Biography

Member of the American Society of Cinematographers (ASC) since 1995.

Often made small appearances in some of the movies he shot, as well as ones he didn't, such as The Howling (1981) and The Abyss (1989).

He contributed with three films that were nominated for the Best Picture Oscar: Taxi Driver (1976), Raging Bull (1980) and The Fugitive (1993).

The thing that really touches me is acting. I believe cinematography is much closer to acting than most people realize. I used to think of actors as the people who never hit the mark, or were late, or angry. Later, I became more appreciative and empathetic.

The unique thing about acting on film is that you simply can't fake it. You have to become whomever you are portraying. Otherwise, the camera sees it every time. The other thing is that it's on film. If an actor in a live theater has a bad night, there's always tomorrow. That's not true with film. All of this is also true for the director of photography. You can't fake it. And once you've rolled the camera, the film is there for everyone to see.

Everybody should direct one movie, because no matter what the subject, you're so excited that you're going to direct a movie that you do actually get emotionally involved with it. I was lucky enough in All the Right Moves (1983) to be emotionally involved in the story. It was kind of a valentine to my two older sons because I had been divorced when they were kids. The film is partly about fathers and sons, and that meant something to me.