Legendary cinematographer Haskell Wexler died today. His son Jeff Wexler reported on his father’s website and around Facebook that a Oscar-winning Wexler “died peacefully in his sleep.” Haskell Wexler was 93.
Wexler won a final Oscar cinematography endowment that went to a black-and-white film for Who’s Afraid Of Virgina Woolf? and another Academy Award for a Woody Guthrie biopic Bond For Glory. He also was nominated for One Flew Over The Cuckoo’s Nest, Matewan and Blaze. He also picked adult an Oscar in 1970 for a documentary brief “Interviews With My Lai Veterans,” destined with Richard Pearce.
“His cinematography was an inspiration. He was a clever warrior for kinship rights and for a gratification of a members,” Steven Poster, inhabitant President of a International Cinematographers Guild Local 600, told Deadline. “His work in a approval of a risk of prolonged work hours will always be remembered and appreciated.”
Wexler threw his support behind a transformation job for accountability in a on-set genocide of Midnight Rider organisation member Sarah Jones. Wexler described Jones’ genocide in a 2014 sight occurrence an act of “criminal negligence.” Wexler co-founded a organisation called 12on/12off that advocates an renovate of stream standards that concede for excessively prolonged work hours and questionably protected operative conditions on film and TV sets opposite a industry.
One of his documentaries, Who Needs Sleep, addressed a risk to film crews of overlong sharpened schedules that outcome in tired — and people descending defunct on a highway home.
A longtime magnanimous activist, Wexler photographed some of a many socially applicable and successful films of a 1960s and 1970s, including a Jane Fonda-Jon Voight anti-war classic, Coming Home, a Sidney Poitier-Rod Steiger secular play In a Heat of a Night, The Conversation, and American Graffiti as good as One Flew Over a Cuckoo’s Nest.
Feature films in a 1970s and ’80s enclosed Richard Pryor: Live on a Sunset Strip, Colors, Other People’s Money and The Rolling Stones: Live during a Max. Later facilities enclosed The Secret of Roan Inish, Canadian Bacon, Mulholland Falls and The Rich Man’s Wife, all in a mid-90s.
One of his many successful films, 1969’s Medium Cool, was a illusory though documentary-style depiction of a riots outward a 1968 Democratic Convention. Bold in opinion and execution, Medium Cool was financed by Wexler for $800,000. Although it due a curtsy to a work of Jean-Luc Godard, it was distant forward of a time for a Hollywood film.
With co-director Saul Landau he shot Brazil: A Report on Torture and An Interview with President Allende (both 1971), The Swine Flu Caper, The CIA Case Officer, 1982’s Quest for Power: Sketches of a American New Right and Target Nicaragua: Inside a Secret War.
Other documentaries enclosed Hail Columbia and Introduction to a Enemy. He also shot a 1980 film No Nukes. His 1975 documentary Underground (with Emile de Antonio and Mary Lampson), that dealt with a revolutionary coterie famous as a Weathermen, resulted in a argumentative try during seizure of his materials by a FBI, that stirred an cheer among certain social-minded Hollywood celebrities.
In a midst to late 2000s, he was d.p. on a series of politically disposed documentaries for other directors.
Wexler seemed in countless documentaries about other directors and cinematographers, including Todd McCarthy’s 1992 Visions of Light.
In 2013’s Four Days in Chicago, he returned to a environment of Medium Cool and his hometown to request a Occupy Movement’s demonstrations opposite a 2012 NATO Summit.
Wexler also was one of a singular cinematographers to accept a star on Hollywood’s Walk of Fame. He also was respected with lifetime feat awards from a American Society of Cinematographers, a Independent Documentary Assn. and a a Society of Operating Cameramen.
In 2005, Wexler was a theme of a documentary, Tell Them Who You Are, destined by his son, Mark Wexler. His son Jeff works as a sound mixer.
In further to his sons, Wexler is survived by third mother Rita Taggart, an singer and cinematographer, and a daughter, Kathy.
(Information from Deadline corporate kin Variety was used in tools of this report.)