Melinda and Melinda is essentially an indoors film with lots of dialogue and uses the warm tones characteristic of the director’s work. Wexler believed his dismissal was due to his concurrent work on the documentary Underground, in which the left-wing urban guerrilla group The Weather Underground were being interviewed while hiding from the law. Medium Cool (1969), a film written by Wexler and shot in a cinéma vérité style, is studied by film students all over the world for its breakthrough form. Last but not least, Medium Cool, shot in 35 mm Cameflex with accents of cinema-verite, remains one of the Wexler’s most beautiful and exacting films, the antithesis of the mannered aestheticism that he sometimes adopted in his later works. Crédits. RSS 2.0 Jon Fauer interviews around 110 top cinematographers from all around the world for his 2006 documentary on cinematography, a project which was the first major English-language work on the subject since Visions of Light.Featuring artists like Roger Deakins and Gordon Willis, Fauer tries to draw attention to the role of cinematography in cinema. In 1956, he was responsible for the second unit on Joshua Logan’s Picnic (cinematography by James Wong Howe), including the last scene filmed from a helicopter. He excelled at filming and making palpable nature’s vagaries, bad weather (snow, rain, wind, fog, etc.) This strange little independent film, which has since become cult, navigates freely between fiction (Mitchell camera) and cinema-verite (B&H Eyemo) in a poetic and off-beat satire of the ‘American Way of Life’ that visually channels the America of photographer Gary Winogrand. His work with Billy Crystal in the HBO film 61* (2001) was nominated for an Emmy. Haskell Wexler, the director of the cult classic Medium Cool and one of Hollywood’s most revered cinematographers, passed away Sunday at the age … During the first half of the 1970s, Wexler almost exclusively participated in political documentaries with Joseph Strick (Interviews with My Lai Veterans) or Saul Landau (Brazil, a report on torture ; Interview with President Allende) and even took a trip to Vietnam with Jane Fonda in 1974 (Introduction to the Enemy). Only a few hand-held shots could be interpreted as a concession to a certain form of modernity. The American Society of Cinematographers (ASC) has chosen 13 nominees for its 2017 Student Heritage Awards recognizing graduate, undergraduate and documentary student works. (1966) (1966) and Bound for Glory … Elia Kazan, who had admired the photography on The Hoodlum Priest, hired him in 1963 to work on his autobiographical film America, America, which was partially filmed in Greece and in Istanbul, and in New York in Warner Studios. He was 93. He became friends with fellow sailor Woody Guthrie, who later gained fame as a folk singer. In Cinquante ans de cinéma américain, Bertrand Tavernier and Jean-Pierre Coursodon severely judge Wexler’s work on this film : “The film is a failure mostly because of Haskell Wexler’s cinematography, which is admirably perfectionist, audacious, and brilliant, but which always seems to go in the opposite direction from the staging and the subject of the movie.” The film nonetheless is remembered as the first ever use of a Steadicam® (with Garrett Brown) in a master shot in which the camera descends from a platform to follow David Carradine walking through a refugee camp. (1966), for which he won the last Academy Award for Best Cinematography (Black & White) handed out. Wexler thought about refusing, but Jack Warner made him realize that shooting a major studio film with stars (Richard Burton and Elizabeth Taylor) would be important for the rest of his career. "He filmed all of the scenes that took place in the city, following Bill’s (Richard Gere) death, and a few isolated shots of scenes that I could not finish. [14], Produced by Lucasfilm, Wexler's film Latino (1985) was chosen for the 1985 Cannes Film Festival. Wexler worked on documentary features and shorts; low-budget docu-dramas such as 1959's The Savage Eye, television's The Adventures of Ozzie and Harriet and TV commercials (he would later found Wexler-Hall, a television commercial production company, with Conrad Hall). This is the untold story of a Hollywood legend's battle against the union he loved to make the industry a safer place to work. He worked on documentaries throughout his career. It was during this period he also discovered Italian neo-realist films while admiring the work of István Eiben, the greatest “classical” cinematographer of Hungarian cinema. In the meantime, Wexler collaborated with Jack Couffer and photographer Helen Levitt on an unusual project that was filmed over the course of four years (The Savage Eye, 1956-60). He is also a recipient of the Haskell Wexler Award for Cinematography for his work on the film At The Edge Of The World, a 2016 Berlinale Talents program alumni, and a 2018 artist in residence at the Yaddo Artist Colony in Saratoga Springs, NY. He attended the progressive Francis Parker School, where he was best friends with Barney Rosset. Wexler recognized that standard lighting tended to produce too much glare on that kind of dark complexion and rendered the features indistinct. Within the same week, two major and emblematic figures of American cinematography departed this earth. In my opinion, the general idea of the shot must always come before technical perfection. [4] While in the Merchant Marine, Wexler advocated for the desegregation of seamen. His work was notable for being the first major film in Hollywood history to be shot in color with proper consideration for a person of African descent. Carnet d’adresses | Actualités AFC | Sur les écrans | Technique | Lire, voir, entendre | Côté profession, CahiersLumieres.fr [10], Wexler was fired as cinematographer for Miloš Forman's 1975 film One Flew Over the Cuckoo's Nest and replaced by Bill Butler. https://filmdaily.co/obsessions/greatest-cinematographers-of-all-time In 1958, he used the pseudonym Mark Jeffrey (the given names of his two sons) to sign off on his first feature-length film, produced by Roger Corman, Stakeout on Dope Street. Wexler died in his sleep at the age of 93 on December 27, 2015 at his home in Santa Monica, California. … George Lucas, then 20, met Wexler who shared his hobby of auto racing. They particularly represented the style that emerged within the “New Hollywood” movement, and which irrigated American cinema with a new lifeblood from the end of the 1960s to the early 1980s. Haskell Wexler, ASC (1926 – 2015) & Vilmos Zsigmond, ASC (1930 – 2016), two parallel trajectories, Double portrait illustrating an article by Bob Fischer published in, "Le Mystère Méliès", d’Eric Lange et Serge Bromberg, "Laci és Vili" - Un docu-fiction sur l’Ecole hongroise de la cinématographie, Entretien avec Chloé Zhao, réalisatrice de "Nomadland", le film aux trois Oscars, RED Digital Cinema soutient les productions primées aux Oscars, "Mank" et "My Octopus Teacher", Le directeur de la photographie Willy Kurant, AFC, ASC, nous a (...), "Contre-Champ", nouvelle publication de l’AFC, "60’ avec Mathieu Vadepied", directeur artistique de la série "En thérapie" (...), https://www.youtube.com/watch?v=6qZWDlhJkcg. In 1992, Zsigmond tried his hand at directing, without much success, in The Long Shadow (starring Liv Ullman and Michael York), and entrusted the cinematography to Hungarian director of photography Gábor Szabó. He began but then had to stop work on Francis Ford Coppola’s The Conversation in 1974 and also had to stop work on One Flew Over the Cuckoo’s Nest by Milos Forman the following year. ", He returned to cinematography and feature-length films in 1987 with John Sayles (Matewan, about a miners’ revolt in 1920) and Dennis Hopper (Colors, about the rivalry between two police officers in their fight against the gangs of Los Angeles). But before he died last December, he was brought up on charges by his own union in the last big fight of his life – for safety on the set. Haskell WexlerIn his over 50-year-long career, Haskell Wexler constantly worked between documentary and fiction, each feeding off the other, and sometimes mixing them into a hybrid aesthetic. Both Wexler and Butler received Academy Award nominations for Best Cinematography for One Flew Over the Cuckoo's Nest, though Wexler said there was "only about a minute or two minutes in that film I didn't shoot.”[4], However, he won a second Oscar for Bound for Glory (1976), a biography of Woody Guthrie, whom Wexler had met during his time in the Merchant Marine. The first was an eclectic cinematographer and cameraman, and highly politically active ; the second, was a virtuoso cinematographer, who was highly innovative and audacious. The central character was a television cameraman (played by Robert Forster) who demands that viewers choose their position towards these events, and decide whether to be spectators or actors. Cinematographer Style (Jon Fauer – 2006). [3] His parents were Simon and Lottie Wexler, whose children included Jerrold, Joyce (Isaacs) and Yale. They drew inspiration from painters Johannes Vermeer, Edward Hopper (particularly his House by the Railroad), and Andrew Wyeth, as well as photo-reporters from the start of the 20th century. while learning English "word by word", then shot a few corporate films and television advertisements. Haskell Wexler began his feature filmmaking career as a cinematographer in the late 1950s, having previously shot educational and industrial films. This year’s nominees are students from 10 different U.S. film schools. He chose to follow the San Francisco delegation that travelled to Washington by bus, capturing the participants’ conversations and aspirations in a cinema-verite style. Wexler was also credited as additional cinematographer on Days of Heaven (1978), which won a Best Cinematography Oscar for Néstor Almendros. When his studio lost too much money, it was eventually shut down, but the business served as an unofficial film school for Wexler.[5]. Solidly seconded by Frank Flanagan, Stradling’s gaffer, Wexler created a more traditional lighting system, based on Fresnels on dimmers, without completely abandoning his own techniques, using some indirect umbrella lighting and shots using his hand-held Caméflex. Although in Masters of Light in 1984 he said, “a movie based on dialogues doesn’t interest me. But he said that he was quite satisfied with the B&W photography of Rat Fink in 1965, which was the story of a twisted singer ready to do anything to succeed.In this early period, a film like James Bruner’s 1965 Summer Children stands out. This was Irving Kershner’s first project as director, and the two men would work together again on The Hoodlum Priest in 1961 and A Face in the Rain in 1963. In the portfolio below, you will find other DVD stills from the films cited above. During the summer of 1968, Haskell Wexler directed and filmed Medium Cool, what today would be called a documentary-fiction built around the divisions that were sending tremors through American society in the late 1960s : the civil-rights movement, the protests against the Vietnam War, the assassination of Martin Luther King and of Robert Kennedy, the homeless and the slum-dwellers (Appalachian migrants living in the slums of Chicago), with the violent climax being the police repression of demonstrators during the Democratic National Convention. Wexler was featured on the soundtrack of the film Underground (1976), recorded on Folkways Records in 1976. #3:[Left] with dir Hal Ashby. His first Oscar came in the last year that the Academy still split cinematography into separate colour and black-and-white awards, and Wexler took home a … Accordingly, Wexler toned it down to feature Poitier with better photographic results. On these projects, he found a second wind, with a calmer aesthetic that is nonetheless careful to remain in sync with the storyline. Zsigmond amazes the viewer, but doesn’t surprise him. Turner Classic Movies presents the greatest motion pictures of all time from one of the largest film libraries in the world. The cinematographer is primarily responsible for the lighting and framing of films, and Wexler -- with his dramatic black-and-white compositions, his painterly use of color and his expert eye for dramatic angles -- was one of the best. Wexler's footage on The Conversation was completely reshot, except for the technically complex surveillance scene in Union Square. [5] After the war, Wexler received the Silver Star and was promoted to the rank of second officer. One of them, The Living City by John Barnes (1952), was even nominated for an Oscar. His son Jeff Wexler reported on his father's website and via Facebook that the Oscar-winning Wexler "died peacefully in his sleep." 8:33 AM PST 12/27/2015 by Mike Barnes FACEBOOK; TWITTER; EMAIL ME The making of Medium Cool was the subject of a BBC documentary, Look Out Haskell, It's Real: The Making of Medium Cool (2001). It takes place in Chicago in the summer of 1968. Wexler was judged to be one of film history's ten most influential cinematographers in a survey of the members of the International Cinematographers Guild.[2]. A strong character and liberal political opinions sometimes caused him to enter into conflict with directors who had opposing views. The film was co-directed by Joseph Strick, Ben Maddow, and Sidney Meyers, and was a precursor, ten years before its time, of the New Hollywood style. IEC. Bound for Glory was the first feature film to make use of the newly invented Steadicam, in a famous sequence that also incorporated a crane shot. Mostly directed by James Landis or Al Adamson, these Z-series films intended for drive-in audiences were sometimes filmed in Techniscope using film cuttings, and explored sub-genres in the spy movie (The Nasty Rabbit), science fiction (The Time Travellers), the thriller (Psycho a-go-go), the Western (Deadwood ’76) and the intergalactic horror film (Horror of the Blood Monsters) ! Haskell Wexler, 'Cuckoo’s Nest' Cinematographer, Dies at 93. He also did the snow shots, "wrote Nestor Almendros in A Man with a Camera).The rest of his career was characterized by his loyalty to Hal Ashby (Back, in1977 for example), a couple of documentaries, and especially over ten years of commercials and music videos produced by the production company he founded with Conrad Hall (Wexler-Hall, Inc.). It was again thanks to Kovács’ intervention (who filmed That Cool Day in the Park in 1969) that Zsigmond was hired by Robert Altman on John McCabe, a winter anti-Western that was the polar opposite of Ford’s epics : “Altman wanted a Northern Western, snowy, rainy, and muddy. [9] The following year had Wexler as the cinematographer for the Oscar-winning detective drama, In the Heat of the Night (1967), starring Sidney Poitier. Nonetheless, Zsigmond’s work on advertisements for television and on a short film nominated for an Oscar (Prelude, by John Astin, 1968) would most attract attention and would allow him to make the move towards more ambitious productions, just as his compatriot László Kovács had met success with Easy Rider (Denis Hopper, 1969). It influenced more than a generation of filmmakers. Wexler briefly made industrial films in Chicago, then in 1947 became an assistant cameraman. Wexler’s death on … Wexler continued, to varying degrees, his sometimes immoderate taste for density in the image, a tendency which is found in Blaze (Ron Shelton, 1989) and The Secret of Roan Inish (John Sayles, 1993).In 1997, following the accidental death of an assistant cameraman (returning home after 19 hours of filming), Haskell Wexler’s activist spirit was awoken and he began work on a documentary, Who Needs Sleep ? “Haskell’s cinematography has always been an inspiration to so many of us not only in the guild, but in the entire industry. La Lettre AFC CineDico.com [16][17], Academy Award for Best Cinematography (Black & White), Independent Spirit Award for Best Cinematography, "Top 10 Most Influential Cinematographers Voted on by Camera Guild", "Haskell Wexler: The Hollywood Interview", Anderson, John. The best I can do in that type of situation is create an ambience and light the room in a realist fashion that fits with the story.” Vilmos Zsigmond collaborated with Woody Allen three different times in the 2000s (Melinda and Melinda ; Cassandra’s Dream, and You Will Meet a Tall Dark Stranger). - Modifié le 26/08 Vilmos Zsigmond had hardly begun to work in the Hungarian cinema industry when the ill-fated insurrection of 1956 broke out and was suppressed by Russian tanks. Haskell Wexler, ASC (February 6, 1922 – December 27, 2015) was an American cinematographer, film producer, and director. He made ten documentary films with director Saul Landau, including Paul Jacobs and the Nuclear Gang, which aired on PBS and won an Emm… This would be the first of two Oscar … Born June 16, 1930 in Szeged (Hungary), a city south of Budapest, to a father who was a well-known football coach and a mother who owned a pub, it was at the age of 17, during a period of recovery from an illness, that Vilmos Zsigmond discovered photography thanks to a work by the famous photographer Jenő (Eugene) Dulovits. (see the documentary)). The (overly) stylized image of Wexler was even very inspired by film noir in certain scenes. Maverick brings viewers to the wide open spaces of Westerns sculpted by striking backlighting. - In 1963 he shot (using the name of William Zsigmond) James Landis’ The Sadist, the first of the twenty low-budget independent films he would shoot using his own equipment during the 1960s. After clandestinely filming some of the events with László Kovács, they fled to the Austrian border, carrying with them several film canisters. Wexler briefly made industrial films in Chicago, then in 1947 became an assistant cameraman. Malick and cinematographer Nestor Almendros modeled the film’s cinematography on classic silent films, which often used natural light. Haskell Wexler initiated his feature filmmaking career as a cinematographer in the late 1950s, having previously shot educational and industrial films. If playback doesn't begin shortly, try restarting your device. His landscapes are generally anything but reassuring, there always seems to be an underlying threat because he is the painter of wide open spaces, “psychological climates” in which nature becomes a sort of mental projection (the stormy and monochrome landscapes of the Irish moor in Images, the dull and opaque forest in Deliverance). [5][6], He returned to Chicago after his discharge in 1946 and began working in the stockroom at his father's company, Allied Radio. Wexler also directed fictional movies. Cinematographer, Haskell Wexler Remembers American Graffiti. It was inspired by the French New Wave and of contemporary Italian cinema, and belongs to the neo-realism movement. Cassandra’s Dream, shot in England, is a social chronicle that inexorably turns to tragedy, which allows Zsigmond to show off his painterly mastery of landscapes and inner torments, in which he has always excelled. He won his Oscars in both black & white and color, for Who's Afraid of Virginia Woolf? Much of the film was shot during the early morning or late … His later documentaries included; Bus Riders' Union (2000), about the modernization and expansion of bus services in Los Angeles by the organization and its founder Eric Mann, Who Needs Sleep (2006),[11] the Independent Lens documentary Good Kurds, Bad Kurds: No Friends But the Mountains (2000),[12] Tell Them Who You Are (2004)[13] and Bringing King to China (2011). He served as a merchant seaman during WWII and then returned to Illinois. Arun Chaudhary remembers the gift Wexler brought to a generation of activists and filmmakers. "Haskell Wexler, Oscar-Winning Cinematographer, Dies at 93. They particularly represented the style (...) One thing that I consider fundamental for example, is the time of day at which you should shoot. Here are the NYFF listings on the films that screened in the “Retrospective: The ASC at 100” series: America, America (1963) Director: Elia Kazan Cinematography by Haskell Wexler, ASC. Kazan was nominated for a Best Director Academy Award. It was long considered lost, but was rediscovered, restored, and screened in 2011. I do not think that someone is anti-American just because he gives people something to think about. He decided he wanted to become a filmmaker, although he had no experience, and his father helped him set up a small studio in Des Plaines, Illinois. HomeIndex A-ZCinematographyCamerasFormatsR.I.P.LinksSearchContact. In 1988, Wexler won the Independent Spirit Award for Best Cinematography for the John Sayles film Matewan (1987), for which he was also nominated for an Academy Award. Haskell Wexler, ASC (February 6, 1922 – December 27, 2015) was an American cinematographer, film producer and director.wikipedia 221 Related Articles [filter ] He would be permanently influenced by his highly-contrasted style and directional lighting. "In film school," he would later say, "we were taught that cinema was an art only if it had something to say. Haskell Wexler, the cinematographer and director, who has died aged 93, was a double Academy Award winner and worked on many of the most distinctive films of … Wexler pulled a few strings to help Lucas get admitted to the USC Film School. Wexler was cinematographer of Mike Nichols' screen version of Who's Afraid of Virginia Woolf? Besides the Academy Awards, this film won 1976 Los Angeles Film Critics Association Awards Best Cinematography (Haskell Wexler) and National Board of Review Award for Best Actor (David Carradine). Cinematographer Haskell Wexler, the socially conscious two-time Academy Award winner who lensed Who's Afraid of Virginia Woolf?, One Flew Over the Cuckoo's Nest and many other masterpieces, has died. He studied there from 1951-1955 under professors György Illés, János (John) Badal and Béla Bojkovszky (whom he thanked in 1977 when he received his Oscar for Close Encounters). Other notable documentaries shot and co-directed (with Landau) by Wexler included Brazil: A Report on Torture and The CIA Case Officer and The Sixth Sun: A Mayan Uprising in Chiapas. Cinematographer Style DVD. Kershner’s films were also independent productions (The Hoodlum Priest was filmed in St. Louis, Missouri, and A Face in the Rain in Italy), both in black-and-white and sometimes including some hand-held camera shots. In 2004, Wexler was the subject of a documentary, In 2007, he received a Lifetime Achievement Award from the Independent Documentary Association and the same from the, Six of the films he worked on have been preserved by the, This page was last edited on 14 May 2021, at 09:14. Haskell Wexler - Battle in Seattle, Cinematographer Style, The Big Empty, Tell Them Who You Are, 61*, The Man on Lincoln's Nose, Limbo, Canadian Bacon, Steal Big Steal Little, Three Fugitives, The Man Who Loved Women - The Motion Picture & Television Technical Database That same year, Wexler shot The Bus, a documentary that focused on the rallies in Washington for the great pacifist demonstration organized to defend civil rights in 1963. Mr. Wexler received the last Oscar that would be given for black-and-white cinematography, for “Who’s Afraid of Virginia Woolf?” (1966). Wexler was then contacted by Nestor Almendros to take over from him on the last three weeks of filming of Days of Heaven by Terrence Malick. The struggle for civil rights has been one of the most important issues of American life for the last fifty years. "It is true that following in Conrad Hall’s footsteps, he was also a master of twilight, dusky atmospheres with leaden or fleecy skies through which the pale light of day has a hard time poking through. In August of 1963, groups from all over the country journeyed to Washington D.C. for a massive demonstration, and this film is a fascinating document of this event. Zsigmond worked doing odd-jobs related to photography (laboratory work, portraits, production of microfilms for an insurance company, etc.) Haskell Wexler was one of the most creative and significant cinematographers in movie history. In 1985, he directed Latino (he entrusted the camera work to Newton Thomas Sigel, ASC), a fiction that engaged with his political commitments by addressing the US intervention in Nicaragua, in which the Reagan administration armed and supported the "contras" in their fight against the Sandinista government. The 1970s were marked by films that set themselves apart by their originality and their formal virtuosity, by the likes of Robert Altman (Images, The Long Goodbye), John Boorman (Deliverance), Jerry Schatzberg (Scarecrow ; Sweet Revenge), Steven Spielberg (The Sugarland Express, Close Encounters of the Third Kind), Brian de Palma (Obsession, Blow Out), and Michael Cimino (The Deer Hunter, Heaven’s Gate). They both shaped and revolutionized Hollywood cinema in their own way with a new generation of directors who was attempting to chart a path independently from the major studios and was choosing subjects that were closer to the lived reality of their times, inspired by the counter-culture and sometimes adopting a critical tone towards American society (the abandonment of the Hays code dates from 1966) or revisiting, sometimes dynamiting, genres that were until then comfortably established but that had become tired and hackneyed (the western, film noir, comedies, horror movies, etc.). In Michael Cimino’s Heaven’s Gate (1980), the climax of an extremely rich decade, was also in a way his way of closing the door on New Hollywood in a kind of apotheosis, of visual splendour, but also a swan song whose formal extravagance is like a catalogue of all the expertise and virtuosity of Vilmos Zsigmond. Another directing project was From Wharf Rats to Lords of the Docks (2007), an intimate exploration of the life and times of Harry Bridges, an extraordinary labor leader and social visionary described as "a hero or the devil incarnate--it all depends on your point of view."[15]. And personal differences with Coppola led to Wexler 's film Latino ( )! Gives people something to think about for combining fictional and non-fictional content well for. Documentary filmmaking techniques, as well as for combining fictional and non-fictional content a feature,... While in the category of “ exploitation films ”, low-budget genre that. 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