American Cinematographer - March 2010 - 65

Atop the tower (on right, with bullhorn), Flinn directs an episode of Magnum, P.I. Lloyd Ahern II, ASC took over camera duties on the shoot. Also on the tower is camera operator Pat McGinnis. in his mouth and yells, ‘What is that in your pocket?!’ I open up the pocket and say, ‘Cigarettes, asshole. You want one?’ I look over at Connie, who is just shaking his head. This guy just turns and walks away, and I ask the assistant director, Tommy Shaw, ‘Who was that jackass?’ And he says, ‘That’s Richard Brooks, the producer, director and writer.’ Oh, my god, what have I done? Brooks comes back up the ramp, takes the pistol out of my holster, looks at it, then puts it back and walks away. Moments later, Tommy walks over and asks, ‘You got a SAG card?’ I told him no, I was just studying camera and acting. ‘Kid, go get your SAG card now, as you are.’ I went down to Sunset Boulevard in the police uniform, paid my $110, went back to the studio and got a two-week contract at $850 per week.” While working with cinematographer Robert Morrison on the fourpart series Backstairs at the White House (which was filmed in 1978 but aired in ’79), Flinn got to know producer Ed Friendly (Rowan & Martin’s Laugh-In, Little House on the Prairie) and director Michael O’Herlihy. “I got along with those guys so well that they knew how much I loved my work,” says Flinn. Soon after, they asked Flinn to shoot a telefilm in Ireland because Morrison was tied up with another project. The Flame Is Love (1979) was Flinn’s break as a director of photography. He recalls, “Can you imagine being stuck in Hawaii for 7½ years? Every day I felt lucky to be there.” “I had plenty of time to prep, which gave me time to check the look and time of day. When the wind blows on those grass hills in Ireland, there is every different shade of green you can imagine. You just can’t believe it. And the clouds are going a hundred miles an www.theasc.com hour. I had to literally time those clouds, because I could be in the middle of a scene and everything would go dark when a cloud passed by. That experience helped me when I went to Hawaii to shoot Hawaii Five-0 and Magnum, P.I.” The call about Hawaii Five-O came while Flinn was in Ireland: Jack Lord asked him to shoot the show’s final season. After that, Flinn returned to L.A. and shot a few TV movies before signing onto a new series, Steven Bochco’s Hill Street Blues (1981). The drama about an inner-city police precinct became one of the top shows of the decade. In 1984, Flinn moved on to tackle the dramatic fireworks at a modeling agency on the short-lived series Paper Dolls. “It got canceled at lunchtime during the 13th episode,” he recalls. “When I called my agent and told her the news, she said she was busy looking for a cameraman to go to Hawaii to shoot a show called Magnum, P.I. I said, ‘Would you do me a favor and call them and tell them I’m available? I’d appreciate that!’ A halfhour later, she calls and says, ‘You’re leaving tomorrow.’ I knew Tom Selleck — he and I went to school and played ball together. I ended up staying in March 2010 65
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American Cinematographer - March 2010

Table of Contents for the Digital Edition of American Cinematographer - March 2010

American Cinematographer - March 2010
Contents
Editor’s Note
President’s Desk
Short Takes: La Première
Production Slate: A Prophet • NY Export: Opus Jazz
Mind Games
Home-Screen Hits
A Passion for His Craft
Saluting an Industry Stalwart
Post Focus: EFilm’s Cinemascan System
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Salvatore Totino
American Cinematographer - March 2010 - American Cinematographer - March 2010
American Cinematographer - March 2010 - Cover2
American Cinematographer - March 2010 - 1
American Cinematographer - March 2010 - 2
American Cinematographer - March 2010 - Contents
American Cinematographer - March 2010 - 4
American Cinematographer - March 2010 - 5
American Cinematographer - March 2010 - 6
American Cinematographer - March 2010 - 7
American Cinematographer - March 2010 - Editor’s Note
American Cinematographer - March 2010 - 9
American Cinematographer - March 2010 - President’s Desk
American Cinematographer - March 2010 - 11
American Cinematographer - March 2010 - Short Takes: La Première
American Cinematographer - March 2010 - 13
American Cinematographer - March 2010 - 14
American Cinematographer - March 2010 - 15
American Cinematographer - March 2010 - 16
American Cinematographer - March 2010 - 17
American Cinematographer - March 2010 - Production Slate: A Prophet • NY Export: Opus Jazz
American Cinematographer - March 2010 - 19
American Cinematographer - March 2010 - 20
American Cinematographer - March 2010 - 21
American Cinematographer - March 2010 - 22
American Cinematographer - March 2010 - 23
American Cinematographer - March 2010 - 24
American Cinematographer - March 2010 - 25
American Cinematographer - March 2010 - 26
American Cinematographer - March 2010 - 27
American Cinematographer - March 2010 - 28
American Cinematographer - March 2010 - 29
American Cinematographer - March 2010 - Mind Games
American Cinematographer - March 2010 - 31
American Cinematographer - March 2010 - 32
American Cinematographer - March 2010 - 33
American Cinematographer - March 2010 - 34
American Cinematographer - March 2010 - 35
American Cinematographer - March 2010 - 36
American Cinematographer - March 2010 - 37
American Cinematographer - March 2010 - 38
American Cinematographer - March 2010 - 39
American Cinematographer - March 2010 - 40
American Cinematographer - March 2010 - 41
American Cinematographer - March 2010 - 42
American Cinematographer - March 2010 - 43
American Cinematographer - March 2010 - 44
American Cinematographer - March 2010 - 45
American Cinematographer - March 2010 - Home-Screen Hits
American Cinematographer - March 2010 - 47
American Cinematographer - March 2010 - 48
American Cinematographer - March 2010 - 49
American Cinematographer - March 2010 - 50
American Cinematographer - March 2010 - 51
American Cinematographer - March 2010 - 52
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American Cinematographer - March 2010 - 55
American Cinematographer - March 2010 - 56
American Cinematographer - March 2010 - 57
American Cinematographer - March 2010 - 58
American Cinematographer - March 2010 - 59
American Cinematographer - March 2010 - 60
American Cinematographer - March 2010 - 61
American Cinematographer - March 2010 - A Passion for His Craft
American Cinematographer - March 2010 - 63
American Cinematographer - March 2010 - 64
American Cinematographer - March 2010 - 65
American Cinematographer - March 2010 - 66
American Cinematographer - March 2010 - 67
American Cinematographer - March 2010 - 68
American Cinematographer - March 2010 - 69
American Cinematographer - March 2010 - 70
American Cinematographer - March 2010 - 71
American Cinematographer - March 2010 - Saluting an Industry Stalwart
American Cinematographer - March 2010 - 73
American Cinematographer - March 2010 - 74
American Cinematographer - March 2010 - 75
American Cinematographer - March 2010 - 76
American Cinematographer - March 2010 - 77
American Cinematographer - March 2010 - Post Focus: EFilm’s Cinemascan System
American Cinematographer - March 2010 - 79
American Cinematographer - March 2010 - 80
American Cinematographer - March 2010 - 81
American Cinematographer - March 2010 - New Products & Services
American Cinematographer - March 2010 - 83
American Cinematographer - March 2010 - 84
American Cinematographer - March 2010 - 85
American Cinematographer - March 2010 - 86
American Cinematographer - March 2010 - 87
American Cinematographer - March 2010 - International Marketplace
American Cinematographer - March 2010 - Classified Ads
American Cinematographer - March 2010 - Ad Index
American Cinematographer - March 2010 - 91
American Cinematographer - March 2010 - ASC Membership Roster
American Cinematographer - March 2010 - 93
American Cinematographer - March 2010 - Clubhouse News
American Cinematographer - March 2010 - 95
American Cinematographer - March 2010 - ASC Close-Up: Salvatore Totino
American Cinematographer - March 2010 - Cover3
American Cinematographer - March 2010 - Cover4
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