{"id":7031,"date":"2017-05-18T11:54:52","date_gmt":"2017-05-18T18:54:52","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=7031"},"modified":"2021-05-30T20:05:21","modified_gmt":"2021-05-31T03:05:21","slug":"bedrock-of-new-york","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/bedrock-of-new-york\/","title":{"rendered":"Bedrock of New York"},"content":{"rendered":"

The impact of Sol Negrin, ASC, SOC, on the film and television industry will live on long after his passing, as his peers, colleagues, friends, family and students recall in this loving tribute.<\/span><\/p>\n

By Pauline Rogers<\/span><\/p>\n

\"solNEGRIN1\"
Courtesy of Michael Negrin<\/figcaption><\/figure>\n

It was 1976. The second unit on John Guillermin\u2019s <\/span>King Kong<\/i><\/span> starring Jeff Bridges and Jessica Lange was working on Kong\u2019s fall off the Twin Towers. Kong was lying on the ground. \u201cBut, someone had stolen one of Kong\u2019s eyeballs,\u201d recalls AC John McCarthy. \u201cProduction said there wasn\u2019t a replacement. They were freaking out and didn\u2019t know what to do. Not a problem for Sol Negrin. He suggested painting a 10K or 20K bulb to match the other eye, and put it back into Kong\u2019s head. That\u2019s what they did, and it made the picture.\u201d<\/span><\/p>\n

When remembering Sol Negrin, ASC, SOC, who passed away March 20, 2017, there is much to celebrate on the professional side: five Emmy nominations, including <\/span>Kojak<\/i><\/span> (1974, 1975, and 1976), the telefilm <\/span>The Lost Tenant<\/i><\/span> (1978) and an episode of <\/span>Baker\u2019s Dozen<\/i><\/span> (1982); four Clio Awards, one for American Tourister\u2019s memorable \u201cBouncing Suitcase\u201d campaign in the 1970s. There was also his work on a range of classic TV shows and features \u2013\u00a0<\/span>McCloud<\/i><\/span>,<\/span> The White Shadow<\/i><\/span>,<\/span> Rhoda<\/i><\/span>,<\/span> The Patty Duke Show<\/i><\/span>,<\/span> Superman<\/i><\/span>,<\/span> Coming to America<\/i><\/span>,<\/span> Jaws 2<\/i><\/span> and <\/span>RoboCop<\/i><\/span> among them. That\u2019s the work \u2013 and there was plenty of it.<\/span><\/p>\n

But there is also Negrin\u2019s personal integrity and character, which encompassed his undying determination to educate \u2013 properly \u2013 those wanting to become part of the world he loved. Stories like his creative problem solving on <\/span>King Kong <\/i><\/span>have become timeless memories of the many people Negrin touched. <\/span><\/p>\n

Cinematographer Patrick Cady, ASC, for example, met Negrin when the latter was a teacher at NYU Grad Film School. He says that while he learned \u201csome pretty cool technical stuff\u201d from Negrin, \u201cSol also became a true mentor for me \u2013 answering all my weird questions with kindness and patience. He championed my second feature, <\/span>Girlfight<\/i><\/span>, wanting to screen it for Local 600 before I was even a member. He screened <\/span>Sunshine State<\/i><\/span> \u2013 a movie that introduced me to the power of Local 600 \u2013 and Sol\u2019s commitment to supporting it. After the screening, I remember going to brunch with him and meeting Geoffrey Erb [ASC] and Dejan Georgevich [ASC].\u201d<\/span><\/p>\n

And, Cady adds, Negrin\u2019s presence seemed to be everywhere. <\/span><\/p>\n

\u201cWhen I was shooting my first series, <\/span>Cold Case<\/i><\/span>, in L.A.,\u201d Cady continues, \u201cwe found a little plastic action figure that, to me (and to those who knew him) looked like Sol. We decided to hide the figure in shots if we could. The set dresser got onboard, and for the second half of that first season, Sol Negrin was a constant presence!\u201d<\/span><\/p>\n

In fact, it was while Cady was shooting <\/span>Cold Case <\/i><\/span>that Negrin called Cady on the set to say he\u2019d written a letter to the ASC to recommend Cady for membership. \u201cI thought it was way too early in my career,\u201d the DP remembers. \u201cI said I needed 10 more years of experience. But, I learned that if Sol was a fan \u2013 if he took you under his wing \u2013 or was excited by your work \u2013 you had a cheerleader for life. It took a second letter \u2013 at a different time \u2013 but because of Sol\u2019s determination, I got in!\u201d<\/span><\/p>\n

\"Courtesy
Courtesy of Michael Negrin<\/figcaption><\/figure>\n

If Sol Negrin couldn\u2019t reach you in person, there were always those famous<\/b><\/span> phone calls. One made to Stefan Czapsky, ASC, was crucially important. \u201cIt was 1992, and the Tim Burton movie that I shot, <\/span>Batman Returns<\/i><\/span>, opened to mixed reviews,\u201d Czpasky recalls. \u201cI was disappointed that the mention of the photography [ranged from sparse to] sometimes negative. <\/span>USA Today<\/i><\/span> said it looked \u2018like it was shot in an inkwell.\u2019 I was feeling unnoticed and unappreciated.\u201d<\/span><\/p>\n

Czapsky recalls how the phone rang one Sunday evening, in his dark New York City apartment. \u201c\u2018Hi. This is Sol Negrin,\u2019 I hear a voice say on the other end. \u2018I just saw your movie and thought the photography was fantastic. Really good blacks. What film stock did you use?\u2019 I told him the slow film stock \u2013 5248 ASA 100. \u2018No kidding,\u2019 was Sol\u2019s reply. \u2018Congratulations.\u2019 I had been living in New York since 1993 and had difficulty finding work. To get a call from a New York City \u2018elite\u2019 like Sol meant so much, especially when he took \u2018shot in an inkwell\u2019 as a compliment.\u201d<\/span><\/p>\n

Some years later, Negrin sponsored Czapsky into the ASC. \u201cI remain forever grateful for him for reaching out to an outsider. It means a lot to be complimented by your peers,\u201d the DP says.<\/span><\/p>\n

Connecting with strangers like Czapsky was just something Negrin did if he thought he could help. And, no matter what Negrin offered, that person came away knowing he had support and a new friend. \u201cIn 2006 I was contacted by an award-winning music-video director to do a Tupac Shakur shoot,\u201d recalls Paolo Cascio. \u201cI had never been to New York before and didn\u2019t know the town. I immediately contacted my friend Michael Negrin. \u2018You are going to have the best time,\u2019 he told me. Then he gave me the best advice \u2013 that the light is going to constantly move on me.\u201d<\/span><\/p>\n

\u201cLet me give you my dad\u2019s number,\u201d Negrin told Casio. \u201cI made the call,\u201d Casio says. \u201cSol was there for me immediately \u2013 not what you expect from someone of his stature. He spent 30 minutes talking about New York, giving me numbers of rental crews \u2013 and saying, \u2018Just tell them Sol sent you,\u2019\u201d Casio recounts. \u201cHe gave me a tremendous amount of confidence to move forward. This 21-day shoot in New York hit seven film festivals. When I saw Sol in person at the ASC, he had a big, beautiful Sol Negrin smile \u2013 and a \u2018good for you!\u2019\u201d<\/span><\/p>\n

That positive reinforcement also included vendors whom Negrin could convince to help those students he championed. In film school, Negrin was the person everyone looked up to. \u201cIt was early into my college career, when I realized how amazing it was to have someone like Sol Negrin teaching advanced lighting every day,\u201d recalls AC Charlie Foerschner. \u201cHe saw the potential in certain students and went out of his way to help everyone, giving them every resource that was possible to complete their projects.\u201d <\/span><\/p>\n

\"Courtesy
Courtesy of Michael Negrin<\/figcaption><\/figure>\n

Foerschner remembers how he wanted to shoot his senior thesis on film, \u201cbut I definitely did not have the money to buy and develop film \u2013 what people were doing at the time was shooting with HD cameras, which was the cheaper route,\u201d he states. \u201cSol got us thousands and thousands of feet of film from Kodak New York, free. And, when it was ready to be developed, he sent it over to Technicolor \u2013 no charge! Once our film was completed, Sol was so proud of us, he played our movie to a group of Local 600 members at the monthly screening in Tribeca.\u201d<\/span><\/p>\n

Negrin was there for anyone who wanted to be part of the industry<\/b><\/span> \u2013 and his beloved union family, Local 600. He was calm, authoritative, and knowledgeable on and off the set, but he also knew how to keep things light. \u201cWhen I first expressed interest in the business as a kid, my dad emphasized that the best way to learn cinematography was through understanding basic photography,\u201d recalls his son, Michael [ASC]. \u201cIt was an important lesson \u2013 but so was maintaining a sense of humor and fun while still getting the work done.\u201d <\/span><\/p>\n

The younger Negrin remembers his father\u2019s often goofy impressions. \u201cInstead of asking the dolly grip to boom up for a shot, he would sound like a German U-boat commander and yell, \u2018Up shcope (up scope)! Load torpedo tubes von and two!\u201d he shares. \u201cWhen he needed electricity to pump the dolly, he \u2013 being Jewish \u2013 could get away with lines like, \u2018I need Jews (\u201cjuice\u201d) for za dolly, and if you don\u2019t have any Jews, get me some gentiles.\u2019 Silly stuff like that.<\/span><\/p>\n

\u201cWhen [my dad was] operating a camera, a director might ask him if the shot worked well and was sharp,\u201d Negrin adds. \u201cMy dad would look up at him with one crossed eye and a very foolish smile and say it was fantastic. That always broke any tension there might be on a tough day.\u201d<\/span><\/p>\n

Long-time operator Maurice \u201cMo\u201d Brown remembers how Negrin took as well as he gave, partially because of his natural sense of goodness and gullibility. Both Brown and DP Lou Barlia, SOC, recall the infamous \u201cturkey day.\u201d It was on the set of <\/span>Kojak<\/i><\/span>, when the gaffer came in one day and asked if the crew had gotten their turkey for Thanksgiving. <\/span><\/p>\n

\u201cBefore<\/i><\/span> the Teamsters had got them,\u201d recalls Brown. \u201cI knew that the \u2018turkey\u2019 thing was fictitious \u2013 but we all played along. Sol got pissed. When the production manager walked through the set, Sol practically accosted him. \u2018Where are our turkeys?\u2019 Caught in the gag, the production manager said he\u2019d see what he could do. Of course, no turkeys appeared!\u201d<\/span><\/p>\n

\u201cA month later, we pulled the same thing on Sol again,\u201d Brown adds. \u201cThis time it was show jackets. \u2018This production company is cheap not to get jackets,\u2019 someone said. Lo and behold, Sol championed up, and everyone ordered jackets. Three days later, when they were \u2018supposed to be delivered,\u2019 he sent an assistant to get them. The answer \u2013 \u2018the Teamsters got everything.\u2019 Sol wasn\u2019t too happy with the production manager.\u201d<\/span><\/p>\n

There was also one sweltering New York day when Negrin decided to buy the camera crew ice cream. Brown\u2019s assistant asked how many. \u201c\u2018Eight,\u2019 is what Sol called,\u201d Brown remembers. \u201cI was concentrating on something else. \u2018You want me at an eight?\u2019 I called. Without missing a beat, Sol yelled, \u2018No, eight ice creams. You\u2019re on a 5.6.\u2019\u201d<\/span><\/p>\n

\"With
With students from Five Towns College, NY<\/figcaption><\/figure>\n

Crewmembers also say Negrin was never intimidated. \u201cI remember a big commercial shoot for High Point coffee featuring Lauren Bacall,\u201d Brown continues. \u201cThe production was nervous, because she was a challenge to work with. The first day on the set, she came up to Sol with a look, like, \u2018Make sure you make me look good.\u2019 Without batting an eye, he turned to her and said, \u2018For you, I will shoot through linoleum.\u2019 No one believed he said that to Lauren Bacall. The next day, however, after dailies, she came over to Sol and gave him a hug.\u201d<\/span><\/p>\n

ICG, ASC members, students and former students report there were enough such \u201cSol-isms\u201d to fill a book. But Michael Negrin remembers his father\u2019s memorial service and funeral, and how many friends, colleagues and students showed up. \u201cIt simply overwhelmed my family,\u201d he shares. \u201cThis outpouring of love and admiration not just for my dad\u2019s dedication to the craft of cinematography but for his selfless determination to help people get a start and to guide them into the Guild, as well as all the new faces he brought into the ASC. <\/span><\/p>\n

\u201cI was so taken by the number of women cinematographers who expressed their gratitude for his desire for them to get a fair break in the industry,\u201d he adds. \u201c[New York-based Guild member] Reed Morano [ASC] in particular expressed in an email to me how far ahead of his time my dad was in regard to supporting women to get their fair chance to succeed.\u201d<\/span><\/p>\n

As Dejan Georgevich said at Negrin\u2019s service: \u201cHe was a great man \u2013 a legendary cinematographer, trade unionist, beloved educator whose capacity for giving to others was always inspiring. He taught us all something about giving back to the next generation of motion-picture artists and technicians. He was forever helping others to be better craftsmen and craftswomen, as artists and as family. Role models of his kind are an influence for generations.\u201d<\/span><\/p>\n

\"solNEGRIN6\"
With his wife, Betty.<\/figcaption><\/figure>\n

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The impact of Sol Negrin, ASC, SOC, on the film and television industry will live on long after his passing, as his peers, colleagues, friends, family and students recall in this loving tribute. By Pauline Rogers It was 1976. The second unit on John Guillermin\u2019s King Kong starring Jeff Bridges and Jessica Lange was working on Kong\u2019s fall off the Twin Towers. Kong was lying on the ground. \u201cBut, someone had stolen one of Kong\u2019s eyeballs,\u201d recalls AC John McCarthy. 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By Pauline Rogers It was 1976. The second unit on John Guillermin\u2019s King Kong starring Jeff Bridges and Jessica Lange was working on Kong\u2019s fall off the Twin Towers. Kong was lying on the ground. \u201cBut, someone had stolen one of Kong\u2019s eyeballs,\u201d recalls AC John McCarthy. 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