American Cinematographer - November 2015 - 86

From left:
Society members
Paul Maibaum,
Patrick Cady,
Peter Moss,
Dibie, Wexler,
Bennett and
Peter Levy
participate in
another of the
Committee's
events.

Dibie details. "We came through the ranks
and learned how every step worked, and
that's what we teach.
"Many of the students are interested
in technology, but we let them know that
these are just tools," Dibie continues. "Tools
change, but storytelling is always there."
The participants also talk about
movies. Dibie usually asks how many
people have seen Lawrence of Arabia -
often only half of the students have - and
praises cinematographer Freddie Young,
BSC's lighting and choice of lenses. And
Citizen Kane always comes up as an example of how cinematographer Gregg Toland,
ASC used deep focus. "We mention many,
many pictures," says Dibie.
Across the board, Dibie says, every
new group of students enters the Clubhouse thinking they know the motionpicture business but leaves with a significantly expanded awareness of the industry.
"So many of them think they can just put a
camera on their shoulder and make a
movie," says Dibie. "But I ask how many of
them have been on a set and, if so, how
many people they saw there. You can't do
this by yourself. It's a collaborative business."
Another question the panelists
frequently entertain is how they got into
the business. "First, I say, the time when we
did this is different from yours," Dibie notes.
"Before, it took forever to get into a guild;
86

November 2015

today, it's wide open. You have digital
cameras, and everyone can pick one up and
shoot. It's easier for your generation, but
your biggest problem is competition. Thirty
years ago, there were 1,000 graduates from
film-school programs. Now, 80,000
[students] graduate per year, and you all
compete. Because of that, we tell them
that's it's no longer enough to put a camera
on your shoulder and be ready to go. You
have to work very hard and learn about
everything that happens on set and in
post."
Equally important is attitude, says
Dibie. "You have to learn on-set etiquette,"
he stresses. "You can't check your cellphone every few minutes. When you're on
set, your iPhone stays away." Being on time
is also crucial, Dibie adds. "If you're late,
what happens?" he asks. "You won't be
there the next day." Other advice includes
encouraging students to visit galleries and
look at art and still photography, as well as
to volunteer to work on as many student
films as possible.
Beyond discussing on-set work,
Dibie and his fellow ASC members talk
about the practicalities of guiding their
images through postproduction. "When
there are too many chefs in the kitchen,
your work can get burned," says Dibie.
"We give examples and show them how to
follow their work from A to Z. We stress
that they need to make sure the audience
American Cinematographer

will see what they shot, or it could damage
their reputations." The panelists touch on
ACES and give the students a handout with
additional information about the system.
But, Dibie muses, before the students can
run, "first they have to learn how to walk."
Inevitably, Dibie has to explain the
difference between the International Cinematographers Guild and the ASC. "Often,
the students think we're a union," he says.
"We explain how you become a member of
the International Cinematographer's Guild,
and how that differs from becoming a
member of the ASC."
By the end of the two-hour session,
the visiting students have amassed a wealth
of real-world information that will stay with
them as they begin their professional
careers. "Every student who attends [one of
these panels] cites it as a highlight of their
film education," notes Dibie.
Crudo notes that the Society
members who volunteer to participate in
these panels "get as much out of [the experience] as the students. Our ASC ambassadors answer questions and mix with the
students. They carry the instruction to the
next level, and it's really energized everyone.
It's been a magnificent success."
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American Cinematographer - November 2015

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