IEC
#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'.
'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 |
