American Cinematographer - October 2015 - 96

Jan Kiesser, ASC

When you were a child, what film made the strongest impression on you?
I remember the Buck Rogers serials I experienced at Saturday matinees when I was very young. 20,000 Leagues Under the Sea was my
first major theatrical experience of being whisked away into another
world and reality, transcending time and place. It was always the
visuals in these stories that captivated me.
Which cinematographers, past or
present, do you most admire?
Jack Cardiff [BSC], for his painterly visual
storytelling with very slow film speeds.
James Wong Howe [ASC], for his inventiveness. Freddie Young [BSC], for the
epic scale of Lawrence of Arabia and
Doctor Zhivago. More contemporary
cinematographers are [ASC members]
Vilmos Zsigmond, Gordon Willis, Caleb
Deschanel and Emmanuel Lubezki.

What has been your most satisfying moment on a project?
The entire experience of making Such a
Long Journey in Mumbai, India, and how
it all came about. It was an amazing challenge with an exceptional story to tell.
Have you made any memorable
blunders?
Not having an agent to look out for my
well-being on my first feature film as a
director of photography.

What sparked your interest in photography?
I received a 35mm Japanese range-finder camera from a second
cousin who was returning from a tour with the U.S. Navy. My curiosity about how to effectively use this camera, and my desire to understand photography in general, led me to read Ansel Adams and
others, and to build a darkroom in one of our bathrooms. I think I
was about 12 or 13 years old.
Where did you train and/or study?
In order to study cinema, I was about to change majors at UCLA
from engineering to theater arts when I found an opportunity that
took me directly into Hollywood's motion-picture industry. Personal
study, making Super 8mm movies and networking is what took me
forward.

How did you get your first break in the business?
My first job was for Wally Bulloch as an animation cameraman. This
took me out of going to film school at UCLA, but enabled me to
become a union member and develop my passion for filmmaking in
the real world rather than the academic.

What is the best professional advice
you've ever received?
In my early days of operating for Vilmos Zsigmond, we were
discussing lighting, and he advised me to observe light in the real
world all the time. I often reflect on that as I continue to observe and
learn every day.
What recent books, films or artworks have inspired you?
Digital Cinematography: Fundamentals, Tools, Techniques, and
Workflows by David Stump, ASC has helped me hone my skills and
develop a deeper understanding of the technology surrounding digital cinema cameras.
Do you have any favorite genres, or genres you would like to
try?
I love historical fiction, but have had great fun on musicals.

Who were your early teachers or mentors?
I have learned from every cinematographer I've worked with, but I
believe I learned the most from Vilmos Zsigmond. He is an instinctive
teacher. He would always ask me why I would do something, not
just what I would do. He would also give me opportunities to offer
input into lighting, staging and composition on movies we were
shooting.

If you weren't a cinematographer, what might you be doing
instead?
I would most like to try installation art on some level.

What are some of your key artistic influences?
I traveled throughout Europe for a year when I was young, and spent
much time immersing myself in all the art I found there. That experience has had a profound effect on me, informing my aesthetic.
Vermeer and Rembrandt have always been go-to references in my
lighting.

How has ASC membership impacted your life and career?
It has broadened my perspective and understanding of cinematography, expanded my education, and enabled the development of
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meaningful relationships with other cinematographers.

October 2015

Which ASC cinematographers recommended you for
membership?
Vilmos Zsigmond, Donald M. Morgan and Allen Daviau.

American Cinematographer

Photo by Michael D. Hawley.

Close-up

Table of Contents for the Digital Edition of American Cinematographer - October 2015