American Cinematographer - February 2015 - 57
overexposed that there was barely an
image there! I'd misread the meter. I did
whatever I could to make some prints,
and I brought them to the class."
The teaching assistant happened
to be future ASC member Woody
Omens. "I was thoroughly chagrined by
these photographs, but Woody held
them up and said, 'Mr. Bailey here has
done something very interesting. You
might expect a subject like this to be
shot in a documentary style, but he has
chosen to make it very high key. It's
almost as if Richard Avedon had
photographed a hamburger stand!' I saw
this as a complete disaster, and Woody
put a beautiful, supportive, positive spin
on it. Woody is the reason I had the
courage to step beyond the disaster and
pursue photography."
Beyond Omens' early encouragement and the satisfaction Bailey subsequently found while shooting student
films, another factor lured him away
from film criticism. "I think I saw my
future potentially as a hermit writing in
an ivory tower," he says. "[But] there was
enough of my father's blue-collar blood
in me that I felt I needed to do some
physical work in the world." Upon leaving USC at the end of his second year,
he found jobs on the lowest rung of the
camera-department ladder. "Working as
a camera assistant, even at the loader
stage, was physical work, and I found it
to be immensely satisfying."
Bailey labored in various capacities on several "zero-budget" films, as he
relates, and then - once in the union
- on Monte Hellman's cult favorite
Two-Lane Blacktop, where he worked as
camera assistant under Hungarian cinematographer Gregory Sandor, who
taught him about the precision involved
in classical cinematography. Another
formative influence was director of
photography Jimmy Dickson, whom
Bailey credits as an essential supporter
during his early commercial work.
"Jimmy was a crucial link for me to
develop disciplined work skills, and he
was a master at technical, in-camera
cinematography," he notes.
Later, as the camera operator on
Top: Bailey on set
for Honky Tonk
Freeway with
director John
Schlesinger (left)
and producer Don
Boyd. Middle:
Bailey with Robert
Redford and Mary
Tyler Moore
between scenes on
Ordinary People.
Bottom: Bailey and
Jeff Goldblum don
identical prop
glasses on the set
of The Big Chill.
www.theasc.com
February 2015
57
http://www.theasc.com
American Cinematographer - February 2015
Table of Contents for the Digital Edition of American Cinematographer - February 2015
Contents
American Cinematographer - February 2015 - Cover1
American Cinematographer - February 2015 - Cover2
American Cinematographer - February 2015 - 1
American Cinematographer - February 2015 - 2
American Cinematographer - February 2015 - Contents
American Cinematographer - February 2015 - 4
American Cinematographer - February 2015 - 5
American Cinematographer - February 2015 - 6
American Cinematographer - February 2015 - 7
American Cinematographer - February 2015 - 8
American Cinematographer - February 2015 - 9
American Cinematographer - February 2015 - 10
American Cinematographer - February 2015 - 11
American Cinematographer - February 2015 - 12
American Cinematographer - February 2015 - 13
American Cinematographer - February 2015 - 14
American Cinematographer - February 2015 - 14a
American Cinematographer - February 2015 - 14b
American Cinematographer - February 2015 - 15
American Cinematographer - February 2015 - 16
American Cinematographer - February 2015 - 17
American Cinematographer - February 2015 - 18
American Cinematographer - February 2015 - 19
American Cinematographer - February 2015 - 20
American Cinematographer - February 2015 - 21
American Cinematographer - February 2015 - 22
American Cinematographer - February 2015 - 23
American Cinematographer - February 2015 - 24
American Cinematographer - February 2015 - 25
American Cinematographer - February 2015 - 26
American Cinematographer - February 2015 - 27
American Cinematographer - February 2015 - 28
American Cinematographer - February 2015 - 29
American Cinematographer - February 2015 - 30
American Cinematographer - February 2015 - 31
American Cinematographer - February 2015 - 32
American Cinematographer - February 2015 - 33
American Cinematographer - February 2015 - 34
American Cinematographer - February 2015 - 35
American Cinematographer - February 2015 - 36
American Cinematographer - February 2015 - 37
American Cinematographer - February 2015 - 38
American Cinematographer - February 2015 - 39
American Cinematographer - February 2015 - 40
American Cinematographer - February 2015 - 41
American Cinematographer - February 2015 - 42
American Cinematographer - February 2015 - 43
American Cinematographer - February 2015 - 44
American Cinematographer - February 2015 - 45
American Cinematographer - February 2015 - 46
American Cinematographer - February 2015 - 47
American Cinematographer - February 2015 - 48
American Cinematographer - February 2015 - 49
American Cinematographer - February 2015 - 50
American Cinematographer - February 2015 - 51
American Cinematographer - February 2015 - 52
American Cinematographer - February 2015 - 53
American Cinematographer - February 2015 - 54
American Cinematographer - February 2015 - 55
American Cinematographer - February 2015 - 56
American Cinematographer - February 2015 - 57
American Cinematographer - February 2015 - 58
American Cinematographer - February 2015 - 59
American Cinematographer - February 2015 - 60
American Cinematographer - February 2015 - 61
American Cinematographer - February 2015 - 62
American Cinematographer - February 2015 - 63
American Cinematographer - February 2015 - 64
American Cinematographer - February 2015 - 65
American Cinematographer - February 2015 - 66
American Cinematographer - February 2015 - 67
American Cinematographer - February 2015 - 68
American Cinematographer - February 2015 - 69
American Cinematographer - February 2015 - 70
American Cinematographer - February 2015 - 71
American Cinematographer - February 2015 - 72
American Cinematographer - February 2015 - 73
American Cinematographer - February 2015 - 74
American Cinematographer - February 2015 - 75
American Cinematographer - February 2015 - 76
American Cinematographer - February 2015 - 77
American Cinematographer - February 2015 - 78
American Cinematographer - February 2015 - 79
American Cinematographer - February 2015 - 80
American Cinematographer - February 2015 - 81
American Cinematographer - February 2015 - 82
American Cinematographer - February 2015 - 83
American Cinematographer - February 2015 - 84
American Cinematographer - February 2015 - 85
American Cinematographer - February 2015 - 86
American Cinematographer - February 2015 - 87
American Cinematographer - February 2015 - 88
American Cinematographer - February 2015 - Cover3
American Cinematographer - February 2015 - Cover4
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