American Cinematographer - December 2006 - 157

ASC CLOSE-UP
Craig DiBona, ASC
When you were a
on

child, what film made the strongest impression

you?

Gone With the Wind and On the Waterfront. I

saw

Gone With the Window

big screen, and it seemed larger than life. In Waterfront, the gritty look of
Boris Kaufman, ASC's black-and-white photography left an emotional
impression on me.

a

Which

cinematographers, past or present, do

you most

admire?

ASC members Gordon Willis and Owen Roizman. In my view, The Godfather
Part Il ls the greatest movie ever photographed.
What

sparked your interest in photography?
I don't think any child growing up where I did in the 1950s was without a
Brownie camera. As the limitations of my early cameras presented them¬

selves, I gradually worked my way up to more sophisticated equipment, and
that trend continues

today.

Khandi Alexander from CSI: Miami and

Have you

made

Luckily,

Where did you train and/or study?
At the age of 12,1 spent summers and

holidays making deliveries on foot in
New York City for General Camera Corp., which was owned by my father,
Dick DiBona. I made deliveries to the sets of movies such as Up the Down
Staircase, shot by Joe Coffey, and Goodbye Columbus, shot by Jerry
Hirschfeld, ASC. Jerry was one of the owners of a New York commercial

house called MPO Videotronics, and I made lots of deliveries to commercials

being produced there. I later went to college at Emerson in Boston, and then
back to New York to work in the industry.

Brooklyn Sudano (Donna Summer's

daughter).
any

memorable blunders?
Maybe in private conversation
These are your friends that you

no, but I've witnessed some beauties.
I'd admit to some, but in print? I don't think so!

go to

battle with.

What's the best

professional advice you've ever received?
Early in my career, an old veteran told me, 'The industry is a lot of fun, but never
forget it's a business with a lot of money being spent every second. Don't laugh
your way out of your job, and if you stretch your arms out and you can't touch
the camera, then you're probably in the wrong place.' Good words to remem¬
ber.

came

Who

mentors?
When I started out as an operator in the 1970s, I worked for a long list of
illustrious cinematographers, including [ASC members] Jerry Hirschfeld,
Sven Nykvist, Woody Omens, David Quaid, Owen Roizman, Fred Schuler
and Vittorio Storaro. I would have to say, though, that the greatest impact
on my career came from the 10 enlightening and enjoyable years I spent
working with Gordon Willis.
were

What

your

early teachers

or

of your key artistic influences?
high school and college, I was an illustrator and painter. While visiting
museums in the Northeast, I developed a feeling for orienting objects on a
page or a canvas, which is the basic principle of composition. Observing
where an artist created the light source for his painting eliminated a lot of
are some

In

trial and

error.

How did you get your first break
I was extremely lucky to have the

in the business?
opportunity to work for my father at
General Camera Corp., where I spent my time cleaning, fixing and deliver¬
ing equipment. By doing so, I gained a familiarity with and knowledge of
motion-picture equipment.
What has been your most satisfying moment on a project?
I'd have to say moments. I've had the great fortune to work and

learn
through my associations with some of the great talents in the industry.
Working with Gordon Willis would top the list. I got a chance to implement
a lot of that experience on a project called Rain, which I shot and directed
last year. It's a feature written by Andrew Neiderman, who also wrote the
novel The Devils Advocate. The film stars Faye Dunaway, Robert Loggia,
148 December 2006

What recent books, films or artworks have inspired you?
I'm still more inspired by classic films of the past. They had good

storytelling,
simply the ticket-purchasing audience at the box
office. Given the direction the industry is taking, you'll see fewer and fewer
classic movies being produced. I think it's unfortunate, but it's an undeniable
and their

'demographic'

was

trend.
Do you have any favorite genres, or genres that you would like to try?
I've had the opportunity to work on all types of films. I've found that comedies

usually the happiest sets. But if you love the industry like I do, what makes
interesting is coming to work each day and facing a different set of problems
you have to solve. In terms of genres, I'd have to say I enjoy them all.
are

it

If you weren't a
In college I played

cinematographer, what might you be doing instead?
basketball, and when I was young, I thought it would be nice
to make a living playing a game I loved. On the other hand, as a two-time
cancer survivor who has counseled so many people stricken with the disease,
I would have to say that helping people so deep in fear is more fulfilling than
I can put into words. My, how the cycles of our lives make us grow.
Which ASC

cinematographers recommended you for membership?
Gordon Willis, Owen Roizman and Fred Schuler. I was thrilled.
How has ASC membership impacted your life and career?
I've been a member for about a year. Obviously, one of the biggest

thrills is
being in such great company. I enjoy being among people with such high stan¬
dards of excellence, but I've also enjoyed meeting so many great human
beings. I feel honored, and I hope to do my part to carry on their tradition.
American Cinematographer - December 2006

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