{"id":11807,"date":"2022-04-01T11:33:43","date_gmt":"2022-04-01T18:33:43","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=11807"},"modified":"2022-05-17T12:37:18","modified_gmt":"2022-05-17T19:37:18","slug":"born-to-lead","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/born-to-lead\/","title":{"rendered":"Born To Lead"},"content":{"rendered":"

Union leader and Emmy-winner George Spiro Dibie, ASC, leaves behind a legacy of compassion and labor triumphs that forever changed the entertainment industry.<\/span><\/span><\/p>\n

by Pauline Rogers \/ Photos Courtesy of the ASC<\/span><\/span><\/p>\n

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It was 1970. Cinematographer Harry Stradling Sr., ASC,<\/strong> sent his young gaffer to light Barbara Streisand, the female lead for one of Oscar-winning director Vincent Minelli\u2019s last films, On a Clear Day You Can See Forever.<\/em> As the young man approached, the star\u2019s eyes followed. It wasn\u2019t his thick European accent that brought attention \u2013 it was something else. \u201cYour cologne smells sexy,\u201d she said jokingly as he came closer.\u00a0The young man, who\u2019d been determined to be part of the movie industry, now had a new way to stand out. And for the thousands of people who have ever been the loving recipient of George Spiro Dibie\u2019s famous appellation, they have Barbra Streisand to thank for it.<\/p>\n

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Dibie’s signature address to friends and colleagues was born from a lighting moment with Barbara Streisand\u00a0while working as a gaffer on\u00a0On A Clear Day You Can See Forever,\u00a0<\/em>shot by Harry Stradling, Sr.\u00a0<\/em>Above checking light levels for Barbara Eden on\u00a0Gunsmoke.\u00a0<\/em><\/figcaption><\/figure>\n

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In the past month, publications from Variety<\/em> <\/strong>to The<\/em> Hollywood Reporter <\/em>have all written about the industry force that was George Spiro Dibie, ASC, who passed away peacefully with his family nearby on February 8, 2022. The articles covered Dibie\u2019s childhood in Jerusalem, his love for still photography, the movie (Les Mis\u00e9rables<\/em>, shot by Gregg Toland, ASC) that drove his passion for filmmaking, and a life fighting for the underdog. There was also a USIA (United States Information Agency) scholarship that brought Dibie from Amman, Jordan to Los Angeles, where he took jobs as a waiter, busboy, and supermarket checker.<\/p>\n

Some have told the story of how Dibie shared his dream with shoppers, including one man who happened to work at 20th<\/sup> Century Fox. A call a few days later netted young Dibie a job on Cleopatra<\/em>, lensed by Leon Shamroy, ASC. Others have pointed to his first production company and his break shooting a multi-camera video children\u2019s show. Nearly everyone has followed Dibie\u2019s trajectory in multi-camera \u2013 thanks to Danny Arnold, who hired him to shoot Barney Miller<\/em> \u2013 the first step in changing how multi-camera was shot (bringing foot-candles of key light down from 250 to 50, despite Arnold\u2019s dissent).<\/p>\n

Working on Barney Miller <\/em>led Dibie to spend 10 years with Warner Bros., shooting everything from Head of the Class<\/em>\u00a0and Murphy\u00a0Brown<\/em> to the first of many Emmys to come, starting with Mr. Belvedere<\/em>. Dibie eventually shot several thousand episodes of network television, taking home five Emmy Awards and seven more nominations. During his decades in union politics, he helped lead the movement to consolidate the IATSE\u2019s bargaining power via a merger with Camera Guild\u00a0 Locals 659, 644, and 666 into a single national union, Local 600. In negotiations, he battled against long hours and an increase in turn-around, protected the many changing categories in the camera department and their contracts, and made the groundbreaking change in the Individual Account Retirement Plan that allowed members to retire with a healthy nest egg. He achieved all of this while working closely (as Local 600\u2019s President) with the DGA, the ASC\u2019s Technology Committee, the Society of Motion Picture and Television Engineers (SMPTE), and even UCLA Extension.<\/p>\n

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Dibie’s work on the hit sitcom\u00a0Barney Miller <\/em>(above with Producer Danny Arnold)\u00a0helped change the multi-camera format and launched a career in network television that included\u00a0five Emmy Awards and seven more nominations.<\/figcaption><\/figure>\n

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Consistently fulfilling his promise \u201cto help others grow stronger,\u201d<\/strong> Dibie made everyone around him better \u2013 and there are many voices to prove it. \u201cHe was a rabble-rouser with the Cheshire grin,\u201d recalls Emerging Cinematographer Awards (ECA) Co-Chair James Matlosz. \u201cThe man who moved mountains and changed our union standards and practices. A gentleman who wouldn\u2019t take no for an answer. George always led with a smile and a sparkle in his eye. Many of us can be thankful for the waves he created \u2013 they opened up the Union for so many craftspeople who now swim calmer waters due to his actions and beliefs.\u201d<\/p>\n

It was no secret Dibie had a rough time getting into the Union (and the ASC), as well as encountering other unexpected blockades along the way. That\u2019s why he was so adamant about making it easier for others. Dibie used his talent, drive, and compelling personality to achieve what he knew was best \u2013 not only for his industry but for his fellow filmmakers.<\/p>\n

\u201cHe was bigger than life,\u201d describes Steve Silver, ASC. \u201cWhen George was your friend, you felt special yourself. He used comedy as a way to bring people together.”<\/p>\n

“I was lucky enough to have George sign me into the Union in 1987,” Silver continues. “I assisted him on projects like the Murphy Brown<\/em> pilot, operated on Linda Lavin\u2019s Room for Two<\/em>, and he sponsored me into the ASC. What I remember most is how he liked to tell the same jokes over and over. One of my favorites was one he would use while addressing a large group of people, in my case the crew. He’d thank everyone for their hard work and expertise, and then look over to me and say, \u2018except you, Stefano.\u2019 He loved to pick on a loved member of a crew and roast that person. And, in turn, George loved it when people made him the butt of any joke.\u201d<\/p>\n

Long-time Dibie operator and now Director of Photography Tom Eckelberry remembers Dibie\u2019s ability to call upon his creativity even while teaching those new to the field. On the creative side, Eckelberry recalls the changes he made in shooting multi-camera.<\/p>\n

\u201cModeling and the ability to create depth and separation was one of the biggest changes,\u201d he recalls. \u201cThen there was his famous \u2018Dibie light,\u2019 an Obie on the wing cameras to add fill light. But it was his personal touch that made as much if not more of a difference,\u201d he adds. \u201cWhile working on Growing Pains <\/em>in 1988, my father passed away. George saw how devastated I was and took me under his wing. He told me to come in and watch how he lights. This led to my operating on many of his shows. And, on Sister, Sister<\/em>, he even let me light many swing sets. He was so generous with his knowledge. When I got my break to move up to DP, in 2011, I felt very prepared.\u201d<\/p>\n

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Director of Photography Steve Silver, ASC, one of many who Dibie helped become a Camera Guild member, describes his longtime friend as “bigger than life. When George was your friend, you felt special yourself. He used comedy as a way to bring people together.” Above: On the set of the\u00a0Saturday morning comedy series The Ghost Busters<\/em> (1975), with Tracy the gorilla (Bob Burns).<\/figcaption><\/figure>\n

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Dibie never just mentored people \u2013 he folded them into his<\/strong> family<\/strong>. \u201cWhen I got the opportunity to try multi-camera, he spent an afternoon with me, diagramming on college-ruled notebook paper the fundamentals of the craft,\u201d says George Mooradian, ASC. \u201cThat served me well until I had the clarity and vision to make it my own. I still have that grail.\u201d<\/p>\n

Things between Dibie and the man he affectionately dubbed \u201cGeorge Number 2\u201d didn\u2019t end there. \u201cI can\u2019t remember how many educational panels I\u2019ve done with George, schools from all over, and each one a joy and satisfaction,\u201d Mooradian adds. \u201cWe gave back with our experiences and foibles, and more. I think one of the most important things that he pushed on all his students was to speak up to be heard.\u201d<\/p>\n

Gary Baum, ASC, is another cinematographer Dibie mentored. Not only did Dibie support Baum into the ASC, \u201che gave me two very important pieces of advice,\u201d Baum recalls, laughing. \u201cHis \u2018Be flexible because everything can and will change\u2019 was the best. One that was pure Dibie, and that I can\u2019t recall without laughing, is his serious \u2018Keep some cologne in your jacket pocket to spray on your hand when you read your meter next to an actor or actress!\u2019\u201d<\/p>\n

Dibie could also spot talent and help to nurture someone with a low-key personality. He brought many who were reticent to move forward into the fold and made it clear he wouldn\u2019t go away. \u201cTo say that George had a profound effect on my life and career would truly be an understatement,\u201d describes Michael Goi, ASC. \u201cWhen I joined Local 600 in 1996, George immediately started taking me on the road with him to speak at seminars and lighting demonstrations around the country. When I mentioned to him that perhaps I should not make so many appearances so that others could have a chance, George told me, \u2018You\u2019re a very good cinematographer. But nobody knows who you are, and you need to get out in front of people.\u2019 He made that a priority and essentially created my public persona.<\/p>\n

\u201cIn 2003, George sponsored me for membership in the ASC. I am told that, at that membership meeting, one of the members questioned whether I was qualified to be in the ASC. George scolded him, saying, \u2018Believe me, you want Michael Goi to be in the ASC because he\u2019s going to be the kind of active member we need.\u2019 When I became ASC president in 2009, I thanked George for everything he had done for me, including his unwavering faith in my worth as a person. George replied, \u2018Oh, please. With everything you do and everything you achieve, you make me look so good.\u2019\u201d<\/p>\n

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Guild member and ECA Co-Chair James Matlosz says Dibie was \u201cthe man who moved mountains and changed our union standards and practices. George was a gentleman who wouldn\u2019t take no for an answer… many of us can be thankful for the waves he created \u2013 they opened up the Union for so many craftspeople who now swim calmer waters due to his actions and beliefs.\u201d Above accepting the ICG Lifetime Achievement Award with his wife, Danielle.<\/figcaption><\/figure>\n

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Dibie always found people with a passion for giving back<\/strong> and helped them grow past their own\u00a0expectations. Many years ago, as a way to build his credentials (and confidence) to become a director of photography, 1st AC Rob Kositchek would shoot films for students and those interested in making motion pictures to demonstrate their talent. \u201cAt one point, I DP\u2019d a film for a directing student at USC by the name of Robert Hickey,\u201d he recalls. \u201cThe film was successful, and as I left the Cary Grant Theater screening, I had an idea.<\/p>\n

\u201cGeorge was a man with wonderful, egalitarian ideas about inclusiveness and opportunity,\u201d Kositchek continues. \u201cHe wanted success for all who were willing to put in the work. So, I took my idea to him, one day at his office, of having an event where members of the Local who were rated operators, camera assistants, and film loaders could show short films they had been creating to enhance their careers. He looked at me seriously for a few moments, then smiled and said, \u2018This is a great idea. You are chairman!\u2019 For the next 13 years, George provided me with all the help to make this event worthwhile. Many of you know the rest of the story. This gift from George grew from the ICG Film Showcase into the Emerging Cinematographer Awards, now guided so beautifully by Steven Poster, ASC, in its 24th year.\u201d<\/p>\n

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ECA co-founder Rob Kositchek describes Dibie as “a\u00a0man with wonderful, egalitarian ideas about inclusiveness and opportunity. He wanted success for all who were willing to put in the work.” Above: Dibie (R) attending the 1992 IATSE General Convention with a Local 16 California delegate (L) and former ICG National Executive Director Bruce Doering (M).<\/figcaption><\/figure>\n

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Dibie was also known for being fearless and inventive. \u201cHe would hand out dozens of his \u2018Hi, Sexy\u2019 pens and make it feel like the biggest thing in the world,\u201d laughs former Local 600 Western Region Director Steve Flint. \u201cDuring his tenure, I was running for AFL-CIO Delegate at the IATSE convention. At one time, my opposition had a heavily funded campaign. They rented a hall at the convention and supplied a roast beef dinner, and gave everyone flowers. I couldn\u2019t compete. But I had George,\u201d he adds with a twinkle. \u201cWe made the rounds of the different caucuses, spoke with people who gathered and loved his \u2018pens.\u2019 And George\u2019s determination and winning personality brought me a win!\u201d<\/p>\n

And Dibie, the filmmaker, was fearless of going head-to-head to help his union brothers and sisters. Former Local 600 National Executive Director Bruce Doering and Local 600 President Emeritus Steven Poster, ASC, recall a pivotal period when the IATSE was battling a rival union for jurisdiction over the digital future. Under Dibie\u2019s leadership, Doering, along with Associate National Executive Director Chaim Kantor, convinced camera crews and unorganized DIT\u2019s on both coasts that the IATSE was the best fit to negotiate a digital agreement.<\/p>\n

\u201cWhen we got to the negotiations for the digital contract,\u201d recounts Poster, \u201cone of the manufacturers sent the producers a brochure that said, \u2018This is easy, you don\u2019t need a full crew or lighting,\u2019 and George would have nothing of that! He stood up and took on the producers, saying, \u2018You know nothing about cinematography. I made your studio millions. Sit down and be quiet!\u2019\u201d Yes, Dibie embarrassed several people. But he got his point across: Don\u2019t mess with George. The producers backed down, and the IATSE negotiated the industry\u2019s first digital agreement. As a part of the deal, the digital imaging technician and digital utility classifications became the newest members of the camera crew.<\/p>\n

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Local 600 President Emeritus Steven Poster, ASC, says Dibie was all in when it came to standing up for his union and fellow filmmakers. During negotiations for a digital contract, “one of the manufacturers sent the producers a brochure that said, \u2018This is easy, you don\u2019t need a full crew or lighting,\u2019” Poster recalls, “and George would have nothing of that! He stood up and took on the producers, saying, \u2018You know nothing about cinematography. I made your studio millions. Sit down and be quiet!\u2019\u201d \u00a0Above: adjusting iris with his ever-present cigar at hand.<\/figcaption><\/figure>\n

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Dibie had another passion \u2013 to build the image of the Union<\/strong> and the work of its members \u2013 not just internally but to producers, directors, studio heads, and the global film community. The best vehicle for doing that, he believed, was ICG\u2019s decades-old publication, at the time known as The International Photographers Magazine<\/em>.<\/p>\n

On a personal level, I can vouch for Dibie\u2019s passion. In 1989, I was contributing many stories as a freelancer. One day, after I delivered a couple of articles, George cornered me. \u201cYou are doing a great job writing about our members. I think it\u2019s about time you become permanent.\u201d I didn\u2019t mind the increase in assignments \u2013 finding bylines to run (besides my two legal names of Pauline Rogers and Bonnie Goldberg) was fun. So was sitting in the small conference room, literally cutting and pasting the galley sheets together and listening to George talk about Guild members and the changes he was determined to make for the industry as he wandered in and out, checking my layout. More than 30 years and 2000 articles later, every time I smell something that vaguely reminds me of glue, I\u2019m reminded of the valuable lessons I learned from George about trade unionism, inclusion, and never-ending support.<\/p>\n

In 1996, current ICG Magazine<\/em> publisher Teresa Ambriz-Munoz joined the Local 600 family, contributing to the growth of the magazine and becoming Dibie\u2019s prot\u00e9g\u00e9. \u201cHe taught me to have respect and care for this all-important magazine,\u201d Munoz remembers, \u201cand for the membership and their talents. He would often take me with him when he visited local high schools and colleges as part of his outreach efforts. I watched George at speaking engagements, where he was adamant about encouraging others. He\u2019d see someone in the corner, shy, and get them to talk and ask questions.<\/p>\n

\u201cWhile assisting George at a lighting workshop at CSUN,\u201d Munoz continues, \u201che and I both spotted a student who was hesitant to ask questions. We looked at each other, and the next thing you know, George asked him to come up and help him light the scene. George knew that would give the young man the confidence he needed to speak up and ask questions. That \u2018kid,\u2019 as he called him, walked away with a wealth of knowledge that day.\u201d<\/p>\n

As evolutionary shifts continue in the industry he loved so much, it\u2019s sad to contemplate that George Spiro Dibie will not be there to guide those changes. But we can all take heart in knowing that when faced with an immovable object, or a challenge that needs backup, there might be a whiff somewhere of a particular cologne, and an echo (in a vaguely undefined European accent) of \u201cyou can do it.\u201d And that just might be enough to help us stand firm and carry on.<\/p>\n

*ICG Magazine.com readers can learn more about George Spiro Dibie, ASC, in this [<\/a>Hollywood Reporter<\/em><\/a>]<\/a> article written by former Local 600 National Executive Director Bruce Doering.<\/strong><\/p>\n

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Portrait by Douglas Kirkland<\/figcaption><\/figure>\n

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Union leader and Emmy-winner George Spiro Dibie, ASC, leaves behind a legacy of compassion and labor triumphs that forever changed the entertainment industry. by Pauline Rogers \/ Photos Courtesy of the ASC   It was 1970. Cinematographer Harry Stradling Sr., ASC, sent his young gaffer to light Barbara Streisand, the female lead for one of Oscar-winning director Vincent Minelli\u2019s last films, On a Clear Day You Can See Forever. As the young man approached, the star\u2019s eyes followed. It wasn\u2019t […]<\/p>\n","protected":false},"author":2,"featured_media":11835,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-11807","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nBorn To Lead - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/born-to-lead\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Born To Lead - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Union leader and Emmy-winner George Spiro Dibie, ASC, leaves behind a legacy of compassion and labor triumphs that forever changed the entertainment industry. by Pauline Rogers \/ Photos Courtesy of the ASC   It was 1970. Cinematographer Harry Stradling Sr., ASC, sent his young gaffer to light Barbara Streisand, the female lead for one of Oscar-winning director Vincent Minelli\u2019s last films, On a Clear Day You Can See Forever. As the young man approached, the star\u2019s eyes followed. 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