American Cinematographer - April 1985 - 54

The Terminator

threatens Sarah

Connor (Linda
Hamilton).

It's the
To me
also, location shooting gives an

into words

bly

-

-

when the director

has his own private story. He has
better control."
To Greenberg, the best

examples of this

come

from his

work with Moshe Mizrahi on /
Love You Rosa and The House on
Chelouche Street, and Samuel
Fuller on The Big Red One.
"Mizrahi was telling stories that
came out of his life, the experi¬
ences of people he knew," Green¬

berg explains, "and Sam Fuller was
telling the story of the most
important things that ever hap¬
pened to him personally."
As a cinematographer,
Greenberg prefers location work
to

52

the people 1 know in life.
best way to concentrate.

something worthwhile will come
out of it than if it's something
someone brought to him, or some¬
thing he was just hired to do.
There's something addi¬
tional something you can't put

studio

shooting. "I like

to go

shoot, away from my fam¬
be isolated from the rest of

edge of reality

to what's being
done that can never be re-created
in a studio. This preference proba¬
comes

from having begun

cameraman, then
moving into documentary filmmaking." The bottom line, how¬
ever, is this: "For me, working on
a movie anywhere is a vacation.
career as a news

No

matter

how hard it is, it's not

'work.' "

Greenberg's lifelong love
began as a child.
"1 always wanted to go to the
neighborhood cinema when 1 was
a boy in Israel. 1 loved the movies,
they were magic." Later, as he be¬
came more seriously interested in
affair with movies

film, ".

.

.

it

was

in the real world where

ily,

people lived."

Cinematographer

cam¬

work, and Chabrol. They
opened things up and took the
era

movies

American

the New Wave,

particularly Godard with his

away to

to

my

April 1985

out

So far

as

the influence of

other

cinematographers is con¬
cerned, Greenberg is an avowed
fan of Vittorio Storaro. "His work
is head and shoulders above every¬
one

else,

When I

to me.

go see a

film he's shot
it doesn't matter
what the story is or who's in it.
Storaro is the greatest so far as I'm
concerned."
With a film as successful
as The Terminator in his credits,
...

Greenberg finds the offers to work
coming in from all quarters now.
"When I choose a project though,
it's not for how much money is
involved. I like

to

work and I'm

to be poor, but
become very rich. 1

going

I'm not
look at
the story, what it's about, what it's
saying about things. I look at
who's involved. Are they people I
want to meet, to work with. The
story and the filmmakers. That's
much more important than the
money."
■
not

in it

to



American Cinematographer - April 1985

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