IEC
#2: [Top right] - "Airplane!" [1979]
Born: 12 February 1903, New York City, N.Y., USA, as Joseph 'Joe' Francis Biroc.
Died: 7 September 1996, Woodland Hills, Calif., USA.
Education: Emerson High School, Union City, N.J., USA.
Career: In 1918 got a job working in the film lab at the Paragon Studios, Fort Lee. N.J. For about 6 years he worked in various labs in Fort Lee, Long Island and Los Angeles. Became c.asst at Paramount's Long Island Studios in 1925. Moved to Hollywood in 1927. Became c.op at RKO in 1929. During WW2, he served as a cameraman [US Army Signal Corps] in the European campaign He filmed the liberation of Paris in 1944. Retired in 1986.
Was a member of the ASC since 1948.
Was a member of the Masons, Malta Lodge No. 224, Union City, New Jersey.
Awards: 'Oscar' AA nom [1946; b&w; shared] for 'It's a Wonderful Life'; 'Oscar' AA nom [1964; b&w] for 'Hush... Hush, Sweet Charlotte'; 'Emmy' Award [1971/2] for 'Brian's Song'; 'Oscar' AA [1974; shared] for 'The Towering Inferno'; 'Emmy' Award nom [1976/7] for 'The Moneychangers' [Part 1]; 'Emmy' Award nom [1977/8] for 'Washington: Behind Closed Doors' [Part 1] & 'A Family Upside Down'; 'Emmy' Award nom [1978/9] for 'Little Women' [Part 2]; 'Emmy' Award nom [1979/80] for 'Kenny Rogers as the Gambler'; 'Emmy' Award [1983] for 'Casablanca' [ep 'The Master Builder's Woman']; ASC Lifetime Achievement Award [1988].
'Attempting
to pin down a representative Joseph Biroc style would be like trying to confine a
kaleidoscope to a single pattern. For just as the particles of that instrument
manage every time to form a perfect composition, so Biroc produces for each film
a photographic texture which looks exactly right. His range is broad and
takes in (among others) the grainy shadow-play of 'Down Three Dark Streets',
the documentary realism of 'Attack' and the radiant vistas of 'Ice
Palace'. Two extended collaborations, with Fuller (4 films) and Aldrich (16
films), stand out in his work.' [David Badder in 'Film Dope', #3, August
1973.]
Joseph
Biroc's cinematography has a no-nonsense competence that does not draw attention
to itself. His images are always at the service of the story. It is easy to
dismiss Biroc as a modest talent or [worse yet] to ignore him altogether; but a
look at his filmography reveals a body of work of impressive skill, variety,
vitality, and innovation.
Biroc's long association with Robert Aldrich - beginning with 'World for Ransom' [1953] and continuing until the director's untimely death in 1982 - gave the cinematographer some of his most challenging assignments. Aldrich's work is strongly individualistic [eccentric, even] and Biroc was a trusted ally for translating that maverick vision into powerful and telling images. If the Aldrich films were all that survived of Biroc's work his career would still strike one as unusually provocative. Biroc and Aldrich worked together with a sympathy of purpose as productive as Griffith and Bitzer, Capra and Walker, and Bergman and Nykvist.
Though he has become one of cinematography's Grand Old Men, his work retains the muscle and clarity that has always distinguished it from that of his more prosaic peers. For that work, the American Society of Cinematographers bestowed on him its prestigious Lifetime Achievement Award in 1988. [From article by Frank Thompson, updated by John McCarty.]
FILMS | |
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1928 |
The Rescue [Herbert Brenon] b&w; 9 reels; cph: George Barnes & James Wong Howe; silent & sound (mus score + sound efx) versions; prod Samuel Goldwyn, Inc. |
1936 |
Shall We Dance [Mark Sandrich] b&w; doph David Abel started the picture, but J. Biroc was the (uncred) ph for the remaining 5 weeks |
1942 |
It's All True [Orson Welles] unfinished; ph (with William Howard Greene & Harry J. Wild) 'Carnaval' seq; 'My Friend Bonito' seq (dir by Norman Foster) ph by Floyd Crosby & Joe Noreigo; 'Four Men on a Raft' seq ph by George Fanto; footage used in doc 'It's All True' (1993, Richard Wilson, Myron Meisel & Bill Krohn) |
1942 |
Bombardier [Richard Wallace & (uncred aerial action seq) Lambert Hillyer] b&w; ph Nicholas Musuraca started the picture, but J. Biroc was the (uncred) replacement |
1946 |
It's a Wonderful Life [Frank Capra] b&w; finished prod (+ c.op); cph: Victor Milner (uncred) & Joseph Walker; spec pfx: Russell A. Cully |
1946 |
Magic Town [William A. Wellman] b&w |
1947 |
On Our Merry Way/A Miracle Can Happen [King Vidor (Charles Laughton seq, filmed July 1946, cut from film & Burgess Meredith/Paulette Goddard seq, filmed August 1946) & Leslie Fenton (Fred MacMurray seq, filmed September 1946 & Dorothy Lamour/Victor Moore seq, filmed October 1947); (uncred James Stewart/Henry Fonda seq, filmed February 1947) George Stevens & John Huston] b&w; ph James Stewart/Henry Fonda seq; other ph: Edward Cronjager (Charles Laughton seq - cut from film), Gordon Avil (Fred MacMurray seq), John F. Seitz & (uncred) Ernest Laszlo (Dorothy Lamour/Victor Moore seq) |
1947 |
Roughshod [Mark Robson] b&w; released in 1949 |
1948 |
My Dear Secretary [Charles Martin] b&w |
1948 |
Johnny Allegro/Hounded [Ted Tetzlaff] b&w |
1949 |
Tokyo Joe [Stuart Heisler] b&w; co-2uc (Tokyo background ph); ph: Charles Lawton Jr. |
1949 |
Mrs. Mike [Louis King] b&w |
1949 |
The Killer That Stalked New York/Frightened City [Earl McEvoy] b&w |
1950 |
Cry Danger [Robert Parrish] b&w |
1950 |
All That I Have [William F. Claxton] b&w; 55m; prod Family Film for the Lutheran Church |
1951 |
The Bushwackers/The Rebel [Rod Amateau] b&w |
1951 |
Without Warning!/The Story Without a Name [Arnold Laven] b&w |
1951 |
Red Planet Mars [Harry Horner] b&w |
1951 |
The Twonky [Arch Oboler] b&w; released in 1953 |
1952 |
Loan Shark [Seymour Friedman] b&w |
1952 |
The Glass Wall [Maxwell Shane] b&w |
1952 |
Bwana Devil [Arch Oboler] 3-D/c; 'Bwana Devil' was the first feature to use the 3-D process. Sources conflict as to who was responsible for the development of the Natural Vision 3-D format. Some press materials credit Milton Gunzburg and Friend Baker with creating the process, while others list Baker and the film's technician, O. S. Bryhn. A 1952 Time article names Gunzburg and his brother Julian as the developers. Associate producer Sid Pink described the 3-D process in a November 1990 FilmFax article, stating that two cameras, placed next to each other at a distance emulating the eyeline positioning, are used to shoot each scene. Each lens provides a separate two-dimensional image, but in theaters, the two prints are run simultaneously from two separate projectors, with the two images superimposed on the screen. Then, the audience views the superimposed picture through Polaroid glasses, whose lenses separate the images again. Although 3-D-like processes had been around in various incarnations for several decades, Natural Vision, the culmination of intensive research, marked a great improvement in the process. 'Bwana Devil' was praised for being relatively inexpensive to shoot and easy to project. Reviewers, however, still criticized the 3-D process as problematic, and the Hollywood Reporter reviewer referred to it as 'a novelty...which has a long way to go.' [From the TCM website.] |
1952 |
The Tall Texan [Elmo Williams] b&w |
1952 |
Vice Squad/The Girl in Room 17 [Arnold Laven] b&w |
1953 |
The Steel Cage [Walter Doniger] b&w; cph: John Alton; comp of 3 unaired ep of tv-series 'Duffy of San Quentin' |
1953 |
Donovan's Brain [Felix Feist (replaced Curt Siodmak)] b&w |
1953 |
Charade [Roy Kellino] b&w; 3 seg: 'Portrait of a Murderer', 'Duel at Dawn' & 'The Midas Touch'; cph: ?; see Television (1952) |
1953 |
World for Ransom [Robert Aldrich] b&w; shot in 9 days |
1953 |
Appointment in Honduras/Jungle Fury [Jacques Tourneur] c |
1954 |
Down Three Dark Streets/Case File: FBI [Arnold Laven] b&w |
1955 |
Bengazi [John Brahm] Superscope/b&w |
1955 |
Quincannon - Frontier Scout/Frontier Scout [Lesley Selander] c |
1955 |
Ghost Town [Allen H. Miner] b&w |
1955 |
Nightmare [Maxwell Shane] b&w |
1956 |
Attack [Robert Aldrich] b&w |
1956 |
Tension at Table Rock [Charles Marquis Warren] c |
[Right] with Sam Fuller - "Run of the Arrow"
1956 |
Run of the Arrow/Hot Lead [Samuel Fuller] RKO-Scope/c |
1956 |
The Black Whip/The Man with a Whip [Charles Marquis Warren] Regalscope/b&w |
1956 |
The Ride Back [Allen H. Miner] b&w |
1956 |
The Garment Jungle [Vincent Sherman & (uncred; started the film, but fell ill) Robert Aldrich] b&w |
1957 |
China Gate [Samuel Fuller] cs/b&w; spec pfx: Linwood G. Dunn |
1957 |
The Unknown Terror [Charles Marquis Warren] Regalscope/b&w |
1957 |
Forty Guns [Samuel Fuller] cs/b&w; optical efx: Linwood Dunn; spec pfx: L.B. Abbott |
1957 |
The Amazing Colossal Man [Bert I. Gordon] b&w |
1957 |
Underwater Warrior [Andrew Marton] cs/b&w; uwph: Lamar Boren |
1957 |
Born Reckless [Howard W. Koch] b&w; replaced scheduled ph Carl Guthrie |
1958 |
Home Before Dark [Mervyn LeRoy] b&w |
1958 |
Verboten! [Samuel Fuller] b&w |
[Center/white shirt] with Mervyn LeRoy [center/sitting] - "The FBI Story"
1958 |
The FBI Story [Mervyn LeRoy] c |
1959 |
The Bat [Crane Wilbur] b&w |
[Hat/light meter] with dir Vincent Sherman [standing] and actors Ray Danton & Diane McBain - "Ice Palace"
1959 |
Ice Palace [Vincent Sherman] c |
1960 |
13 Ghosts [William Castle] b&w-c; originally filmed in 'Illusion-O' (As with most of his productions, William Castle, 'The King of Ballyhoo', used a gimmick to promote the movie. For '13 Ghosts', audience members were given a choice: the 'brave' ones could watch the film and see the ghosts, while the apprehensive among them would be able to opt out of the horror and watch without the stress of having to see the ghosts. The choice came via the special viewer. In the theatres, scenes involving ghosts were shown in a 'process' dubbed 'Illusion-O': the filmed elements of the actors and the sets - everything except the ghosts - were displayed in regular b&w, while the ghost elements were tinted a pale blue and superimposed over the frame. Audiences received viewers with red and blue cellophane filters. Choosing to look through the red filter intensified the images of the ghosts, while the blue filter 'removed' them. Although the blue filter did screen out the ghostly images, the ghosts were visible with the naked eye, without the red filter. [From Wikipedia]) |
1960 |
Gold of the Seven Saints [Gordon Douglas] WarnerScope/b&w |
1961 |
Operation Eichmann [R.G. Springsteen] b&w |
1961 |
The Devil at 4 O'Clock [Mervyn LeRoy] c |
1961 |
Sail a Crooked Ship [Irving Brecher] b&w |
1961 |
Hitler/Women of Nazi Germany [Stuart Heisler] b&w |
1962 |
Convicts 4/Reprieve [Millard Kaufman] b&w |
1962 |
Confessions of an Opium Eater/Evils of Chinatown/Souls for Sale [Albert Zugsmith] b&w |
1962 |
Bye Bye Birdie [George Sidney] p/c |
1963 |
Toys in the Attic [George Roy Hill] p/b&w |
1963 |
Promises! Promises! [King Donovan] b&w |
1963 |
Under the Yum Yum Tree [David Swift] c |
1963 |
4 for Texas/Four for Texas [Robert Aldrich] c; co-2uc; ph: Ernest Laszlo |
1963 |
Viva Las Vegas/Love in Las Vegas [George Sidney] p/c |
1963 |
Gunfight at Comanche Creek [Frank McDonald] p/c |
1963 |
To Trap a Spy [Don Medford] c; expanded pilot ('The Vulcan Affair') of 'The Man from U.N.C.L.E.'-series; filmed November 1963 & March/April 1964; see Television (1963); released in 1966 |
1963 |
Bullet for a Badman/Renegade Posse [R.G. Springsteen] c |
1964 |
Ride the Wild Surf [Don Taylor] c |
1964 |
Kitten with a Whip [Douglas Heyes] b&w |
1964 |
The Young Lovers/Chance Meeting [Samuel Goldwyn Jr.] b&w; cph: Ellsworth Fredericks |
1964 |
Hush... Hush, Sweet Charlotte/What Ever Happened to Cousin Charlotte? [Robert Aldrich] b&w |
1965 |
I Saw What You Did [and I Know Who You Are!] [William Castle] b&w |
1965 |
The Flight of the Phoenix [Robert Aldrich] c; aph: Paul Mantz; spec pfx: L.B. Abbott & Howard Lydecker |
1965 |
The Russians Are Coming The Russians Are Coming [Norman Jewison] p/c |
1966 |
The Swinger [George Sidney] c; spec pfx: Paul K. Lerpae; process ph: Farciot Edouart |
1966 |
Warning Shot [Buzz Kulik] c |
1966 |
Enter Laughing [Carl Reiner] c |
1966 |
Who's Minding the Mint? [Howard Morris] c; hph: Nelson Tyler |
1966 |
Fitzwilly [Strikes Back] [Delbert Mann] p/c |
1967 |
Tony Rome [Gordon Douglas] p/c |
1967 |
The Legend of Lylah Clare [Robert Aldrich] c |
1968 |
The Detective [Gordon Douglas] p/c; spec pfx: L.B. Abbott & Art Cruickshank |
1968 |
Lady in Cement [Gordon Douglas] p/c |
1968 |
The Killing of Sister George [Robert Aldrich] c; London ph: Brian West |
1968 |
Whatever Happened to Aunt Alice? [Lee H. Katzin] c |
1969 |
Too Late the Hero/Suicide Run [Robert Aldrich] Metroscope (+ 70bu)/c; 2uc: Nonong Rasca |
1969 |
The Greatest Mother of 'em All [Robert Aldrich & (dir ext) Tom Buchanan] c; short/20m; int ph; ext ph: Verne Carlson; promo reel for an un-produced feature |
1969 |
Mrs. Pollifax - Spy [Leslie H. Martinson] c; 2uc: Mark H. Davis |
1970 |
Escape from the Planet of the Apes [Don Taylor] p/c; spec pfx: L.B. Abbott & Howard A. Anderson |
1971 |
The Organization [Don Medford] c |
1971 |
The Grissom Gang [Robert Aldrich] c |
1972 |
Ulzana's Raid [Robert Aldrich] c |
1972 |
Emperor of the North Pole/Emperor of the North [Robert Aldrich] c; 2uc: Joe Jackman; spec vfx: L.B. Abbott |
1972 |
Cahill [- U.S. Marshall] [- United States Marshal] [Andrew V. McLaglen] p/c; spec pfx: Albert Whitlock |
1973 |
Superman [George Blair, Harry Gerstad & Lew Landers] c; comp of 4 ep (1957: #80 'Tin Hero' & #81 'The Town That Wasn't'; 1958: #95 'The Mysterious Cube' & #100 'Superman's Wife') of tv-series 'Adventures of Superman'; cph: Harold Wellman |
1973 |
Blazing Saddles [Mel Brooks] p/c |
1973 |
The Longest Yard/The Mean Machine [Robert Aldrich & (car chase) Hal Needham] c |
1974 |
Shanks [William Castle] c |
[Right] with prod/action seq dir Irwin Allen - "The Towering Inferno"
1974 |
The Towering Inferno [John Guillermin] p (+ 70bu)/c; ph action seq (dir by Irwin Allen); ph 1st unit: Fred J. Koenekamp |
1974 |
Hustle [Robert Aldrich] c |
1975 |
The Duchess and the Dirtwater Fox [Melvin Frank] p/c; 2uc: Joe Jackman |
1977 |
The Choirboys [Robert Aldrich] c |
1978 |
Beyond the Poseidon Adventure [Irwin Allen] p/c; uwph: Jack Cooperman; spec pfx: Harold Wellman |
1979 |
Airplane!/Flying High [Jim Abrahams, David & Jerry Zucker] c; sfx ph: Bruce Logan; miniatures ph: Paul Gentry |
1980 |
Hammett [Wim Wenders] c; cph: Philip Lathrop (reshoots in 1981) |
1980 |
...All the Marbles/The California Dolls [Robert Aldrich] c; 2uc: William Birch |
1982 |
Airplane II: The Sequel/Flying High II [Ken Finkleman] c |
TELEVISION | |
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Ph ep of 'Four Star Playhouse/Star Performance' (129-part series, 1952-56), 'TV Reader's Digest' (1955-56), 'Alcoa-Goodyear Theatre' (1957-60), 'Checkmate' (71-part series, 1960-62) & 'Grindl' (32-part series, 1963-64). |
|
1951 |
The Honeymoon Is Over [?] ? |
1952 |
The Midas Touch [Roy Kellino] tvm/b&w/30m; also seg of feature 'Charade' (1953); see Films |
1952 |
I'm the Law [ep #3 'The Model Agency Story' dir by George Archainbaud, #7 'The South American Money and the Generals Coffin' dir by Jean Yarbrough (JY), #8 'Who Killed Evelyn?' dir by JY, #9 'The Stool Pigeon Story' dir by JY, #10 'The Juvenile Murder Story' dir by JY, #11 'The Mad Cartoonist' dir by JY, #12 'The Wish and the Shoplifter' dir by Robert Walker (RW), #14 'O sole mio' dir by RW, #15 'The Trucking Story' dir by RW, #18 'The Countess Bobo Story' dir by RW, #21 'The Killer' dir by RW, #24 'Falling Star' dir by RW, #? 'The Waterfront Story' dir by RW & #? 'Train to Auburn' dir by JY] 26-part (syndicated) police series/b&w, 1952-53 |
1952 |
China Smith [various] 52-part (syndicated) adventure series/b&w, 1952 & 1954-55 ('The New Adventures of China Smith'); other ph: Don Flagg |
1952 |
The Child [James Mason] tvm/b&w/28m |
1953 |
Your Readers [e.g. 'About War', 'John Keats', 'The Birth of Christ', 'Robinson Crusoe' & 'Julius Caesar' dir by James Mason] 29 (?) -part series/b&w; cph: Hal Mohr; each ep (20m) is a reading of excerpts from a literary work |
1954 |
The Lone Wolf/Streets of Danger [prod #2 'The Blue Lantern Story/Copper Mountain Lodge' dir by Bernard Girard, prod #3 'The Art Story/The Painting' dir by BG, prod #4 'The San Francisco Story' dir by BG, prod #5 'The Emerald Ring' dir by BG, prod #6 'The Avalanche Story/The Reno Story/Time Bomb' dir by Bernard Girard & prod #7 'The Chinese Story/Intrigue' dir by BG] 39-part (syndicated) adventure series/b&w; other ph: Frederick Gately, Nicholas Musuraca & Charles Van Enger |
1954 |
The Mickey Rooney Show "Hey Mulligan" [ep #2 'The Moon or Bust' dir by Leslie H. Martinson (LHM), #3 'Disc Jockey' dir by LHM, #4 'Double Trouble' dir by LHM, #6 'The Grunion Hunt Mystery' dir by LHM & #10 'Tiger Mulligan' dir by LHM] 39-part sitcom series/b&w, 1954-55 (NBC-tv); other ph: James Van Trees |
1954 |
Police Call/International Police [ep 'Montreal' dir by Arthur Singer] 26-part crime anthology series/b&w (syndication) |
1954 |
Treasury Men in Action/Federal Men/T-Men in Action [ep #5-01 'The Case of the Lonely People' dir by Gerald Mayer (GM), #5-03 'The Case of the Gentleman Cheat' dir by William Beaudine (WB), #5-05 'The Case of the Man Outside' dir by Will Jason (WJ), # 5-08 'The Case of the Green Feathers' dir by GM, #5-11 'The Case of the Losing Gamble' dir by GM, #5-12 'The Case of the Bad Bargain' dir by WB, #5-13 'The Case of the Broken Bond' dir by WB, #5-36 'The Case of the Shot in the Dark' dir by WJ, #5-38 'The Case of the Frightened Man' dir by Leigh Jason & #5-39 'The Case of the Slippery Eel' dir by WJ] 192-part crime series/b&w, 1950 (ABC-tv), 1951-54 (NBC-tv) & 1954-55 (ABC-tv); 5th season, 1954-55 |
[Left] with 'Superman' George Reeves [1955]
1955 |
Adventures of Superman [13 ep dir by various] 104-part series, 1952-58; 4th season, 1956; this series followed the theatrical feature 'Superman and the Mole Men' dir by Lee Sholem and ph by Clark Ramsey in July-August 1951 (the 1st season, 1952-53 - 24 ep - was ph by William Whitley in 1951 and was sold to Kellogg's Cereal Company, who delayed airing by a year) |
1955 |
Screen Directors Playhouse [ep #7 'The Final Tribute' dir by Andrew L. Stone] 35-part anthology series/b&w, 1955-56 |
195? |
Warden Duffy of San Quentin [pilot 'Hostages' dir by Walter Doniger] unsold pilot/b&w |
1955 |
My Friend Flicka [ep #7 'The Stranger' dir by Robert Gordon] 39-part adventure series, 1956-57 (CBS-tv; filmed in color, aired in b&w) & 1957-58 (NBC-tv; reruns in color); cph: Lloyd Ahern; first filmed series from 20th Century-Fox |
1955 |
The Wanderer [ep 'A Place of Plenty' dir by Harry Horner] series/b&w |
1956 |
Sheriffs of the U.S.A. [ep 'Dandy Man' dir by Gerald Mayer] series/b&w |
1956 |
Cavalry Patrol [Charles Marquis Warren] pilot/b&w/30m |
1956 |
General Electric Summer Originals [ep #1 'It's Sunny Again' dir by Don Weis] dramatic anthology series/b&w |
1956 |
Arabian Nights [ep 'The Princess and the Beggar' dir by Gilbert Kay] series/b&w |
1957 |
Hey, Jeannie!/The Jeannie Carson Show (1958) [ep #27 'The Landlord' dir by Rod Amateau] 32-part sitcom series/b&w, 1956-57 (26 ep; CBS-tv) & 1958 (6 ep; syndication); other ph: William Margulies (5 ep; syndication) |
With George Reeves [1957]
1957 |
Adventures of Superman [13 ep dir by various] 6th season, 1958; see Television (1955) & Films (1973) |
1957 |
Playhouse 90 [ep #36 'Without Incident' dir by Charles Marquis Warren] 134-part anthology series/b&w, 1956-60 (1961: reruns); 1st season, 1956-57; started as a live series |
1957 |
Alfred Hitchcock Presents/The Alfred Hitchcock Hour (1962-65) [ep #83 'Silent Witness' dir by Paul Henreid] 268-part suspense anthology series/b&w, 1955-60 (CBS-tv), 1960-62 (NBC-tv), 1962-64 (CBS-tv) & 1964-65 (NBC-tv); 3rd season, 1957-58 |
1957 |
Richard Diamond, Private Detective/Calling Mr. 'D' [ep #13 'The Space Society' dir by Stuart Rosenberg] 77-part detective series/b&w, 1957-59 (CBS-tv) & 1959-60 (NBC-tv); 2nd season, 1958 |
1958 |
The Adventures of Super Pup [Cal Howard] pilot/b&w/22m for unsold series; spec pfx: Jack Rabin & Louis DeWitt |
1959 |
[Dick Powell's] Zane Grey Theater/The Westerners [ep #87 'Checkmate' dir by John English] 146-part western anthology series/b&w, 1956-61 & 1962 (reruns); 3rd season, 1958-59 |
1959 |
Hotel de Paree [ep #1 'Sundance Comes Home/Sundance Returns' dir by Robert Aldrich] 33-part western series/b&w, 1959-60 |
1959 |
The Detectives [Starring Robert Taylor] [ep #1 'The Streger Affair' dir by Arnold Laven] 97-part police series/b&w, 1959-61 (ABC-tv) & 1961-62 (NBC-tv); 1st season, 1959-60 |
1962 |
This Rugged Land [Arthur Hiller] tvm; originally ep #1 'The Day the Empire Stood Still' of western series 'Empire/The Big G' (1962-63 & 1964 reruns) + add footage |
1963 |
The Man from U.N.C.L.E. [pilot 'The Vulcan Affair' dir by Don Medford] 105-part spy spoof series, 1964-68; 1st season/b&w, 1964-65; other ph: Fred Koenekamp; see Films (1963) |
1967 |
The Hardy Boys [?] pilot |
1971 |
Brian's Song [Buzz Kulik] tvm; also released theatrically |
1971 |
Gidget Gets Married [E.W. Swackhamer] pilot |
1971 |
Thursday's Game/The Berk [Robert Moore] tvm; shown in 1974 |
1971 |
Ghost Story/Circle of Fear (1973) [pilot/ep #0 'The New House' dir by John Llewellyn Moxey] pilot + 22-part supernatural anthology series, 1972-73; other ph: Bill Butler & Emmett Bergholtz |
1972 |
Playmates [Theodore J. Flicker] tvm |
1972 |
The Crooked Hearts [Jay Sandrich] tvm |
1973 |
Wonder Woman [Vincent McEveety] tvm; originally the first pilot for the 'Wonder Woman'-series, 1976-79 |
1973 |
Honky-Tonk [Don Taylor] tvm |
1976 |
[Arthur Hailey's] The Moneychangers [Boris Sagal] 4-part miniseries |
1976 |
SST - Death Flight/SST - Disaster in the Sky/Death Flight/Flight of the Maiden [David Lowell Rich] tvm |
1977 |
Washington: Behind Closed Doors [Gary Nelson] 6-part miniseries; cph: Jack Swain; 2uc: Andrew Laszlo |
1977 |
A Family Upside Down [David Lowell Rich] tvm |
1978 |
The Clone Master [Don Medford] pilot |
1978 |
Little Women [David Lowell Rich] 2-part tvm; followed by short-lived series in February-March 1979 |
1979 |
Scruples [Alan J. Levi (replaced Hy Averback)] 3-part miniseries; followed by sequel in 1981 |
1979 |
[Kenny Rogers as] The Gambler [Dick Lowry] tvm; addph: John Hora |
1981 |
Desperate Lives [Robert M. Lewis] tvm |
1982 |
Casablanca [ep #1 'Who Am I Killing?' dir by Ralph Senensky (RS), #2 'The Master Builder's Woman' dir by Robert M. Lewis (RML), #3 'Jenny' dir by Mel Stuart, #4 'The Cashier and the Belly Dancer' dir by RS & #5 'Divorce, Casablanca Style' dir by RML] 5-part series, 1983 |
1983 |
The Jerk, Too [Michael Schultz] pilot |
1984 |
Hell Town/Father of Hell Town [Don Medford] pilot |
1984 |
A Death in California/Psychopath [Delbert Mann] 2-part tvm |
1985 |
Outrage! [Walter Grauman] tvm |
1985 |
A Winner Never Quits [Mel Damski] tvm |
1987 |
Time Out for Dad [Harry Harris] pilot/60m |
FILMS AS CAMERA OPERATOR | |
---|---|
1930 |
Cimarron [Wesley Ruggles] co-c.asst; ph: Edward Cronjager |
1931 |
[Young] Donovan's Kid [Fred Niblo] co-2nd cam; ph: Edward Cronjager |
1931 |
Three Who Loved [George Archainbaud] co-2nd cam; ph: Nicholas Musuraca |
1931 |
Are These Our Children? [Wesley Ruggles & (uncred) Howard Estabrook] co-2nd cam; ph: Leo Tover |
1931 |
Ladies of the Jury [Lowell Sherman] co-2nd cam; ph: Jack MacKenzie |
1931 |
The Lost Squadron [George Archainbaud] co-c.op; ph: Edward Cronjager & Leo Tover |
1932 |
State's Attorney/Cardigan's Last Case [George Archainbaud] co-c.op; ph: Leo Tover |
1932 |
The Monkey's Paw [Wesley Ruggles & (uncred add scenes) Ernest B. Schoedsack] co-c.asst; ph: Leo Tover |
1932 |
Secrets of the French Police [A. Edward Sutherland] co-c.asst; ph: Alfred Gilks |
1932 |
No Other Woman [J. Walter Ruben] 2nd c.op; ph: Edward Cronjager |
1932 |
The Animal Kingdom/The Woman in His House [Edward H. Griffith & (uncred) George Cukor] ph: George Folsey |
1933 |
Before Dawn [Irving Pichel] 2nd cam; ph: Lucien Andriot |
1933 |
Rafter Romance [William Seiter] ph: David Abel |
1933 |
Ann Vickers [John Cromwell] ph: David Abel & Edward Cronjager |
1934 |
Where Sinners Meet/The Dover Road [J. Walter Ruben] ph: Nicholas Musuraca & (uncred) David Abel |
1934 |
Their Big Moment/Afterwards [James Cruze] ph: Harold Wenstrom |
1934 |
The Gay Divorcee/The Gay Divorce [Mark Sandrich] ph: David Abel |
1934 |
Laddie [George Stevens] ph: Harold Wenstrom |
1935 |
Break of Hearts [Philip Moeller] ph: Robert De Grasse |
[Right] with doph J. Roy Hunt [left] - "The Ex-Mrs. Bradford"
1936 |
The Ex-Mrs. Bradford [Stephen Roberts] ph: J. Roy Hunt |
1936 |
Swing Time [George Stevens] 2nd c.op; ph: David Abel |
[At camera] with dir John Farrow [seated/glasses]
and doph Nicholas Musuraca [standing left] - "Five Came Back"
1939 |
Five Came Back [John Farrow] ph: Nicholas Musuraca |
1940 |
Tom Brown's School Days/Adventures at Rugby [Robert Stevenson] ph: Nicholas Musuraca |
1946 |
It's a Wonderful Life [Frank Capra] c.op (& finished film); ph: Victor Milner (uncred) & Joseph Walker; see Films |