IEC
#3: [Left] with dir Hal Ashby
HASKELL WEXLER
Born: 6 February 1922, Chicago, Illinois, USA, as Haskell P. Wexler.
Died: 27 December 2015, Providence Saint John's Health Center, Santa Monica, Calif., USA.
Education: Francis W. Parker School, Chicago; University of California, Berkeley.
Career: Became seaman [for 4½ years] in the merchant marine during WWII. After the war his father helped him to open a film studio in Des Plaines, Illinois, and he produced a number of industrial films, e.g. 'A Half Century with Cotton', shot in Opelika, Alabama. He closed his studio in 1947 and became c.asst in Chicago. Later he ph some doc's dir by John Barnes. Ph commercials for Kling Studios/Fred Niles Studios in Chicago. He wanted to ph feature films and therefore co-financed [with Roger Corman] and ph [under the pseudonym Mark Jeffrey] 'Stakeout on Dope Street', the debut of dir Irvin Kershner. Because of the difficulty of getting into the Hollywood Guild, he used pseudonyms [Mark Jeffrey and Phil Lewis] on 6 films. Went to Hollywood in 1955 and became c.asst on the tv-series 'Ozzie and Harriet'. After that he was allowed to enroll in the Hollywood International Photographers Guild as a first cameraman. In1998 he was leading an effort to institute 'Brent's Rule' [in memory of asst c.op Brent Hershman, who was killed when he fell asleep in his car after working a 20-hour day] which would place a permanent 14-hour workday limit in the film and tv business.
Ph commercials. Ph music videos, e.g. with a: Bruce Springsteen ['The River' & 'Thunder Road'; see Films 1979].
Was also active as director of features, doc's and commercials [with Conrad Hall for their own production company].
'Thanks' [because he brought the Maysles Brothers in contact with the Rolling Stones] on the credits of the mus doc 'Gimme Shelter' [1969, Charlotte Zwerin, Albert & David Maysles; ph: Robert Primes].
Was a member of the ASC [since 1966], a member of the Board of Governors of the Academy of Motion Picture Arts and Sciences [1991-2000 & 2003] and an associate member of the SOC.
He was the uncle of actress Daryl Hannah.
He is one of the 'stars' on Hollywood's 'Walk of Fame'.
The Woodstock Film Festival named it's 'Best Cinematography Award' after him.
Was married [1989-2015] to actress Rita Taggart.
Appearances/Interviews: 'Visions of Light: The Art of Cinematography' [1991], 'At Sundance' [1995; d/ph: Amy Hobby & Michael Almereyda], 'Steve McQueen: The King of Cool' [tv-doc; 1997, Robert Katz; ph: Dave Goldsmith & Vincent Toto], 'Chicago Filmmakers on the Chicago River' [1998, D.P. Carlson], 'Hollywood, D.C.: A Tale of Two Cities' [tv-doc; 2000, Kenneth Bowser; ph: Bernard McWilliams; 97m], 'Look Out Haskell, It's Real [: The Making of Medium Cool]' [2001, Paul Cronin; ph: Jonathan Cronin, Joan Churchill & Peter Prince; 55m], 'Rosy-Fingered Dawn: a Film on Terrence Malick' [2002, various; ph: Carlo Hintermann; 90m],'Tell Them Who You Are' [2004, Mark Wexler], 'Cinematographer Style' [2005, Jon Fauer; ph: J. Fauer, Jeff Laszlo, Brian Heller & David Morgan] & 'The Man Who Shot Chinatown: The Life and Work of John A. Alonzo' [2006, Axel Schill; ph: Volker Gläser; 78m].
Awards: 'Oscar' AA [1966; b&w] for 'Who’s Afraid of Virginia Woolf?'; NSFC Award [1968] for 'In the Heat of the Night'; 'Oscar' AA nom [1975; shared] & BAFTA Film Award nom [1977; shared] for 'One Flew Over the Cuckoo’s Nest'; LAFCA Award [1976], 'Oscar' AA [1976] & NSFC Award [1977] for 'Bound for Glory'; Independent Spirit Award [1988], 'Oscar' AA nom [1988] & ASC Award nom [1988] for 'Matewan'; ASC Film Award [1989] & 'Oscar' AA nom [1990] for 'Blaze'; ASC Lifetime Achievement Award [1992]; Camerimage 'Golden Frog' nom [1995] for 'The Secret of Roan Inish'; Camerimage Lifetime Achievement Award [1996]; 'Emmy' Award nom [2001] for '61*'; Sedona IFF 'Vision of Excellence Award' [2002]; SOC 'Governors' Award' [2007]; Woodstock FF 'Honorary Lifetime Achievement Award' [2008]; Tulsa IFF 'Lifetime Achievement Award' [2011].
GO TO FILMS
The People's Cinematographer - Haskell Wexler
By Saul Landau [published in 'The Progressive', April 1998
I first met Haskell Wexler in 1969. He had recently finished directing 'Medium Cool', a film that exposed the brutality of Chicago cops during the 1968 Democratic convention. Paramount had refused to release 'Medium Cool' for almost a year after he had finished editing it. The Motion Picture Association of America gave the film an X rating - ostensibly because it had a nude scene. Haskell maintains to this day that the X stood for unacceptable political content.
He is ranked as one of the world's greatest cinematographers, but the acclaim has not diluted his politics. "We have a responsibility to show the public the kinds of truths that they don't see on the TV news or the Hollywood film," he says.
Wexler had other enemies. The FBI called him "potentially dangerous because of background, emotional instability, or activity in groups engaged in activities inimical to the United States," according to a 1974 memo signed by FBI Director Clarence Kelley.
Haskell Wexler was born in Chicago to a well-to-do family. While still in grade school he worked with Micky Pallas, a Chicago still-photographer in the trade-union movement. In eighth grade, Haskell began taking pictures of striking unionists.
In 1934, at age twelve he used the family's 16mm Bell and Howell camera to film scenes in Italy, where his family had gone on vacation. Haskell's first film shows his brothers and parents intercut with fascist youth wearing Mussolini uniforms.
In 1941, he dropped out of the University of California-Berkeley and joined the Merchant Marine. He was decorated for bravery after he rescued some of his crew members when his ship was torpedoed in shark-infested waters off the coast of South Africa.
After the war, Haskell picked up the 16mm camera and did shorts about a union camp for disabled children. In 1948, with Carl Marzani, he made a campaign short for Henry Wallace, who was running for President on the Progressive Party ticket.
In the early 1950s, Haskell made films for the United Electrical Workers Union. But he also lent a hand to Herbert Biberman, one of the Hollywood Ten, who directed 'Salt of the Earth', now legendary, a movie about a miners' strike in New Mexico. "No regular lab would process the film," Haskell says. "The union and the government worked together to suppress anything that might have a red tint. So we smuggled it into a Chicago lab, where we knew people, and we developed and printed it ourselves."
In 1969, this tall, thin, and perfectly conditioned man greeted me warmly when I brought him 'Fidel', the portrait film of Cuba's leader I had made. Haskell screened it and liked it. When I told him I was taking it to the American Graduate School for International Management at Thunderbird University in Scottsdale, Arizona, he said he'd come along. Thunderbird had a reputation for training students to work for the CIA and giant corporations abroad. After the first screening of 'Fidel' on television, I had received threats to castrate or kill me. Haskell was concerned for my safety.
For the next twenty-eight years, Haskell has been my on-and-off film partner and my permanent friend. We filmed Salvador Allende in Chile in 1971. We filmed 'Brazil: A Report on Torture' the same year. We made a movie called 'Land of My Birth', a campaign film for Michael Manley in Jamaica in 1976. We traveled together in Nicaragua to make the film 'Target Nicaragua', which documented the havoc the contras were wreaking in the 1980s. And in 1995, we set out for the jungles of Chiapas to film the Zapatistas and Samuel Ruiz, the progressive bishop of San Cristobal de las Casas.
Haskell, by then in his early seventies, trekked through the jungle villages in the blazing heat, carrying the Aaton camera, searching for angles and good light in which to film the Tseltal villagers. 'The Sixth Sun: Mayan Uprising in Chiapas' came to life because of the images of this remarkable people's cinematographer.
In February 1971, Haskell and I arrived in Santiago, Chile, to meet with Allende. We hoped the president of Chile would explain to the U.S. public how he planned to achieve basic socialist reforms. We filmed him in the garden of his home. Dignified and reserved, the physician-cum-president shook our hands and calmly answered our questions for thirty minutes. Haskell instinctively zoomed in and pulled back at the right moments, even though he didn't understand a word of Spanish. Even in this short conversation, Allende's personality and program came through. This doctor who had served a quarter of a century in Chile's parliament intended to bring socialism through law. He scoffed at the CIA's destabilization effort.
During our stay in Chile, the vice minister of agriculture, David Baytelman, drove us from Santiago to Puerto Saavedra, some 500 miles to the south. Along the way, he would point to the land on either side of the road and explain how "the old system misused the soil." Then we saw a plane spraying crops. Haskell, a "premature environmentalist," asked what was in the spray.
"DDT," said Baytelman.
We protested. He cut us off.
"We know how dangerous it is," he said. "But the next least expensive pesticide is six times the amount. This is the dilemma of all Third World countries. We have lost the art of growing organically, and we cannot afford the safer insecticides. So our choice comes down to risk poison, or face starvation."
Although rumors of CIA activities in Chile abounded, and much news was coming out of Chile, none of the networks had interviewed Allende. They nevertheless rejected our documentary without looking at it.
We had better luck reaching the TV audience with a film about our friend Paul Jacobs. As a print reporter. Paul had revealed a series of lies perpetrated by the Atomic Energy Commission about the effects of low-level radiation on human health. Contrary to the AEC's claim that the tests left only minimal radiation in surrounding areas and that they posed no danger to public health, Paul discovered the opposite: The levels at the test site were far higher than the AEC reported, and cancer was spreading in epidemic proportions through the fallout-drenched areas.
By 1978, Paul himself had been diagnosed with metastasized lung cancer. His doctors believed that in the course of his nosing around the test sites, Paul had inhaled a particle of plutonium, which had lodged itself in his lung and provoked his tumor.
Paul felt particularly ill the day Jack Willis, who co-made the film with Haskell and me, arrived. Haskell lit our motel room as if it were a set. He replaced the motel light bulbs with number-two photo flood bulbs to soften the death lines in Paul's face. Paul talked about Elmer, a tough cowboy he had met who had taken a hit of fallout and gotten a terrible cancer.
In the middle of this story, Paul dropped his trousers and injected morphine into his thigh. Haskell followed the movement as if it had been scripted and then raised the camera to Paul's face as he said: "Now I know exactly how Elmer felt, because I have that pain now and I have to relieve it with morphine."
The film, 'Paul Jacobs and the Nuclear Gang', which appeared on all the PBS stations, won an Emmy and a George Polk Award, and played on TV and in theaters around the world. It was used as a message from environmentalists to the promoters of nuclear energy.
In November 1982, Haskell Wexler and I caught the glare from sniper scopes on the Honduran side of the border. But Haskell, clutching his camera like an infant on his lap, was less concerned about his own safety than that the dust, pouring into the jeep, could seep into the camera and damage the film.
At each border village, we filmed in the sun and got chilling testimony from widows and orphans, who had witnessed squads of contras enter their village and kidnap, torture, and murder townspeople.
At night, we stayed in a "safe" house, a small hut somewhere near Somatillo. Shortly after arriving there, Haskell asked me directions to the bathroom.
"You wanna wash or pee?" I asked.
"Both," he snapped.
"Well, that means a trip to the wash bucket and then one to the outhouse," I said.
"I'm too damned old to do this shit anymore," he muttered, as he wandered off to perform his evening ablutions.
We finished 'Target Nicaragua' in early 1983, before the prestige press had reported that the CIA had engineered a covert war against Nicaragua. But PBS didn't air the show until The New York Times and The Washington Post had run their own stories formally revealing the CIA's $19 million effort. Only a third of the public TV stations ran it.
"Who are they keeping this a secret from?" Haskell asked. "Every Nicaraguan knows the CIA is waging a war. Only the American public remains in the dark."
A year later, Haskell returned to Nicaragua to write and direct 'Latino', hoping that it would expose the contra atrocities to a mass public. 'Latino' finally debuted but fared little better than 'Target Nicaragua'. The distribution company pulled it from the theaters after it received less than great reviews and poor box-office ratings.
| FILMS | |
|---|---|
|
194? |
A Half Century with Cotton [Haskell Wexler] ?; industrial film/?m; examines the family and social life on a cotton farm. The owner of the farm was upset with the finished product. He had thought Wexler was going to be filming the cotton process, with a special focus on some large harvesters he had recently bought. Wexler was forced to use the documentary's profits for reshoots; for Opelika Textile Mills, Inc., Alabama; released 1951 or 1952 |
|
1952 |
The Living City [prod: John Barnes] b&w; doc/25m; uncred; uncred cph: Andy Costikyan & Lou Stoumen; prod Encyclopædia Britannica |
|
1953 |
Look to the Land [prod: John Barnes] b&w; doc/20m; uncred; uncred cph: J. Barnes, Lou Stoumen & Gordon Weisenborn (= Herschell Gordon Lewis); prod Encyclopædia Britannica |
|
1954 |
Picnic [Joshua Logan] cs/c; 2uc; ph: James Wong Howe |
|
1957 |
Stakeout on Dope Street [Irvin Kershner] b&w; as Mark Jeffrey |
|
1958 |
T Is for Tumbleweed [Louis Clyde Stoumen] c; short/18m |
|
1958 |
Five Bold Women [Jorge López Portillo] c |
|
1959 |
The Savage Eye [Joseph Strick, Ben Maddow & Sidney Meyers] b&w; 68m; cph: Jack Couffer, Helen Levitt, Sy Wexler & Joel Coleman; shot over a span of several years |
|
1959 |
Wild River/The Woman and the Wild River [Elia Kazan] cs/c; uncred addph; ph: Ellsworth Fredricks |
|
1960 |
Studs Lonigan [Irving Lerner] b&w; ph cons; ph: Jockey Arthur Feindel |
|
1960 |
Angel Baby [Paul Wendkos & Hubert Cornfield] b&w; cph: Jack Marta |
|
1961 |
The Hoodlum Priest [Irvin Kershner] b&w |
|
1961 |
The Fisherman and His Soul/The Shadow and the Sea [Charles Guggenheim] c; quit before film was finished and C. Guggenheim ph the last scenes; or ph H.E. 'Chick' Fowle; produced in both English and Portuguese; filmed in Brazil |
|
1961 |
The Runaway/Saint Mike [Claudio Guzmán] b&w; cph: Ray Foster & Wayne Mitchell; unreleased |
|
1961 |
The Intruder/I Hate Your Guts!/Shame/The Stranger [Roger Corman] b&w; cred as c.op; cred ph: Taylor Byars |
|
1962 |
A Face in the Rain [Irvin Kershner] b&w |
|
1962 |
America, America/The Anatolian Smile [Elia Kazan] b&w |
|
1963 |
[Gore Vidal's:] The Best Man [Franklin Schaffner] b&w |
|
1963 |
The Bus [Haskell Wexler] b&w; doc/62m; + prod/scrpl |
|
1963 |
Lonnie [William Hale] b&w |
Anjanette Comer - HW - Tony Richardson [right/top] - Robert Morse
"The Loved One"
|
1964 |
The Loved One [Tony Richardson] b&w; + co-prod |
|
1965 |
A Fine Madness [Irvin Kershner] left prod during preparations; ph: Ted McCord |
|
1965 |
Who's Afraid of Virginia Woolf? [Mike Nichols] b&w; replaced doph Harry Stradling Sr. |
|
1966 |
One [Steven North] b&w; short/5m; prod UCLA |
|
1966 |
Faces [John Cassavetes] 16mm-35bu/b&w; 130m, 147m & 183m; co-uncred cph; ph: Al Ruban; released in 1968 |
|
1966 |
In the Heat of the Night [Norman Jewison] c |
|
1966 |
Survival With Style [Cal Bernstein, Alex Singer & Haskell Wexler] 16mm/?; doc/?m |
|
1967 |
The Thomas Crown Affair/The Crown Caper [Norman Jewison] c |
|
1968 |
Medium Cool [Haskell Wexler] c; + co-prod/scrpl/small part |
|
1968 |
Nowsreel [Haskell Wexler] 16mm/c; doc/35m |
|
1969 |
THX 1138 [George Lucas] ts/c; addph; ph: Dave Meyers & Albert Kihn |
|
1970 |
Interviews with My Lai Veterans [Joseph Strick] 16mm/c; doc/22m; cph: Richard Pearce |
|
1971 |
An Interview with Salvador Allende, President of Chile [Saul Landau & Haskell Wexler] c; doc/31m |
|
1971 |
Brazil - A Report on Torture [Saul Landau & Haskell Wexler] c; doc/60m |
|
1971 |
The Trial of the Catonsville Nine [Gordon Davidson] c |
|
1972 |
American Graffiti [George Lucas] ts/c; visual cons/superv ph; operating ph: Ron Eveslage & Jan D'Alquen |
|
1972 |
The Conversation [Francis Ford Coppola] c; replaced by doph Bill Butler after 3 weeks of filming |
|
1973 |
The Last Detail [Hal Ashby] originally H. Wexler was scheduled as doph and Michael Chapman as c.op, but due to union rules Wexler couldn't shoot the film and Chapman became the doph |
|
1974 |
[Vietnam Journey:] Introduction to the Enemy [Haskell Wexler, Christine Burrill, Bill Yahraus, Jane Fonda & Tom Hayden] c; doc/64m; cph: Bill Yahraus; addph: Ingela Romare & Lennert Malmer |
|
1975 |
One Flew Over the Cuckoo's Nest [Milos Forman] c; cph: Bill Butler (H. Wexler was replaced as 1st unit doph by Bill Butler during shooting; Wexler is credited as cph); addph: William Fraker |
|
1975 |
Underground [Emile de Antonio, Haskell Wexler & Mary Lampson] 16mm/c; doc/88m; addph: Christine Burrill, Linda Jassim & Carlos Ortiz; + co-prod/co-scrpl |
|
1975 |
The Swine Flu Case/The Swine Flu Caper [Saul Landau & Haskell Wexler] c; doc/?m |
"Bound for Glory"
|
1975 |
Bound for Glory [Hal Ashby] p/c; uncred doc ph: David Myers |
|
1976 |
Land of Our Birth [Saul Landau & Haskell Wexler] ?; doc/?m; some footage was used in the doc 'Life and Debt' (2000, Stephanie Black; ph: Alex Nepomniaschy, a.o.) |
|
1976 |
Days of Heaven [Terrence Malick] 35mm (+ 70bu)/c; addph; ph: Nestor Almendros |
|
1977 |
Coming Home [Hal Ashby] c |
|
1977 |
Paul Jacobs and the Nuclear Gang [Jack Willis & Saul Landau] c; doc/58m; cph: Zack Kreiger; addph: Sandi Sissel |
|
1977 |
CIA: The Case Officer/The CIA Case Officer [Saul Landau & Haskell Wexler] c; doc/30m; addph: Zack Kreiger |
|
1978 |
War Without Winners [Haskell Wexler] 16mm/c; doc/30m |
|
1978 |
The Rose [Mark Rydell] c; co-add concert ph; ph: Vilmos Zsigmond |
|
1978 |
Second-Hand Hearts/The Hamster of Happiness [Hal Ashby] c; spph: Dianne Schroeder; released in 1981 |
|
1979 |
Carifesta [Haskell Wexler] ?; doc/?m |
|
1979 |
[The Muse Concert:] No Nukes [Danny Goldberg, Anthony Potenza, Julian Schlossberg, Barbara Kopple (Madison Square Garden/Battery Park) & Haskell Wexler (doc footage)] c; concert film/103m; the songs 'The River' & 'Thunder Road' were also ed as music videos |
|
1980 |
Lookin' to Get Out [Hal Ashby] c |
|
1980 |
Steppin' [Saul Landau & Haskell Wexler] ?; doc/?m; some footage was used in the doc 'Life and Debt' (2000, Stephanie Black; ph: Alex Nepomniaschy, a.o.) |
|
1981 |
Blade Runner [Ridley Scott] p (+ 70bu [2.20:1] & D-Cinema ['Final Cut']/c; uncred co-addph: ph: Jordan Cronenweth |
|
1981 |
Hail Columbia! [Graeme Ferguson] 35mm+65mm-to-IMAX-70/c; doc/37m; cph: G. Ferguson (principal doph), David Douglas, Richard Leiterman & Ronald Lautore |
|
1981 |
Richard Pryor Live on the Sunset Strip [Joe Layton] c; stand-up comedy perf/81m |
|
1981 |
The Black Stallion Returns [Robert Dalva] c; co-addph; ph: Carlo Di Palma |
|
1982 |
Quest for Power: Sketches of the American New Right [Saul Landau & Haskell Wexler] c; doc/52m; cph: Frans Bromet & Tom Sigel |
|
1982 |
Enhanced Radiation [Haskell Wexler] c; doc/9m; a public service from the Institute for Cinema Studies |
|
1982 |
Target Nicaragua [: Inside a Secret War] [: Inside a Covert War] [Saul Landau & Haskell Wexler] ?; doc/40m |
|
1983 |
The Man Who Loved Women [Blake Edwards] c; remake of 'L'homme qui aimait les femmes' (1976, François Truffaut; ph: Néstor Almendros) |
|
1983 |
Bus II [Haskell Wexler] c; doc/82m |
|
1985 |
Stripper [Jerome Gary] c; doc/90m; co-addph; ph: Ed Lachman |
|
1986 |
Matewan [John Sayles] c; 2uc: Tom Sigel |
|
1987 |
Uncle Meat [- The Mothers of Invention Movie] [Frank Zappa] c/V; cph: Eduardo Cemano (as Ed Seeman); principal photography was never completed; comp of F. Zappa footage (1967-82), incl music videos & live concert scenes; + small part |
|
1987 |
Colors [Dennis Hopper] c; spph: Jack Cooperman |
|
1988 |
Three Fugitives [Francis Veber] c; 2uc: Dan Lerner |
|
1989 |
Blaze [Ron Shelton] c; 2uc: John Toll |
|
1989 |
Benny Carter: Symphony in Riffs [Harrison Engle] c; doc/58m; ph Japan Tour; ph: Philip Hurn |
|
1990 |
Rolling Stones - At the Max/Stones at the Max [loc dir: Julien Temple (+ creative cons), Noel Archambault, David Douglas, Roman Kroitor; video dir: Christine Strand] IMAX-70/c; concert film/89m; camera cons (+ co-c.op); ph: David Douglas & Andrew Kitzanuk; shot with 8 IMAX cameras outfitted with the first long load film magazines, for 5 concerts in 3 cities in Europe |
|
1990 |
Through the Wire [Nina Rosenblum] c; doc/77m; co-addph; ph: Nancy Schreiber |
|
1990 |
Other People's Money [Norman Jewison] c |
|
1991 |
The Babe [Arthur Hiller] c |
|
1993 |
The Secret of Roan Inish [John Sayles] c |
|
1993 |
Canadian Bacon [Michael Moore] c; 2uc: Francis Kenny & Matt Tundo |
|
1994 |
Steal Big, Steal Little [Andrew Davis] c; addph; ph: Frank Tidy |
|
1995 |
Mulholland Falls [Lee Tamahori] c; 2uc: Frank M. Holgate; aph: Dylan M. Gross & Kurt E. Soderling |
|
1995 |
The Sixth Sun: Mayan Uprising in Chiapas [Saul Landau] v/c; doc/56m; cph: Carlos Martínez, Christine Burrill & Epigmenio Ibarra; addph: Phillipe De Saint, Ricardo Denecke, Jorge Garcia & Victor Horcasitas |
|
1995 |
Mexico [Lorena Parlee] IMAX-70/c; doc/43m; cph: David Douglas, Alex Phillips Jr. & James Neihouse |
|
1995 |
The Rich Man's Wife [Amy Holden Jones] c |
|
1996 |
Bus Rider's Union/Bus III [Haskell Wexler & Johanna Demetrakas] v/c; doc/87m; addph: Joan Churchill, Scott Miller, J. Demetrakas & Bill Bryn Russell; + prod |
|
1998 |
Limbo [John Sayles] c; 2uc: Larry Goldin |
|
1998 |
Crossing the Line [Robert Richter & Avram Ludwig] c; doc/16m; cph: Doug Liman, Rich Miranda, Bill Turnley & George King |
|
1999 |
Five Days in March [Haskell Wexler] c; mus doc/?m |
|
1999 |
Building a Bridge to Havana [Jerry Merrill] b&w (archive) + c/V; mus doc/24m; cph: Alan Kozlowski; A 'Music Bridges' event: American and British musicians travel to Cuba to create and record songs with their Cuban counterparts. At the end of their one week task all the musicians perform a free concert in Havana, Cuba; filmed in March; released on DVD in 2004 |
|
1999 |
Good Kurds Bad Kurds - No Friends But the Mountains [Kevin McKiernan] c; doc/81m; ph USA footage; other seq ph by K. McKiernan; addph: Larry Engel, Peter Sturken (1975), Christian Corcoran, a.o. |
|
1999 |
Bread and Roses [Ken Loach] c; co-2nd cam; ph: Barry Ackroyd |
H. Wexler - art dir/prod des Robert Boyle - dir Daniel Raim
"The Man on Lincoln's Nose"
|
2000 |
The Man on Lincoln's Nose [Daniel Raim] c; doc/39m; cph: D. Raim, Guido Verweyen & Camille Younan |
|
2000 |
[SOA:] Guns and Greed [Robert Richter] b&w-c; doc/22m; cph: Alan Jacobsen |
|
2000 |
The Curse of the Jade Scorpion [Woody Allen] announced as doph, but replaced by Zhao Fei |
|
2001 |
Hollywood Ending [Woody Allen] scheduled as doph, but replaced by Wedigo von Schultzendorff |
|
2003 |
Silver City [John Sayles] c |
|
2004 |
From Wharf Rats to Lords of the Docks [Haskell Wexler] c; drama/perf/doc/82m; + co-c.op; addph: Terry Sanders; released in 2007 |
[Left] with Mark Wexler - "Tell Them Who You Are"
|
2004 |
Tell Them Who You Are [Mark Wexler] dv-to-film/c; doc/95m; co-add cam; ph: M. Wexler; addph: Sarah Levy; + himself |
|
2004 |
Bastards of the Party [Cle Shaheed Sloan] 16mm/b&w-c; doc/95m; cph: Joan Churchill, Phil Parmet & Mark Woods; filmed 1996-2004; + archive footage |
|
2005 |
Who Needs Sleep? [Haskell Wexler] HD/c; doc/78m; addph: Joan Churchill, Rita Taggart, Sonia Angulo, a.o.; filmed 1998-2005 |
|
2006 |
Battle in Seattle [Stuart Townsend] s16+v (archive)-to-35mm/c; uncred addph (+ small part); ph: Barry Ackroyd |
|
2007 |
A Sense of Wonder [Christopher Monger] HD/c/V; 55m; add cam: Richard Chisholm |
|
2007 |
In the Name of Democracy [: The Story of Lt. Ehren Watada] [: America's Conscience, a Soldier's Sacrifice] [Nina Rosenblum] c; doc/60m; released in 2009 |
|
2008 |
Something's Gonna Live [Daniel Raim] dv-to-D-Cinema/c; doc/78m; cph: D. Raim & Guido Verweyen; released in 2010 |
|
2009 |
Will the Real Terrorist Please Stand Up? [Saul Landau] c; doc/65m; cph: Roberto Chile; released in 2010 |
|
2009 |
Bringing King to China [Kevin McKiernan] c; doc/85m; ph several scenes in the USA; cph: K. McKiernan (Iraq); addph: Cully Gallagher; filmed 2006-09; released in 2011 |
|
2010 |
Revenge of the Electric Car [Chris Paine] HD/c; doc/90m; ph Danny DeVito seq; ph: Thaddeus Wadleigh |
|
2011 |
Cunning Little Vixen [Daniel Yost] pre-production; scheduled for shooting in 2015 |
|
2011 |
Where the Sky Is Born [Freddy Gaitan] HD (Genesis)/c; short/18m; addph; ph: Jeremy Royce |
"Occupy LA"
|
2011 |
Occupy LA - October 2011 [filmmakers: Joan Churchill, Haskell Wexler & Alan Barker] dv/c; doc/14m; cph: Joan Churchill; filmed October |
|
2011 |
Occupy Los Angeles/Occupy Redux/To Occupy (...Or Not to Occupy) [Joseph Quinn] HD/c; doc/84m; released in 2012 |
|
2012 |
Million Hoodie March for Trayvon [Haskell Wexler] dv/c; doc/11m; filmed in March |
|
2012 |
Four Days in Chicago [Haskell Wexler] c; doc/83m; addph: James Foley, Stephen Combs, Mike Gray, a.o.; + exec prod/scrpl; filmed in May |
|
2012 |
Medium Cool Revisited [Haskell Wexler] HD-to-DVD/c; doc/33m; filmed in May |
|
2012 |
Doing It All [Daniel Yost] pre-production |
|
2012 |
Mission 26: The Big Endeavour [Haley Jackson] HD (2-D & 3-D)/c; doc/?m; cph: Mark August, Michael Ferris, Dan Kneece, Christopher Tufty, a.o.; also shown as several short films at the California Science Center |
| TELEVISION | |
|---|---|
|
1961 |
The World of Bob Hope [Eugene Jones] doc/60m; cph: Joseph Coffey, a.o. |
|
1976 |
America Salutes Richard Rodgers: The Sound of His Music [Dwight Hemion] mus special/120m/v; ph 'Lena Horne at the Coconut Grove' seq |
|
1981 |
The Kid from Nowhere [Beau Bridges] tvm; ph Special Olympics; ph: John Alonzo |
|
1989 |
To the Moon, Alice [Jessie Nelson] tvm/33m; co-2uc; ph: Chris Squires |
|
1994 |
Blood and Money [Haskell Wexler] special; for ABC-tv |
|
1996 |
ABC News Nightline [?] seg of news magazine; for ABC-tv |
|
1998 |
The Pope and Fidel [?] news item; for CNN |
|
1998 |
Sandra Bernhard: I'm Still Here... Damn It! [Marty Callner] comedy special/90m |
|
1999 |
Marc Anthony: The Concert from Madison Square Garden [Marty Callner] mus special/110m; + 2ud; for HBO-tv |
|
2000 |
61*/Home Run Race [Billy Crystal] tvm |
|
2007 |
Big Love [ep #16 'Rock and a Hard Place' dir by Adam Davidson] 53-part series, 2006-11; 2nd season, 2007 |
|
2014 |
To Begin the World Over Again: The Life of Thomas Paine [Ian Ruskin] perf/59m (tv-version) & 74m; cph: Joan Churchill, Battiste Fenwick & Bill Megalos |
| FILMS & TELEVISION AS DIRECTOR | |
|---|---|
|
194? |
A Half Century with Cotton [+ ph] see Films |
|
1963 |
The Bus [+ prod/scrpl/ph] see Films |
|
1966 |
Survival With Style [co-d; + ph] see Films |
With actress Marianna Hill - "Medium Cool"
|
1968 |
Medium Cool [+ co-prod/scrpl/ph/small part] see Films |
|
1968 |
Nowsreel [+ ph] see Films |
|
1971 |
An Interview with Salvador Allende, President of Chile [co-d; + ph] see Films |
|
1971 |
Brazil - A Report on Torture [co-d; + ph] see Films |
|
1972 |
Dune [for prod Alexander Jacobs; project aborted] dir in 1983 by David Lynch |
|
1974 |
[Vietnam Journey:] Introduction to the Enemy [co-d; + cph] see Films |
|
1975 |
Underground [co-d; + ph/co-prod/co-scrpl] see Films |
|
1975 |
The Swine Flu Case/The Swine Flu Caper [co-d; + ph] see Films |
|
1976 |
Land of Our Birth [co-d; + ph] see Films |
|
1977 |
CIA: The Case Officer/The CIA Case Officer [co-d; + ph] see Films |
|
1978 |
War Without Winners [+ ph] see Films |
|
1979 |
Carifesta [+ ph] see Films |
|
1979 |
[The Muse Concert:] No Nukes [co-d; + ph] see Films |
|
198? |
A Right to Be Merry [?] ? |
|
198? |
Sheena, Queen of the Jungle [project aborted] dir in 1984 by John Guillermin |
|
1980 |
Steppin' [co-d; + ph] see Films |
|
1982 |
Enhanced Radiation [+ ph] see Films |
|
1982 |
Quest for Power: Sketches of the American New Right [co-d; + cph] see Films |
|
1982 |
Target Nicaragua [: Inside a Secret War] [: Inside a Covert War] [co-d; + ph] see Films |
|
1983 |
Bus II [+ ph] see Films |
|
1983 |
Latino [feature; + scrpl] ph: Tom Sigel |
|
1994 |
Blood and Money [+ ph] see Television |
|
1996 |
Bus Rider's Union/Bus III [co-d; + prod/ph] see Films |
|
1999 |
Five Days in March [+ ph] see Films |
|
2004 |
From Wharf Rats to Lords of the Docks [+ ph/co-c.op] see Films |
|
2005 |
Who Needs Sleep? [+ ph] see Films |
|
2011 |
Occupy LA - October 2011 [co-filmmaker; + cph] see Films |
|
2012 |
Million Hoodie March for Trayvon [+ ph/interviews] see Films |
|
2012 |
Four Days in Chicago [+ exec prod/scrpl/ph] see Films |
|
2012 |
Medium Cool Revisited [+ ph] see Films |
| MISCELLANEOUS | |
|---|---|
|
1969 |
Gimme Shelter [Albert & David Maysles, Charlotte Zwerin] c; mus doc/90m; co-thanks; ph: The Maysles Brothers; restored version released in 2000 |
|
2014 |
The Moving Picture Co. ≈1914≈ [Mark Kirkland] b&w; short/22m/silent; special appearance as the action cameraman; ph: Roberto E. Lepe |
