American Cinematographer - May 2017 - 88

John C. Flinn III, ASC

When you were a child, what film made the
strongest impression on you?
1953's Shane - Alan Ladd, Van Heflin and Jack
Palance. Loyal Griggs, ASC won an Academy
Award for this movie, and George Stevens was
nominated for directing. The look and direction
were amazing. A great Western.

tant director called out to cinematographer Fred
Jackman [Jr., ASC], who was up on the crane. Fred
said, 'Yeah?' I said, 'My name is John Flinn and I
don't know a thing.' He said, 'Lower the arm.' And
as it was coming down, he said, 'You're the first
son-of-a-bitch that's told me the truth.'

Which cinematographers, past or present, do
you most admire?
ASC members Robert Surtees, Conrad Hall, Bernie
Guffey, Billy Fraker, Richard Kline, Richard Rawlings
Sr., Monroe Askins Sr. and Freddie Young. Robert
Morrison, as well.
What sparked your interest in photography?
As a child, I had an Eastman Kodak Baby Brownie
Special. I still have it! Then I got an 8mm Keystone three-lens-turret
magazine camera, and then a 16mm Cine-Kodak single-lens magazine
camera. I still have those as well.
Where did you train and/or study?
My first day in camera was as a second assistant cameraman, and I
knew nothing, so every day thereafter was school on the set. I took a
lot of notes!
Who were your early teachers or mentors?
My teachers were the first-assistant cameramen I worked with. I was
lucky to work at all the major studios at that time, and each studio had
a different way of doing this or that, so it was a great opportunity to be
able to learn from all those assistants. They were great.
What are some of your key artistic influences?
[ASC members] Bernie Guffey, for From Here to Eternity; Conrad Hall,
for In Cold Blood; William Fraker, for Paint Your Wagon, Rosemary's
Baby and Bullitt; Vilmos Zsigmond, for McCabe & Mrs. Miller; Allen
Daviau, for Bugsy; Gordon Willis, for The Godfather; and Richard H.
Kline, for Camelot. I was working part-time as an usher at the Warner
Beverly Hills Theatre when I first saw Lawrence of Arabia, shot by Freddie Young. It was one of the most beautiful films I had seen. Later came
Doctor Zhivago and then Ryan's Daughter. Young's work made a big
impression on me.
How did you get your first break in the business?
My dad was director of advertising and publicity for Columbia Studios,
and with his permission I went by and talked to camera-department
head Bill Widemeyer, and told him that I really wanted to pursue this
profession. About three weeks later, I got a call from him. He asked me
if I could be at the Columbia Ranch in an hour, to be a second assistant
cameraman. I said, 'Sure - do they know I don't know anything?' He
said, 'They know you're new.' So I reported to the set, and the first assis88

May 2017

What has been your most satisfying moment
on a project?
In 1993, I received the ASC Award for Outstanding
Achievement in Cinematography in a Regular Series
for Jake and the Fat Man, and Freddie Young
received the ASC's International Award that same
night. He got a kick out of it when I told him I was
an usher at the theater when Lawrence of Arabia
played. The two of us had our picture taken
together holding our awards, 31 years after
Lawrence of Arabia. That was a huge moment in my life and in my
career.
Have you made any memorable blunders?
I have made quite a few, and learned from them.
What is the best professional advice you've ever received?
Preparation is the key to success.
What recent books, films or artworks have inspired you?
I really enjoy Ansel Adams' The American Wilderness. His black-andwhite photos are beyond impressive. It never gets old looking at those
great pictures.
Do you have any favorite genres, or genres you would like to
try?
I have had the opportunity to shoot a lot of Westerns, police shows,
family shows and sci-fi shows - and I'm happy to still be out there
shooting.
If you weren't a cinematographer, what might you be
doing instead?
I really enjoy directing and acting.
Which ASC cinematographers recommended you for membership?
Chuck Wheeler, Gene Polito and James Crabe.
How has ASC membership impacted your life and career?
I remember printing the name of the director of photography on the
slate and putting the 'ASC' initials after his name, and wondered if I
would ever have those letters after my name. In 1987, I became a
member. It was truly the biggest honor of my life, and still is. ●

American Cinematographer

Photo by Owen Roizman, ASC.

Close-up

Table of Contents for the Digital Edition of American Cinematographer - May 2017