John F. Seitz
23 de junho de 1892 — 27 de fevereiro de 1979 (86 anos)
John Francis Seitz, A.S.C. (June 23, 1892 – February 27, 1979) was an American cinematographer and inventor. He was nominated for seven Academy Awards.
Seitz's Hollywood career began in 1909 as a lab assistant with the Essanay Film Manufacturing Company in Chicago. He went to work as a lab technician for the American Film Manufacturing Company (known as "Flying A"), also in Chicago. In 1916, during the silent era, he established himself, achieving great successes with the Rudolph Valentino film The Four Horsemen of the Apocalypse (1921).
Highly regarded by director Billy Wilder, Seitz worked with him on the film noirs Double Indemnity (1944), The Lost Weekend (1945), and Sunset Blvd. (1950), receiving Academy Award nominations for each.
In 1929, he served a year as president of the American Society of Cinematographers (A.S.C.) for which he had been a member since 1923. The A.S.C. named its 2002 Heritage Award after Seitz.
Besides one Golden Globe and seven Oscar nominations, he also received the Look Magazine Award for The Lost Weekend, the A.S.C. Award for Sunset Blvd., and was among the winners of the inaugural George Award from the George Eastman House for outstanding contributions to the art of cinema for the years 1915 to 1925.
He retired in 1960 and devoted himself to photographic inventions, for which he held 18 patents. An example of one Seitz invention is the matte shot: a large painting is photographed separately and later added to a scene to expand it, add effects, and/or create a sense of depth in backgrounds. He was also noted for his innovations with low-key lighting, which enhanced the film noir style.
A widower, he married screenwriter Marie Boyle in 1934 who raised his daughter Margaret Alice Marhoefer and later gave birth to a son, John Lawrence Seitz.
Seitz's Hollywood career began in 1909 as a lab assistant with the Essanay Film Manufacturing Company in Chicago. He went to work as a lab technician for the American Film Manufacturing Company (known as "Flying A"), also in Chicago. In 1916, during the silent era, he established himself, achieving great successes with the Rudolph Valentino film The Four Horsemen of the Apocalypse (1921).
Highly regarded by director Billy Wilder, Seitz worked with him on the film noirs Double Indemnity (1944), The Lost Weekend (1945), and Sunset Blvd. (1950), receiving Academy Award nominations for each.
In 1929, he served a year as president of the American Society of Cinematographers (A.S.C.) for which he had been a member since 1923. The A.S.C. named its 2002 Heritage Award after Seitz.
Besides one Golden Globe and seven Oscar nominations, he also received the Look Magazine Award for The Lost Weekend, the A.S.C. Award for Sunset Blvd., and was among the winners of the inaugural George Award from the George Eastman House for outstanding contributions to the art of cinema for the years 1915 to 1925.
He retired in 1960 and devoted himself to photographic inventions, for which he held 18 patents. An example of one Seitz invention is the matte shot: a large painting is photographed separately and later added to a scene to expand it, add effects, and/or create a sense of depth in backgrounds. He was also noted for his innovations with low-key lighting, which enhanced the film noir style.
A widower, he married screenwriter Marie Boyle in 1934 who raised his daughter Margaret Alice Marhoefer and later gave birth to a son, John Lawrence Seitz.
Filmografia
| 1960 | Guns of the Timberland · as Director Of Photography |
| 1959 | The Man in the Net · as Director Of Photography |
| 1959 | Island of Lost Women · as Director Of Photography |
| 1958 | The Badlanders · as Director Of Photography |
| 1958 | The Deep Six · as Director Of Photography |
| 1957 | The Big Land · as Director Of Photography |
| 1956 | A Cry in the Night · as Director Of Photography |
| 1956 | Santiago · as Director Of Photography |
| 1955 | Hell on Frisco Bay · as Director Of Photography |
| 1955 | The McConnell Story · as Director Of Photography |
| 1955 | The Joseph Cotten Show: On Trial · as Cinematographer |
| 1955 | Many Rivers to Cross · as Director Of Photography |
| 1954 | Rogue Cop · as Director Of Photography |
| 1954 | The Rocket Man · as Director Of Photography |
| 1954 | Saskatchewan · as Director Of Photography |
| 1953 | Fort Algiers · as Director Of PhotographyNo Plex |
| 1953 | Desert Legion · as Director Of Photography |
| 1953 | Invaders from Mars · as Director Of Photography |
| 1953 | General Electric Theater · as Cinematographer |
| 1952 | Botany Bay · as Director Of Photography |
| 1952 | Thunder in the East · as Director Of Photography |
| 1952 | The Iron Mistress · as Director Of Photography |
| 1952 | The Savage · as Director Of Photography |
| 1952 | The San Francisco Story · as Director Of PhotographyNo Plex |
| 1951 | A Place in the Sun · as Cinematographer |
| 1951 | Detective Story · as Cinematographer |
| 1951 | When Worlds Collide · as Director Of Photography |
| 1951 | Dear Brat · as Director Of Photography |
| 1951 | The Lemon Drop Kid · as Cinematographer |
| 1950 | The Goldbergs · as Director Of Photography |
| 1950 | Sunset Boulevard · as Director Of Photography |
| 1950 | Riding High · as Cinematographer |
| 1950 | Appointment with Danger · as Director Of Photography |
| 1949 | Captain Carey, U.S.A. · as Director Of Photography |
| 1949 | Chicago Deadline · as Director Of Photography |
| 1949 | The Great Gatsby · as Director Of Photography |
| 1948 | Night Has a Thousand Eyes · as Director Of Photography |
| 1948 | Beyond Glory · as Director Of Photography |
| 1948 | The Big Clock · as Director Of Photography |
| 1948 | On Our Merry Way · as Director Of Photography |
| 1947 | Saigon · as Director Of Photography |
| 1947 | Wild Harvest · as Director Of Photography |
| 1946 | Calcutta · as Director Of Photography |
| 1946 | The Imperfect Lady · as Director Of Photography |
| 1946 | Home, Sweet Homicide · as Director Of Photography |
| 1946 | The Well Groomed Bride · as Director Of Photography |
| 1945 | The Lost Weekend · as Director Of Photography |
| 1945 | The Unseen · as Director Of Photography |
| 1944 | Going My Way · as Cinematographer |
| 1944 | The Hour Before the Dawn · as Director Of Photography |
| 1944 | Casanova Brown · as Director Of Photography |
| 1944 | Hail the Conquering Hero · as Director Of Photography |
| 1944 | Double Indemnity · as Director Of Photography |
| 1943 | The Miracle of Morgan's Creek · as Director Of Photography |
| 1943 | Five Graves to Cairo · as Director Of Photography |
| 1942 | Star Spangled Rhythm · as Cinematographer |
| 1942 | Lucky Jordan · as Director Of Photography |
| 1942 | The Moon and Sixpence · as Director Of Photography |
| 1942 | This Gun for Hire · as Director Of Photography |
| 1942 | Fly-By-Night · as Director Of Photography |
| 1941 | Sullivan's Travels · as Director Of Photography |
| 1940 | Dr. Kildare's Crisis · as Director Of Photography |
| 1940 | We Who Are Young · as Cinematographer |
| 1940 | Dr. Kildare's Strange Case · as Director Of PhotographyNo Plex |
| 1939 | Another Thin Man · as Cinematographer |
| 1939 | Bad Little Angel · as Director Of Photography |
| 1939 | Thunder Afloat · as Director Of Photography |
| 1939 | 6,000 Enemies · as Director Of Photography |
| 1939 | Prophet Without Honor · as Director Of Photography |
| 1939 | The Hardys Ride High · as Cinematographer |
| 1939 | Sergeant Madden · as Director Of Photography |
| 1939 | The Adventures of Huckleberry Finn · as Director Of PhotographyNo Plex |
| 1938 | A Christmas Carol · as Cinematographer |
| 1938 | Young Dr. Kildare · as Director Of Photography |
| 1938 | Stablemates · as Director Of Photography |
| 1938 | The Crowd Roars · as Director Of Photography |
| 1938 | Lord Jeff · as Director Of Photography |
| 1938 | Love Is a Headache · as Director Of Photography |
| 1937 | Navy Blue and Gold · as Director Of Photography |
| 1937 | Saratoga · as Cinematographer |
| 1937 | Madame X · as Director Of Photography |
| 1937 | Between Two Women · as Director Of Photography |
| 1936 | 15 Maiden Lane · as Director Of Photography |
| 1936 | Poor Little Rich Girl · as Director Of Photography |
| 1936 | Captain January · as Director Of Photography |
| 1936 | The Country Doctor · as Director Of Photography |
| 1935 | The Littlest Rebel · as Director Of Photography |
| 1935 | Navy Wife · as Director Of Photography |
| 1935 | The Farmer Takes a Wife · as Director Of Photography |
| 1935 | Curly Top · as Director Of Photography |
| 1935 | Our Little Girl · as Director Of Photography |
| 1935 | One More Spring · as Director Of Photography |
| 1934 | Marie Galante · as Director Of Photography |
| 1934 | All Men Are Enemies · as Director Of Photography |
| 1934 | Coming Out Party · as Director Of Photography |
| 1933 | Mr. Skitch · as Director Of Photography |
| 1933 | Paddy the Next Best Thing · as Director Of Photography |
| 1933 | Adorable · as Director Of Photography |
| 1933 | Cavalcade · as Cinematographer |
| 1933 | Ladies They Talk About · as Director Of PhotographyNo Plex |
| 1932 | 6 Hours to Live · as Director Of Photography |
| 1932 | A Passport to Hell · as Director Of Photography |
| 1932 | Careless Lady · as Director Of Photography |
| 1932 | She Wanted a Millionaire · as Director Of Photography |
| 1931 | Over the Hill · as Director Of Photography |
| 1931 | Hush Money · as Director Of Photography |
| 1931 | East Lynne · as Director Of Photography |
| 1930 | The Right of Way · as Director Of Photography |
| 1930 | Kismet · as Director Of Photography |
| 1930 | Road to Paradise · as Director Of Photography |
| 1930 | Sweethearts and Wives · as Director Of Photography |
| 1930 | Back Pay · as Director Of Photography |
| 1929 | The Squall · as Director Of Photography |
| 1928 | The Divine Lady · as Director Of Photography |
| 1928 | Across to Singapore · as Director Of Photography |
| 1928 | The Trail of '98 · as Director Of Photography |
| 1928 | The Patsy · as Director Of Photography |
| 1927 | The Fair Co-Ed · as Director Of Photography |
| 1926 | The Magician · as Director Of Photography |
| 1926 | Mare Nostrum · as Director Of Photography |
| 1924 | The Arab · as Director Of Photography |
| 1923 | Scaramouche · as Director Of Photography |
| 1922 | The Prisoner of Zenda · as Director Of Photography |
| 1921 | The Conquering Power · as Director Of Photography |
| 1921 | Uncharted Seas · as Director Of Photography |
| 1921 | The Four Horsemen of the Apocalypse · as Director Of Photography |
| 1918 | Powers That Prey · as Director Of Photography |