist, ASC who once said, ‘Take chances, but when you do, lower the ASA settings on your light meter.’ To this day, no matter how great the latitude of the film stock is, I always calibrate my meter to a lower settings than what the manufacturer recommends.

ANASTAS MICHOS, ASC

I was working with Don McAlpine,ASC,ACS, and getting impatient watching the director, producer and assistant director endlessly discuss the next setup. Don turned me and said in his inimitable Aussie drawl,’Relax: Sooner or later they’ll have to come over to talk to us.’

PAUL RYAN, ASC

Michael Chapman, ASC said ‘You have to give the impression you know what you’re doing even when you’re totally confused.’

To Be Continued… –つづく…

VOL 89 ( 2008 ) FROM ASC CLOSE UP-BEST PROFESSIONAL ADVICE RECAP

ASC Logo smallSIDE

From ASC CLOSE UP american-cinematographer-logo Vol 89(2008)

What’s The Best Professional Advice you’ve received?

GLEN MacPHERSON, ASC

‘Keep it Simple’. it’s Always exciting to try a new piece of gear, but sometimes two grips pulling a camera on a blanket is stille the best solution.

TORBEN JOHNKE, ASC

I once worked with Irvin Penn, who told me a simple rule: less is often better.He used a single soft light for most of his shots. We shot a number of Pepsi commercials that way, and those spots won several Clios.

WAYNE KENNAN, ASC

Right After I was accepted into the union as an operator, I was offered a job at Warners as An Assistant. I needed a letter from a producer to re-rate me.The Producer told me I’d be an idiot not to pursue operating because it might take me 10 or more years to ge there again.He was right;it was a struggle. But I established myself as an operator and was working steadily within a year.

RODNEY TAYLOR, ASC

When Leavie Asked me to work with him at Corman’s, the pay was 50$ a day.Levie said,’They’re not paying for experience .Take the job and you’ll meet people.’

ANTONIO CALVACHE, ASC, AEC

This is directly related to my memorable blunder. When Conrad Hall ASC gave me a lecture at AFI, he was asked what a single piece of advice he’d give to aspiring cinematographer.His answer :’Get Enough Sleep.’

ROB MacLACHLAN, ASC, CSC

My Dad told me it did not matter what I did for a living as long as I loved it.Also, much later, Richard Leiterman caught up with me at CSC Awards, where I’d  just gotten my fourth consecutive  award for TV series and was on a bit of a roll. He told me not to ‘get too damn comfortable’ and to ‘get the hell back to the USA while ya can!’ A year later, I was divorced, living in my native California, doing my most satisfying work ever, and shooting a big studio feature. My career and life have only gotten better since that.

BILL TAYLOR, ASC

When I asked Freddie Francis for his secret to glamour lighting, he said, ‘Put a great Big light over the lens. And get Brooke Shields if you can.’

JOHN S.BARTLEY, ASC, CSC

‘Light the Set, then turn off half the lights and shoot.’

PETER KOZACHICK, ASC

At ILM, Dennis Muren, ASC had a simple, powerful phrase:’ One Shot, one Thought.’ When we lapse into gliding the lily on a setup, that quote provides a reality check.

ROSS BERRYMAN, ASC, ACS

‘Be nice to people on your way up because you never know who you’re going to meet on the way down.’

VICTOR GOSS, ASC

When I was becoming successful shooting commercials, a wise producer friend learned over in a screening room once and whispered ‘Don’t let this go to your head.’About 23 years later, I figured out what he meant.

DONALD McALPINE, ASC, ACS

The late and wonderful Phil Gersh, my agent for many years, listed the directors one should avoid working with. I’m not going to publish that list.Reports and anecdotes over the years have been an indication of grief avoided.

To Be Continued… –つづく…

WORKS AND EXHIBIT 2011-2016

SOME EXHIBIT HAD DISPLAY WORKS OF MINE (2011-2016)

RECAP

    IO ESPONGO XIV  20 APRIL 2011

SDC17867

“THE BLEEDING LADY”

IO ESPONGO XVII MARCH 2014

IMGP4434“DROWNING LIGHTS”

PHOT’OUT FOTOGRAFIA CINEMATICA – BIBLIOTECA NATALIA GINZBURG TORINO JULY 2014

This slideshow requires JavaScript.

 

PARATISSIMA #10 November 2014 N.I.C.E “ALTROVE”

Special Project

 

PARATISSIMA #11 November 2015 N.I.C.E “CITTA’ESPANSA”

Special Project

IMGP1927_stitch“THIS IS NOT L.A.”

IO ESPONGO XVIII 6 DECEMBER 2015 – MARCH 2016

Palazzo della Regione Torino

THE WAVE“The Wave”

To Be Continued… –つづく…

 
BeFunky Collage2

VOL 86(2005) FROM ASC CLOSE UP-BEST PROFESSIONAL ADVICE RECAP

ASC Logo smallSIDE

From ASC CLOSE UP american-cinematographer-logo Vol 86(2005)

What’s The Best Professional Advice you’ve received?

GERALD PENNY FINNERMAN , ASC

Harry Stardling Said to me ,”Make Everyone on the set like you.The Rest will be easy for you.Remember that.”

TONY ASKINS , ASC

Philip Lathrop said “Always be on time,dress nicely,leave your ego home,treat everyone equally and with respect,and always be positive,no matter how hard it gets”

STEPHEN LIGHTHILL , ASC

Experienced filmmakers always reminded me to wear comfortable shoes while shooting.They were right, and they inspired in me a lifelong love of good shoes

ISIDORE MANKOFSKY , ASC

Be bold, and take chances-Advice I have not always followed,much to my regret. Also,following your intuition is usually the smart thing to do.

RUSS ALSOBROOK , ASC

“Tell the story and make your stars look great.”

JON FAUER , ASC

“The only reason to be late for a call is being dead.” This was drilled in to me by Mel London or Freddie Young, BSC

DON McCUAIG , ASC

While shooting newsreel for the Canadian Broadcast Corporation , producer Allan Clapp told me I should analyze every frame of film or videotape I shot.It has been tremendous help .Also ,Woody Omens, ASC told us at Panavision workshop that it was important to examine laserdisc,freeze a perfect frame, and dissect the lighting.What a Great gift.Other important advice was three words: “Prep,Prep,Prep”

LEVIE ISAACKS , ASC

I Was told that Hollywood was a work-ethic town:do the work the very best you can and that will count the most.I have found it to be true.

DENIS LENOIR , ASC

“But Denis,This is flat! That was said by corporate-movie director(and former cinematographer) Georges Pessis on my first day with him,after I had lit part of a Nestlè factory with a few Mini-Brutes and Redheads.It just blew my mind:light could be flat and therefore also not flat”

RICHARD EDLUND , ASC

Don’t Look Back : Bob Dylan

HENNER HOFMANN , ASC

Gabriel Figueroa, AMC told me one day, “Your Negative needs to look like an avocado skin, not like a light onion skin.” I found that to be exquisite advice for both cinematographers and chefs.

RALPH WOOLSEY , ASC

“Never Look Back.”- Karl Freund

To Be Continued… –つづく…

 

SINCE VOL. 85 ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

ASC Logo smallSIDE

From ASC CLOSE UP american-cinematographer-logo Vol 85(2004) 

What’s The Best Professional Advice you’ve received?

ROY H.WAGNER , ASC

It Was Actually given by Ansel Adams.He Suggested that I previsualize in my head what I wanted an Image to look like and then determine what I needed technically to achieve that.That one piece of advice is the basic principle that has allowed me to be considered a very fast cinematographer

AMY VINCENT , ASC

I was Working as an assistant for Bob Richardson ,ASC, and he came to see my AFI Thesis Film.The Next day ,on set, he announced to everyone that it was my last day working for him.Then he told me that my lighting should never get too complicated and he pushed me out the door!

BILL DILL , ASC

Look at the big picture,and ask yourself, “What Made me want ot shoot this movie in the first place?” Don’t let your role sink into mere execution.Every Choice should have a specific,identifiable,underlying philosophical basis in the story.However , be careful with this.As soon as the basis becomes apparent to the audience ,you’ve moved into their consciousness.Our work has its greatest effect on the unconscious emotional involvement the audience has with the movie. The way I put this to my students is , ” Never let your metaphor become a metafive”

GEORGE SPIRO DIBE , ASC

I never forgot Jimmy Wong  Howe telling me , ‘Don’t screw with your negative’. He did not believe in putting a diffusion glass that cost a few dollars over a lens that had cost thousands.He also said, ‘We never make mistakes’.

ROBERT F. LIU , ASC

James Wong Howe told me once that no one can make every scene a masterpiece,but if you can make one scene or one shot outstanding within the whole picture,you have achieved uniqueness in your work with a trademark.

ANDY LASZLO , ASC

Learn what’s important to put up a fight for,and know when to say no

RON GARCIA , ASC

From Alfred Hitchcock : ” Stay out of Jail

OWEN ROIZMAN , ASC

Pay Attention and follow you Heart.That came from me.

DARYN OKADA, ASC

Trust your eye and not the light meter

CURTIS CLARK , ASC

Years Ago,Allen Daviau advised me to include commercials in my work as a  cinematographer.This is was great advice,and I have followed it

MICHAEL GOI , ASC

Always tell the truth.Say what you really believe.Telling people what you think they want to hear doesn’t you or them.Also,always photograph your lead actress like she’s your lover,but don’t date her.

RICHARD KLINE , ASC

From Harry Stradling: Make Sure that somewhere in each frame there is a proper exposure!

To Be Continued… –つづく…

 

FURTHER CONSIDERATION – VINTAGE LENSES RULES

End of troubled year,so Let me does some Random Considerations..If I’m not wrong somewhere(American Cinematographer Vol. 89 Issue 5 Kink and the City By Jon Silberg) I read that “my” DANTE SPINOTTI A.S.C-A.I.C for the feature DECEPTION used older Super Speed primes lenses over modern HD digital camera(at that times Panavision Genesis ) and modern primo lenses over classic super35 film camera like ARRI or Panaflex..so I used this tips,among the many that he does in every his interview, for my gear using classic/vintage Pentax SMC A Manual Focus lenses(50mm f 1.7- 50mm f 1.4) over my digital APS-C Pentax SLR and I get , sometimes with the beauty of some difficult, OUTSTANDING  results,working at 50mm full frame lenses(75mm if compared to Pentax APSC DSLR System 1,5x) ;last hardly I will pass to full frame ,not for my pocket ,my computer and skills.Check My Flickr
DSC00356

Then I was able to recover a 1984 RICOH XRP 35mm film camera mounting a Ricoh 50 mm lenses f 1.7 for understand what Quentin Tarantino and other great Directors are keeping alive in to cinema industry,the use of film,to be honest as just not pro in that days is quite a mess develop films and scan for obtain nice prints (prints on photographic paper/media is the where everything must go) however the organic feel is so fascinating ,and I could understand why they don’t quit it,but with my digital gears set as I mentioned before I can really deal the same great digital photographic meaning specially for see in to the darkness…

So less any hateful Digital Intermediate speech I’m not telling that IF they used ALEXA 65 with Vintage Ultra Panavision lenses they could get a better THE HATEFUL 8,because this feature under the great ROBERT RICHARDSON A.S.C. is shot at Anamorphic 65mm film with Panaflex using tons of KW with Classic Hollywood Lighting and is not like the REVENANT shot by the beloved EMMANUEL “CHIVO” LUBEZKI A.M.C-A.S.C (using Alexa HD cameras and classic Panavision Anamorphic C Series Lenses with ONLY available ambient-practical lighting),so these western movies are in to a great beautiful confrontation..however this is not my business,are just thoughts for say in the media “fight” lenses could make really the difference and in this case Vintage Lenses Rules.

UltraPanavision-Hateful

THE REVENANT Copyright © 2015 Twentieth Century Fox Film Corporation. All rights reserved. THE REVENANT Motion Picture Copyright © 2015 Regency Entertainment (USA), Inc. and Monarchy Enterprises S.a.r.l. All rights reserved.Not for sale or duplication.

WHAT DID I TELL YA?!
British production firms spend big on ‘vintage lenses’ to profit from period drama boom