American Cinematographer - December 2017 - 128

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Patrick Cady, ASC

When you were a child, what film
made the strongest impression on
you?
Watching Peter Pan in the Aurora Theatre
in western New York, and my dad's childlike expression when the pirate ship floated
into the night sky at the end. For that
moment, he was a fellow kid. The next
time my whole family felt like that was
watching Star Wars.

What has been your most satisfying
moment on a project?
I was shocked at how wonderful the
response to Girlfight was at Sundance. To
have the audiences react so well was really
special.
Have you made any memorable blunders?
Oh boy - ahem, no.

Which cinematographers, past or
present, do you most admire?
Owen Roizman, ASC, for his sense of naturalism that reflected story.
The first movie I worked on was shot by Roger Deakins, ASC, BSC -
I just love his lighting. Also, a tumble of first names that any film fan
should know: Haskell, Conrad and Slawomir. I am amazed at how
much beautifully executed work there is out there today, by my
mentors, my peers, and students.
What sparked your interest in photography?
My Grandpa Frank. He was the photographer of the family. Then
Ithaca College handed me a Filmo, a Sekonic, and a can of Kodak
reversal film and I never looked back - even though I had no idea
how the meter worked.

What recent books, films or artworks have inspired you?
Director Tim Hunter introduced me to photographer Todd Hido's work.
I recently saw the play The Curious Incident of the Dog in the NightTime, which was very inspiring and wonderfully designed. I think it's critical to experience different ways we tell stories to each other. Connecting creatively with each other is a victory of being human.

Where did you train and/or study?
Ithaca College, NYU's Tisch School, labeling cases for Robin Brown
and Robin Melhuish, hauling cable for Eric Schmidt. Andy Watts and
Paul 'Conan' Bolles taught me how to not electrocute myself. Maybe
I should have led with them.

Do you have any favorite genres, or genres you would like to
try?
I love film noir. I don't know how you would categorize Krzysztof Kieslowski, or Fellini, or the Brothers Quay - magical realism? I'd like to
shoot a movie that isn't afraid to have some wonder about it.

Who were your early teachers or mentors?
My middle-school teachers encouraged me that a country kid could
actually end up working in the movie business. I learned from a slew
of wonderful cinematographers in the Nineties when I was a gaffer.
Sol Negrin, ASC and [honorary ASC member] Larry Parker have
mentored me in both film and family.

If you weren't a cinematographer, what might you be doing
instead?
House painting? I very seriously considered steel sculpture while at
Ithaca College. My fantastic professor Ray Ghirardo just retired this year.

What are some of your key artistic influences?
That is always changing. Robert Frank, Caravaggio, Eggleston. The
light in Monet's 'Haystacks.'
How did you get your first break in the business?
Sarah Green was producing with Maggie Renzi for John Sayles, and I
was 'adopted' by that wonderful group. I would sleep on the floor of
John's writing room if I worked really late, because the buses ran so
infrequently. From there I served as camera intern on Passion Fish.
Years later, I met Karyn Kusama, which led to my shooting Girlfight.

128

What is the best professional advice
you've ever received?
Roger Deakins told me to go to school and shoot everything I could
instead of trying to work as a loader. I ended up working as an electrician and shooting everything I could at the same time - but that was
great advice. Learn by doing. I also had a friend tell me, 'Love what you
do, not what you have done.'

December 2017

Which ASC cinematographers recommended you for membership?
Sol Negrin, Michael Watkins and M. David Mullen.
How has ASC membership impacted your life and career?
Some of my happiest off-set career moments have been at the ASC
Clubhouse or during the awards ceremony. Before I was even a
member, getting to talk shop with all these amazing cinematographers
was - and is - very special. I love that the ASC is working hard to be
a beacon for all new cinematographers to come and do the same. Also,
seeing the initials after my name on a slate makes me wonder how I got
so damn lucky. It makes me work hard to represent the Society as well
as I possibly can.
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American Cinematographer

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