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Master of light, Mauro Fiore, Oscar-winning director of photography for “Avatar”
When I discovered a couple years ago that world-class cinematographer Mauro Fiore was living quietly in Omaha I added him to my checklist of persons I must interview. I didn’t do anything about contacting him until I found out he shot the live action sequences for Avatar, which of course blew up to become the highest earning film in history. That gave me a sense of urgency and soon enough I made arrangements to meet and interview him.
He has a great story, and I tried to do it justice in the following piece, which appeared in The Reader (www.thereader.com) on the eve of the Oscars. He won an Academy Award and in his acceptance speech gave a shout out to his adopted hometown of Omaha.
Master of light, Mauro Fiore, Oscar-winning director of photography for “Avatar”
©by Leo Adam Biga
Published in a 2010 issue of The Reader (www.thereader.com)
As if being director of photography for the highest grossing movie ($2.4 billion and counting) in history were not enough, Nebraska resident Mauro Fiore is Oscar-nominated for his work on Avatar. Since only a third of the 3D, largely computer-generated movie entails live action, he wasn’t expecting recognition.
“I don’t think in those terms anyway,” he said. “I just do my work.”
But fame is finding him anyway in the wake of the Avatar phenomenon. That’s making Fiore more than the Average Joe down the street who travels for his job. Now neighbors know his business is lighting and photographing mega Hollywood movies in far-flung locales.
He just wrapped The A-Team for Joe Carnahan in Vancouver, British Columbia. He spent months in New Zealand on Avatar, weeks in the United Arab Emirates for The Kingdom and extensive time in Hawaii for Tears of the Sun. He’s worked with filmmakers James Cameron, Steven Spielberg and Michael Bay. He’s lit and shot such stars as Sigourney Weaver, Jamie Foxx, Bruce Willis, Liam Neeson, Jessica Biel, Denzel Washington and Ethan Hawke.
Busted. No more living under the radar for Fiore, who lives in Papillion with his wife Christine and their three young children. The couple will do the Hollywood thing at the Oscars, where they’ll be part of the Cameron-led Avatar contingent.
Meanwhile, across the Atlantic, Fiore’s southern Italy hometown of Marzi, Calabria is abuzz over one of its own enjoying such success. His parents, who moved the family to Chicago when Mauro was 7, recently moved back there. His folks keep him updated on the celebration the village, situated in a picturesque valley, is planning in his honor. Mauro, who often visits Italy, finds all the fuss very sweet.
“The mayor’s going to give me the keys to the town. He’s in contact with the president of the republic,” said Fiore. “For them, it’s amazing. It’s such a small town and seeing my name on the screen means so much to them — that somebody came from their town and is now a household name. I think it’s more important to them than me, but I think it’s great they feel that connection, that pride.”
He recalls the first time he and his family returned to Marzi after emigrating to the States. The entire village turned out to greet them in the town square.
“It was really crazy. The same thing happened when we left. Whole households of people saying goodbye, bringing us gifts, giving us cheese, to bring back. So my view of Italy always represents this wonderful place to be from.”
His connection was strengthened on summer sojourns he and his sister, who now lives in Italy, made there as kids. They stayed with relatives but everyone in Marzi was extended family anyway.
“Pretty much we spent our adolescence there. It was really a great place to be during those tricky times of being a teenager. In a small town you have complete freedom. I have quite a romantic view of my time in Italy. For me it was sort of like this technicolor landscape.”
He’s retained the language.
Emigrating to America made sense as Mauro’s mason father, Lorenzo, had two brothers who preceded him here.
“My parents felt like this was the place they wanted to come to for opportunity, more for us than anything else. It was really important we got proper education. They packed up four suitcases and sold off all our furniture. It felt like a great adventure to me.”
Growing up in suburban Chicago Mauro worked at his dad’s imported marble and tile store. An interest in still photography led him to study film at Columbia College. An immersion in art “created this passion for film,” he said, “not even thinking it was a possibility for me to make a career out of it.”
“After I graduated I took one of those trips to Europe you take after college –some kind of vision quest I suppose. It was wonderful. I think that trip really created a point of view for realizing the freedom and the passion and the possibility to choose what you really want to do in life.”
He was set to rejoin his father’s business when opportunity called in the form of friend and former Columbia classmate, Janusz Kaminski, who’d been hired on a Roger Corman ‘B” movie in L.A. Fiore leapt at the chance.
“I moved out there with a backpack and I ended up staying.”
The two bachelors became roommates. It was 1988. Within a decade Kaminski was an Oscar-winning DP and Fiore a promising cinematographer to watch.
Their first paying gig found Kaminski as gaffer and Fiore as dolly grip on Not of This Earth, featuring Traci Lords in her first legit acting role.
“We were so excited to be there, to be anywhere, it was unbelievable,” said Fiore. “We never talked about hours, we never talked about anybody taking advantage of us, we were just on cloud nine.”
A string of low budget exploitation pics followed, with Fiore and Kaminski joined at the hip as crewmates. When Kaminski’s career broke big, Fiore was right there beside him.
“When Janusz became a director of photography on projects I was his gaffer.”
A Lifetime movie they did, Wildflower, was noticed by Steven Spielberg, which got the pair hired for the Spielberg TV pilot, Class of ’61. The pilot never sold but it led to the friends getting Schindler’s List (1993). Kaminski’s black and white photography earned an Oscar. Fiore was the gaffer on that “grim, brutal” Auschwitz winter shoot that also afforded “a once-in-a-lifetime experience.”
“A filmmaker like Spielberg is always great to watch, great to work with because he’s always on top of it, listening, observing. He’s just really an amazing filmmaker. It was an incredible opportunity.”
That film’s prestige led to new opportunities and finally to Fiore becoming a DP. He feels indebted to Kaminski.
“Along with Janusz’s career mine sort of followed along. As he moved up I started my own films as a cameraman. It was important for me to be a director of photography. I felt pretty strong about it and Janusz was really supportive. He would always recommend me, He’s been a really great friend and mentor. The confidence he showed to be able to stand up for yourself and make decisions on your own, to instinctually create lighting and really stick by it, really influenced me.”
For Kaminski’s directorial debut, Lost Souls (2000), he tapped Fiore. “That propelled me to another budget level of films and slowly by word of mouth I started building my career.”
Even before that things began moving for Fiore when Michael Bay brought him in as an extra camera operator on The Rock (1996). What was to be a couple weeks work turned into months of additional photography — inserts, pickups, second unit shots. The same thing happened on Bay’s Armageddon (1998).
A major career disappointment then led to a milestone. He was asked by Ridley Scott to lens Blackhawk Down. However, Fiore’s wife, Christine Vollmer, was pregnant with their first child and he didn’t dare risk being away in Morocco when she gave birth. “It was very difficult to not take a Ridley Scott film,” said Fiore. “But there’s things in life that are more important. I resigned myself to this career train taking a little longer.”
He and Christine, who’s from Nebraska, met on the indie pic Love from Ground Zero (1998) shot near Omaha. He was the DP. She was costumer designer.
[Right] with dir Antoine Fuqua – “Training Day”
After turning down Blackhawk Fiore interviewed for Antoine Fuqua’s L.A.-based Training Day. Cinematographer Slawomir Idziak was already on board. But Fuqua and Fiore were tight from working together on Get Carter (2000). Fuqua and Scott were sympathetic to Fiore’s plight and “a kind of exchange” was made, whereby Idziak did Blackhawk and Fiore Training Day. It proved to be Fiore’s breakthrough film.
He said he still considers it “my strongest work to this day. I feel very strongly about the photography in that film. I was really able to capture something there I wasn’t aware of at the time, just the sense of the life of the street and of that underworld cop scene and the color of those neighborhoods, some of the psychological moments in that film. It was a great experience.
“One of the great things about that film, it was a project where I could stop by the lab every day before work and look at the dailies. Everything was done photochemically, there was no digital process at all, so I was able to hold a real tight control over the film, and I don’t even know if that’s possible anymore because of digital intermediate.”
Fiore then shot two films that led to Avatar. The first was Fuqua’s Tears of the Sun. After shooting a BMW commercial for Joe Carnahan, the director offered him Mission Impossible III. The deal blew up when two weeks before the start of production in Berlin Carnahan quit over creative differences with Tom Cruise. Just having been attached to MI III though was enough for Fiore to land The Island (2005).
The look of those two films caught the eye of James Cameron, whom he said particularly “liked how I treated the jungle” in Tears (Hawaii standing in for Africa). “It didn’t feel ever artificially lit, there was the tonality of all the different plants, people were lit with sky light and there was a mix of color on the faces. That was why he brought me in for an interview.”

By the time Fiore joined Avatar Cameron’s digital team had been prepping the project for years. The producer ran all their motion capture and 3D tests for Fiore, who wanted in on what he, Cameron and others clearly see as the future of filmmaking — motion capture, CG and perhaps 3D.
“We’ll still expose in film, but maybe eventually we’ll end up completely digital just because it’s easier for everybody to deal with all the information,” said Fiore. “It’s simply something I wanted to experiment with before it took over. It is inevitable and after working on one of the most technological films of this century I would say I’m pretty open to it. It’s here and we have to accept it.”
Avatar plunged Fiore down the rabbit hole. The new challenge excited him.
“Definitely,” he said. “I like the feeling of being completely overwhelmed on a project. That I’m going off and doing something I’ve never done before and know nothing about. It’s an interesting feeling. It’s almost like being lost when you’re traveling. The journey and finding your way is the most interesting part of that. But there’s things I can rely on of course with my lighting experience and spending all that time on sets observing things. Those things are invaluable and I think that’s the only thing you can bring to a director.”
It was one experiment after another with Avatar.
“We did various tests with the 3D camera with lights and tried to figure out what were the issues with the camera, how we were going to use it, and what would they have to modify to make it easier for me and my crew to use.”
Famous for his hands-on control, Cameron often operated the camera himself.
“Most of the time, yes,” Fiore confirmed. “Jim wants to be in there at all times. If he could do it all, he would.”
Cameron strived for a future thick with the residue of life.
“In the photography it was important we created an environment where you could feel life, atmosphere, grit, and that rougher texture of the cold steel. What was very important to Jim was to bring the two environments — of the Navi and the humans — together. The live action and the motion capture really had to meld together. If either stood aside as its own element it would be obvious. He wanted to make sure those two worlds were intertwined photographically and that you still felt they were in the same world. What we created in the live action was a platform for the motion capture, which hadn’t been rendered at that point.
“The use of a longer lens makes it feel like you’re looking through a microscope. It’s giving us Jake’s perspective, it’s told through his point of view. We didn’t use much crane or Steadicam. Most of the time we used hand-held.”
Being so immersed in the project meant Fiore couldn’t see the forest for the trees and therefore was unsure if the sum would be bigger than the parts.
“I didn’t really know from working on it if this was going to be the most amazing film anybody had ever seen or the biggest flop.”
When he finally saw the finished product he was rather in awe of what Cameron’s perfectionism and insistence wrought.
“It’s amazing to see the commitment to a vision, the imagination and the amount of discipline he put into that project every day. You can’t argue with it. It’s there in the film and it’s an amazing accomplishment. He’s really created another world there almost like Walt Disney. Yes, it’s predictable and, yes, we’ve seen these storylines before, but the experience of the film takes you away from all that. It’s tough to criticize. I mean, the entire planet is interested in this film. It’d be like criticizing the way Mickey Mouse is drawn — it’s history at this point.”
Mauro is forever part of that history now.
His next feature is Real Steel, a futuristic boxing drama in which human-like robots do battle. The Disney-Dreamworks project stars Hugh Jackman and shoots in Detroit. Fiore worries being typecast as an action cinematographer but is guided by how strongly he responds to a script. He said despite its set-up Real Steel tells “a really good, heartwarming story” about a father and son who bond through boxing.
If Fiore should win the Oscar his undercover life in Omaha will be over. But aside from travels for films and occasional TV commercials, he’s settled in Omaha. He’s even shot a spot for the Omaha Film Festival, where he’s been a panelist.
He finds it “pretty unbelievable” that he, Oscar-winning editor Mike Hill and Oscar-winning screenwriter Alexander Payne “all find ourselves here.” He said hopefuls should glean from that that film careers are “completely attainable” wherever one resides.
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“Every day I’m not directing, I feel like I die a little,” – Alexander Payne: after a period largely producing-writing other people’s projects, the filmmaker sets his sights on his next feature
“Every day I’m not directing, I feel like I die a little” – Alexander Payne:
After a period largely producing-writing other people’s projects, the filmmaker sets his sights on his next feature
©by Leo Adam Biga
Published in a 2006 issue of The Reader (www.thereader.com)
Appearing calmer than he did in 2005, when still in the exhausting grip of Sideways mania and the fallout of his divorce from Sandra Oh, a relaxed Alexander Payne was back in Omaha the past couple weeks, eager to resume work. For those curious about what’s he been up to since Sideways, he answers, “I got busy.” It’s why he’s been out of touch so long. “It’s not just a line, I’ve been busy,” he reiterates. True enough, but aside from a short film project he did in Paris he’s largely been embroiled in work not his own. And that drives him crazy.
He’s helped produce two feature films out this year. The Savages stars Philip Seymour Hoffman and Laura Linney. The King of California stars Michael Douglas and Evan Rachel Wood. Payne’s a close friend of the filmmakers. He’s an executive producer on Savages, written-directed by Tamara Jenkins (The Slums of Beverly Hills), the wife of Payne’s writing partner Jim Taylor. He’s a full producer on King, whose writer-director Michael Cahill was a film school buddy of Payne’s at UCLA.
Payne’s been collaborating on the script of Taylor’s first directing job, The Lost Cause. The pair also did a rewrite on I Now Pronounce You Chuck and Larry before Adam Sandler signed on opposite Kevin James and “brought in his own people” to, as Payne put it, “Sandlerize it and, quite frankly, dumb it up.”
The real news is the Omaha native has finally fixed on what his next film will be and it turns out it’ll bring him back home, perhaps by the fall of 2008. He won’t say much else other than he and Taylor are well along on the script, a first draft of which they hope to complete this year. The idea for it is one he’s kicked around a while but it was only last year he “began to think of it in a new way” that made it click. In the past he’s referred to the concept as a vehicle for expressing his dismay and disgust with American attitudes and policies. He won’t go as far to call it politically charged, but he gives the impression it will be a pointed satire.
“All I know is I hope it will be funny,” he said in what’s become his stock answer to queries about his works in progress. “The only thing I’ll tell you is what’s new about it for Jim and me is it has a little bit of a science fiction premise, which functions more as a metaphor than a…anyway, that’s all,” he said, catching himself in mid-teaser lest he reveal too much of the still fragile script.
Also new is that “Omaha figures a lot in this one,” he said. “As we have it currently configured about a third of the film would shoot here, but it’s a much longer film than any I’ve made before, so even a third of the film is a good hunk.” He would never consider covering Omaha somewhere else. “I believe in place,” he said.
Payne’s growing place in the industry, which avidly awaits his next film, was made tangible a couple years ago when he, Taylor and producer Jim Burke formed the production-development company Ad Hominem. In the process they struck a first-look deal with Fox Searchlight Pictures that gives the studio first dibs on any projects the filmmakers develop. A producer on Election, Burke was brought in to manage the Santa Monica-officed Hominem’s small staff. Taylor also has a support person in New York, where he lives. Fox Searchlight did such a good job handling Sideways that Payne inked the studio pact, a move he’d avoided doing until now.
“We’d been talking about it for a while,” Payne said, “but it wasn’t until after Sideways we decided to take the possibility more seriously. Actually, Jim (Taylor) is the one who kind of spearheaded it. I’ve never wanted to have one of these deals before because you never know whom you’re dealing with exactly and I’ve never had as harmonious a filmmaking experience as I had with Sideways and Fox Searchlight. We’d be happy to make another movie with them. They were great. Jim really thought it (the deal) would be a good idea and he was right.
“A first look deal is where a studio just kind of pays for some overhead and you have people working for you in an office and in exchange they (Fox) get first right of negotiation…first crack at anything we do. It doesn’t necessarily mean they’re going to make it, but they get a short window of time in which to decide if they want to do it and, if not, it’s in effect a free ball. And it just kind of formalizes good will and relationship between filmmakers and studio. Besides..the company allows Jim and me to have extra eyes and ears out there reading books or accepting scripts, taking phone calls. Otherwise, we’re doing it all ourselves and not getting our work done. It’s just sort of there to facilitate us.”
Hominem serves another purpose, one taking more and more of Payne’s time, namely to help nudge friends’ projects from limbo to realization. He said the company gives he and Taylor a framework to “on a very selective basis help, enable or foster…those films getting made. And we’ve done one so far, Tamara Jenkins’ The Savages…She was having a very hard time getting that film off the ground, even with the wonderful cast of Laura Linney and Philip Seymour Hoffman. So, finally our agreeing to come on as executive producers helped it reach the tipping point to getting it made.”
He said the resulting film, shot mainly in New York and a bit in Sun City, Az., is “ultimately funny and sad and real. Great performances. They’re very human.”
Sporting a Hydra-head of overflowing locks, Payne broke his long silence to sit down for an exclusive interview with The Reader at M’s Pub in the Old Market. It felt like catching up with someone returned from an odyssey. That’s how removed he’s been from the media these past several months. It’s not that he disappeared in the wake of Sideways, the little picture that blew up bigger than anyone expected and deservedly won Payne and Taylor Oscars for Best Adapted Screenplay. But after the barrage of press junkets, film festivals, awards shows and requests came at him faster and heavier than for any of his earlier films, he did retreat inward, largely avoiding any public life.
Two summers ago he spoke of “trying to get away from letting myself be trapped by the demands of others on my time.” This time, he said, “I’m trying to be a private citizen.” He’s managed to avoid the tabloids but he’s had mixed success with the bit about getting back to work.
YOU CAN READ THE REST OF THE STORY IN MY NEW BOOK-
Alexander Payne: His Journey in Film, A Reporter’s Perspective 1998-2012
A compilation of my articles about Payne and his work. Now available for pre-ordering.



Tamara Jenkins
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Alexander Payne’s post-“Sideways” blues
Alexander Payne‘s post-“Sideways” blues
In the Wake of His Oscar-win the Filmmaker Draws Inward to Reflect on the New Status He Owns and What It May Mean
©by Leo Adam Biga
Excerpt from story published in a 2005 issue of The Reader (www.thereader.com)
Alexander Payne’s Oscar win for Sideways officially anointed him a member of American film royalty. His ascendancy to Hollywood’s ruling class, no matter how short-lived it proves, increased the already intense courting of him that began when the picture morphed from nice little adult comedy to big fat hit. With his coronation complete, everybody wants a piece of him, all of which makes the reflective Payne deliberate ever more carefully about his next move.
On a recent Omaha visit, the filmmaker looked tired describing the deluge of requests, deals, offers and scripts he gets these days. This followed an exhausting awards and festival season that saw him do extensive media. He presided over the A Certain Regard jury at Cannes. As the breakup of his marriage to actress Sandra Oh goes through the courts, he’s in the process of moving. With so much in the offing and at stake, grabbing at just anything would be a mistake.
After all, when the world is offered up on a silver platter, you don’t bite off more than you can chew. As Payne recently put it, “You eat too much birthday cake and you get sick.” With “a whole new level of having to deal with stuff coming at me,” he said, he’s taking a step back to “catch my breath” and to go into “life maintenance” mode before “getting back to work.”
“I’m just surrendering for about four more months. I’m really not doing anything for a feature film, other than thinking and reading some scripts that come in,” he said. “I’m getting a knee operation. I’m moving from one house to another. Dealing with the divorce. I’ve a little more travel to do. After I do this life stuff then I’ll start to think about what my next film is, because once you start a feature film you’re scuba diving under water for two years. The rest of your life goes away, which I prefer. I prefer to be scuba diving.”
He almost forgot to mention an international project he’s part of called Paris, I Love You. This anthology or omnibus film will interweave 20 commissioned shorts, each a rumination on Parisian culture, by some of world cinema’s leading artists, including Payne, into a feature-length tribute to the City of Light. He’ll shoot his five-minute segment there, specifically in the 14th Arrondisement, in September.
“From where I am in my life right now, the idea of making a short film in a distant city sounded appealing,” he said. “And part of the reason is precisely that I don’t know Paris well at all.”
Paris sojourn aside, he’s retreating for the moment to let things die down and sink in before taking the plunge again.
The eminence attending Oscar has vaulted Payne into rarefied company. It began as soon as he accepted his statuette. “People wanted to hold it. It was a little like handing over the ring in Lord of the Rings. Then, other people didn’t want to touch it thinking it would jinx their own chances of winning one day,” he said, “It’s too early to tell whether it has changed my own perception of my worth.” He expressed mixed feelings about what it all confers.
“On the one hand, I think, Oh, I guess I’m a ‘made guy’ now. On the other hand, I think, Oh, I’ve won an Oscar, mainstream seal of approval. What did I do wrong?”
The real question is where does he go from here and how does he remain true to himself amid all the swirl?
This is not entirely new territory for the writer-director. Even with only four features to his credit, he’s enjoyed an exulted position for some time now. He was a previous Academy Award nominee for Election. His About Schmidt was selected for the main competition at Cannes, closed the 2002 New York Film Festival and received several Oscar nominations in addition to grossing more than $100 million. Moreover, Schmidt proved to Hollywood insiders that Payne could shepherd a successful vehicle with a major star — Jack Nicholson — thereby making the filmmaker more packagable. As Payne said, “Anymore, I view success as a commodity to help get the next film made.”
Often overlooked in his rise up the industry ladder is the “sell-out” work he and writing collaborator Jim Taylor, the co-Oscar-winning scenarist of Sideways, do as script doctors. They did rewrites for mega-hits Meet the Parents and Jurassic Park III. They just finished their latest job-for-hire on Universal’s I Now Pronounce You Chuck and Larry, a comedy about a pair of Phillie firefighters who feign being a gay couple, all the way to the altar, to qualify for job health benefits unavailable to single straight men. “We want to rename it Flamers,” Payne said, smiling.
Then there’s what he calls the Sideways “tsunami.” Even though he went through the gauntlet on Schmidt, he was taken aback when Sideways hit. Its success, and all the attention it brought, he said, has been “the most disorienting” experience of his career. Before its general release, he perceived the project as “a nice little movie.” He politely turned down a request from the Cannes Film Festival to submit the pic for competition, explaining to officials, “I don’t think it’s big enough.’” His view was reinforced when it was “turned down for competition” in Venice. So, when the buzz ignited, he was naturally surprised.
“I was caught off guard for the amount of stuff coming at me. I don’t want to look a gift horse in the mouth, but it’s put me in a highly reactive rather than active mode. Like, much more of my time is spent answering inquiries about using me than doing my work. It’s meant a lot of travel. My number of e-mails has increased vastly. Also the number of requests I get to read scripts and to do things for charity. Don’t get me wrong, it’s been great. I’m grateful. I have interesting access to people nowadays. But nothing in life is clean cut. It’s all a mixed bag. Like all these people asking, ‘Will you read my script?’ I don’t even have time to go to the gym. If I say no to being on a charity’s board of directors, does it mean I’m an asshole? When Jim and I started we never hit anybody up for anything. It’s like, not cool.”
An example of the heat surrounding him, even pre-Oscar, came at a University of Nebraska at Omaha symposium he gave in December, when an overflow crowd of students, aspirants and acolytes energized the Eppley Auditorium, charging the air with adulation and fascination. Sure, that was on his home turf, but cut to a scene six months later at the prestigious Walker Art Center in Minneapolis for a June 3 program kicking off a week-long retrospective of his work. Los Angeles Times and National Public Radio film critic Kenneth Turan interviewed Payne on stage of the Walker cinema before a full crowd every bit as juiced as the one in Omaha. Yes, Payne’s a hot ticket wherever he goes these days.
As his fame grows Payne finds some see him differently. “They see me in a new context. Not everybody. Not close friends. That doesn’t change. But sometimes, I experience the perception of others change more than I change. I’m like, ‘Are you sure it’s me? I mean, I didn’t return your phone calls before.’”
YOU CAN READ THE REST OF THE STORY IN MY NEW BOOK-
Alexander Payne: His Journey in Film, A Reporter’s Perspective 1998-2012
A compilation of my articles about Payne and his work. Now available for pre-ordering.


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