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2005 |
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DANIEL MINDEL ASC/BSC |
Born: 27 May 1958, Johannesburg, South Africa, as Ivor Daniel Mindel.
Education: [In Australia and Britain].
Career: 'My father had an 8mm Bell & Howell camera. He recorded our adventures, and we would watch them on the screen at home. But it wasn't until I saw a still camera that I really became interested in photography. I ended up in secondary school in England in the mid-1960s. By that time, I was dabbling with 35mm stills. I was at a school with an arts-based curriculum, but they didn't actually have a photography class, however there were a couple of darkrooms there. I was able to persuade the teacher to allow me to have my own photographic lesson. So I taught myself how to print and do all that. Some other kids in the class became interested and would join me. We just did it ourselves. [...] I was enamored with Jacques Cousteau's documentaries. I realized that still images could move and go underwater and do all sorts of things. I realized that in order to carry on, I would have to use real motion picture cameras, and I learned that there was a film union, which was impossible to get into unless you knew someone. My parents were both doctors. I kept looking, and I went to college, where I saw an advertisement in the evening newspaper for a guy to come and look after a film studio - clean the floors, make tea, and that kind of thing. I got a job making 40 bucks a week, and I watched what was going on. This studio was a commercial production house, BFCS [Brooks Fulford Cramer Seresin], one of the first in London. One of the partners was Michael Seresin. Michael allowed me to hang on to his camera assistants and help them out. I became a trainee and eventually the company got me my union membership. One of the focus pullers, Hugh Johnson, asked me if I wanted to come and work with him on the reshoots of 'The Hunger', a Tony Scott movie. I was all over that! That was basically how I got in. I met these serious motion picture workers and they allowed me in. I began alternating between Tony and Ridley Scott as a camera assistant on commercials. [...] I was able to work with some of the greatest commercial directors in London at that time. And we began traveling back and forth to the United States to work. Eventually, I got a job as focus puller with Tony on a movie called 'Revenge', which was an American movie shot by Jeff Kimball. Then Ridley was going to do 'Thelma & Louise', and he asked me if I wanted to work on that movie. I did and that allowed me to stay and meet more American filmmakers, and eventually I got into the union here in the U.S. 'Thelma & Louise' was a nonunion picture that went union, and we were all invited in. At that point I started shooting commercials, low-budget pictures, and some episodic television. Then Tony asked me if I wanted to shoot 'Enemy of the State', which was a $100 million movie. I had never done anything like that before. It was just mind-blowing. I will always be grateful to Tony for showing me the way. That's a really common attitude amongst that generation of filmmakers - to help kids get going. The rest is history.' [From the KODAK OnFilm website.]
Ph commercials dir by Tony Scott [for Marlboro, Coca-Cola, Miller Brewing, a.o.], Ridley Scott, Hugh Johnson, Michael Seresin, Roger Spottiswoode, a.o.
Member of the ASC since 2008. Member of the BSC since November 2010.
Married to model/actress/health coach Lisa Fallon.
FILMS, TELEVISION & INTERNET |
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1993 |
Red Shoe Diaries [ep #6 'Another Woman's Lipstick' dir by Zalman King & #11 'Jake's Story' dir by Michael Karbelnikoff] 67-part tv-series, 1992-98; 2nd season, 1993; other ph: Nick Taylor (+ cph ep #11) & Roberto Schaefer |
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1993 |
Red Shoe Diaries 3: Another Woman's Lipstick [ep #6 'Another Woman's Lipstick' dir by Zalman King] V/c; comp of 3 ep of tv-series; other ph: Ronn Schmidt (#4 'Talk to Me Baby' dir by Rafael Eisenman) & Larry Fong (#5 'Just Like That' dir by Ted Kotcheff) |
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1994 |
Crimson Tide [Tony Scott] p/c; uncred addph; ph: Dariusz Wolski |
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1995 |
Snakeland [Joëlle Bentolila] c; short/40m |
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1995 |
White Squall [Ridley Scott] p/c; uncred addph; ph: Hugh Johnson |
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1995 |
The Fan [Tony Scott] p/c; uncred addph; ph: Dariusz Wolski |
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1996 |
Dangerous Minds [pilot dir by James Hayman] 17-part tv-series, 1996-97; other ph: Bryan Hokom & Feliks Parnell |
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1996 |
G.I. Jane [Ridley Scott] p/c; 2uc (California); ph: Hugh Johnson |
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1996 |
Recon [Breck Eisner] c; short/10m; prod USC |
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1996 |
Sand/Sandstorm [Matt Palmieri] p/c; cph (+ c.op): John Skotchdopole; addph: David Miller |
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1997 |
Enemy of the State [Tony Scott] p/c; vfx ph: John Mathieson; aph: David Nowell; replaced scheduled ph Dariusz Wolski, who was not available |
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199? |
Champion [Andy Snipes (= Andrew Douglas Sipes)] ?; short/?m |
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1999 |
Killer Pink [Patrick Cadell] c; short/13m |
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1999 |
Shanghai Noon [Tom Dey] p/c; 2uc: John Clothier & Joel Ransom |
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2000 |
Spy Game [Tony Scott] p/c; aph: Phil Pastuhov |
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2000 |
The Bourne Identity [Doug Liman] s35/c; co-addph; ph: Oliver Wood |
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2003 |
Stuck On You [Bobby & Peter Farrelly; (2nd dir) Mark Steilen] p/c; 2uc: Bruce McCleery |
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2004 |
The Skeleton Key [Iain Softley] p/b&w-c; 2uc: Josh Bleibtreu (New Orleans) & Michael Trim (Los Angeles); aph: Phil Pastuhov |
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2004 |
Tooth Fairy [Jake Scott] c; internet short/5m; ep #4 of 5-part online series 'Amazon Theater' |
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2004 |
Domino [Tony Scott] HD (Thomson Viper & Nikon D100)+s35-to-35mm scope/c; addph: Bruce McCleery; 2uc: Stephen St. John; aph: Kurt E. Soderling & David B. Nowell |
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2005 |
Mission: Impossible III [J.J. Abrams] HD (Sony F950)+s35+p-to-35mm scope/c; 2uc: Mitchell Amundsen, Stephen St. John & Jörg Widmer; aph: Jeremy Braben; + small part |
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2007 |
Lions for Lambs [Robert Redford] p (+ D-Cinema)/c; co-addph; ph: Philippe Rousselot |
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2007 |
Cutlass [Kate Hudson] p/c; short/16m; ep internet series 'Glamour Reel Moments' for Glamour magazine |
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2007 |
Star Trek [J.J. Abrams] p (+ IMAX-70bu & D-Cinema)/c; 2uc: Bruce McCleery; aph: David B. Nowell; vfx ph: Pat Sweeney |
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2009 |
Super 8 [J.J. Abrams] announced as doph, but prod was ph by Larry Fong in 2010 |
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2010 |
John Carter [Andrew Stanton] p (+ D-Cinema [also 3-D version] & IMAX-70bu [also 3-D version])/c; 2uc: Bruce McCleery; aph: Michael Kelem |
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2011 |
Savages [Oliver Stone] p (+ D-Cinema)/b&w-c; 2uc: Matthew J. Lloyd; aph splinter unit: David B. Nowell & Michael Kelem |
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2012 |
Star Trek Into Darkness/Star Trek 2 [J.J. Abrams] p+IMAX (65mm)-to-35mm scope (+ IMAX-70bu & D-Cinema [also 3-D version])/c; 2uc: Bruce McCleery; aph: Phil Pastuhov |
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2013 |
The Amazing Spider-Man 2 [Marc Webb] p (+ IMAX-70bu & D-Cinema [also 3-D Version])/c; 2uc: Bruce McCleery |
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FILMS & TELEVISION AS CAMERA ASSISTANT/OPERATOR |
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1982 |
The Hunger [Tony Scott] uncred c.asst (reshoots); ph: Stephen Goldblatt |
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1984 |
The Emerald Forest [John Boorman] c.asst; ph: Philippe Rousselot |
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1988 |
Revenge [Tony Scott] focus puller; ph: Jeffrey Kimball |
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1990 |
Thelma & Louise [Ridley Scott] c.asst; ph: Adrian Biddle |
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1992 |
Red Shoe Diaries [ep #1 'Safe Sex' dir by Zalman King; tv-series; 1st season, 1992] c.op 'b' cam; ph: Eric Engler |
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1992 |
Red Shoe Diaries 2: Double Dare [ep #1 'Safe Sex' dir by Zalman King (ZK)] c.op 'b' cam on #1; video comp of first 3 ep of 1st season of tv-series; ph: Eric Engler (#1) & Ronn Schmidt (#2 'Double Dare' dir by Tibor Takács & #3 'You Have the Right to Remain Silent' dir by ZK) |