WEBVTT

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[PENSIVE MUSIC PLAYING]

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You know what I liked
about this picture

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is that it's, uh... under lit

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and yet you see everything,
you know,

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and it's got a mood
and a feel to it

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that you couldn't have
if you over lit it.

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You know, it wouldn't...
it wouldn't have the dynamics.

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It's a candle.

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You know that it's an old man
and you know that it's a kid,

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and yet it's not...
it's not lit.

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What you'd consider
how you'd want to do most
of your works.

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Like fires.

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I love doing stuff
by a fireplace

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or a candle or something
that you could do

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some really moody stuff with.

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I love this picture.

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Someone once asked
Robert Edmond Jones,

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the great Broadway set designer,

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what his definition
of good lighting was?

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Here's what he said.

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"Good lighting
is the light you take away."

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And thus goes
Donald Maxwell Morgan.

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He's been successfully taking
the light away

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for many years
of award-winning
cinematography.

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And it's because he's not afraid
to work on the edge of darkness

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when that's what it takes
to tell a story.

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When I lined up a shot,
Spielberg would always say

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to Zemeckis,
"You see both eyes."

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He always wanted to see
both eyes.

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I lined a shot up once,

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it was just a killer shot

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and it was kind of off centered
and you couldn't
see the other eye.

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Zemeckis said,
"You see both his eyes?"

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And I said, "No."
But I said, "Take a look.

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It's really
a great looking shot."

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And he looked,
and he said,

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"I want to see both eyes."

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I said, "You know,
we've seen both eyes
through the whole movie.

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I think people will remember
that he's got two.

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This is a great shot."

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My mom was a widow

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and she was trying to raise us.

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She went to work
at the Palladium,

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and she was one of those
little cute cigarette gals.

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And she married the bouncer.

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His name was Anton, 6.6",

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weighed 265 Ib,
didn't like me at all.

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So he told me,
"You ought to walk around
like this, Don"

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and I said, "Why?"
I'm nine-years-old."

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He said,
"Because you're always going

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to have a pick and shovel
in your hand."

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Years later,
when I won my first Emmy,

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it fit in the hands
right where the pick and shovel
was supposed to go,

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and I said,
"Fuck you very much, Anton"

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Are you watching?

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[CROWD CHEERING]

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When I come across
someone whose aspirations
are to be a DP,

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they'll often ask me,
"Okay, so how do I learn
about the lights?

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And how do I learn about--"

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And I like...
"You don't need to do that."

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You know, you need to know
what the frame
is supposed to look like

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and what you what you want
the image to look like.

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And to me, Don is kind
of the poster boy of that

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for young
emerging cinematographers.

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It's just study
what cinematography is.

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You don't need to learn
all of the technical stuff

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to, you know,
to shoot great movies.

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Nelson Tyler.
This is where it all started.

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I was looking for work.

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I had just gotten laid off
as an animation cameraman,

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which I hated.

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A guy mentioned

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that he knew
an aerial cameraman

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that had designed a mount
that fit in a helicopter.

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That was the only reason
I came over here, not to be a--

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I didn't-- I wasn't interested
in being a cameraman.

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I wanted to be a rodeo rider,
a race car driver, a boxer.

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All the stuff
I had already failed at.

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And I come over here
and I thought,

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"You know, I don't give a damn
about shooting,

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but I'd sure like
to hang out of helicopters,"

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and that was my motivation.

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I got pretty good at it,
wouldn't you say?

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Okay.

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-Number two.
-Number two? Yeah.

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Number one, two.

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I studied in college
was math and physics.

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Those were my two majors.

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And, um...

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And I was looking for something
to think about

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what to do
when I graduated.

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You've got to say,
I'm a human being, goddamn it.

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My life has value.

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I had interviews
with different companies

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that hired mathematicians
and physicists

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and anything related to that.

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You know, the first question
I asked them was,

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"How much money could I make?"

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And they would tell me.

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And I said to my father,
"How much money can I make
as an assistant cameraman?"

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And he told me
and it was a lot better.

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So I said, "That's what
I want to do, I think."

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I started out as a barber.

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My initial job,

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when I got out of high school,

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was cutting hair
for a living, so...

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And I met the cinematographer
that I followed

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and became my mentor.

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He was a customer
in my barbershop.

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He was ex-military
so haircuts are pretty regular.

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And he would come in
and we would talk
about filmmaking.

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And because I was passionate
about filmmaking

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since the time
I was very young,

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because my father
had a dark room.

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In about 1964,

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he said, "Why don't you come
help me work?"

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It was funny when I was a kid

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I used to watch hour after hour
of the old Universal
horror films.

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I just loved them.
I loved the look
and the darkness of it

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and the moodiness of it
and all the--

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You know, what today
we would look at and say

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"That's totally
just staged smoke."

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And it's but it was just--
There was something about that.

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The look of those films
that just made me
want to be a part of that.

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But as I was growing up,
I'd watch
The
Mummy,

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and I'd think, "Okay, I want
to be an archaeologist."

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I watched a movie called
The Raven
with Bela Lugosi.

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I'd think like, wait I want
to be a brain surgeon.

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It wasn't until college
that it finally hit me.

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"You know, I think I want
to make those movies,

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I don't want to be
those people."

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Yeah. You know,
after I assisted Nelson
for a while,

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one day, he called me in

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and he said, "I'm sending you
on your first job."

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And I said,
"I don't know if I'm ready."

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And he said,
"Yeah, you're ready."

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I was a little nervous
about going out on jobs.

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I told Nelson.

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I said, "Hey, Nelson,
I don't know anything
about cameras, really."

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And he said,
"Well, they're usually black

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and film runs through them.
Now go do that job."

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So that's about what
I know today about cameras.

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Except film don't run
through them anymore.

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You gave me $100 per diem.

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Bought me a first class ticket
to Philadelphia.

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I'd never been anywhere
first class, by the way,

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and that
I had a little drinking problem,

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and I was sober
for several months
working with him.

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The stewardess comes down
with the little cart

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with the little bottles
they used to have in those days.

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And I thought, "You know,
Nelson is way down there,

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and I'm way up here
and you know who's to know?"

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And she says, "Mr. Morgan,
would you care for a drink?"

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I had never been
called Mr. Morgan,

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and I didn't want
to hurt her feelings.

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And I said, "Maybe just a couple
of scotches over rocks,

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you know, just one."

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Well, there's never been
just one for me.

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She poured the two
little Scotches.

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And I belted that down

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and I said, "Hey, honey,
hit us again." You know?

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And I found out later

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you don't do that
on first class airplanes.

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It's beer bars
that I was used to,
you know.

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She kept bringing the drinks

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and I'm getting drunker
than a skunk

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and she came around
with the wine

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and she said,
"Do you like wine?

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Do you like the red wine
or the the white?"

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I like them both.

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So I'm drinking,

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you know everything I can
get my hands on.

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We land.

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And I go to the bar
and I've got 100 bucks

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and I'm a big shot
and I'm buying drinks

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and get really drunk
and go upstairs.

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And I threw up on myself.

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And I woke up
an hour after.

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I was supposed to be picked up.

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For the very first day
in the movie business,

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it was the biggest career move
that I could have ever made.

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And it was more important
to get drunk

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than it was to show up sober
and do what I was paid to do.

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The phone rings
and I think it's someone
about to fire me.

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And I said "Hello."

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And they said,
"Don, we're so sorry
we didn't pick you up.

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But it's raining outside
and we can't do the shot today.

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We'll have to do it tomorrow."

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Saved again.

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The next day
was November 5th 1966.

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And I looked at that airplane
and I thought,

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"If Nelson didn't find out
that I got drunk,

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I'm never drinking again
as long as I live."

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And I haven't.

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JOHN LAUGHLIN:
It was about 13 years ago.

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I am in recovery and...

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It was through that
that Don was speaking at a place

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where we all gather
and try and help each other.

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And anyway, I was
in a in a really bad place,

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and I just walked out
of this meeting of sorts

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and I just fell in his arms,
and I I didn't know what to do.

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And it was there
that we became friends

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and he became a guide
and a collaborator

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and help me navigate back
to being... sane.

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I had lived by my own devices
for a long time,

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ever since the Vietnam War,
and I'm a Vietnam veteran.

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I came home.
survivor, served honorably,

00:12:28.115 --> 00:12:30.783
but just felt uncomfortable
in my own skin.

00:12:30.851 --> 00:12:32.585
And I sought ways

00:12:32.653 --> 00:12:37.557
to make myself comfortable,
and I did for a long time.

00:12:37.625 --> 00:12:44.698
Then it started
to cost me my life, my humanity.

00:12:44.766 --> 00:12:47.500
And what happens?
I meet a guy
called Don Morgan

00:12:47.568 --> 00:12:52.505
just before I decided
there's an easier,
softer way out of this

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and it's called suicide.

00:12:54.841 --> 00:12:56.576
I have been going
through a lot of loss.

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Um... You know,
I had both my parents die
within 60 days,

00:13:00.448 --> 00:13:01.914
I was going through a divorce.

00:13:01.982 --> 00:13:03.383
I was having a lot of feelings
come up

00:13:03.451 --> 00:13:06.285
that I hadn't dealt with them
in a while or had had to.

00:13:06.352 --> 00:13:08.255
So we get together.

00:13:08.323 --> 00:13:11.024
I say "Are you available?
I got some stuff
I gotta talk to you about.

00:13:11.092 --> 00:13:15.028
I said
I've have been sponsorless
for a couple of months.

00:13:15.095 --> 00:13:16.696
He says "I'll be that guy"

00:13:16.763 --> 00:13:18.064
It was perfect.

00:13:18.132 --> 00:13:22.468
Well, I've got to tell you
that I had a guy help me,

00:13:22.536 --> 00:13:27.940
that made it pretty clear
what we are supposed to do

00:13:28.008 --> 00:13:30.977
if we're in recovery
and we're helping other people,

00:13:31.044 --> 00:13:34.613
he said,

00:13:34.681 --> 00:13:40.052
"Service begins
where convenience ends."

00:13:40.120 --> 00:13:43.923
So if I get a call at midnight
to go pick a guy up,

00:13:43.991 --> 00:13:48.894
and take him to a hospital,
which I've done before,

00:13:48.962 --> 00:13:52.665
or take him to a recovery place
or do whatever,

00:13:52.732 --> 00:13:57.203
or just pick him up
and talk with him,

00:13:57.271 --> 00:14:00.773
it's inconvenient.

00:14:00.841 --> 00:14:04.277
But the rewards are way better.

00:14:04.345 --> 00:14:06.646
The first time
I really fell in love with Don

00:14:06.713 --> 00:14:08.848
was because of his example.

00:14:08.916 --> 00:14:12.352
We were at a meeting
and people were talking
about the program

00:14:12.419 --> 00:14:15.355
and four people in a row
literally said,

00:14:15.422 --> 00:14:17.690
"I don't know how it works,
but it does."

00:14:17.757 --> 00:14:19.625
And then
they call the next person.

00:14:19.694 --> 00:14:22.128
They'd get up and they'd say,
"I don't know how it works,
but it does."

00:14:22.196 --> 00:14:25.965
And then they made the mistake
of calling on Don Morgan.

00:14:26.033 --> 00:14:27.867
And before Don even
introduced himself,

00:14:27.935 --> 00:14:31.470
he picked up that big blue book
they use and said,
"I know how it works.

00:14:31.539 --> 00:14:33.706
There's a whole chapter
in this big blue book
called 'How It Works',

00:14:33.773 --> 00:14:35.341
any of you fuckers
ever read It?"

00:14:35.409 --> 00:14:37.309
And 100 people gasped for air.

00:14:37.377 --> 00:14:38.979
It was...

00:14:39.047 --> 00:14:41.881
But I thought,
"Wow, I could never--
I could never do that."

00:14:41.948 --> 00:14:44.217
I would never have
that kind of courage.

00:14:44.284 --> 00:14:46.519
And so that attracted me
to him even more.

00:14:46.587 --> 00:14:49.989
I knew I wanted to...
I wanted to not just
work with Don

00:14:50.057 --> 00:14:51.590
but I wanted
to get to know him.

00:14:51.658 --> 00:14:53.726
As a consequence of that,

00:14:53.794 --> 00:14:55.562
you know, in addition
to our working relationship,

00:14:55.629 --> 00:14:57.864
we developed
a personal relationship

00:14:57.932 --> 00:15:02.068
that, I'm not exaggerating
when I say,
that it shaped my life.

00:15:02.135 --> 00:15:04.904
We developed
this great friendship,

00:15:04.971 --> 00:15:07.340
and also I'm a program guy, too.

00:15:07.408 --> 00:15:09.542
So when we found out about that,

00:15:09.610 --> 00:15:12.545
that sort of really
sealed our friendship.

00:15:12.613 --> 00:15:15.915
We happened to hit it off.
It's great.

00:15:15.983 --> 00:15:17.884
DON:
People say,
"Don't you want to drink?"

00:15:17.951 --> 00:15:20.553
And I think...

00:15:20.621 --> 00:15:23.189
"Well, let's see.
Last time I had a drink,

00:15:23.257 --> 00:15:26.325
didn't I break out
in handcuffs or something?"

00:15:26.392 --> 00:15:28.695
You know, so...

00:15:28.763 --> 00:15:31.597
There's not too much to miss
in my department.

00:15:31.664 --> 00:15:35.935
So no, I'm good with that.

00:15:36.002 --> 00:15:39.739
I know guys that I work with
that tell me

00:15:39.807 --> 00:15:44.377
that they've never gotten over
the desire to drink again.

00:15:44.445 --> 00:15:46.679
But my life turned around
so much.

00:15:46.746 --> 00:15:48.448
I mean it...

00:15:48.515 --> 00:15:53.887
It was like I had a stepdad,

00:15:53.955 --> 00:15:56.956
and people telling me
I'd never amount to anything

00:15:57.023 --> 00:16:00.359
and that
I had a 6th grade education

00:16:00.427 --> 00:16:03.662
and there was no chance of me
ever amounted to anything.

00:16:03.730 --> 00:16:05.064
And they were right.

00:16:05.132 --> 00:16:09.135
As long as I kept living
the life that I was living.

00:16:09.203 --> 00:16:13.272
But when I change that life,
and I'm not a guy
that goes around

00:16:13.340 --> 00:16:14.640
telling
"Oh, you shouldn't drink."

00:16:14.707 --> 00:16:16.108
You know, I don't...

00:16:16.176 --> 00:16:18.744
That's none of my business,
what other people do.

00:16:18.813 --> 00:16:24.650
But if you got trouble with it,
you're fighting it
and you want a way out,

00:16:24.718 --> 00:16:30.823
you know, I'd be glad
to help you every way I can.

00:16:30.891 --> 00:16:33.826
KASTER:
He talked
about sobriety quite often.

00:16:33.894 --> 00:16:35.061
INTERVIEWER:
So it's really
important to him?

00:16:35.128 --> 00:16:36.529
Yeah, very important to him.

00:16:36.597 --> 00:16:38.598
And that was obvious
from the get go.

00:16:38.666 --> 00:16:41.000
I just learned over the time
I spent with Don

00:16:41.067 --> 00:16:43.969
that he basically replaced
alcohol with lights.

00:16:44.037 --> 00:16:47.840
It was like,
there are times when it's like,

00:16:47.907 --> 00:16:49.809
"Don, I have to go
to the rental house

00:16:49.877 --> 00:16:53.847
if we want to do anymore
we're out. Two 48 foot
trucks are empty"

00:16:53.914 --> 00:16:57.950
My gosh, he was just such a joy
to be around.

00:16:58.018 --> 00:17:00.720
After we'd been working together
for a while.

00:17:00.788 --> 00:17:04.690
I asked him if he minded
if I had a glass of wine

00:17:04.757 --> 00:17:07.160
while we had dinner together.

00:17:07.227 --> 00:17:08.661
And he says...

00:17:08.729 --> 00:17:11.897
"You can haul freight
in your mouth if you want,

00:17:11.965 --> 00:17:16.536
I don't care.
Whatever makes you happy.

00:17:16.603 --> 00:17:23.176
This is the real Elvis
and the real me.

00:17:23.244 --> 00:17:27.713
That was a movie called
Stay Away, Joe
and I was up there

00:17:27.781 --> 00:17:32.785
to do with the aerial unit
as an assistant cameraman.

00:17:32.853 --> 00:17:36.756
And they asked me
if I could stay a little while
and be a slate boy, you know?

00:17:36.824 --> 00:17:42.561
And so I stayed,
and I got to sit in a car
with Elvis and his gang.

00:17:42.629 --> 00:17:46.232
And they were all you know,
playing grab ass
and having a good time.

00:17:46.299 --> 00:17:49.468
And I was lucky enough
to be a part of that.

00:17:49.536 --> 00:17:50.737
NELSON TYLER:
The most dangerous thing

00:17:50.804 --> 00:17:53.673
we ever did
was on
The Graduate.

00:17:53.741 --> 00:17:55.975
But Mike Nichols had to go
New York to do a play.

00:17:56.043 --> 00:18:06.853
So we shot all the stuff,
took the whole crew
and did all that.

00:18:06.921 --> 00:18:09.955
And we had the little
Alfa Romeo convertible,

00:18:10.023 --> 00:18:11.825
doing shots with...

00:18:11.892 --> 00:18:13.759
And nobody knew
who Dustin Hoffman was.

00:18:13.826 --> 00:18:15.261
He was a kid, you know.

00:18:15.328 --> 00:18:17.597
But we did a shot.
We took the trunk off.

00:18:17.664 --> 00:18:20.599
Don and I are in the back.
I'm hand holding.

00:18:20.667 --> 00:18:24.504
And we're doing the shot
of the car
coming down the highway.

00:18:24.572 --> 00:18:27.406
And then we are going
to turn around and carry a lot
of stops in the middle

00:18:27.474 --> 00:18:29.508
of the Pacific Coast highway.

00:18:29.576 --> 00:18:31.778
And we're sitting there
and we're looking up

00:18:31.845 --> 00:18:35.214
and here comes a gigantic
Cadillac convertible,

00:18:35.282 --> 00:18:37.684
with the surfboard
sticking out like this

00:18:37.751 --> 00:18:39.585
and stuck in the rear seat.

00:18:39.653 --> 00:18:42.388
And he sees us,
stop and he's skids

00:18:42.456 --> 00:18:44.123
and he's going this way.

00:18:44.191 --> 00:18:47.126
And then this way
and here comes
the surfboard like this.

00:18:47.194 --> 00:18:50.329
The tires caught and he went
[MAKES WHOOSHING SOUND]
right around us,

00:18:50.397 --> 00:18:52.231
and we were like
sitting there like...

00:18:52.299 --> 00:19:02.441
That's the closest we ever came
to getting killed.

00:19:02.509 --> 00:19:05.477
Don is a real fascinating
human being.

00:19:05.545 --> 00:19:08.815
He's had experiences
from the bottom
all the way to the top.

00:19:08.882 --> 00:19:11.951
You know
he worked great features

00:19:12.019 --> 00:19:18.090
and I'm sure you've heard
about his jail term
when he was 13 years old.

00:19:18.158 --> 00:19:20.359
He's a real--
He's a real character.

00:19:20.427 --> 00:19:23.863
I ended up for maybe a month,

00:19:23.931 --> 00:19:25.965
at 13 years old,
wandering around,

00:19:26.033 --> 00:19:31.003
sleeping in porches and begging
and stealing and doing whatever.

00:19:31.070 --> 00:19:36.442
So I make my way down
to Tijuana.

00:19:36.511 --> 00:19:39.245
All the sailors are just
walking in and out of there,
you know?

00:19:39.313 --> 00:19:43.316
And I go across the border,
and I just walked across.

00:19:43.383 --> 00:19:44.784
Nobody stopped me.

00:19:44.852 --> 00:19:46.919
Slept on the ground in Tijuana.

00:19:46.986 --> 00:19:48.854
The next morning, I wake up

00:19:48.922 --> 00:19:51.891
and these little Mexican kids
took me and bought me
something to eat

00:19:51.959 --> 00:19:53.893
and told me
that if I brought sailors

00:19:53.961 --> 00:19:57.864
to these girls,
I'd make a dollar a sailor.

00:19:57.931 --> 00:19:59.865
That's called pimping,
by the way.

00:19:59.932 --> 00:20:02.802
And if they--

00:20:02.870 --> 00:20:05.370
So I go out, I get me a sailor,

00:20:05.438 --> 00:20:08.608
and I take him over
and introduce him to the girl.

00:20:08.675 --> 00:20:09.876
And then the cops grabbed me.

00:20:09.943 --> 00:20:14.146
So I made $1 as a pimp
and did 8 days in jail.

00:20:14.214 --> 00:20:16.148
Don was his--

00:20:16.216 --> 00:20:18.885
His life was such an adventure,

00:20:18.952 --> 00:20:22.555
and he loved to share
his life stories with me.

00:20:22.622 --> 00:20:24.356
He was unfiltered

00:20:24.424 --> 00:20:33.800
and and he just shared
all of it.

00:20:33.867 --> 00:20:36.068
DON: When my mom
and dad divorced,

00:20:36.135 --> 00:20:38.171
I was two years old.

00:20:38.239 --> 00:20:43.141
And they both got married again
and they both had families.

00:20:43.209 --> 00:20:46.913
And so I was always
sort of the odd man out.

00:20:46.980 --> 00:20:49.181
You know, I mean, I'd go
live with Mom for a while,

00:20:49.249 --> 00:20:51.617
and then I'd go live with Dad
for a while.

00:20:51.685 --> 00:20:56.855
And I don't know what effect
that really had on me,

00:20:56.923 --> 00:20:59.559
but I'm sure it had some.

00:20:59.627 --> 00:21:03.562
There was a time
when I wondered
"Where the hell do I belong?"

00:21:03.630 --> 00:21:08.200
You know, a lot of my anger
and a lot of my resentment,

00:21:08.268 --> 00:21:11.704
and a lot of my fears

00:21:11.772 --> 00:21:16.242
were because
of my lack of knowledge.

00:21:16.309 --> 00:21:18.544
I don't know why.

00:21:18.612 --> 00:21:23.082
You know, why I went to school
and didn't get it?

00:21:23.150 --> 00:21:27.787
I still can't spell,
and I still have
learning disabilities.

00:21:27.854 --> 00:21:29.989
And I thought I was stupid.

00:21:30.057 --> 00:21:34.627
So if you're stupid,
you have to do something else
to shine.

00:21:34.695 --> 00:21:40.566
So I always thought, you know,
"Okay, if I can't do this,
I sure as hell can do this."

00:21:40.634 --> 00:21:43.736
If you can't be good,
why not be really bad?

00:21:43.804 --> 00:21:48.140
And that's what--
That was what I shot for.

00:21:48.207 --> 00:21:50.776
And then later on in life,

00:21:50.844 --> 00:21:54.146
when I got done with the drugs
and the alcohol

00:21:54.213 --> 00:21:58.017
and the... the...

00:21:58.085 --> 00:22:03.956
...being a thief and being,
you know, everything
that I had tried,

00:22:04.024 --> 00:22:30.983
finding out
that I wasn't stupid.

00:22:31.051 --> 00:22:33.452
JOSEPH SARGENT:
In 1980,
I hadn't the slightest idea

00:22:33.520 --> 00:22:36.388
who the hell
Donald M. Morgan was.

00:22:36.456 --> 00:22:38.624
I soon found out.

00:22:38.692 --> 00:22:40.025
I looked at a reel of his work,

00:22:40.093 --> 00:22:43.529
and after the first few minutes
I knew I lucked out.

00:22:43.596 --> 00:22:46.498
His lighting was minimal, gutsy,

00:22:46.566 --> 00:22:49.701
rich in texture
and strong compositionally.

00:22:49.769 --> 00:22:54.006
I decided I got to do something
to learn how to light sets.

00:22:54.074 --> 00:22:58.744
I bought a book
of a 100 famous paintings,

00:22:58.812 --> 00:23:01.780
and I started copying
that stuff.

00:23:01.848 --> 00:23:04.350
I remember going on sets,
and I'd say,

00:23:04.418 --> 00:23:08.387
"Put one of those
on one of these and shine it
over here and there."

00:23:08.455 --> 00:23:11.023
The guys would say, "You know
the name of anything?"

00:23:11.090 --> 00:23:12.658
Well, you know that.

00:23:12.726 --> 00:23:17.096
That light there, that one.

00:23:17.164 --> 00:23:19.531
[LAUGHS] He said,
"Why don't you learn the name?"
"OK, I will."

00:23:19.599 --> 00:23:22.735
But anyway, until I do
put one of those on one of these

00:23:22.802 --> 00:23:24.770
and shine it over here,
you know."

00:23:24.838 --> 00:23:29.342
And I started getting
a lot of recognition
for the lighting.

00:23:29.410 --> 00:23:30.709
KASTER:
It was
a weird experience for me

00:23:30.777 --> 00:23:32.979
because he's a different DP

00:23:33.046 --> 00:23:34.981
than I had
ever worked with before.

00:23:35.048 --> 00:23:37.583
He's very good,
very knowledgeable,

00:23:37.650 --> 00:23:40.286
really has
unbelievably great eye.

00:23:40.354 --> 00:23:43.689
But from an equipment
standpoint,
he's kind of clueless

00:23:43.757 --> 00:23:45.591
and he doesn't really
know the gear.

00:23:45.659 --> 00:23:49.194
And if he were right here,
I'd say it because it's true
and he knows it.

00:23:49.263 --> 00:23:52.664
DAVID ROTH:
He got a book
of paintings
of the old Masters.

00:23:52.732 --> 00:23:55.801
He would look through the pages
and look at the lights,

00:23:55.869 --> 00:23:58.738
how the lights were
not set in place like
they are today

00:23:58.805 --> 00:24:00.239
but painted.

00:24:00.307 --> 00:24:05.778
And man, I just thought,
"This is a sharp old dude."

00:24:05.846 --> 00:24:09.080
You know, Not much has changed.
He's still a slick old dude,
you know?

00:24:09.148 --> 00:24:11.216
But he he does it with love now

00:24:11.285 --> 00:24:15.153
JOSEPH SARGENT:
He takes
the light away
from the unnecessary

00:24:15.221 --> 00:24:17.089
and puts it on the important.

00:24:17.157 --> 00:24:19.558
Donald is an artist
who does what's right

00:24:19.626 --> 00:24:21.894
for the creative arc
of every film,

00:24:21.962 --> 00:24:24.596
whether it's a theatrical
or a feature for television.

00:24:24.664 --> 00:24:27.132
In a lot of ways,
he does the same kind of things

00:24:27.199 --> 00:24:28.734
that Conrad Hall used to do.

00:24:28.802 --> 00:24:33.272
Conrad would do dark scenes,
but there'd be something in it,

00:24:33.340 --> 00:24:37.610
some piece of light
or something in the frame
that was way beyond key.

00:24:37.678 --> 00:24:40.146
It kept your attention
and kept your focus
in a certain place.

00:24:40.213 --> 00:24:42.648
And it allowed him
to get away with shadows

00:24:42.715 --> 00:24:44.050
where other people
might not have put them.

00:24:44.117 --> 00:24:45.318
And Don does that a lot, too.

00:24:45.385 --> 00:24:48.354
And I-- I'm a real fan
of that kind of light.

00:24:48.422 --> 00:24:52.257
Sometimes you work with somebody
and they'll try to pin you down

00:24:52.325 --> 00:24:54.860
on something that's theoretical.

00:24:54.928 --> 00:24:57.429
And what you want,
most of all,

00:24:57.497 --> 00:24:59.498
is for someone to just get it,

00:24:59.566 --> 00:25:04.269
to understand why
you want to do it
and then add to it.

00:25:04.337 --> 00:25:05.904
And that's what Don did.

00:25:05.972 --> 00:25:08.507
He just-- He just went,
"Yeah, I get that."

00:25:08.574 --> 00:25:12.078
One time I asked Don, I said,

00:25:12.145 --> 00:25:13.612
"You know. I love what you do.

00:25:13.680 --> 00:25:16.815
What is it you're trying to do?"

00:25:16.883 --> 00:25:20.319
And he said, "I'm trying
to get in the same frame

00:25:20.387 --> 00:25:24.023
something that is completely
underexposed

00:25:24.090 --> 00:25:27.193
and something that's
completely overexposed

00:25:27.260 --> 00:25:30.096
and a lot of stuff
in the middle."

00:25:30.163 --> 00:25:32.898
And I thought,
"That's Don Morgan."

00:25:32.966 --> 00:25:34.433
He wouldn't tell me

00:25:34.501 --> 00:25:37.737
you know, "I need an X over 4
to get to the filter..."

00:25:37.805 --> 00:25:40.505
And, you know,
I don't even know
if he knows all that stuff.

00:25:40.573 --> 00:25:42.308
You know, he claims not to.

00:25:42.376 --> 00:25:44.309
He says,
"That's all I know how to do."

00:25:44.377 --> 00:25:46.478
I don't-- I doubt that's true.

00:25:46.546 --> 00:25:49.115
But that was really
his philosophy,

00:25:49.182 --> 00:25:54.987
and it made for beautiful film.

00:25:55.055 --> 00:25:56.656
DON:
Bob Zemeckis
came on the set

00:25:56.724 --> 00:26:00.859
while I was shooting
Sheila Levine
for Sid Furie.

00:26:00.927 --> 00:26:04.229
And he was just a young kid
at the time, 28.

00:26:04.296 --> 00:26:06.399
They used to go around the sets

00:26:06.466 --> 00:26:09.134
and eat off
of the craft service table

00:26:09.202 --> 00:26:11.370
because they were
starving writers.

00:26:11.437 --> 00:26:13.205
So he saw me

00:26:13.273 --> 00:26:17.843
and I had long hair
at the time,
and I had frayed bell bottoms

00:26:17.911 --> 00:26:19.711
that I frayed the ends,
you know,

00:26:19.779 --> 00:26:22.914
and I had... you know,
I look pretty hip at the time,

00:26:22.982 --> 00:26:26.085
and the film was going to be
produced by Spielberg,

00:26:26.153 --> 00:26:31.490
and he said he could have
any cameraman in the face
of the earth he wanted.

00:26:31.558 --> 00:26:34.059
And for some reason, he said,
I'd like to use Don Morgan.

00:26:34.127 --> 00:26:36.127
He didn't know me from Adam.

00:26:36.195 --> 00:26:37.529
I had never met him.

00:26:37.597 --> 00:26:40.532
He just was on the set,
you know, stealing food.

00:26:40.600 --> 00:26:42.667
So they came that night,

00:26:42.735 --> 00:26:46.371
and knocked on my door
in my hotel room.

00:26:46.439 --> 00:26:50.042
They come in and I said,

00:26:50.110 --> 00:26:51.377
you know,
"Can I get you guys--"

00:26:51.445 --> 00:26:53.745
"No." He said,
"This is not an interview.

00:26:53.813 --> 00:26:55.214
This is yours if you want it."

00:26:55.282 --> 00:26:57.516
And he threw the script
on the bed.

00:26:57.583 --> 00:26:59.385
So he didn't even interview me.

00:26:59.453 --> 00:27:01.119
He just said
we'd like you to do it.

00:27:01.187 --> 00:27:03.889
And I have no clue to this day
why they would pick me

00:27:03.957 --> 00:27:06.124
over all the cameramen
that they could have had.

00:27:06.192 --> 00:27:12.831
Now, ladies and gentlemen,
here they are,
The Beatles.

00:27:12.899 --> 00:27:15.734
♪ She loves you
Yeah, yeah, yeah ♪

00:27:15.802 --> 00:27:18.904
♪ She loves you
Yeah, yeah, yeah ♪

00:27:18.972 --> 00:27:24.609
♪ She loves you
Yeah, yeah, yeah, yeah ♪

00:27:24.677 --> 00:27:26.444
♪ You think you've lost
Your love ♪

00:27:26.512 --> 00:27:28.547
It was
I Want to Hold Your Hand.

00:27:28.615 --> 00:27:33.752
It was about the young kids
wanting to go to New York
to see the Beatles.

00:27:33.820 --> 00:27:35.554
And we did
some really cool stuff.

00:27:35.622 --> 00:27:39.091
We didn't have the Beatles,
but we had the Beatles.

00:27:39.159 --> 00:27:43.629
♪ And you know
that can't be bad ♪

00:27:43.696 --> 00:27:45.364
♪ She loves you ♪

00:27:45.432 --> 00:27:50.102
♪ And you know
You should be glad ♪

00:27:50.170 --> 00:27:54.440
I met Jack Green
at Tyler Camera Systems.

00:27:54.508 --> 00:27:58.510
Tyler had hired him
to be one of the assistants.

00:27:58.578 --> 00:28:02.648
He seemed like he really knew
what he was doing and I didn't.

00:28:02.716 --> 00:28:06.485
So I thought he would be
a good guy to team up with.

00:28:06.552 --> 00:28:07.820
And Jack was...

00:28:07.887 --> 00:28:09.888
He was magic, you know.

00:28:09.956 --> 00:28:12.290
He seemed to me like
he knew everything.

00:28:12.358 --> 00:28:13.758
We would fight for each other.

00:28:13.826 --> 00:28:17.162
And then finally,
when I got doing feature films,

00:28:17.229 --> 00:28:19.298
I took Jack with me.

00:28:19.366 --> 00:28:23.302
And Jack was my go to guy
and he did a hell of a job,

00:28:23.370 --> 00:28:25.837
and we always liked
working together.

00:28:25.905 --> 00:28:27.973
After that, of course he had,

00:28:28.041 --> 00:28:31.710
he had a product
and then he could start

00:28:31.777 --> 00:28:35.014
moving it out
into other places.

00:28:35.082 --> 00:28:40.119
And every time
he got a new movie,
I was a part of his movie.

00:28:40.186 --> 00:28:42.254
I found
that most cinematographers

00:28:42.322 --> 00:28:46.024
that never have
any confrontations with anybody

00:28:46.092 --> 00:28:48.360
are usually, I hate to say this,

00:28:48.428 --> 00:28:50.795
but they usually
are pretty mediocre.

00:28:50.863 --> 00:28:55.901
The AD, a tough old AD
on the first movie,

00:28:55.968 --> 00:28:58.904
was jumping all over me
about being too slow.

00:28:58.971 --> 00:29:01.940
You know,
"We've got to get going!"

00:29:02.008 --> 00:29:04.843
I mean, they all do that,
you know,

00:29:04.911 --> 00:29:07.179
in different forms.

00:29:07.247 --> 00:29:08.847
Some of them are sweet about it.

00:29:08.916 --> 00:29:13.051
The first dozen times
they ask you
and then they get shittier

00:29:13.119 --> 00:29:17.889
as the movie goes along
or they start out shitty,
you know.

00:29:17.957 --> 00:29:23.462
But this guy
he was shitty to begin with

00:29:23.530 --> 00:29:27.065
and got shittier
as the movie went on.

00:29:27.133 --> 00:29:29.934
And he's yelling at me
and I said,

00:29:30.002 --> 00:29:34.706
I said, "Who the fuck
do you think you're talking to?"

00:29:34.774 --> 00:29:35.941
And he said,
"I'm talking to you."

00:29:36.008 --> 00:29:38.877
You know, he wasn't going to
back down either.

00:29:38.945 --> 00:29:40.912
And Zemeckis said.

00:29:40.980 --> 00:29:42.448
"Okay, okay. Calm down, guys."

00:29:42.515 --> 00:29:45.451
You know,
and he calmed it down.

00:29:45.518 --> 00:29:50.556
And Zemeckis
called me that night.

00:29:50.624 --> 00:29:54.293
And he said,
"Do you want me
to get rid of that A.D.?"

00:29:54.360 --> 00:29:56.795
And I said,
"No, he's just doing his job."

00:29:56.862 --> 00:30:01.466
What makes Don,
and other DPs like Don,

00:30:01.534 --> 00:30:05.571
important to the business
is that they push
as hard as they can

00:30:05.639 --> 00:30:08.273
to get the best image
they can get,

00:30:08.341 --> 00:30:11.109
and they expect their team
to do the same thing.

00:30:11.177 --> 00:30:13.778
And it's someone else's job
to say "Stop."

00:30:13.846 --> 00:30:16.314
It's not the DP's job
to say "Stop."

00:30:16.381 --> 00:30:17.883
So Don is always pushing

00:30:17.951 --> 00:30:20.853
and you know, if someone takes
two minutes to tweak makeup

00:30:20.921 --> 00:30:24.823
then he's taking 30 seconds
or 40 seconds to add a,
you know,

00:30:24.891 --> 00:30:27.993
a lighter craft it or shape it
or do something, you know.

00:30:28.061 --> 00:30:31.163
So he's always looking
at the frame
and wanting to improve on it

00:30:31.230 --> 00:30:33.065
and If I'm hiring a DP
to do a job,

00:30:33.132 --> 00:30:34.800
that's what
I want the DP to do.

00:30:34.868 --> 00:30:36.935
I don't want to hire a guy
that's just going
to get it done.

00:30:37.003 --> 00:30:39.438
You know,
if you take time lighting,

00:30:39.506 --> 00:30:42.607
you're going to get your ass
chewed out all the time.

00:30:42.675 --> 00:30:44.609
"Come on, What's the hold up?"

00:30:44.678 --> 00:30:49.614
Because they don't care
if a director rehearses
for four hours.

00:30:49.683 --> 00:30:54.519
But if you're lighting
for 15 minutes,
there on you, you know.

00:30:54.587 --> 00:30:57.823
I mean the old question,
when I used to go in
for interviews,

00:30:57.890 --> 00:30:59.858
some of them would say,

00:30:59.925 --> 00:31:01.193
"You know, Don,
we like your work.

00:31:01.260 --> 00:31:02.961
Are you good and fast?"

00:31:03.030 --> 00:31:06.665
And I said,
"I could be one or the other,
but not both," you know.

00:31:06.733 --> 00:31:09.701
I always got a kick out of that,
you know?

00:31:09.769 --> 00:31:12.771
How are you going to be--
How are you going to be
good and fast?

00:31:12.839 --> 00:31:15.741
You know, you're either going
to be an artist or you're not.

00:31:15.809 --> 00:31:20.245
And I know it's kind of corny
to cop the attitude

00:31:20.313 --> 00:31:24.549
that I'm an artist,
but I am.

00:31:24.616 --> 00:31:27.986
And I wanted them to know that.

00:31:28.055 --> 00:31:42.867
The biggest run in
I ever saw with a director
was on
Dillinger.

00:31:42.935 --> 00:31:45.337
None of us really
cared for the director.

00:31:45.405 --> 00:31:48.340
He just was a micromanager.

00:31:48.408 --> 00:31:50.141
And because we were
in Milwaukee,

00:31:50.209 --> 00:31:52.577
the whole city would turn out
whenever we were shooting.

00:31:52.645 --> 00:31:56.014
Well, the director,
who accused him
of trying to stall,

00:31:56.082 --> 00:31:58.383
the director turned
to David Wolper Jr.

00:31:58.451 --> 00:32:00.586
Who was the producer and said,
"He's going to kill me.

00:32:00.653 --> 00:32:02.254
He's trying...
he's going to hit me."

00:32:03.724 --> 00:32:05.424
And Don looked at him
and said,
"If I was going to hit you,
you'd already be
on the ground."

00:32:05.491 --> 00:32:07.726
And this was early
in the production schedule,

00:32:07.794 --> 00:32:09.594
so I was like,
"Okay, do I go over there

00:32:09.661 --> 00:32:11.930
and help Don punch these guys?

00:32:11.997 --> 00:32:13.899
Do I take him away from them?

00:32:13.966 --> 00:32:16.235
What's my role here?"

00:32:16.302 --> 00:32:18.236
Not, you know...

00:32:18.304 --> 00:32:20.772
Not what I usually do
on the set.

00:32:20.839 --> 00:32:25.110
There's almost
always a way to manage

00:32:25.177 --> 00:32:28.380
a difficult situation.

00:32:28.448 --> 00:32:33.018
It's attitude.
It's all about attitude.

00:32:33.085 --> 00:32:35.153
Everybody is special.

00:32:35.221 --> 00:32:38.890
And they deserve to be special.

00:32:38.958 --> 00:32:40.626
And I've always felt

00:32:40.693 --> 00:32:45.063
that was the modifier
in all of my behavior,

00:32:45.131 --> 00:32:49.000
inside and outside
motion picture industry.

00:32:49.068 --> 00:32:50.569
So we, uh, we write it up?

00:32:50.637 --> 00:32:52.804
Yeah, well, actually, I was,
I was just looking.

00:32:52.872 --> 00:32:55.306
Hey, terrific. Terrific.
That's what we're here for.

00:32:55.374 --> 00:32:58.209
Stan here you can look,
browse, peek, touch,
feel, taste, smell.

00:32:58.277 --> 00:33:00.078
Do anything you want,
take all the time you want.

00:33:00.146 --> 00:33:02.147
Nobody's going to pressure
anybody around here, Stan.

00:33:02.214 --> 00:33:03.381
You know something else, Stan?

00:33:03.449 --> 00:33:05.150
I really think
you ought to buy this Buick.

00:33:05.217 --> 00:33:06.618
I think you
ought to buy it today,
right now.

00:33:06.686 --> 00:33:08.787
You want to know why?
Because this Buick is you.

00:33:08.855 --> 00:33:11.856
DON:
Zemeckis went on
and got another film

00:33:11.924 --> 00:33:15.160
called
Used Cars.

00:33:15.227 --> 00:33:19.597
You're going to love it, Stan.
Trust me.

00:33:19.665 --> 00:33:21.767
Shit!

00:33:21.835 --> 00:33:23.935
There goes a perfectly good
bumper sticker.

00:33:24.003 --> 00:33:30.476
Kurt Russell
did a lot of his own stunts.

00:33:30.543 --> 00:33:33.611
Whoa! Heavy duty, brother.

00:33:33.679 --> 00:33:34.980
Pull up next to that car!

00:33:35.048 --> 00:33:38.784
He didn't want everybody
stepping in doing his stuff,

00:33:38.852 --> 00:33:42.487
you know, he wanted to do it,
and I had worked with him

00:33:42.555 --> 00:33:45.290
on two other projects
before we did that.

00:33:45.358 --> 00:33:48.293
He played Elvis
in a movie called Elvis.

00:33:48.361 --> 00:33:49.528
And it was killer.

00:33:49.595 --> 00:33:53.264
I mean,
he was so good in that.

00:33:53.332 --> 00:33:55.367
He made moves
like Elvis did, you know?

00:33:55.434 --> 00:33:57.702
I mean,
he was just so good in it.

00:33:57.770 --> 00:34:00.471
And this surprising decision
to do a comeback show

00:34:00.540 --> 00:34:04.509
at the International
seems to be,
do or die for Elvis.

00:34:04.577 --> 00:34:12.017
It just could be
the beginning or the end
for a brilliant career.

00:34:12.085 --> 00:34:14.786
I think the thing
that was interesting
about Zemeckis,

00:34:14.853 --> 00:34:16.888
he was really easy to talk to.

00:34:16.955 --> 00:34:19.057
He was young
and he was interesting

00:34:19.124 --> 00:34:21.293
but he wasn't a pushover,

00:34:21.360 --> 00:34:22.860
he knew what he wanted.

00:34:22.928 --> 00:34:25.297
And when he didn't know
what he wanted,

00:34:25.364 --> 00:34:27.365
when he wasn't sure of himself,

00:34:27.433 --> 00:34:31.703
he would ask either myself
or he'd asked Spielberg.

00:34:31.771 --> 00:34:34.506
He would say something like,
"I'm vapor locked here."

00:34:34.574 --> 00:34:36.741
I don't know quite what
I want to do here.

00:34:36.809 --> 00:34:42.080
And one of us, mainly Spielberg
would give him an idea.

00:34:42.148 --> 00:34:47.719
I absolutely made a pact
with myself,
never to be a stylist.

00:34:47.787 --> 00:34:53.124
I didn't want to be
considered a stylist

00:34:53.192 --> 00:34:57.095
that the only apparent reason
I was hired

00:34:57.162 --> 00:35:00.465
was to photograph a movie
that looked like this.

00:35:00.533 --> 00:35:02.200
I didn't want to do that.

00:35:02.268 --> 00:35:05.770
I wanted to have
a various amount of styles

00:35:05.838 --> 00:35:09.874
and probably because of my
association in the early days

00:35:09.942 --> 00:35:11.610
of still photography.

00:35:11.677 --> 00:35:16.481
I just always admired people

00:35:16.549 --> 00:35:20.585
who didn't have,
who, when you looked at a film,

00:35:20.653 --> 00:35:25.690
you, you wouldn't say
"Oh, that's a Jack Green film."

00:35:25.758 --> 00:35:29.260
Because it is styled,
exactly this way.

00:35:29.328 --> 00:35:33.331
And I never wanted
to be committed to that.

00:35:33.399 --> 00:35:35.133
When we had worked together
quite a while,

00:35:35.200 --> 00:35:39.604
Jack wanted to move up
to being a camera operator,

00:35:39.672 --> 00:35:41.907
and he was
such a good assistant.

00:35:41.975 --> 00:35:45.910
I wouldn't give him the chance,
you know...

00:35:45.978 --> 00:35:47.879
So I was holding him back,

00:35:47.947 --> 00:35:50.615
and he kept saying,
"You know, when are you going
to move me up

00:35:50.682 --> 00:35:52.384
to camera operator?"

00:35:52.451 --> 00:35:56.454
And finally, had to quit me

00:35:56.522 --> 00:35:58.156
and go to work with
another guy

00:35:58.223 --> 00:36:00.758
that moved him up
to camera operator.

00:36:00.826 --> 00:36:02.493
I asked him,

00:36:02.561 --> 00:36:07.799
"Is there any chance
you could move me up
to the camera operator?

00:36:07.867 --> 00:36:09.968
And he says, "Yeah, well,
we'll think about it.

00:36:10.035 --> 00:36:12.236
We'll think about it."

00:36:12.304 --> 00:36:15.007
I got an offer
from another cameraman.

00:36:15.074 --> 00:36:17.275
And we were laughing,
you know, he said.

00:36:17.343 --> 00:36:18.843
"You just
never would move me up."

00:36:18.911 --> 00:36:21.346
And I said, "You were
too fucking good at your job.

00:36:21.413 --> 00:36:22.581
I didn't want to move you up.

00:36:22.648 --> 00:36:25.684
You know,
I wanted to hold you back.

00:36:25.751 --> 00:36:27.452
You made me
look good, you know."

00:36:27.520 --> 00:36:30.522
But the love affair continues.

00:36:30.589 --> 00:36:34.693
We still
love one another deeply.

00:36:34.760 --> 00:36:37.962
Well, we're
in the ASC Clubhouse,

00:36:38.030 --> 00:36:42.768
which I'm honored
to be a member.

00:36:42.835 --> 00:36:44.436
That's pretty beautiful, right?

00:36:44.503 --> 00:36:46.170
Yes. You know,
it was pretty exciting

00:36:46.238 --> 00:36:48.306
the first time
I came into this place.

00:36:48.375 --> 00:36:52.778
I was at a function,
and they kept asking,
"Why aren't you a member?"

00:36:52.845 --> 00:36:55.246
And I said,
"Well, William Fraker

00:36:55.314 --> 00:36:56.981
keeps asking me
to be a member,

00:36:57.049 --> 00:36:58.649
but he never writes the letter.

00:36:58.718 --> 00:37:03.121
We needed two letters
from two people
that were in the ASC.

00:37:03.188 --> 00:37:04.823
They had to sponsor you in.

00:37:04.891 --> 00:37:07.959
And every time I would run
into William Fraker,

00:37:08.027 --> 00:37:12.464
Billy, we called him, you know.
Billy Fraker, Bill, would say,

00:37:12.531 --> 00:37:14.032
"Don, I got to get you in."

00:37:14.100 --> 00:37:15.867
And I said, "Well, when are you
going to write the letter?"

00:37:15.934 --> 00:37:17.002
It never happened.

00:37:17.070 --> 00:37:19.538
But one time I'm at a function
in here

00:37:19.605 --> 00:37:22.206
and Vilmos Zsigmond

00:37:22.274 --> 00:37:24.942
-and... Laszlo Kovacs
-Laszlo Kovacs.

00:37:25.010 --> 00:37:26.244
were sitting there.

00:37:26.311 --> 00:37:28.179
And I had just done Elvis

00:37:28.247 --> 00:37:30.415
and Vilmos was saying,

00:37:30.482 --> 00:37:33.050
"That's really
spectacular stuff."

00:37:33.118 --> 00:37:35.086
I really love the look of that.

00:37:35.154 --> 00:37:38.389
And I thanked him, you know?
And he said, you know again
he's saying,

00:37:38.457 --> 00:37:41.259
"When are you going to get in?
We need you in the ASC."

00:37:41.326 --> 00:37:42.894
I said, "Well, you know,

00:37:42.962 --> 00:37:45.997
William Fraker, Billy,
keeps saying
he will write a letter

00:37:46.064 --> 00:37:47.999
and he just never does.

00:37:48.067 --> 00:37:50.335
And they said, "Well,
the hell with him, we'll do it!"

00:37:50.402 --> 00:37:52.270
And so they both
wrote a letter

00:37:52.337 --> 00:37:54.172
and got me into the ASC.

00:37:54.239 --> 00:37:56.674
He was the head of the union.

00:37:56.742 --> 00:37:59.544
He was the president
of the union.
The camera local

00:37:59.612 --> 00:38:00.979
for 20 years, yeah.

00:38:01.047 --> 00:38:05.216
Yeah, and I was on the board
with him.

00:38:05.285 --> 00:38:08.419
I always thought this guy
was about as fair
as they could be, you know.

00:38:08.487 --> 00:38:10.755
And we've been friends
ever since.

00:38:10.822 --> 00:38:11.890
I love him.

00:38:11.958 --> 00:38:14.959
This building was falling apart.

00:38:15.026 --> 00:38:17.629
We had rats running all over.

00:38:17.696 --> 00:38:20.866
But we have to give credit

00:38:20.933 --> 00:38:24.269
-to our friend, Owen Roizman.
-Yeah.

00:38:24.337 --> 00:38:27.872
He was one of the ex-presidents
and he was a charge

00:38:27.940 --> 00:38:30.142
of the committee,
building committee.

00:38:30.209 --> 00:38:34.913
He was supervising
everything you see here.

00:38:34.981 --> 00:38:37.782
That's the best picture
in the whole building.

00:38:37.849 --> 00:38:40.051
The first one okay?

00:38:40.118 --> 00:38:41.653
DON: No, I like the second one.

00:38:41.720 --> 00:38:43.421
Well, no.
The first one is better.

00:38:43.489 --> 00:38:45.323
I think you're right.

00:38:45.390 --> 00:38:47.792
I was wrong. I'm sorry.

00:38:47.860 --> 00:38:51.329
Yeah, this is my friend,
Owen Roizman.

00:38:51.397 --> 00:38:58.269
That's the reason I'm hanging
on the wall in there.

00:38:58.338 --> 00:39:00.505
OWEN ROIZMAN:
The French Connection,
it was a great screenplay.

00:39:00.572 --> 00:39:02.273
I mean, very exciting.

00:39:02.341 --> 00:39:04.342
When I read it,
I couldn't wait to shoot it.

00:39:04.409 --> 00:39:06.611
We went on next
to shoot
The Exorcist.

00:39:06.679 --> 00:39:09.614
And Billy Friedkin said to me,

00:39:09.682 --> 00:39:11.616
"I want your agent to call me

00:39:11.685 --> 00:39:14.619
and I want
to make a deal with you
to shoot all my movies."

00:39:14.687 --> 00:39:19.257
But, frankly,
I couldn't stand him by then,

00:39:19.325 --> 00:39:22.594
so I kept telling
my business manager,
who made all my deals,

00:39:22.662 --> 00:39:26.331
I said, "If Billy Friedkin
tries to reach you
don't take the call.

00:39:26.398 --> 00:39:27.498
And whatever you do,

00:39:27.566 --> 00:39:30.000
don't call him
on your own or anything."

00:39:30.068 --> 00:39:31.870
And I explained it all to him.

00:39:31.937 --> 00:39:33.337
We've got a kick out of it.

00:39:33.405 --> 00:39:35.339
JACK GREEN:
My very first film

00:39:35.407 --> 00:39:39.210
with Clint,
as his cinematographer

00:39:39.277 --> 00:39:41.580
was a picture called Bird,

00:39:41.647 --> 00:39:43.048
he said,

00:39:43.115 --> 00:39:47.852
"I have in mind
a special look for
Bird."

00:39:47.920 --> 00:39:52.991
And I said, "Well,
I think I know what that is.

00:39:53.059 --> 00:39:56.294
Let me shoot a test for you."

00:39:56.362 --> 00:39:58.295
and when we got back
to the screening room

00:39:58.363 --> 00:40:00.131
and we were watching it
the next day,

00:40:00.199 --> 00:40:03.501
because they could
turn around film
pretty quickly at that time,

00:40:03.569 --> 00:40:05.670
and I just remember
him elbowing.

00:40:05.738 --> 00:40:07.438
He says, "You got it."

00:40:07.506 --> 00:40:10.509
I nailed it
because I knew what he wanted.

00:40:10.577 --> 00:40:15.480
I knew how films for jazz
were meant to be photographed.

00:40:15.547 --> 00:40:18.583
Once you have
an Eastwood reputation,

00:40:18.650 --> 00:40:22.187
other than
being fast and furious,

00:40:22.255 --> 00:40:24.555
you don't have
another reputation.

00:40:24.623 --> 00:40:29.594
Yes, this is the career
achievement in television award.

00:40:29.661 --> 00:40:32.530
And they didn't have this
for years.

00:40:32.599 --> 00:40:37.535
Owen Roizman suggested me
to get the lifetime
achievement award,

00:40:37.603 --> 00:40:41.239
and the complaint was,
you know,

00:40:41.307 --> 00:40:44.542
that's for people
that do feature work.

00:40:44.610 --> 00:40:47.012
And the argument was,
"Well, Don did features

00:40:47.079 --> 00:40:49.247
and television and commercials,

00:40:49.315 --> 00:40:52.217
and let's let Don
be the first one.

00:40:52.285 --> 00:40:56.087
So Owen Roizman asked me
to go to lunch with him,

00:40:56.155 --> 00:40:59.290
and he is telling me
about what they want to do...

00:40:59.357 --> 00:41:00.992
And I said,
"That's a great idea."

00:41:01.060 --> 00:41:04.162
I look at him, he's got tears
in his eyes and he says,

00:41:04.230 --> 00:41:07.132
"And you're the first one.
We're going to give it to."

00:41:07.199 --> 00:41:08.833
And I about
fell out of the booth.

00:41:08.901 --> 00:41:11.869
You know, I had no idea.

00:41:11.937 --> 00:41:13.805
OWEN ROIZMAN:
I'm a very emotional guy

00:41:13.872 --> 00:41:17.742
and I started to cry
while I'm telling him that

00:41:17.810 --> 00:41:20.478
and he looks at me, you know,
Don, he's like Mister Macho.

00:41:20.546 --> 00:41:23.748
I said "I was crying
because I missed my dogs.

00:41:23.816 --> 00:41:26.050
I had left them
to come to lunch with you

00:41:26.118 --> 00:41:28.786
and I was thinking of them
both sitting there alone

00:41:28.854 --> 00:41:31.155
while I'm having,
enjoying lunch."

00:41:31.223 --> 00:41:34.425
I said, "Don't let it
go to your head or anything,
you know."

00:41:34.493 --> 00:41:37.395
So we had a good laugh
about that.

00:41:37.463 --> 00:41:40.832
GEOFF CALNAN:
I couldn't imagine
shooting a job without Don.

00:41:40.899 --> 00:41:42.968
Not only did we have
a creative shorthand,

00:41:43.035 --> 00:41:44.735
but that kind of support...

00:41:44.803 --> 00:41:47.772
I remember
in one of our first campaigns,

00:41:47.840 --> 00:41:50.441
you know, one of the ideas
I had, we did...

00:41:50.509 --> 00:41:52.810
we remade "I Love L.A."

00:41:52.878 --> 00:41:56.381
on ABC,
the Randy Newman song.

00:41:56.449 --> 00:42:02.387
And so there were places
where I had the Goodyear Blimp.

00:42:02.455 --> 00:42:05.490
Some of the words, some
of the lyrics. Like "Ahh..."

00:42:05.558 --> 00:42:07.692
So the "Ahh..." would
stretch out across the blip.

00:42:07.759 --> 00:42:10.794
♪Ahh...

00:42:10.862 --> 00:42:12.963
♪Ahh...

00:42:13.031 --> 00:42:14.966
♪Ahh... ♪

00:42:15.034 --> 00:42:16.768
And I worked
for this guy at the time.

00:42:16.835 --> 00:42:18.336
He was a real troll.

00:42:18.404 --> 00:42:21.940
In those days, the guys who ran
the advertising departments

00:42:22.007 --> 00:42:23.874
were not advertisers themselves.

00:42:23.942 --> 00:42:26.544
This guy was from the
sales department or something.

00:42:26.612 --> 00:42:29.146
He was a New York transplant,
and he was a hard ass.

00:42:29.214 --> 00:42:30.748
He was a real prick.

00:42:30.816 --> 00:42:33.217
And nothing you did
ever pleased this guy,

00:42:33.284 --> 00:42:35.186
so we were always afraid of him.

00:42:35.254 --> 00:42:36.854
CALNAN:
And we're finally
just me and Don

00:42:36.922 --> 00:42:39.657
and his cameraman,
who was like a Vietnam War vet.

00:42:39.725 --> 00:42:41.092
Somebody that Don worked
with all the time,

00:42:41.160 --> 00:42:44.461
cause Don had been
an aerial cameraman.
And so,

00:42:44.529 --> 00:42:46.297
we're up and it's just
the three of us

00:42:46.365 --> 00:42:48.166
flying around over
the city of Los Angeles

00:42:48.234 --> 00:42:51.635
with all the lights
and a beautiful, clear night.

00:42:51.703 --> 00:42:53.638
And the Goodyear blimp
is spelling out

00:42:53.705 --> 00:42:55.673
what I told them to spell out.

00:42:55.741 --> 00:42:58.543
And I should have been happy,

00:42:58.610 --> 00:42:59.844
but I was just miserable.

00:42:59.912 --> 00:43:02.380
I got the headphones on
and I'm not talking,

00:43:02.447 --> 00:43:03.514
I'm not saying a word.

00:43:03.582 --> 00:43:06.117
And Don said,
"You're awfully quiet."

00:43:06.185 --> 00:43:07.852
You know, on the headphones.

00:43:07.920 --> 00:43:10.021
And I said, "Yeah, I'm
I'm worried about..."

00:43:10.089 --> 00:43:12.723
Roy and I told him why.
"Roy, he's busting my balls."

00:43:12.791 --> 00:43:15.393
"Whatever we do,
he's not going to like it."

00:43:15.461 --> 00:43:18.096
And he said, "Fuck Roy!"
You know, over the headphones.

00:43:18.163 --> 00:43:19.564
"Fuck Roy. He's not your boss.

00:43:19.631 --> 00:43:20.865
"God's, your boss.

00:43:20.933 --> 00:43:23.534
"We're flying around in
a Bell Jet Ranger

00:43:23.602 --> 00:43:24.702
"over Los Angeles.

00:43:24.770 --> 00:43:26.671
"We can do whatever
we want right now.

00:43:26.739 --> 00:43:29.274
"We could fly where we want.
We can do whatever we want."

00:43:29.341 --> 00:43:31.108
I'm hanging out the
side of a helicopter

00:43:31.175 --> 00:43:32.910
on a Tyler Major mount.

00:43:32.978 --> 00:43:35.379
CALNAN:
But, what's
not to be happy about?

00:43:35.447 --> 00:43:36.915
I never forgot that day.

00:43:36.982 --> 00:43:38.682
I think about that moment

00:43:38.750 --> 00:43:41.218
in that helicopter,
in the middle of the night,

00:43:41.286 --> 00:43:42.386
all the time.

00:43:42.454 --> 00:43:45.023
Because we all
have insecurities

00:43:45.090 --> 00:43:46.424
and we all have doubts.

00:43:46.492 --> 00:43:49.393
And when mine stack up
against me, it will paralyze me.

00:43:49.461 --> 00:43:50.728
And I'll shut down.

00:43:50.796 --> 00:43:52.497
And he broke that open for me.

00:43:52.565 --> 00:43:56.367
When Don's in your life,
there is always a reason

00:43:56.434 --> 00:43:58.102
to hope for a better day,

00:43:58.170 --> 00:44:05.610
because that's just,
that's how he is.

00:44:05.678 --> 00:44:07.278
JOHN LAUGHLIN:
He's one
of those people that has

00:44:07.346 --> 00:44:10.581
the wonderful quality,
you know he's listening to you.

00:44:10.649 --> 00:44:12.817
You know,
there's nothing else going on.

00:44:12.884 --> 00:44:14.218
He may fall asleep
once in a while,

00:44:14.285 --> 00:44:16.821
but, you know... [LAUGHS]

00:44:16.888 --> 00:44:18.756
LAUGHLIN:
No, with
all kidding aside.

00:44:18.824 --> 00:44:21.459
He's just this
teddy bear that...

00:44:21.527 --> 00:44:24.662
And at the same time, man,
you will not run over him.

00:44:24.729 --> 00:44:26.197
Just don't even think about it.

00:44:26.265 --> 00:44:28.232
DAVID ROTH:
I've always had

00:44:28.300 --> 00:44:30.901
a great love
and admiration for him.

00:44:30.969 --> 00:44:33.303
He's been my father figure,
you know,

00:44:33.371 --> 00:44:36.240
my employer at different times,

00:44:36.308 --> 00:44:49.854
and my go-to-guy for a whole
lot of things in this life.

00:44:49.922 --> 00:44:52.256
LARRY KASTER:Don's
way of dealing with
a visual problem

00:44:52.324 --> 00:44:54.825
is to start telling jokes
and laughing.

00:44:54.893 --> 00:45:00.097
And it can be off-putting
to ADs and producers

00:45:00.165 --> 00:45:01.565
just cause they think
he is messing around.

00:45:01.633 --> 00:45:03.034
But that's part of his process.

00:45:03.101 --> 00:45:05.970
And he keeps the set
a fun place to be.

00:45:06.038 --> 00:45:09.140
Not only from an atmosphere
of joking and camaraderie,

00:45:09.208 --> 00:45:13.344
but you really get a chance to
do whatever comes in your head.

00:45:13.412 --> 00:45:17.348
You can make suggestions to Don
that are totally off the wall,

00:45:17.416 --> 00:45:20.885
and he's always willing
to experiment and try stuff.

00:45:20.952 --> 00:45:25.423
So it makes my job as a gaffer
just a real joy.

00:45:25.491 --> 00:45:30.861
Don is such
an incredible collaborator.

00:45:30.929 --> 00:45:33.030
It's so much fun
to work with that.

00:45:33.098 --> 00:45:35.366
We were so excited
the whole time,

00:45:35.434 --> 00:45:39.070
with new ideas,
you know, just constantly.

00:45:39.137 --> 00:45:41.339
Why don't we do this?
Why don't we do that?

00:45:41.407 --> 00:45:43.908
She was really interesting
to work with.

00:45:43.975 --> 00:45:45.043
I liked her.

00:45:45.110 --> 00:45:46.344
She was very talented.

00:45:46.412 --> 00:45:49.747
She liked the cameraman
to line up the shots.

00:45:49.815 --> 00:45:52.349
She would tell you,
"I want these people coming in

00:45:52.417 --> 00:45:54.085
"and sitting here talking."

00:45:54.152 --> 00:45:56.221
And then it was up to you
to get 'em there

00:45:56.288 --> 00:45:57.654
the way you wanted to do,

00:45:57.722 --> 00:46:00.958
which was an interesting way
to handle it.

00:46:01.026 --> 00:46:04.929
Just the fact that you're doing
Carrie 2, a sequel

00:46:04.996 --> 00:46:08.398
to this classic brilliant movie.

00:46:08.466 --> 00:46:10.602
You know, this work of genius.

00:46:10.669 --> 00:46:12.836
And here I'm going to
come in and, you know...

00:46:12.904 --> 00:46:14.672
SHEA:
And sometimes
the script supervisor

00:46:14.739 --> 00:46:16.274
couldn't keep up with us.

00:46:16.341 --> 00:46:18.443
Because we would be
having so many ideas.

00:46:18.510 --> 00:46:21.212
"This, that, dude,
let's do that."

00:46:21.280 --> 00:46:24.815
And she lost track
of the continuity.

00:46:24.883 --> 00:46:27.385
Don was like going, "Oh my God.

00:46:27.453 --> 00:46:29.987
"She doesn't know where we are,
and I kind of don't know."

00:46:30.055 --> 00:46:32.423
And I went, "This is
the greatest thing ever."

00:46:32.490 --> 00:46:34.792
I go, "No continuity."

00:46:34.859 --> 00:46:36.026
So... [LAUGHS]

00:46:36.094 --> 00:46:38.262
I go, "We're just
going to shoot things

00:46:38.330 --> 00:46:40.098
"upside down, we'll flip it."

00:46:40.165 --> 00:46:44.702
[GLASS SHATTERING]

00:46:44.769 --> 00:46:47.605
[PEOPLE SCREAMING]

00:46:47.672 --> 00:46:50.274
[WOMAN SCREAMING]

00:46:50.342 --> 00:46:52.310
MAN:
Sucker, sucker. sucker!

00:46:52.377 --> 00:46:54.145
He has a great personality.

00:46:54.212 --> 00:46:56.747
He's very light on his feet.

00:46:56.815 --> 00:46:58.583
He's full of humor.

00:46:58.651 --> 00:47:01.619
I've worked with some
big cinematographers.

00:47:01.687 --> 00:47:03.721
RICHARD KOBRITZ:
Lot of times
they put themselves

00:47:03.789 --> 00:47:06.290
in a position that
they're equal to the director.

00:47:06.358 --> 00:47:08.959
The crew is below them
and all that kind of stuff.

00:47:09.027 --> 00:47:10.928
This is not
the case with Morgan.

00:47:10.996 --> 00:47:14.398
Yeah. You know, the way
that I met John Carpenter,

00:47:14.465 --> 00:47:15.866
was kind of interesting.

00:47:15.934 --> 00:47:18.969
I was doing a film
with Adrienne Barbeau,

00:47:19.037 --> 00:47:21.272
MORGAN:
who ended up being
Mrs. John Carpenter.

00:47:21.340 --> 00:47:23.240
We got to be
real friendly on the set.

00:47:23.308 --> 00:47:25.142
She liked the way
I was lighting her and

00:47:25.210 --> 00:47:28.112
she was happy
with the photography.

00:47:28.180 --> 00:47:33.851
She said, "My boyfriend,
is directing a film,

00:47:33.918 --> 00:47:36.287
"and he's looking
for a cinematographer.

00:47:36.355 --> 00:47:38.455
"Would you like to meet him?"

00:47:38.523 --> 00:47:39.957
And I said, "Yeah."

00:47:40.025 --> 00:47:41.292
MORGAN:
And I really liked her.

00:47:41.360 --> 00:47:43.160
She was such a nice woman.

00:47:43.228 --> 00:47:46.196
So John came over
and we had lunch.

00:47:46.264 --> 00:47:49.300
And to tell you the personality
that John has, [chuckles]

00:47:49.368 --> 00:47:52.337
MORGAN: H
e never said
you're my guy or, you know,

00:47:52.404 --> 00:47:53.971
I want you to do my film.

00:47:54.039 --> 00:47:58.509
He said, "All right,
talk to you," and he left.

00:47:58.577 --> 00:48:02.380
Adrienne called me and she said,
"That really worked out good."

00:48:02.447 --> 00:48:04.215
John wants you to do his film.

00:48:04.282 --> 00:48:06.183
So Adrienne Barbeau told me

00:48:06.251 --> 00:48:08.485
John Carpenter wanted
me to do his film.

00:48:08.553 --> 00:48:09.920
John didn't tell me.

00:48:09.988 --> 00:48:12.356
I mean, that gives you
a little bit of an idea,

00:48:12.423 --> 00:48:14.358
his personality.

00:48:14.427 --> 00:48:16.127
NARRATOR:
Stephen King,
the bestselling author
[SUSPENSEFUL MUSIC PLAYING]

00:48:16.194 --> 00:48:18.162
of
Carrie
and
The Shining,

00:48:18.230 --> 00:48:23.000
takes you
on a startling journey,

00:48:23.068 --> 00:48:25.236
to
Salem's Lot.

00:48:25.303 --> 00:48:27.839
KOBRITZ:
I had done
Salem's Lot.

00:48:27.907 --> 00:48:30.474
It had been quite successful
for Warner Brothers Television.

00:48:30.541 --> 00:48:31.676
Four hours.

00:48:31.744 --> 00:48:34.612
King and I started
a conversation that time.

00:48:34.680 --> 00:48:38.282
And he said, "Look, I'd like to
send you my manuscripts,

00:48:38.350 --> 00:48:40.384
"and anything you'd like to do,

00:48:40.452 --> 00:48:43.153
"you know, we can work,
you know, you can buy it."

00:48:43.221 --> 00:48:46.424
KOBRITZ:
So he sent me
Cujo,
which I turned down.

00:48:46.491 --> 00:48:48.058
It's very difficult
to turn him down

00:48:48.126 --> 00:48:50.094
because you know
it's going to get made.

00:48:50.161 --> 00:48:52.430
You know it's
going to be a bestseller.

00:48:52.497 --> 00:48:55.566
And what kind of fool
doesn't want to do that,

00:48:55.634 --> 00:49:01.372
You know, uh,
I then turned down also, uh, It.

00:49:01.440 --> 00:49:02.974
KOBRITZ:
And I just
didn't want to do it.

00:49:03.042 --> 00:49:06.110
Plus, I was running production
at the same time.

00:49:06.178 --> 00:49:08.880
And then he sent me
Christine,
and I said, "This is it."

00:49:08.948 --> 00:49:11.515
It's America's love affair
with the automobile.

00:49:11.582 --> 00:49:13.051
It is so California.

00:49:13.119 --> 00:49:16.454
When John Carpenter said,
"I want to use Don Morgan,"

00:49:16.521 --> 00:49:17.788
I couldn't have been happier.

00:49:17.855 --> 00:49:35.673
[BAD TO THE BONE PLAYING]

00:49:35.741 --> 00:49:38.242
I think it was one of
the more interesting pictures

00:49:38.310 --> 00:49:39.643
I've ever worked on.

00:49:39.711 --> 00:49:44.415
The reason being is that
everything was done in camera.

00:49:44.483 --> 00:49:47.151
MORGAN:
There was
no real visual effects.

00:49:47.218 --> 00:49:49.120
There was no CGI.

00:49:49.188 --> 00:49:51.989
♪ "leave this one alone"
She could tell right away ♪

00:49:52.057 --> 00:49:54.291
MORGAN:
I love the way John
directed the movie

00:49:54.359 --> 00:49:56.126
and the way he handles stuff.

00:49:56.194 --> 00:49:59.664
But I got to give
the producer credit

00:49:59.731 --> 00:50:01.766
that he wanted to come back,
he said,

00:50:01.834 --> 00:50:05.269
"We do not have enough
of the car healing itself."

00:50:05.337 --> 00:50:07.004
That was not in the script.

00:50:07.071 --> 00:50:12.409
The script ends with Arnie
looking off camera

00:50:12.477 --> 00:50:16.113
KOBRITZ:
at the car, and
it's sound effects of the car,

00:50:16.181 --> 00:50:17.615
you know, ching, chung, ching,

00:50:17.683 --> 00:50:20.384
of metal crashing against
scraping and all that.

00:50:20.452 --> 00:50:23.654
And then you come back
and this is the car is perfect.

00:50:23.722 --> 00:50:27.024
And we looked at the rough cut
and I said, "It doesn't work."

00:50:27.092 --> 00:50:29.493
KOBRITZ:
I mean, you know,
it's too much of a cheat.

00:50:29.561 --> 00:50:31.995
And I said, "You know,
the kid is wonderful."

00:50:32.063 --> 00:50:33.998
The Arnie character,
he's wonderful.

00:50:34.066 --> 00:50:37.502
But you could have
Laurence Olivier doing that,

00:50:37.569 --> 00:50:39.203
and no one's going to believe.

00:50:39.270 --> 00:50:41.472
You can't play it
on his face, you know,

00:50:41.540 --> 00:50:43.006
and I know that's
the way we wrote it.

00:50:43.074 --> 00:50:45.276
It's not a question
of we ad-libbed it.

00:50:45.343 --> 00:50:47.144
It was written that way.

00:50:47.212 --> 00:50:50.882
Okay, show me.

00:50:50.949 --> 00:50:54.785
Roy Arbogast did all
the effects on the car.

00:50:54.853 --> 00:50:56.854
MORGAN:
He cut
all the bracing loose,

00:50:56.922 --> 00:50:59.723
and he hydraulically
pulled things in.

00:50:59.790 --> 00:51:01.993
And, like, I'd have a shot

00:51:02.061 --> 00:51:05.997
with the camera upside down
of the fender crunching in,

00:51:06.065 --> 00:51:07.932
MORGAN:
when you reverse it,
it would come back

00:51:08.000 --> 00:51:10.234
and you see the glass
flying back in the mirror

00:51:10.301 --> 00:51:11.635
and the fender coming.

00:51:11.703 --> 00:51:14.004
And it puts
so much more life into it

00:51:14.072 --> 00:51:16.173
than all the phony
fenders and stuff

00:51:16.241 --> 00:51:17.474
-MORGAN:
that just didn't work.
-[METAL CRUNCHING]

00:51:17.542 --> 00:51:19.977
It really made the movie,
I think.

00:51:20.044 --> 00:51:26.683
[METAL CREAKING]

00:51:26.752 --> 00:51:31.188
Stuff where the lights
go on and that...
[MIMICS ELECTRICAL HUMMING]

00:51:31.256 --> 00:51:35.058
Those were anamorphic lenses
that just did that,

00:51:35.126 --> 00:51:36.660
MORGAN:
when you
lined the lights up

00:51:36.728 --> 00:51:40.431
and they turned the lights on,
it would do that.

00:51:40.498 --> 00:51:42.432
John loved that look.

00:51:42.500 --> 00:51:45.703
MORGAN:
And we discovered it
kind of accidentally.

00:51:45.771 --> 00:51:50.074
It just did it. And probably
in any other movie they'd go,

00:51:50.142 --> 00:51:52.242
"That doesn't look real,
you know, let's not,

00:51:52.310 --> 00:51:54.845
MORGAN:
and John,
you know, he loved it.

00:51:54.913 --> 00:51:57.814
So we did it whenever
the car was coming at us.

00:51:57.882 --> 00:52:00.584
We line the lights up with it

00:52:00.652 --> 00:52:04.221
and get that look
when it hit the right place.

00:52:04.289 --> 00:52:07.024
[MENACING MUSIC PLAYING]

00:52:07.091 --> 00:52:08.292
Leigh!

00:52:08.359 --> 00:52:13.964
[ENGINE ROARING]

00:52:14.031 --> 00:52:21.238
[TIRES SQUEALING]

00:52:21.306 --> 00:52:29.913
[INDISTINCT CHATTER]

00:52:29.981 --> 00:52:33.484
WOMAN: What's the matter?

00:52:33.551 --> 00:52:36.320
Dutch apple pie.

00:52:36.387 --> 00:52:39.923
All right.

00:52:39.991 --> 00:52:41.525
It's terrific.

00:52:41.593 --> 00:52:45.295
MORGAN: Starman
was my third movie
with John Carpenter.

00:52:45.363 --> 00:52:49.065
It was a great movie
to be involved with.

00:52:49.133 --> 00:52:51.101
MORGAN:
And John
isn't the huggy,

00:52:51.169 --> 00:52:52.969
warm kind of guy that,

00:52:53.037 --> 00:52:55.406
you know,
he's not I love you, man.

00:52:55.473 --> 00:52:57.341
He's not that kind of guy.

00:52:57.408 --> 00:53:00.111
You know,
he's kind of standoffish.

00:53:00.179 --> 00:53:02.112
MORGAN:
I remember
sitting down on the curb,

00:53:02.180 --> 00:53:04.448
waiting for a car
to pick him and I up.

00:53:04.516 --> 00:53:06.717
We'd been working off
of a camera car.

00:53:06.785 --> 00:53:10.621
But anyway, he said to me,
"I cannot imagine

00:53:10.689 --> 00:53:13.056
"ever doing a movie without you

00:53:13.124 --> 00:53:16.593
"being my cinematographer."

00:53:16.661 --> 00:53:19.931
And I thought that was
one of the nicest things

00:53:19.998 --> 00:53:21.532
I'd ever heard
come out of his mouth.

00:53:21.599 --> 00:53:32.143
[MELLOW MUSIC PLAYING]

00:53:32.211 --> 00:53:36.514
MORGAN:
Jeff Bridges
was just a dream.

00:53:36.581 --> 00:53:39.450
What should I do with this?

00:53:39.517 --> 00:53:40.784
MAN: The baby will know.

00:53:40.852 --> 00:53:42.053
MORGAN:
He was
like Kurt Russell.

00:53:42.120 --> 00:53:44.221
He was just one of the guys,
and he was just

00:53:44.288 --> 00:53:47.124
a pleasant person to be around.

00:53:47.191 --> 00:53:55.499
Goodbye, Jenny Hayden.

00:53:55.567 --> 00:54:02.073
The script gal,
came on that movie.

00:54:02.140 --> 00:54:05.810
And, you know, I hate
to talk about people,

00:54:05.877 --> 00:54:08.111
but I'm going to
talk about people.

00:54:08.179 --> 00:54:10.314
She never had
anything nice to say

00:54:10.381 --> 00:54:12.816
about anybody
she'd ever worked with,

00:54:12.883 --> 00:54:14.218
she would talk about,

00:54:14.286 --> 00:54:17.922
yeah, that cameraman was this
and the crew was this...

00:54:17.989 --> 00:54:22.426
The sound guys
who had been with Carpenter

00:54:22.493 --> 00:54:25.262
from way in the beginning
of his career.

00:54:25.330 --> 00:54:28.098
The sound guys he brought
with him, over and over,

00:54:28.165 --> 00:54:30.267
no matter what
cameramen they brought.

00:54:30.335 --> 00:54:37.074
They came to me and they said,
"John's spending a lot of time

00:54:37.141 --> 00:54:39.276
"with the script supervisor.

00:54:39.343 --> 00:54:40.911
"What are we
going to do about that?

00:54:40.979 --> 00:54:43.947
"It's costing time
and it's costing,

00:54:44.014 --> 00:54:45.982
"it might cost him his job."

00:54:46.050 --> 00:54:47.951
And that's what they said to me.

00:54:48.019 --> 00:54:51.087
And I said, "Well, I don't think
there's anything we can do

00:54:51.155 --> 00:54:54.624
"about who John sees
or doesn't see."

00:54:54.692 --> 00:54:58.595
So, when I would get done
lighting after he would come out

00:54:58.663 --> 00:55:00.931
and show me what he wanted
and I would get done lighting

00:55:00.999 --> 00:55:03.733
and we would have to go bang
on his door and tell him,

00:55:03.801 --> 00:55:06.270
you know, "Ready."

00:55:06.338 --> 00:55:09.740
And he was in there
with the script supervisor.

00:55:09.808 --> 00:55:13.644
So, we were all
amongst us talking,

00:55:13.711 --> 00:55:16.647
you know, we didn't like her

00:55:16.714 --> 00:55:20.784
and we loved, Adrienne
was what it boiled down to.

00:55:20.851 --> 00:55:24.555
And he came back.

00:55:24.622 --> 00:55:26.590
We had a week off
when we traveled

00:55:26.658 --> 00:55:28.525
from one place to another.

00:55:28.593 --> 00:55:32.630
We're working together
and he and I are kind of away

00:55:32.697 --> 00:55:35.099
from the crowd for a minute,

00:55:35.167 --> 00:55:37.434
and he said, "I understand
you're not very happy

00:55:37.502 --> 00:55:40.737
"with, uh, what's
going on around here."

00:55:40.805 --> 00:55:43.307
And I, you know,
I knew what he meant.

00:55:43.375 --> 00:55:45.976
And I said, "You know,
it's none of my business."

00:55:46.043 --> 00:55:48.345
And he said,

00:55:48.413 --> 00:55:51.982
"Well, I understand you're not
pleased with it, or something.

00:55:52.049 --> 00:55:55.219
And I said, "John, that has

00:55:55.287 --> 00:55:57.321
"nothing to do with
how I feel about you."

00:55:57.388 --> 00:55:58.856
And blah, blah, blah.

00:55:58.923 --> 00:56:02.726
I said, "You know,
we all love Adrienne,"

00:56:02.794 --> 00:56:04.628
and I didn't tell him
how we all felt

00:56:04.696 --> 00:56:07.030
about the script supervisor,

00:56:07.097 --> 00:56:09.666
which wasn't very nice.

00:56:09.734 --> 00:56:12.669
And it was the whole group,
it wasn't just me.

00:56:12.737 --> 00:56:14.571
It was always talking about...

00:56:14.639 --> 00:56:17.141
Have you ever heard her
say anything nice about anybody?

00:56:17.208 --> 00:56:18.408
No.

00:56:18.476 --> 00:56:24.648
So anyway, they end up together.

00:56:24.716 --> 00:56:26.950
Adrienne and him get a divorce,

00:56:27.018 --> 00:56:29.620
and that's the end
of Carpenter and I.

00:56:29.687 --> 00:56:33.857
And and that's
when I got thinking,

00:56:33.925 --> 00:56:36.894
you know, I don't mind
that he used Dean Cundy again.

00:56:36.961 --> 00:56:42.365
Dean's a great cameraman,
and, but I wonder

00:56:42.433 --> 00:56:46.569
what's the deal
between him and I.

00:56:46.637 --> 00:56:49.205
So I asked him if he could go
to breakfast with me,

00:56:49.273 --> 00:56:52.209
which he offered.
He said, "Yes."

00:56:52.277 --> 00:56:58.015
So we met, we were talking,
and I said, "Is there any reason

00:56:58.083 --> 00:57:00.351
"that you and I
aren't working together?"

00:57:00.419 --> 00:57:02.953
And he said, "No, no, no,
there's no problem."

00:57:03.021 --> 00:57:09.026
He said, "Dean, stuff looks
a lot cooler, cold, cold

00:57:09.094 --> 00:57:15.265
"looking, blue, cold looking,
and yours is very warm and..."

00:57:15.333 --> 00:57:19.436
And I said "That's the reason
you're not hiring me?"

00:57:19.504 --> 00:57:22.272
Well, for this movie, you know,
and it's kind of...

00:57:22.339 --> 00:57:24.641
And I said, "John Carpenter.

00:57:24.709 --> 00:57:27.111
"You know enough
to know that's bullshit.

00:57:27.178 --> 00:57:29.780
"I could put a gel on,
take a warm gel off,

00:57:29.847 --> 00:57:31.881
"put a cool gel on, a blue gel,

00:57:31.949 --> 00:57:33.150
"and this stuff.

00:57:33.218 --> 00:57:35.218
"I could make it look like
a fucking ice cube."

00:57:35.286 --> 00:57:36.887
You know, whatever.

00:57:36.955 --> 00:57:42.459
And that's the last conversation
we've ever had.

00:57:42.526 --> 00:57:48.799
[MELLOW MUSIC PLAYING]

00:57:48.866 --> 00:57:51.235
So the Warrior award
is for an individual

00:57:51.303 --> 00:57:53.803
in the recovery community
or in life,

00:57:53.871 --> 00:57:58.942
who has committed their life
and their time and their energy

00:57:59.010 --> 00:58:00.977
to helping individuals recover.

00:58:01.045 --> 00:58:07.451
He has given his life to be
of service, and he's constantly,

00:58:07.519 --> 00:58:10.320
he does more service work
than I think probably

00:58:10.387 --> 00:58:12.288
all of us sober people
in this room.

00:58:12.356 --> 00:58:13.857
It's really my pleasure,
Don Morgan.

00:58:13.925 --> 00:58:15.826
-WOMAN ANNOUNCER: Don Morgan.
-[AUDIENCE APPLAUDING]

00:58:15.893 --> 00:58:18.295
MALE ANNOUNCER:
Come on.

00:58:18.363 --> 00:58:21.898
This honor, uh, you know,
they told me a few weeks back

00:58:21.966 --> 00:58:27.971
that they were going to honor me
with this, and I am so touched.

00:58:28.039 --> 00:58:29.873
I think you're giving it
to the wrong person.

00:58:29.941 --> 00:58:32.542
My wife deserves this.

00:58:32.610 --> 00:58:34.077
That's the truth.

00:58:34.145 --> 00:58:36.146
MORGAN:
You know, I get
a lot of credit for doing this

00:58:36.214 --> 00:58:39.950
and doing that,
and she backs me all the time.

00:58:40.018 --> 00:58:43.353
You guys are great.
I appreciate this.

00:58:43.420 --> 00:58:44.521
Thank you so much.

00:58:44.588 --> 00:58:47.624
-God bless.
-[AUDIENCE APPLAUDING]

00:58:47.692 --> 00:58:50.560
Don inspires loyalty
in his crew because he

00:58:50.628 --> 00:58:53.029
doesn't let anyone
mess with his crew.

00:58:53.097 --> 00:58:55.498
If there's something happening
that he doesn't like,

00:58:55.566 --> 00:58:57.434
he takes care of it,
and he takes care of it

00:58:57.502 --> 00:58:59.736
KASTER: in a way that's
very respectful for the person
that's involved,

00:58:59.804 --> 00:59:03.507
and it just makes you want
to follow him off a cliff,

00:59:03.575 --> 00:59:05.476
if that's what you have to.
Because life's too short

00:59:05.544 --> 00:59:08.312
and so many hours on a movie set
that if you're not,

00:59:08.380 --> 00:59:11.248
if there's no chemistry
and you're not, you know,

00:59:11.316 --> 00:59:12.649
there's no sense
of collaboration,

00:59:12.717 --> 00:59:16.053
it's not really worth
being there.

00:59:16.120 --> 00:59:18.021
MORGAN:
My whole family
is here tonight.

00:59:18.089 --> 00:59:22.759
All my kids, my grandkids,
my beautiful wife.

00:59:22.827 --> 00:59:25.128
I heard you, Michael, once say
that they're the ones

00:59:25.196 --> 00:59:29.032
MORGAN:
that have
to pay for us doing this job,
remember?

00:59:29.100 --> 00:59:31.035
You know, I was away
for a lot of the stuff

00:59:31.102 --> 00:59:32.302
that they were up for,

00:59:32.370 --> 00:59:35.772
were doing and
I just want to tell you,

00:59:35.840 --> 00:59:38.175
you guys out there,
how much I love you

00:59:38.243 --> 00:59:40.544
and how much I appreciate
you coming from all parts

00:59:40.611 --> 00:59:42.112
of the country to be here.

00:59:42.180 --> 00:59:43.813
CALNAN:
First year
of friendship with Donald,

00:59:43.881 --> 00:59:48.051
first year of our relationship,
he was just, he was an example.

00:59:48.119 --> 00:59:49.719
He affected the way
that I talked to my kids,

00:59:49.787 --> 00:59:51.688
the way that I talk to people,
the way that I work,

00:59:51.757 --> 00:59:55.058
CALNAN:
I remember
one time he was
with his youngest daughter,

00:59:55.126 --> 00:59:57.994
with Julie, and she
was still a little girl,

00:59:58.062 --> 00:59:59.896
and they were watching
the Emmys on television.

00:59:59.964 --> 01:00:01.998
Don was up for an Emmy.
Now He won, you know,

01:00:02.066 --> 01:00:04.534
half a dozen of them,
but he didn't win this one.

01:00:04.602 --> 01:00:05.935
And I remember him
telling me the story

01:00:06.003 --> 01:00:08.771
that Julie said, "I'm sorry
you didn't win, Daddy."

01:00:08.839 --> 01:00:13.510
And Don said, "That's okay,
honey, I already got my prize.

01:00:13.578 --> 01:00:15.612
CALNAN:
And I get choked up
just thinking about that,

01:00:15.679 --> 01:00:16.913
because here's the thing.

01:00:16.981 --> 01:00:18.815
That's the man I wanted to be.

01:00:18.883 --> 01:00:21.285
I didn't want to be
Don Morgan per se,

01:00:21.352 --> 01:00:23.253
but I wanted to have
that kind of heart.

01:00:23.321 --> 01:00:25.488
I wanted to speak
with that kind of honesty.

01:00:25.556 --> 01:00:28.091
CALNAN:
I wanted people to

01:00:28.159 --> 01:00:30.760
feel about me the way
they felt about Don Morgan.

01:00:30.828 --> 01:00:34.464
Oh, like a lot of this side was
in this burning building

01:00:34.531 --> 01:00:36.300
and it's like
I'm sitting up there

01:00:36.367 --> 01:00:38.068
and, you know,
people are looking at me

01:00:38.136 --> 01:00:39.569
and I'm, you know,
on fire and I'm going,

01:00:39.637 --> 01:00:40.837
"It's okay. I got it.

01:00:40.905 --> 01:00:43.640
"Come, come on back in,
you know, have a drink."

01:00:43.707 --> 01:00:45.909
I may be so muddy with stuff
going on in my head

01:00:45.977 --> 01:00:48.111
about an issue
about a problem, whatever.

01:00:48.179 --> 01:00:49.612
And I lay it out there to him,

01:00:49.680 --> 01:00:52.950
and he just has
this way of like,

01:00:53.017 --> 01:00:54.952
here you go.

01:00:55.019 --> 01:00:56.620
How do you call?

01:00:56.687 --> 01:00:59.022
How do you make that quiet?

01:00:59.090 --> 01:01:00.724
You know,
I don't want to go to bed

01:01:00.791 --> 01:01:02.759
with 50,000 people
in a stadium.

01:01:02.827 --> 01:01:04.928
You know, and I'm all of them.

01:01:04.996 --> 01:01:07.731
He said, "Well,
these are the things that I do."

01:01:07.799 --> 01:01:12.936
He applied that in his life,
and he still does to this day.

01:01:13.004 --> 01:01:17.607
When he says something,
I pay attention,

01:01:17.675 --> 01:01:19.342
because there's a gift
in there somewhere.

01:01:19.409 --> 01:01:21.111
I mean, there's, it's, yeah.

01:01:21.179 --> 01:01:35.692
Whether you get at that moment
or later. It it's there. Yeah.

01:01:35.760 --> 01:01:38.595
The thing about this bar,
they call it Billy's bar.

01:01:38.663 --> 01:01:42.165
I was on the board of directors
here years ago.

01:01:42.233 --> 01:01:44.167
We used to have these
board meetings,

01:01:44.235 --> 01:01:47.304
and everybody would be sitting
there with coffee,

01:01:47.372 --> 01:01:51.041
and Fraker would have
a drink about this high.

01:01:51.108 --> 01:01:53.076
We all thought it was iced tea.

01:01:53.144 --> 01:01:56.179
Uh, it wasn't iced tea
because he kept coming in here

01:01:56.247 --> 01:02:01.818
and refreshing it,
and I remember asking,

01:02:01.886 --> 01:02:05.322
I said, "Has anyone
ever seen Fraker drunk?"

01:02:05.390 --> 01:02:07.491
And we all decided
we'd never seen him drunk

01:02:07.559 --> 01:02:09.659
because we actually
never saw him sober.

01:02:09.727 --> 01:02:12.428
So we... [LAUGHS]

01:02:12.496 --> 01:02:14.030
He was a hell of a guy.

01:02:14.098 --> 01:02:17.066
He could pour more booze down
him than anybody I ever knew.

01:02:17.134 --> 01:02:19.369
KASTER:
Yeah, I remember
once Bill Fraker said,

01:02:19.436 --> 01:02:20.903
we were at the clubhouse.

01:02:20.971 --> 01:02:23.673
Don had invited me
and he were sitting around,

01:02:23.741 --> 01:02:25.542
uh, shooting the breeze,

01:02:25.610 --> 01:02:28.178
talking about the emergence
of digital cinematography

01:02:28.246 --> 01:02:30.714
and how they needed to
not do it and everywhere

01:02:30.782 --> 01:02:32.816
all DPs should just stand,
put their foot down and,

01:02:32.883 --> 01:02:35.552
and say I'm shooting
on film and,

01:02:35.620 --> 01:02:37.587
they turned to Bill Fraker and
said, "Bill, what do you think?"

01:02:37.654 --> 01:02:38.888
And he said, "You know what?

01:02:38.956 --> 01:02:40.257
"I don't care
if its I'm shooting on a string.

01:02:40.324 --> 01:02:41.925
"I care about
what's in the frame."

01:02:41.992 --> 01:02:43.659
And to me that's, that's Don.

01:02:43.727 --> 01:02:45.228
I mean, he cares about
what's in the frame.

01:02:45.296 --> 01:02:47.364
-[SHOTGUN COCKS]
-[RAIN FALLING]

01:02:47.432 --> 01:02:50.233
You'd be William Munny
out in Missouri,

01:02:50.301 --> 01:02:52.736
killer of women and children.

01:02:52.803 --> 01:02:56.173
That's right.

01:02:56.240 --> 01:02:59.409
I've killed women and children.

01:02:59.477 --> 01:03:01.912
Killed just about
everything that walks or crawled

01:03:01.979 --> 01:03:03.312
one time or another.

01:03:03.380 --> 01:03:04.714
[THUNDER RUMBLING]

01:03:04.782 --> 01:03:08.252
And I'm here to kill you,
Little Bill.

01:03:08.319 --> 01:03:09.686
For what you did to Ned.

01:03:09.754 --> 01:03:11.388
GREEN:
All of the films
that I did for Clint,

01:03:11.456 --> 01:03:14.691
I wanted them to have
their own emotional schematic.

01:03:14.759 --> 01:03:16.926
Bridges of Madison County,
as a for instance.

01:03:16.994 --> 01:03:19.395
It is such a wonderful romance.

01:03:19.463 --> 01:03:22.465
You can't light a picture

01:03:22.532 --> 01:03:25.868
like a old black and white movie

01:03:25.936 --> 01:03:30.740
and expect people to enjoy
the emotion of that film.

01:03:30.808 --> 01:03:32.576
GREEN:
And I loved

01:03:32.644 --> 01:03:35.011
photographing
Bridges
of Madison County

01:03:35.079 --> 01:03:39.149
because my heart was
with their love affair,

01:03:39.216 --> 01:03:41.317
and it was just spectacular.

01:03:41.384 --> 01:03:53.596
[DRAMATIC MUSIC PLAYING]

01:03:53.664 --> 01:03:55.265
California, stay away from here.

01:03:55.333 --> 01:03:57.133
Stay away from here, now.
Don't come in here.

01:03:57.201 --> 01:04:00.336
Yeah, David Fincher was
doing a movie called
Seven,

01:04:00.404 --> 01:04:03.907
MORGAN:
with, uh, Brad Pitt
and Morgan Freeman,

01:04:03.974 --> 01:04:05.442
and he called me up

01:04:05.510 --> 01:04:07.677
and he explained
a few of the shots.

01:04:07.745 --> 01:04:12.149
One of them was, there was
a guy looking with binoculars,

01:04:12.216 --> 01:04:13.450
and he's going like this.

01:04:13.518 --> 01:04:15.418
MORGAN:
And
chopper's moving around.

01:04:15.486 --> 01:04:18.321
He's looking for these guys
and he lands on 'em.

01:04:18.389 --> 01:04:20.823
And he said, "I want you
to whip across

01:04:20.891 --> 01:04:24.328
the desert floor
and land on those guys.

01:04:24.395 --> 01:04:27.097
And, so I said, "Okay."

01:04:27.164 --> 01:04:29.966
So, I do a real nice smooth one.

01:04:30.034 --> 01:04:34.538
He goes. "No, no, no, no.
It's got to look handheld."

01:04:34.605 --> 01:04:36.306
I said, "What do we got
a mount for?

01:04:36.374 --> 01:04:38.174
"This takes it out, it does it."

01:04:38.242 --> 01:04:40.877
He said, "Well, it's got to look
shaky like," you know.

01:04:40.944 --> 01:04:45.916
So I jammed this
up against the helicopter,

01:04:45.984 --> 01:04:49.386
and lean way up like this,
and it's shaking, you know.

01:04:49.453 --> 01:04:52.121
And he goes,
"That's what I want."

01:04:52.189 --> 01:04:55.191
So then I'm whipping
and I got nothing.

01:04:55.259 --> 01:04:56.792
There's nothing
but desert floor.

01:04:56.860 --> 01:04:59.362
MORGAN:
I didn't know
when to stop.

01:04:59.430 --> 01:05:01.865
So I would go and
I'd stop half cut the bunch

01:05:01.932 --> 01:05:03.066
in half and he'd go,

01:05:03.133 --> 01:05:05.268
"Who the fuck told you
you could operate?"

01:05:05.336 --> 01:05:07.003
You know,
and he's yelling at me,

01:05:07.071 --> 01:05:09.573
and I figured I just got to tune

01:05:09.640 --> 01:05:11.774
this guy out
and just keep doing it.

01:05:11.842 --> 01:05:13.276
I did it about four times,

01:05:13.344 --> 01:05:15.679
and each time he's
cussing me out, you know.

01:05:15.747 --> 01:05:18.047
And then the last time
I whipped it over,

01:05:18.115 --> 01:05:20.416
and you got to remember,
I'm trying to look like,

01:05:20.484 --> 01:05:23.420
and it's shaking and I whip over
and I hit him just perfect,

01:05:23.487 --> 01:05:25.255
and he goes, "You're brilliant!"

01:05:25.322 --> 01:05:27.691
So, that's David Fincher.

01:05:27.759 --> 01:05:30.026
You're either an asshole,
who the fuck taught you

01:05:30.094 --> 01:05:32.596
to operate or you're brilliant.

01:05:32.663 --> 01:05:35.598
They got nothing on me
and they never will.

01:05:35.665 --> 01:05:40.704
[LAUGHS SMUGLY]

01:05:40.772 --> 01:05:43.306
ROGER YOUNG:
On the project
called
Doublecrossed,

01:05:43.374 --> 01:05:45.442
the producers wanted
Dennis Hopper.

01:05:45.509 --> 01:05:48.178
Of course,
Don and Dennis got along

01:05:48.245 --> 01:05:50.079
because Don knew a lot about

01:05:50.147 --> 01:05:53.917
Dennis in terms of
his recoveries... plural.

01:05:53.985 --> 01:05:59.355
YOUNG:
Don got a call once,
'cause people knew that

01:05:59.423 --> 01:06:01.191
Don and Dennis
knew each other well.

01:06:01.258 --> 01:06:03.460
They got a call that they were

01:06:03.527 --> 01:06:05.562
having a meeting
at such and such a place,

01:06:05.630 --> 01:06:09.766
and that Dennis was also staying
there in this recovery place.

01:06:09.834 --> 01:06:12.301
And that he had come
to the meeting naked.

01:06:12.368 --> 01:06:14.971
[LAUGHS]

01:06:15.038 --> 01:06:19.275
And Don said,
"Is he bothering anybody?"

01:06:19.343 --> 01:06:22.111
And the guy said, "I guess not."

01:06:22.179 --> 01:06:25.848
He said, "So what's
the problem?" [LAUGHS]

01:06:25.916 --> 01:06:27.650
And that's Don, you know.

01:06:27.717 --> 01:06:32.421
[MELLOW MUSIC PLAYING]

01:06:32.490 --> 01:06:34.758
CALNAN:
He and I
were in a coffee shop
many years ago,

01:06:34.826 --> 01:06:37.461
and there was this young gal who
was kind of following me around.

01:06:37.528 --> 01:06:39.629
I was much younger then.

01:06:39.697 --> 01:06:42.699
And we're, the three of us
are sitting in this coffee shop,

01:06:42.766 --> 01:06:44.167
after a meeting,

01:06:44.234 --> 01:06:47.169
and this huge guy
walks over to the table.

01:06:47.237 --> 01:06:52.008
I mean, this guy had to be
6.6, 6.7, big stocky guy,

01:06:52.075 --> 01:06:53.577
and he walks over to the table

01:06:53.644 --> 01:06:56.078
and he starts
badmouthing this girl.

01:06:56.146 --> 01:06:59.315
Saying, "Oh, so you
won't go out with me,

01:06:59.383 --> 01:07:02.185
"but these two dickheads,
you'll go out with."

01:07:02.252 --> 01:07:04.621
And she said, "You know,
we're just having coffee

01:07:04.689 --> 01:07:07.290
and maybe we could talk this
about some other time."

01:07:07.358 --> 01:07:08.991
She clearly didn't want
anything to do with the guy,

01:07:09.059 --> 01:07:10.761
and I guess he'd asked her out
a few times.

01:07:10.828 --> 01:07:12.762
I'm seated
and I'm in this booth, so

01:07:12.829 --> 01:07:13.963
I can't move the table,

01:07:14.031 --> 01:07:16.032
and I'm trying to figure out
my next move.

01:07:16.099 --> 01:07:17.934
And I noticed,
there's a heavy sugar dispenser.

01:07:18.002 --> 01:07:19.669
You know, you used to have
those big glass sugar things.

01:07:19.737 --> 01:07:21.638
I thought, that's the heaviest
thing I can get my hands on.

01:07:21.706 --> 01:07:23.506
And I'm easing it over to me
because I'm thinking

01:07:23.574 --> 01:07:25.241
I'm going to have to pop
this guy in the temple.

01:07:25.309 --> 01:07:26.509
And Don was sitting,

01:07:26.577 --> 01:07:28.044
it was one of those
little U shaped tables,

01:07:28.112 --> 01:07:29.646
and Don sitting on the side
and the girl's in the middle,

01:07:29.714 --> 01:07:32.048
and this guy's here, giving
this girl all kinds of shit.

01:07:32.116 --> 01:07:36.619
And Don scoots over and says,
"Hey, come here, sit down."

01:07:36.687 --> 01:07:38.654
And I'm thinking,
I just want to knock him out.

01:07:38.722 --> 01:07:39.789
Why are we gonna...

01:07:39.856 --> 01:07:41.424
"Sit down.
I want to talk to you."

01:07:41.492 --> 01:07:44.661
The guy didn't know what to do,
and Don is only about that big.

01:07:44.729 --> 01:07:46.963
And Don says, "Sit down.
I want to talk to you."

01:07:47.031 --> 01:07:50.233
And because the guy didn't know
what else to do, he sat down.

01:07:50.300 --> 01:07:53.336
And Don said, "Jesus Christ man,
what's your story?

01:07:53.404 --> 01:07:55.104
"'Cause you must be
an angry guy.

01:07:55.172 --> 01:07:57.239
"If I were her, I wouldn't
go out with you either."

01:07:57.307 --> 01:07:59.742
And he starts talking to
this guy, in about ten minutes,

01:07:59.810 --> 01:08:02.545
the guy is crying and Don's
got his arm around him.

01:08:02.613 --> 01:08:04.513
But that's what you get,
with Don Morgan.

01:08:04.581 --> 01:08:05.715
[DOOR CREAKS]

01:08:05.782 --> 01:08:17.860
[WESTERN MUSIC PLAYING]

01:08:17.929 --> 01:08:21.865
MORGAN:
So I had a little
seven year break of long form.

01:08:21.933 --> 01:08:24.434
I was directing and
shooting commercials.

01:08:24.501 --> 01:08:26.302
I wanted to be home
a little more

01:08:26.370 --> 01:08:27.770
than gone all the time.

01:08:27.837 --> 01:08:30.173
But Eva says it in three words.

01:08:30.240 --> 01:08:32.042
We try harder.
refineries,

01:08:32.110 --> 01:08:36.112
Refineries. Those magic places
where Texaco engineers

01:08:36.179 --> 01:08:38.715
turn out the products
your family needs.

01:08:38.783 --> 01:08:40.716
MORGAN:
You used to
like to put you

01:08:40.784 --> 01:08:42.619
in different categories.

01:08:42.686 --> 01:08:44.621
Which, by the way,
I've never liked,

01:08:44.688 --> 01:08:46.155
being put in a category.

01:08:46.223 --> 01:08:48.124
I liked shooting
whatever I wanted to shoot.

01:08:48.191 --> 01:08:49.926
If I wanted
to shoot commercials.

01:08:49.993 --> 01:08:51.895
I shot Starman,

01:08:51.963 --> 01:08:54.798
and the next project I shot
an after school special

01:08:54.865 --> 01:08:58.835
in 16 mm, and guys go,
"That makes no sense.

01:08:58.903 --> 01:09:01.972
"Why are you doing that? That
could ruin your crowd." Yeah.

01:09:02.039 --> 01:09:05.475
You see, Harvey Firestone
was never satisfied.

01:09:05.542 --> 01:09:08.044
MAN: He was always
looking for a better way.

01:09:08.112 --> 01:09:10.947
And today, Firestone engineers
are still looking for ways

01:09:11.014 --> 01:09:12.315
to make better tires.

01:09:12.382 --> 01:09:14.217
MORGAN:
They had this
little celebration

01:09:14.285 --> 01:09:18.721
that we were done
shooting this series
of Firestone commercials,

01:09:18.789 --> 01:09:21.691
with Jimmy Stewart
as the spokesman.

01:09:21.758 --> 01:09:23.760
Jimmy came out

01:09:23.828 --> 01:09:27.831
and he said, "I wanna salute
all you young guys.

01:09:27.898 --> 01:09:29.933
MORGAN:
"You were
very kind to me,

01:09:30.001 --> 01:09:32.502
"and you were
very patient with me."

01:09:32.569 --> 01:09:34.803
And I went over
and I said to him,

01:09:34.871 --> 01:09:36.472
"Jimmy, I want to thank you

01:09:36.540 --> 01:09:38.974
"for mentioning
the crew like that."

01:09:39.042 --> 01:09:40.610
And he reached out
with both hands

01:09:40.678 --> 01:09:43.580
and he grabbed my hand and,
and he shook it.

01:09:43.647 --> 01:09:46.449
And he said, "And you,
Donald Morgan,

01:09:46.517 --> 01:09:49.218
"what a credit to your craft."

01:09:49.286 --> 01:09:51.621
And tears were running
out of my, you know,

01:09:51.689 --> 01:10:02.231
I thought God
had just blessed me.

01:10:02.299 --> 01:10:05.134
OWEN ROIZMAN: Anything you need.

01:10:05.202 --> 01:10:07.536
For Don, anything.

01:10:07.604 --> 01:10:10.640
Because like I said,
I told them I was going to say

01:10:10.708 --> 01:10:14.477
I couldn't find anybody
to say anything nice about him.

01:10:14.545 --> 01:10:16.780
[CHUCKLES]

01:10:16.847 --> 01:10:19.983
When I told him
he laughed like hell.

01:10:20.051 --> 01:10:22.651
MALE SPEAKER: I have to tell you
Don is like a brother to me.

01:10:22.719 --> 01:10:24.220
An older brother.

01:10:24.287 --> 01:10:26.055
[AUDIENCE LAUGHING]

01:10:26.122 --> 01:10:29.191
We've been
collaborating together

01:10:29.259 --> 01:10:32.428
longer than either of us
cares to remember.

01:10:32.496 --> 01:10:34.497
MALE SPEAKER:
I was
actually introduced to Donald

01:10:34.565 --> 01:10:35.998
by a television feature
he shot,

01:10:36.066 --> 01:10:39.469
that I admired very much.

01:10:39.536 --> 01:10:41.204
I found out later
that the studio

01:10:41.271 --> 01:10:42.605
which produced that film,

01:10:42.673 --> 01:10:46.876
put Don on their blacklist
for ten years.

01:10:46.944 --> 01:10:49.312
They thought it was too dark.

01:10:49.379 --> 01:10:52.015
They thought it was too daring.

01:10:52.083 --> 01:10:54.450
Well, the truth is that Don
was loyal to the intentions

01:10:54.518 --> 01:10:57.187
of the director
and his own instincts,

01:10:57.255 --> 01:10:59.555
rather than listening
to the guys in suits

01:10:59.623 --> 01:11:02.392
who wanted brighter images.

01:11:02.459 --> 01:11:12.568
[MELLOW MUSIC PLAYING]

01:11:12.636 --> 01:11:15.872
Joe Sargent said,
"Okay, here's the deal.

01:11:15.940 --> 01:11:18.441
MORGAN:
"I'm going to
direct the movie.

01:11:18.508 --> 01:11:20.143
"You're going to
shoot the movie,

01:11:20.211 --> 01:11:23.245
"and we'll try to do everything
the way you want to do it."

01:11:23.313 --> 01:11:25.715
I've never had
a director say that,

01:11:25.783 --> 01:11:27.183
and that's what we did.

01:11:27.250 --> 01:11:42.565
[MELLOW MUSIC CONTINUES]

01:11:42.633 --> 01:11:44.266
Look at these faces.

01:11:44.334 --> 01:11:46.770
MAN: Let me see.
Most of them are gone.

01:11:46.837 --> 01:11:49.939
-No, no?
-MORGAN: Yep.

01:11:50.007 --> 01:11:52.441
That's why I didn't want
my picture on this wall.

01:11:52.509 --> 01:11:55.044
No, no, there we have one.
Owen's still there.

01:11:55.111 --> 01:12:14.263
[MELLOW MUSIC PLAYING]

01:12:14.331 --> 01:12:17.500
He is very, very active
in my committee,

01:12:17.567 --> 01:12:20.970
which is education
and public outreach

01:12:21.038 --> 01:12:23.139
DIBIE:
We have,
last year we have

01:12:23.207 --> 01:12:27.276
a 1,078 cinema students
coming to the house.

01:12:27.344 --> 01:12:29.779
I make sure he is there,
because, you know,

01:12:29.847 --> 01:12:32.014
he has 40-50 years
of experience.

01:12:32.081 --> 01:12:37.519
[MELLOW MUSIC CONTINUES]

01:12:37.587 --> 01:12:41.457
MAN:
We will be having,
next Tuesday, USC is coming.

01:12:41.525 --> 01:12:45.127
He will be sitting next to me
and we will be having

01:12:45.195 --> 01:12:47.163
maybe 70-80 people here.

01:12:47.231 --> 01:12:49.632
DIBIE:
To them,
this is like a shrine.

01:12:49.700 --> 01:12:53.770
So that they come in, they
cannot believe they are there.

01:12:53.837 --> 01:13:03.946
[MELLOW MUSIC CONTINUES]

01:13:04.014 --> 01:13:10.453
To be able to continue to work
in the field that had chosen me.

01:13:10.520 --> 01:13:12.988
I didn't choose it, it chose me,

01:13:13.056 --> 01:13:14.690
and I feel so grateful.

01:13:14.758 --> 01:13:19.128
GREEN:
It was my decision
to break with Clint,

01:13:19.196 --> 01:13:23.032
more than it was
as much his, I guess.

01:13:23.100 --> 01:13:27.503
I had just finished
my 30th film with him,

01:13:27.571 --> 01:13:30.106
Space Cowboys,

01:13:30.174 --> 01:13:34.677
GREEN:
and I just felt
that 30 films was plenty.

01:13:34.745 --> 01:13:37.513
I had run

01:13:37.581 --> 01:13:40.150
my potential with him,

01:13:40.217 --> 01:13:43.219
and it was just,
it was just over.

01:13:43.286 --> 01:13:44.654
It's all good.

01:13:44.721 --> 01:13:59.501
It's... what led me to now.

01:13:59.569 --> 01:14:01.871
LAUGHLIN:
Best way
I could describe Don,

01:14:01.939 --> 01:14:04.673
and I got to admit,
when I was growing up, um,

01:14:04.741 --> 01:14:07.243
I wanted everybody
to know who I was.

01:14:07.311 --> 01:14:11.547
What he made very clear to me,
was the service that we do,

01:14:11.615 --> 01:14:15.751
there's not an invoice attached.

01:14:15.819 --> 01:14:19.155
LAUGHLIN:
Uh, It was about

01:14:19.223 --> 01:14:22.758
doing service that
nobody else finds out about.

01:14:22.826 --> 01:14:24.593
And when you can really make

01:14:24.661 --> 01:14:28.364
that part of your
hopefully daily life,

01:14:28.432 --> 01:14:30.699
no matter how small it is
or how big it is.

01:14:30.767 --> 01:14:34.804
But you get to walk with that.
To me that is what

01:14:34.871 --> 01:14:38.273
the epitome of what we really do
with one another.

01:14:38.341 --> 01:14:41.644
ROTH:
Don came into my life,

01:14:41.711 --> 01:14:43.446
just, I think,
when I needed it,

01:14:43.513 --> 01:14:45.781
in hindsight.

01:14:45.849 --> 01:14:49.152
Uh, because the wreckage
that I had created

01:14:49.219 --> 01:14:52.755
and my past
were just killing me.

01:14:52.823 --> 01:14:55.457
I had become

01:14:55.525 --> 01:14:57.993
ROTH:
not really useful
to anybody,

01:14:58.060 --> 01:15:00.629
least of all myself.

01:15:00.697 --> 01:15:03.833
And certainly didn't have
a belief in anything.

01:15:03.900 --> 01:15:06.069
God especially.

01:15:06.136 --> 01:15:09.505
And um, there's
a lot of broken pieces

01:15:09.572 --> 01:15:11.174
of David laying around,

01:15:11.241 --> 01:15:14.476
and he helped me
put those pieces back together.

01:15:14.544 --> 01:15:16.712
ROTH:
I've learned
so much from him.

01:15:16.780 --> 01:15:21.617
Being a family man,
you know, how to be honest,

01:15:21.685 --> 01:15:25.254
you know,
he's helped me grow up.

01:15:25.321 --> 01:15:26.855
Whatever the hell that means.

01:15:26.923 --> 01:15:28.857
ROTH:
He's helped me
grow up, you know. [CHUCKLES]

01:15:28.925 --> 01:15:34.330
But um, you know, he's also
and we're still working on it

01:15:34.397 --> 01:15:36.299
from time to time,

01:15:36.367 --> 01:15:39.434
let me know
that it was okay to be David.

01:15:39.502 --> 01:15:41.804
Well, you're asking
why I do the things

01:15:41.872 --> 01:15:45.808
I do with other guys
in recovery.

01:15:45.876 --> 01:15:47.810
It's really
a very simple answer.

01:15:47.878 --> 01:15:50.012
People did it for me.

01:15:50.079 --> 01:15:52.148
And that, uh,

01:15:52.216 --> 01:15:55.284
MORGAN:
I was taught
that if you want to keep it,

01:15:55.351 --> 01:15:56.518
you give it away.

01:15:56.586 --> 01:15:59.822
It's a gift.
It's a, it's an opportunity.

01:15:59.890 --> 01:16:01.757
You know, I lived a crazy life.

01:16:01.825 --> 01:16:04.326
There's a lot of things
that I wasn't very proud of,

01:16:04.394 --> 01:16:06.261
that I have been involved with.

01:16:06.329 --> 01:16:11.567
And I, I feel it.

01:16:11.634 --> 01:16:14.403
It's an honor

01:16:14.471 --> 01:16:18.341
to pay back some of the stuff
that was given to me.

01:16:18.409 --> 01:16:21.176
MORGAN:
And I've been able
to help guys that were

01:16:21.244 --> 01:16:22.711
in way more trouble

01:16:22.779 --> 01:16:25.681
than a troubled life
than I ever had.

01:16:25.749 --> 01:16:29.352
And to see them,
there's a joy in

01:16:29.420 --> 01:16:32.588
seeing people recovering
from drugs and alcohol

01:16:32.655 --> 01:16:34.924
and, you know,
some of the things

01:16:34.991 --> 01:16:36.359
that I've been involved with.

01:16:36.427 --> 01:16:39.762
People say to me,
"Hey, Stan, How you doing?"

01:16:39.829 --> 01:16:43.399
And I say, "So fucking good
I can't stand it."

01:16:43.466 --> 01:16:45.401
Because it is.

01:16:45.469 --> 01:16:47.236
STAN:
Look, seven
and a half years ago,

01:16:47.303 --> 01:16:48.670
I had a heart attack.

01:16:48.738 --> 01:16:50.773
I'm in the hospital
the next day, Saint Joseph,

01:16:50.840 --> 01:16:52.341
and just his presence,
just him.

01:16:52.409 --> 01:16:54.610
Seeing him walk in
with that smile, was priceless.

01:16:54.677 --> 01:16:58.448
We have a communication
without a lot of words.

01:16:58.515 --> 01:17:00.416
I mean, I'll be sitting
across the room from him,

01:17:00.483 --> 01:17:02.484
and he'll go like this.

01:17:02.552 --> 01:17:03.519
[WHISPERS] "I love you"

01:17:03.586 --> 01:17:05.220
[LAUGHS]

01:17:05.288 --> 01:17:07.189
Don gives you

01:17:07.257 --> 01:17:09.458
moments in your life
that you'll never forget.

01:17:09.525 --> 01:17:11.360
You know, he was,

01:17:11.428 --> 01:17:14.129
he was the first person I called
when my daughter was born.

01:17:14.197 --> 01:17:17.032
CALNAN:
He was the first person
I called when my son was born.

01:17:17.100 --> 01:17:19.035
For many years
he's been the heart of my life.

01:17:19.102 --> 01:17:20.603
And you know,
we're not as close now.

01:17:20.670 --> 01:17:21.970
We still see each other.

01:17:22.038 --> 01:17:23.405
CALNAN:
But Don always says,
"I loved you then,

01:17:23.473 --> 01:17:24.607
"I love you now."

01:17:24.674 --> 01:17:25.941
And he means it.

01:17:26.009 --> 01:17:28.778
Uh, he's got a heart
as big as this building.

01:17:28.845 --> 01:17:30.246
Don was always there.

01:17:30.314 --> 01:17:33.316
He's more than a cameraman
and he's more than a friend.

01:17:33.383 --> 01:17:36.318
You know,
he was whether I knew or not.

01:17:36.385 --> 01:17:38.120
He was the answer to a prayer.

01:17:38.188 --> 01:17:40.956
GREEN:
There were lots of films
that I went on with him.

01:17:41.024 --> 01:17:44.626
That began the romance
that he and I have had

01:17:44.694 --> 01:17:46.629
over the years,
and we still have it,

01:17:46.696 --> 01:17:47.796
as a matter of fact.

01:17:47.864 --> 01:17:52.167
It's still as enduring
as it ever was.

01:17:52.235 --> 01:17:55.270
Um, you know, the last thing
we say to one another,

01:17:55.338 --> 01:17:57.006
"I love you."

01:17:57.073 --> 01:18:01.277
That's the way
we share our lives together.

01:18:01.345 --> 01:18:03.479
We've had a lot of
great times together.

01:18:03.547 --> 01:18:08.350
He is special, special guy,
a special cinematographer.

01:18:08.417 --> 01:18:17.926
[MELODIC TONES PLAYING]

01:18:17.994 --> 01:18:20.129
MAN:
Don, do you ever
think about taking a drink?

01:18:20.197 --> 01:18:21.531
MORGAN:
Not anymore.

01:18:21.598 --> 01:18:24.032
You know, I've been off
booze for 52 years.

01:18:24.099 --> 01:18:25.734
Almost 53.

01:18:25.802 --> 01:18:27.836
I'm an addictive personality,

01:18:27.904 --> 01:18:29.772
that was pointed out to me.

01:18:29.839 --> 01:18:33.476
Because my drinking
wasn't social.

01:18:33.544 --> 01:18:38.981
My drinking was addictive
and it got worse as I got older,

01:18:39.049 --> 01:18:40.716
MORGAN:
it never got better,

01:18:40.783 --> 01:18:43.452
and it never
would have got better.

01:18:43.519 --> 01:18:47.723
So... No.

01:18:47.790 --> 01:18:49.959
-Okay.
-Honey, mix me one, will you?

01:18:50.026 --> 01:19:00.702
[ALL LAUGHING]

01:19:00.770 --> 01:19:02.705
MORGAN:
I refuse to be unhappy.

01:19:02.773 --> 01:19:05.974
I don't want to be down
at the ASC Clubhouse going,

01:19:06.042 --> 01:19:08.877
yeah, all these young guys
taken over, you know,

01:19:08.945 --> 01:19:13.949
with all our experience
and arthritis and... [LAUGHS]

01:19:14.017 --> 01:19:15.584
Would I do a film right now?

01:19:15.651 --> 01:19:16.885
You bet. You bet.

01:19:16.953 --> 01:19:19.354
If it was a decent picture
to be involved with,

01:19:19.422 --> 01:19:21.056
I would love to do one.

01:19:21.124 --> 01:19:23.359
But I don't mind not doing it.

01:19:23.427 --> 01:19:25.494
You know, we are raising
a little granddaughter

01:19:25.562 --> 01:19:30.433
that we love,
and we love our home life.

01:19:30.500 --> 01:19:33.535
It's good and it's going to
continue to be good.

01:19:33.603 --> 01:19:35.437
Until they plant me.

01:19:35.504 --> 01:20:01.163
[ADVENTUROUS MUSIC PLAYING]

01:20:01.230 --> 01:20:02.598
[MUSIC FADES]

01:20:02.666 --> 01:20:05.868
I want to be planted with my,
uh, with my light meter.

01:20:05.935 --> 01:20:07.636
[ALL LAUGHING]

01:20:07.703 --> 01:20:09.871
[ADVENTUROUS MUSIC CRESCENDOS]