{"id":8214,"date":"2018-11-01T09:57:39","date_gmt":"2018-11-01T16:57:39","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8214"},"modified":"2021-05-29T20:21:56","modified_gmt":"2021-05-30T03:21:56","slug":"the-voice","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/the-voice\/","title":{"rendered":"The Voice"},"content":{"rendered":"

Zoran Veselic left us this summer, but anyone who ever worked with or met him\u009d will carry deep and wonderful memories forever forward.<\/span><\/p>\n

by Pauline Rogers \u00a0<\/span><\/p>\n

\n
\"Veselic
Veselic (L) on the set of Silence<\/em> with Martin Scorsese \/ Photo by Kerry Brown<\/figcaption><\/figure>\n

 <\/p>\n

\u201cIn 1983, when I landed in New York with two small suitcases, I looked up at the towering buildings and said to myself, \u2018What have I done?\u2019\u201d Zoran Veselic recalled when being interviewed for his 2012 Society of Camera Operators (SOC) Lifetime Achievement Award. Veselic was at the top of his game in the Croatian filmmaking community \u2013 and all over Europe. He knew everyone \u2013 actors, directors, crews \u2013 and everyone liked to hear his endless stories. So why, still in his 30s and able to ride the crest for as long as he wanted, did he take such a risk?<\/p>\n

Those who knew Veselic best say it had always been a dream of his to move to America. In fact, one of his first jobs in New York City was driving for a limousine company. It was natural \u2013 he loved to drive. One day he got a call to drive for David Letterman. Of course, the two began talking \u2013 Veselic was at ease with famous people \u2013 and he told Letterman he\u2019d come to the States to get in the film business. Letterman liked him so much, he would always request him as his driver. He even tried to get Veselic into the Union as a camera operator on his show. Unfortunately, that didn\u2019t work.<\/p>\n

But what did was meeting Stefan Czapsky, ASC. Their first job together was Vampire\u2019s Kiss<\/em>. Ten movies later, they\u2019d been through just about everything.\u00a0Over his 40-plus years as a camera assistant, Veselic pulled focus on some of the most difficult shots one could ever imagine. His favorites? The long-distance run in Prefontaine<\/em>, \u201con a 1200-millimeter lens, really close,\u201d he recalled for the SOC. \u201cIt was difficult because you can\u2019t run an actor to death \u2013 you have to be there,\u201d he explained.<\/p>\n

Another memory was working with Harrison Ford on The Fugitive<\/em>. The two connected well, and Ford relayed his idea for a difficult chase sequence, asking the grips for a piece of sash cord. The actor would hold one end just out of frame and the other would be at the camera on the dolly. As Ford moved, it helped the two keep the same distance from each other \u2013 making it a bit easier for Veselic to focus. Although mortified that he was disturbing an actor, Ford insisted on helping Veselic \u2013 it was that kind of human touch that Zoran Veselic inspired.<\/p>\n

\"Silence
Silence<\/em> \/ Photo by Kerry Brown<\/figcaption><\/figure>\n

In an interview with Entertainment Weekly<\/em>, after hearing of Veselic\u2019s passing from their mutual friend, Eric Steelberg, ASC, director Jason Reitman summed up how this self-effacing man with a passion for life (fast cars and tennis were just a few of his off-set interests) influenced movies we all love. \u201cZoran lived amongst an elite few. Desired by every cinematographer. Booked for years in advance. To hear him speak for the first time, you might think Zoran was related to Gru from Despicable Me<\/em>. He seemed to almost delight in his own Croatian approach to English, though his vocabulary was equally dominated by curious eyebrows that raised if he thought you were screwing with him.\u201d<\/p>\n

In the EW <\/em>interview, Reitman recalled a story late into the production of Up In The Air<\/em>. \u201cWe had a small scene in which George Clooney had an apartment key duplicated for Vera Farmiga. We needed an actor to operate the key grinder. When I told George that we were casting Zoran, he lit up. \u2018He\u2019s perfect!\u2019 When I wrapped Zoran\u2019s close-up, the crew applauded. Zoran leaned past the camera and asked his 2nd<\/sup>AC, \u2018How was the focus?\u2019\u201d<\/p>\n

\"With
With Eric Steelberg, ASC on Labor Day<\/em> \/ Photo by Dale Robinette<\/figcaption><\/figure>\n

 <\/p>\n

Operator Philippe Carr-Forster has equally sweet memories.<\/strong>\u201cIt was my first A-camera operating job,\u201d he remembers. \u201cI arrived at the pre-light and asked an immaculately dressed fellow pushing a shopping cart full of cases if he knew where I could find Zoran, who had been hired as my focus puller. I was a little taken aback when this well-dressed gentleman announced, \u2018I am Zoran.\u2019 At the time, he was still calibrating lenses in metric measurements. Out of necessity, this soon changed. What never changed was Zoran\u2019s practice of being one of the first crew members to arrive in the morning; then, after reading The<\/em>New York Times<\/em>, he made sure his camera package was 100 percent ready for the day\u2019s work \u2013 the consummate professional.\u201d<\/p>\n

Colin Anderson, SOC, first met Veselic in 2004 on Little Black Book<\/em>. He immediately recognized a professionalism and ability that never wavered, even in the most difficult circumstances.<\/p>\n

\u201cIn 2012 we found ourselves on the set of Argo<\/em>,\u201d Anderson recounts. \u201cI tend to stretch a lot on films, and that comes from Zoran on Argo<\/em>. He would give me lessons between setups and I can honestly say I could never lift my leg as high as he could! My last film with him was Silence\u00a0<\/em>in 2016. I now realize that was five precious months in Taiwan. Who better to have at your side in lashing rain, mountains, and mud than Zoran?\u201d<\/p>\n

\"Labor
Labor Day<\/em> \/ Photo by Dale Robinette<\/figcaption><\/figure>\n

For assistant Beka Venezia, who met Veselic as a PA on Men in Black 2<\/em>, it was his precision, innovative nature, and extreme dedication that has influenced her throughout her career \u2013 moving from Veselic\u2019s loader to his second. \u201cHe was so cute. (Can I say that?),\u201d she recalls. \u201cWith his little granny glasses and his slight Croatian accent. Most of the gear he had given pet names, such as Clammy the clamshell monitor, Steely his steel tape measure. After a hard shot, he\u2019d look over the granny glasses and whisper the funniest of things. Life on set with Zoran was silly and funny and felt like family, all the while upholding the highest of camera assisting standards. You knew you had to be on point with your job, and you wanted to because\u00a0you were working for him and he was the best.\u201d<\/p>\n

\u201cFamily was important to him,\u201d recalls Matthew Moriarty, SOC. \u201cBack in the infancy of our relationship, we were in the marshes of Beaufort, South Carolina, getting our butts kicked on a really tough movie. I got a call my uncle had died, and I wanted to fly back for the funeral. I thought it would cost me that job since they\u2019d have to fly someone else out to replace me. Three days later, to my utter astonishment, the production office called to book my return flight and get me back on the job, as Zoran had held my spot on the crew. That phone call was one of my greatest memories.<\/p>\n

\u201cWhen we were doing the first Spider-Man<\/em>, I was Zoran\u2019s 2nd AC,\u201d Moriarty continues. \u201cWe had a day coming up with a lot of moving parts. So, I went to our producer, Ian Bryce, and asked for a one-hour pre-call. Ian\u2019s a wonderful guy, but he pretty much laughed at me. I wandered back to Zoran, having completely failed. Unfazed, Zoran went to Ian. He came back all smiles. We got the pre-call! I found a moment to get back with Ian and asked, \u2018Just for my own learning, can you tell me what was different about the way Zoran asked for the pre-call and the way I did it?\u2019 His answer \u2013 \u2018I don\u2019t know how to say no to Zoran!\u2019\u201d<\/p>\n

 <\/p>\n

\"Spider-Man
Spider-Man<\/em> \/ Photo by Zade Rosenthal<\/figcaption><\/figure>\n

 <\/p>\n

There isn\u2019t a cinematographer in Hollywood who can\u2019t recall a \u201cZoran\u201d moment.\u00a0<\/strong>As Michael Chapman, ASC, recalls: \u201cHe was almost supernaturally good at his job. We were shooting a scene from The Fugitive\u00a0<\/em>in the lobby of a large office building in Chicago. There was only the existing light, and the stop can\u2019t have been more than 2.8. Harrison Ford was trying to escape from Tommy Lee Jones. Harrison was improvising, and the Steadicam operator was following along as best he could. Without any preparation, Zoran managed to keep it all in focus. I had been a focus puller and I can truly say that I don\u2019t know how the hell he did it!\u201d<\/p>\n

After ten films with Veselic, Don Burgess, ASC, has many stories about his professionalism and understated personality. But it\u2019s the Cast Away\u00a0<\/em>shoot (2000) that comes immediately to mind. \u201cIt was difficult because we were at sea so much of the time,\u201d Burgess recalls. \u201cWe had a camera on a crane arm on a barge with Tom [Hanks] on the raft. Two floating objects \u2013 impossible for a focus puller \u2013 unless you have the feel like Zoran did. When Bob Zemeckis yelled, \u2018Cut! Do we have it?\u2019 we looked at Zoran and asked, \u2018You good?\u2019 We got that big smile, and a \u2018Nailed it.\u2019\u201d<\/p>\n

Burgess recounts another moment when Hanks\u2019 character paddles the raft he\u2019d made through the surf. \u201cThe waves were like bars of a jail keeping us away from the island,\u201d Burgess relates. \u201cThe raft was attached to a skiff, so it could motor through the surf. The camera boat motor was dead and taking on water. I turned to Zoran and told him to meet me on the \u2018high side,\u2019 and he could jump into safety. He nodded. I walked away. Then I heard, \u2018One more question. What\u2019s the high side?\u2019 He was always there to bring things into perspective, no matter how stressful.\u201d<\/p>\n

\"In
In Pampa, Texas to shoot the conclusion of Cast Away<\/em> \/ Photo by Zade Rosenthal<\/figcaption><\/figure>\n

Rodrigo Prieto, AMC, ASC, met Zoran Veselic on a commercial in 2005. None of the focus pullers he knew were available \u2013 so he asked Production for a recommendation. Upon first meeting, Prieto knew he\u2019d struck gold. No matter how he moved the camera, Veselic nailed it \u2013 the start of a deep personal and professional relationship. \u201cOne of Zoran\u2019s favorite sayings was \u2018icy calm!\u2019 when things got difficult,\u201d Prieto recalls. \u201cAnd on one specific occasion, the icy-calm mantra was especially useful!\u201d<\/p>\n

It was during the shooting of Cameron Crowe\u2019s We Bought a Zoo<\/em>, where Prieto and Veselic were inside an enclosure with a huge male lion, shooting over its shoulder onto the actors\u2019 faces outside the fence. \u201cThe only thing separating us from the lion was a nearly invisible wire, which the lion thought was electrified, but, in fact, it wasn\u2019t,\u201d Prieto reveals. \u201cWe must have been six feet away from the lion \u2013 Zoran would know the exact distance, of course \u2013 and as I was looking through the camera\u2019s eyepiece, I saw the lion turn and look in our direction with what appeared to me like a hungry expression! At least I had a big camera between the lion and myself. But Zoran must have looked like a nice meal. He remained \u2018icy calm,\u2019 and the lion got bored with us and looked away.\u201d<\/p>\n

Prieto says Veselic was truly in love with filmmaking. \u201cHe somehow connected to an actor\u2019s performance and the camera movement at a deep level, where he could experience what they were feeling and adjust the focus accordingly,\u201d the DP offers. \u201cHe seemed to be able to predict how they would move and the rhythm of their movement.\u201d<\/p>\n

 <\/p>\n

\"Veselic
Veselic with Rachel Morrison, ASC on Black Panther<\/em> \/ Photo by Matt Kennedy<\/figcaption><\/figure>\n

Such deep connections extended to every cinematographer Veselic worked\u00a0<\/strong>with, regardless of gender or age. In her tribute, Rachel Morrison, ASC (who met Veselic on Cake<\/em>), admits that she first approached their relationship with a bit of ageism. \u201cWho knew that five years and three movies later, I\u2019d be the one trying to keep up with him!\u201d she laughs.<\/p>\n

The two called each other \u201cBubelah\u201d but couldn\u2019t remember when that started. The respect was unparalleled. \u201cZoran would curate his team to each DP and even the directors he worked with,\u201d Morrison shares. \u201cWhen I hired him on Black Panther<\/em>, he asked me about Ryan [Coogler] and then set about choosing the best crew to support us both. He wasn\u2019t just interested in the technical ability, it was almost as if he was setting people up on a date or selecting the right wine to pair with dinner.<\/p>\n

\u201cAnd Zoran would curate your lenses the same way,\u201d Morrison continues. \u201cWhen I shot with G-series anamorphic on Cake<\/em>, he must have tried out three of each focal length before he had selected the perfect batch for me. Which, I\u2019m sure, drove Panavision crazy.<\/p>\n

\u201cHe would let me know when I handled a tricky political situation with poise and grace, often saying how proud he was of me. And he would also let me know how I could be better. He\u2019d whisper in my ear, \u2018Don\u2019t you think that move could be smoother?\u2019 or \u2018C\u2019mon Bubelah, you can do better than that.\u2019 Sometimes he\u2019d whisper to me, \u2018He\u2019s overacting. Should we tell the director he needs to tone it down?\u2019\u201d<\/p>\n

Morrison, like so many others, says she loved hearing Veselic\u2019s stories.<\/p>\n

\u201cI would grill him about working with [Tim] Burton on Edward Scissorhands\u00a0<\/em>or Marty [Scorsese] on The\u00a0<\/em>Wolf of Wall Street<\/em>. We would gather in the truck with a drink and talk about older films. On more than one occasion he reminded me that he had been pulling focus as long as I\u2019d been alive. But it was never patronizing. It was simply a testament to his experience and love of the craft.\u201d<\/p>\n

\"Moneyball
Moneyball<\/em> \/ Photo by Melinda Sue Gordon, SMPSP<\/figcaption><\/figure>\n

According to his recent 2nd<\/sup>AC, Craig Bauer, SOC, the one sentiment that emerges from everyone\u2019s memory ties back to something that happened at the reception after Veselic\u2019s funeral.<\/p>\n

\u201cZ loved telling stores, and he was great to listen to, particularly if you know his distinctive speaking voice,\u201d Bauer recalls. \u201cIt\u2019s a voice that everyone who ever met him loves to imitate. Even those who might have only worked with him for a week can\u2019t help but slip into their impersonation of Zoran when retelling something he might have said.<\/p>\n

\u201cAnd those of us who have known him for years,\u201d Bauer adds, \u201call have our own unique, well-rehearsed, and some quite uncanny impressions \u2013 that we\u2019d do right in front of him, quoting him back to himself. It\u2019s endearing, and he knew that. So we\u2019re at this reception, standing around telling stories about Z and falling into our Z voices. I go to tell a story but pause because I\u2019m about to use that voice, and I\u2019m suddenly (and for the first time since I first met him) uncomfortable about doing it. Is it disrespectful? Is it disloyal to his memory to not <\/em>do it? And, after a moment, I sort of work out that this voice, this version of Zoran everyone who has ever met him has, is, in addition to all our memories and experiences, a piece of him that we can all bring back into the world he left behind.\u201d<\/p>\n

Zoran Veselic died after a long battle with pancreatic cancer \u2013 on August 14th, 2018. But his unique voice will live on with everyone \u2013 his wife of 40 years, Vlasta, his two children Ana (now a director and editor) and Bruno (who works for the Peace Corps), and all the many actors, directors, producers, and crews who had the distinct pleasure of sharing a set.<\/p>\n

\"Spider-Man
Spider-Man<\/em> \/ Photo by Zade Rosenthal<\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Zoran Veselic left us this summer, but anyone who ever worked with or met him\u009d will carry deep and wonderful memories forever forward. by Pauline Rogers \u00a0   \u201cIn 1983, when I landed in New York with two small suitcases, I looked up at the towering buildings and said to myself, \u2018What have I done?\u2019\u201d Zoran Veselic recalled when being interviewed for his 2012 Society of Camera Operators (SOC) Lifetime Achievement Award. Veselic was at the top of his game […]<\/p>\n","protected":false},"author":2,"featured_media":8215,"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-8214","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nThe Voice - 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\/the-voice\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Voice - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Zoran Veselic left us this summer, but anyone who ever worked with or met him\u009d will carry deep and wonderful memories forever forward. by Pauline Rogers \u00a0   \u201cIn 1983, when I landed in New York with two small suitcases, I looked up at the towering buildings and said to myself, \u2018What have I done?\u2019\u201d Zoran Veselic recalled when being interviewed for his 2012 Society of Camera Operators (SOC) Lifetime Achievement Award. 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