STEPHEN GOLDBLATT

Brian,

 

This might be of benefit to you-

 

I would like to suggest you check out the little seen Hollywood movie JOE VS THE VOLCANO (1990), just so you can see the opening office sequences, some of which are shown here:

 

 

 

Stephen Goldblatt shot the film, and that sequence alone is in my opinion some of the boldest, most influential and forward thinking cinematography of the 1990s. It is definitely the look your director seems to be chasing. It's so extremely drab, miserable, flat, monotone, green spiked and flat out ugly, but beautiful beyond description because of it. Yes, art direction is part of it, but the actual light, direction of light and photographic colour control commands this one. It would be an honour if Mr. Goldblatt himself could take a time out to tell us how he shot these scenes.

Well thanks for the compliments. As I recall, I was so impressed by Bo Welch's design and by Tom Hanks that I tried to complement what they were trying to do. Sorry I can't be more specific at this distance but sometimes really feeling your way through is the best way to go,

Best,

Stephen Goldblatt

Dive in, make your own films, fu** up even.

 

I'm always learning. Always.

 

Read. Read. Read. Read. Read.

Work. Work. Work. Work. Work.

 

Offer to work under people for free or little pay. Do odd jobs and always pay attention to your surroundings and the techniques that are used.

I could not agree more with the following additions:

Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.

Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.

Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.Read.

Read.Read.Read.Read.Read.

Work. Work. Work. Work. Work.Work. Work. Work. Work. Work.Work. Work. Work. Work. Work.Work. Work. Work. Work. Work.

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Learn.Learn.Learn.Learn.Learn.Learn.Learn.Learn.Learn.Learn.Learn.Learn.Learn.Le

arn.Learn.Learn.Learn.Learn.Learn.

Best Wishes,

Stephen Goldblat asc

Thats not true. Goldblatt was always present on the main unit.

Thanks Tony.

As I remember, through a 25 year memory filter, by the time we were half way through the picture there were so many stages filled with all kinds of sets, models, blue screen and gags that between Peter Hyams and myself we could hardly service the show. An example was the bar scene on the space station. I had finished my first film, a punk rock musical "Breaking Glass", in which I used what were then revolutionary lasers (very powerful and quite dangerous) that were designed by a group out of Shepperton studios including my friend from art school, Anton Furst who later won himself an Oscar for Batman. I suggested to Peter that we should incorporate these effects into the set, he loved the look, Anton brought his lasers and there we were. This whole topic of who shot what where and when is one that can vary from one film to the next. David Watkin generously and famously credited his second unit when he won the Oscar for "Out of Africa". Does this mean his work and career are diminished. Not at all. A career as a cinematographer (or an editor for that matter) is created over many years and many projects and I would suggest that the good the bad and the indifferent must be seen in the context of an entire body of work. Was I happy on "Outland" Absolutely not. Did I do my best in the circumstances. I think so. Was I able to use what I learned on my next and many other films. Without doubt.

Sincerely

Stephen Goldblatt ASC BSC

I found the Cinefex that covered OUTLAND from 1981. It confirms that Hyams did shoot the whole film and Stephen Goldblatt was only ever present on the model unit, for which Hyams supervised the photography anyway, with contributions by the late Bob Kindred (Tony Brown confirmed this a long time ago here). Sounds like Goldblatt (who at that point only had one feature under his belt: a low budget punk movie) was only on hand to keep the union or whoever happy. Quite like the whole "Peter Andrews" Soderbergh thing I'm guessing, however in Goldblatt's situation it must have been winning lottery being used as a pawn on a big budget feature- no doubt he could have lit OUTLAND himself just as competently as Hyams, but just getting credited THRUST him into the limelight overnight! VERY lucky, it seems, and not a common way to get a big break!

July 25th 2006

Paramount Studios

Los Angeles

stephengoldblatt@mac.com

I was idly browsing today in the forum and I saw this post and speculation on my involvement with Peter Hyams on the movie "Outland" It was indeed only my second feature and the problem for me was that when I was interviewed by Peter Hyams he neglected to mention that what he really wanted was a kickabout DP to sit idly by and then be offered as a sacrificial lamb to the Ladd company when anything went wrong with the new Introvision process which was a vital means by which the Space station sequences were to be photographed. It was not in my nature then or now to suffer an ignomonious role and I could have quit immediately I realized the true nature of my employment but for a young DP to leave a film was a career breaker in England at that time. I was so angry at the deception that had been practiced on me that I was determined to make the whole situation work, and to cut a long story short, I learned the Introvision process with the great assistance of Bill Mesa who remains my friend to this day, collaborated with Peter Hyams on many of the sets and although I did not enjoy the full glory of being the main eye behind the camera I learned a great deal both politically and technically and ended the picture having had a positive experience. It was not however a happy one and of all the films I have worked on it is the only film whose wrap party I did not attend. Nevertheless I went on to work with many from the unit on other projects particularly Stuart Baird who was the masterful editor of Lethal Weapon One and Two for Richard Donner.There are many ways to make a career and there are many cinematographers who have had at one time or another to bow to the greater power and influence of their director. Stanley Kubrick was certainly more interested in the camera than in the acting of most of his films and there are others... The trick for me after "Outland" was to ensure that I would work as the Director of Photography without question on my films and to refuse any work where this might be a problem. I have been fortunate to be able to do this over the years and I am now preparing to photograph "Charlie Wilson's War" for Mike Nichols in Morocco and Los Angeles. I hope this is helpful to you and others,

Sincerely,

Stephen Goldblatt ASC BSC