American Cinematographer - September 2013 - 120

Close-up

Ron Fortunato, ASC

When you were a child, what film made the strongest impression on you?
La Strada (1954), which my grandmother was watching in Italian on
TV. I must have been 7 or 8, and I was fascinated by it. Several years
later, I saw Knife in the Water (1962) on PBS. There was no DVR in
those days, so I had to make sure I was home to watch it every time
they replayed it. I must have seen it 10 times!

was miserable, but Gary and I had a good laugh about it, and he
took the moment to tell me that the film looked and felt better than
he had imagined it in his head. I was on a high for days after that.
Also, getting to shoot for Sidney Lumet for 10 years was a dream
come true. He was one of my idols growing up.
Have you made any memorable blunders?
After being a camera assistant in Germany for
several years, I got a chance to take over a film
that Jürgen had to leave for another project.
Maximillian Schell was the star, and one day he
suggested I shoot his POV at 32 fps to give the
scene a slightly dreamy effect. The director and I
loved the idea. It was early in the days of HMIs.
Need I say more? The lab called early the next
day. The director couldn’t have been more
gracious, however. He said, ‘The reshoot will be
even better!’

Which cinematographers, past or present, do
you most admire?
Boris Kaufman, ASC, for his stunning black-andwhite work with Lumet and Kazan; Owen Roizman, ASC, because The French Connection was
years ahead of its time; Gil Taylor, BSC, for his
intense work on early Polanski films; and, of
course, Gordon Willis, ASC, for The Godfather,
which, in my opinion, changed everything!
What sparked your interest in photography?
My sister was married to a New York photographer in the late 1960s. Downtown New York was
quite a scene, and I was seduced by it! At the
same time, my interest in movies was growing,
and the title ‘director of photography’ jumped out
at me. I knew that was what I wanted to do.

What is the best professional advice you’ve
ever received?
‘We’re all replaceable.’
What recent books, films or artworks have
inspired you?
House of Cards on Netflix. Also, John Cohen’s photos of Kentucky
and of Bob Dylan.

Where did you train and/or study?
State University of New York at Purchase.
Who were your early teachers or mentors?
German cinematographer Jürgen Jürges, BVK took me on as a
camera assistant, and I worked with him on many movies. He was
very generous in sharing his knowledge.
What are some of your key artistic influences?
I love still photographers Lee Friedlander, Robert Frank, Irving Penn
and Walker Evans.
How did you get your first break in the business?
I was 22 and looking for work in Europe, too naïve to realize how
difficult it would be. I walked into a production office in Munich, and
a producer there said he knew Jürgen Jürges was looking for an
assistant. Jürgen and I met, and he hired me on the spot. I was not
as qualified as I let on, but I gave it my best!
What has been your most satisfying moment on a project?
I was shooting Nil by Mouth in South London with Gary Oldman
directing. One very cold day about two weeks into the shoot, we
were doing a rain effect for a scene, and Gary and I both got soaked
— we were probably the only ones not wearing great rain gear. It
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September 2013

Do you have any favorite genres, or genres you would like to
try?
I’d love to shoot a psychological thriller without any violence, just
tension!
If you weren’t a cinematographer, what might you be doing
instead?
I’d be a chef or a musician.
Which ASC cinematographers recommended you for
membership?
Bob Primes, Sol Negrin and Gerald Perry Finnerman.
How has ASC membership impacted your life and career?
The invitation to join the ASC was a vote of confidence from my
peers. It gave me an enormous boost. Living in New York limits my
exposure to ASC events, but when we do have an event here, it’s
almost daunting to be surrounded by colleagues with such talent
and energy for our craft.
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American Cinematographer

American Cinematographer - September 2013

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