American Cinematographer - January 2019 - 96

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Christopher Probst, ASC
meaning and emotional impact beyond
what you hoped for. It may not happen
every day, but when you strike that
balance, it's a gratifying feeling.

Which cinematographers, past or
present, do you most admire?
My all-time No. 1, now and forever, is Conrad L. Hall, ASC. He was
constantly reinventing himself and pushing his work forward. His
last film, Road to Perdition, is a master class in cinematography.

What sparked your interest in photography?
Growing up at the dawn of the blockbuster era, I was drawn to
visual effects. Studying the cinematography behind visual-effects
techniques then broadened my desire to tell full stories through
images, and not just make spaceships fly.

Where did you train and/or study?
I was an electrical-engineering major at Arizona State when I
decided I could apply my affinity for technology to cinematography. The community college in Scottsdale had a vibrant film
program - so that, and a mountain of AC back issues, comprised
my film education before I moved to Los Angeles and entered the
ranks as a camera assistant.

Who were your early teachers or mentors?
Denis Lenoir, ASC, AFC was one of my early mentors. He is a
master at handheld, and I use his guidance on operating daily in
my own work. Secondly, I surreptitiously used my role as a writer
for AC magazine to break into dozens of my favorite cinematographers' homes, tie them to a chair, and ask them anything I
wanted. So, basically the entire roster of the ASC ?

What are some of your key artistic influences?
Having knowledge of history, science, technology and mechanical
designs - as well as art, pop culture, and a broad range of films
- all inform and inspire you as an artist and problem-solver, even
on a subconscious level.

How did you get your first break in the business?
I moved to L.A. and announced, 'Here I am!' - and then started
working on ultra-low-budget features in the mid-Nineties.

What has been your most satisfying moment on a project?
That rare time the image becomes transcendent, and takes on a

January 2019

Have you made any memorable
blunders?
Mistakes are what build and define your
cinematographic toolkit, and I feel the
struggle is what defines you as an artist
and what 'sticks' in that kit. A reward
hard earned is much more appreciated than one that just falls in
your lap.

What is the best professional advice you've ever received?
'Be a rock.' Many people come to Hollywood as such multihyphenates that no one can pinpoint exactly what they are. A
rock is planted firmly in place, knows what it is, and sticks to that.

What recent books, films or artworks have inspired you?
It's an exciting time with the renaissance of television filmmaking.
These shows are truly capitalizing on the long-form canvas of
series storytelling, where you can really invest yourself in the characters. The quality rivals even the best theatrical films.

Do you have any favorite genres, or genres you would like
to try?
I do a lot of sci-fi and visually complex work, but I'm also a sucker
for a good Victorian drama - so anything in England with overcast skies and old buildings you can't rig to would be just peachy.
A Western would be fun to tackle visually, too.

If you weren't a cinematographer, what might you be doing
instead?
I love film editing, as well as writing in general - and I have a
passion for music and used to be a musician in a former life. I also
build handmade guitars from scratch in my dwindling free time.

Which ASC cinematographers recommended you for
membership?
Daniel Pearl, John C. Newby and Peter Collister.

How has ASC membership impacted your life and career?
Having worked in and around the Society for almost 25 years,
membership for me is not about boasting the initials behind my
name - it's about contributing to the Society and the art form
as a whole. Becoming a member allows me to get much more
involved in that regard, and I'm so honored to contribute to the
ASC in any way possible.
u

ASC 100th Anniversary

Photo by Jarred Land.

When you were a child, what film
made the strongest impression on
you?
My first memory of going to a cinema
was seeing the original Star Wars and
my jaw hitting the floor. I was 6, and the
opening image of that film set me down
a path to the Dark Side (of lighting)
that I never fully recovered from.

American Cinematographer - January 2019

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