What do John Milius' "Dillinger," Steven King's "Salem's Lot," Dan O'Bannon's "Return of the Living Dead," Tom Gries's "The Glass House," and "Helter Skelter" and "Dalton Trumbo's "Johnny Got His Gun" movies have in common? They were all photographed by DP Jules Brenner. In this memoir he recalls some of his colorfully unique experiences with actors and directors, such as how he met (and shot) Paul Newman; got fired by Kirk Douglas, lit Donald Sutherland as Christ, got kissed by Geraldine Page, and speared a fish for lunch with Cheech Marin. He also develops a few theories about how a relatively minor assignment may have led to a significantly larger one, and relates (with irony and humor) how he got started on the journey that made all that (and MORE) possible. Included are his army training and the networking that opened a few critical doors; plus the painstaking process of getting into the union; the development of his visual aesthetic as guided and influenced by the story and the director; the difficulties of working with a few (new) directors vs. inspiring collaborations with well-established pros. His hope is that the recounting of his career path may provide useful ideas and guidelines to a new generation of camera talent wanting in on the movie industry. He also covers the sort of qualifications required to being accepted as a voting member of the motion picture academy (AMPAS).
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