American Cinematographer - February 2017 - 68
◗
Shot From the Heart
giving birth for Robert Towne's
[planned Tarzan film], and Storaro was
shooting tests for Robert. Vittorio and I
met and became good friends when we
discovered we'd both been studying the
psychology of color and reading some of
the same books.
"When Coppola began prepping
One From the Heart," Garcia continues,
"Vittorio asked me to help him put
together a crew - he couldn't bring all
his key crew over from Italy - and
producer Gray Frederickson hired me as
his standby cinematographer. I spent a
year at Zoetrope, earning my 'master's
degree' watching Storaro shoot,
Coppola direct and Dean Tavoularis
68
February 2017
production-design. I did get to shoot
one week of pickups for Francis, with
Teri Garr, Nastassja Kinski and Fred
Forrest. It was amazing!"
At the time, Dunn was serving as
a special-effects consultant at Zoetrope,
and Lathrop was brought in to apply his
hard-light expertise to an experimental
short for Coppola, who was testing
nascent high-definition digital technologies. "Lin Dunn was like a god to
me, and he was still pin-sharp at 90,"
says Garcia. "I just peppered him with
questions, and he answered them. The
same was true of Phil Lathrop, who was
a black-and-white hard-light master. I
was never a hard-light cameraman
American Cinematographer
because it takes a little time. I watched
Phil place all these lights with no diffusion, we got to talking, and he took me
under his wing. This was at a time when
a lot of cameramen never shared their
secrets - and I didn't know any
cameramen, to tell you the truth. Who
was going to teach me? I'd learned
whatever I could by doing some pretty
flat-looking films at a rate of one every
year-and-a-half. By the time I got
another feature, I'd forgotten what I'd
learned on the last one! But Storaro,
Dunn and Lathrop all took the time to
talk to me. Storaro and Dunn, especially, changed my whole philosophy
about cinematography."
Garcia recalls a seminal moment
when he showed Storaro a short film he
had shot a few years earlier: "I was hired
to shoot a car-by for a film, and had
2,000 feet of Fujifilm stock left over, as
well as an Angenieux 25-250mm
zoom, an Arri IIC, a tripod and an
OConnor head for the rest of a weekend - so I called two friends and
decided to make a short. I made up an
abstract story about two strangers, one
from the 1920s and one from the
1960s, who meet in a [time warp]. We
Numb3rs photo by Cliff Lipson, courtesy of CBS Broadcasting Inc.
Clockwise from top left: Director/actor Rob
Morrow and Garcia on set for the "Growin' Up"
episode of the series Numb3rs; the
cinematographer hangs loose on set for the series
Hawaii Five-0; Garcia takes a seat on the process
stage for Hawaii Five-0.
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
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American Cinematographer - February 2017 - 76
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American Cinematographer - February 2017 - 78
American Cinematographer - February 2017 - 79
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American Cinematographer - February 2017 - 85
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American Cinematographer - February 2017 - Cover3
American Cinematographer - February 2017 - Cover4
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