#1: From interview [by DPTV, 2010]

 

   


BARRY MARKOWITZ   ASC

 

Born: ?, Brooklyn, New York City, N.Y., USA.

Education: Hebrew University, Jerusalem [Jewish history].

Career: Learned about cameras and lenses during a stint in the camera room of Ferco, a camera rental facility in New York, and then learned lighting, film stocks, and set procedure as a much sought-after c.asst. He likes to keep a low profile, working on commercials and other projects that keep him, in his own words, 'outside the club'.

Ph commercials dir by Brian Buckley, Hank Pearlman, David Gray [for Tribeca Film Festival], Kenny Herzog/Clay Weiner [for Bud Light], Javier Blanco, Scott Vincent, Haskell Wexler, a.o. Ph music videos dir by Billy Bob Thornton.

Member of the ASC since 2005.

Awards: Las Vegas Film Critics Society 'Sierra Award' nom [2000] for 'All the Pretty Horses'.

Website: Barry Markowitz


'All the Pretty Horses' [1999]: One of Barry Markowitz's first choices was to shoot anamorphic. "That's the way we had to go, because it's big and wide," he says. "We toyed around with Super 35, but I got comments from editors and other DPs saying to go anamorphic, because the opticals will hold up better. So I shot with a great amount of light, which is something I never do. But I had to do it for focus, because I didn't want reshoots. I shot with a high depth-of-field - 16 I'd be shooting indoors, at night I'd be shooting at 11. Sometimes it was really disgusting looking. It was so overlit. Matt Damon would come on the set in sunglasses. But I just kept the ratios the same. Whether you're way down at the end of the scale, or way up on top, if you have the same ratio, even though it looks ugly to the eye, it all comes out in the end. […] Although to the eye the interior sets often looked like a house ablaze, again Thornton kept pushing for low light, and an uncluttered image. Apart from the double 85 for midday exteriors, filters and diffusion were verboten on the 'All the Pretty Horses' set: "Not even on the talent, not even on Penelope [Cruz]," says the cinematographer. "She doesn't need it anyway. For Billy, the rawer the better, the less makeup the better - no makeup is good, too." [From article by John Calhoun in 'Lighting Dimensions', 2001.]


 FILMS

1986

Hotel Colonial [Cinzia Th. Torrini] c; ph New York skyline; ph: Giuseppe Rotunno

1986

Bashir, Bashir [Barry Markowitz] c; dram doc/30m; based on the life of Bashir, a Bedouin artist in the Middle East

1988

The Big Bang [James Toback] c; doc/81m

1988

Torn Apart/Ahava Asura [Jack Fisher] c

1991

Paper Hearts/Cheatin' Hearts [Rod McCall] c

1995

Sling Blade/Reckoning [Billy Bob Thornton] c

1996

The Apostle [Robert Duvall] c

1997

Chinese Coffee [Al Pacino] c; co-addph; ph: Frank Prinzi; prod started in May 1997 and filming continued in between other film commitments of A. Pacino; premiered in September 2000

1997

Two Girls and a Guy [James Toback] c

1998

Cement [Adrian Pasdar] scheduled as doph, but was replaced by Geary McLeod

1998

Daddy and Them [Billy Bob Thornton] c

1999

The Simian Line [Linda Yellen] c; addph; ph: David Bridges

1999

All the Pretty Horses [Billy Bob Thornton] p/c; 2uc (+ 2ud): Fred Murphy; see above

2002

Sonny [Nicolas Cage] c

2002

Fatal Fallout [Gary Null] v/c; doc/85m; cph: Derek Ramsey & Robert Kehoe

2006

A Nick in Time [Bé Garrett] s16/c; short/10m

2008

Crazy Heart [Scott Cooper] s35 (+ D-Cinema)/c

2009

The Last Session [Rick Knief] c; short/7m

2010

God's Fiddler - Jascha Heifetz 1901-1987 [Peter Rosen] b&w-c; doc/88m; ph Heifetz Studio at the Colburn School; ph: P. Rosen

2010

Good Men [Brian Connors] HD/c; short/12m

2011

Jayne Mansfield's Car [Billy Bob Thornton] s35 (+ D-Cinema)/c

2012

Wild Side/Mississippi Wild/Cross the Dog [Jesse Baget] pre-production; scheduled to start filming in March 2011, later July 2011, and now July 2012; status unknown

2013

A Plain Morning [Craig Brownrigg] c; short/13m

2013

Miss Meadows [Karen Leigh Hopkins] c

2013

Motel de Gracia [Juan Pablo Reinoso] announced; looking for funds

2013

Scripted Content [Matthew Frost] c; short/2m; for Vogue Magazine (released on internet, 2014)

2014

Late in the Season [Gary Hershberger] pre-production (looking for investors)

2014

Court of Conscience [James Haven] c; short/20m

2014

Wild Horses [Robert Duvall] HD/c; 2uc: Paul McKay Taylor; aph: Christian Jensen

2015

Being Charlie [Rob Reiner] HD/c

2015

LBJ [Rob Reiner] HD (ARRI ALEXA XT/p & AMIRA/p)/c; ph Washington, D.C. unit: Michael Stumpf

2016

Wetlands [Emanuele Della Valle] c

2016

Shock and Awe [Rob Reiner] HD/c

 

 TELEVISION

1987

M & W [Men and Women] [Don Mischer] special/60m; for ABC-tv

1988

AIDS: The Facts of Life [Scott J.T. Frank] doc/27m; cph: Bill Dill & Kevin Cloutier

 

 MISCELLANEOUS

1980

A Private Battle [Robert M. Lewis; tvm] 2nd c.asst; ph: Larry Pizer

1981

Johnny Goes Home [to Nebraska] [ David Lowe Jr.; tv-doc/90m] co-c.asst; ph: Jack Churchill

1982

Angelo My Love [Robert Duvall] c.asst; ph: Joseph Friedman

1983

Heritage - Civilization and the Jews [ep #1 'A People Is Born' dir by Eugene Marner (EM) & #6 'Roads from the Ghetto' dir by EM] 9-part doc tv-series, 1984; co-c.asst; ph: Francis Kenny (#1), Avraham Karpick (#1 & #6), Burleigh Wartes (#1), Lloyd Freidus (#6), a.o.; for PBS-tv

1984

Special Effects [Larry Cohen] Steadicam asst; ph: Paul Glickman

1984

A Class Divided [William Peters; doc for PBS-tv series 'Frontline'] co-c.asst; ph: Lloyd Freidus

1984

City Limits [Aaron Lipstadt] visual cons; ph: Tim Suhrstedt

1986

Bashir, Bashir [dir; + ph] see Films