American Cinematographer - February 2015 - 74
◗
British Vision
Top and middle: Méheux at work on his last non-professional film, One is One.
Bottom: On set for the 1966 BBC telefilm Alice in Wonderland, Méheux and grip Sydney Marker
set the camera on a cherry-picker basket for cinematographer Dick Bush, BSC (seated) while
director Jonathan Miller (left) looks on.
74
February 2015
American Cinematographer
At the BBC, crews were often
shifted around to various assignments,
and Méheux got the opportunity to
advance from camera assistant to operator, shooting black-and-white outdoor
and night film sequences for the longrunning live BBC television series Dixon
of Dock Green, about daily life at a London
police station - "a forerunner of today's
cop shows," he remarks. The cinematographer who gave him this chance also
gave him his next, when they were
assigned to a pop-music documentary
called All My Loving in 1968, shot in
color. After traveling to America and
shooting performers such as Jimi
Hendrix, the Who and the Animals, the
cameraman decided to leave the production, "not being fond of modern music,"
Méheux relates. "At short notice, no one
else was available or willing, so I ended up
shooting the second half of the documentary. It was a huge opportunity for me."
As a fully fledged director of
photography, Méheux then went on to
the BBC documentary film series Man
Alive, which covered a wide range of
subjects all over the world. "They were
fascinating films," says Méheux. "I did
one about Billie Jean King, one about
Mayor [ Jean] Drapeau in Montreal, one
about a new Alaskan oil pipeline and
another about Vietnam draft dodgers.
Those documentaries taught me what
you could do with available light - and
color film, which was quite slow in those
days - and how to operate the camera
when you didn't know what was going to
happen next."
After a few years of documentaries, Méheux requested a transfer back
to his first love - narrative drama work.
At first it was just bits and pieces, shooting fragmentary sequences on film for
insertion into productions captured
mainly on video, but the directors on
Dixon of Dock Green remembered his
previous work and asked him back when
they decided to shoot a few episodes
entirely on film. These caught the attention of another director, John Mackenzie,
who asked the BBC to assign him
Méheux for a series of television plays
that included The Elephants' Graveyard,
American Cinematographer - February 2015
Table of Contents for the Digital Edition of American Cinematographer - February 2015
Contents
American Cinematographer - February 2015 - Cover1
American Cinematographer - February 2015 - Cover2
American Cinematographer - February 2015 - 1
American Cinematographer - February 2015 - 2
American Cinematographer - February 2015 - Contents
American Cinematographer - February 2015 - 4
American Cinematographer - February 2015 - 5
American Cinematographer - February 2015 - 6
American Cinematographer - February 2015 - 7
American Cinematographer - February 2015 - 8
American Cinematographer - February 2015 - 9
American Cinematographer - February 2015 - 10
American Cinematographer - February 2015 - 11
American Cinematographer - February 2015 - 12
American Cinematographer - February 2015 - 13
American Cinematographer - February 2015 - 14
American Cinematographer - February 2015 - 14a
American Cinematographer - February 2015 - 14b
American Cinematographer - February 2015 - 15
American Cinematographer - February 2015 - 16
American Cinematographer - February 2015 - 17
American Cinematographer - February 2015 - 18
American Cinematographer - February 2015 - 19
American Cinematographer - February 2015 - 20
American Cinematographer - February 2015 - 21
American Cinematographer - February 2015 - 22
American Cinematographer - February 2015 - 23
American Cinematographer - February 2015 - 24
American Cinematographer - February 2015 - 25
American Cinematographer - February 2015 - 26
American Cinematographer - February 2015 - 27
American Cinematographer - February 2015 - 28
American Cinematographer - February 2015 - 29
American Cinematographer - February 2015 - 30
American Cinematographer - February 2015 - 31
American Cinematographer - February 2015 - 32
American Cinematographer - February 2015 - 33
American Cinematographer - February 2015 - 34
American Cinematographer - February 2015 - 35
American Cinematographer - February 2015 - 36
American Cinematographer - February 2015 - 37
American Cinematographer - February 2015 - 38
American Cinematographer - February 2015 - 39
American Cinematographer - February 2015 - 40
American Cinematographer - February 2015 - 41
American Cinematographer - February 2015 - 42
American Cinematographer - February 2015 - 43
American Cinematographer - February 2015 - 44
American Cinematographer - February 2015 - 45
American Cinematographer - February 2015 - 46
American Cinematographer - February 2015 - 47
American Cinematographer - February 2015 - 48
American Cinematographer - February 2015 - 49
American Cinematographer - February 2015 - 50
American Cinematographer - February 2015 - 51
American Cinematographer - February 2015 - 52
American Cinematographer - February 2015 - 53
American Cinematographer - February 2015 - 54
American Cinematographer - February 2015 - 55
American Cinematographer - February 2015 - 56
American Cinematographer - February 2015 - 57
American Cinematographer - February 2015 - 58
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American Cinematographer - February 2015 - 60
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American Cinematographer - February 2015 - 69
American Cinematographer - February 2015 - 70
American Cinematographer - February 2015 - 71
American Cinematographer - February 2015 - 72
American Cinematographer - February 2015 - 73
American Cinematographer - February 2015 - 74
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American Cinematographer - February 2015 - Cover3
American Cinematographer - February 2015 - Cover4
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