President’s Desk — March 2024

A cinematographer who has been invited to join the ASC embraces both the future and the past. Each of us looks forward to an ever-expanding horizon of technical innovation and endless creative and storytelling pursuits — and we also feel compelled to look back and appreciate the great tradition of Hollywood cinematography, so that we can compose our careers within the much larger history of film visuals. Remembering those who invented the art form, not all that long ago, can inform one’s modern-day pursuits.

One of our most distinguished storytellers was Victor J. Kemper, ASC. He came into moviemaking in New York. I remember him telling the story of two unions that had approached him for membership: the projectionists’ union and the camera local. Victor chose the camera path, opting for daylight mixed with a few cold nights spent during a full lifetime of location and studio work. He was part of the rebellious 1970s gang of cinematographers that included such illustrious ASC members as Conrad Hall, László Kovács, Owen Roizman, Gordon Willis and Vilmos Zsigmond.

Victor was a key figure in that great generation of fearless risk-takers. He brought to the screen a fresh and unexpected way to experience a story. Dog Day Afternoon put the audience alongside two amateur bank robbers, in over their heads, whose attempted heist becomes a media circus. I remember seeing that film in the theater. Even my 15-year-old self could appreciate the skill with which the performances, directing and camera joined forces to place me at the center of that world. The film was one of my favorites then, and still is.

Victor served as ASC president for a total of nine years and was in office when I joined the Society in 2000. He was quiet, as he preferred to be for much of his career. He was a cinematography icon, but he welcomed me on a human scale — he was genuine and big-hearted. I remember him being beyond kind and good-natured, always with a smile and a twinkle in the eye that any cinematographer wears well. His career included a mix of earth-moving movies (such as his work with Lumet and Cassavetes), comedies, light dramas, and everything in between. He was a true visual chameleon whose contributions could be felt in every frame.

Victor’s passing has many of our members and staff feeling a vacant spot at the ASC. It won’t be the same without him, but we will work to keep his memory alive and his good work relevant and centered — in keeping with the manner of a man who inspired all of us.

If you want to get to know Victor, take a look at Dog Day Afternoon tonight. You’ll be glad you did!

Best regards,
Shelly Johnson
ASC President