American Cinematographer - December 2004 - 132

When you were a

child, what film made the strongest impression on

you?
Like most children of my

time, the Saturday neighborhood theater offered a
agenda of serials, cartoons and proper subject-matter films. This was, of

full

course,

before television.

Which

cinematographers, past or present, do you most admire?
always admired ASC members Joseph Walker, Harry Stradling Sr„
James Wong Howe, Bert Glennon, Gregg Toland, Charlie Lang, Burnett Guffey,
Ted McCord, Ray Rennahan, Conrad Hall and many, many currently active cine¬
matographers who are doing extraordinary work. Also, some fantastic photog¬
raphy is now appearing on TV.
I have

What

sparked your interest in photography?
Growing up, I had a Kodak Brownie and a darkroom, and photography became
my hobby.

Where did you study and/or train?
I had on-the-job training from the start.

upmanship, and it appeared that Orson had the last word when on the final
day of filming, he personally painted a huge banner outside the stage that
read: "There's Nothing To Fear But Fier Himself." But Fier topped him with his
own

banner that read: "All's Well That Ends Welles." A film should be made

about the

making of that film, but I doubt

suitable cast could be found; the

mold has been broken.
Who

were your early teachers or mentors?
I worked with and learned from Charlie Lang and

Have you

made

masters of

However, I treat

Joseph Walker, who were
precision lighting and who both had the reputation of making
actors look glamorous; Harry Stradling Sr., who could do it all and with ease;
Ray Rennahan, who had a marvelous eye and was a great technician (he
owned an array of unique glass filters - grads, all colors, etc. - that were
used brilliantly in Gone With the Wind): James Wong Howe, who was a true
artist and had no definite lighting technique - he just played with the lights
until he achieved the desired look; and Burney Guffey, who never resorted to
flat lighting and had a steadfast system in light placement. He did it meticu¬
lously and with ease.
What

of your key artistic influences?
college for three years in Paris on the GJ. Bill and was exposed to
the great masters and old-world architecture, a combination of inspirations
that I consider my visual roots. I do have two favorite artists: Goya, for his
versatility, and Bosch, for his extraordinary imagination.
are some

I attended

How did you get your first break in the business?
war was on when I finished high school at age 16.

course.

the

same

mistake is

professional advice you've ever received?
Harry Stradling: Make sure that somewhere in each frame there is
proper exposure!

inevitable that I would.

inspired you?
My most recent inspiration is the film masterpiece Hero from China. It's
China's answer to Gone With the Wind, and I highly recommend it to every

ASC member.
Do you
No.
If you

have

assis¬
Lady from Shanghai with the great, unbridled
actor/director Orson Welles. It was 1946, and I had just come out of the Navy
and back into the industry. We spent two months in Acapulco, one month in
San Francisco, and another two months on a stage at Columbia. In Acapulco,
we used Errol Flynn's fabulous yacht, and Errol was the skipper and not even
in the film. What a dynamic pair he and Orson made; they were both off-thewall high-livers, and needless to say, there was never a dull moment. What
also kept things lively was the constant bickering between Orson and Colum¬
bia's production manager, Jack Fier (an apt name). They had an ongoing one-

tant cameraman on

128 December 2004

The

any

weren't

favorite

genres, or genres

that you would like to try?

cinematographer, what might

you

be doing instead?

teenager, I did think of becoming a lawyer, but since entering the indus¬

try I have never considered any other profession.

Sol
What has been your most satisfying moment on a project?
I have had many, but one that can never be repeated was working as an

What recent books, films or artworks have

Which ASC

was

a first-time blunder as an "experience." Repeating
blunder, and that's bad, but I believe I've been able

From

for

unit when I entered the service. It

a true

What's the best

a camera

memorable blunders?

to avoid it.

Many of the industry's
personnel were away, and my father, Benjamin Kline, ASC, urged me to fill an
available opening as an assistant cameraman so that I could possibly qualify

The

any

cinematographers recommended you for membership?

Halprin.

How has ASC

membership impacted your life and career?
cinematography societies, but the ASC
is the granddaddy of them all. I know firsthand that it is revered in all corners
of the world. Inviting such a wide variety of new members has increased
camaraderie and the sharing of techniques and technology. Also, the enor¬
mous growth of American Cinematographer in distribution and content has
made it a monthly "bible" to so many in the world. I am particularly honored
to be part of the ASC, especially since three members of my family were char¬
ter members: my father, Benjamin, and my uncles, Phil Rosen and Sol Halprin
(both of whom were former presidents).
■
I realize that other countries have their

American Cinematographer - December 2004

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