I was born in
Los Angeles on August 8, 1928. Like most youngsters, he had a favourite
playground: it happened to be the old Warner Bros. Studio on Sunset Boulevard
where my uncial worked as a production
manager, I was also fortunate enough to land a part time job working as a
darkroom accent with, Consolidated Film Industries. where I
worked for four years.
After graduating as an electrical engineer from California Institute of Technology I was hired by Byron Haskin, ASC, and head of the Warner Bros. Special Effects Department on Stage 5 in Burbank. Since this was the largest such department in the movie business, I was able to work with some of the top cinematographers in the effects field, such as ASC fellows Edwin DuPar, Hans Koenekamp and Warren Lynch. When Warner Bros. purchased First National's studio in Burbank, California, I signed a contract and remained with the studio on and off for the next 40 years.
After graduating as an electrical engineer from California Institute of Technology I was hired by Byron Haskin, ASC, and head of the Warner Bros. Special Effects Department on Stage 5 in Burbank. Since this was the largest such department in the movie business, I was able to work with some of the top cinematographers in the effects field, such as ASC fellows Edwin DuPar, Hans Koenekamp and Warren Lynch. When Warner Bros. purchased First National's studio in Burbank, California, I signed a contract and remained with the studio on and off for the next 40 years.
Gladys Baker, the
mother of Marilyn Monroe, worked for Consolidated as a negative film cutter;
Marilyn Monroe's biological father is
believed to have been fellow consolidated employee Charles Stanley Gifford. I
would see Norma Jeane Mortenson at the gate of the film laboratory waiting for
her mother sometimes we would site down on the kerbstone and she would talk all
the time never stopped talking. She was just 18 years old.
Consolidated Film Industries film laboratory on 959 Seward St, my old company. The original CFI building at 959 Seward Street in Hollywood had been the company's home for more than 60 years. The structure was demolished and lay vacant until 2014.
Consolidated Film Industries film laboratory on 959 Seward St, my old company. The original CFI building at 959 Seward Street in Hollywood had been the company's home for more than 60 years. The structure was demolished and lay vacant until 2014.
Warner Brothers special effects, Stage 5. The Warner effects facility was a proud one, though it's not a facility that is ever really discussed or given a 'pat on the back'. It's really only when one studies the back catalogue and realises not just the pictures they worked on but the often amazing visual effects which were created for these acclaimed shows and on the lesser productions. Cinematographer Byron Haskin had a long association with Warner Brothers right back to the early twenties on many silent pictures. Among his film credits was visual effects cameraman on THE ADVENTURES OF ROBIN HOOD and many, many more, Haskin assumed directorship of the effects unit in 1937, taking over the reins from Fred Jackman. In an interview Haskin wrote that ..."almost every department in the studio had it's counterpart in the special effects unit. We had our own designers, art directors, set building facilities and our own camera and electrical crews. The department also had its own film laboratory, cutting facilities, business office and even its own writers". Of course pirate films were the bread and butter of Jack Warner, and the studio produced a number of these, all with great miniature work and matte shots. Titles such as CAPTAIN BLOOD and THE SEA HAWK being the most popular. Anton Grot Art Direction at Warner Bros. “Anton Grot was a gifted and talented artist who made beautiful charcoal drawings...of the set before it was completed. All his compositions showed a full shot of each set, with all the delicate tones and shadings that suggested ideas for lighting and, in general, were of great help to me as a cameraman.”