I laugh to myself when I think of how obsessed I had to be to learn about cinematography when starting out as a young assistant cameraman. There was no internet and there were no master classes or mentorships; worse, there was little sharing of knowledge from those at the top of the heap. The camera department wasn’t just a closed society, it was an insular, parochial, inbred culture that was downright hostile to aspirants. If you wanted to grow, you had to push very hard, and progress was measured in tiny increments.
The only dependable resource was a few select books, and the above volume was one of the first I unearthed. I never met Charles G. Clarke, ASC (1899-1983), but I sure do wish I did. A four-time Oscar-nominee, he was one of the top men of the studio era. Generosity with outsiders was not a valued trait during that time, and spreading information on the craft was generally frowned upon. Yet, Clarke somehow found it within himself to provide a basic understanding of the tools and techniques without betraying any secrets. His book was already twenty years old when I stumbled across it, and if it was in any way dated, I didn’t care. I recall staying up all night devouring it.
The curiosity, drive and desire that carried me well through my formative years of the early ’80’s has happily lasted to this day. One difference is that finding answers to knotty questions has become a great deal easier. In the rare instance that Perplexity can’t help, I usually know the exact expert to consult. Fortunately, they’re a lot more willing today, and I trust they’re nicer people, too.
I was certainly aware of the “animosity” toward me from my brothers in Local 644. I came into the union because I was a staff newsreel cameraman at KYW-TV (Philadelphia) and had not been admitted to the union. There was a strike and I got membership by telling the union, that if they expected me to honor the picket line, I had to be a member. That bit of threat worked and I was admitted in 1973. While on strike we had the opportunity to work with other crafts in Philly, for example, hanging lekos at the Walnut Street theater and working on a feature as a sound department cable wrangler. The legendary folks were, Chris Newman sound mixer, Victor Kemper, ASC , and director, Elaine May. The movie, Mikey & Nicky. Fun times and much appreciated income.
Thank God for your obsession and tenacity Richard. So many of us have benefited from the way you have opened doors and put the ladder down. In your writing, leadership, and actions you have truly helped to make a community which is open and supportive.
Today we are blessed and gifted with advice and encouragement from people like you Richard, David Mullen ASC, Shane Hurlbut ASC , and many others within the ASC.
I worked with Shane as a swing man electric-grip on Phantasm 2. I was also put in the movie as a mental patient laying next to the actor James LeGross. I am Crazy for Cinema….touched with that itch to create moving images.
I have been quirky and obsessed since watching Star Wars in May of 1977. The American Cinematopher magazine bought from B Dalton books each month provided my fix. Much to my Fathers puzzlement…He always asked ” Have you met any interesting girls at school or College.”
I talked non stop about Arriflex, Mole Richardson, or Panavision gear and articles from the ASC magazine.
I was absorbed into and immersed in Cinema. It was tough being a shy introvert young man. Glen Kershaw ASC, an early mentor and friend of mine since 1986 pushed me to learn how to be an extrovert. He saw my fever for Cinematography and story telling.
I will always be grateful to all of you in the ASC who encourage us and push us to create from the heart and be honest. Thank you for sharing your knowledge and experiences. But most of all I appreciate the “Tough Cinematography Love” we get from all of you, to push us to be curious and develop as Cinematographers.
We would be stumbling around if veterans of many shooting days did not assist us on our journeys.
Best regards and much gratitude to you Richard and all your colleagues at the ASC.
Greg – Stay tuned for upcoming posts about how I got into Local 644 and my early days working on features in NYC. I assure you…it was no day at the beach!
Thank you, Chris!
Thank you, Karl! Hang in there and keep on shooting!