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Owen Roizman, a cinematographer who shot most of the premier movies of a era, has died. He was 86.
A consultant for the American Society of Cinematographers confirmed the information. No additional particulars about Roizman’s demise can be found presently.
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Roizman was Oscar-nominated 5 occasions, for “The French Connection,” “The Exorcist,” “Community,” “Tootsie” and 1994 Western “Wyatt Earp.” In 2017, Roizman was honored with an honorary Academy Award for his contributions to the medium.
Along with his Oscar noms, Roizman was nominated for an Emmy for his cinematography (utilizing movie, not videotape) of the 1972 Liza Minnelli selection particular “Liza With a Z,” directed by Bob Fosse.
Roizman obtained the American Society of Cinematographers’ lifetime achievement award in 1997.
He labored with director Sydney Pollack on 5 movies: “Three Days of the Condor,” “The Electrical Horseman,” “Absence of Malice,” “Tootsie” and “Havana.”
In “Making Tootsie: Contained in the Basic Movie with Dustin Hoffman and Sydney Pollack,” creator Susan Dworkin mentioned of Pollack: “His extraordinary shut working relationship with Owen Roizman got here from a mutual acceptance of favor.”
However earlier than Pollack, Roizman developed a key working relationship with William Friedkin.
Friedkin’s “The French Connection” (1971) was solely Roizman’s second movie as cinematographer, however the way in which through which he shot the film’s thrilling, fast-moving central automobile chase has achieved legendary standing. The gritty, documentary-like realism he introduced, not simply to the chase, however to your entire movie, partly by taking pictures on location within the streets of New York, made the cops’ pursuit of the heroin traffickers really feel extra genuine. The identical could possibly be mentioned of the chase — it felt just like the form of factor which may really occur regardless that it was the results of cautious choreography, each by the stuntmen and by Roizman and his crew.
The All Film Information mentioned, “The contributions made by Roizman for ‘French Connection’ might fill a cinematography textbook in itself.”
Working with Friedkin once more on “The Exorcist,” Roizman strived to realize an impact that was, in his phrases, “plausible” — not the documentary model of “French Connection,” but in addition not with pointless cinematographic distractions, so the viewers might imagine what was taking place.
One uncommon drawback for Roizman involved the terribly well-known scene of the exorcism itself, through which the temperature needed to seem frigid, with the breath of the clergymen seen. Really turning the room ice chilly proved simpler visually than any simulation of chilly.
Roizman drew upon his work in “The French Connection” for the New York subway-set “The Taking of Pelham One Two Three” (1974), which had the same tone and milieu. This thriller even incorporates a automobile chase that bears a hanging resemblance to the central set piece in “French Connection.”
In Pollack’s “Three Days of the Condor,” Movietone Information mentioned, “Different collaborators feed their probably expressive energies and skills into the combination: some journey in streets, on foot and by automobile, [which] is visualized distinctively sufficient to remind us that Owen Roizman photographed ‘The French Connection.’”
In a really detrimental assessment of “The Return of a Man Referred to as Horse,” Movietone Information mentioned in 1976 that “essentially the most attention-grabbing phenomenon on this in any other case gaseous enterprise is Owen Roizman’s nearly three-dimensional panorama pictures in 70mm.”
For the Paddy Chayefsky-scripted, Sidney Lumet-directed satire of tv “Community,” Roizman made positive to introduce as a lot visible darkness as doable to the brightly lit world of TV newsrooms, studios and boardrooms, with faces specifically cloaked in shadows.
The ASC’s American Cinematographer journal referred to as “Community” a excessive level within the profession of each Roizman and Lumet “that was characterised by a exceptional visible and dramatic coherence.”
Roizman made movies in quite a lot of genres. Most well-known, maybe, have been his crime dramas (“French Connection,” “The Gang That Couldn’t Shoot Straight,” “The Taking of Pelham One Two Three,” “Straight Time,” the considerably comedian “The Black Marble”) and horror movies (“The Exorcist,” “The Stepford Wives”), however Roizman additionally made a traditional satire (“Community”), thrillers (“Three Days of the Condor,” “Absence of Malice,” “Faucets”), interval dramas (“True Confessions,” “Havana”), up to date dramas (“Imaginative and prescient Quest,” “Grand Canyon”), comedies (“Play It Once more, Sam,” “The Heartbreak Child,” “The Electrical Horseman,” “Tootsie,” “I Love You to Dying,” “The Addams Household,” “French Kiss”), a musical fantasy (“Sgt. Pepper’s Lonely Hearts Membership Band”) and even Westerns (“The Return of a Man Referred to as Horse,” “Wyatt Earp”).
Along with his Oscar nom for director Lawrence Kasdan’s Kevin Costner starrer “Wyatt Earp,” Roizman was nominated for an ASC award for the movie.
Owen Roizman was born in Brooklyn; his father, Sol Roizman, was a newsreel photographer, whereas his uncle, Morrie Roizman, was a movie editor. Owen graduated from Gettysburg Faculty in Pennsylvania with a level in math and physics in 1958. Although Owen Roizman in the end pursued a level in present enterprise, he informed an viewers on the Ojai Movie Competition in 2011 that his schooling was not a waste. “I realized about issues just like the angle of incidence equals angle of reflection, which is likely one of the fundamentals of optics.”
He realized about cameras at a summer time job throughout his school years at Digital camera Gear Co. in New York.
Roizman labored in commercials earlier than heading into characteristic movies. He was a digicam assistant on the traditional Chilly Warfare thriller “Fail-Secure” (1963).
His first movie as cinematographer was Invoice Gunn’s 1970 effort “Cease.” The movie was rated X for its sexual content material. Whereas Warner Bros. financed it, the nervous studio shelved it and it was by no means launched.
The New York-based Roizman made a swap in 1976 and moved to Hollywood. Just a few years later, in 1983, he launched his personal firm for producing commercials, Roizman & Associates, and spent the subsequent six years away from characteristic movie manufacturing, as an alternative producing, directing and taking pictures what the Web Encyclopedia of Cinematographers characterizes as lots of of commercials.
Roizman was among the many nice cinematographers who appeared within the 1991 documentary “Visions of Gentle: The Artwork of Cinematography.”
He served on the board of governors of the Academy of Movement Image Arts & Sciences, representing the cinematographers’ department.
He was Kodak Cinematographer in Residence on the UCLA Faculty of Theater, Movie and Tv in 2003.
In 2001 Roizman gained a lifetime achievement award from the Worldwide Movie Competition of the Artwork of Cinematography Camerimage, held in Poland.
Roizman was honored at a January 2011 gathering of cinematographers on the Academy of Movement Image Arts & Sciences in Beverly Hills.
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