French Connection, Exorcist Cinematographer Was 86 – Hollywood Reporter

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Evan Roizmanthe five-time Oscar-nominated cinematographer who partnered with director William Friedkin on the classic hit movies The French connection and The Exorcist, has died. He was 86.

Roizmanwho also worked with director Sydney Pollack on five films, including Three Days of the Condor (1975), Malice’s Absence (1981) and Tootsie (1982) – when he made Dustin Hoffman look good as a woman – died Friday night at his home in Encino, his wife of 58 years, Mona, said. The Hollywood Reporter. He has been in hospice care since August, she said.

He received an honorary Oscar at the Governors Awards in November 2017. “A film is made up of many small, silver particles, and each of these particles is represented by everyone who works on it movie,” Roizman he said in his acceptance speech. “If you had changed any of them on any film, the film would have looked different.

Roizman he had a good career, also burning the tight underground set To bring Pelham one two three (1974), by Walter Matthew; the incorruptible suburb sci-fi a story The Stepford Women (1975); and Sidney Lumet’s brilliant media satire Network (1976).

The Brooklyn native with a background in TV commercials knew his way around comedies, as seen in his work on the mafia story The group that could not shoot straight (1971); Herbert Ross Play it again, Sam (1972), with Woody Allen; The Heartbreak Baby (1972), directed by Elaine May; and Barry at Sonnenfeld The Addams Family (1991).

And he was the cinematographer on Liza Minnelli’s 1972 NBC Emmy special. Liza Le Z.

Roizman at Oscar names he came for his work on the best picture winner The French connection (1971), The Exorcist (1973), Network, Tootsie and Wyatt Earp (1994), the third of four films he shot for director Larry Kasdan.

“My hobby was magic, and I’m the best audience in the world for a magician because I want to be fooled. I’m always curious about how someone did something,” he said in a podcast on the American Society of Cinematographers website. “So I wanted to trick people into how I would light something.”

The French connection it was only the second film Roizman shot (and the first to hit theaters). Friedkinafter firing his original cinematographer, he saw something in it Roizman at work on the low-budget 1970 drama Stop and asked him out for the comic based on New York City narcotics Popeye Doyle (Gene Hackman).

Friedkin he said, ‘I like your work in it; what I want to do … what I want to do is kind of real street photography,’” Roizman back in a 2011 interview with the Los Angeles Times. “I said, ‘Why not? I should be able to do anything you tell me. I’m a cinematographer.’ He liked my view.

“I was just trying to look at it, something that would improve it. We talked about camera movement and how we wanted to have an uncomfortable feeling in certain scenes and definitely that realism throughout. “

The French connection is, of course, famous for its six-minute car chase through the streets (and under the stage Stillwell Avenue subway line) in Brooklyn. Roizman said the whole thing took about five weeks to film (they could only shoot between 10am and 3pm).

“It was done in two different ways,” Roizman said in the Times an interview. “Three cameras were used inside the car, including a camera on the dashboard that looks out through the windshield and one over the driver’s shoulder. From the outside, we had five cameras. We broke it down to five stunts, and the rest of it was just bits and pieces.”

A little simpler, Roizman spray painted a light bulb in a bar scene to create a crazy atmosphere.

The exorcism scene harrowed in The Exorcist it was also shot in New York, in a studio 10th street Friedkin wanted Regan’s (Linda Blair) bedroom dimly lit cold enough to see the actors’ breathing, and the crew lowered the temperature to 20 degrees below zero every morning.

“The room had to be air-conditioned, but it has since gone ACs very noisy, we had to turn them off while doing the lighting, turn them back on to cool off the room, and off again while we did the actual shooting, ” Roizman he said in 2011 when he was honored at the Ojai Film Festival. “Needless to say, the scene took a long time to shoot.”

In 1976, Roizman he left New York for Los Angeles, where he founded his own TV commercial production company. He took a six-year hiatus to tend to that industry before returning to feature filmmaking in 1989.

He was born on September 22, 1936, Roizman grew up surrounded by cameras. His father, Sol, was a news photographer for Fox Movie tone News and camera operator on televisions Sgt. Bilkoand his Uncle Morrie he was a film editor on several documentaries.

During the summers while away from Gettysburg College in Pennsylvania, Roizman he worked at a camera rental company in New York, and learned about lenses and how to set up film. After graduation, he assisted a Hungarian cinematographer Cause Farkas and they shot commercials for a company in New York that also worked in the future Father of children cinematographer Gordon Willis. This caused the work to proceed Stopwhich shot in Puerto Rico on a budget of just $300,000.

Onward Tootsieabout an actor (Hoffman) who impersonates a woman to take part in a TV soap opera, Roizman he joked “Dustin wanted to look as good as [co-star] Jessica Lange.”

“I tried to design the lighting for every scene in which Dustin was with Jessica until I lit it for the softest work I did, I did the same kind of lighting for her so that it would seem like I was cheating. one or two,” he explained in a story for American filmmaker magazine “I used the same amount of spread for both of them, so it would go in well. And it worked out. ”

It also included his collaboration with Pollack The Electric Man (1979) and Havana (1990).

Roizman also burning The Return of a Man Called Horse (1976), directed by Irvin Kershnerand the bad guy Sgt. Pepper’s Lonely Hearts Club Band (1978), and worked with Kasdan forward I love you to death (1990), Grand Canyon (1991) and French kiss (1995).

He went with the director Ulu Grosbard for the Hoffman starry Straight Hour (1978) and True Confession (1981) and by Harold Becker for The Black Marble (1980), Tapes (1981) and Vision quest (1985).

In 1997, Roizman serve as ASC president and received the organization’s Lifetime Achievement Award.

In addition to his wife, survivors include his son, Eric, who served as second assistant cameraman with his father on Wyatt Earp and has worked camera on several TV series, incl Monk, Justified and The Last Man on Earthand his sister Frankie.

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