American Cinematographer - March 2012 - 52
◗
Blazing Trails
Even though these were very short periods of time, they came at critical moments in my life. “Stevan told me to skip film school because I already knew the technical side,” he adds. “He told me to study art history and keep shooting, even if I worked for nothing.” After graduating from Georgia State in 1976, Wages started freelancing on locally produced industrials and commercials. He shot a no-budget feature with the Bolex that was never released, but he started gaining some traction in the commercial arena, eventually landing bigger jobs with clients such as Budweiser. Often he did double duty as director and cinematographer. Still, his goal was feature filmmaking, so he started turning down commercials and taking on long-form documentaries. That led to First Strike, which included a fake vérité depiction of a Soviet nuclear strike. The first interview was with the head of Strategic Air Command, who allowed the filmmakers unprecedented access to missile silos in North Dakota and the war room inside Cheyenne Mountain. Some of that footage was picked up and used in the popular ABC miniseries The Day After, for which Gayne Rescher, ASC earned an Emmy nomination. Meanwhile, Wages was trying to land an agent in Los Angeles. His work caught the eye of Ray Gosnell, but Gosnell didn’t know how to sell Wages, given that he lived in Atlanta and was not a member of the Los Angeles union. Another year passed, and then Wages landed an assignment for Hallmark Hall of Fame, the first of several he would get over his career. Resting Place starred Morgan Freeman and John Lithgow, and it was directed by John Korty, whom Wages credits with giving him his first break in could learn from him. In this manner, he Hollywood. Upon completing it, Wages began friendships with Society approached Gosnell again. “I said, ‘Ray, members Larner and William Fraker, as you represent cinematographers from well as other cameramen. “Those guys Australia, England and Germany, and took me under their wings,” says Wages. I’m from the South, which is like “They let me ask any questions and another country. Can’t you handle me never said they were stupid questions. just like you do them?’ We made a deal
American Cinematographer
Top: Wages at work with Johnson, one of his longtime mentors, on The Broken Chain (1993). Bottom: Ready for action on location.
Atlanta Journal-Constitution and used the position to contact every film production that set foot in Georgia, saying that the newspaper needed file photos. Upon gaining access to the set, Wages would approach the cinematographer, confess his ruse and ask if he
52 March 2012
American Cinematographer - March 2012
Table of Contents for the Digital Edition of American Cinematographer - March 2012
American Cinematographer - March 2012
Contents
Editor’s Note
President’s Desk
Short Takes: When You Find Me
Production Slate: The Ghastly Love of Johnny X • Project X
Varied Visions
Power Trip
Blazing Trails
A Wholly “Justified” Honor
Filmmakers’ Forum: Vincent De Paula
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Torben Johnke, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Jonathan Taylor
American Cinematographer - March 2012 - American Cinematographer - March 2012
American Cinematographer - March 2012 - Cover2
American Cinematographer - March 2012 - 1
American Cinematographer - March 2012 - 2
American Cinematographer - March 2012 - Contents
American Cinematographer - March 2012 - 4
American Cinematographer - March 2012 - 5
American Cinematographer - March 2012 - 6
American Cinematographer - March 2012 - 7
American Cinematographer - March 2012 - Editor’s Note
American Cinematographer - March 2012 - 9
American Cinematographer - March 2012 - President’s Desk
American Cinematographer - March 2012 - 11
American Cinematographer - March 2012 - Short Takes: When You Find Me
American Cinematographer - March 2012 - 13
American Cinematographer - March 2012 - 14
American Cinematographer - March 2012 - 15
American Cinematographer - March 2012 - 16
American Cinematographer - March 2012 - 17
American Cinematographer - March 2012 - Production Slate: The Ghastly Love of Johnny X • Project X
American Cinematographer - March 2012 - 19
American Cinematographer - March 2012 - 20
American Cinematographer - March 2012 - 21
American Cinematographer - March 2012 - 22
American Cinematographer - March 2012 - 23
American Cinematographer - March 2012 - 24
American Cinematographer - March 2012 - 25
American Cinematographer - March 2012 - 26
American Cinematographer - March 2012 - 27
American Cinematographer - March 2012 - 28
American Cinematographer - March 2012 - 29
American Cinematographer - March 2012 - Varied Visions
American Cinematographer - March 2012 - 31
American Cinematographer - March 2012 - 32
American Cinematographer - March 2012 - 33
American Cinematographer - March 2012 - 34
American Cinematographer - March 2012 - 35
American Cinematographer - March 2012 - 36
American Cinematographer - March 2012 - 37
American Cinematographer - March 2012 - 38
American Cinematographer - March 2012 - 39
American Cinematographer - March 2012 - 40
American Cinematographer - March 2012 - 41
American Cinematographer - March 2012 - Power Trip
American Cinematographer - March 2012 - 43
American Cinematographer - March 2012 - 44
American Cinematographer - March 2012 - 45
American Cinematographer - March 2012 - 46
American Cinematographer - March 2012 - 47
American Cinematographer - March 2012 - 48
American Cinematographer - March 2012 - 49
American Cinematographer - March 2012 - Blazing Trails
American Cinematographer - March 2012 - 51
American Cinematographer - March 2012 - 52
American Cinematographer - March 2012 - 53
American Cinematographer - March 2012 - 54
American Cinematographer - March 2012 - 55
American Cinematographer - March 2012 - 56
American Cinematographer - March 2012 - 57
American Cinematographer - March 2012 - A Wholly “Justified” Honor
American Cinematographer - March 2012 - 59
American Cinematographer - March 2012 - 60
American Cinematographer - March 2012 - 61
American Cinematographer - March 2012 - 62
American Cinematographer - March 2012 - 63
American Cinematographer - March 2012 - 64
American Cinematographer - March 2012 - 65
American Cinematographer - March 2012 - 66
American Cinematographer - March 2012 - 67
American Cinematographer - March 2012 - Filmmakers’ Forum: Vincent De Paula
American Cinematographer - March 2012 - 69
American Cinematographer - March 2012 - 70
American Cinematographer - March 2012 - 71
American Cinematographer - March 2012 - New Products & Services
American Cinematographer - March 2012 - 73
American Cinematographer - March 2012 - 74
American Cinematographer - March 2012 - 75
American Cinematographer - March 2012 - International Marketplace
American Cinematographer - March 2012 - Classified Ads
American Cinematographer - March 2012 - Ad Index
American Cinematographer - March 2012 - In Memoriam: Torben Johnke, ASC
American Cinematographer - March 2012 - ASC Membership Roster
American Cinematographer - March 2012 - 81
American Cinematographer - March 2012 - Clubhouse News
American Cinematographer - March 2012 - 83
American Cinematographer - March 2012 - ASC Close-Up: Jonathan Taylor
American Cinematographer - March 2012 - Cover3
American Cinematographer - March 2012 - Cover4
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