American Cinematographer - May 2020 - 14

serious, and has done their due diligence.
There are some wonderful resources
online, forums where you can interact
with professionals all around the world.
But even within those groups, individuals
who come in with "basic" questions that
can be easily answered with a quick
Google search gain no respect (and are
often even ostracized).
This doesn't mean you're required
to go to film school - although if you go
to the same school your would-be mentor
attended, that can be a great personal
connection. Whether you attended
formal school, enrolled in multiple
programs or workshops, or are just selftaught, you have to be knowledgeable to
gain respect. Know your trade and be able
to show, clearly, your skills and knowledge.

The mentor needs to know you're
willing to learn
All of these points are requirements, but this one is a biggie. I have
spent a lot of time with individuals over
the years, offering myself as a resource. I
have, many times, offered my contact
information and extended the open invitation to email me or contact me on social
media with any questions. Very few ever
have. If they do, it's usually one question,
May 2020

and then they move on. The ones who
catch my eye are the ones who come with
legitimate, knowledgeable questions
(showing me they've done their work and
are looking to gain a deeper understanding of something). They're not pests, they
don't demand my time, and they're
respectful of my schedule and workload.
But the ones who return get my attention.
It's also important that they listen
and take my advice/suggestions into
consideration. There are many egos in
this industry, and many young filmmakers
want to prove they know what they're
doing, so they shut themselves off to
other insights. "Eh, I know that stuff, I
don't need to ask about it ..." Or they fear
that if they DO ask, they'll be seen as
weak.
If you are an aspiring cinematographer and you approach me at an event
and ask me to explain an f-stop, I may
patiently answer your question (most
likely will), but I will not take you seriously
as a professional. That's a basic question,
and the answer is easily found in
hundreds of sources. If, instead, you
approach me at the event and ask, "Do
you think it's a problem that we don't
have f-stop markings on lenses anymore
when it's really the f-stop that dictates

American Cinematographer - 100 Years

depth of field and the T-stop is merely a
measurement of light? Aren't we asking
for trouble in the age of larger sensors
and longer, faster lenses to not know the
actual f-stop?" THAT is an informed question that shows me you have a solid grasp
of the subject and you're looking for
further understanding. NOW you have
my attention, and you stand out. Not to
denigrate anyone who asks questions -
there truly are no stupid questions
(except those that go unasked), and I'm
happy to answer most any question I can
- but asking simple questions will not
inspire someone to mentor you. Seeking
more in-depth knowledge might.
Further, if someone offers you
advice or invites you to contact them to
ask questions, DO IT. Follow up. Keep that
contact alive. No one is going to extend
this offer without meaning it. And no one
is going to blanket-extend an offer of
further contact without authentically
being willing to spend their time responding. I've made this mistake many times in
my career - I've had the opportunity to
connect with someone at a higher point
in their career, and I've shied away from
it, not wanting to "bother" them. Phooey.
If they make the offer, take it. Show your
willingness to accept their advice and
knowledge.
➔

Photo at left courtesy of the AC Archive. Photo at right courtesy of George Mooradian, ASC.

t Future ASC member Crescenzo Notarile (right) landed his first camera-operator job on Once Upon a Time in America (1984), serving under Tonino Delli Colli, AIC
(center). Notarile's father joined them for the photo. u Future ASC member George Mooradian (right) with Vilmos Zsigmond, ASC, HSC on location for The Deer
Hunter in 1977. "I spent $40 in phone calls with Vilmos, and he finally got permission for me to visit," Mooradian says. "I flew to Cleveland, slept in the camera room,
and worked on the whole wedding scene - it took a week to film."

American Cinematographer - May 2020

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