Narita boy symbols3/5/2023 Antonioni wanted these ensuing outbreaks on film as a reference, and possible use in Zabriskie Point, in which the storyline reflected the polarizing atmosphere of the time. I was honoured but self-conscious, even petrified, to meet his expectation. After seeing the footage of the screentest I did for Antonioni, I was called upon to shoot civil riots and student demonstrations that were gathering force in several major cities. I was an admirer of Antonioni’s films, including his earlier documentary films his extraordinary sense of space, graphic compositions, and stirring images were always inspirations to me. What can you tell us about your experience in Michelangelo Antonioni's Zabriskie Point (1970)? In retrospect, it was the military service that changed the course of my professional life. After returning from military service, it took me about ten years of meandering to make a transition from graphic designer to cinematography. That two-dimensional images on a screen can create many dimensions in our psychic space was a mystery that reinforced my fascination with movies. Around that time a wave of works by great European and Japanese directors filled art houses and I was swept away. Sequences of moving images had so much potential to explore and discover human emotions and tell complex stories. During my service, I saw many movies at weekends and I began to gravitate toward movies for their entertainment, and for inspiration. Two years of interruption in my career ensued. I graduated from San Francisco Art Institute in 1964, and in less than six months, while working at a design studio, I was drafted by the US Army. What sparked your interest in cinematography? Then Narita worked in movies: The Last Waltz, More American Graffiti, Never Cry Wolf (for this movie he won the Boston Society of Film Critics Award and the National Society of Film Critics Award), Return of the Jedi, Indiana Jones and the Temple of Doom, Always, Honey, I Shrunk the Kids, Star Trek VI: The Undiscovered Country, Dirty Pictures, The Rocketeer, Hocus Pocus, The Time Machine, The Arrival. After his experience as additional camera operator on Antonioni's Zabriskie Point (1970), John Korty gave him his first substantial film, a TV movie called Farewell to Manzanar (1976) for which he received an Emmy Award nomination. With Korty, for more than three years, he collaborated as an assistant cameraman, gaffer, projectionist, film-poster designer, etc. Army, John Korty, director of The Autobiography of Miss Jane Pittman and the documentary Who Are the De Bolts? And Where Did They Get Nineteen Kids? (Academy Award for Best Documentary Feature) took him under his wing. For two years, he served as a designer and photographer at the Pentagon. He soon landed a good position at a prominent local design firm, but the job lasted barely six months before he was drafted into the U.S. He went on to the San Francisco Art Institute where he received a BFA in Graphic Design in 1964. Following his father's early death and his mother's remarriage to a Japanese American, the family emigrated in 1957 to Honolulu, Hawaii, where he graduated from Kaimuki High School. In 1945, he and his family moved to Nara, Japan, and later to Tokyo. He was born on June 26 1941, in Seoul (South Korea) to Japanese parents. Hiro Narita is a cinematographer, member of the American Society of Cinematographers (ASC) and Academy of Motion Pictures and Sciences.
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