Magazine article American Cinematographer

Close-Up Dejan Georgevich, ASC

Magazine article American Cinematographer

Close-Up Dejan Georgevich, ASC

Article excerpt

When you were a child, what film made the strongest impression on you?

I was 11 when I saw a 1 6mm screening of On the Waterfront (1954) in a crowded church-basement hall in Montclair, N.J. The film's visceral, organic, in-the-moment feel had a profound impact on me.

Which cinematographers, past or present, do you most admire?

Conrad Hall, ASC, for being a brilliant, eclectic visual storyteller; Vittorio Storaro, ASC, AIC, for his operatic camera and inspired use of color; Gordon Willis, ASC, for his bold, expressionistic camera and daring in the world of darkness; Chris Menges, ASC, BSC, for exquisite location photography and catching the moment; and Chris Doyle, HKSC, for his anarchist visual energy and celebration of beauty.

What sparked your interest in photography?

I recall struggling with a Bell & Howell projector that seemed twice my size in elementary school, going up and down stairs to screen films for the primary-school kids. The power of the image it projected made a very strong impression on me.

Where did you train and/or study?

I double-majored in mass communications and international relations in college, and during my senior year, I decided my future was in motion pictures - it encompassed my interest in arts and humanities, as well as my passion for photography. I went on to New York University's graduate-film program.

Who were your early mentors?

Director Lee Rothberg, who hailed from the 'golden age' of television and was also an ace camera operator with a terrific eye for composition and a great feel for camera movement. Also, a gaffer named Bill Lister honed my knowledge of lighting with both hard and soft sources.

What are some of your key artistic influences?

Growing up in a household of professional opera singers gave me a deep appreciation for and love of music. My father never really understood the filmmaking process until I took him into an editing room. There, he carne understand how time signature and tempo, phrasing and color, and mood and tone influence my medium. When I'm doing research for a project, I reference artists such as Caravaggio, Edward Hopper, Henri Cartier-Bresson and Gordon Parks, depending on what's appropriate for the project.

How did you get your first break in the business?

I saw an ad tacked on the school bulletin board that said 'PA/Stage Manager Wanted. …

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