American Cinematographer - March 2016 - 56
◗
A Legacy of Excellence
the first union project that Allen Daviau
shot after working for years to get into
the camera guild," Toll explains. "Allen
had no regular union crew, so the director - Jerrold Freedman, whom I'd
worked with before - brought me in.
And Allen was terrific. Not only was his
work impeccable, but he was very
collaborative and as knowledgeable
about the history and craft of cinematography as anyone I've ever met."
Daviau then hired Toll for a
small, personal project of Steven
Spielberg's that would become a
monster box-office hit: E.T. the ExtraTerrestrial. "Allen gave me a call to fill in
as B-camera operator on the show," Toll
recounts. "On the first day of shooting,
Steven decided that documenting the
making of the movie was important, but
he wanted it shot on 35mm film.
Coincidentally, he had recently seen a
documentary shot on 35mm on the set
of the The Shining. Producer Kathleen
Kennedy asked Allen what we could do
and he pointed at me, so I was drafted to
use the 35mm Panaflex B-camera to
shoot behind-the-scenes footage.
"That seemed to go OK, so I
came back to the set the next day and
was asked to keep shooting behind-thescenes material," Toll continues. "Steven
seemed fine with what I was doing and
appeared to enjoy playing up to the
camera. I would follow him around
handheld and document him working
with the children in the cast, and basically creating E.T. as a principal character. It was incredible observing his whole
process."
After principal photography
wrapped, Toll worked with an editor
friend to cut the accumulated 50,000' of
footage into a 20-minute sample of
what an E.T. documentary might look
like. He showed this to Spielberg, and,
Toll recalls, "he didn't say a word until
the end. Then he said, 'This is great, but
I can't use it.' He knew by this time that
the movie was going to be huge, and he
did not want to compromise the
mystique of E.T. as a real, live character.
He didn't want people to see anything
that would suggest that he was not a
Top: Toll operates as
future ASC member Chuck
Minsky holds focus on the
set of Urban Cowboy.
Middle: Allen Daviau, ASC
(left), Toll and director
John Schlesinger on the
set of The Falcon and the
Snowman. Bottom, from
left: Future ASC member
Jeff Cronenweth; Jordan
Cronenweth, ASC; Toll;
future ASC member Bing
Sokolsky; and Mary Tyler
Moore on the set of Just
Between Friends.
56
March 2016
American Cinematographer
Table of Contents for the Digital Edition of American Cinematographer - March 2016
Table of Contents
American Cinematographer - March 2016 - Intro
American Cinematographer - March 2016 - Cover1
American Cinematographer - March 2016 - Cover2
American Cinematographer - March 2016 - 1
American Cinematographer - March 2016 - 2
American Cinematographer - March 2016 - Table of Contents
American Cinematographer - March 2016 - 4
American Cinematographer - March 2016 - 5
American Cinematographer - March 2016 - 6
American Cinematographer - March 2016 - 7
American Cinematographer - March 2016 - 8
American Cinematographer - March 2016 - 9
American Cinematographer - March 2016 - 10
American Cinematographer - March 2016 - 11
American Cinematographer - March 2016 - 12
American Cinematographer - March 2016 - 13
American Cinematographer - March 2016 - 14
American Cinematographer - March 2016 - 15
American Cinematographer - March 2016 - 16
American Cinematographer - March 2016 - 17
American Cinematographer - March 2016 - 18
American Cinematographer - March 2016 - 19
American Cinematographer - March 2016 - 20
American Cinematographer - March 2016 - 21
American Cinematographer - March 2016 - 22
American Cinematographer - March 2016 - 23
American Cinematographer - March 2016 - 24
American Cinematographer - March 2016 - 25
American Cinematographer - March 2016 - 26
American Cinematographer - March 2016 - 27
American Cinematographer - March 2016 - 28
American Cinematographer - March 2016 - 29
American Cinematographer - March 2016 - 30
American Cinematographer - March 2016 - 31
American Cinematographer - March 2016 - 32
American Cinematographer - March 2016 - 33
American Cinematographer - March 2016 - 34
American Cinematographer - March 2016 - 35
American Cinematographer - March 2016 - 36
American Cinematographer - March 2016 - 37
American Cinematographer - March 2016 - 38
American Cinematographer - March 2016 - 39
American Cinematographer - March 2016 - 40
American Cinematographer - March 2016 - 41
American Cinematographer - March 2016 - 42
American Cinematographer - March 2016 - 43
American Cinematographer - March 2016 - 44
American Cinematographer - March 2016 - 45
American Cinematographer - March 2016 - 46
American Cinematographer - March 2016 - 47
American Cinematographer - March 2016 - 48
American Cinematographer - March 2016 - 49
American Cinematographer - March 2016 - 50
American Cinematographer - March 2016 - 51
American Cinematographer - March 2016 - 52
American Cinematographer - March 2016 - 53
American Cinematographer - March 2016 - 54
American Cinematographer - March 2016 - 55
American Cinematographer - March 2016 - 56
American Cinematographer - March 2016 - 57
American Cinematographer - March 2016 - 58
American Cinematographer - March 2016 - 59
American Cinematographer - March 2016 - 60
American Cinematographer - March 2016 - 61
American Cinematographer - March 2016 - 62
American Cinematographer - March 2016 - 63
American Cinematographer - March 2016 - 64
American Cinematographer - March 2016 - 65
American Cinematographer - March 2016 - 66
American Cinematographer - March 2016 - 67
American Cinematographer - March 2016 - 68
American Cinematographer - March 2016 - 69
American Cinematographer - March 2016 - 70
American Cinematographer - March 2016 - 71
American Cinematographer - March 2016 - 72
American Cinematographer - March 2016 - 73
American Cinematographer - March 2016 - 74
American Cinematographer - March 2016 - 75
American Cinematographer - March 2016 - 76
American Cinematographer - March 2016 - 77
American Cinematographer - March 2016 - 78
American Cinematographer - March 2016 - 79
American Cinematographer - March 2016 - 80
American Cinematographer - March 2016 - 81
American Cinematographer - March 2016 - 82
American Cinematographer - March 2016 - 83
American Cinematographer - March 2016 - 84
American Cinematographer - March 2016 - 85
American Cinematographer - March 2016 - 86
American Cinematographer - March 2016 - 87
American Cinematographer - March 2016 - 88
American Cinematographer - March 2016 - Cover3
American Cinematographer - March 2016 - Cover4
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