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Transcript
of Live Chat with
Stephen Lighthill, ASC
April 13, 2002
Stephen Lighthill (Apr 13, 2002 1:10:21 PM)
Hello everybody! I'm ready for my first question.
SantaRosaBuff (Apr 13, 2002 1:10:40 PM)
Is there still a good print of Sons and Daughters? It would be
interesting to see it at one of the Guild screenings and have you talk
and answer questions about it.
 Stephen
Lighthill (Apr 13, 2002 1:11:18 PM)
There's a good print at the Berkeley Film Archive and there's a good
print at UCLA Film Archive – both 35mm prints. I'd love to set up a
screening sometime; I'll try to work on it.
David Walpole (Apr 13, 2002 1:11:30 PM)
Stephen...I would like to know what is your camera gear of choice
Stephen Lighthill (Apr 13, 2002 1:12:00 PM)
In 35mm I almost always shoot Panavision. In 16mm almost always Aton.
Operator Ed (Apr 13, 2002 1:12:09 PM)
In your interview, you spoke a little about why and how ENG replaced
16mm film for news and local documentaries. Are there lessons for today's
filmmakers?
Stephen Lighthill (Apr 13, 2002 1:12:55 PM)
I think the lesson is that technology is changing even faster than when
I was shooting news. And that camera people have to be ready to adjust
to new equipment and new technologies.
cyd (Apr 13, 2002 1:13:08 PM)
As technology has evolved, has it become easier for indie filmmakers
to make movies?
Stephen Lighthill (Apr 13, 2002 1:13:51 PM)
In some ways, yes. In some ways, no. When I first started making films,
16mm equipment and film stock was very inexpensive. It's true that tape
stock is inexpensive now, and you can make films with amateur level
equipment. But the big issue is distribution and finding an audience.
Marketing is the big issue now.
ginodp (Apr 13, 2002 1:14:30 PM)
How do you maintain concentration in a situation like you were in filming
Gimme Shelter with all that happening around you? Did your news
background help with that?
Stephen Lighthill (Apr 13, 2002 1:15:22 PM)
When I shot Gimme Shelter, I hadn't been shooting news for that
long, only about two years. I think the ability to maintain concentration
is something almost God-given. It's just something you're able to do.
It helped that I had been through some military training. And it helped
that I had filmed some demonstrations against the war in Vietnam.
Luv_n_Haight (Apr 13, 2002 1:15:55 PM)
I'm a big fan of Gimme Shelter and I wonder if you think that
an event like Altamont could happen today. Is there a band that inspires
the same kind of reaction the Stones did? Have promoters become too
savvy to put themselves in such a position?
 Stephen
Lighthill (Apr 13, 2002 1:16:36 PM)
I think that the promoters of the Altamont concert were overwhelmed
because the venue was changed at the last minute.
Stephen Lighthill (Apr 13, 2002 1:17:10 PM)
In general, the environment today is much different than 1969, and promoters
and bands have learned to create environments that are safer. The mood
of the late '60s was very confrontational and tumultuous; that is why
Altamont spun out of control.
David Walpole (Apr 13, 2002 1:17:33 PM)
I have also shot news for a long time...do you believe that we should
still have two man crews?
Stephen Lighthill (Apr 13, 2002 1:18:07 PM)
The issue is sound recording. And the issue in sound recording is microphone
placement. As a camera operator, you can't get the microphone in the
right place, so I still believe in two-man crews. Especially if they
can be wireless.
Brian (Apr 13, 2002 1:18:22 PM)
Seems like you've spent a lot of time shooting in SF...is there any
other city you'd like to explore with your camera?
Stephen Lighthill (Apr 13, 2002 1:19:17 PM)
I love the American cities with a lot of character. Pittsburgh, Boston,
Seattle. I've shot all over the country and enjoy learning about new
places. But I lived in San Francisco for 30 years, and there's nothing
like shooting in your home town.
a-dp-to-be (Apr 13, 2002 1:19:22 PM)
what exactly is the difference between the ASC and the ICG?
Stephen Lighthill (Apr 13, 2002 1:19:42 PM)
The ASC is an honorary society that you're elected to; you cannot apply
for membership. People are invited for membership who have a narrative
career or recognition.
Stephen Lighthill (Apr 13, 2002 1:20:18 PM)
The ICG is a guild (union) representing 6000 camera people around the
country.
sbdp (Apr 13, 2002 1:20:33 PM)
What was it like working on footage you had taken much earlier to put
Berkeley in the 60s together in the 80s? And how long did it
take to complete the documentary? (I noticed you received the Oscar
nomination in 1990 for that).
Stephen Lighthill (Apr 13, 2002 1:21:29 PM)
Berkeley in the '60s was produced and directed by Mark Kitchell.
He spent ten years making the documentary and took that long mainly
because he had trouble getting it funded.
Stephen Lighthill (Apr 13, 2002 1:22:00 PM)
It was an amazing experience for me because there are three generations
of my footage in the documentary – footage I shot as a young anti-war
filmmaker, footage I shot as a CBS news cameraman, and the interviews
25 years later.
Pops (Apr 13, 2002 1:22:06 PM)
Regarding shooting in Pittsburgh - the only city with an entrance -
I wonder how you'd use the Fort Pitt Tunnels. Would it be too easy of
an establishing shot? Or would it just make sense?
Stephen Lighthill (Apr 13, 2002 1:22:54 PM)
It would be an excellent shot driving through the tunnel and revealing
the city.
East-Assist (Apr 13, 2002 1:23:03 PM)
What's the Guild doing about runaway production? What should union members
do?
 Stephen
Lighthill (Apr 13, 2002 1:23:29 PM)
The Guild is working hard to learn what makes producers leave the United
States. We are working hard to help legislation get enacted that would
be similar to the incentives that are available not only in Canada but
in many other countries, particularly in Europe.
Stephen Lighthill (Apr 13, 2002 1:24:21 PM)
As union members, we need to stay informed about why it is attractive
for producers to leave, and how we can modify the way we work to make
it more attractive for them to stay here. We also need members to be
informed about the political environment we are in and soon begin to
pressure legislators on the state and national level to enact wage-based
tax incentive legislation.
Stephen Lighthill (Apr 13, 2002 1:25:24 PM)
Many states are working on this kind of legislation, including California,
Illinois, New York, Ohio, North Carolina. New Mexico actually has started
a fund in which they invest directly in productions. Learning about
all these different initiatives is what we have to do to be ready for
the future.
Photo-Matt (Apr 13, 2002 1:25:37 PM)
Some agents are suggesting – sarcastically I guess – that we take up
temporary residence in Canada. What do you think?
Stephen Lighthill (Apr 13, 2002 1:26:22 PM)
The suggestion isn't sarcastic. There's lots of work there. However,
becoming a landed immigrant is difficult, with huge financial requirements.
Stephen Lighthill (Apr 13, 2002 1:26:37 PM)
Canada has about a tenth of the work of California. So its importance
is being exaggerated.
Kurt Tverli (Apr 13, 2002 1:26:49 PM)
Hi Stephen - I wonder - I read in the newspaper this morning in Norway
that the norwegian film Elling is going to be made as an american
version - by american people - what is your opinion on this - make an
american version of a norwegian film - why? (The film was earlier nominated
to an Oscar)
Stephen Lighthill (Apr 13, 2002 1:27:20 PM)
Hi, Kurt!
Stephen Lighthill (Apr 13, 2002 1:27:39 PM)
If they remade the film, it wouldn't be at all the same film or compete
for the same audience.
Brian (Apr 13, 2002 1:27:41 PM)
Have agents helped you? How do you pick the right one?
Stephen Lighthill (Apr 13, 2002 1:27:56 PM)
Agents are an essential ingredient in the production community. They
are kind of like a Good Housekeeping seal of approval.
Stephen Lighthill (Apr 13, 2002 1:28:19 PM)
You have to interview agents and research their background and their
stable of people to see if you fit in. You should research an agent
the same way you would for hiring any person to work with. They work
for you.
David Walpole (Apr 13, 2002 1:28:34 PM)
Have you ever done any shooting in Australia?
Stephen Lighthill (Apr 13, 2002 1:28:41 PM)
No.
GG (Apr 13, 2002 1:28:54 PM)
Is Super 16 a good alternative to 24P? Have you shot anything in it?
Stephen Lighthill (Apr 13, 2002 1:29:13 PM)
Super 16 is a great alternative to 24P. It is higher resolution and
the equipment is the same size. My TV series The Huntress on
USA network was shot in Super 16 and distributed in Europe, 16x9. When
you add up ALL of the costs, Super 16 is very competitive with electronic
capture.
Taddy (Apr 13, 2002 1:30:11 PM)
What do you think about the whole digital "revolution?" How
is it going to affect shooters?
 Stephen
Lighthill (Apr 13, 2002 1:30:32 PM)
Well the revolution has been over in post-production for many years.
Stephen Lighthill (Apr 13, 2002 1:30:54 PM)
As far as image capture goes, we are going to be confronted with constantly
changing formats and methods of electronic image capture. Cameras will
be changing every year. The most interesting camera I saw at NAB this
year is the Filmstream camera by Thompson, which records out to hard
drives.
Stephen Lighthill (Apr 13, 2002 1:31:42 PM)
All cinematographers will have to be very familiar with computers, software,
and electronics in general.
lenser (Apr 13, 2002 1:31:43 PM)
What do you need from a Director? And what in your opinion makes a good
director to work with?
Stephen Lighthill (Apr 13, 2002 1:32:32 PM)
Good directors understand good image-making and may not know technically
how to get an image, but have a strong feeling for images and for the
kind that work for the story they're telling.
Stephen Lighthill (Apr 13, 2002 1:32:49 PM)
Basically what you need from a director is a clear point of view that
can be communicated clearly. I can handle the logistics; I need the
director to be clear about the images that are essential to him or her
to tell the story well.
David Walpole (Apr 13, 2002 1:33:16 PM)
In regards to the Aaton ' A-mina'....do you like these cameras?
Stephen Lighthill (Apr 13, 2002 1:33:54 PM)
I love the new Aaton. I'm hoping to start a new series in which I can
make it my third or fourth camera. But really, the Bolex is just fine.
Neils (Apr 13, 2002 1:34:14 PM)
If you made a curriculum for your students & young shooters to watch,
what would it be & why?
 Stephen
Lighthill (Apr 13, 2002 1:34:54 PM)
I'm currently teaching at AFI. I run my students through a series of
assignments using 35mm still cameras, working on the fundamentals of
exposure, composition and storytelling.
Stephen Lighthill (Apr 13, 2002 1:35:37 PM)
I think it's important to start a cinematographer on the fundamentals
of photography. No matter what kind of equipment we end up using to
produce motion pictures, I believe we have to be rooted in the fundamentals
of basic photography to be ready for the variety of image capture techniques
we'll have to use in the future.
SantaRosaBuff (Apr 13, 2002 1:35:41 PM)
You said in your interview you had never had the advantage of having
a mentor. If you could go back, who would you pick as your mentor and
why?
Stephen Lighthill (Apr 13, 2002 1:36:14 PM)
Gordon Willis is a cinematographer whose work I love. Not only is his
lighting always correct and innovative, but I find his camera placement
and composition are almost always flawless.
sbdp (Apr 13, 2002 1:36:43 PM)
Should film education give more emphasis to the realities of the business,
in addition to filmmaking technique?
Stephen Lighthill (Apr 13, 2002 1:37:25 PM)
I believe the most important thing for cinematographers to learn, along
with filmmaking techniques, is the ability to communicate. The ability
to deal with conflict on the set is often seen by cinematographers as
a distraction.
Stephen Lighthill (Apr 13, 2002 1:38:00 PM)
But in fact, the ability to solve problems in communication is fundamental
to the job of director of photography or cinematographer.
Brian (Apr 13, 2002 1:38:03 PM)
Has the Guild taken a position on the ITU proposal for digital cinema?
Could you talk about it a bit?
Stephen Lighthill (Apr 13, 2002 1:38:59 PM)
Yes. We don't have an official position on the ITU proposal. Those of
us who were at NAB at the Digital Cinema Conference all agreed that
the ITU proposal is unsatisfactory.
Stephen Lighthill (Apr 13, 2002 1:39:26 PM)
The ITU proposal is linked to standards for high definition broadcast
television. This is completely inappropriate for cinema projection.
In general, digital projection is progressing rapidly but is not superior
to 35mm projection yet. In addition, the economics of digital cinema
have not been worked out – who pays for what? And how the digital files
get to the theaters is not worked out yet.
Stephen Lighthill (Apr 13, 2002 1:40:52 PM)
But we still have to see the folks investing in digital projection not
only come up with an economic model that works, but also come up with
standards so that the equipment in the projection booth is interchangeable.
Servers and projectors need to be designed to work together seamlessly.
Operator-Ed (Apr 13, 2002 1:41:07 PM)
With the rising profile of digital mastering, can anyone change the
cinematographers' work? It's already happening in commercials, with
ad agencies not inviting DPs or even directors into telecine sessions.
Is there any hope or are we on a slippery slope – downhill?
Stephen Lighthill (Apr 13, 2002 1:41:32 PM)
We are definitely on a slippery slope. Both the ASC and the ICG are
working on this issue.
Stephen Lighthill (Apr 13, 2002 1:42:07 PM)
On a positive note, my image for the future is that cinematographers
will be involved closely in post-production and this will be seen as
a natural part of their role. It seems to me that soon we will be doing
our own color correction on set.
 Stephen
Lighthill (Apr 13, 2002 1:43:03 PM)
But we also have to work on how the role of the cinematographer is thought
of. We need to work really hard now to maintain control of the image.
There is no question that as images become digital files anyone can
alter them. But it is inefficient for producers and directors to have
many people fiddling with an image.
Stephen Lighthill (Apr 13, 2002 1:43:36 PM)
It is in everyone's interest for the cinematographer to maintain control
of the image from production through to post-production. I think technology
can be seen as working in our favor on this, as we are able to dictate
the nature of the color correction we want and lock it into the digital
files.
Jorge (Apr 13, 2002 1:44:04 PM)
Any chance the current craze for reality programming (though it tends
toward the sensational) will spark an interest again in traditional
documentaries?
Stephen Lighthill (Apr 13, 2002 1:44:37 PM)
There has always been and always will be a powerful interest in truthful
documentaries. True stories are the best stories.
Stephen Lighthill (Apr 13, 2002 1:45:07 PM)
Generally, when I am in interviews, one thing I'm sure producers and
directors will want to talk to me about are the documentaries listed
on my resume. Everyone loves good documentaries.
Stephen Lighthill (Apr 13, 2002 1:45:44 PM)
The problem is distribution and financing. Hopefully, the hour-long
thoughtful documentary like CBS Reports or NBC White Paper will make
a comeback. I know it is financially feasible. The audience is there.
zee (Apr 13, 2002 1:45:56 PM)
With Lucas' next Star Wars film due out and few to no theatres
equipped to project the film digitally, has your old friend expressed
any frustration to you about the glacial pace that technological evolution
seems to be taking?
Stephen Lighthill (Apr 13, 2002 1:46:23 PM)
We don't talk that often. But I'm sure he's frustrated.
Stephen Lighthill (Apr 13, 2002 1:47:07 PM)
The issues of economics and distribution for digital cinema are the
hang-up. The equipment in place already is very dependable.
Big Boy (Apr 13, 2002 1:47:11 PM)
How have documentaries changed over the last 20 years? The last 10 years?
Stephen Lighthill (Apr 13, 2002 1:48:37 PM)
The biggest change in documentaries is that without the discipline of
film (only 10 minutes per magazine in 16mm), there tends to be a lack
of care to the images that are shot now. And often a lack of the editing
discipline as well.
Stephen Lighthill (Apr 13, 2002 1:49:04 PM)
In general, in the last ten years everything in the documentary world
is being corrupted by the tabloidization of news and documentaries in
general. There is too much concentration on celebrity.
Film student (Apr 13, 2002 1:49:15 PM)
What happened to your Occupied Palestine documentary? is it still
around? It might be interesting to revisit that given what's happening
in the world today...
 Stephen
Lighthill (Apr 13, 2002 1:49:50 PM)
Occupied Palestine was shot in 1980 and contained footage of
the first two years of the infatada. It was a very interesting film
that primarily showed the Palestinean point of view.
Stephen Lighthill (Apr 13, 2002 1:51:00 PM)
In general, I find that the reporting about the Israeli-Palestinean
conflict does not refer to the history of the conflict from the '40s
to the '70s – and this is an essential ingredient in understanding what
is happening today. However, that film was very topical, and parts of
it would probably seem dated today.
ginodp (Apr 13, 2002 1:51:47 PM)
You talked earlier about the need to be able to deal with conflict etc
on the set. Have you had to deal with situations like that... and, if
you can, can you tell us how you handled one or two situations?
Stephen Lighthill (Apr 13, 2002 1:52:33 PM)
Set conflict is often about limited time or limited resources.
Stephen Lighthill (Apr 13, 2002 1:53:11 PM)
One tries to deal as logically as possible. In episodic television the
DP is the visual continuity of a show. He is also the one who protects
the actors' images. The most conflict I have had has been over putting
older actors in situations in which they don't look good. Generally,
this can be resolved by talking it through.
Stephen Lighthill (Apr 13, 2002 1:54:48 PM)
The hard thing is to be patient and remember the director is with you
for one episode and you are there for 22. And you have to make the style
of the show your responsibility, but clear to everyone else.
zee (Apr 13, 2002 1:55:17 PM)
With the strong sense of history that both the Israelis and Palestinians
have, do you really think any film about the age-old conflict would
seem dated? Do you believe a resolution to their current war is in sight?
And will that war ever end?
Stephen Lighthill (Apr 13, 2002 1:56:03 PM)
I'm just a cinematographer! You're right, people should see Occupied
Palestine.
Stephen Lighthill (Apr 13, 2002 1:56:16 PM)
I don't believe a solution is in sight in the current conflict. I think
events have to evolve some more until everyone has seen the hopelessness
of the current path.
Tina (Apr 13, 2002 1:56:47 PM)
You spoke about your personal experiences with encouraging diversity
in our Guild early on in your career. What's that outlook today for
women who want to be cinematographers? Is the Guild doing anything to
help?
Stephen Lighthill (Apr 13, 2002 1:57:31 PM)
The ICG encourages everyone. The best program we have going now is our
mentor program and women should find mentors to help them develop.
Stephen Lighthill (Apr 13, 2002 1:58:31 PM)
I think there is still a lot of discrimination against women DPs and
cinematographers, but the world is gradually changing. Almost a third
of my AFI class is female. I think they have as good an outlook to have
careers in cinematography as the males because they have a great background
and education in the issues of filmmaking.
Steve Golden (Apr 13, 2002 1:59:23 PM)
As you mentioned, we need to be involved with post production. Do you
think it night for a new title?
 Stephen
Lighthill (Apr 13, 2002 1:59:39 PM)
Interesting – great question.
Stephen Lighthill (Apr 13, 2002 1:59:44 PM)
Yes. I think a new title would be good. Got any ideas?
Stephen Lighthill (Apr 13, 2002 1:59:58 PM)
Image God. Then we could call it the International Image God Guild.
ginodp (Apr 13, 2002 2:00:28 PM)
How has your work evolved over the course of your career? Are you happy
with the images you created early on?
Stephen Lighthill (Apr 13, 2002 2:01:04 PM)
In the early days I was really oriented toward cinema verite or direct
cinema. It was such a different environment when I was shooting news
and long-form documentaries in the '70s and '80s. I actually made a
living shooting NEA and NEH-funded documentaries.
Stephen Lighthill (Apr 13, 2002 2:01:48 PM)
I loved the images I made in the interview films I shot in the '80s,
and I learned lighting shooting interviews. I think my lighting ability
and my ability to not light is much more mature now. There were amazing
things happening in front of a lens in the '60s, '70s and '80s. And
I would love to shoot documentaries again.
Stephen Lighthill (Apr 13, 2002 2:03:15 PM)
My last documentary was in Egypt in 1999. But I'm very proud of the
images in, for example, Earth 2 for NBC. And they vary from being
very documentary-like out on the mesas near Santa Fe to large sets with
elaborate lighting schemes.
Quincy (Apr 13, 2002 2:04:14 PM)
I'm hoping to start a career in cinematography and I'd like to know
exactly what is the role of the DP and how he/she interacts with the
rest of the crew?
Stephen Lighthill (Apr 13, 2002 2:05:05 PM)
The DP is the head of the technical crew. The DP is on the line between
directors and producers on one hand and production crew on the other.
The DP needs to learn the job of everyone on set – from makeup, hair
and wardrobe to grip and electric. Not that s/he has to do those jobs,
but needs to understand those jobs to be an effective leader of the
technical crew.
Stephanie (Apr 13, 2002 2:06:04 PM)
How does one become involved in the mentor program? What steps should
we take to apply?
Stephen Lighthill (Apr 13, 2002 2:06:49 PM)
You need to have a career chat with Jessica Sitomer. She will help you
make a plan for your job search and often this involves a few phone
calls with mentors. That is the most organized program the ICG has.
But in general, you should look to the people you work with for help
in advancing your career.
Bill (Apr 13, 2002 2:07:17 PM)
I have a couple of questions about THX. What was George Lucas
on that film when you worked on it? And I read something in your interview
about Haskell being a consultant on THX. Did he actually shoot
it like he shot American Graffiti? I never heard about his participation
in THX before.
Stephen Lighthill (Apr 13, 2002 2:07:43 PM)
George Lucas was the director and co-producer.
 Stephen
Lighthill (Apr 13, 2002 2:08:00 PM)
Haskell only came out to the set a few times and shot part of one scene.
I think George needed Haskell's involvement to make the studio feel
confident. The actual working DPs were Dave Myers and Al Kihn.
Stephen Lighthill (Apr 13, 2002 2:08:54 PM)
In general, THX was shot in a very documentary style, mostly
in the uncompleted BART tunnels of the Bay area. It was shot in two
perf 35mm, known as Techniscope. The prints were made from a three-strip
Technicolor Matrix process.
Steve Golden (Apr 13, 2002 2:09:22 PM)
Sorry I hit the send button too soon. What I mean by a new title we
are responsible for much more than photography. And if we get into post
is Director of Photography, Cinematographer or Cameraman out dated?
Should we do as sound has done and be known as Supervisor or Visuals,
or Director of Visuals, or the guy in charge of the look?
Stephen Lighthill (Apr 13, 2002 2:09:47 PM)
Yes, good idea. I like DOV, DV. We could call ourselves DVs instead
of DPs.
Stephen Lighthill (Apr 13, 2002 2:10:26 PM)
It's a serious question, and we need to figure out if DP works the way
production designer titles work. Maybe image designer or something that
implies better that we follow from pre-production through to post-production.
Stephen Lighthill (Apr 13, 2002 2:11:15 PM)
Cinematographer or cameraman IS outdated. And director of photography
is too. But this will be a controversial matter.
Stephen Lighthill (Apr 13, 2002 2:11:20 PM)
Thanks for a good question!
David Walpole (Apr 13, 2002 2:11:22 PM)
what is the most difficult project you have ever had?
Stephen Lighthill (Apr 13, 2002 2:11:51 PM)
Probably Earth 2 because we shot the first seven months in the
wilderness with no sets. And when we did get sets, I had to pre-light
them while they were being built. It went from being a small show to
being huge – as winter was coming in. But I loved the images in Earth
2.
harry (Apr 13, 2002 2:12:35 PM)
what is it about documentaries that makes you want to shoot them again
Stephen Lighthill (Apr 13, 2002 2:12:51 PM)
As I said, true stories are the best stories.
Stephen Lighthill (Apr 13, 2002 2:13:24 PM)
And documentaries get you out in the world, with people, and you see
offices, homes, factories, with a unique point of view that few people
ever experience. I love the challenge of improvising behind the camera
and finding the right images to tell a truthful story.
David Walpole (Apr 13, 2002 2:14:13 PM)
Are you on the look out for a new script?
Stephen Lighthill (Apr 13, 2002 2:14:22 PM)
Yes. Talking about another series right now.
zee (Apr 13, 2002 2:14:39 PM)
I read a lot about runaway production and digital filmmaking and I gotta
wonder if there's any reason to be optimistic about the future of our
craft.
Stephen Lighthill (Apr 13, 2002 2:15:50 PM)
The reason to be optimistic about the future is that the digital world
will enable us to have control of our images, once we evolve the right
working styles and use of equipment to gain control of color correction
and other image issues as part of production.
Stephen Lighthill (Apr 13, 2002 2:16:18 PM)
Good-bye, everybody. Thank you for a great chat - you asked great questions.
See you on the set!
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