From Star Wars to Lost Boys 2
The journey of cinematographer Rick Taylor
Cinematographer Rick Taylor
By J. Jekyll
May 2009
Goremaster.com
Mr. Taylor is a multi talented director of photography and cinematographer. His early work includes "The Empire Strikes Back" (1980) for none other than Industrial Light and Magic. Read on about his incredible journey into the film business including a cathartic moment involving George Lucas... |
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GM: When did you make your decision to enter the field?
RT: My dad took me to see 2001 A Space Odyssey projected at the Cinerama Dome when it was first released. I knew then that I wanted to work in the motion picture industry. I was seven years old.
GM: What or who inspired you to start? Who was your influence?
RT: I had several influences when I was young. There were three motion pictures that influenced me tremendously at a very early age. They were
2001 A Space Odyssey
Goldfinger
Mary Poppins
GM: Favorite early special effects memory – movie scene – book – TV show?
RT: Favorite early special effects memory would be 2001 A Space Odyssey. The scene where the stewardess picks Dr. Haywood Floyd’s floating ink pen out of the air right in front of the camera
Favorite early book would have to be “The Spaceship Under The Apple Tree” by Louis Slobodkin
Favorite early TV show would have to be the original “Star Trek” series with William Shatner and Leonard Nimoy.
GM: What are your top five special effects movies?
RT: 2001 A Space Odyssey, Silent Running, Blade Runner, Star Wars and
Iron Man
GM: What is your favorite makeup special effects scene from a movie? (it doesn’t have to be from one of your movies)
RT: Favorite makeup special effects scene would have to be the scene in “Raiders of The Lost Ark” where the Nazi’s face melts. Totally awesome
GM: Who is your favorite Cinematographer?
RT: I’m sorry but I cannot list just one person here. So I am going to take some liberties:
James Wong Howe
Jordan Cronenweth
Harry Stradling Sr.
Conrad Hall Sr.
Bill Pope
Wally Pfister
Steven Poster
Russell Carpenter
Mathew Libatique
There are many more, but these men are some of my absolute favorites and I have had the pleasure of working with three of the men on this list.
GM: Whose current work do you admire?
RT: The list is long indeed in light of the previous question but I really admire Wally Pfister’s and Matty Libatique’s work.
GM: How have you gotten work in the industry?
RT: In 1977 I was working at Avis Rent a car at Los Angeles International Airport. George Lucas had just returned a rental car and was waiting in the shuttle bus to be taken to his terminal and catch a flight. I went in and asked my supervisor if I could give him a ride to his terminal so he wouldn’t have to wait for the shuttle to leave. I was given the approval to do so and I ran outside to grab him and give him a ride thinking it would be my big break into the business and to tell him what a great fan I was.
When I got outside I saw that he had abandoned the shuttle and was running across the airport in an effort to make his flight and not be late, so I lost that opportunity. I knew then that I was wasting my life in a dead end job. I walked back in and gave my two weeks notice to quit. I walked back outside and said to myself. Screw it. It’s now or never and I quit the job that night and never went back. The next day I began my attempt to break into the industry. Two weeks later I got a job as a P.A. at a company called “Animation Camera Services”, it was Valentine’s Day 1978. Three months after I started working there I got a call from the company owners ex business partner, a man named Mike Kinney. Mike’s father Jack Kinney directed “Dumbo” for Disney. Mike gave me my real break in the industry and put me in the cinematographers union. I owe my start to this man. He passed away many years ago. In the years that have gone by I have relied upon friends that I know in the industry to find work.
Rick Taylor with R2D2
GM: What was your toughest job?
RT: This question is difficult for me to answer. I believe that if you really love what you are doing then it ceases to be work. Certain shooting environments are hard to contend with. Such as extreme cold or extreme heat and shooting on the beach is a physical nightmare. Personalities on set can at times be difficult to cope with and the hours are often long and grueling. But if you love what you are doing then even the most difficult situation can be challenging and enjoyable.
GM: What was your favorite job?
RT: My favorite job would have to be “The Empire Strikes Back” My time in Marin County working for I L M was perhaps the most enjoyable time in my life. The people on the crew were incredible and the project was guaranteed to be a success. It was truly a magical time.
Rick Taylor and the Millennium Falcon
GM: Are there any new breakthroughs or ideas in the industry that excite you?
RT: I am excited by the advances in digital cinematography. The Genesis camera, The Arri D-21 are incredible to work with and more recently Panasonic’s HVX-200 and The Red Camera have opened up possibilities that historically speaking have only been available to big budget studio projects. The Panasonic HVX-200 and The Red Camera have put real power in the hands of amateur film makers.
GM: What is a current project you are working on? Or what project are you excited about?
RT: I am currently writing. I have two film ideas that I think would be a lot of fun to bring to the big screen.
GM: Do you have advice for a beginner or someone just getting started in the business?
RT: If you know in your heart that motion picture production is what you want to do with your life. Then you will never give up or take no for an answer. Give it everything you have to give. Lean everything you can learn about the craft of film making and never look back. If it is in your blood then no amount of set backs will deter you from making it your living.
GM: What was the best advice/training you ever received?
RT: Bill Pope once told me. “The show moves along as fast as your assistants can do their job, so be nice to them.” Always be considerate of the crews. They are not earning as much as the “Talent” and often their responsibilities, stress level and work load is far greater than the actors.
For a sampling of Rick Taylor's live action shoots take a look at this reel:
(audio track is removed)
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