Transcript
of Live Chat
with Haskell Wexler, ASC
Apr. 2, 2005
Haskell Wexler (Apr 2, 2005 10:06:35 AM)
Hello. I'm Haskell Wexler and I'm very happy to be invited to this
chat. I think that our communications between all of us in film are
vital and hope that this kind of chat can even develop further so
that it will legitimately be a conversation back and forth.
Haskell Wexler (Apr 2, 2005 10:07:08 AM)
Since we are a media union I know we have the capability and the personnel
who are versed in communication. I'm anxious to hear questions and
to spout off my peculiar and radical viewpoints. Thank you.
Still Man (Apr 2, 2005 10:08:47 AM)
I’ve heard about the 12 on, 12 off campaign. Can you fill us in on
that? What’s the latest? What’s in the works?
Haskell Wexler (Apr 2, 2005 10:10:00 AM)
It's a campaign that was fueled by Brent Hirschman’s death
and Conrad Hall's untimely demise, which were dramatic examples of
the dangers of excessive hours. 12 on and 12 off is not a union, it
is a non-profit international foundation which shows itself off with
caps and t-shirts. It speaks of basic human rights.
Haskell Wexler (Apr 2, 2005 10:10:32 AM)
No more than 12 hours works, 6 hours turnaround and 6 hours between
meals. These are not demands but universal human rights which people
can aspire to and hope that good people in authority can see that
it is the best for all of us.
Bailie (Apr 2, 2005 10:10:46 AM)
Dear Haskell, is the issue of a union consensus dead? Will you continue
to fight for it? Surveys are nice but they just aren't specific enough
to give solid information on the body of the union can you explain
the difference and give us some idea of why this is such a fight?
Seems to me knowledge builds power and strength. Thanks for all you've
done.
Haskell Wexler (Apr 2, 2005 10:11:46 AM)
You're correct. Knowledge builds power and strength and that's why
in my opening remarks I wanted to emphasize the responsibility of
people in this room in charge of communication. But to communicate
you have to have a philosophy of who you are.
Moderator (Apr 2, 2005 10:12:42 AM)
Haskell: Can you tell us a little bit about what the role of a union
should be?
Haskell Wexler (Apr 2, 2005 10:12:52 AM)
Abstract figures or surveys can only be valuable if they reflect what
you want to do as a union. Daily, politicians and people will quote
figures and surveys to substantiate their positions. To answer your
question directly, we need more information. We need to know are
you working longer for less money, where the jobs are and where they're
going and about other issues.
Haskell Wexler (Apr 2, 2005 10:14:15 AM)
The union should be what unions are supposed to be. They are supposed
to represent all the film workers for wages, hours, working conditions,
safety and health. They are there because as individuals we cannot
and often dare not speak up for ourselves. We rely on and pay dues,
initiation fees to the union to defend us and help us to have a better
work life and a better life outside of work.
Haskell Wexler (Apr 2, 2005 10:16:31 AM)
We call ourselves a guild. In the modern world we really have to think
about the words we use. A guild is a medieval association. I don't
want to be a pedagogue (that's not someone who goes after little
children). They are an association that make standards of excellence
and limited the people to join by requiring high standard tests.
Being a member was a guarantee of quality tot he Feudal Lords. With
mass production the quality of the shoemaker was not a factor. Working
at a machine, his "guild artisan status" disappeared and
feudal lords became corporate
Haskell Wexler (Apr 2, 2005 10:17:35 AM)
We changed the name of our union to a guild. Our magazine and literature
say very little about organization, wages, safety, job security or
the general health insurance debacle of our country. We never challenge
our greedy bosses when they say it’s not in the budget. We have seminars
on those things that make us better technicians, more desirable craftsmen
and to better serve contemporary feudal masters.
Haskell Wexler (Apr 2, 2005 10:18:40 AM)
I believe in a union. My whole life I have been a union man. When I
was 20 years old with my shipmate Milton McCord we organized a union
of sailors in South Africa who were survivors of torpedoing. We organized
the international seaman’s' union. I then worked for united electrical
workers, united packinghouse workers, and organizer for the national
maritime union.
Haskell Wexler (Apr 2, 2005 10:19:45 AM)
In chat rooms when they list pictures I was fortunate enough to shoot,
I want those who call in to know that they are talking to a union
man who believes that is the only way we can advance ourselves artistically
as well as professionally in the classic union matter. I could go
into the connection between the respect we get as Directors of Photography
and how that can be part of the respect we have from our employers
through a strong and aggressive union.
Haskell Wexler (Apr 2, 2005 10:21:00 AM)
I wanted to say to those on the internet that right now there are film
students sitting around this table. What would you say to them about
the union? What is it about the union that fits into your plans to
be active in our marvelous media business?
Live Audience (Apr 2, 2005 10:21:17 AM)
As a cinematography student, is it useful to join the union entry level
as a loader? Or should we be out there shooting independent, eventually
joining the union later as a Cinematographer?
Haskell Wexler (Apr 2, 2005 10:22:42 AM)
I can tell you how I became a union member and I am close to the oldest
IATSE camera guy around... at least one with a big mouth.
Haskell Wexler (Apr 2, 2005 10:23:57 AM)
In those days you had to shoot your way in because it was a closed
shop. If you were a relative or if you could pay off the right guy.
The history of our union is one of gangsters and corruption and deal-making
for a very tight-nit group of guys with protections. When I finally
got into the union in Chicago we worked 8 hour days. Any work after
5 was overtime, after 12 double time. Many great pictures were made
in what was considered a normal day.
Haskell Wexler (Apr 2, 2005 10:25:35 AM)
The union did give select groups protection. now I talk to students
who graduate and they buy what they consider to be a hunting license.
You are correct the camaraderie is a big incentive to be in the union
but there is also outside of the union. It is not worth paying initiation
fees and dues just for camaraderie. What you should expect is representation.
What the union does offer is something like a program to help you
create a business plan for your year, giving you individual ways
on how to talk best to a producer, how to get a job, how to become
a better entrepreneur, which is contrary to the concept of a union:
solidarity.
Haskell Wexler (Apr 2, 2005 10:26:37 AM)
What you say attracts you to a union attracts me. What I miss most
is the crew, the back and forth, being part of that thing which hopefully
is a union that will speak for you. Whenever individuals need to
have someone outside speak for them that covers all aspects of society
and it is all of our business now.
Moderator (Apr 2, 2005 10:27:11 AM)
Here are a couple of comments from our audience re: the importance
of the union...
Guest (Apr 2, 2005 10:27:45 AM)
Good Morning Mr. Wexler, there is a need for camera people to come
together similar to the other locals (80, 728). They all seem to
have a better network amongst the members. Our association seems
limited. When information is disseminated from the union it’s limited
to the crew members and productions on MOW, Sitcoms, Features and
that's it.
Pan Right (Apr 2, 2005 10:27:55 AM)
I'd say, join up!
Haskell Wexler (Apr 2, 2005 10:28:50 AM)
Our publications always speak of cinematography as "our" art
form. The elevation of DOP is something I appreciate but I have to
say that the protection of our work is dependant upon the respect of
the producers. Producers don't normally deal on that high level of
conscious or respect, they deal on the level of getting it done cheaper
and in their control. That's why the issues of what happens in post,
shooting, looking at the video tap that the power that producers have
over us ... what is vital to them is the word control. It is not just
that they'd like to do it, they want to say that they did it.
Haskell Wexler (Apr 2, 2005 10:29:47 AM)
We are gradually becoming like guys on the assembly line. This is happening
not without a struggle. The struggle comes more from the DOP because
we are a little less susceptible to the tremendous fear that is amongst
all workers nowadays. Fear of not getting a next job, earning a living
and everything. The power lives on fear. That goes for government,
corporations and everything.
Haskell Wexler (Apr 2, 2005 10:30:12 AM)
On the other hand, strength relies on the people. When the people are
individually fearful that's when unions should step in.
Pan Right (Apr 2, 2005 10:30:53 AM)
Film budgets spend an extraordinary percentage on star salaries. But
studios are stingy with below-the-line talent. Do you think movies
should have a "salary cap" like professional sports to
keep star salaries under control?
Haskell Wexler (Apr 2, 2005 10:32:25 AM)
No, I do not. I don't think the stars are the problem or the professional
athletes are the problem. They would not get that money if the producers
didn’t think that they would make even bigger money by paying them
the money. Garrett Brown answered that question of why we work these
excessive hours: the long hours are a triumph of the middle management
weenies with laptops that massage the numbers to impress their bosses,
but the practice is destructive to art as well as to body and spirit.
Haskell Wexler (Apr 2, 2005 10:33:02 AM)
I think that his statement, which says it is destructive to both art
and body and spirit is particularly important.
Mason (Apr 2, 2005 10:33:24 AM)
Hello Haskell, Keith Mason here. Long time huh. Hope you are well.
Just curious of your thoughts of the business today for DP's like
myself who have been out of it for some years who might want to get
back in. Tough I know.
Haskell Wexler (Apr 2, 2005 10:34:32 AM)
Keith, I'm not certain how old you are but we definitely demonstrably
have ageism in our business which can't be stated directly, but I
have heard and have been the recipient of someone in power who said
that "we know he's good but we just want someone younger and
more hip." It's a tough time for DP's and those who go with
them.
Haskell Wexler (Apr 2, 2005 10:35:18 AM)
One of the reasons that I think the union spends so much on DP's is
because DP's are instrumental in hiring the crew so it makes sense
to engage. Anyway, first I'm glad that you typed in and I know your
fingers are working and I hope from this that you know that my mouth
is working.
Mason (Apr 2, 2005 10:35:34 AM)
That sounds very familiar
JazzBass (Apr 2, 2005 10:35:55 AM)
I loved the Bus Riders film. What was the outcome of the strike?
Haskell Wexler (Apr 2, 2005 10:37:01 AM)
I'm glad someone saw that. It's a film called "Bus Riders Union" --
a documentary about people who ride the buses in L.A. The song at the
beginning is "I don't have a car and I live in L.A." Although
I shot to DVD there is a 35mm print that played at Magic Johnson Theater
and has been translated to Spanish, Korean and German. I think it was
successful because it wasn't downbeat.
Haskell Wexler (Apr 2, 2005 10:37:31 AM)
These bus riders organized and were able to get hundreds of clean burning
buses for L.A. They had a good victory against the authority because
they were organized as a union.
Doc Maker (Apr 2, 2005 10:37:44 AM)
I want to thank you for your work you did on the Bus Riders Union.
What do you think of the role of the cinematographer and your ability
to spotlight social issues? Is that part of the power of film?
Haskell Wexler (Apr 2, 2005 10:39:20 AM)
That's really sort of a basic question that I don't have the answer
to. I do want to say that because we are communicators and I don't
single out just DP's -- this includes sound people, dolly pushers,
and media makers. Besides being professionals and proud of our work
we have a social responsibility that our work reflect dramatically
something less than gratuitous violence, less than what human beings
can aspire to.
Haskell Wexler (Apr 2, 2005 10:40:00 AM)
I don't want to sound pompous but I do think that all of us have a
limited time on this earth. To spend so much of our time on work
which does not in some way express something positive, something
we can be proud of, then we are living less than a full life.
Jimmy (Apr 2, 2005 10:40:13 AM)
Tell us about your relationship with Connie Hall. Did you make each
other better cinematographers?
Haskell Wexler (Apr 2, 2005 10:42:20 AM)
I believe we made each other better human beings. Connie was a great
cinematographer. I learned a tremendous amount from Connie about
human relations. If you wanted to start with director/cameraman relations
that's fine with me. Connie was always firm about the story they
were telling. He would converse with the director as an equal, always
knowing that the director is the captain of the ship. If you listen
to Sam Mendez -- Connie did American Beauty and Road to Perdition
-- you will see how Conrad refined the way a strong DP can learn
from a director and how a director can learn from a strong DP and
the results be truly cinema art.
Haskell Wexler (Apr 2, 2005 10:43:49 AM)
Beyond the practical things which I've never been able to emulate (of
Conrad), I think that his Tahitian background allowed him to concentrate
his non-working time on his lifetime. He had the advantage of having
an island off of Tahiti where he would read, work with coconut trees,
lay cables for electricity, he spoke Tahitian French -- he was truly
a gentleman. Different from me, he was non-combative. He was principal,
but he was principal in ways that I think are quite beautiful.
Op_Ed (Apr 2, 2005 10:43:59 AM)
What was the wisest thing James Wong Howe ever said to you?
Haskell Wexler (Apr 2, 2005 10:45:23 AM)
He said that if you can light with one light, light with one light.
At the time he gave me the advice, the normal way of lighting was
with a bunch of 750's on the perimeter -- in the B&W days they'd
be on dimmers -- and you would utilize them. Early on, he encouraged
me to try to simplify lighting. Of course, since then that has been
the rule of DP's. There's a window and a room and if you can light
the whole room from the window you do it that way.
Haskell Wexler (Apr 2, 2005 10:46:23 AM)
If you saw a film called "Sweet Smell of Success" it came
when the crab dolly was invented. Different from more cumbersome, bigger
dolly’s you'll see all sorts of smaller move. A two-shot where the
two characters are 4-5 feet apart and the right hand character would
move into the other, the camera would move ever so slightly and move
into the over the shoulder shot. Before, that would be a cut point.
Haskell Wexler (Apr 2, 2005 10:46:59 AM)
Also, at that time I learned how to think like shooting a documentary
hand-held -- make a step or two with the camera on your shoulder
and make that slight adjustment because in documentary we didn't
have the option of making a cut.
Haskell Wexler (Apr 2, 2005 10:48:16 AM)
One other thing about Jimmy Howe, he was very sensitive about racism.
On a picture called "Picnic" where I shot some 2nd unit
for him there was a FX guy whose name I remember but there is no
sense in saying now who referred to Howe as "the Chinaman".
Howe would yell on a megaphone and insult him and I knew what was
going on. Later on when I knew Jimmy socially he was very conscious
of the racism that was still amongst us.
Sally G. (Apr 2, 2005 10:48:25 AM)
Can you tell us anything about shooting In the Heat of the Night? Was
the racial climate still tense when you were on location? Were the
cast and crew in any danger?
Haskell Wexler (Apr 2, 2005 10:50:20 AM)
We wanted to shoot some scenes in the South and Norman Jewison and
Sidney Portier said "no", I don't want to shoot there because
they were fearful. We shot instead in southern Illinois in Sparta.
Some of you don't know that southern Illinois was ideologically similar
to the deep south of Alabama. Strangely, about 6 young women from
Sparta came back from that shoot consorting with or marrying guys
in the crew. We were such an exciting circus band to that dead town
that there was some of that stuff going on.
Haskell Wexler (Apr 2, 2005 10:50:45 AM)
When asked "Aren't you married," one of the guys said "Not
on location."
Haskell Wexler (Apr 2, 2005 10:52:18 AM)
Incidentally on Mutiny on the Bounty there was another time were the
crew spent quite some time in Tahiti. I had a house on the beach.
You would often see Tahitian women running around who were actually
offspring of the Mutiny on the Bounty. One small thing from some
time ago, on one of Conrad's birthdays his mother sent him a Tahitian
maid. He had a house on Mulholland and she was rather corpulent.
I would visit Conrad from time to time and he fed her on a diet and
swimming in the pool and in about 4 month she was incredibly beautiful
woman.
Jim Beau (Apr 2, 2005 10:52:26 AM)
Were you asked to work on the timing of the DVD release of Who's Afraid
of Virginia Wolf? Or to do commentary?
Haskell Wexler (Apr 2, 2005 10:53:29 AM)
I did the commentary on the DVD but I didn't work on the timing.
bourban (Apr 2, 2005 10:53:33 AM)
The small town in WV that Matewan was shot is very proud of that production
and gives tours. (There still is black wrap hanging here and there!)
Films can impact lives, both by watching and WORKing on them. Do
you encourage hiring locals?
Haskell Wexler (Apr 2, 2005 10:56:38 AM)
First, absolutely I encourage hiring locals and producers like it also
because it's cheaper. Nowadays none of us are locals. We work anywhere.
Film companies, particularly in smaller towns, are like traveling
carnivals with all kinds of weird people wearing strange clothes
and using different language. They are intense and have exotic ways.
I think there was a film with Dennis Hopper in Latin America. It
was the story of a film company that went to Latin America, and when
he company left, the town imitated the director and crew. To answer
the question, yes, we have a good influence and we should learn because
film documenting and location -- to keep your eyes open to the real
world will only make you a better filmmaker.
Haskell Wexler (Apr 2, 2005 10:57:33 AM)
I shot a picture called Colors, and on that picture Dennis Hopper had
done his homework. He spent a lot of time in tough areas where the
gangs were and I was with him for part of the time. In the shooting
we were able to learn so much about the culture of what is going
on and to understand somewhat the roots of the actions and procedures
which sometimes take a violent form.
Haskell Wexler (Apr 2, 2005 10:57:59 AM)
The film did not reflect those sensitivities but I think it did some
good. It is just one example of a local location being a way to learn
something about our city.
Bailie (Apr 2, 2005 10:58:16 AM)
I've seen "Whose Afraid of Virginia Woolf" three times and
every time I find I really tense during the movie, as tense as you
would be in that house. The acting was incredible. How was your and
your focus puller's relationship with the actors?
Haskell Wexler (Apr 2, 2005 11:00:08 AM)
The primary relationship to the actors was Mike Nichols, even though
it was his first film he had an incredible, remarkable relations
with the actors. I was able to sit in around a table at rehearsals.
One of the things Mike said to me is "She's not supposed to
look so good" (referring to Elizabeth). Elizabeth took me aside
and told me not to take Mike's comments too seriously. Everyday when
she came to work I wore my light meter on my belt and I had a fishing
reel case on my belt with the light meter.
Haskell Wexler (Apr 2, 2005 11:02:18 AM)
Elizabeth would hug me every morning as a signal to remember what she
said and I would reply "You're crushing my light meter." That
was our code word. Also part of the relationship is that Richard
bought an Olds Toronado which is a huge, front engine car that they
only made one year for Elizabeth. Richard put in an eight track with
Camelot for her and said "listen to this!" I learned later
from his autobiography that he was concerned that my background was
in documentary and he was concerned that I would not do right by
him. These are just a couple of anecdotal connections with those
actors. Besides, to this day, I am deeply respectful of the performances
that the actors gave to this day and I'm glad that you saw it three
times.
Richard (Apr 2, 2005 11:02:26 AM)
In regards to the director/cameraman relationship - what has been your
experience in terms of directors? Have you found the vast majority
of directors you have worked with to have strong visual sense and
knowledge of craft as the photography crew does? Does such knowledge
contribute to a positive tension during the shoot?
Haskell Wexler (Apr 2, 2005 11:04:31 AM)
The question of relationship between DP and director is deeply embedded
in personalities. I think that as DP you have to accept the condition
of who you are as DP which is to serve the director as best you can.
How you get there when your visual concept may not be in tune with
the director is a personal skill which I think I alluded to earlier
that Conrad Hall had and that I am still working on.
Haskell Wexler (Apr 2, 2005 11:06:19 AM)
I do think that since the business has become so strongly a business,
many times people who are in positions to make artistic decisions
like directors are in charge before they should be. I'm sure that
it is unlikely that any director of photography would be hired if
he could not read a light meter or expose a negative properly. I'm
not so sure that a producer wouldn't hire a director because he believes
that the director has some skill such as writing or feeling and no
knowledge about editing or communicating with the crew. I'm not saying
that is everywhere but the tendency seems to be there, part of where
we are today.
Live Audience (Apr 2, 2005 11:06:32 AM)
How important is it to take risks in your art and craft of Cinematography?
How far do you go, and is it scary?
Haskell Wexler (Apr 2, 2005 11:08:35 AM)
Before this computer chat I was talking to Bob Fisher about Bob Richardson.
One of the things that came to mind was the word "risk" that
you asked in your question. Of course, the definition is hard to
know. Are you risking underexposing something? Are you risking using
an extreme wide angle lens that would traditionally be a longer lens?
What is a risk to one DP professionally is something that someone
else perhaps, someone who feels more secure in their job; because
entering into it is whether you will get another job. When the fear
factor is present in a DP he is less likely to be innovative without
feeling in the way with people of authority to make sure that his
innovation is acceptable.
Ann (Apr 2, 2005 11:08:53 AM)
Documentaries are getting a fair amount of attention and distribution
right now. Do you attribute this to anything specific? A hunger for
factual information, the popularity of reality TV, something else?
Haskell Wexler (Apr 2, 2005 11:10:53 AM)
I think it's a combination of things. The ability to make a movie with
a consumer camera and microphone and to have done it by yourself
is an example of how technology has freed us. When I was young and
in Chicago, movies were made in Hollywood. When I worked as an assistant
on the newsreels, the camera was big. I saw a picture of an Akeley
camera and I realized that just to record moving images, particularly
moving images with sound, was not in the hands of any kid that can
walk into the AV story and buy a Panasonic or Sony camera. The technology
is there to make.
Haskell Wexler (Apr 2, 2005 11:11:42 AM)
The fact that Michael Moore's documentary made a lot of money woke
up the people whose primary and sole interest in life is making money.
Beyond ideology or politics, I think that helped a lot.
Haskell Wexler (Apr 2, 2005 11:12:34 AM)
I do think the trend away from network to cable TV shows that we were
not getting what they want out of media from our traditional sources.
What's still in its infancy is how documentaries can reach the public.
Of course to reach the public in any meaningful way to our public
means you have to have commercial viability.
Haskell Wexler (Apr 2, 2005 11:12:45 AM)
All I can say is that it's a good question and that it is still in
the making.
Guest (Apr 2, 2005 11:13:12 AM)
Hi Haskell, was wondering how FTAC is coming along and what are your
thoughts on runaway production.
Still Man (Apr 2, 2005 11:13:44 AM)
Just wanted to tell you how much I admired your work on 61*. You have
a great feel for rendering the nuances of the game of baseball. Was
there any part of that story you couldn’t recreate and had to be
left out of the picture?
Haskell Wexler (Apr 2, 2005 11:15:16 AM)
I can answer that simply: Billy Crystal was the director, but beyond
being the director he set up an atmosphere for all of us working
on the film of positive cooperation, interest, excitement, knowledge
that made making the film such a pleasure that I knew that it would
be a good film. I knew it. I hope that everybody in their film career
gets on projects like that because that's what it's all about, at
least for me.
Haskell Wexler (Apr 2, 2005 11:15:54 AM)
It's important that the doing of the film has personal satisfaction
of itself because when and if the doing of the film is only to make
a living, only to do a job, we miss the added factor that we have
in our business of the pleasure of good teamwork.
Haskell Wexler (Apr 2, 2005 11:16:42 AM)
Of course, the DP can experience that more than the loader or assistant
who does the same thing. But, as DP it's important to communicate
to all the people who are on the creative chain to remind them that
they are indeed integral to the totality of it. Perhaps they can
sense the euphoria that I feel when I work on a good film done with
good people.
jimmy jensen (Apr 2, 2005 11:17:23 AM)
How are you doing Haskell? I'm in Australia shooting superman, dad
told me you were chatting about movies, wanted to show my support,
I’m sure you've heard were shooting digital, what do you think of
the digital world?
jimmy jensen (Apr 2, 2005 11:17:29 AM)
Thanks for being such a huge inspiration to us all.
Haskell Wexler (Apr 2, 2005 11:18:55 AM)
Jimmy is in Australia with Tom Segal. Tom's first job as DP was for
me and now he's working on the 150 million dollar Superman. Jimmy
Jensen is an A1, marvelous assistant who is a team player and I thank
Jimmy for the question. I know that Tom was plugging to shoot that
film in Panovision Genesis and it looks like they're gonna do it.
I think this is a breakthrough towards digital filmmaking.
Haskell Wexler (Apr 2, 2005 11:20:05 AM)
When we talked about risk taking, from the grapevine I heard that the
studio was reticent to use that new technology because it is a step
up in digital filmmaking. They were reticent because a lot of the
editing and post machinery was not quite ready for that particular
camera. Both Jimmy and Tom Segal appear in my documentary called
12 on and 12 off talking about runaway production and why film companies
go outside the country.
Haskell Wexler (Apr 2, 2005 11:20:42 AM)
One other thing about Jimmy Jensen: he is Danish, brought up there
and was a champion soccer player and he brings to our culture openness
and sweetness that a big tough guy in America, I haven't seen anywhere.
Hi Jimmy.
Alan (Apr 2, 2005 11:20:58 AM)
Hi Haskell. Glad to be part of the chat. Regarding digital cinematography,
(including HDCAM and all the way down to Mini-DV) I'm a DIT/Video
Controller, who has experience working in both traditional film and
the newer digital formats. Regarding "this technology that has
freed us", I'm increasingly coming across situations where these
producers think that productions can be done with a bottom line driven
mentality of sacrificing crew members, prep days, proper tools, etc...
Any suggestions on how we can effectively combat this either as individuals
or as a union?
Haskell Wexler (Apr 2, 2005 11:22:46 AM)
My answer is read the writing of Che Guevara. What you are talking
about is the system or culture in which we live. Bottom line psychology
is rampant and it's a daily struggle. I can't give you any remedy.
Just keep your integrity intact as you can as you go on and do things
sometimes that you may not want to do.
Flickerman (Apr 2, 2005 11:23:13 AM)
Digital transmission of documentaries is already possible via the Internet.
PBS Frontline has entire episodes you can watch at any time. Do you
think this will create a new business opportunity for doc makers?
Haskell Wexler (Apr 2, 2005 11:23:44 AM)
I'm not knowledgeable but it sounds like it could.
pontrhydyfen (Apr 2, 2005 11:23:49 AM)
Hi Haskell. Can you tell us what is going on with FTAC and runaway
production in general?
Haskell Wexler (Apr 2, 2005 11:25:26 AM)
Rather than give you what I see as happening I would like to give you
my personal view. I don't believe that there is such a thing called "Runaway
Production," but it is called globalization. I believe that
it is a fact that no organization, no government, no power will prevent.
I think that we have to work on civilizing globalization. I was recently
in Europe where I visited the set of a Disney film called Casanova
and it was international crew. There were Americans, Italians, Swedes,
and they were working efficiently, happily, not working extreme hours.
Haskell Wexler (Apr 2, 2005 11:26:20 AM)
When American companies go out of the U.S.A., they don't go for cheaper
labor the way communication companies have operators in India because
we are skilled workers, they go overseas for economic reasons, currency
reasons, deals they make with local government and business people.
They go international.
Haskell Wexler (Apr 2, 2005 11:27:14 AM)
The only way to deal with it is for unions to be international the
way corporations are international. That is why I am very much in
favor of the 12 on 12 off movement and there are t-shirts and hats
available in Europe also. American companies want to produce American
hours.
Haskell Wexler (Apr 2, 2005 11:27:47 AM)
What I'm saying is that we are not the reason why companies go over
seas. There are many big reasons why they go overseas. What we have
to do is join hands with workers around the world and be free to
work around the world.
Haskell Wexler (Apr 2, 2005 11:28:39 AM)
Within our own country there is a union word called solidarity. Why
don't our camera people meet with sound people? In most countries
all film workers are one union. This division internally and externally
only weakens our power. We have to know that globalization is here
and we have to find better ways to deal with it.
Doc Maker (Apr 2, 2005 11:28:49 AM)
I loved Blaze was very appreciative of how you photographed Louisiana
in that movie. One question: do locations in the script always have
to match up with the locations they are shot? Does it help the credibility
of the script?
Haskell Wexler (Apr 2, 2005 11:30:17 AM)
In other words, it helps to shoot scripts meant for a particular location
at that location. Nowadays, for example they shot Chicago in the
30's in Capetown South Africa. Often it cannot literally be the location
in the script.
skip (Apr 2, 2005 11:30:23 AM)
For many if not all in the business, film is love, life, and sustenance.
do you think it is possible for those who desire it, to balance a
family and/or 'life' outside of one's career as a director of photography?
Haskell Wexler (Apr 2, 2005 11:30:54 AM)
Short answer: there is more to life than roll and cut.
Haskell Wexler (Apr 2, 2005 11:32:17 AM)
I would like to thank all the good people around this table who work
for us and gave me the opportunity to express myself. I hope we will
open up more, freer, interactive communications in the future.
Moderator (Apr 2, 2005 11:32:39 AM)
Thanks to everyone who joined us today. The transcript of this session
will be available.
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