American Cinematographer - September 2015 - 120

Close-up

Lex duPont, ASC

When you were a child, what film made the strongest impression on you?
I was 8 years old when I watched House on Haunted Hill, and it terrified me. That a 12-inch black-and-white moving image could
produce such a profound effect was magic.
Which cinematographers, past or
present, do you most admire?
So many I admire, and for different
reasons. The one that stands out is Gregg
Toland [ASC]. He was an artist and a
technician. His use of deep focus and his
work devising a better-soundproofed
camera demonstrated his total commitment to the art as well as science of cinematography.
What sparked your interest in
photography?
My father was a big photo enthusiast with a darkroom. We spent
many hours there.
Where did you train and/or study?
I attended the Choate prep school, which had a sophisticated photo
department. Then to Brown University, where I also had access to
courses at the Rhode Island School of Design.
Who were your early teachers or mentors?
Jack Burke at Leonetti Cine Rentals, where I started my career. Frank
Byers [ASC], Frederick Elmes [ASC] and Julio Macat [ASC].
What are some of your key artistic influences?
Today's series television. The quality and variety of styles are remarkable. Can you imagine a producer 30 years ago permitting a day
scene to be shot as dark and moody as we see today? Or using heavily gelled lights in an operating room or police-squad room?
How did you get your first break in the business?
While working at Leonetti Cine Rentals, I received a call from a
producer who had her first AC back out and she needed a recommendation. Of course, I recommend myself! Frank Byers was the
cinematographer.
What has been your most satisfying moment on a project?
Seeing NYPD Blue broadcasted accurately. It was my first series and
I was horrified seeing the first airings. Analog broadcasting was so
inconsistent. Digital broadcast is better, yet even digital televisions
have inconsistencies that make me crazy. Picture settings - Vivid?
Sports? Cinema?

120

September 2015

Have you made any memorable blunders?
On the series NYPD Blue, we filmed under the FDR Drive late in the
day facing east. The sun was pounding Brooklyn and the large crime
scene was set deep under the highway, where I had 3 footcandles!
I assumed the director and producers knew I could not possibly have
enough light to bring the dark highway
scene into exposure range with Brooklyn. Wrong. It taught me to never
assume that the 'obvious' is obvious.
What is the best professional advice
you've ever received?
From Gil Hubbs [ASC]: We are freelancers and must make tough career
decisions. There will be times when it's
best for us to leave a project early. Some
people won't understand that; one
probably won't have an enduring relationship with them anyway. And from
Julio Macat: Be optimistic even during the darkest moments. Cinematographers are highly visible on set and our mood can affect the
crew.
What recent books, films or artworks have inspired you?
The books Inevitable Illusions: How Mistakes of Reason Rule Our
Minds, by Massimo Piattelli-Palmarini, and The Art of Robert E.
McGinnis. McGinnis is an illustrator whose work is truly fine art.
Also, the paintings of Wassily Kandinsky.
Do you have any favorite genres, or genres you would like to
try?
I would like to film a mystery.
If you weren't a cinematographer, what might you be doing
instead?
I could see myself as a professional pilot - I was a flight instructor
during my college years. Piloting, like cinematography, is all about
precision.
Which ASC cinematographers recommended you for
membership?
Frank Byers, Gil Hubbs, Michael Goi.
How has ASC membership impacted your life and career?
Previously I had little interaction with cinematographers. That
changed after joining the ASC. I've experienced tremendous satisfaction making acquaintances and even deep friendships with my
peers. I am humbled and awed every time I enter the Clubhouse.
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American Cinematographer

American Cinematographer - September 2015

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