- #On the road to success there are no shortcuts truck jokes how to#
- #On the road to success there are no shortcuts truck jokes series#
In the 1960s, Cal and Roz also hid Carlton in their home during the House Un-American Activities Committee investigations, when everybody was being subpoenaed because of their leftist views. When Styrofoam cups were found to be environmentally impactful, there were no more Styrofoam cups on the set. This was very different from Cal and Roz, who wouldn’t even have grapes on the craft-services table because the United Farm Workers had gone on strike. It was covered with the most derogatory jokes and cartoons - about Martin Luther King Jr., César Chávez, Asian people from the Vietnam War - just horrible, derogatory humor. On my first day of work, I walk onto the grip truck, no one is there, and I look at the grip box. Everybody that anyone could admire was a cinematographer for Cal and Roz. It was 1976, and the finest cinematographers in the world shot commercials there: Haskell Wexler, ASC Vittorio Storaro, ASC, AIC Sven Nykvist, ASC László Kovács, ASC, HSC Jordan Cronenweth, ASC. So when I got to USC, it was a bit of a culture shock because it was a different experience doing my work and being the outsider.Ĭarlton also got me a job at Dove Films, where Vilmos Zsigmond, ASC, HSC was the resident cinematographer. I was around Black people all my life, and Nashville was just as segregated. It was interesting considering I grew up on the South Side of Chicago - one of the most segregated cities in the country. At USC, I was the only Black kid in the department. (Photo by Kwaku Young)Īfter I graduated, with Carlton’s help I received a scholarship to USC’s film school my application included a presentation of my work that I had done with him, and with the little 16mm camera. It was interesting considering I grew up on the South Side of Chicago - one of the most segregated cities in the country.” Early in his career, Simmons with then-camera assistant (now operator and cinematographer) Michelle Crenshaw. “At USC, I was the only Black kid in the department. The camera came from Roz and Cal Bernstein, who owned a production company called Dove Films.
#On the road to success there are no shortcuts truck jokes how to#
Before I knew it, Carlton was sending me a subscription to American Cinematographer, and shortly after that, he sent me a 16mm Arriflex S with a 400' magazine, some film, and written instructions on how to load the camera. Carlton brought him by my little 50-dollar-a-month apartment, and through a translator, Ousmane said the same thing Carlton had when he saw my paintings and photography. I didn’t even know what a cinematographer was.Ī filmmaker named Ousmane Sembène - the father of African cinema - came to Fisk to screen two pictures he’d made, Black Girl and Mandabi (the latter based on his novel The Money-Order). You’ve got the eye of a cinematographer.” He took a look at my photographs and said, “Whoa. Carlton - without saying it - was an activist. It’s about Black soldiers behind enemy lines in Europe, and it has been preserved in the National Film Registry of the Library of Congress. government commissioned during World War II.
#On the road to success there are no shortcuts truck jokes series#
He wrote and starred in a picture called The Negro Soldier (1944), a follow-up to the Why We Fight series the U.S. While there, I met a man who would become my mentor, Carlton Moss, who was a film director, writer and historian. I was taking still pictures and painting - it was a very embracing environment. My career began while I was in undergraduate school at Fisk University, located in Nashville, Tenn., which is one of the oldest historically Black colleges and universities (HBCUs) in the country. I wanted to help create environments where any 12-year-old girl, no matter what color she was, or any 12-year-old boy, no matter where he came from, would be able to walk onto my stage, stand in the doorway, and see the possibility of a future. A call to action from John Simmons, ASC: “Who’s going to feel compelled to take responsibility to change things?” At top, the author and cinematographer on the set.Įver since my early days working out of a grip truck, I knew that when I was in a position to make decisions, it would be my responsibility to assemble crews that looked like the world we live in.
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