American Cinematographer - January 2005 - 132

Gerald

Perry Finnerman, ASC

When you were a

child, what film made the strongest impression

you?
The Picture of Dorian

Gray, taken from the short story of the same name by Oscar
Harry Stradling Sr., ASC was the cinematographer and won the blackand-white Oscar for his work in 1945.1 watch it about every three months, and I
always feel as strongly about it as I did the first time I saw it.
Wilde.

Which

cinematographers, past or present, do you most admire?
Harry Stradling, who also shot A Streetcar Named Desire, I would
single out ASC members Ray Rennahan (For Whom the Bell Tolls), Burnett Guffey
(From Here to Eternity, and Ted McCord (The Treasure of Sierra Madre). I also
like John Toll's work, and I find Allen Daviau and Russell Carpenter to be very
In addition to

consistent.
What

sparked your interest in photoghraphy?
My father, Perry Finnerman, ASC. I grew up on the sets of Westerns. Perry was
both a fine cameraman and teacher. He always explained why he would do
something.

Where did you study and/or train?
I started as a film loader at Warner Bros, when I

Loyola University with the

was

18, and I

was

able to attend

I earned. When the Korean War broke out, I
went into the service and was sent to the Signal Corps Photographic Operations
facility in Astoria, New York. (Astoria Studios was turned into a military base
during World War II; prior to that, it was Paramount Studios.) I commanded a film
unit and made training films.
Who

were

your

money

early teachers

mentors?

My father, of
an

course, and also Harry Stradling, with whom I spent eight years as
assistant and an operator; Burnett Guffey; Ted McCord; and Ralph Woolsey.

What

are some of your key artistic influences?
simple things in life influence me: the sounds of classical music; birds flying
and making their nests in my trees; the gutteral look and sounds of the real world
(and I don't mean Rodeo Drive); the sadness of seeing my friends pass away; the
happiness of seeing children playing in the park; holding my head up and think¬
ing I am a better person than I was a year ago; a 1959 bottle of Chateau La Tour;
a fireplace, a good woman and a little luck. Through these influences, my artis¬
tic values can be put on the screen.

The

How did you get your first break in the business?
I was operating for Harry Stradling, who had just won the

1965 Oscar for My Fair
Lady. Robert Justman was going to produce a series called Star Trek tor Gene
Roddenberry. Bob wanted Harry Stradling Jr. to photograph the series. He put in
a couple of calls to Harry Jr., but Jr. didn't want to leave the show he was work¬
ing on and did not return the calls. Bob called Harry Sr. and asked him to talk to
his son. Harry told Justman to promote his young operator instead, and promised
that I would do a good job for him. Harry subsequently took me over to the Star
Trek office. Harry did most of the talking, I got the job and the rest is history.

cinematography on the Star Trek series. My dear friend Laszlo Kovacs, ASC was
also inducted for his feature EasyBider. I am a big fan of Laszlo and his work.
Have you

made any memorable blunders?
a drinking problem. I was the sole survivor of an airplane crash, and
I felt [that the drinking] eased the pain and misery I was going through. You can't
hide something like that for long, though. One day, a director started yelling at
the poor slate boy for being too slow in clicking the slate. I stopped the camera
and explained to him in my best four-letter vocabulary that my crew was not to
be intimidated by him. He called my producer to have me fired, but the producer
told him, "Jerry Finnerman can light a set drunk [better] than most cameramen
can sober." It was the joke of the studio. With the help of my friend's doctor and
a great organization, however, I was able to stop. I thank them all.
Some. I had

What's the best

professional advice you've ever received?
Harry Stradling said to me, "Make everyone on the set like you. The rest will be
easy for you. Remember that."

What recent books, films or artworks have

inspired you?
I go to the movies rarely because of the subject
matter.
my ideas in the proper perspective. I hate war, but I'd
go in a moment to protect my country. I do not have a lazy mind, and as William
Ernest Henry said, "I am the master of my fate, I am the captain of my soul."
Remember, cinematography and fame, as wonderful as they may be, are just
one small portion of your life.
I'm not

Do you

inspired. I must
I just try to keep

have

any

say,

favorite

genres, or genres

that

you

would like to try?

Yes, definitely. However, they are not printable.
If you weren't a cinematographer,
I always wanted to be a veterinarian. I

what might you be doing?
have raised and shown English Bull Terri¬
ers (Gen. Patton's dog) for 40 years. I have an acre in Studio City and all animals
are welcome there
dogs, cats, rabbits, etc.
-

What has been your most

satisfying moment on a project?
Every day that went well. I took my work home with me, and it wasn't easy for
me to relax. Harry Stradling set every light and scrim on a project. That's the way
I was taught, but it was an exhausting way to work. I do believe it made me a
better cinematographer, though.
In March 1996,1 had a very satisfying moment when I became the first
director of photography to be inducted into the producers' Hall of Fame, for my

128

January 2005

Which ASC
Two

cinematographers recommended you for membership?
Academy Award winners: Harry Stradling and Burnett Guffey.

How has ASC

membership impacted your life and career?
by nature a shy person. My brothers and sisters at the ASC have helped
bring me out of a deep, dark hole in my life. I thank them.
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American Cinematographer - January 2005

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