American Cinematographer - February 2017 - 96

Close-up

Cort Fey, ASC

When you were a child, what film made the
strongest impression on you?
I am firmly of the Star Wars generation. I was 7
years old when we spent half the day standing in
a line around the block. Everybody was excited -
it was an event! The communal excitement and
joy of that experience has always stayed with me.

TV show Fastlane. I credit the show's regular
cinematographer, the immensely talented
Nathan Hope, for putting me in that slot.

Which cinematographers, past or present, do
you most admire?
As a teen, I watched vintage Seventies movies like
Klute, The Parallax View, All the President's Men
and The Godfather, all photographed by Gordon Willis [ASC], and
I loved the look. I still find his style strikingly modern and so interesting. The cinematographers today that make 'perfect' seem so
easy - [ASC members] Robert Elswit, Roger Deakins and
Emmanuel Lubezki.
What sparked your interest in photography?
I grew up in Seattle, where my father was an editor and cameraman. I'd tag along on his jobs and watch the camera crew in action.
Occasionally, I'd score a tiny on-screen role - my first gig was a milk
commercial when I was 6. In seventh grade, I started taking photos
and loved the combination of technique and creativity.
Where did you train and/or study?
I majored in history at the University of Pennsylvania, where I was
photo editor for The Daily Pennsylvanian. After that, I worked
alongside my father in Seattle as a production assistant, loader and
second camera assistant. A year later, I attended the graduate film
program at USC.
Who were your early teachers or mentors?
The Daily Pennsylvanian had a professional and award-winning
photo department, and most of the learning involved senior
photographers teaching the younger ones how to shoot. At USC, I
was a student of Robert Estrin, ACE, and later his teaching assistant.
Bob was a fantastic editor who taught me a lot about the musicality
of storytelling and how important rhythm is to individual shots as
well as whole sequences.
What are some of your key artistic influences?
I love how street photography can create so much drama from the
mundane world that swirls around us all day. They create compositions that focus attention or build drama - all in a moment. My
favorites: Saul Leiter, Vivian Maier and Robert Frank.
How did you get your first break in the business?
I was given the huge opportunity to step up from action-unit cinematographer to first-unit for two episodes of the Fox/Warner Bros.
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February 2017

What has been your most satisfying
moment on a project?
The most satisfying moment is when I look back
at the day's work and feel like we did something
new. I am always striving for more of those kinds
of moments.
Have you made any memorable blunders?
Each episode of Cold Case on CBS required a new flashback look
based on the time-period of the story. One onerous combination
was a prison escape through a real cave with flashlights shot on
16mm black-and-white reversal film. I just barely missed the
stock's 3 stops of latitude. All you saw on the screen were white
dots floating on a black screen!
What is the best professional advice you've ever received?
'Change your shoes at lunch' - director Fred Toye.
What recent books, films or artworks have inspired you?
I am inspired by great buildings, and recently I visited the Oslo
Opera House. It's this angular glass and marble shell with a curvy
wood core, all sitting right on the water. It's open and airy, yet
solid and very permanent feeling. The amount of work and
commitment to create such a unique and beautiful building is
humbling.
Do you have any favorite genres, or genres you would like
to try?
I love action movies. I've shot quite a bit of action, but I think it
would be great fun to do a big actioner. James Bond!
If you weren't a cinematographer, what might you be
doing instead?
Perhaps architecture. It's a career that blends technical thinking
with a creative eye, much like cinematography.
Which ASC cinematographers recommended you for
membership?
Michael Watkins, Michael O'Shea and John Bartley. They're
talented and kind artists - and I'll be forever grateful!
How has ASC membership impacted your life and career?
It's impossible to not be inspired and invigorated when
surrounded by these people. It's an incredible opportunity we
have to learn, share and support each other as artists and craftspeople in this difficult and isolating business.
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American Cinematographer

Table of Contents for the Digital Edition of American Cinematographer - February 2017