American Cinematographer - July 2005 - 108

use CUSE-UP
Don

McCuaig, ASC
When you were a
on

child, what film made the strongest impression

you?

The Robe,

photographed by Leon Shamroy, ASC, the first Cinema-Scope
produced by 20th Century Fox. When Fox studio head Darryl Zanuck
finished his introduction and the screen opened up to exhibit the film in
2.35:1,1 was astonished. I believe CinemaScope created a new paradigm
in the motion-picture industry. To see that film as a young boy and now
have opportunities to photograph in 2.35:1 widescreen is a source of great
pride for me.
film

Which

cinematographers, past or present, do you most admire?
very tough question. The following ASC members have influenced
my work and/or given me opportunities: Russell Boyd, Conrad Flail, Jordan
Cronenweth, Dean Semler and Philip Lathrop.

That's

a

What

sparked

I

trained

interest in photography?
instrument/optical technician, and once I entered the
entertainment industry, I felt a great pull to the visual side of the process.
I was instantly hungry to learn the craft and artistic elements of both
photochemical and electronic cinematography.
was

your

as an

Have you
I've made

memorable blunders?
can mention, big and small. Have they hurt me?
Without a doubt, but it is much like being in a fight for your life and your
career. You learn from them and don't make the same ones again. I believe
reflecting on missteps makes you stronger, better, and ultimately a winner
made

more

any

than I

in life.
What's the best

Who

early teachers or mentors?
In the Seventies, an opportunity to work with Philip Lathrop as a second AC
changed the way I looked at and approached cinematography. Observing
him taught me more about the process than anything or anyone in my
career; he gave me the keys to unlock the magic of the craft. Also, Vilmos
Zsigmond, ASC influenced me as the master at several cinematography
workshops. Fie was very generous with his time as well as his deep
knowledge of filmmaking. There are others too numerous to mention.
were

your

of your key artistic influences?
always loved the outdoors, and in particular landscapes. An artist I
love is Sydney Laurence, painter of the north; his work is breathtaking, and
to re-create it on film or as a still would be fantastic. Because I'm a prod¬
uct of the 1940s, television was not on my radar, so motion pictures played
a huge part in the way I perceived the world around me as well as the
world in the distance. Their influence impacts my work and life to this day.
The classical portraits I've had the great pleasure of seeing during my jour¬
ney have also affected how I see the world, and taught me how we can
create pleasing visuals that help tell the story at hand with the right light¬
ing conditions and locations.
What

are some

I have

How did you get your

first break in the business?
My first break came at NBC Television in Burbank on Stage 4, where I
pushed scenery for the Andy Williams and Dean Martin variety shows. I've
not been out of work since, and I've had chances to direct, produce, own a
production company, and do what I love most, cinematography.
What has been your most
The 1976 Summer Olympics

satisfying moment on a project?
in Montreal. The chance to photograph the
finest athletes of that era has always been a fond memory. It closed one
chapter in my career and opened another in narrative filmmaking.

104

July 2005

professional advice you've ever received?
shooting newsreel for the Canadian Broadcast Corporation, producer
Allan Clapp told me I should analyze every frame of film or videotape I shot.
It has been a tremendous help. Also, Woody Omens, ASC told us at a
Panavision workshop that it was important to examine laserdiscs, freeze a
perfect frame, and dissect the lighting. What a great gift. Other important
advice was three words; 'Prep, prep, prep.'
While

Do you have any favorite genres, or genres you would
I am a great fan of historical epics. An epic is a challenge I'd

before I

give

hang

up my

like to try?
like to tackle
meters. Anything is possible in Hollywood if you don't

up.

If you

weren't a cinematographer, what might you do instead?
Maybe an archaeologist. But at this point in my life, it's hard to imagine
doing anything else. This is not an easy business by any stretch of the
imagination -- you have no family life, long hours, difficult locations, and
occasionally collaborators who are not all that reputable or easy to deal
with. But I love what I do.
Which ASC

cinematographers recommended you for membership?
Brad Six, Kenneth Zunder, Lowell Peterson and Robert Caramico. My
biggest advocates

were

Roy Wagner and Francis Kenny, without whose
a member today.

dedication and hard work I would not be
How has ASC

membership impacted your life and career?
membership is a great honor. To be at the Clubhouse and rub shoul¬
ders with the finest cinematographers of the modern age is one of the
highlights of my life and career. I've always been a student, and the ASC
has been one of the great resources for continuing my education. The
members love to share their knowledge and resources through workshops,
seminars, meetings and community outreach.
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ASC
American Cinematographer - July 2005

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