ASC dinner tonight

[David Mullen ASC]

I just got back from a nice dinner at the ASC Clubhouse to honor any foreign cinematographers in town whose film was nominated for Best Foreign Language Film Oscar -- two of them were there, Rainer Klausmann for "Downfall" and Harald Paalgard for "As in Heaven". Caleb Deschanel was also there, nominated for an Oscar for "The Passion". They all spoke about their films. Rainer was rather funny talking about "Downfall" (about Hitler's last days in the bunker) because when asked about how he shot the movie, he said "it was all normal! I didn't do anything special -- normal Kodak stock, normal cameras, normal processing, no D.I., it's normal!" To which someone replied "Maybe that's why it looks special?"

 

I asked Deschanel whether there was any intentional softening of the image for "The Passion" and he said that he shot it clean in anamorphic but did some subtle digital diffusion in post but that Mel Gibson opted to return the look back to how it was in print dailies (for the most part) because he wanted it a bit grittier, or more realistic. Deschanel said that there was a little softening due to the 2K D.I. (it was scanned at 4K though). We talked about how maybe it was a good idea to use camera filters for diffusion if only to build it into the original negative so it couldn't be removed later.

 

I got to sit next to Richard Kline, ASC through dinner -- as I asked him about various shots in "Star Trek: The Motion Picture", "Body Heat", "Andromeda Strain", "Camelot", his general response was "I can't believe you remember all of those shots in such detail!" Not to mention me quoting 1970's articles in American Cinematographer, which he was surprised I remembered. He was pretty lively and said he wasn't retired but still shooting these days. He wanted to talk more about HD and other movies (I take it he's a fan of foreign films because we talked about French movies and Chinese movies). He's very much focused on here and now, but I got him to talk a little about the past. He recalled he was shooting mostly at f/2.8 for ST:TMP on the bridge set because of the light levels needed to see the 16mm rear-projected displays. He said he used fog filters in "Body Heat" to get the halation effects. He still likes to handhold an Inky with a snoot for a moveable eyelight. Nice guy.

[Jonathan Spear]

Hey David,

 

Is this your first ASC dinner?

Was it inspiring?

Meet any personal heroes?

How was the food?

 

-JonS

[David Mullen ASC]

No, I've been to several. A member can bring a guest to the monthly dinner meetings (although not held every month, and I think once you've been as a guest, you have to wait a year to be invited again) and I went twice over the years before I became a member, and I've been to some over the past year, plus other events there at the Clubhouse.

 

I always meet personal heros when I go there. It was a small affair last night, but even then, there was John Toll, William Fraker, Lazslo Kovacs, Vilmos Zsigmond, Bob Primes, Caleb Deschanel...

[Jonathan Spear]

"I always meet personal heros when I go there. It was a small affair last night, but even then, there was John Toll, William Fraker, Lazslo Kovacs, Vilmos Zsigmond, Bob Primes, Caleb Deschanel.."

 

:o

 

whoa that's cool. that's a lot of talent in one room.

 

a few more questions if you have the time -

 

during your pre-ASC days/8mm days, did you ever think you'd be where you are today?

 

something i've always wondered... do ASC members have certain, er, personality traits or some kind of common ground between them besides cinematography (i.e. do you guys ever hang out together in your free time?)

 

10x,

 

Jon

Edited February 25, 2005 by TSM

[Guest Daniel J. Ashley-Smith]

So what did you have? Chicken, beef? lol, no only joking.

 

I've always been a bit hazy when it comes to organisations like the ASC or the BSC.

 

What is it exactly? Just an experienced cinematographers club or something? If so, you pay membership fees or something to keep it running?

 

 

And is the ASC in close contact with other groups like the BSC?

[David Mullen ASC]

They served Mexican food last night.

 

The ASC is an honorary society, membership by invitation (other cinematography societies have different rules). There are honorary societies for other fields like for editors (ACE), sound editing (MPSE), casting, but the ASC is the oldest. It's not a union (that's IATSE here.)

 

Sure, they keep in touch with the other cinematography societies around the world, mainly through members who are in both.

 

The ASC is not exactly a financially rich organization; everything is run through the volunteer work of the cinematographers plus a very small and hardworking staff in the clubhouse (literally, an old house.) Dues are small; most of the money comes from sales of the books and American Cinematographer magazine, plus sponsorships from companies. At least, that's what I've gathered second-hand.

 

Try going to the website:

http://www.theasc.com

[Guest Daniel J. Ashley-Smith]

They served Mexican food last night.

 

The ASC is an honorary society, membership by invitation (other cinematography societies have different rules).  There are honorary societies for other fields like for editors (ACE), sound editing (MPSE), casting, but the ASC is the oldest.  It's not a union (that's IATSE here.)

 

Sure, they keep in touch with the other cinematography societies around the world, mainly through members who are in both.

 

The ASC is not exactly a financially rich organization; everything is run through the volunteer work of the cinematographers plus a very small and hardworking staff in the clubhouse (literally, an old house.)  Dues are small; most of the money comes from sales of the books and American Cinematographer magazine, plus sponsorships from companies.  At least, that's what I've gathered second-hand. 

 

Try going to the website:

http://www.theasc.com

<{POST_SNAPBACK}>

Oh right. Seems like fun actually, (in a sad way.)

 

Do all you ASC folks know each other? i.e. have you met all the other top notch DP's out there, like Conrad L. Hall e.t.c.? (When he was around I mean)

Edited February 25, 2005 by Daniel J. Ashley-Smith

[Guest Daniel J. Ashley-Smith]

They served Mexican food last night.

Ahh all you needed was a pet donkey sitting at the table saying "MM Mexican food maa favourite!"

[Alberto Larios-Saavedra]

Ahh all you needed was a pet donkey sitting at the table saying "MM Mexican food maa favourite!"

<{POST_SNAPBACK}>

 

What is that supposed to mean?

[Guest Daniel J. Ashley-Smith]

What is that supposed to mean?

<{POST_SNAPBACK}>

You ever see Shrek 2? At the dining party scene. Just a joke really.

[Alberto Larios-Saavedra]

You ever see Shrek 2? At the dining party scene. Just a joke really.

<{POST_SNAPBACK}>

 

Oh, I see. I didn't watch the movie.

Hey David, have you seen "Downfall" and "As in Heaven? If so what do you think?

[David Mullen ASC]

No I haven't -- "Downfall" opened today in Los Angeles and "As in Heaven" played only at a Scandinavian Film Festival at the WGA Theater -- I only caught one movie there, something called "Popular Music".

[Riku Naskali]

I only caught one movie there, something called "Popular Music".

Was it Finnish/Swedish?

[David Mullen ASC]

Was it Finnish/Swedish?

<{POST_SNAPBACK}>

 

It was based on a Swedish book called "Popular Music from Vittula" (sp?), which apparently is a dirty word in Finnish, and the book was only called "Popular Music... " in Finland. Set in a town on the border with Finland.

 

My wife, just for the fun of it, is studying Finnish (she went last year to the Midnight Sun Film Festival) and drags me to various Scandinavian movies...

[Lucy Davis]

hello david

 

i am currently in college in england and i would like to be a DP one day. one question that has been bugging me for a while is do you have to be american to join the ASC? LOL

 

i am new here and very interested in camera work, do you have any long term suggestions that would help me in my future?

 

also what kind of films/programmes have you worked on?

 

lucy B)

[Kevin Zanit]

You need to have shot a number of projects in the US to qualify for the ASC (of course you still have to be invited in).

 

There are many members who started/ do work in other countries. A good example is Roger Deakins, ASC, BSC. He is a member of both societies. Or Dean Semler, ACS, ASC, or Mark Irwin, ASC, CSC, the list goes on and on.

 

 

Kevin Zanit

[David Mullen ASC]

No, there are lots of foreigners in the ASC, or recent immigrants to the U.S.

 

Everyone forges their own path to being a DP; I shot my own short films for a decade, went to film school, shot dozens of projects for other students, started shooting low-budget features as a DP after graduation. I just kept my overhead low, lived cheaply, shot as often as I could no matter what the pay was.

 

But I'm just talking about career development, not artistic development, which you also have to constantly attend to.

[Jonathan Spear]

"Everyone forges their own path to being a DP; I shot my own short films for a decade, went to film school, shot dozens of projects for other students, started shooting low-budget features as a DP after graduation. I just kept my overhead low, lived cheaply, shot as often as I could no matter what the pay was."

 

 

Hey David,

 

I can't afford to put myself through film school and neither can my parents.

I applied for loans and grants and recieved a nice chunk of $$ - but I still can't afford the tuition. I've spent the last 3 years teaching myself photography and cinematography (books, magazines, CML, this website, camera manuals, etc) - obviously without the hands on experiece film school can give you.

My first project is coming up this spring and by then hopefully I'll be ready to shoot in terms of gear, etc. I'm not spending any money (aside from film, development costs) on the project - but I managed to put together a great crew.

We're aiming for a print and a shot in a film festival and I won't be dissapointed if my first movie turns out like, well, my first movie. After the first movie is complete I plan on getting some work on an indie set and gradually working my way up the ladder while at the same time continuing to follow up on a spec screenplay I wrote which may or may not end up as a paperweight.

I'll take the time to do everything the right way, I'm a good listener and a hard worker. Heh, I need to learn how to keep my mouth shut once in a while but I guess that comes with age.

 

 

 

 

Am I going in the right direction?

 

 

 

 

I'm honestly not after money or success (or else I would have gone to med school or something of that nature) - but I don't want to get 'stuck' shooting no-budget indie films for the rest of my life. Nothing against the indie scene, it just seems like there are more creative options where there is more money.

 

Thanks,

 

Jon

[John Sprung]

My wife, just for the fun of it, is studying Finnish (she went last year to the Midnight Sun Film Festival) and drags me to various Scandinavian movies...

<{POST_SNAPBACK}>

My wife is going to be visiting relatives in Norway and Sweden this spring....

 

 

 

-- J.S.

[DavidSloan]

Everyone forges their own path to being a DP; I shot my own short films for a decade, went to film school, shot dozens of projects for other students, started shooting low-budget features as a DP after graduation.  I just kept my overhead low, lived cheaply, shot as often as I could no matter what the pay was.

 

 

<{POST_SNAPBACK}>

 

To me, this is the best way to become a "professional" DP. It's also the path that I'm taking...I shoot anything and everything that comes my way. From Thesis films to music videos. I never understood the whole, "I'm gonna work my way up the ladder," theory. I'm sure it worked for some, but I just don't see how someone is gonna say: "boy that David sure can check a gate...let's let him shoot our next feature film." Or the rental house route..."my, what a wonderful and pleasant camera check out you have provided me with, would you like to shoot my next film?" While other people "work their way up" doing 3rd electric on some crappy DVX feature, I'm building a soild reel and immersing myself in lighting.

Edited February 28, 2005 by DavidSloan

[Lucy Davis]

Thanks guys

 

that makes a lot of sense to me

 

what kind of projects/films are you making at the moment or interested in? :)

[David Mullen ASC]

Am I going in the right direction? I don't want to get 'stuck' shooting no-budget indie films for the rest of my life. Nothing against the indie scene, it just seems like there are more creative options where there is more money.

<{POST_SNAPBACK}>

 

I don't know if there's a "right" direction -- it's a little like the old Roman proverb "count no man lucky until he is dead"... you don't know if all the decisions you made are the right ones until it's all over and you can look back. All you can do is create more opportunities for advancement in your field by making connections, mainly through working on as many projects as possible. It may actually be one of your SMALLER projects that gets the notice you need to jump to a higher level. Try and find projects that need good cinematography, not ones where they just want someone competent to pull the trigger.

[Jonathan Spear]

Point well taken.

Thank you, David.

[Riku Naskali]

It was based on a Swedish book called "Popular Music from Vittula" (sp?), which apparently is a dirty word in Finnish, and the book was only called "Popular Music... " in Finland.  Set in a town on the border with Finland.

Yep, exactly what I thought it was. Haven't bothered to watch it, though.

 

My wife, just for the fun of it, is studying Finnish (she went last year to the Midnight Sun Film Festival) and drags me to various Scandinavian movies...

I'm sorry :rolleyes: