American Cinematographer - March 2011 - 53
Left: Candice Bergen is at the center of attention and O’Shea is at the camera during filming of Stick (1985), directed by and starring Burt Reynolds (right). Right: On set for Robin Hood: Men in Tights, O’Shea (center) shares a laugh with director Mel Brooks (wearing sunglasses) while reviewing a take.
would move me up to operator in three years. It was unheard of to move up to operator that fast! Truthfully, it was the last thing on my mind. I just wanted to learn to be a good first assistant.” True to his word, three years later Howard moved O’Shea up to operator on the anthology series Love Story. Michael Landon directed the first episode. “Michael was a very creative director and liked to [move the camera around a lot],” O’Shea says. “Howard said to me, ‘This is going to be a tough job. If we start laying out shots and you think you’re going to have a problem, just give me a wink, and I’ll make an excuse and come in and do the shot.’” “The very first shot had me
walking behind the camera — the Italian dolly was too small to ride — bringing somebody in a door, taking him down a hallway and into a living room where, after a bit of a scene, I took him out of the room, down the hallway again and into a bathroom. I was winking like crazy, and Howard was just laughing!” O’Shea spent 17 years as an operator, working primarily in TV with, among others, ASC members Robert Stevens, Ed Brown Sr. and James Crabbe. He says he learned from all of them. He suggests that Cannonball Run , with director of photography Nick McLean, was the film that really got him started. “It was my first feature as the A-camera operww.theasc.com w
ator. Actually, my first was Raise the Titanic, with Matt Leonetti, ASC, but I didn’t finish that film. I was dealing with some personal issues at the time. I will always [be grateful] to Matt for [giving me a second chance] on Extreme Prejudice.” O’Shea operated on 11 films with McLean, including Mel Brooks’ Spaceballs. “When Nick didn’t have time to pre-light scenes, he would ask me to do it and then shoot some tests. Watching dailies the following day, Nick never failed to inform Mel that I had shot the tests. Mel kept telling me, ‘I’m keeping my eye on you. If I ever get an opportunity, I’m going to make you a director of photography.’” In 1993, Brooks made good on
March 2011 53
http://ww.theasc.com
American Cinematographer - March 2011
Table of Contents for the Digital Edition of American Cinematographer - March 2011
American Cinematographer - March 2011
Contents
Editor’s Note
President’s Desk
Short Takes: Nowhere Near Here
Production Slate: Image Interchange Framework • The Imperialists Are Still Alive!
Master Plans
Weekly Wonders
Lessons Well Learned
Photographing Movie History
Filmmakers’ Forum: Lisa Wiegand
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gene Polito, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Crescenzo Notarile
American Cinematographer - March 2011 - American Cinematographer - March 2011
American Cinematographer - March 2011 - Cover2
American Cinematographer - March 2011 - 1
American Cinematographer - March 2011 - 2
American Cinematographer - March 2011 - Contents
American Cinematographer - March 2011 - 4
American Cinematographer - March 2011 - 5
American Cinematographer - March 2011 - 6
American Cinematographer - March 2011 - 7
American Cinematographer - March 2011 - Editor’s Note
American Cinematographer - March 2011 - 9
American Cinematographer - March 2011 - President’s Desk
American Cinematographer - March 2011 - 11
American Cinematographer - March 2011 - Short Takes: Nowhere Near Here
American Cinematographer - March 2011 - 13
American Cinematographer - March 2011 - 14
American Cinematographer - March 2011 - 15
American Cinematographer - March 2011 - Production Slate: Image Interchange Framework • The Imperialists Are Still Alive!
American Cinematographer - March 2011 - 17
American Cinematographer - March 2011 - 18
American Cinematographer - March 2011 - 19
American Cinematographer - March 2011 - 20
American Cinematographer - March 2011 - 21
American Cinematographer - March 2011 - 22
American Cinematographer - March 2011 - 23
American Cinematographer - March 2011 - 24
American Cinematographer - March 2011 - 25
American Cinematographer - March 2011 - Master Plans
American Cinematographer - March 2011 - 27
American Cinematographer - March 2011 - 28
American Cinematographer - March 2011 - 29
American Cinematographer - March 2011 - 30
American Cinematographer - March 2011 - 31
American Cinematographer - March 2011 - 32
American Cinematographer - March 2011 - 33
American Cinematographer - March 2011 - 34
American Cinematographer - March 2011 - 35
American Cinematographer - March 2011 - 36
American Cinematographer - March 2011 - 37
American Cinematographer - March 2011 - Weekly Wonders
American Cinematographer - March 2011 - 39
American Cinematographer - March 2011 - 40
American Cinematographer - March 2011 - 41
American Cinematographer - March 2011 - 42
American Cinematographer - March 2011 - 43
American Cinematographer - March 2011 - 44
American Cinematographer - March 2011 - 45
American Cinematographer - March 2011 - 46
American Cinematographer - March 2011 - 47
American Cinematographer - March 2011 - 48
American Cinematographer - March 2011 - 49
American Cinematographer - March 2011 - Lessons Well Learned
American Cinematographer - March 2011 - 51
American Cinematographer - March 2011 - 52
American Cinematographer - March 2011 - 53
American Cinematographer - March 2011 - 54
American Cinematographer - March 2011 - 55
American Cinematographer - March 2011 - 56
American Cinematographer - March 2011 - 57
American Cinematographer - March 2011 - Photographing Movie History
American Cinematographer - March 2011 - 59
American Cinematographer - March 2011 - 60
American Cinematographer - March 2011 - 61
American Cinematographer - March 2011 - 62
American Cinematographer - March 2011 - 63
American Cinematographer - March 2011 - 64
American Cinematographer - March 2011 - 65
American Cinematographer - March 2011 - Filmmakers’ Forum: Lisa Wiegand
American Cinematographer - March 2011 - 67
American Cinematographer - March 2011 - New Products & Services
American Cinematographer - March 2011 - 69
American Cinematographer - March 2011 - 70
American Cinematographer - March 2011 - 71
American Cinematographer - March 2011 - 72
American Cinematographer - March 2011 - 73
American Cinematographer - March 2011 - International Marketplace
American Cinematographer - March 2011 - Classified Ads
American Cinematographer - March 2011 - Ad Index
American Cinematographer - March 2011 - 77
American Cinematographer - March 2011 - In Memoriam: Gene Polito, ASC
American Cinematographer - March 2011 - 79
American Cinematographer - March 2011 - ASC Membership Roster
American Cinematographer - March 2011 - 81
American Cinematographer - March 2011 - Clubhouse News
American Cinematographer - March 2011 - 83
American Cinematographer - March 2011 - ASC Close-Up: Crescenzo Notarile
American Cinematographer - March 2011 - Cover3
American Cinematographer - March 2011 - Cover4
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