Filmmaker and cinematographer Joan Churchill began her career shooting a series of music films, including Gimme Shelter, No Nukes, and Jimi Plays Berkeley. Her credits include An American Family, Punishment Park and Pumping Iron, introducing to the world an unknown Arnold Schwarzenegger. In collaboration with Nick Broomfield, Churchill has made ten films, including Soldier Girls, for which he won a Bafta Award. Churchill is the first pure verite documentary cinematographer to be accepted into the American Society of Cinematographers (ASC). She then produced, directed and photographed the documentary Shoot from the Heart dedicated to the legendary Haskell Wexler. The centenary of the birth of Haskell Wexler ASC (Chicago, February 6, 1922 - Santa Monica, December 27, 2015), one of the greatest cinematographers in the history of cinema, was celebrated this year. During his career he won two Academy Awards® - Academy Awards® with Who's Afraid of Virginia Woolf? (1967), directed by Mike Nichols, and Bound for Glory (1976), directed by Hal Ashby. He also signed the cinematography of cult films such as: In the Heat of the Night (1967) and The Thomas Crown Affair (1968), both directed by Norman Jewison, One Flew Over the Cuckoo's Nest (1975), directed by Miloš Forman, Coming Home (1978), directed by Hal Ashby, Days of Heaven (1978), directed by Terrence Malick, Matewan (1987), directed by John Sayles, Blaze (1989), directed by Ron Shelton. Wexler joined the ASC on 12 September 1966, directed several documentaries and the remarkable feature film Medium Cool (1969). Wexler's talent was honored with a star on the “Hollywood Walk of Fame”.
Together with Alan Barker you shot Shoot from the Heart, a documentary dedicated to the legendary cinematographer, winner of two Academy Awards, Haskell Wexler ASC. You were the first ASC member whose invitation into the Society was based solely on documentary work — and Barker, a prolific sound recordist and mixer. How did you come up with this project? What prompted you to make the film?
Joan Chruchill and Alan Barker. Photo Haskell Wexler
Haskell was a close friend and we spent a lot of time with him. In his post Hollywood years Haskell was interested primarily in documentary work. We had a lot in common in that area.
You have worked (as a cinematographer and camera operator) with Wexler on several documentaries directed by himself, such as Bus Rider's Union, Who Needs Sleep? and From Wharf Rats to Lords of the Docks. How did you meet?
When I was preparing to shoot Punishment Park in 1970 Haskell called me out of the blue with suggestions on how to light and shoot it. He helped me build the lights we used on the film. I don’t know how he found out about me or the project. That’s the kind of man he was, pure unselfish generosity.
Haskell Wexler, Joan Chruchill and Alan Barker shoot at Occupy LA. Photo Rita Taggart
Shoot from the Heart is the new title invented by Rita Taggart, Wexler's widow. But it was originally titled My Dinner with Haskell, right?
That was originally our working title. The project went through many iterations over the years but we kept coming back to that wonderful dinner with Haskell, Pennebaker, me, and filmmakers Nick Doob and Chris Hegedus (Penny’s wife). In the end we wanted a title that was more about who Haskell was.
Was Shoot from the Heart released last year?
Yes.
In what period did you shoot the documentary? How long did the shoot take?
We shot from 2005 to 2015. Haskell was uncomfortable in front of the camera so we had to take advantage of the rare moments when he was off guard. He did not want to be the center of attention unless he was putting forward his political views which were highly progressive and supportive of labor.
Poster of Shoot from the Heart
Haskell Wexler with cameraphoto. Photo Alan Barker
What is the through line of the film?
The dinner conversation with Pennebaker and friends is the eternal through line but the more important emotional through line is a portrait of the man that ranges from cranky and irascible to deeply thoughtful and loving.
Is the centerpiece of the film the sequence with Haskell and director D. A. Pennebaker?
Structurally, yes.
With which cameras did you shoot?
Many different cameras were used, all of them small and inconspicuous. In the beginning we shot on DV tape. The cameras that stood out for image quality were the Panasonic HPX 170, the Sony PXW X70 and the PXW Z90.
Which Shoot from the Heart sequence satisfied you the most?
Which of your children is your favorite? I have no answer for that.
I guess you have collected a lot of footage. How did you manage to reduce it to the final minutes during the editing phase? What choices did you have to make?
Joan and Haskell. Photo Alan Barker
Shoot from the Heart isn’t exactly a film. It’s an introduction to a long form work that will consist of four or five chapters that can be viewed individually. We are working on the second chapter now which is an encounter with Haskell and documentarian Hubert Sauper, and Magnum photographer Susan Meiselas which we are tentatively calling “Truth/Fiction?”. In the end, these chapters can be viewed in any order one likes, a sort of ‘choose your own adventure’. And if we keep each chapter at or under 25 minutes each, we can combine them into one (too) long documentary feature… something I think happens all too frequently.
The presence of an icon like Jane Fonda was important in your film. What can you tell me about her?
She is a dear friend and a remarkable human being. She is much like Haskell in her dedication to progressive causes and her loving nature.
What do you think is Wexler's best work? The film in which his talent emerges powerfully?
I don’t think that way. Different works have different relevance at different times.
Did he tell you what his favorite film was as a cinematographer?
Never had that conversation.
As a person, what was Wexler like? Which of its qualities impressed you the most?
Haskell Wexler on the set of his Medium Cool (1969)
One of his many remarkable qualities was that in spite of his anger at the state of the world he remained joyous. He was a funny man, always joking and finding humor in life.
You shot Haskell teaching Inner City Film School students. What did he pass on to the young students? His vision of society is well expressed in the documentary he directed, Medium Cool (1969). In addition to his formidable art, he had a great civic sense, attentive to civil rights, right?
I can’t speak for the students but they seemed inspired. How would you feel as an underprivileged inner-city kid if one of the greatest cinematographers of all took the time to speak to you?
Concluding. What do you think is the artistic heritage that Haskell Wexler left us?
I can only speak for myself. For me it is that love should be the motivating force behind art.
