American Cinematographer - September 2004 - 125

ASC CLOSE-UP
Daryn Okada, ASC
When you were a
on

child, what film made the strongest impression

you?
(1953), photographed by John Seitz, ASC. I saw it on
child. It took many viewings until I could get to the
something haunting about the images. Oddly, this is what

Invaders from Mars

television when I
end

-

there

was

was a

got me interested in motion pictures. I reasoned if I could learn how movies
were made, the scary ones might not be as frightening. It did not work!

cinematographers, past or present, do you most admire?
ASC members Nestor Almendros, Jordan Cronenweth, William Fraker,
Which

Conrad Flail, James

Wong Flowe, Laszlo Kovacs, Owen Roizman, Vittorio

Storaro, Karl Struss, Gregg Toland, Gordon Willis, and too many others to
list.

interest in photography?
writing in school. I guess I began trying to express
myself visually because of my lack of confidence with words. Striving for a
larger visual vocabulary led me to discover the great black-and-white still
photographers. This energized my appetite for more knowledge in the
creative and technical aspects of photography.

What

sparked

I

not a natural at

was

study and/or train?
Unfortunately, film school was beyond my financial grasp, so I focused my
time reading about art, photography and film history. I also read American
Cinematographer when I could get my hands on a copy. To gain practical
experience, I donated time on student films, shorts, documentaries and
low-budget features in any job that was open.
early teachers or mentors?
I tried to get on the union roster but it was closed to me. I wish I could have
worked in the studio system, learning from other cinematographers.
were

made any memorable blunders?
Thankfully, though, I've never had a disaster. There are details that only
you as a cinematographer will see in dailies when you are pursuing the visual
intent of the story and perfecting your craft. You have to be bold to discover a
moment of film magic. You must trust that your artistic and technical experi¬
ence will keep you from failing. For me, it is a never-ending process of growth.

your

Where did you

Who

Have you

Yes!

your

What's the best

Trust your eye

professional advice you've ever received?
and not the light meter.

inspired you?
Inspiration comes from everywhere. There are too many films to even begin
discussing them. My wife, Cean, improved my awareness of the parallels to
cinematography that challenge an actor's character in film. I also wish I could
spend more time exploring museums, because there is so much great work out
there. Being open to many forms of art allows me to experience an unex¬
pected creative reaction, which inspires images inside me that will be wait¬
ing for a film.
What recent books, films or artworks have

Do you have any favorite genres, or genres that you would like to try?
Period films have always been my favorite for creating a photographic iden¬

tity, but honestly, I find inspiration in all genres. My visual enthusiasm is trig¬
gered when a story and a director hit a chord in me. Ironically, I haven't
worked in science fiction, the genre that sparked my interest in film.

What

are some of your key artistic influences?
Ansel Adams and Edward Weston will always be my first influences in
terms of photography as art. I was also influenced by the work of the Farm

Security Administration photographers such as Dorothea Lange, who docu¬
mented the Depression era. Those photographers overwhelmed me with
the emotion and story they could convey in a single image. I'm also fasci¬
nated by the Impressionist paintings of Renoir, Monet, Cezanne and others;
it's like they created their own texture of film grain and then painted each
granule.

If you weren't a cinematographer, what might you be doing instead?
Shooting black-and-white nature scenes with a view camera and trying
support myself working in some aspect of music.

Which ASC
Russell

membership impacted your life and career?
join the ASC, it was unexpected and unbelievable. It
made a lot of those past years less painful, because I realized that my peers
felt my work and I as a person were worthy of the Society. As a result, I
always contribute every ounce of effort to help a film be as good as it can be.
I feel my best work is ahead of me, because I am compelled work harder in
appreciation of the excellence that the ASC represents.
I also have the opportunity to enlighten young filmmakers who visit the
Clubhouse so that they will have the confidence to continue advancing the art
of cinematography.
But the biggest impact the ASC has had on my life is the friendships I
have forged with other ASC members. Their camaraderie is as luminous as
their artistry.
How has ASC

When I
How did you get your first break in the business?
I worked on the cult film Phantasm for director Don Coscarelli. We were all

young and excited to be part of Don's film, which made every day an educa¬
tion in filmmaking. Everyone did whatever job was needed to create film
illusions. We learned how to be simple but effective.
What has been your

most satisfying moment on a project?
Photographing the ballroom scene for the feature Anna Karenina on loca¬

tion at Catherine the Great's Summer Palace in Russia. With all the restric¬
tions and

112

budget challenges, it came together in the camera.

September 2004

cinematographers recommended you for membership?
Carpenter, Johnny Jensen and John Toll.

was

invited to

AODSkaoarCydfn.,

courtesy

Phot
American Cinematographer - September 2004

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