Narita Connects with Parajanov in Tbilisi, Georgia

Hiro Narita, ASC, at a rooftop location Sergei Parajanov used in [em]The Color of Pomegranates[/em].

Hiro Narita, ASC, at a rooftop location filmmaker Sergei Parajanov used in <em>The Color of Pomegranates</em>.

Hiro Narita, ASC, recently returned from Tbilisi, Georgia, where he was an honored guest, lecturer and juror at the Golden Eye International Festival of Cameramen. He was one of four jurors who selected winners in four categories: feature film, television, student project and “best risk” — the latter variously interpreted as a shot that is spectacular or took “incredible guts” to accomplish.

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Markowitz on Collaborating with Friends

Robert Duvall (left) and Barry Markowitz, ASC, on the set of Wild Horses, their latest collaboration.

Robert Duvall (left) and Barry Markowitz, ASC, on the set of Wild Horses, their latest collaboration.

I caught up with Barry Markowitz, ASC, as he was walking his dog in the shadow of the George Washington Bridge one autumn morning in New York City. He has been busy with commercials for Denner Winery, Adidas, Dodge and National Geographic, among other companies, as well as several short films and two features.

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Chomyn’s Varied Path Leads to Mexico

Christopher Chomyn, ASC

Christopher Chomyn, ASC

ASC cinematographer Christopher Chomyn’s recent work exhibits an enviable variety in terms of visual style and subject matter. It includes the documentaries The Making of Nebraska, Levitated Mass and And the Oscar Goes To ….  Nancy Schreiber, ASC, brought Christopher on to help shoot the latter project, and his contributions included about a dozen interviews with subjects such as Kathleen Kennedy, Jon Voight, Liza Minnelli and Jason Reitman. Levitated Mass tells the story of Michael Heizer’s monolithic sculpture, now resting at the Los Angeles County Museum of Art, and The Making of Nebraska took Christopher to Alexander Payne’s set on the windswept Great Plains.

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Wagner Recalls ASC ‘Wizards of Oz’

From left: Director Richard Thorpe, producer Joe Pasternak and Harry Stradling, ASC, on the MGM lot. "Obviously, something is wrong, and they're having a meeting about it," says Roy Wagner, ASC.  Everything’s at a standstill. It’s a rare photo showing a frustrated cinematographer. The pride of the cinematographer is what this photo is about.”

From left: Director Richard Thorpe, producer Joe Pasternak and Harry Stradling, ASC, on the MGM lot. “Obviously, something is wrong, and they’re having a meeting about it,” says Roy Wagner, ASC, who worked for Stradling early in his career. “Everything is at a standstill. It’s a rare photo showing a frustrated cinematographer.”

Roy Wagner, ASC, first came to the ASC Clubhouse in the early 1960s as a wide-eyed high-school student visiting from the Midwest. He could recognize ASC luminaries from their photographs in the pages of American Cinematographer. He remembers meeting Arthur Miller, Joseph Ruttenberg, James Wong Howe and Leon Shamroy. Eventually, he formed close relationships with Burnett Guffey, Harry Stradling Sr. and Frank Phillips, among others. In fact, Phillips became the godfather to Roy’s son.

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