The cinematographer

Nick Pinkerton

The DP on the film is Frank Stanley, on the third of four Eastwood-starring films that he'd shoot, the others being 1973's Breezy, the aforementioned Magnum Force, and The Eiger Sanction the following year, the shoot of which comes with a story that we'll get to in due time. A few cracks to the head and an asthma attack are enough to put red on his ass and also to...

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Nick Pinkerton

And that hastiness is something that would make Eastwood some enemies along the way. You may recall earlier I mentioned the cinematographer of this film, Frank Stanley. It's worth saying that his collaboration with Eastwood ended rather acrimoniously when...

1:12:23 · jump to transcript →

Nick Pinkerton

And this is how you keep a career going for as long as Eastwood has, by rolling with the punches, adapting to exigencies, keeping to a schedule. This is also how you wind up occasionally accidentally dropping your cinematographer off of a cliff. There's a paradox in that Eastwood-Cimino comparison that I find troubling but fascinating, because on the evidence of Thunderbolt, on some levels I think Cimino may have...

1:41:28 · jump to transcript →

Roger Moore

You know, Chunky Huse, who was a camera grip... ...Was the sailor at the table at Piazza San Marco. Practically every Bond film that I made has a man with a wine bottle... ...being absolutely amazed at what is happening, always doing a double take. And, of course, the man doing the painting was our DOP, Jean Tournier.

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Roger Moore

Jean Tournier, of course, was the director of photography, the DOP.

49:27 · jump to transcript →

The cinematographer of Diamonds Are Forever was Ted Moore. Moore shot seven of the first nine James Bond films. His association with Cubby Broccoli began when he photographed the Warwick film A Prize of Gold. Moore shot several other Warwick pictures before beginning work on Dr. No. Tom Mankiewicz recalls working with Ted Moore. He had shot Man for All Seasons with Fred Zinnemann. He's a wonderful cameraman. He did several.

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I think Globe Photos sent somebody at one point. So it was a combination. Most camera crews involve having a stills person as well as the director of photography and the operator and camera assistants. It's part of the union requirement that you have a stills photographer. For pinks. Pink slips? You mean for cars?

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to the movie. And, you know, now that we're in the darkness, you know, I found some interesting things from cinematographer, Owen Roizman. Now I got to know Roizman, not personally, but his work when I saw the French connection, which is also, this would be a great movie to run with Pelham as well. The Owen Roizman gritty street double feature. And, but Owen Roizman,

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Interestingly enough, he serviced his directors as accurately as any cinematographer has ever done and with apparent, complete, literal understanding of the text. Pictures like Fahrenheit or Far From the Man in Crowd or pictures that are seen through Nick's eye and yet are films made by very strong directors. Rogue.

1:47:20 · jump to transcript →

I actually like showing the people who were so important for the film. This is almost the whole team. Only the cinematographer and the sound technicians are missing. Other than that, that's pretty much it. Again, a still life. - Yes. Even though this time it is in motion. The definitive ironic interpretation of a still life. Well, I don't get irony. I have no sense for it. In that regard, I'm horribly... But you do have a sense of humor because... Yes, but that is different. I understand jokes and laugh about them, but irony takes everything of one level and relates it to something that is not directly connected. My perspective is too direct, almost verbatim. Florian Fricke called me one day. Without changing his voice, he said he was the minister of the interior. Unfortunately, there was a mistake at the ministry and I should not celebrate because I did not win the German Film Award after all. I said, "What is wrong in your ministry?" "You are responsible for the borders." "The document was signed by three different people." After a lengthy discussion he started laughing out loud. That was the moment when I finally realized that was Florian Fricke, a man who, at that time, I talked to daily. I'm terrible. This is Martje, my wife back then. She took a beta blocker to look completely lifeless. ...

1:32:44 · jump to transcript →

constant ups and downs of the horror film. It's here to stay on a recurrent basis. Now, Don, do you miss being the, in films that you make nowadays, do you miss not being your own DP and not being your own editor? I know that in your last film you didn't, you don't take an editing credit and you didn't obviously operate the camera.

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