Born: 6 February 1926, Chicago, Illinois, USA, as Haskell P. Wexler.

Education: 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]. 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]. He is 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 is 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. Married [1989-present] 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].

'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.

Wexler is still shooting films, and still protesting injustice. And his impassioned letters to the editor on many social themes can still be found in the Los Angeles Times.

194?        A Half Century with Cotton [Haskell Wexler] ?; industrial film/?m; for Opelika Textile Mills; released 1951 or 1952

1952        The Living City [John Barnes] b&w; doc/?m; cph: Andy Costikyan & Lou Stoumen; prod Encyclopædia Britannica

1953        Look to the Land [John Barnes] b&w; doc/?m; 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

1959        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        Shadow and the Sea/The Fisherman and His Soul [Charles Guggenheim] c

1961        The Intruder/I Hate Your Guts!/Shame/The Stranger [Roger Corman] b&w; cred as c.op; cred ph: Taylor Byars

1961        Jangadero - A Fisherman and His Soul [Charles Guggenheim] ?

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

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        In the Heat of the Night [Norman Jewison] c

1967        The Thomas Crown Affair/The Crown Caper [Norman Jewison] c

1967        Immaculate Heart College [?] 16mm/?; doc/?m

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/?m

1971        Brazil: 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] replaced by doph Bill Butler during filming

1973        The Last Detail [Hal Ashby] originally HW was scheduled as doph and Michael Chapman as c.op, but due to union rules

                    HW couldn't shoot the film and MC 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 (HW was replaced as 1st unit doph by Bill Butler

                    during shooting; HW is credited as cph); addph: William Fraker

1975        Underground [Emile de Antonio, Haskell Wexler & Mary Lampson] 16mm/c; doc/88m; + co-prod/co-scrpl; addph:

                    Christine Burrill, Linda Jassim & Carlos Ortiz

1975        The Swine Flu Case/The Swine Flu Caper [Saul Landau & Haskell Wexler] c; doc/?m

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 used in doc 'Life and Debt' (2000)

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; spec ph: Dianne Schroeder

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' also ed as music videos

1980        Lookin' to Get Out [Hal Ashby] c

1980        Steppin' [Saul Landau & Haskell Wexler] ?; doc/?m; some footage used in doc 'Life and Debt' (2000)

1981        Blade Runner [Ridley Scott] p/c; uncred addph; ph: Jordan Cronenweth

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/?m

1982        Hail Columbia! [Graeme Ferguson] IMAX/c; doc/36m; cph: David Douglas, Richard Leiterman & Graeme Ferguson

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

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; 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; Japan Tour ph; ph: Philip Hurn

1990        Rolling Stones at the Max/Rolling Stones - Live at the Max [Julien Temple, Noel Archambault, David Douglas,

                    Roman Kroitor & Christine Stand] IMAX-70mm/c; concert film/89m; lighting cons/co-c.op; ph: David Douglas & Andrew

                    Kitzanuk

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 & Haskell Wexler] v/c; doc/56m; cph: Carlos Martínez,

                    Christine Burrill & Epigmenio Ibarra

1995        Mexico [Lorena M. Parlee] IMAX/c; doc/43m; cph: David Douglas & Alex Phillips Jr.

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; American rock stars visit Cuba

1999        Good Kurds, Bad Kurds [: No Friends But the Mountains] [Kevin McKiernan] c; doc/81m; ph USA footage; other seq

                    ph by Kevin McKiernan; addph: Larry Engel, Peter Sturken (1975), Christian Corcoran, a.o.

1999        Bread and Roses [Ken Loach] c; co-2nd cam; ph: Barry Ackroyd

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        Bridge to Havana [Joel Gelderman] c/V; doc/?m

2004        From Wharf Rats to Lords of the Docks [Haskell Wexler] c; + co-c.op

2004        Tell Them Who You Are [Mark Wexler] dv-to-film/c; doc/95m; co-add cam; ph: M. Wexler & Sarah Levy (addph);

                    + 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 & Lisa Leeman] HD/c; doc/78m; addph: Joan Churchill, Rita Taggart, 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; 58m

2007        In the Name of Democracy [: The Story of Lt. Ehren Watada] [: America's Conscience, a Soldier's Sacrifice]

                    [Nina Rosenblum] c; doc/60m

2008        Something's Gonna Live [Daniel Raim] dv/c; doc/78m; cph: D. Raim & Guido Verweyen

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

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

2000        61*/Home Run Race [Billy Crystal] tvm

2007        Big Love [ep #16 'Rock and a Hard Place' dir by Adam Davidson] series, 2006-present; 2nd season, 2007

194?        A Half Century with Cotton [+ ph] see Films

1963        The Bus [+ prod/scrpl/ph] see Films

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: 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] see Films

2005        Who Needs Sleep? [co-d; + ph] see Films