From American Cinematographer, A Gothic Masterpiece by Jan A. Henderson and George E. Turner (January 1998)
John Mescall, ASC:
Universal executives were concerned about Mescall's participation in the project because the cameraman was a chronic alcoholic. Apparently, his artistry did not suffer when he was drinking; the problem was getting him to and from work. During the 1940's he was often replaced after failing to report for duty, yet earned a Best Black-and-White Cinematography Academy Award Nomination in 1942 for Take a Letter, Darling. Although he made no secret of his addiction, Mescall had a distinguished career and was also a world-class golfer. He lived his last years in obscurity.
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label career. Show all posts
Showing posts with label career. Show all posts
13.5.09
Jeff Cronenweth: Path to Cinematographer
From American Cinematographer, Anarchy in the U.S.A. by Christopher Probst (November 1999)
Commenting on the path he took to his first feature film, he relates,
"I knew that both John Schartzman and Robert Brinkmann had started shooting documentaries, industrials, and whatnot right out of film school, while I was a camera assistant working my way up the ladder in a more traditional sense. Even though I wasn't shooting, I was working on $30 million and $40 million pictures. Interestingly enough, we all sort of arrived at the same place in almost the same amount of time. There's always sort of a toss-up between which is the better way to go. Obviously, the sooner you start shooting, the sooner you gain experience that you cannot get as an assistant. But, at the same time, how does someone who has done documentaries, industrials or even music videos deal with the scope of a $60 million film? I suppose it ultimately depends upon what your goals are and how you want to achieve those goals. Is it important to you to gain the knowledge that you get working up the system, or are you anxious to get in there and do it yourself?"
- Jeff Cronenweth, ASC
Commenting on the path he took to his first feature film, he relates,
"I knew that both John Schartzman and Robert Brinkmann had started shooting documentaries, industrials, and whatnot right out of film school, while I was a camera assistant working my way up the ladder in a more traditional sense. Even though I wasn't shooting, I was working on $30 million and $40 million pictures. Interestingly enough, we all sort of arrived at the same place in almost the same amount of time. There's always sort of a toss-up between which is the better way to go. Obviously, the sooner you start shooting, the sooner you gain experience that you cannot get as an assistant. But, at the same time, how does someone who has done documentaries, industrials or even music videos deal with the scope of a $60 million film? I suppose it ultimately depends upon what your goals are and how you want to achieve those goals. Is it important to you to gain the knowledge that you get working up the system, or are you anxious to get in there and do it yourself?"
- Jeff Cronenweth, ASC
Subscribe to:
Posts (Atom)