American Cinematographer - September 2004 - 12

Anyone with a modicumof common sense - indeed, the

commodity in Hollywood - is aware that
language has been denigrated to a point where the
words we use often have no meaning. In the motion-picture
business, superlatives have been thrown around with such
haphazard abandon for so long that an overwhelming
numbness seems to have settled in. Check your local news¬
stand for a peek at the latest ingenue (male or female and
without resume, of course). Why is this essentially irrele¬
vant, talent-free individual almost immediately accepted
across society as a "superstar?" There are lots of reasons,
but one of the most obvious is the Goebbels-like tendency
of the media (as well as regular folk) to repeat a lie until it
becomes the accepted truth. This would be hilarious if it weren't so ultimately destructive.
How does this pertain to our corner of the industry? For starters, I tend to run the
other way when people use the word "art" in conjunction with "movies." I suppose years
of exposure to low-concept ideas shepherded by low-capacity brains have ground away
any reasonable expectation that something emotionally or intellectually worthwhile might
bubble up from the swampy mainstream (which now includes much of the "independent"
community as well). But even in the lousiest films, there can be isolated moments when
appropriately executed craft rises from the mire to shine.
In recent years, the level of work commonly achieved by cinematographers has, on
the whole, been so refined that all previous eras pale in comparison. Who does it really
belong to, then, when an "artful" handling of light, composition and camera movement
stands out in an otherwise weak effort? According to U.S. copyright law, this work is the
property of the producing entity.
Moral law will lead you to a different conclusion. Vittorio Storaro, ASC, AIC often
refers to cinematographers as "authors of photography," and it's easy to understand why:
there's an immediacy to the cinematographer's contributions that is plainly evident
onscreen. The light that exposes a negative is inherently ours, regardless of whether it
merely obtains an exposure or creates the most sophisticated effect. Either way, a
profoundly intimate act takes place as we make our choices. Not only does this notion set
us apart, but it also emphasizes an obvious fact: the absence of light means the absence
of a movie. Even in cases where some interloper tampers with the look during post, it's
inconceivable that anyone could claim that the original intent does not remain our own.
Recently, a number of European countries have taken steps toward legislation that,
for the first time, will guarantee filmmakers ironclad rights of authorship. What this means
is that the principal creators of a work - the writer, director, cinematographer and editor
will be empowered to maintain control over their finished effort.
The implications for us are as exciting as they are obvious, but they are also
extremely complex. What's unfortunate is that we're unlikely to see something similar take
hold any time soon in the United States, and we all know the reasons why. Compounding
the problem is the fact that we face so many issues of importance right now; unfortunately,
our priorities dictate that the topic of authorship is farther down the batting order. However,
I trust that persistence will once again prove to be our most effective mode of attack.
Getting back to words and their meaning, "artists' rights" is one of those rare
phrases of bracing clarity. Until we find a way to acquire the fullest measure of responsi¬
bility (hence, ownership) for what we do, our work will only hint at its fullest potential. If
we allow this to happen, our imagery, instead of being viewed as our birthright, will come
to signify nothing more than an endless struggle.
rarest

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American Cinematographer - September 2004

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