Transcript of Live Chat with
Daryn Okada, ASC

Aug. 28, 2004

Daryn Okada ( Aug 28, 2004 10:05:45 AM)
Hello everyone. Thanks for tuning in. Looking forward to having this conversation. Let's start.

Gino ( Aug 28, 2004 10:05:52 AM)
What criteria must be met before you sign on to shoot a picture?

Daryn Okada ( Aug 28, 2004 10:06:16 AM)
The most important is the script.

Stiller ( Aug 28, 2004 10:06:37 AM)
I loved your work in Lake Placid. What other films did you look at in trying to figure out how to make the unbelievable believable?

Daryn Okada ( Aug 28, 2004 10:07:33 AM)
For that film I watched many documentaries to see how real wild life could be photographed.

Focus Puller ( Aug 28, 2004 10:07:54 AM)
How do you generally prepare for a movie?

Daryn Okada ( Aug 28, 2004 10:09:36 AM)
First, I break down the script. I map out the elements or the visual arc of the story. Then I try to get familiar with what the director's visual vocabulary is.

SBDP (Aug 28, 2004 10:09:42 AM)
How does the fact that you worked on low budget films as a grip and gaffer help you understand and communicate with your crews today? Do you think that is a useful experience for someone getting out of film schoool, or is it a dead-end today?

Daryn Okada ( Aug 28, 2004 10:10:37 AM)
For me, it was very useful to know what everyone's job entails on a film set. It's only a dead end if you don't aspire to continue on from there.

Lenser ( Aug 28, 2004 10:10:59 AM)
You didn’t speak much about Phantasm II in your conversation. It’s kind of a cult favorite. Do you have any memories or anecdotes to share about that film?

Daryn Okada ( Aug 28, 2004 10:12:26 AM)
That film is a favorite of mine because it reunited me with the director Don Coscarelli who I worked with on the first film I ever set foot on. It was great working with Don almost ten years after the first film because we were trying to recreate the minimalist visual tone of the first film.

Op_Ed (Aug 28, 2004 10:13:30 AM)
Don't know if you made it to Haskell's screening the other night, but I thought he said some great things about battling long hours. What do you think we can do to make things safer for ourselves?

Daryn Okada ( Aug 28, 2004 10:14:23 AM)
I'm sorry I did not make it to Haskell's screening. I was trying to get there but was working. In regard to long hours, you have to have an open dialogue with producers so they know when safety may be a factor with the fatigue.

Sheryl P ( Aug 28, 2004 10:15:32 AM)
Ever done any commentaries for DVD's? You think the general public pays attention to what cinematographers have to say about making a movie?

Daryn Okada ( Aug 28, 2004 10:16:37 AM)
No, I have never done a commentary for a film I have photographed yet. I think there is a lot the public could learn through cinematography and what it contributes to a movie.

Melinda (Aug 28, 2004 10:16:46 AM)
You got to work to work in some pretty exotic places, including Sri Lanka, and Russia, very early in your career. In retrospect, how did seeing those parts of the world, and how people there approach filmmaking, affect your long-term thinking?

Daryn Okada ( Aug 28, 2004 10:18:45 AM)
I was lucky to work in these places but I was also lucky to bring some of my crew. First assistant cameraman John Boccaccio, who is here this morning, has been with me on many of these shoots. We got to see how other film industries worked and they got to see how we worked. It was a great exchange of ideas.

John Boccaccio ( Aug 28, 2004 10:19:58 AM)

On occasion we found ourselves having to work without apple boxes, without c-stands, without sandbags and many other pieces of gear that we're used to having around. But we were able to get the job done with the cooperation of the local film makers. It can be done.

Gino (Aug 28, 2004 10:20:48 AM)
I was wondering if you still do any still photography, and presuming that you do, is it still useful to you as a cinematographer?

Daryn Okada (Aug 28, 2004 10:21:31 AM)
I don't get the chance to do as much still photography as I'd like, but it still is very important in developing visual ideas to use in the future.

Last Reel ( Aug 28, 2004 10:21:41 AM)
When shooting sequels, how do you deal with the original film? Do you use it for a model of what to do, or of what not to do?

Daryn Okada ( Aug 28, 2004 10:22:46 AM)
When I work on a sequel, I use the original film to see the strengths that it had. After that, I determine if we should visually depart from that film or not.

Roll Tape (Aug 28, 2004 10:23:23 AM)
This is asking you to dredge up an old memory, but you mentioned shooting Halloween, 20 Years Later with Jamie Lee Curtis, and wanting to be true to Dean Cundey’s work on the original film, How did you do that? Did you talk with Dean and/ or look at the film? Did Jamie Lee Curtis have any ideas about that?

Daryn Okada ( Aug 28, 2004 10:24:36 AM)
I looked at the film and thought Dean did a wonderful job and, in this case, tried to make our film seamless between the two. I did not get a chance to talk to Dean on this instance, but we are friends and I have known for years about how he approached that film. Jamie Lee Curtis did want the film to feel like a continuation of the versions she did with John Carpenter. Steve Miner, the director, and I agreed with her.

Op_Ed ( Aug 28, 2004 10:26:16 AM)
I’m encouraged by what you have to say about 65 mm, but I’m wondering if it’s wishful thinking. Have you heard anyone talking about shooting anything in 65 mm?

Daryn Okada (Aug 28, 2004 10:27:11 AM)
Yes, I have heard plans for 65 mm to be used in future features, but nothing has gone into production yet.

Tony ( Aug 28, 2004 10:27:17 AM)
Can you talk about the benefits of shooting 65 mm?

Daryn Okada ( Aug 28, 2004 10:28:02 AM)
It has a look that makes the projected film seem transparent. It has an enormous amount of detail and color.

Eff-stop ( Aug 28, 2004 10:28:08 AM)
Any tips you want to share about working with animals?

Daryn Okada ( Aug 28, 2004 10:29:29 AM)
Don't be negative about the situation. Get to know the trainers and do your research with the animals in the same way you would research an actor's qualities.

Focus Puller ( Aug 28, 2004 10:29:32 AM)
What person or department do you work with that you believe is the most underrated? Who makes your job easier, but doesn't get credit?

Daryn Okada ( Aug 28, 2004 10:30:33 AM)
The onset dresser and the standby painter. Standby painters are becoming a lost art. A standby painter is on the set with the camera crew and can paint in shadows if I need them to.

Photo_Matt ( Aug 28, 2004 10:31:24 AM)
Was it difficult to work with DMX on Cradle to Grave? How much extra work is required of you when a film features a musician-turned-actor?

Daryn Okada ( Aug 28, 2004 10:33:01 AM)
We approached it in a way that would suit his style of working. As a musician, he uses multi-track recording, so we emulated that with film by using multiple cameras to capture his performance.

Lenser ( Aug 28, 2004 10:33:06 AM)
Mean Girls is kind of a comic drama. It seems like you lit it in a very natural and non-obtrusive way. Can you talk a bit how you approached lighting that film?

Daryn Okada ( Aug 28, 2004 10:34:36 AM)
I wanted that film to look as natural as possible. That was my intention when I first read the script. At the same time, I knew there are times when the actors needed to look glamorous, but I wanted that to feel natural, avoiding the over-glossy look of the genre.

SBDP ( Aug 28, 2004 10:34:43 AM)
Now that you have a digital intermediate experience on Paparazzi, are there any reasons to shoot in anamorphic format?

Daryn Okada ( Aug 28, 2004 10:35:53 AM)
There are many reasons to continue shooting in anamorphic. The digital file can use the entire negative, thus having more pixels to use in the digital intermediate process. Super 35 uses about 60 percent of the available pixels on a scan, so anamorphic would still give us a richer image in the digital intermediate process.

Amanda ( Aug 28, 2004 10:36:53 AM)
You said in your interview that Lake Placid was written by David Kelly. Is that the same David Kelly who writes and produces TV series? AND, did you have any connection with him on this project? Do you ever get to talk with the writers on that or any other projects? I'm just wondering if that is ever useful.

Daryn Okada ( Aug 28, 2004 10:37:41 AM)
Yes, it is the David Kelly that produces TV series. We had conversations with David early in pre-production, which were very useful in determining what he imagined as a writer.

Roger ( Aug 28, 2004 10:38:42 AM)
Do you ever shoot commercials? And if so do you use the same agent who represents you on feature work? And also, how do you like the process of shooting them?

Daryn Okada ( Aug 28, 2004 10:39:48 AM)
I do use the same agent for commercials. The process of shooting them is great because you get to experiment and see the results in a short period of time.

Op_Ed ( Aug 28, 2004 10:39:57 AM)
There's no shortage of talk about runaway production. Apart from your own efforts to get producers to shoot in the US, what do you think are the most effective means of protecting our jobs? I like the idea of incentives, but it seems like the only thing we're doing to fight runaway. Any ideas?

Daryn Okada ( Aug 28, 2004 10:41:05 AM)
I think that most producers only understand financial incentives, but there are many great producers that know the value of shooting with US crews.

James ( Aug 28, 2004 10:41:07 AM)
I reallly admire your stories about keeping films in the US. Was there a project you declined because you couldn't convince producers to shoot in the US?

Daryn Okada ( Aug 28, 2004 10:42:04 AM)
There have been many, but they had script problems that I felt were an issue also.

Charles ( Aug 28, 2004 10:42:08 AM)
There are a lot of political films -- or films with political agendas -- out right now. Do you think art influences politics or does it just reflect them?

Daryn Okada ( Aug 28, 2004 10:42:49 AM)
I think it's both.

Dashon ( Aug 28, 2004 10:42:55 AM)
You spoke a bit about establishing rapport with actors. Have you worked with directors who don't want you to speak with the actors, and if so, how do you handle that?

Daryn Okada ( Aug 28, 2004 10:43:17 AM)
I have never run into that situation.

Gino ( Aug 28, 2004 10:43:23 AM)
You mentioned the ASC digital projector test film. How were you involved with that project, and looking back, what did you learn from it?

Daryn Okada ( Aug 28, 2004 10:44:29 AM)
I was part of a group that included Curtis Clark, Dante Spinotti and Ron Garcia that got the project off the ground. We learned that the ASC could – as a group – produce test materials that definitively are used in technical evaluations. This project has had a bigger impact than we could ever imagine and has been considered so important that the Academy will be archiving all of our elements.

Last Reel ( Aug 28, 2004 10:46:06 AM)
What should the role of the DP be in the DVD transfer process?

Daryn Okada ( Aug 28, 2004 10:46:38 AM)
The DP should always be involved in the transfer to any digital formats. There must be a translation between screen and DVD so the movie remains visually faithful the original theatrical experience.

Craig G. ( Aug 28, 2004 10:47:18 AM)
Do you often get it in your contract that you'll be involved in the post-production process? How hard do you have to fight for that?

Daryn Okada ( Aug 28, 2004 10:48:06 AM)
For me it has not been hard because I have shown over time on past projects that if I am involved the process goes faster.

Moderator ( Aug 28, 2004 10:49:30 AM)
Haskell Wexler makes an interesting point about the video tap on cameras changing the relationship between cinematographers and their operators. Where do you weigh in on that?

Daryn Okada ( Aug 28, 2004 10:50:35 AM)
Since I've done my share of operating, it does not affect my relationship to the camera operator. I think the relationship between directors and camera operators are affected more.

ilight ( Aug 28, 2004 10:51:10 AM)
In the April 1997 ICG Magazine, you said your film stock of choice was 5248 and 5293. What films stocks do like to use now? What qualities do like about the new stocks?

Daryn Okada ( Aug 28, 2004 10:52:10 AM)
5218 is a wonderful stock. It is very neutral in all its color reproduction and the grain has never been finer. But I will miss 5293. It has a look that is unique to itself.

Tony ( Aug 28, 2004 10:52:43 AM)
I thought the Martin Lawrence concert film was hysterical. I'm curious about your role in in. What exactly does a cinematographer have to do to bring a live event to the big screen?

Daryn Okada ( Aug 28, 2004 10:53:25 AM)
In that project, I and my crew were involved from the staging at the venue. We had to cover every aspect of how that show was staged live and make modifications so we could capture Martin's performance on film.

Craig G. ( Aug 28, 2004 10:54:17 AM)
You spoke a bit about working with Andrezej Bartkoviak who directed Cradle to the Grave. You indicated that he pretty much let you do the cinematography. How about your prep time with him... how did you prepare to shoot this film?

Daryn Okada ( Aug 28, 2004 10:55:13 AM)
With any film you spend your prep time with the director finding out what kind of visuals are in his head. This was the same with Andrezej. The preparation for this film involved studying the action sequences and how I would capture that on film. It was also unique to see how Jet Li's martial arts choreogapher's worked.

Sheryl P ( Aug 28, 2004 10:56:54 AM)
What films have you seen recently that have inspired you? Which have offended you?

Daryn Okada ( Aug 28, 2004 10:57:27 AM)
Let's start with the inspired films. City of God was wonderful. As far as films that offended me, I can't think of one off the top of my head at the moment.

Yoshio ( Aug 28, 2004 10:58:45 AM)
Do you think you get pegged for any specific type of projects or are treated differently by producers because of your Asian heritage? Does your background help you bring anything different to a project?

Daryn Okada ( Aug 28, 2004 10:59:23 AM)
I don't think I've been pegged for any specific types of projects. When you meet on a project and the director and producer hear your take on it, that's all that counts.

Melinda ( Aug 28, 2004 10:59:57 AM)
What cinematographers have had the greatest influence on your work, and how?

Daryn Okada ( Aug 28, 2004 11:00:31 AM)
There are so many. If I tried to name them here, I would leave someone out.

Lenser ( Aug 28, 2004 11:00:41 AM)
Technology seems to be moving at such a fast pace. How do you keep up? Are there magazines you read, websites, seminars???

Daryn Okada ( Aug 28, 2004 11:01:24 AM)
Through the ASC Technology Committee is how I keep up on new developments.

James ( Aug 28, 2004 11:01:52 AM)
Do you work with the same crew again and again or do you hire new with each project?

Daryn Okada ( Aug 28, 2004 11:02:27 AM)
I have a great crew based in Los Angeles, and I try to work with them as much as possible.

Gino ( Aug 28, 2004 11:02:32 AM)
What qualities do you look for when choosing a camera operator or assistant?

Daryn Okada ( Aug 28, 2004 11:03:19 AM)
It's a combination of talent and personality and how they relate to others in the production.

SBDP ( Aug 28, 2004 11:03:39 AM)
You stressed that it is important to expose the negative right, rather than depending on being able to fix it in post. But it seems that very few film schools seem to be teaching students how to light and shoot film. I read that as an ominous sign for the future. What’s your take on this? What do you do if you are a film student, and you are getting few or no opportunities to light for and expose film?

Daryn Okada ( Aug 28, 2004 11:05:12 AM)
You should try to balance your time with still photography if that is your only option.

Johanna ( Aug 28, 2004 11:05:15 AM)
Is there a time period in the history of cinema you wish you could have worked in?

Daryn Okada ( Aug 28, 2004 11:05:50 AM)
Yes, the 1930's and 2010. The 1930's were a artistically and technologically exciting time. 2010 would be fantastic to still see film running through a camera.

ilight ( Aug 28, 2004 11:07:26 AM)
Have you shot any tests with the new Panavision Genesis yet? What are your impressions of the imagery from this camera?

Daryn Okada ( Aug 28, 2004 11:08:16 AM)
I have not shot any tests with the Genesis but looking forward to it.

James ( Aug 28, 2004 11:08:21 AM)
Any place in the world that you haven't shot yet, but would like to? Why?

Daryn Okada ( Aug 28, 2004 11:08:38 AM)
Japan. It would be wonderful to work in that culture that I was never exposed to.

billiam ( Aug 28, 2004 11:09:42 AM)
I remember Owen Roizman saying that the most important breakthrough in technology is the DVD, because it enables you to study anyone’s work. Are there films and cinematographers you would recommend studying on DVD? What are they?

Daryn Okada ( Aug 28, 2004 11:12:13 AM)
Any film of Owen Roizman's. Victorio Storaro's early work. There are so many others. The important thing to look for in DVDs is that it is in it's original theatrical aspect ratio so you can study the images with the proper composition.

James ( Aug 28, 2004 11:12:19 AM)
Have you been able to see any digitally shot and digitally projected films? What are your thoughts on that and what's your view of what "the future" will look like?

Daryn Okada ( Aug 28, 2004 11:13:41 AM)
Yes, I have seen digitally shot and digitally projected films. Digital capture is another tool that the cinematographer can use but is not a replacement for firm yet. There is a lot of work to be done with these new technologies so that the pipeline from origination to exhibition is efficient and does not degenerate from the audience's experience in the cinema.

ilight ( Aug 28, 2004 11:14:54 AM)
In the many regions of the world you have photographed. Can you describe the quality of light in those places?

Daryn Okada ( Aug 28, 2004 11:15:49 AM)
The light in Russia is beautiful with a slight softness to it. The light in the Carribean is bright and harsh, but is balanced by bold colors. The light in the desert is edgy, enhancing the textures and clarity of the landscape. In Los Angeles, we can create any light that we want.

Daryn Okada ( Aug 28, 2004 11:20:14 AM)
These were some very wonderful questions. They were thought provoking and I wish we continue this dialogue. If any of you have follow up questions, please email the website and I'll be happy to answer them. Thank you and good luck.