January 18, 2003

Russ Alsobrook (Jan 18, 2003 1:04:41 PM)
Good morning, everyone! Thanks for participating in our chat today.

bobf (Jan 18, 2003 1:04:48 PM)
I think we’re all still mourning Connie Hall. What influence did he have on you? Any favorites from his incomparable body of work?

Russ Alsobrook (Jan 18, 2003 1:05:38 PM)
Yes, we are all still deeply saddened by the departure of our dear friend and brilliant cinematographer Connie Hall. It seemed like he would probably live forever, and he will in the incredible body of work he left behind.

Russ Alsobrook (Jan 18, 2003 1:06:16 PM)
I was recently asked who were the cinematographers that I most admired at the beginning of my career, and Connie Hall was one of the first names that came to mind. And 33 years later, he is still at the top of the list of cinematographers I am inspired by.

Russ Alsobrook (Jan 18, 2003 1:06:46 PM)
It's very difficult to choose a few films from his amazing career, but In Cold Blood has to be a standout. As well as his last movie The Road to Perdition. But Searching for Bobby Fisher is a movie I revisit time after time for lighting inspiration.

Monte (Jan 18, 2003 1:07:17 PM)
You had an interesting beginning of your career, getting to shoot a lot of 16 mm film on documentries and other things. Do you think it is important for students and recent graduates to have 16 mm film experience versus video or does it matter?

Russ Alsobrook (Jan 18, 2003 1:07:58 PM)
I think it's wise to have as much experience in every possible format that you can. In the end it really doesn't matter what format you're shooting, whether it's 8mm, high 8, digital video, 16mm, 35mm or 70mm. The basic principles remain the same. It's all about lighting, composition, and using techniques to tell the story.

Russ Alsobrook (Jan 18, 2003 1:09:12 PM)
I would suggest that 16mm is an important format to become familiar with because it remains a very vibrant and viable film format. In fact, I just shot a television movie on Super 16 and it looks fantastic.

Jorge (Jan 18, 2003 1:09:19 PM)
Is it possible for an outsider to gain entry into the industry today?

Russ Alsobrook (Jan 18, 2003 1:09:34 PM)
Yes, absolutely. Based on my own experience, I was a total outsider when I started in this business. I had no connections whatsoever and yet somehow I've been able to shoot film and video for over 30 years.

Russ Alsobrook (Jan 18, 2003 1:10:55 PM)
I was an English literature major in college and I was shooting 8mm and 16mm films on the side, when I happened to meet a director shooting screen tests for a Disney TV show on the beach in Santa Barbara in 1969. I asked him for a job doing anything on his crew. A couple of weeks later I received a letter from him saying, come on down to Hollywood and we'll put you to work. I started as a production assistant or, as we were called in those days, a gofer and worked my way up from there.

Russ Alsobrook (Jan 18, 2003 1:12:07 PM)
So, yes, it's possible to get in the business if you're an "outsider." With the democratization of filmmaking that's taking place, I don't think you can consider anyone an outsider anymore.

lenscrafter (Jan 18, 2003 1:12:34 PM)
You mentioned that the Ben Stiller Show is coming out as a DVD in your interview. What has been your experience on DVDs? Do they typically invite you to supervise the transfer and to do a commentary?

Russ Alsobrook (Jan 18, 2003 1:13:41 PM)
Since this is the first project of mine that I know of that is coming out on DVD, I really don't have any experience in that venue.

Tom Moore (Jan 18, 2003 1:13:50 PM)
I loved the Ben Stiller Show. Any chance you and he will collaborate on a film?

Russ Alsobrook (Jan 18, 2003 1:14:35 PM)
I would hope so. We came very close to working together on Reality Bites, so I would certainly think we would work together sometime in the future.

Lonnie (Jan 18, 2003 1:14:43 PM)
How important is it to have an HD monitor on the set? Does it help the cinematographer see what the final image will look like or does it just encourage producers to jump in with their opinions?

Russ Alsobrook (Jan 18, 2003 1:15:31 PM)
Lonnie, that's one of the most interesting and important questions we have to deal with in this new era of digital production.

Russ Alsobrook (Jan 18, 2003 1:16:00 PM)
If the monitor is so important for judging the image that we create, how did cinematographers like Connie Hall create magnificent visual work without the damned monitor? What I'm saying is cinematographers see the image with their eye and shouldn't let the monitor become a crutch.

Russ Alsobrook (Jan 18, 2003 1:17:06 PM)
The HD monitor does allow more people to comment on the image being created. But we must remember that in the end it is the cinematographer who is the author of the image. I could go on about this for hours, but since we have a limited time frame, we must move on.

dominic (Jan 18, 2003 1:17:28 PM)
Do most of the director's you've worked with have opinions about things like choosing lenses and things like that- and how do you deal with it ?

Russ Alsobrook (Jan 18, 2003 1:18:39 PM)
Directors can run the gamut from being very specific about lenses and lighting styles and camera moves because they are visually very sophisticated – to directors who are primarily interested in the actors and leave all of the visual creation to the cinematographer.

Russ Alsobrook (Jan 18, 2003 1:19:38 PM)
Because it is a collaborative medium we, as cinematographers, enjoy working with directors who are visually very sophisticated but who, at the same time, allow us to help realize their vision through our own means of interpretation.

Coriolanus (Jan 18, 2003 1:19:55 PM)
How do you know what to put on a reel, and do you have one reel or do you edit it depending on who is seeing it?

Russ Alsobrook (Jan 18, 2003 1:20:57 PM)
Putting together a reel is one of the most difficult tasks that I face every year. Because doing a reel can be a fairly time-consuming and expensive proposition, I try to update it only about once a year. Or when I have some new material I think needs to be inserted in the current reel.

Russ Alsobrook (Jan 18, 2003 1:22:11 PM)
It would be impossible for me to create a new reel every time I went in for an interview. I try to choose material that is most representative of what my current style is or the current level of my work. But it should also be a total reflection of who you are as an artist. In other words, don't try to create a reel that mimics what you perceive to be the current photographic style or what's in vogue at the moment, because then you'll be chasing a style all the time. It's better to create a reel that demonstrates your own style.

Sky (Jan 18, 2003 1:22:53 PM)
Is the cinematographer handicapped by the quality of the eyepiece monitor versus the optical monitor of a film camera. A friend recently worked on a HD production and was frustrated that the producers could see what he was doing better than he could. Would you consider using a higher quality monitor on the camera instead of looking at the eyepiece monitor?

Russ Alsobrook (Jan 18, 2003 1:24:04 PM)
The tiny black and white eyepiece monitor on video cameras is one of the great limitations of that format. We, as filmmakers, often light through the viewfinder of the film camera and judge our contrast ratios by what we see in the viewfinder. Because it is a more direct connection with our eye than dealing with any kind of monitor situation, whether black and white or color.

Russ Alsobrook (Jan 18, 2003 1:24:50 PM)
But, as I said before, it's really what you see that is important, as opposed to what the monitor sees. We as cinematographers are currently pushing the HD camera manufacturers to incorporate optical viewfinders in the next generation of HD cameras.

Gino (Jan 18, 2003 1:25:29 PM)
You spoke a bit about how important digital post is in television, and how that is now happening in movies. One of the big issues is whether the cinematographer is there controlling the process, and if they are there, are they going to be paid for their time? What's your take on these issues? Is this an issue for the Guild or for agents?

Russ Alsobrook (Jan 18, 2003 1:26:40 PM)
Yes, Gino, the digital intermediate process will become more and more prevalent in theatrical motion picture post-production as that system becomes more refined and people have more experience with it.

Russ Alsobrook (Jan 18, 2003 1:26:59 PM)
At the present time, only a few cinematographers that I know of have clauses in their contracts that allow them to be paid for their post-production time. However, I think that will change in the future as producers realize how important a role the cinematographer can play in the final post-production process for television and motion picture productions.

Russ Alsobrook (Jan 18, 2003 1:28:01 PM)
It is very important for the cinematographer to be involved in the color timing of their work because, as Ansel Adams always said, it's in the darkroom where you really bring out the essential elements of the negative. And with the amazing power of color correction tools available in the digital world, it's important that the cinematographer is there to use those tools to realize the vision that he or she put on film on the set.

Op-Ed (Jan 18, 2003 1:28:44 PM)
Have you ever used 24P on any of your shows? What do you think of it?

Russ Alsobrook (Jan 18, 2003 1:29:30 PM)
I have been shooting various video formats in many different kinds of projects, probably since around 1981. I did shoot a 24P project for the Academy Awards show last year, and to me, it was just another form of video, although it was very, very good video.

Russ Alsobrook (Jan 18, 2003 1:29:55 PM)
Let's don't forget that all these formats are still some kind of a video format, with all the limitations the format comes with. I would certainly like to try the 24P/HD format on a longer project to explore the potential that lies within that format.

filmstudent (Jan 18, 2003 1:30:17 PM)
What's your experience with widescreen formats? Do you prefer anamorpic or 35mm? Why?

Russ Alsobrook (Jan 18, 2003 1:31:21 PM)
I have shot a few projects in anamorphic 35mm Panavision, but most of my widescreen work has been Super 35 for television wherein we protected the 16x9 format, but it was eventually broadcast in 3x4.

Russ Alsobrook (Jan 18, 2003 1:32:03 PM)
If I were to do a widescreen motion picture, the story would tell me which format to choose, but I would certainly consider anamorphic 35mm because of the amazing quality that can be achieved because it uses the full frame of the 35mm film.

Russ Alsobrook (Jan 18, 2003 1:32:25 PM)
Although some people prefer Super 35, which then goes through an optical blow-up to widescreen simply because they can use the wide range of spherical lenses that are available.

Russ Alsobrook (Jan 18, 2003 1:33:00 PM)
There are cinematographers who are adamant about the advantages of both formats and, in the end, it comes down to personal preference, experience, and taste.

Lonnie (Jan 18, 2003 1:33:00 PM)
It seems like a lot of great cinematographers begin their careers in documentaries. With the changing programming landscape, would you advise a student to pursue work in traditional documentaries or could someone gain the same sort of experience working on reality shows?

Russ Alsobrook (Jan 18, 2003 1:33:51 PM)
Lonnie, that's a great question!

Russ Alsobrook (Jan 18, 2003 1:34:34 PM)
First of all, let's make sure that when we talk about so-called reality shows, we realize that they are NOT reality, they are NOT cinema verite, they are NOT really documentaries. They may be unscripted, but they are totally set-up, controlled, contrived, and designed with a specific end in mind. This is diametrically opposed to the spirit of true documentary shooting, where you do not attempt to control the environment but you attempt to find the truth within the situation yhou are shooting.

Russ Alsobrook (Jan 18, 2003 1:35:18 PM)
That being said however, I believe there are lessons that could be learned from working on reality shows. And, as we all know, work is work. But, we should just remember the context that we're working in and whether we want to be part of that manipulated reality or would we rather be shooting "real" reality.

Julianna (Jan 18, 2003 1:35:50 PM)
Were you frustrated by the network's refusal to support a great TV series like Freaks and Geeks? I was!

Russ Alsobrook (Jan 18, 2003 1:36:28 PM)
Yes, Julianna, we were all very frustrated by the lack of support and the lack of understanding the network seemed to have for Freaks and Geeks.

Russ Alsobrook (Jan 18, 2003 1:37:19 PM)
I wish Freaks and Geeks would come out on DVD, but I think there's a problem with the music licensing because there were so many great songs in the shows. Perhaps someday they'll work out that problem and we can watch Freaks and Geeks at home anytime we want to.

sbdp (Jan 18, 2003 1:37:23 PM)
Why didn't the studio agree to using three-perf 35 mm film on Romy and Michelle? Are the costs that much higher than Super 16 and was 24P an option?

Russ Alsobrook (Jan 18, 2003 1:38:26 PM)
The decision by the studio to shoot 16mm was strictly based on economics. We had to cut X dollars from the overall budget and, apparently, they were able to save about $100,000 by switching to 16.

Russ Alsobrook (Jan 18, 2003 1:39:19 PM)
As far as I know, 24P was never raised as an option. I'm not sure that the $100,000 figure is accurate in terms of the difference between 16 and 3-perf 35; I think it's probably less. However, I would rather shoot Super 16 than HD 24P. And the cost comparison between those two formats is very little. Whereas the quality difference is amazing.

dominic (Jan 18, 2003 1:40:00 PM)
You spoke about some of the differences between super 16 and 35 mm film. What are some of the advances in technology needed to make super 16 more viable for television?

Russ Alsobrook (Jan 18, 2003 1:41:05 PM)
The first thing we need in Super 16 is a very fine-grained, high-speed film stock, which Kodak has just introduced. Their new 7218 stock is rated at 500 but has the grain structure of a much lower ASA stock.

Russ Alsobrook (Jan 18, 2003 1:41:28 PM)
I was able to test this stock several months ago, and I was very impressed. If it had been available when we shot Romy and Michelle, I probably would have used it.

Russ Alsobrook (Jan 18, 2003 1:42:16 PM)
But for Romy and Michelle, I used the ASA 200 stock for every situation, whether it was daylight interiors or night exteriors. I also think that the advances in telecine and digital color correction will continue to support Super 16 as a viable television production format.

Russ Alsobrook (Jan 18, 2003 1:43:39 PM)
In Europe, Super 16 is used for hundreds of theatrical motion pictures that go through a digital intermediate process, and it seems to be a very successful marrying of film and digital technologies.

Sky (Jan 18, 2003 1:43:44 PM)
I've had a sense that HD is being shoved down our throats because the corporations that own the studios think they can maximize profits by electronically delivering films to theaters. I started getting a couple of magazines that are pure HD propaganda. People seem to think anything "digital" is some kind of magic. How much control do you as a DP have over what system gets used for acquisition? Did you find any advantages to working with HD?

Russ Alsobrook (Jan 18, 2003 1:44:49 PM)
Well, Sky, if we had a few hours I would certainly love to answer all your questions, but let's give it a go in the limited time we have.

Russ Alsobrook (Jan 18, 2003 1:45:45 PM)
I agree there is a huge marketing juggernaut that has been pushing HD not only in the production media but also in the popular media. And as we all know, sometimes these articles stretch the truth just a little bit.

Russ Alsobrook (Jan 18, 2003 1:47:02 PM)
There are several cinematographer organizations now attempting to bring the truth to the viewing and reading public regarding this purportedly magical format which will be the panacea for all cinematographic problems. There are many difficulties involved in the transition from film projected theatrical motion pictures to digital projection. And the most obvious one is who will pay for this very expensive transition?

Russ Alsobrook (Jan 18, 2003 1:48:09 PM)
Until that is determined, I think you will be watching films projected from print in your theaters for the foreseeable future.

Russ Alsobrook (Jan 18, 2003 1:49:00 PM)
As to your question about the input of the cinematographer on the image acquisition device, yes, it is possible to exert some influence on that decision making process. But sometimes those decisions are made for strictly economic reasons. And we have to make the most of what we're given and still create the best images possible.

Tre (Jan 18, 2003 1:49:17 PM)
Do you think art and commerce can co-exist?

Russ Alsobrook (Jan 18, 2003 1:49:47 PM)
Yes, but not on the same planet.

Russ Alsobrook (Jan 18, 2003 1:50:08 PM)
Actually, ask Michelangelo – he had a few problems with his patrons.

Russ Alsobrook (Jan 18, 2003 1:51:00 PM)
All joking aside though, as we all know, there's a reason they call it show "business." But I still believe that the invention of the motion picture created the most fantastic art form the world has ever experienced. Unfortunately, it's a rather expensive art form and needs the support of commerce to allow it to exist.

1st Assistant (Jan 18, 2003 1:51:34 PM)
What are some of your favorite films? Did they stand out for their beautiful cinematography or did you fall in love with the story?

Russ Alsobrook (Jan 18, 2003 1:52:16 PM)
My favorite films always start with a beautiful story that is supported and embellished by beautiful cinematography. And by that I don't mean that the cinematography always necessarily has to be "beautiful," but it has to be appropriate for the story.

Russ Alsobrook (Jan 18, 2003 1:53:26 PM)
Some of my favorite films where the cinematography is obviously a great part of the story would be Lawrence of Arabia, To Kill A Mockingbird. And dozens of others.

Gino (Jan 18, 2003 1:53:45 PM)
What do you think of the recent flurry of war-themed movies? Do you expect it to continue? How does it compare to the wave of films inspired by WWII?

Russ Alsobrook (Jan 18, 2003 1:54:58 PM)
Hollywood always goes through cycles of subject matter and styles. I don't think we can compare this cycle of war films with WWII because that conflict was so all-encompassing that literally hundreds of war-themed movies were churned out by Hollywood during that period. Some of them merely propaganda; some of them have remained as great works of cinema. For example, The Best Years of Our Lives, Mrs. Miniver, 30 Seconds Over Tokyo.

Russ Alsobrook (Jan 18, 2003 1:56:03 PM)
And in the end, the best war films are always anti-war films. And have significance no matter what war we may be involved in at the moment. But perhaps, if people would go back and watch some of these great war films, they would have second thoughts about supporting wars in the immediate and distant future.

sbdp (Jan 18, 2003 1:56:33 PM)
Is there a particular time period in the history of filmmaking that you wish you could have worked in?

Russ Alsobrook (Jan 18, 2003 1:57:10 PM)
Absolutely. I think I was born about 30 years too late.

Russ Alsobrook (Jan 18, 2003 1:57:45 PM)
I would love to have been involved in Hollywood's Golden Age of the '30s and '40s, but I also wish that I had been able to shoot theatrical motion pictures during the last Golden Age of Hollywood, which was in the late '60s through the mid-'70s, a time before the blockbuster mentality took over the corporate boardrooms.

Sky (Jan 18, 2003 1:59:35 PM)
Do you actually get work with a demo reel or is it more of a showpiece? Lately I've been learning people get most of their work through connections. What ways could you suggest an operator could build connections with DPs? Do you always work with the same operators? Do you look at operators reels?

Russ Alsobrook (Jan 18, 2003 2:01:02 PM)
Sky, am I to infer from your question that you want to send me a reel? Ha ha! No, actually, you're right, most jobs are really obtained through connections and referrals. Oftentimes the reel is just there to confirm that you actually know how to shoot. I have never gotten a job from a cold call or an unsolicited submission of a reel.

Russ Alsobrook (Jan 18, 2003 2:02:03 PM)
I try to work with the same operators as much as I can because we have built a relationship and a kind of shorthand style of communication on the set, which helps make things more efficient.

Russ Alsobrook (Jan 18, 2003 2:02:54 PM)
I can only say it's best to work with as many DPs as you can. Go to industry gatherings like seminars, workshops and screenings, and mix with your peer group so that people can put a face to the reel and the resume. Because in the end, it's the human relationships that further your career.

Kris P. (Jan 18, 2003 2:03:00 PM)
Can you explain about the tests you use in deciding how to light faces? What do you actually do?

Russ Alsobrook (Jan 18, 2003 2:04:29 PM)
When I do have time to shoot tests with the actors on a particular project, I set up a very simple shot in the studio or on set and see how each face accepts the light from different angles and different degrees of diffusion, and see if there are any problem areas to deal with like deep-set eyes, a slightly crooked nose, a fair complexion or a very dark complexion or perhaps a more "experienced" actress who might need a little help with soft lighting or diffusion on the lens.

lenscrafter (Jan 18, 2003 2:05:28 PM)
I agree with your comments about attempts being made to diminish the role of the cinematographer and in the minds of studio executives and producers. What do you think we should be doing as individuals and as a Guild?

Russ Alsobrook (Jan 18, 2003 2:06:45 PM)
I think the power and prestige of the cinematographer has certainly diminished since the time gentlemen like James Wong Howe, Leon Shamroy, and Robert Surtees literally ruled the set. It's very difficult for cinematographers in the current economic climate to wield the same kind of power that these DPs had in their day. I've often thought that the ability to say "no" can make the difference between a weak cinematographer and a strong cinematographer.

Russ Alsobrook (Jan 18, 2003 2:07:37 PM)
By that I mean being able to say with some conviction, no, we're not ready yet, the lighting is not finished. Or, no, we can't continue shooting because it's dark outside. But, unfortunately, sometimes when you're shooting a schedule and not a script, we do not have that kind of luxury.

Russ Alsobrook (Jan 18, 2003 2:09:21 PM)
I think we have to demonstrate the importance of the cinematographer by not only creating the best images possible no matter what the economic or time limitations we are dealing with, but also prove that we can be fiscally responsible and true partners in the filmmaking process.

bobf (Jan 18, 2003 2:09:36 PM)
how do you pick an agent, and what do they do or you?

Russ Alsobrook (Jan 18, 2003 2:10:21 PM)
You have to pick an agent who is truly interested in you as a person and believes in you as a cinematographer. It's better to choose an agent with passion for your work than to go with a big agency where you might get lost in the shuffle.

Russ Alsobrook (Jan 18, 2003 2:11:33 PM)
An agent can open many doors and send you on interviews that you may not have been able to obtain on your own. An agent also deals with the process of putting together contracts and setting pay scales. An agent can also help steer your career in the right direction. And hopefully, can provide encouragement during those times when the phone stops ringing.

Lenser (Jan 18, 2003 2:12:07 PM)
Is there still a mentoring system in place for cinematographers in Hollywood? Where? How?

Russ Alsobrook (Jan 18, 2003 2:13:37 PM)
I think one of the casualties of the demise of the great studio system was the built-in mentoring system in all of the guilds and unions, whereby people went through years of on-the-job training by slowly moving up the ranks from loader to assistant to operator and, ultimately, DP.

Russ Alsobrook (Jan 18, 2003 2:14:14 PM)
During that long period of apprenticeship, people learned the craft from the bottom up and inside out. And were also able to work with a number of DPs who could impart their knowledge, experience, and skills. Now it seems nobody wants to spend any time on the different rungs of the ladder as they quickly move up to the top spot. It was not uncommon in the old days for a DP to have had 20 or 25 years of experience on the film crew before moving up to first cameraman.

Russ Alsobrook (Jan 18, 2003 2:15:50 PM)
The Camera Guild currently has a mentoring program, if you're in the union, I would certainly take advantage of it.

The Doctor (Jan 18, 2003 2:15:53 PM)
Is there any quality cinematographers you admire all share? What is it?

Russ Alsobrook (Jan 18, 2003 2:17:34 PM)
Yes. I think the great cinematographers are all true to the story they're telling, and design their approach to the cinematography based on that criteria. And they may change their style with each picture, but they are always bold and decisive in the execution of their visuals.

1st Assistant (Jan 18, 2003 2:18:30 PM)
You seem to be at a mid-point in your career. What do you hope to accomplish in the coming decades? Will you focus on TV or film?

Russ Alsobrook (Jan 18, 2003 2:19:57 PM)
I hope this is the mid-point and not the final act. LOL My plan is to keep working as long as I can, whether it's TV or films. I just want to tell stories.

filmstudent (Jan 18, 2003 2:20:02 PM)
Do you ever teach at film schools and if so where and when?

Russ Alsobrook (Jan 18, 2003 2:20:33 PM)
I have not taught at film school yet, but I do participate in the annual Lighting Workshop sponsored by the Camera Guild.

Monte (Jan 18, 2003 2:20:37 PM)
For all us film buffs, can you distill the history of filmmaking into a sentence or two?

Russ Alsobrook (Jan 18, 2003 2:22:05 PM)
No. There are literally thousands of books written about the history of the movies. Which is still a very young art, only about 100 years old, compared to all the other arts. It took me five articles in the Guild magazine to do a cursory survey of the history of the motion picture camera.

Russ Alsobrook (Jan 18, 2003 2:22:31 PM)
If I could summarize all of this in a sentence or two, it would be doing a disservice to the rich history of this amazing art form.

Gino (Jan 18, 2003 2:22:35 PM)
Have you started writing part 6 of the Machines that Made the Movies series? What topics can we expect you to cover?

Russ Alsobrook (Jan 18, 2003 2:23:05 PM)
I haven't started part 6; I'm still considering what that might be.

Russ Alsobrook (Jan 18, 2003 2:23:44 PM)
I did write an article about the history of motion pictures shot on video which, in a way, could be part 6; however, I would like to continue this series and when I come up with an appropriate subject matter, you, Gino, will be the first to know.

Russ Alsobrook (Jan 18, 2003 2:24:10 PM)
Thank you all for these interesting and provocative and very significant questions. Good shooting! We'll see you on the set!