American Cinematographer - October 1968 - 91

The members of both of these asso¬
ciations have donated to a fund to
pay for film and processing-but
that is all. The San Quentin Film
Workshop has no budget and receives
no funds from any governmental agen¬
cy, although a small amount was ap¬
propriated to help finish the Susanville film.
"I would like to see these men
turning out orientation films for the
state prison system on a regular ba¬
sis," says Dick Queirolo. ''Such films
would save the prison staff time and
would help keep the inmates out of
trouble."
The big drawback at present, he
explains, is the lack of any depend¬
able, consistent source of money that
would permit the Workshop to func¬
tion according to its full potential.
"If not state funds, then perhaps a
grant from some foundation," he
adds.
As it is now, the Workshop is whol¬
ly dependent upon what it can bor¬
row and what Queirolo can scrounge
in the way of hand-me-down supplies
and equipment. He's done wonders
in this respect. "But," he says, "we
have about reached the end of the
road. There is an urgent need for
money to pay for more equipment,
for film, for processing."
While the members of the work¬
shop are not permitted to solicit out¬
side help, they are extremely grate¬
ful for whatever is passed on to them
that will help them keep on making
films. They are grateful, also, to Quei¬
rolo for the unstinting time and effort
which he has consistently donated to¬
ward making possible this activity
which means so much to them. "We
owe everything we've been able to
do to Dick Queirolo," says Bill Lawhon, obviously echoing the sentiments
of the group.
The admiration is not one-sided.
"Several of our men are the equal
of the outside professionals right
now," says Queirolo. "Speaking for
myself, I'd hire them tomorrow-if
they were out."
After our general bull-session, I
talk with the men individually. One of
them, who was only ten hours away
from the gas chamber when his sen¬
tence was commuted to "Life, without
possibility of parole" tells me: "When
I was on condemned row and I finally
realized that they were really going
to kill me, I did everything I could to
adjust to the idea. Then, when I got

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Continued on Page 785

AMERICAN CINEMATOGRAPHER, OCTOBER 1968

783
American Cinematographer - October 1968

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