American Cinematographer - February 1995 - 12

NYPD Clarification
an

In the November issue of AC,
article appeared featuring Brian

Reynolds and the shooting of Guarding
Tess. A postscript to the article inferred
that Mr. Reynolds had also created the
concept and cinematic grammar of the
TV show NYPD Blue, in essence giving
him credit for the new and exciting pal¬
ette of the series. The truth

is, Mr.

Reynolds had nothing to do with any as¬
pect of the initial cinematic concept or
execution, which earned the series

praise and recognition as a breakthrough
show when it aired

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10

reads

as

The paragraph
follows:

In question

"Postscript: Soon after com¬
pleting Guarding Tess, Reynolds was re¬
united with Bochco

on

N. Y.P.D. Blue, the

avant-garde TV series which is redefin¬
ing both the look and pace of visual
storytelling on television. It has already
earned Reynolds an ASC Outstanding

looked to ACas the

respected chronicler
cinematography. We all
look forward with great pleasure to the
monthly articles about how the great
classic films were made by master cam¬
eramen. It would certainly be a disser¬

Katch, and Turhan Bey, who were often
quite visible in the long shots from the
old film. At one curious point there is a
cut from a long shot in which Bey is
clearly visible to a closer angle of Morris
in a similar costume! Frank Puglia is

vice to all of

credited with

of the world of

if the

magazine distorted
history of this cinematic event.
us

I have been moved to write

CORPORATION

Sokolsky Films
Beverly Hills

Achievement Award nomination. He
earned a similar nomination two years

this letter not

3500 West Magnolia Blvd.

-

History affirms that the PILOT
and subsequent EIGHT episodes of the
series were the sole cinematic inspira¬
tion of Bing Sokolsky, in collaboration
with Gregory Hoblit, the director. In rec¬
ognition of this imaginative vision, Mr.
Sokolsky was nominated for two ASC
awards, one for the NYPD Blue pilot and
the other for one of the subsequent epi¬
sodes. This is only the second time in
ASC history that this has occurred.
My purpose in writing this let¬
ter is to give credit where credit is due,
not to discredit Mr. Reynolds, who is a
fine cameraman in his own right. I am
sure Mr. Reynolds does not want recog¬
nition for a concept that is not his. I know
it's tough to have to follow a format cre¬
ated by someone else, and we all have
had a taste of that unpleasant business.
The brotherhood has always

the

CINEMILLS

the forum of excellence AC has offered
us for over 75 years.
Melvin Sokolsky

for Civil Wars. Reynolds is exploring

ago

visual frontiers

some new

on

N. Y.P.D.

Blue, but that's another story."
nations

Sokolsky's ASC Award nomi¬
covered in AC May 1994.
Editor

were
-

Mixing Old
Footage

and New

Re: Richard J. Schmidt's his¬
torical article on Ali Baba and the 40
Thieves (AC October and November): In
1965 Universal "remade" the film as The
Sword of Ali Baba, with Virgil Vogel di¬

recting new footage designed around
highlights from the old film and Peter
Mann, Jocelyn Lane, Gavin McLeod, and
Greg Morris taking the roles originally
played by Jon Hall, Maria Montez, Kurt

playing the

same

role but,

having

seen the film since its origi¬
nal release, I don't remember if there
not

only because Mr. Bing

was

any new

Sokolsky is

role

was

all of

my son, but also on behalf of
who live in this era of media

which instance this interplaying between
old and new footage would predate both

us

hype and manipulation. We as cinema¬
tographers cannot afford to lose faith in

February 1995

the

footage with him or if his
entirely from the old film, in

mirage

sequence

in The Last Bemake
American Cinematographer - February 1995

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