Lucien N. Andriot
Režisér
9. listopadu 1892 — 19. března 1979 (86 let)
From Wikipedia, the free encyclopedia
Lucien Andriot ASC (1892-1979) was a prolific French-American cinematographer. He shot more than 200 films and television programs over the course of his career.
Born in Paris, Andriot began his career in France in 1909 working for Victorin-Hippolyte Jasset. His elder sister Josette Andriot was a French film actress, working for Jasset. He then came to the U.S. some time before 1914 as an employee of the Éclair American Company based in Fort Lee, New Jersey.
The outbreak of World War I drove a re-organization of foreign film-industry assets in Fort Lee, including the employees. Now working for the World Film Company, financed by Lewis J. Selznick and run by William A. Brady, Andriot became a member of a separate French-speaking unit within World Film. For about three years, Maurice Tourneur, George Archainbaud, Emile Chautard, and Albert Capellani worked together on films such as the 1915 version of Camille, including the teaching of Josef von Sternberg.
Andriot moved to Hollywood around 1920 and went to work for Fox. The cinematography of the early widescreen John Wayne western The Big Trail in 1930 is unfortunately not his work. It was the standard-looking 35mm version, shot in parallel alongside Arthur Edeson's ground-breaking "70mm Grandeur" version.
Andriot did show a long-standing affinity for French directors working in Hollywood, initially Maurice Tourneur, and later René Clair, Robert Florey, and Jean Renoir. In the 1930s and 1940s, Andriot worked principally on B pictures for major studios. He did some television work in the 1950s and early 1960s, and retired to Palm Springs, California.
Andriot is buried at Forest Lawn Memorial Park, Glendale.
Lucien Andriot ASC (1892-1979) was a prolific French-American cinematographer. He shot more than 200 films and television programs over the course of his career.
Born in Paris, Andriot began his career in France in 1909 working for Victorin-Hippolyte Jasset. His elder sister Josette Andriot was a French film actress, working for Jasset. He then came to the U.S. some time before 1914 as an employee of the Éclair American Company based in Fort Lee, New Jersey.
The outbreak of World War I drove a re-organization of foreign film-industry assets in Fort Lee, including the employees. Now working for the World Film Company, financed by Lewis J. Selznick and run by William A. Brady, Andriot became a member of a separate French-speaking unit within World Film. For about three years, Maurice Tourneur, George Archainbaud, Emile Chautard, and Albert Capellani worked together on films such as the 1915 version of Camille, including the teaching of Josef von Sternberg.
Andriot moved to Hollywood around 1920 and went to work for Fox. The cinematography of the early widescreen John Wayne western The Big Trail in 1930 is unfortunately not his work. It was the standard-looking 35mm version, shot in parallel alongside Arthur Edeson's ground-breaking "70mm Grandeur" version.
Andriot did show a long-standing affinity for French directors working in Hollywood, initially Maurice Tourneur, and later René Clair, Robert Florey, and Jean Renoir. In the 1930s and 1940s, Andriot worked principally on B pictures for major studios. He did some television work in the 1950s and early 1960s, and retired to Palm Springs, California.
Andriot is buried at Forest Lawn Memorial Park, Glendale.
Filmy a seriály na Plexu
Filmografie
| 1960 | National Velvet · as Cinematographer |
| 1958 | U.S. Marshal · as Cinematographer |
| 1958 | The Texan · as Cinematographer |
| 1958 | Half Human · as Director Of Photography |
| 1957 | The Californians · as CinematographerNa Plexu |
| 1957 | The Silent Service · as Cinematographer |
| 1957 | O. Henry Playhouse · as Cinematographer |
| 1954 | It's a Great Life · as Cinematographer |
| 1954 | Passport to Danger · as Cinematographer |
| 1954 | Public Defender · as Cinematographer |
| 1953 | The Life of Riley (1953) · as Cinematographer |
| 1951 | The Amos 'n Andy Show · as Cinematographer |
| 1951 | Home Town Story · as Director Of PhotographyNa Plexu |
| 1950 | One Hour in Wonderland · as Director Of Photography |
| 1950 | The Trouble with Father · as Cinematographer |
| 1950 | Johnny One-Eye · as Director Of Photography |
| 1950 | Borderline · as Director Of PhotographyNa Plexu |
| 1949 | Outpost in Morocco · as Director Of PhotographyNa Plexu |
| 1948 | The Life of Riley (1949) · as Cinematographer |
| 1947 | Intrigue · as Director Of Photography |
| 1947 | The Corpse Came C.O.D. · as Director Of Photography |
| 1947 | Dishonored Lady · as Director Of PhotographyNa Plexu |
| 1947 | New Orleans · as Director Of Photography |
| 1946 | Lady Luck · as Director Of Photography |
| 1946 | The Strange Woman · as Director Of PhotographyNa Plexu |
| 1946 | The Diary of a Chambermaid · as Director Of Photography |
| 1945 | The Southerner · as Director Of PhotographyNa Plexu |
| 1945 | And Then There Were None · as Director Of PhotographyNa Plexu |
| 1944 | The Hairy Ape · as Director Of Photography |
| 1944 | The Fighting Sullivans · as Director Of PhotographyNa Plexu |
| 1943 | Paris After Dark · as Director Of Photography |
| 1943 | Jitterbugs · as Director Of Photography |
| 1943 | They Came to Blow Up America · as Director Of Photography |
| 1942 | Manila Calling · as Cinematographer |
| 1942 | Just Off Broadway · as Director Of Photography |
| 1942 | The Loves of Edgar Allan Poe · as Director Of Photography |
| 1942 | Secret Agent of Japan · as Cinematographer |
| 1942 | On the Sunny Side · as Director Of Photography |
| 1942 | Over My Dead Body · as Director Of Photography |
| 1941 | Riders of the Purple Sage · as Director Of Photography |
| 1941 | Dance Hall · as Cinematographer |
| 1941 | Ride on Vaquero · as Director Of Photography |
| 1941 | Golden Hoofs · as Director Of Photography |
| 1940 | Charter Pilot · as Cinematographer |
| 1940 | The Lady in Question · as Director Of Photography |
| 1940 | Lucky Cisco Kid · as Cinematographer |
| 1940 | Earthbound · as Director Of Photography |
| 1940 | High School · as Director Of Photography |
| 1940 | City of Chance · as Director Of Photography |
| 1939 | Everything Happens at Night · as Director Of Photography |
| 1939 | Pack Up Your Troubles · as Cinematographer |
| 1939 | Mr. Moto in Danger Island · as Cinematographer |
| 1938 | Thanks for Everything · as Director Of Photography |
| 1938 | While New York Sleeps · as Cinematographer |
| 1938 | Always in Trouble · as Cinematographer |
| 1938 | I'll Give a Million · as Director Of Photography |
| 1938 | Mr. Moto's Gamble · as Director Of Photography |
| 1938 | International Settlement · as Director Of Photography |
| 1937 | Big Town Girl · as Director Of Photography |
| 1937 | I'll Take Romance · as Director Of Photography |
| 1937 | You Can't Have Everything · as Director Of Photography |
| 1937 | The Lady Escapes · as Director Of Photography |
| 1937 | Café Metropole · as Director Of Photography |
| 1937 | On the Avenue · as Director Of Photography |
| 1936 | Charlie Chan at the Opera · as Director Of Photography |
| 1936 | The Gay Desperado · as Director Of Photography |
| 1936 | The Case Against Mrs. Ames · as Director Of Photography |
| 1935 | His Family Tree · as Cinematographer |
| 1935 | The Return of Peter Grimm · as Director Of Photography |
| 1935 | Hooray for Love · as Director Of Photography |
| 1935 | Chasing Yesterday · as Director Of Photography |
| 1935 | Captain Hurricane · as Director Of Photography |
| 1935 | Grand Old Girl · as Cinematographer |
| 1934 | Anne of Green Gables · as Director Of Photography |
| 1934 | Straight Is the Way · as Director Of Photography |
| 1934 | The Life of Vergie Winters · as Director Of Photography |
| 1934 | Two Alone · as Director Of Photography |
| 1933 | The Right to Romance · as Director Of Photography |
| 1933 | Fits in a Fiddle · as Cinematographer |
| 1933 | Penthouse · as Director Of Photography |
| 1933 | Before Dawn · as Cinematographer |
| 1933 | Topaze · as Director Of Photography |
| 1933 | Hallelujah I'm a Bum · as Director Of Photography |
| 1932 | Bird of Paradise · as Director Of PhotographyNa Plexu |
| 1932 | Westward Passage · as Cinematographer |
| 1932 | Cock of the Air · as Director Of Photography |
| 1931 | Prestige · as Cinematographer |
| 1931 | Daddy Long Legs · as Cinematographer |
| 1931 | Women of All Nations · as Cinematographer |
| 1931 | The Spy · as Cinematographer |
| 1931 | Die große Fahrt · as Cinematographer |
| 1931 | Don't Bet on Women · as Cinematographer |
| 1930 | The Big Trail · as Director Of Photography |
| 1929 | Happy Days · as Cinematographer |
| 1929 | The Valiant · as Director Of Photography |
| 1928 | A Ship Comes In · as Director Of Photography |
| 1927 | Almost Human · as Director Of Photography |
| 1927 | The Loves of Carmen · as Director Of Photography |
| 1927 | White Gold · as Director Of Photography |
| 1926 | The Cruise of the Jasper B · as Director Of Photography |
| 1922 | Monte Cristo · as Director Of Photography |
| 1922 | A Fool There Was · as Director Of Photography |
| 1921 | A Connecticut Yankee in King Arthur's Court · as Cinematographer |
| 1917 | The Whip · as Cinematographer |
| 1917 | The Poor Little Rich Girl · as Director Of Photography |
| 1917 | On Dangerous Ground · as Cinematographer |
| 1917 | The Pride of the Clan · as Director Of Photography |
| 1915 | A Butterfly on the Wheel · as Cinematographer |
| 1913 | Protéa · as Director Of Photography |
| 1912 | Zigomar contre Nick Carter · as Cinematographer |