tag:blogger.com,1999:blog-6956070.post8097296295325956546..comments2023-11-03T11:37:13.579-04:00Comments on Something Old, Nothing New: American "Golden Age" Cinematographers Who Kept Working After 1970?Jaime J. Weinmanhttp://www.blogger.com/profile/15128500411119962998noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-6956070.post-36325042885386825512009-04-25T11:24:00.000-04:002009-04-25T11:24:00.000-04:00In one of his obituaries, Cardiff is quoted as say...In one of his obituaries, Cardiff is quoted as saying that it was hard to work with younger directors because they had been to film school and wanted to call all the technological shots themselves. I can see how that would add to the inevitable generation gap.Guy Nicoluccihttps://www.blogger.com/profile/10038097326310753461noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-8366923143809927632009-04-23T16:05:00.000-04:002009-04-23T16:05:00.000-04:00Douglas Slocombe, alive and well at 96, is another...Douglas Slocombe, alive and well at 96, is another Cinematographer who still got work well after his peak years.Ricardo Cantoralhttps://www.blogger.com/profile/00518171797365794688noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-21154763004074676942009-04-22T22:45:00.000-04:002009-04-22T22:45:00.000-04:00Conrad Hall doesn't count as a Golden Age cinemato...Conrad Hall doesn't count as a Golden Age cinematographer, but his appeal seems to have been evergreen - he won 3 Oscars with a thirty year gap between two of them. <br /><br />I was watching Malice on cable the other night and thinking how much I miss Gordon Willis. No matter how dark his shots were, you could always see clearly what he wanted you to see. So many don't get that.Stephanienoreply@blogger.comtag:blogger.com,1999:blog-6956070.post-37919492610301955502009-04-22T22:34:00.000-04:002009-04-22T22:34:00.000-04:00Barbra Streisand wasn't necessarily opposed to "ol...Barbra Streisand wasn't necessarily opposed to "old cinematographers" -- she had been terribly fond of Harry Stradling, Sr., who successively shot FUNNY GIRL, HELLO, DOLLY! and ON A CLEAR DAY YOU CAN SEE FOREVER. [Stradling passed away while shooting THE OWL AND THE PUSSYCAT; Andrew Laszlo finished the picture.]<br /><br />Also, after approving Vilmos Zsigmond, one of the greatest and most audacious of the new-school cinematographers, as director of photography for FUNNY LADY, Streisand was reportedly instrumental in his quick exit from the project, though sources differ on the reasons. Zsigmond's replacement: 75-year-old James Wong Howe, talked out of retirement by Ray Stark and Herbert Ross.<br /><br />Martin Gottfried's biography of Bob Fosse describes Robert Surtees as someone willing to do <I>anything</I> Fosse wanted him to do with a camera on SWEET CHARITY, and if Fosse didn't have any elaborate ideas for shooting a scene... well, Surtees was glad to suggest some. [Gottfried suggests that the producers of CABARET forbade Fosse from hiring Surtees to shoot that film; they were terrified of possible budget overruns.]<br /><br />Surtees embraced the new-school use of the zoom lens to the extent that he became impatient with Bogdanovich's formalist insistence on LAST PICTURE SHOW for laying dolly tracks for each camera movement, however minute. He would reportedly grumble loudly about this to the very end of shooting, probably as much to rile the filmmaker as anything else.Griffnoreply@blogger.com