Christopher Chomyn ASC is an American cinematographer; received his MFA in Production from the UCLA School of Theater, Film and Television and teaches Cinematography at the USC School of Cinematic Arts. He has led cinematography workshops and seminars around the globe. Chomyn is a member of the ASC - American Society of Cinematographers. His credits include the feature films: Como caído del cielo (2019), Mas sabe el diablo por viejo (2018), Hidden Moon (2012), Flying By (2009), Mr. Sadman (2009), Wild About Harry (2009), Sea Of Dreams (2006), Lockdown (2000), Phantasm(s) III (1994) & IV (1998), Picture Bride (1994) and Taxi Dancer (1997).
Don't let what you cannot do interfere
with what you can do.
John Wooden
Read in Italian
You are on the Board of the ASC, the oldest cinematography association in the world. Which ASC - American Sociaety of Cinematographers recommended you for membership and when?
The ASC is not only the oldest cinematography association in the world. I believe it is also distinguished as the first and longest operating professional organization in the motion picture industry. Most members consider it the highest professional honor. This is because one cannot apply for membership, rather three active members must recognize one’s work and write letters supporting a prospective member. Then the membership committee reaches out and invites one to submit their body of work to the committee. The process can take quite a long time. Even after your membership meeting, where the prospective candidate presents their work to a panel of members, and is interviewed, then a vote is taken. That vote then goes to the board of governors, who discuss and vote again. Assuming an affirmative vote, the candidates name is presented to the entire membership for 30 days, during which time, any member is encouraged to comment. If there are no objections, only then, is the invitation to join The Society extended to the candidate. I was incredibly honored to be invited to join the American Society of Cinematographers in 2012. My sponsors were Woody Omens, ASC, Owen Roizman, ASC and Hiro Narita, ASC. To be recognized for the caliber of my work and character by such a distinguished group, and to be invited to join their ranks was a dream come true. With it came an enormous sense of responsibility to live up to the expectations that accompanies such an honor. In building a career, one does not get to choose which projects are offered, but one can always choose to tackle every opportunity with the utmost professionalism, creativity and dedication to excellence so that every project achieves its potential. That level of commitment reflects the character of those leading the team, and shows in the resulting work.
Is it true that your first job in the cinema industry was driving screen legend Doris Day to and from the set?
It is true. I was working as a production assistant (PA) and I was assigned the job of picking up Doris at her home each morning, driving her to set, and returning her home in the evening. She was a lovely woman. She loved the entertainment industry and was very encouraging of me. We became friends and spent many hours sitting in her “dog kitchen” talking.
What sparked your interest in cinematography?
As a young boy, I visited the Edison Museum in East Orange, NJ, and became fascinated by all the inventions. While there we saw original Edison hand-cranked film cameras and watched a celluloid projection of Edwin S. Porter’s The Great Train Robbery, which was an early production of Edison Studios. I saw filmmaking as akin to inventing and I was hooked. I knew what I wanted to do. I didn’t know the word “cinematographer” or the many roles on a film set, but I wanted to make films. Later I became interested in still photography, and spent countless hours in the darkroom, developing and printing photographs. I thought for a while that I might become a stills photographer. Of course, over the years I had seen so many amazing films, photographed by legendary cinematographers, that so impressed me that I wanted to do what they did. Freddy Young, Guy Green, Jack Cardiff, Conrad Hall, Gordon Willis, Owen Roizman… There are too many to name, but I knew what they did was magical and I wanted to follow in their footsteps, but I didn’t know how. It seemed like an unattainable dream. I started college as a Philosophy major but switched to History in my first year. I didn’t have any idea what I would do after college. While in school I was very active with my still photography. I became a photo editor for the college newspaper, worked for the University’s PR department, and also worked as an assistant to a local photographer. It wasn’t until after college that I visited California and began working that I started to believe that I could indeed become a cinematographer. I read Masters of Light so many times, that the pages fell out. I read «American Cinematographer» magazine every month while standing at the local bookstore magazine rack – I didn’t have enough money to subscribe or even to buy an issue, so I read them cover to cover at the store. During this time, I began working as a grip and electrician, and I started thinking about how I could best progress. I learned a great deal from every production, and I always found the cinematographers generous in sharing their knowledge.
Where did you train and/or study?
After working for a few years as an electrician on a variety of productions, from commercials to films to movies of the week, I decided to apply to film school. The application required a creative sample, and I didn’t have anything to submit, so I bought Syd Fields’ book: How to Write a Screenplay in 21 Days, an electric typewriter and I ordered a script formatting guide from the WGA, and set to work writing a feature screenplay. I applied to the UCLA School of Theater, Film and Television, and by some miracle, I was one of 26 graduate students accepted that year.
How did you become a cinematographer?
Before I applied to school, I had already decided that I wanted to be a cinematographer, so although the program was a general production program, with most students setting their sights on directing, I was clear from the first day that I wanted to be a cinematographer. During school and after, I focused on finding work filming projects. I suppose I got a reputation as a cinematographer, and with that came many opportunities to shoot student films. As I neared completion of my degree, I focused on looking for paid opportunities and little by little, I found work, some interesting, some less so. I filmed everything from industrial and educational films to music videos and commercials. Eventually, I landed my first feature, and then others followed.
What inspires you in your work?
I think all forms of personal expression come from the self. So my point of reference is always my life experience. Of course, as I read each script, I gauge my emotional response to the material, and I dig into my memory to find experiences where similar emotions are triggered. How these are manifest in the film has to do largely with one’s taste and sensibilities, which are also largely formed by one’s life experience. Once I understand what a film wants to be, and how I see it, I can work out how to accomplish what the film needs. When collaborating with a group of individuals, the specific approach, scene to scene becomes an amalgamation of the ideas brought by a number of creative individuals, striving for a common goal.
Which film of the past has impressed you most in terms of cinematography in your artistic training?
So many films impressed and influenced me, especially early in my training. The Godfather probably had the single most profound effect on me in my formative years. Other films that I obsessed over include Apocalypse Now, Dr. Zhivago, The Conformist, Butch Cassidy and the Sundance Kid, Great Expectations, Lawrence of Arabia, Bridge on the River Kwai, The French Connection, The Exorcist, Manhattan, Midnight Cowboy... There are so many…
What was your first feature film?
My first feature was an indy called: Taxi Dancer. We had no money and less time. It was a wonderful project but lacked the resources to do it justice. It played in a few festivals but ultimately was never released. Next, I photographed Phantasm III, which saw a limited theatrical release but is part of a series that has a significant cult following worldwide. Horror films are fun because one is free to do almost anything one can dream up. The rules governing the world of the film are not limited by reality. Phantasm III was a challenge in so many ways, but a large number of practical effects were particularly challenging, as this was my first time facing them. Even today, 28 + years later, the effects still hold up, because they were real.
You also teach at the University of Southern California School of Cinematic Arts and have conducted filmmaking workshops and seminars all over the world. What can you tell me about teaching? What do you try to convey to your students?
The experience of teaching has caused me to question myself, what I do, what I know, and how I do it. It’s not enough for one who is a teacher to accept the “truths” that we were taught. It is essential that we question everything so that we can understand the truth about what we do and how we do it so that we can share that truth with our students. My greatest sense of accomplishment as a teacher comes when a former student succeeds and surpasses me. Teaching at USC has provided me with many opportunities to see my students excel in their careers, and I couldn’t be more proud of them. In my classes, I try to create an environment in which they can learn. I don’t believe anyone can teach anything to anyone who isn’t hungry to learn. I try not to lecture, but when I do, I try to introduce examples as evidence. I try to make my classes as engaging and participatory as possible, so the students take with them not only the information but evidence in support of what I want them to understand. I teach that there are no mistakes, only opportunities to learn. Today’s “mistake” might be exactly the solution that is needed tomorrow, and tomorrow’s “mistake” might be the exact solution that is needed today. With this in mind, I encourage each of them to maintain an open mind and remain curious and creative.
You have photographed films and commercials in over 20 countries on 5 continents. Did you also shot in Italy?
Unfortunately, I have not worked in Italy. But if the right opportunity is offered, I would love to take it.
I saw an interview with you on James Wong Howe ASC – which earned 10 nominations for the Academy Award for Best Cinematography, winning twice for The Rose Tattoo (1955) and Hud (1963) - for Phoenix Television (Hong Kong). Do you have a particular admiration for Howe?
James Wong Howe is a cinematography hero of mine. He was an extraordinary talent and an example of excellence. His story is inspiring. He started his career sweeping floors and ended up as one of the most highly respected cinematographers of the silent era. He then took a hiatus from Hollywood to explore his family roots, when he returned, “talkies” had come into fashion and in some ways, he had to start over. He then rose to the highest ranks of cinematography again.
You made the cinematography of all the films of mexican director José Pepe Bojórquez: Como caído del cielo, Más sabe el diablo por viejo, Legends, Hidden Moon, Sea of Dreams. Was Bojórquez a student in a film studies class taught by you at USC?
Pepe was a student of mine. I think he arrived at USC in 1999 and graduated with his MFA three years later. From the start, we connected very well.
What can you tell me about your professional relationship?
We have an amazing relationship. We have become close friends, and we work very well together. Shortly after Pepe graduated from USC, he asked me to read a screenplay he had written, which I did. I gave him feedback on it, and he asked if I would be interested in shooting it once he raised the financing. Of course I said “Yes.” This was Sea of Dreams. After only a few weeks, Pepe called again to tell me he had raised the money. It was extraordinary.
Is he attentive to photography and light?
Pepe is attentive to every detail. Nothing escapes his observation. He is able to see and hear every detail, and he remembers everything. To work well with Pepe, one must be in top form.
Hidden Moon is a 2012 Mexican mystery romantic drama starring Wes Bentley, Ana Serradilla, Osvaldo de León, and Linda Gray. Music by Luis Bacalov. Within Hidden Moon, there is a sequence of a classic black-and-white film. Do you like movies shot in black and white?
I love black and white. I was happy to have the opportunity to shoot the film within the film on Kodak’s 5222 black and white negative filmstock. And to light it with hard light like that of the period when it was supposed to have been made was also a fun challenge. Hidden Moon was shot on 35mm three-perf Super 1.85 on an Arricam Lite, and re-scanned at 2K resolution for conforming.
What do you think of the epochal transition from film to digital?
Digital capture has improved greatly over the years, and there is no longer any reason to debate film vs. digital. The only part of the process that I miss is the discipline that accompanies shooting film. Digital post-production makes many things possible that previously were not, so from that point of view, it’s a wonderful transition. Using digital as a recording medium is also fine, the technology has improved so much that digital is almost indistinguishable from film acquisition, except to the most astute observer. But with the change in medium has also come to a change in the way we do things on set, and I don’t think they have gotten better.
Your latest film with Bojórquez − Count Me the Stars − is in pre-production. What is it about?
Unfortunately, I’m not at liberty to discuss it at this time.
Which of the films shot with him do you prefer from a photographic point of view?
This is a hard question. Each film has it’s own challenges and each requires a different solution. I like to think we made the appropriate choices on each.
In general in your career which do you think is your best film?
This is like asking which of my children is my favorite. Each film provided me with an opportunity to express myself, to learn, and to collaborate. On each, we all did our best to make the best film possible given our experience and resources. I can’t say that I have a “best”, but I can honestly say that each was significant in my growth and development as a cinematographer. Each played a significant role in my life’s journey.
Concluding: Artdigiland − in addition to the blog and website − is a multilingual publishing project that mainly deals with cinematography. It has published volumes on Luciano Tovoli AIC-ASC, Giuseppe Lanci AIC, Giuseppe Pinori AIC, Sergio D’Offizi AIC, Tonino Delli Colli AIC, Luca Bigazzi, Vladan Radovic AIC. Which Italian cinematographers of the past and present do you admire?
Both Vittorio Storaro and Giuseppe Rotunno come immediately to mind, but there are so many great films and filmmakers from Italy, I couldn’t possibly name all the artists whose work I admire.
