American Cinematographer - February 2017 - 67
Northwest. "David looked at my Michael
Mann stuff and said, 'Ron, do you have
something warm?' I'd just finished a
period piece about nuclear-weapons testing in the desert [Nightbreaker], which
received a CableACE nomination, so I
showed him those dailies, and he said,
'Yeah, okay.' The rest is history!" In
consultation with Fujifilm technicians,
Garcia achieved Twin Peaks' distinctive
warm palette by doubling the 85 filter
when shooting 500-speed tungsten stock
and using a single 85 with slower,
daylight-balanced stocks. (His podcast
about this project is one of the most
popular AC has yet produced:
www.theasc.com/site/podcasts/twinpeaks-pilot-1990-ron-garcia-asc/.)
Garcia received his first ASC
Award nomination for Twin Peaks; he
was also nominated for the award - and
received an Emmy nod as well - for part
one of the miniseries Murder in the
Heartland. He received additional ASC
nominations for the telefilms Divas and
The Day Lincoln Was Shot, and he won a
CableACE Award for the HBO telefilm
El Diablo. The Day Lincoln Was Shot also
earned Garcia his second Emmy nomination. "I loved doing miniseries and
movies of the week because that's where
you could really get your teeth into something creatively," says the cinematographer. "I had a blast shooting an
after-school special for Diane Keaton's
first narrative film as a director [The Girl
With the Crazy Brother]. I loved working
with her!"
Garcia became an ASC member
on Aug. 9, 1994, after being proposed for
membership by Society members
Linwood Dunn, Philip Lathrop and
Steven B. Poster. He notes that it was
through a chance encounter with young
Italian cinematographer (and future
ASC member) Vittorio Storaro that he
came to know Dunn and Lathrop, both
ASC legends. He explains, "I met
Vittorio around 1980, when he came to
California to complete scenes for Warren
Beatty's Reds. A producer, Marty
Hornstein [known for his work on the]
Star Trek [franchise], had hired me to
shoot 'Washoe,' the signing chimpanzee,
Top: Garcia
measures the light
on actor Esai
Morales on the set
of Rainy Day
Friends. Middle:
Garcia on set for
an AT&T
commercial in
1987. Bottom: The
cinematographer
poses with a
Panavision camera.
www.theasc.com
February 2017
67
http://www.theasc.com/site/podcasts/twinpeaks-pilot-1990-ron-garcia-asc/
http://www.theasc.com/site/podcasts/twinpeaks-pilot-1990-ron-garcia-asc/
http://www.theasc.com
American Cinematographer - February 2017
Table of Contents for the Digital Edition of American Cinematographer - February 2017
Contents
American Cinematographer - February 2017 - Cover1
American Cinematographer - February 2017 - Cover2
American Cinematographer - February 2017 - 1
American Cinematographer - February 2017 - 2
American Cinematographer - February 2017 - Contents
American Cinematographer - February 2017 - 4
American Cinematographer - February 2017 - 5
American Cinematographer - February 2017 - 6
American Cinematographer - February 2017 - 7
American Cinematographer - February 2017 - 8
American Cinematographer - February 2017 - 9
American Cinematographer - February 2017 - 10
American Cinematographer - February 2017 - 11
American Cinematographer - February 2017 - 12
American Cinematographer - February 2017 - 13
American Cinematographer - February 2017 - 14
American Cinematographer - February 2017 - 15
American Cinematographer - February 2017 - 16
American Cinematographer - February 2017 - 17
American Cinematographer - February 2017 - 18
American Cinematographer - February 2017 - 19
American Cinematographer - February 2017 - 20
American Cinematographer - February 2017 - 21
American Cinematographer - February 2017 - 22
American Cinematographer - February 2017 - 23
American Cinematographer - February 2017 - 24
American Cinematographer - February 2017 - 25
American Cinematographer - February 2017 - 26
American Cinematographer - February 2017 - 27
American Cinematographer - February 2017 - 28
American Cinematographer - February 2017 - 29
American Cinematographer - February 2017 - 30
American Cinematographer - February 2017 - 31
American Cinematographer - February 2017 - 32
American Cinematographer - February 2017 - 33
American Cinematographer - February 2017 - 34
American Cinematographer - February 2017 - 35
American Cinematographer - February 2017 - 36
American Cinematographer - February 2017 - A
American Cinematographer - February 2017 - B
American Cinematographer - February 2017 - 37
American Cinematographer - February 2017 - 38
American Cinematographer - February 2017 - 39
American Cinematographer - February 2017 - 40
American Cinematographer - February 2017 - 41
American Cinematographer - February 2017 - 42
American Cinematographer - February 2017 - 43
American Cinematographer - February 2017 - 44
American Cinematographer - February 2017 - 45
American Cinematographer - February 2017 - 46
American Cinematographer - February 2017 - 47
American Cinematographer - February 2017 - 48
American Cinematographer - February 2017 - 49
American Cinematographer - February 2017 - 50
American Cinematographer - February 2017 - 51
American Cinematographer - February 2017 - 52
American Cinematographer - February 2017 - 53
American Cinematographer - February 2017 - I1
American Cinematographer - February 2017 - I2
American Cinematographer - February 2017 - I3
American Cinematographer - February 2017 - I4
American Cinematographer - February 2017 - I5
American Cinematographer - February 2017 - I6
American Cinematographer - February 2017 - 54
American Cinematographer - February 2017 - 55
American Cinematographer - February 2017 - 56
American Cinematographer - February 2017 - 57
American Cinematographer - February 2017 - 58
American Cinematographer - February 2017 - 59
American Cinematographer - February 2017 - 60
American Cinematographer - February 2017 - 61
American Cinematographer - February 2017 - 62
American Cinematographer - February 2017 - 63
American Cinematographer - February 2017 - 64
American Cinematographer - February 2017 - 65
American Cinematographer - February 2017 - 66
American Cinematographer - February 2017 - 67
American Cinematographer - February 2017 - 68
American Cinematographer - February 2017 - 69
American Cinematographer - February 2017 - 70
American Cinematographer - February 2017 - 71
American Cinematographer - February 2017 - 72
American Cinematographer - February 2017 - 73
American Cinematographer - February 2017 - 74
American Cinematographer - February 2017 - 75
American Cinematographer - February 2017 - 76
American Cinematographer - February 2017 - 77
American Cinematographer - February 2017 - 78
American Cinematographer - February 2017 - 79
American Cinematographer - February 2017 - 80
American Cinematographer - February 2017 - 81
American Cinematographer - February 2017 - 82
American Cinematographer - February 2017 - 83
American Cinematographer - February 2017 - 84
American Cinematographer - February 2017 - 85
American Cinematographer - February 2017 - 86
American Cinematographer - February 2017 - 87
American Cinematographer - February 2017 - 88
American Cinematographer - February 2017 - 89
American Cinematographer - February 2017 - 90
American Cinematographer - February 2017 - 91
American Cinematographer - February 2017 - 92
American Cinematographer - February 2017 - 93
American Cinematographer - February 2017 - 94
American Cinematographer - February 2017 - 95
American Cinematographer - February 2017 - 96
American Cinematographer - February 2017 - Cover3
American Cinematographer - February 2017 - Cover4
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