Fred Elmes

Director of photography
A frequent collaborator with former AFI co-student David Lynch, Frederick Elmes has supplied a dreamy, super-realistic visual style to four of Lynch's features, including "Eraserhead" (1977, which began as a student ... Read more »
Born: 11/03/1946

Filmography

Camera, Film, & Tape (54)

Olive Kitteridge 2014 - 2015 (Tv Show)

Director of Photography

Horns 2014 (Movie)

(Director of Photography)

A Late Quartet 2012 (Movie)

(Director of Photography)

A Dog Year 2009 - 2010 (TV Show)

Director of Photography

Bride Wars 2009 (Movie)

(Director of Photography)

Brothers 2009 (Movie)

(Director of Photography)

Synecdoche, New York 2008 (Movie)

(Director of Photography)

The Namesake 2007 (Movie)

(Director of Photography)

Broken Flowers 2005 (Movie)

(Director of Photography)

Coffee and Cigarettes 2004 (Movie)

(Cinematographer)

Kinsey 2004 (Movie)

(Director of Photography)

The Hulk 2003 (Movie)

(Director of Photography)

Storytelling 2002 (Movie)

(Director of Photography)

Trapped 2002 (Movie)

(Director of Photography)

Chain of Fools 2000 (Movie)

(Director of Photography)

Ride With the Devil 1999 (Movie)

(Director of Photography)

The Empty Mirror 1999 (Movie)

(Director of Photography)

The Wedding 1997 - 1998 (TV Show)

Director of Photography

The Ice Storm 1997 (Movie)

(Director of Photography)

Reckless 1995 (Movie)

(Director of Photography)

Trial By Jury 1994 (Movie)

(Director of Photography)

The Saint of Fort Washington 1993 (Movie)

(Director of Photography)

Night on Earth 1992 (Movie)

(Director of Photography)

A Woman Under the Influence 1991 (Movie)

(Camera Operator)

Hollywood Mavericks 1990 (Movie)

(Camera Operator)

Wild At Heart 1990 (Movie)

(Director of Photography)

Cold Dog Soup 1989 (Movie)

(Director of Photography)

The Closed Set 1988 - 1989 (TV Show)

Director of Photography

The Judds: Across the Heartland 1988 - 1989 (TV Show)

Director of Photography

The Louie Anderson Show 1988 - 1989 (TV Show)

Photography

Aria 1988 (Movie)

("Tristan und Isolde") (Director of Photography)

Moonwalker 1988 (Movie)

(anthology segments) (Director of Photography)

Permanent Record 1988 (Movie)

(Director of Photography)

Roughhouse 1987 - 1988 (TV Show)

Director of Photography

Allan Quatermain and the Lost City of Gold 1987 (Movie)

director of photography 2nd unit(Los Angeles) (Director of Photography)

Heaven 1987 (Movie)

(Director of Photography)

Blue Velvet 1986 (Movie)

(Director of Photography)

River's Edge 1986 (Movie)

(Director of Photography)

Broken Rainbow 1985 (Movie)

cinematography (Cinematographer)

Real Genius 1985 (Movie)

director of photography 2nd unit (Director of Photography)

Dune 1984 (Movie)

Units Cinematographer (Cinematographer)

Red Dawn 1984 (Movie)

camera operator 2nd unit (Camera Operator)

Valley Girl 1983 (Movie)

(Director of Photography)

Citizen: The Political Life of Allard K. Lowenstein 1981 (Movie)

(Director of Photography)

Modern Romance 1981 (Movie)

(Camera Operator)

A Force of One 1979 (Movie)

(Camera Operator)

Opening Night 1979 (Movie)

(Director of Photography)

Real Life 1979 (Movie)

(Photography)

Eraserhead 1978 (Movie)

special effects photography (Photography)

Eraserhead 1978 (Movie)

(Director of Photography)

Breakfast in Bed 1976 (Movie)

(Director of Photography)

The Killing of a Chinese Bookie 1976 (Movie)

(Director of Photography)

Conspiracy: The Trial of the Chicago 8 (TV Show)

Director of Photography

In the Gloaming (TV Show)

Director of Photography
Production Management (1)

Dune 1984 (Movie)

Units Supervisor (Unit Manager)
Director (1)

Street Scenes 1970 1969 (Movie)

(Director)
Actor (1)

Visions of Light: The Art of Cinematography 1993 (Movie)

Himself (Actor)

Biography

A frequent collaborator with former AFI co-student David Lynch, Frederick Elmes has supplied a dreamy, super-realistic visual style to four of Lynch's features, including "Eraserhead" (1977, which began as a student film) and more recently, "Wild at Heart" (1990). Raised in New Jersey, he became interested in photography when he was lent a Leica camera by his father. After studies at Rochester Institute of Technology and NYU, Elmes won a fellowship to the American Film Institute, where he encountered two directors with whom he would later collaborate: John Cassavetes and Lynch.

EDUCATION

AFI Conservatory

Los Angeles , California 1971
year enrolled; David Lynch was a co-student

Institute of Film and Television, New York University

New York , New York 1975

Rochester Institute of Technology

Rochester , New York

Center For Advanced Film Studies, American Film Institute

1972 - 1974
Graduated 1974

Milestones

2001

Again collaborated with Ang Lee on "Chosen", one of five short films shown under the collective title "The Hire" at bmwfilms.com

1999

Reteamed with Lee for "Ride With the Devil"

1997

Shot Christopher Reeve's directorial debut, the HBO TV-movie "In the Gloaming"; earned Emmy nomination

1997

Served as director of photography on Ang Lee's "The Ice Storm"

1993

Shot "The Saint of Fort Washington", directed by Tim Hunter

1992

Was interviewed in the documentary "Visions of Light"

1990

Served as cinematographer on Lynch's "Wild at Heart"

1988

Worked with Martha Coolidge on the unsold CBS TV pilot "Roughhouse"

1987

Delved into TV work, "Conspiracy: The Trial of the Chicago 8" (HBO)

1986

Won acclaim for his work on Lynch's "Blue Velvet"

1986

First collaboration with Tim Hunter, "River's Edge"

1984

Shot "Dune", directed by Lynch

1983

First worked with Martha Coolidge on "Valley Girl"

1977

Last collaboration with Cassavetes, "Opening Night"

1977

Worked with David Lynch on feature-length version of "Eraserhead"

1976

First feature as director of photography, Cassavetes' "The Killing of a Chinese Bookie"

1974

First feature film credit (additional camera operator), "A Woman Under the Influence", directed by John Cassavetes

1970

Moved to Los Angeles

1969

Directed short, "Street Scenes"

Raised in New Jersey

Bonus Trivia

.

"Having the film properly focused and exposed doesn't mean you are making a movie. That comes from sharing a vision with a director, using a camera to tell a story. . . . We tell stories by translating words into images. We all use the same lenses, filters, and gels. We process the same film stocks at the same labs. But no two people use these tools exactly the same way. You can transform the mood by adding one simple light. Colors can seem richer by subtracting light. These subtle things make a difference. And you make those decisions thousands of times on every film." --Frederick Elmes quoted in an Eastman Kodak Motion Picture Films advertisement

.

"As a cinematographer, you step back and say, 'This is what nature has given me today. My job is to make the most of it.' You have to be aware of the bigger things that are around you, many of which you can't change. You shouldn't spend your time trying to change them, but rather finding a way to use them." --Elmes in AMERICAN CINEMATOGRAPHER, May 1997

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