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David Myers: Cameraman To The Rock Stars


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If you analyze that exchange, how swift he was and alert to ironies, societies and values, then what can you say, This man is a cameraman-director.
—Michael Wadleigh (Woodstock)

Of the film documenters of rock's history, cameraman David Myers was the one truly at the epicenter of rock film nirvana. Just one of Myers' major friends and filmic collaborators was Bob Dylan, who in April 2008 received an honorary Pulitzer Prize, cited for his "profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power." With Dylan having a banner year, it might be appropriate to take a look at Myers' film work. Myers was one of Dylan's close friends and a trusted collaborator on many of his film projects.

Chapter Index

  1. Cinematographer David Myers
  2. Mt. Tamalpais California
  3. Woodstock
  4. Neil Young on Film Making
  5. Cinema Verite'
  6. Elvis on Tour
  7. The Grateful Dead Concert
  8. Gimme Shelter
  9. THX 1138

Cinematographer David Myers

Long before MTV, music videos or the mobile camera, there were a handful of San Francisco and New York film makers stretching the film envelope, utilizing innovative breakthroughs in film technology. First, the Auricon 16mm camera (sound on film) allowed documentary and news reel cameramen to shoot in locations not previously practical given the availability of only large studio equipment.

The introduction of the French Eclair 16mm NPR , the first silent running reflex camera, allowed the documentary avant-garde film makers exciting new horizons with which they carved the way to a new era in entertainment. David Myers was one of the first to embrace the use of the hand—held camera, a talent he excelled at, and with his dry wit, always walking up shooting while never turning his camera off, he caught wonderful cinematic moments in film.

Born in 1914 in Auburn, New York, Myers began his career as a still photographer after viewing the work of Walker Evans at a show at the Museum of Modern Art in New York in 1938.

Evans' photographs were distillations of the feelings and spirit of the times. They were cool but compassionate, a moral analysis of America in the Depression. Those two elements in Evans still turn me on: the ability to look at ordinary surroundings and people in ordinary surroundings, and distill the meaning from it.

—David Myers

While in an Antioch College student work program with the Farm Security Administration in Washington, D.C., Myers began shooting a photo essay on "the low life" of federal civil servants! Later, as a conscientious objector during World War II, he planted trees for the U.S. Forest Service and then worked at a mental hospital in Spokane, Washington, where he photographed the incoming patients.

After the war, he continued his career as a still photographer, becoming friends with the famous photographers Ansel Adams and Imogen Cunningham. In 1954, the latter was asked to make a short film. Cunningham told the producers that she would not make it without Myers, thus starting his career in movies. In 1957, Myers also shot a twenty minute documentary on Ansel Adams.

Myers was finding that when he looked at his 35mm contact sheets, he was more interested in his mistakes. He started seeing the contact sheets as movie frames. He eventually began shooting television newsreel coverage. He soon discovered the 16mm Bell and Howell, " A tough, simple little camera," as he describes it. He quickly displayed a unique flair for capturing real—life events on film, and in the 1960's he was considered one of the pioneers of the cinema verite movement. Myers also made documentaries, all over the world, for the United Nations, the National Geographic Society and Richard Nixon's presidential campaign (in 1968).


Internationally renowned photographers, Imogen Cunningham and Ansel Adams

From then on, Myers came to be known as the "Cameraman to the Rock Stars." He worked with and became close friends with legends such as, in addition to Bob Dylan, Neil Young, Willie Nelson, Joni Mitchell, Jimi Hendrix, Elvis Presley, Crosby Stills and Nash, Santana, Janis Joplin, Joe Cocker and Leon Russell.

As a Director of Photography, his feature-film credits include George Lucas' debut film, THX- 1138, and Alan Rudolph's Welcome to L.A., but he is still best known for his work on landmark concert documentaries, such as Woodstock, Elvis on Tour, Johnny Cash in San Quentin, The Last Waltz and The Grateful Dead Movie. One director called him "incredibly idiosyncratic, intelligent, inventive and creative."

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Mt. Tamalpais California

[The writer, as a cinematographer, has been able to meet many of the greats in the film industry. This interview took place in the late 1970s. There are also, included in the interview, quotes from other figures the author has interviewed—AAJ].

It's 2:30 in the afternoon when we make our way to the Mill Valley hillside home of the cinematographer. Surrounded by giant redwoods, at the foot of the Dip Sea Trail, the house has a warm country feel with it's whitewashed walls, wood floors and a grand wooden dining table. Myers places a bottle of vodka on the table which he claims will not give us a hangover no matter how much we drink. He is also famous for his cowboy coffee, made in the style of "around the camp fire." We are joined by Barbara, his wonderful wife of some fifty years, an artist in her own right. Her oil paintings adorn the walls of the Myers home. Our interview begins with the back story on the making of Bob Dylan's music feature Renaldo and Clara (1978).

All About Jazz: You two are the perfect couple. Where did you first meet?

Barbara Myers: I first met Dave when Imogen Cunningham photographed me. I am originally from Chicago Illinois, but I moved to San Francisco and was living around the corner from Imogen, I think on Polk Street at that time. I used to see her when I would walk by her house. One day I was picking flowers in front of her yard and she came up and asked if she could take some photographs of me.

Dave was good friends with Imogen and came over to her house the day Imogen was taking my picture. Dave asked her "Who's that cute little girl?" Those were his exacts words, I remember, and that was fifty five years ago. We all we great friends, along with Ansel Adams. We would all meet over at Imogen's house, it was a wonderful time. Of course Dave made that film on Ansel [Ansel Adams, Photographer (1957)].

I just finished an oil painting in honor of Dave. The Mill Valley Film Festival loves it and wants to have it on display at this years event.

AAJ: Bob Dylan was know to improvise as you were shooting the film Renaldo and Clara?

David Myers: Bob has a genius way of getting interesting people together [Allen Ginsberg, Ramblin' Jack Elliott)]then saying, "Do your own thing!" Dylan had Sam Shepard write some skits for the picture. We had a half dozen heavy duty women on the show, Joni Mitchell was there, Joan Bias and Sara Dylan [Dylan's wife], a very intellectual lady.

We were shooting at the famous Hotel Chateau Frontenac in Quebec. When I first walked in the room I exclaimed, "This looks just like a brothel!" The room was decorated in red wall paper, red velvet curtains and red carpet. The set was perfect, so we staged a whore house scene! The women really got into it, they really seemed to enjoy themselves. Then at one point they stopped and laughed, realizing they were acting as whores, when they were supposed to be making a women's lib film.

AAJ: You had a long friendship with Bob Dylan, how did you find him to work with?

DM: Bob is a very private man. One time he and I were in the screening room when my crew walked in. Bob looked over his shoulder at them then turned and asked me about them. I told him they were cool.

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Some of his most interesting stories were his experiences during the filming of Michael Wadleigh's famous ground breaking, now historic Woodstock movie. Myers was part of a team of cameramen who worked on the Oscar—winning 1970 film about the legendary outdoor rock festival on Yasgur's farm, New York, for which Myers provided memorable comic relief in what is now viewed as a classic documentary sequence.


DM: My hotel room was ten miles away from the site. I unpacked my bags and prepared to leave for the concert, with my NPR (Eclair 16mm camera), T-shirt, a pair of jeans, an emergency space blanket and a tooth brush stuck in my pocket. I had no idea I was walking into history.

AAJ: The concert managers expected maybe 100,000 young people, but instead 500,000 showed up. For four days and nights, a half a million people listened to the music of their generation, while they danced, ate and slept together.

DM: I found myself a place to sleep under Jimi Hendrix's trailer during the rain storms. I thought highly of Hendrix: he was an intense and very talented artist—musician. After days working and living in those conditions I managed to talk a helicopter pilot who was shuttling the VIPs to fly me over to a famous Jewish resort nearby, so I could get a room and wash up.

I had just finished shooting the famous overall aerial shot in the film. I got many strange looks as I was walking down the halls at the resort to my room. But I washed my T—shirt and got a good meal. I was ready to climb back aboard the helicopter when the grandson of the resort owner came running up and begged me to take him back to the site. I agreed thinking it was the least I could do.

AAJ: Hendrix ended the concert playing "The Star Spangled Banner" at sunrise. Myers standing backstage, was moved hearing Hendrix's rendition.

DM: I felt I should try to shoot an ending for the picture. Everyone was out of film except for some 100 foot loads. So I grabbed an Arri S and Wadleigh's 5.7mm lens. The aftermath was truly amazing, with sleeping bags everywhere covered in a foot of mud. I had a little film left, enough for one last shot. I went up to a couple of garbage men, crawled into the back of their truck, and told them to dump the garbage right on top of me. They did and that was the last scene in the film.

As the concert was continuing on stage, the then 55 year-old Myers trained his camera on a middle-age man pumping out one of the Port-O-San portable toilets. The man talked about his children— one was at the festival and another was serving in Vietnam. The sequence ends after a hippie comes out of one of the portable toilets smoking a joint.

When the hippie asks the filmmakers what they're doing, Myers tells him they're making a movie. "What are you going to call it?" the hippie asks. "Port-O-San!" replies Myers.

Two law-suits came about from the footage of Woodstock. The most serious was instigated by the wife of the Port-O-San cleaner. Myers interviewed the man cleaning the toilets asking, "You're getting a little behind on your work, aren't you?" The man's wife claimed that their reputation was ruined: apparently the couple lived in New Jersey under false middle-class pretensions.

DM: She had told everyone that he was a Sanitary Design Engineer. She was devastated seeing her husband on the big screen in New York cleaning toilets.

AAJ: The case went all the way to the State Supreme Court, the Port-O-San cleaner claiming he didn't know the camera crew were professionals.

DM: Warner Bros. was nervous and wanted me to testify. "If we lose this case, we may never be able to use real people in films again," Warner Bros. lawyer explained.

So I appeared in court with my sound man in full battle gear: cowboy hat, NPR, Nagra (tape—recorder) and leather jacket. My mixer was a far-out gay guy from New York, with a shaved head and dressed completely in black leather.

AAJ: What a sight it must have been to see the two of them standing before the judge!

DM: The judge looked at us then over to the Port-O-San cleaner and asked, "You mean to say you thought these people were amateurs?" Warner Bros. were ecstatic, and the case was won. They took us out for a cheap lunch and told me I would be well compensated for a job well done. I thought, "Maybe a feature"? A couple of weeks later, I received a special package. It was a black and white Polaroid blow up of me and my sound man standing before the judge, jury in the background. That was my reward from Warner Bros.

Myers' sound man on Woodstock, Larry Johnson (later a film producer), was nominated for an Academy Award for Best Sound in 1971 for his location recording, mixing and sound design on the documentary. He had this to say.

L.A. Johnson: That quick response was a classic example of Myers' sense of humor and ability to relate to people. I began working with Myers on a 1968 documentary about a student revolt at the University of Connecticut. Just a great documentary cameraman. He has the ability to draw in the subject matter and let the equipment disappear. People in the business revere David.

Michael Wadleigh [Director of Woodstock]: The Port-O-San sequence was the sort of apotheosis of David. You can hear in real time the man's mind and camera clicking. If you analyze that exchange, how swift he was and alert to ironies, societies and values, then what can you say: "This man is a Cameraman/Director." He is a tuned-in person to what's happening in front of him. David is incredibly idiosyncratic, intelligent, inventive and creative.

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Neil Young on Film Making

Myers and Johnson first crossed paths with Neil Young at Woodstock in 1969 where Young, who was performing as part of Crosby, Stills and Nash, refused to be filmed. Myers and Johnson were recruited by CSNY to film their residence at the Fillmore East in 1970 for a never-completed concert film. By 1971 Johnson produced Neil Young's film Journey Through the Past which incorporated some of the CSNY 1970 footage and was the beginning of that producer's long association with Neil Young.

Neil Young: Just learning from the directors, the way things are handled, getting a feeling for the different ways people work, I'm sure I just observed and absorbed a lot. But most of what I learned about film making I learned from David Myers and Larry Johnson. David was the cameraman that did Human Highway, Journey Through the Past and Rust Never Sleeps.

So I learned though cutting David's footage, watching his dailies, especially on improvised scenes, where if there was one camera and he had to get all of it, we would have cutaways, different angles—how he would move around and try to get the whole scene in one shot, with nice moves so that you don't have to cut it. Yet not leaving the editor with nothing to do and nowhere to go, just maybe because you made a bad move and there's no way out of it. So I learned a lot from watching David, who's truly a master with the camera.

The film Human Highway, was produced, directed, and financed by Young. It starred Neil, Dennis Hopper, Russ Tamblyn, Dean Stockwell and a great supporting cast. And Academy Award- winning cinematographer John Toll was Myers' camera operator.

John Toll: I enjoyed Neil because he is a great filmmaker. He had all the creative instincts and abilities of a good director. I was the camera operator and the director of photography was David Myers. Neil had a great visual sense and he relied on David to help him realize his ideas and he also encouraged the rest of us as well.

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Cinema Verite'

Before moving into concert documentaries and feature films, Myers had been at the forefront of Cinema verite,' documentary film—making in the 1960s. He also traveled the world for United Nations and National Geographic documentaries and was part of the team that shot the Oscar—winning 1972 documentary Marjoe, about one-time child evangelist Marjoe Gortner.

And in the early 1970s, Myers, Larry Johnson and a series of renegade documentaries brought a fresh sensibility to the conventions of television documentaries, their work appearing on PBS and gaining much critical respect.


Joan Baez intently confers with film director Bob Dylan in a scene from Renaldo and Clara (1978)

As mentioned above, beginning with Woodstock, Myers began amassing a string of music and concert movie and TV credits, including the Joe Cocker/Leon Russell rockumentary Mad Dogs and Englishmen, Let the Good Times Roll, Wattstax, Johnny Cash: Live at San Quentin, Cracked Actor: A Film About David Bowie, Bob Dylan's Hard Rain, Joni Mitchell's Shadows and Light, Gospel and Willie Nelson's Fourth of July Picnic.

"There was nobody who captured the essence of rock and roll and music more than Dave Myers," said Mark Fishkin, director of the California Film Institute, which produces the Mill Valley Film Festival. "The way he filmed, moving around with the camera on his shoulder, was like a dance and that was epitomized by such fantastic concert movies as Woodstock, The Last Waltz, Neil Young's films and Renaldo and Clara," said Fishkin, also a longtime friend.

Cinematographer Hiro Narita worked on The Last Waltz: what is the best professional advice he has ever received?

Hiro Narita: I was invited to join the cinematographers shooting The Last Waltz, for which director Martin Scorsese prepared an elaborate shooting script for each camera position and every performer. David Myers, an accomplished and wise cameraman of much greater experience than me at the time, took me aside and whispered, "Go with your instincts." His advice stays with me even today.

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Elvis on Tour

Elvis Presley is described by Myers as a "bloated asshole" on his last concert tour! They were often having on stage collisions! Elvis On Tour winner of the Golden Globe for Best Documentary.

DM: I was supposed to be the D.P. (Director of Photography) but after shooting a couple of concerts, I refused, not wanting to be with him that much, having to ride in his car. I found him disgusting and boring. But I did continue to shoot the tour on a hand-held camera.

We went all over the country for several weeks. Elvis has these sudden moves you know, his dance moves. Whenever I was hand-held right close to him, he would repeatedly do a whip around when I was doing a whip around. And then bam!, we'd bump into each other right on the stage. Elvis would stop, and I'd stop. There would be a beat, and then he'd turn away and I would go on shooting. I had to have my 10xl (zoom lens) reacclimated after that.

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The Grateful Dead Concert

Dead Don't Die was an interesting experience for Myers. Filming six days and six nights. All the cameramen were shooting hand-held on stage, Myers was primarily on the leader, Jerry Garcia, positioned behind him in the middle of the drum kit. Myers was now using the new advanced Aaton 16mm camera, which afforded much more versatility.

DM: Their numbers lasted a half an hour at a time. I looked at my assistant after the first number and asked how many magazines I used. Two or three I asked? "No" she replied, "SIX!" Six magazines on one number! [The film ran at 400' per 16mm magazine: ten minutes per magazine].

My camera position was better than all the others as I was behind the band. The director of photography had lit the concert from the front, flat and washed out. The stuff I shot was nicely back lit, saving all the colors. It looked great in dailies.

Owsley (Stanley)—founder of LSD—was putting acid on everything; doorknobs, in the drinking water, the coffee , everything. Half the cameraman were flipped out, I don't know how I escaped. A famous cameraman/director, I won't mention his name here, apparently got so high from all the acid that he was on his stomach pushing his camera in front of him across the stage. He reverted to the "reptile stage," he probably didn't even have any film in the magazine.

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Gimme Shelter

Some have pointed to Gimme Shelter as a major turning point in rock and roll, and in pop culture in general. Indeed, some have said that what was documented in the movie was not music, but a point in history where innocence was lost and attitudes would forever change.

The Rolling Stones, on Haskell Wexler's recommendation, had hired the Maysles brothers (famous music documentary filmmakers Albert and David Maysles) to shoot their concert at Madison Square Garden. Fascinated by the Stones and the phenomena of their tour, the Maysles elected to travel with them and continue shooting with an as yet undefined objective.

However, just days before a planned free concert in San Francisco's Golden Gate Park, with poor planning and city officials worried about large crowds, the concert permits were canceled. A last minute change of venue to the Altamont Race track was scheduled.

The Grateful Dead had relationships with the Hells Angels, having used them as crowd control on their own concerts. They made the connection for the Stones to work at Altamont as bodyguards. But the Angels were out of control at the event, harassing concertgoers and the film crew.

300,000 converged on Altamont: the frenzy caused the Stones to be heightened and their performance was astounding. It was during the Stone's "Under My Thumb" that fan Meredith Hunter was killed, stabbed by the Angels as he was trying to come on the stage: in the crush of humanity it went almost unnoticed. The camera crews didn't see it as it happened so fast. The film—makers didn't know if they had the attack on film: in editing they found they had it on one camera.

Myers had joined the Maysles' production team three months after Woodstock on the tour, and two of the cameramen assisting the Maysles in California that day were George Lucas and Walter Murch (a multiple Oscar winner for sound and film editing) for (Apocalypse Now, The Godfather, The English Patient and Cold Mountain)

Walter Murch: We had a 1,000 mm lens which we were going to use in THX 1138 (Lucas' first feature film) and George and I wanted to do some tests with it, and this seemed as good a chance as any. There were absolutely no marching orders.

My memory is that in our meeting with the Maysles, David said that things would be unpredictable, and that we should simply get what we could. We went out to Altamont and sat up on a hilltop about as far away from the stage as could be, so we were completely removed from the action of the event, unaware of the murder that took place.

DM: The concert degenerated into mayhem, David Maysles told me to ignore a large naked woman "freaking out backstage" and shoot only "beautiful things." Afterward I went with the Maysles to the Hells Angels Oakland headquarters to show them the footage, discuss releases and film their reaction. Breaking the agreement that had been made, the Angels would not permit us to shoot any film. They refused to give releases for what had been shot, demanding, in fact, that the stabbing footage be destroyed, and David was assaulted while we were there. We were told that if we didn't meet their demands we would be killed.

They were not paid. The film was not suppressed. Releases were never obtained. And no one was killed, though the threat was restated on a number of occasions.

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THX 1138

Myers has impressive theatrical features as Director of Photography: Dizziness, The Telephone, Hard Traveling, FM, Roadie, Uforia, THX 1138, Welcome to L.A. and Zoot Suit

THX 1138 was produced by Francis Ford Coppola by his studio American Zoetrope, and marked George Lucas's directorial debut. Lucas and his small crew, including co—writer and sound editor Walter Murch and David Myers, shot THX 1138 in northern California with no interference from distributor Warner Bros. But when Warners saw the austere result they re-cut the film before its release.

I had a scheduled interview at Zoetrope, regarding pulling focus on American Graffiti. Leaving for the city, I ran across Lucas sitting in his grayed-out, souped-up '65 Mustang parked at the old bus station/book store in the heart of Mill Valley. He had been location-hunting for the film. I went up and told him I had an interview with him in an hour, and he told me to jump in.

American Graffiti is largely based on Lucas' high school years in Downey California and the famous Harvey's Broiler, the iconic drive-in with it's "Car Hops," young girls in shorts bringing trays of hamburgers and malts to your car window, while the parking lot was full of hopped-up jalopies and classic 1957 Chevy's ruled. In the film it is actually Lucas who is the character played by Harrison Ford.

As we sped away across the Golden Gate Bridge, "George" (as he likes to be called) was very candid and we talked about THX 1138. It was a significant moment in history as it ended up shaping the film industry and the culture as well. The studio system failed Lucas, causing him to abandon Hollywood for Marin, and thereafter owning half the profits of his films and all rights to merchandising which the studios gave up freely at that time.

George was pissed!


George Lucas: Warner's didn't release the film! When we first started shooting, 2001 had just come out and was a major success. But by the time THX was finished, Sam Peckinpah's The Wild Bunch had been the latest big hit, and the studio was only interested in Westerns. Warner's wasn't interested in a Sci-Fi film and didn't promote or give the picture a major release.

Despite his insistence on owning half the profits on his next film, Star Wars, 20th Century Fox's profit share allowed them to buy the mountain in Aspen, Colorado. So Lucas' half was amazing. This is when Wall Street took notice of Hollywood, and many young New York investors moved out to the coast to become movie moguls, changing the business for ever. Movies had now become American mainstream. (When the news of Fox's purchase of the Aspen ski resort hit town, locals were afraid they were going to move the mountain back to Burbank!)

As we arrived at Zoetrope, Lucas told me he was already working on his next picture, that he said was called Star Wars. "Star Wars!" I exclaimed: "What's that about?"

GL: About planets battling with other planets. We've already been shooting miniatures and special effects in a warehouse down in Van Nuys.

Myers found shooting THX-1138 and working with director George Lucas to be a very enjoyable experience. Lucas had wanted to hire a documentary cameraman so he didn't feel like he had to direct as much.

DM: We were doing our dailies at Dove Films in Hollywood and that's when I first met Haskell. Haskell Wexler was the reason Lucas got in the film business. Haskell loves cars and George was a hot race car mechanic. They got friendly when George would work on Haskell's Porsche. Haskell eventually persuaded Lucas to go to film school at USC.

Haskell Wexler, the renowned Academy Award winning director and cinematographer, was director of photography on George Lucas's American Graffiti and long time friend of Dave Myers.

Haskell Wexler: I see Dave, his cowboy hat tipped down to his NPR, cradled in a solid right arm. He's moving through a No Nukes demonstration, left hand on the zoom stick, lips in sync with the chant, "Make Love Not War!"

I was the "other camera" on many concerts with Dave. To this day, there is more than a camera eye—piece memory of working alongside him. Good shooters hear music. Even when there is no band, no speakers to tingle his camera-arm hair. Music can go direct to the heart. Dave's camera and heart were in sync. He was a good shooter, a good man.

On THX 1138, much of the film was shot in the tunnels in the San Francisco bay area. Myers shot four stops underexposed using a 50 ASA film stock.

DM: I was using a 1200mm lens and two hi-hats in a tunnel. I had one hi-hat under my lens, the 1200mm T2.8 was George's own personal lens. The scene was of a racing car coming into the tunnel. I had it set so I didn't have to pan. But the scene worked so well I couldn't resist panning, swiveling the whole apparatus on the ground.

In another scene in THX 1138, Myers used a 35mm Eclair camera on a side platform of a motorcycle going 110 miles an hour. The grip hadn't secured the mount well enough, so the vibration from the motorcycle caused it to slip.

DM: The motorcycle had something like ten gears and every time they shifted up, I slip further and further back. They ended up stopping just in time to catch me from falling off the back.

The production made use of local locations such as the Marin County Court House for many of the scenes, shooting in the mass transit tunnels still under construction. Lucas was crazy for his 1200mm lens: he can be seen cradling it in the famous roof top photo of the filmmakers of American Zoetrope assembled together. He used it on the whiteout limbo scenes, where they hung floor to ceiling, white cycloramas curving down to the painted white stage floor.

DM:They combined two sound stages and we backed off the long 1200mm lens to the opposite stage, for that compression. When new crew members would enter the set they became over taken by the whiteout and almost lost their balance till their eyes could adjust.


Walter Murch: What we were interested in doing was making a film from the future rather than about the future. We're looking at a film from a foreign country, whose customs and habits and cinematic language we're really not familiar with. This did make for a little confusion in the audience that saw it—but that was to a certain extent part of our intent.

George Lucas: The film's about a hero who lives in an anthill and dares to go outside.

DM: I once asked George which film best fulfilled his ideas visually and cinematically. He said, "Star Wars about 40%, THX-1138 about 95%."

A longtime resident of Mill Valley, California, David Myers died of natural causes on August 26, 2004 in a Marin County hospital after suffering a stroke a week earlier. David was 90. This interview was given in his home in 1991. Courtesy of the "Operating Cameraman" magazine.

Photo Credits

Photos of David Myers: Courtesy of Barbara Myers (David Myers estate)

Photo of Imogen Cunningham and Ansel Adams: Alan Ross/Ansel Adams Gallery

Photo of Crosby Stills and Nash/Woodstock: Robert Altman

Photo of Bob Dylan and Joan Bias from the film Renaldo and Clara: David Myers/Lombard Street Films

Photo of Elvis Presley from the film Elvis On Tour: David Myers/MGM Home Entertainment

Photo of Mick Jagger from the film Gimme Shelter: Courtesy of Maysles Films

Coverart for new release of THX 1138, photo from the film and of George Lucas Directing: Courtesy of Lucasfilms Ltd.

Photo of Haskell Wexler: Douglas Kirkland

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