American Cinematographer - March 1995 - 45

which at the time was making a
lot of money. They were making

things very difficult, shaking
down American production com¬

LEE Filters

panies to get more money from
them or making them take more
workers. [The actorsl Jorge
Negrete, Cantinflas and I tried to
break away from them by setting
up our own office, and when they
tried to stop us with false docu¬
ments, I published a notice in the
newspaper condemning the cor¬
ruption in the union.
"The

Central

de

Trabajadores Mexicanos [the
umbrella organization of Mexi¬
can labor]
arranged a meeting

UCLfl

EXTENSION

Train nil

between all of the divisions of la¬
bor. When the leader of the CTM
asked me to talk, I told him ev¬

erything, all of the corrupt things
that these men had been doing.

Top Professionals
in Cinemafographij

All of the sudden this gangster
cut in: 'So tell us names, then.'
'Well you, sir,' I said, 'are at the
head of the list.' He shot out of his
seat and called me an idiot. I said
'Don't call me an idiot,' and as I

got up he hit me; he was a big

Visual

man and he wore a
ring that
broke my cheekbone. I went to
the hospital and we left the union

to form the

exists

Arriflex Certification
for Camera Assistants

people, but

we needed a license
from the government. The indus¬
try was paralyzed for at least a
month. And then a leader of the

with Bill Bussell, Western Sales

very honest man,
decided to help us out. He called
the Secretary of Labor and said,

for

one

a

&o
*■<

OQ

CP
e

n

1X3

minute. Tomorrow, two

day after, three, and
so on until we are
granted the
right to work.' They turned off
the electricity three nights in a
row, and on the third day we re¬
ceived approval from the govern¬
ment to make our

films."

cinematographer whose films
have aired nationally on PBS
and cable

we
couldn't work. We had the

minutes, the

with William McDonald,

television programs

beginning

'The people in cinema are taking
big losses. Tonight, we are going
to pull the power switch to the
Central District of Mexico City

An Introduction

and director of feature films and

today.

electricians,

Cinematography I:

Components of Cinema:

Basic Tools for the Filmmaker
with Bruce A. Block, producer

STPC, the union that

"In the

Entertainment Studies

Manager, Arriflex Corporation

with Harry Mathias, cinema¬
tographer for featurefilms,

Special Visual Effects
Cinematography

commercials, and documentaries

with Glenn

Cinematography IV: Camera
Operating and Interior
and Exterior Lighting

Campbell, Effects
Supervisor/Cameraman, Walt
Disney Studios; Special Effects
Supervisor, the TV series Viper,

with Earl Rath, ASC,

and Mark Sawicki, Matte

cinematographer

Cameraman, Illusion Arts, Inc.;
Cineon specialist

First

From

with Jesse

Steps in Electronic
Cinematography

03
Zfmmx,

Sprockets to Screen:
Understanding the
Technology and Expressive

director of

CL,:

head¬
quarters in the Churubusco stu¬
dios, recently constructed with

industrials

with Rob Hummel, Vice Presi¬
dent of Animation Technology,
Walt

The STPC took up

Disney TV Animation

Do you have questions about a
Callus at (310) 825-9064.

funds from RKO and U.S. entre-

Call
March 1995

Weathington,
photography for

broadcast television, documen¬
taries, commercials, and

Potential of the Film Medium
OO

Cinematography III:
Painting with Light

now

for your

specific

course

?
HL B01

free catalog (800) 554-UCLA.
American

Cinematographer

43
American Cinematographer - March 1995

Table of Contents for the Digital Edition of American Cinematographer - March 1995
