American Cinematographer - August 2015 - 88

Close-up

Steven V. Silver, ASC

When you were a child, what film made the strongest impression on you?
To Have and Have Not was a good one. That film left a strong
impression of what type of man I wanted to become.
Which cinematographers, past or present, do
you most admire?
Sidney Hickox [ASC], for his work during his
contract days at Warner Bros., from great films like
The Big Sleep and White Heat to I Love Lucy.
Néstor Almendros [ASC] literally wrote the book:
A Man With a Camera. It is a must-read for
anyone pursuing a career in cinema. [ASC
members] Conrad Hall, Haskell Wexler, Jordan
Cronenweth, Vittorio Storaro - the list goes on.
What sparked your interest in photography?
My father was a radiologist who used to purchase
large amounts of X-ray film for his hospital. The sales people gave
him a Super 8 camera, free film and developing envelopes that sat
dormant in his closet. I became curious and started creating films of
my friends in the neighborhood. We'd gather in my bedroom, tack
up a white sheet to project on, and laugh out loud at our wacky
films. Even in its most primitive state, the power of cinema was
undeniably alive.
Where did you train and/or study?
My first classes were at Los Angeles Valley College and Tahoe Film
Workshops under Gerald Hirschfeld [ASC]. But it wasn't until my first
job at Hill Production Services that I really began to train, hands on.
Who were your early teachers or mentors?
Michael Endler from Hill Production Services and Sidney Sidell from
the Howard A. Anderson Company taught me how to be an assistant cameraman. David Eggby, ACS was the first cinematographer
who took me under his wing and shared his great wealth of knowledge; his approach to exposure and filtration gave me the confidence to begin shooting for others. George Spiro Dibie, ASC inspired
me to pursue multi-camera photography and gave me a basic understanding of lighting for four cameras.
What are some of your key artistic influences?
Life. When I experience beauty, drama, comedy, etc. in our everyday
world, I am compelled to document it. Whether with an SLR, an
iPhone, a sketch pad or paint, I enjoy watching the way light plays a
part in the world.
How did you get your first break in the business?
I walked into Hill Production Services, met Jean Hill, the owner, and
told her that I would sweep floors, clean toilets and do whatever she
88

August 2015

needed, and in turn she could pay me whatever she liked - I just
wanted to be around cameras. She hired me that day.
What has been your most satisfying moment on a project?
On Two and a Half Men, executive producer
Chuck Lorre wrote a song-and-dance scene for
Jon Cryer and Ashton Kutcher with 40 dancers. It
took place on the old New York Street on the
Warner Bros. back lot. Since it was a fantasy
sequence, I took the approach that our characters
were in a Broadway musical on a gigantic soundstage, much like the exterior work in West Side
Story. After weeks of prep, it was rewarding to
see the satisfaction on the faces of the producers
as the scene played out in real time.
Have you made any memorable blunders?
Yes.
What is the best professional advice you've ever received?
Make sure your chosen profession is your passion.
What recent books, films or artworks have inspired you?
The Calder exhibit at the Los Angeles County Museum of Art is
fantastic. The film Mr. Turner was my pick for best cinematography
- truly masterful! The book Journey to the East by Hermann Hesse
is a great reminder of the power you can gain by serving others.
Do you have any favorite genres, or genres you would like to
try?
A Western would be fun. Anything in a natural setting. My work has
been 85 percent onstage.
If you weren't a cinematographer, what might you be doing
instead?
Farming, surfing, still photography and painting are some of my
interests.
Which ASC cinematographers recommended you for
membership?
George Spiro Dibie, Donald A. Morgan and Michael O'Shea.
How has ASC membership impacted your life and career?
I now get approached to instruct classes and seminars in my field,
which has been an enjoyable perk of being a member. The Clubhouse has proven to be a favorite place to exchange views and
chime in on where our industry is heading. Spending time with the
greatest cinematographers of our time is an honor beyond words.
●

American Cinematographer

Table of Contents for the Digital Edition of American Cinematographer - August 2015