Live Chat Transcript
Robbie Greenberg, ASC

Robbie Greenberg (Feb 14, 2004 10:08:23 AM)
Good morning, Thanks for joining us. Are we ready to go?

NoDigital (Feb 14, 2004 10:09:00 AM)
You said that shooting and directing commercials gave you incredible opportunities to experiment. What were some of the most extreme commercials you shot?

Robbie Greenberg (Feb 14, 2004 10:10:08 AM)
I haven't done commercials for quite a while, but when I was directing commercials I did a campaign for Oldsmobile which required the use of many special effects. It gave me an early introduction to the digital world.

john (Feb 14, 2004 10:10:24 AM)
Could you talk about working with HBO? How does your creative agenda mesh with their business agenda?

Robbie Greenberg (Feb 14, 2004 10:12:19 AM)
Once HBO commits to the talent behind any given film, they are extremely supportive of your vision. There are fiscal responsibilities because of budget concerns that you must work within, but they are reasonable. And with a good plan, your vision is not compromised.

Freedom Guy (Feb 14, 2004 10:12:30 AM)
Showtime shoots all their stuff overseas now. What's HBO's reputation? How much of their programming is produced here at home?

Robbie Greenberg (Feb 14, 2004 10:13:32 AM)
I don't know the percentages, but I've done three and they were all done in the US. Their reputation is that the films are done in the places that enhance the production the most. It's not just about budgets.

Lenser (Feb 14, 2004 10:13:47 AM)
HBO has allowed you to work with great directors, including Paul Mazursky on Winchell. The interview said you used Godfather II as an inspiration. Can you explain?

Robbie Greenberg (Feb 14, 2004 10:15:32 AM)
Godfather II was a film that Paul and I both loved. It's true that we didn't have the budget to duplicate the scope of Godfather II, but it seemed that it was the best example of the film that we wanted to make. We needed a film that communicated our vision to all the creative players and GFII was our choice.

Ike (Feb 14, 2004 10:16:01 AM)
I thought you were very faithful to some of Dorothy Dandridge's classic films in your movie on her. What type of research did you do for that film?

Robbie Greenberg (Feb 14, 2004 10:16:49 AM)
We looked at the films with the scenes we wanted to emulate. That's basically what we did – we copied them.

Jazz (Feb 14, 2004 10:16:57 AM)
In your question and answers, you advise students to learn how to expose, process and develop film. Does that mean you expect film to be around far into the future?

Robbie Greenberg (Feb 14, 2004 10:17:43 AM)
I expect film to always to be a choice.

Rodney (Feb 14, 2004 10:17:53 AM)
Do you compose differently, like working closer-in, when you are shooting a movie for television?

Robbie Greenberg (Feb 14, 2004 10:18:35 AM)
No. The HBO films that I've done I've approached as if they were a feature film. I didn't give consideration to image size or lighting.

Filmer (Feb 14, 2004 10:19:13 AM)
I'm really looking forward to watching Iron Jawed Angels. Please tell us about your experience working with so many women in so many different capacities.

Robbie Greenberg (Feb 14, 2004 10:21:05 AM)
My experience on Iron Jawed Angels was terrific. The director is a terrific filmmaker and all the actresses were wonderful. I would need more time to reflect on what it was like working with them just because they were women.

Nick W (Feb 14, 2004 10:21:09 AM)
Regarding Iron Jawed Angels... It seems that so many films I've seen set in the early part of the 1900's have a similar look to them. Darker than more contemporary settings. What did you do for this film?

Robbie Greenberg (Feb 14, 2004 10:23:06 AM)
We approached this film with the attitude that it was a contemporary story as well. We did not allow ourselves to be restricted by paying homage to the past in our style of photography. The director wanted this story to reach young women particularly and felt that contemporary camera technique and contemporary music would help make the film feel current, even though it's a period piece.

rosario (Feb 14, 2004 10:23:12 AM)
Do you have any tips about lighting faces? What type of testing do you do?

Robbie Greenberg (Feb 14, 2004 10:24:29 AM)
I do extensive makeup and hair tests, which allow me to familiarize myself with the nuances of any of the actors' faces. I make my lighting choices at this time. It's an opportunity to test what I believe to be the right style for the film on the actors.

Gino (Feb 14, 2004 10:24:33 AM)
What do you need from a director? And what in your opinion makes a good director?

Robbie Greenberg (Feb 14, 2004 10:25:45 AM)
Most importantly I need communication as to what he feels the film should look like. A good director as the ability to orchestrate the entire production crew behind his vision.

SBDP (Feb 14, 2004 10:25:52 AM)
What qualities or experience do you look for when you are hiring assistants and operators for crews when you are working on location?

Robbie Greenberg (Feb 14, 2004 10:26:52 AM)
Firstly, I look for their experience or ability and then personalities. I feel the chemistry amongst the crew members is as important as their expertise in any particular job.

Kalle (Feb 14, 2004 10:26:59 AM)
Hi Robbie, greetings from Stockholm, can you tell us a little of what goes through your mind when you watch a rehearsal with the actors?

Robbie Greenberg (Feb 14, 2004 10:28:47 AM)
Rehearsal time is usually the opportunity for the director and cameraman to decide how a scene will be covered. The director and I will watch the rehearsal usually from different angles and then share our feelings about how we're going to photograph it. It's an extremely creative time.

F_Stop_25 (Feb 14, 2004 10:28:52 AM)
What medium is your biggest source of inspiration – film, photography, painting, sculpture or something else?

Robbie Greenberg (Feb 14, 2004 10:29:50 AM)
I would say they've all been a source of inspiration. But I am particularly fond of still photography.

Noel (Feb 14, 2004 10:30:15 AM)
Is it more important to choose a location based on how it fits with the story or how it fits with the budget?

Robbie Greenberg (Feb 14, 2004 10:32:59 AM)
It's more important to chose a location that allows you to fulfill your vision of the film. There are times when the best location is too expensive or not available for the film you're working on and a new choice has to be made. Hopefully the choice does not require a major compromise, just a change of approach.

Bob M. (Feb 14, 2004 10:33:09 AM)
Can you talk a little about t hat dreaded subject for all of us in the film industry – runaway production. How has it impacted you? And what are your thoughts on how we can help put a cap on it?

Robbie Greenberg (Feb 14, 2004 10:35:54 AM)
In my tenure as a cinematographer there has been a shift from choosing a location because it is the best place to tell the story that we're making, to the best economic choice. To me this is regrettable. I've gone from being on a location that I am photographing the hell out of, to locations that I'm avoiding what I'm seeing in order to maintain the illusion. Toronto for New York for example. I find this very limiting.

bobf (Feb 14, 2004 10:36:15 AM)
Tami Reiker just won the ASC cable movie award for Carnivale. She was the first women ever nominated for an ASC award in any category in 18 years. I did a little research, and no woman has ever been nominated for an Oscar for cinematography. I'm not sure about the Emmy awards, but I don't recall a woman cinematographer winning in a narrative category...my question is do you think things are changing, or is cinematography a risky career choice for woman?

Robbie Greenberg (Feb 14, 2004 10:37:44 AM)
I think things are changing but careers in the film industry are risky. If it's something you love to do, I wouldn't let being a women stop me from attempting a career as a cinematographer.

Joe the AC (Feb 14, 2004 10:38:39 AM)
Milagro Beanfield War was one of my favorite movies. It was shot so beautifully and had just the right touch of whimsy. How much time were you allowed to get to know the landscape? And what was Robert Redford as director like to work with?

Robbie Greenberg (Feb 14, 2004 10:42:04 AM)
I was given a good deal of time to prepare for this film. I was able to spend a good deal of time on the Beanfield observing the light. Working with Redford was a special opportunity. He loved the landscape and desperately wanted to depict it on screen. He brought with him the power that allowed us not to compromise on his vision. It was one of my favorite films as well. I was a lucky guy.

DP 2 Be (Feb 14, 2004 10:42:23 AM)
Snow Day is really a charming little film. I wonder what type of challenges are unique to shooting a film with so much bright white snow in the environment?

Robbie Greenberg (Feb 14, 2004 10:43:51 AM)
I didn't have much difficulty with the snow. I allowed for some exposure compensation, but not much. I found that the negative held the detail quite well.

Brian (Feb 14, 2004 10:43:59 AM)
Can you tell us about working with the whale on Free Willy. How was the collaboration with the trainer? And what kind of obstacles did you have shooting that film?

Robbie Greenberg (Feb 14, 2004 10:46:12 AM)
Working with the whale was an extraordinary experience. He's the only actor I've ever worked with that never missed a mark, which of course is a credit to the whale and his trainers. Peculiarly enough, the difficulty was never with the real whale, it was with the animatronic. At the time the technology was new and cumbersome and it did break down. Also, working on the water requires precautions for the safety of the equipment and the film makers.

AC Slater (Feb 14, 2004 10:47:13 AM)
Could you talk a bit about Fools Rush In? It seemed like the production design and cinematography worked very well together to visually represent the clashing of cultures.

Robbie Greenberg (Feb 14, 2004 10:50:35 AM)
We understood how important the choice of location was for just the reasons you cited in your question. It took us a long time to find the right place that represented the Mexican-American family. It was easy to find the opposing locations in Las Vegas but not the ones that represented Selma Hayek's family.

buddywinston (Feb 14, 2004 10:50:45 AM)
Does the eventual exhibition venue of your work - i.e. TV vs. theatrical release, affect your technical and esthetic choices? and if so, how?

Robbie Greenberg (Feb 14, 2004 10:51:34 AM)
You should have paid attention this question was asked already, and I'll talk to you when I get home! :)

Kalle (Feb 14, 2004 10:51:49 AM)
What is your favorite type of light/diffusion in terms of light quality?

Robbie Greenberg (Feb 14, 2004 10:52:49 AM)
My favorites have changed over the years. Currently, dinos through bleached muslin is my favorite. It creates a beautiful directional soft light.

SBDP (Feb 14, 2004 10:53:20 AM)
You said you were inspired by the European New Wave: Fellini, Antonioni, Godard and Truffaut…do you see new directors setting trends now…is Robert Rodriguez, or anyone else, this generation's Truffaut?

Robbie Greenberg (Feb 14, 2004 10:55:26 AM)
I don't feel qualified to answer this right now. I love the films of Jim Sheridan, but I wouldn't call him a new director. However, Lost in Translation seemed to capture the humanity that was depicted in many of the films of the European New Wave.

Digital Dave (Feb 14, 2004 10:55:33 AM)
I saw where you said that you used digital stills taken on the set, and manipulated with PhotoShop, to communicate with the dailies colorist. Do you shoot and manipulate them yourself? Do you have any tips for using this technique?

Robbie Greenberg (Feb 14, 2004 10:57:01 AM)
I do shoot and manipulate them myself. The kind of manipulation that I do is very simple: I use the photographic tools that photoshop offers. I only alter color, contrast, and brightness to match what I know the film will produce.

Nick W (Feb 14, 2004 10:57:29 AM)
How important is a film's score to a cinematographer?

Robbie Greenberg (Feb 14, 2004 10:59:41 AM)
If the musical choices have been made before we begin filming, then consideration is given to how the camera movement will enhance the use of that music. Often this is not the case. I'm not aware of what the score will be most of the time. My main concern is that the photography will enhance the story.

FocalGuy (Feb 14, 2004 10:59:46 AM)
What's the union doing to claim its fair share of the pie of DVD sales/rentals of shows originating on TV?

Robbie Greenberg (Feb 14, 2004 11:00:02 AM)
I don't know.

Gino (Feb 14, 2004 11:00:08 AM)
Who are some of the cinematographers who inspired you? And as a followup...are there any particular films that you recommend studying on DVD?

Robbie Greenberg (Feb 14, 2004 11:01:40 AM)
There are a lot of cinematographers whose work I love. When I was developing my own sensibilities, the work of Conrad Hall and Gordon Willis were the most significant. Their choices touched something in me that is undefinable – they reached my soul. I would say any of their films would be worth studying on DVD along with those of Freddie Young, James Wong Howe, Haskell Wexler, etc.

cyd (Feb 14, 2004 11:03:20 AM)
Have you been involved in the DVD transfers of any of your projects? What do you think of them?

Robbie Greenberg (Feb 14, 2004 11:04:15 AM)
I've been involved in the DVD transfers of all my films. I think they're terrific. It's extremely important that the cinematographer be involved with these transfers. There is so much latitude in the digital world that interpretation is critical.

Op_Ed (Feb 14, 2004 11:06:19 AM)
Do you ever use any widescreen formats? Why?

Robbie Greenberg (Feb 14, 2004 11:09:12 AM)
Free Willy was shot in anamorphic. Usually the choice is made based on what we believe to be the right choice for the film. In the case of Free Willy it was clear that the whale fit perfectly into the widescreen. On Milagro the landscape suggested widescreen would be a perfect format. However, the interiors of many of the scenes were too small to allow us to take full advantage of the widescreen so we chose 1:85.

Still A. Loader (Feb 14, 2004 11:09:25 AM)
On the subject of digital intermediate – are you for it or against it?

Robbie Greenberg (Feb 14, 2004 11:13:18 AM)
I'm totally for it. I feel that it is the most attractive element in this new digital world. The flexibility that is gained, is significant. For example, in Iron Jawed Angels (a period film) it made the removal of contemporary artifacts and the adding of period elements much easier to accomplish.

bobf (Feb 14, 2004 11:13:29 AM)
you have been talking eloquently abut lighting, but SAG has been running an ad saying "actors love digital" because they have more freedom to be creative without "cumbersome" lighting and crews. In your experience, do actors think lighting restricts their creativity?

Robbie Greenberg (Feb 14, 2004 11:15:09 AM)
Absolutely not. I believe that the mood that I help to create on the set--with respect to lighting--helps the actor access their role. I've never experienced an actor's performance being negatively affected by the equipment that it takes to create the images.

Noel (Feb 14, 2004 11:15:22 AM)
I heard you worked with the late, great Connie Hall. What was he like to work with? And what was the best advice he offered you?

Robbie Greenberg (Feb 14, 2004 11:18:45 AM)
Actually, I never worked with Conrad Hall. But I did know him. Conrad was a man who never allowed, for better or for worse, the limitations of production to stand in his way. He worked until he felt the shot was perfect. In my opinion, he demonstrated extraordinary guts in the choices he made in his films. With respect to advice, his commitment to excellence in his work is the best advice. When I was beginning as a cinematographer, I read an interview with Conrad where he said that if you're considering a career in filmmaking, you had to want it more than you wanted to breathe. I took this to heart and it was great advice.

DP 2 Be (Feb 14, 2004 11:23:35 AM)
What's the biggest change you've seen in your craft over the years? And how do you feel about it?

Robbie Greenberg (Feb 14, 2004 11:28:27 AM)
The sophistication of the equipment, the faster film stocks, the lighter cameras, and the digital alternatives, have all added greatly to the process. With respect to the industry, I find it unfortunate that financial rather than aesthetic concerns dictate the choice of location.

Kanye (Feb 14, 2004 11:29:38 AM)
Do you consider yourself more of an artist or a technician? Why?

Robbie Greenberg (Feb 14, 2004 11:33:57 AM)
I consider myself an artist. The technology that's available I make use of to help tell visual stories. I'm not a technical person. I'm influenced by other artists not by technology. I'm interested in technology only as far as it helps me tell the story.

Robbie Greenberg (Feb 14, 2004 11:36:03 AM)
Thanks for all your intriguing questions. I hope I've answered them to your satisfaction.