American Cinematographer - November 1998 - 79

interested in what he did for
because it involved

the

more

we

a living
photography, but

talked

the

more

intrigued I became. After about six or
eight months of cutting his hair I
worked up the nerve to ask him if I
could go watch him work.
"He

went one

better

-

he got

a
job and asked me to come along as
his assistant. The job had all of the

elements that

inspiring to me
taking pictures, and the excite¬
ment of working in the movie busi¬
ness. After spending time standing
around cutting hair, getting out to do
something like that was pretty darn
thrilling. I got some more jobs with
Joe after that, and it was only a matter
of time before I stopped being a
were

-

barber.

"Joe

was

such

a

would go over to his family's house
with my wife. They would feed us
and we'd have

laughing time. After
dinner he'd have the equipment
spread all over his living room floor
and we would put it together. I had
such a good time, I really got hooked
on

mismatched grad lines?

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generous

He would bring home equip¬
the night before a shoot, and I

person.
ment

Wh
ani

a

film. And he continued to

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- watching over me and
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my act

who weren't afraid to instruct."
Green
assistant

on

pursued work

as an

industrials, documen¬

taries and commercials before land¬

ing a job with Wescam in Los Ange¬
working on the aerial unit for
Torn! Torn! Torn!. Spending more

les

time in the air, Green

toiled for

a

while with

Tyler Systems before
accepting more assisting jobs with
such ASC

Morgan,

cameramen

as

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the

Donald

Michael Watkins and

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Green to work
on

as

The Gauntlet,

B-camera operator
a

Four lenses

film directed by

Clint Eastwood. Further work with

are

available (Narrow Beam,

Medium, Wide and Extra Wide Flood).

Metz led Green to the A-camera

operating slot
But Loose,

on

Every Which Way

also starring Eastwood.

Green's next
Bronco

foray with Eastwood, on
Billy, would serve to form the

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American

Cinematographer 77
American Cinematographer - November 1998

Table of Contents for the Digital Edition of American Cinematographer - November 1998
