Seeds of Change – Dance Film – 8K Panavision Millennium DXL Camera


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img_4485 img_4446 img_4168 img_4141SEEDS of CHANGE on vimeo CLICK HERE                          When I was approached by Panavision and Light Iron to test a prototype of their new 8K Millennium DXL camera I leaped at the opportunity to create something that was beyond a dry studio exercise. For cinematographers, David Lean’s “Lawrence of Arabia” photographed by Freddie Young, BSC is a touchstone for its remarkable 65mm images. That story was made in and about an era that focused almost solely on men. In making a film today with a digital equivalent of that 65mm camera, I felt it should portray the strength, beauty and power of women. The music Seeds of Change by Naser Musa and Steve Wood inspired Melanie and our dancers when we filmed on the mountainside of Trust Ranch in Topanga. What we created is sacred, sensual and ecstatic all at once.

Words cannot express my deep thanks to everyone who contributed to the splendor of this project.

Director-Cinematographer – James Chressanthis, ASC, GSC
Choreographer – Melanie Kareem

Dancers – Laura Cutler, Vanessa Frazier, Melanie Kareem, Diana Mathur, Rachel Moore, Dawn Marie Yurkovic

Music composed by Naser Musa and Steve Wood                   Solo Oud – Naser Musa, Keyboards & Guitar – Steve Wood, Qanoon – James Grippo, Violin – George Hamad, Percussion – Petro Al Ammar, Faisal Zedaan, Mastering – Joe Gaswirt

Produced by James Chressanthis and Melanie Kareem

Chief Lighting Technician – Ricky Lewis
1st Assistant Camera – Greg Williams, Darin Miller                 2nd Assistant Camera – Laura Odermatt
Makeup & Hair – Penelope Irwin                                             Still Photography – Robin Becker, Michael Cioni
Production Manager – Jesse Liliedahl                                     Production Assistant – Gaea Adrian
8k Post Production by Light Iron-Hollywood                         Colorist – Jeremy Sawyer
Panavision Millennium DXL Camera & Primo 70mm Lenses
Special Thanks: Sue & Martin Schmitt, Trust Ranch,                 Dan Sasaki, Bob Harvey, Michael Cioni, Amit Dave

Filmed in Heaven – Topanga, California
© 2016 James Chressanthis and Melanie Kareem

Vilmos Zsigmond, ASC, HSC 1930-2016

We miss Vilmos. A brave man, cinematic genius, a great artist and a generous, humble spirit.

Vilmos Meters As film students in Hungary, Laszlo Kovacs and Vilmos Zsigmond took to the war-torn streets of Budapest to shoot footage of the Russian invasion. They subsequently volunteered to smuggle it out of the country. Barely escaping with their lives, the two friends fled to America and settled in Hollywood.















After working in the underbelly of Hollywood for ten years on a string of low-budget horror and   biker movies, both men soon rose to prominence in the late 60’s and 70’s, shooting the films    that defined what came to be known as the American New Wave: with Laszlo lensing breakout classics like Easy Rider, Five Easy Pieces, Shampoo and Paper Moon and Vilmos framing The Hired Hand, McCabe & Mrs. Miller, Deliverance, Close Encounters of the Third Kind and The Deer Hunter among many more. Working with directors including Robert Altman, Bob Rafelson, Peter Bogdanovich, Martin Scorsese and Steven Spielberg, they helped create a new American film aesthetic, and pioneered innovative, fearless ways to tell stories.

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Told through interviews with Laszlo (who died during the making of the film) and Vilmos, as well as directors including Rafelson, Bogdanovich, John Boorman, Graeme Clifford, Richard Donner, William Richert, Mark Rydell, composer John Williams and actors such as Jon Voight, Peter Fonda, Sandra Bullock, Karen Black, Sharon Stone and Dennis Hopper in one of his last feature film appearances.

“When it comes to Laszlo Kovacs and Vilmos Zsigmond, it’s clear that the American New Wave of the late 1960’s and early ’70s wouldn’t have flowered as it did without them.”  – Leonard  Maltin

No Subtitles Necessary is an intimate portrait of two giants of modern image making and their deep bond of brotherhood that transcended every imaginable boundary. Two Heroes. One Road.


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Vilmos Zsigmond, ASC, HSC 1930-2016


This  “Flash Exhibition” is open Sunday, May 10, 10:00 am to 6:00 pm and May 11-15 by appointment.


Using traditional photographic techniques, digital tools, painting and drawing Chressanthis combines images from around the world: Europe, Greece, Russia, Thailand and across North America. Subjects are as varied as shepherds living on a mountaintop beneath an ancient temple, a Muslim family in coastal Thailand, a rapper and his crew in Oaktown California, the people living at the end of the Trans Siberian railway, the estuaries of Eastern Quebec, Nomads in Mongolia who carry a satellite dish with them.

“I always look where the ancient and traditional intersect with the archetypal and modern.”

artist website:
Alternative website:   

Reprise from 2010: Vladivostok: A Soviet Time Machine

Vladivostok Train Station

Vladivostok Train Station – the end of the Trans Siberian Railway its cornerstone was laid by Czar Nicholas and actor Yule Brynner’s grandfather. I walked Vladivostok looking everywhere. I can’t read any signs so I focus completely on the people, what they are doing, details of dress, what they carry, their energy. It’s busy here, jammed with traffic but as packed as the streets are the sidewalks flow with people, most walk with purpose, the ones that wait sit with intention.The light is amazing, a silky veil of marine clouds softens the edges, it often glows. I’m shooting a black and white photographic portrait so in keeping with this city’s face: harbor, ships, train station, shopping districts, pedestrian underpasses filled with little shops, new construction everywhere beside decaying buildings and crumbling roads, passageways, begging bubuschas and striking, gorgeous fashionistas (are all the Russian women so beautiful?) strutting on amazing heels, North Korean laborers digging with picks and shovels, choking traffic jams of Japanese cars, army trucks and smoky diesel buses, the whole city a fifties Soviet time machine pasted with gaudy billboards, bustling with the brightly dressed carrying Blackberries and iPhones.

I conduct a filmmaking seminar workshop at Far Eastern State Technical University. The students are bright, friendly and optimistic. They smile so much I kid them that they defy the stereotype of dour Russian pessimism. They laugh at that, they want to be free of their Soviet baggage and the opening of my film reminds them of their grandparents world only half known through the propaganda of official history versus first hand accounts. You get the feeling they want to throw that deadweight overboard but can’t. I point out parallels in the American experience that they have to “own” their history to ultimately be free of it (or free of repeating it). Through their lives Laszlo and Vilmos show us that out of great tragedy can come great art and beauty and ultimately forgiveness and renewal. When talk turns to the corporate and political oligarchs or Putin, an unspoken tension arises, looks and shrugs acknowledging that this is the big problem and challenge of their time.

Cinema is the universal language, its inherently natural to communicate with images, ever more so with each succeeding generation. The seminar becomes a workshop, I gather everyone in a tight group. Our camera has a live feed to a large flat screen monitor and we review the grammar of shot making, that we all grasp, even if we have not analyzed how we see movies and television. I tell them first of all that they already have a deep grasp of the language of images and cinema and we know how to read them as well as we do our native language. The camera is a pointing device; you point it at what is important. It is free to move and point at anything your own mind decides: “This girl’s hand writing a note panning up to her face watching the class, panning over to this man’s face watching her, panning to the rest of the group.” We quickly review all the kinds of shots and angles we can make without restriction: wide angle, telephoto detail, high or low, close and intimate or distant and objective, camera movement with almost invisible subtlety or swiftly with sharp dramatic intent. We stage little scenes and try different camera grammar. I ask them what is the next shot that we need to see? They realize they know intuitively how to shoot. We talk about the editing of those shots and point of view. To make a film you the filmmaker has to have a point of view.

Gordon Willis, ASC 1932-2014

Gordon Willis, ASC the brilliant artist cinematographer of the the three Godfather movies, Annie Hall, Manhattan,  Klute, The Parallax View, All the Presidents Men and so many other great movies has passed. His bold photography helped define the look of 1970s cinema and was high regarded and studied by his colleagues.

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Regarding his work on “The Godfather,” Variety wrote in 1997, “Among “The Godfather’s” many astonishments, the photography by Gordon Willis — a rich play with light and shadow — confirmed Willis’ genius but was especially striking as an extension of Francis Ford Coppola’s creative intelligence. ” Coppola once said, “He has a natural sense of structure and beauty, not unlike a Renaissance artist.” He faced resistance at first to not showing Marlon Brando’s eyes, purposely obscuring the lighting to suggest the family’s corruption. “There were times when we didn’t want the audience to see what was going on in there and then subtly, you let them see into his soul for a while,” Willis famously said.

His long collaboration with Woody Allen also included shooting “Interiors,” “Stardust Memories,” “Broadway Danny Rose,” “The Purple Rose of Cairo” and “Zelig.” Hal Ashby hired Willis for his first film, “The Landlord,” and during the 1970s he shot pics such as “Bad Company,” “The Drowning Pool,” “Up the Sandbox” and “Little Murders.” In later years, he worked on “Malice,” “The Pick-Up Artist” and “The Money Pit” and Bridges’ “Perfect” and “Bright Lights, Big City.”

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His black-and-white photography for “Manhattan” made it one of cinema’s most visually arresting films. Roger Ebert wrote of “Manhattan,” “All of these locations and all of these songs would not have the effect they do without the widescreen black and white cinematography of Gordon Willis. This is one of the best-photographed movies ever made… Some of the scenes are famous just because of Willis’ lighting. For example, the way Isaac and Mary walk through the observatory as if they’re strolling among the stars or on the surface of the moon. Later, as their conversation gets a little lost, Willis daringly lets them disappear into darkness, and then finds them again with just a sliver of side-lighting.”

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Gordon Willis with Woody Allen

Cesar’s Last Fast – World Premiere – 2014 Sundance Film Festival

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Cesar Chavez breaks his 36 day fast with Ethel Kennedy, his mother Juana Estrada Chavez and Rev. Jesse Jackson, August 21, 1988

Cesar’s Last Fast – World Premiere – 2014 Sundance Film Festival – U.S. Feature Documentary Competition
January 19, 2014 – 3:00 PM – Temple Theater, Park City

In 1988, Cesar Chavez embarked on what would be his last act of protest in his remarkable life. Driven in part to pay penance for feeling he had not done enough, Chavez began his Fast for Life, a 36-day water-only hunger strike, to draw attention to the horrific effects of unfettered pesticide use on farm workers, their families, and their communities.
Using never-before-seen footage of Chavez during his fast and testimony from those closest to him, director Richard Ray Perez weaves together the larger story of Chavez’s life, vision, and legacy. A deeply religious man, Chavez’s moral clarity in organizing and standing with farmworkers at risk of his own life humbled his family, friends, and the world.
Cesar’s Last Fast is a moving and definitive portrait of the leader of a people who became an American icon of struggle and freedom.

I was very fortunate to have filmed Cesar Chavez during his 36 day fast. My wife Robin was with me and recorded sound. She also shot the remarkable still photo below of the moment that Cesar broke his fast, taking holy communion with Ethel Kennedy, his mother and Jesse Jackson while I filmed the culmination of his astonishing act of sacrifice. The lessons that Cesar taught us are even more relevant today given the plight of low wage workers everywhere and the threat to the environment, our air, our water, our food.

Robin Becker and James Chressanthis, 1988, Delano, California the day Cesar Chavez broke his 36 day fast

FRESH FOCUS City Hearts Photography Benefit Auction and Party – October 19

Saturday, October 19 3:00-5:30 with VIP After Party 6:00pm  –  Old Canyon Ranch, Topanga tickets & map

Please give your generous support to City Hearts Kids Say “Yes” To The Arts. This critical program that has reached thousands of young people is in its 28th year providing after-school arts programs in Music, Dance, Theater, Art and Photography in the Los Angeles public schools.

The auction includes vintage and contemporary images of Ray Charles, Bob Marley, Bob Dylan, Neil Young, Whoopi Goldberg, Jane Seymour,  Federico Fellini, Cesar Chavez, Kristen Chenoweth,  Chevy Metal, Emma Thompson, Judy Davis and Max Adler. 40 photographers exhibiting and donating their work include Vilmos ZsigmondJeff BridgesRobin Becker,  Anthony FriedkinWalton GogginsKim Gottlieb-WalkerJane KerrJessica LangeGraham NashJane Seymour, Peter SorelBarbra Streisand, Raul VegaFelice Willat, and Henry Winkler. All this is complimented by great folks, food and music. We hope to see you there but if you cannot attend in person please consider the Online Auction by contacting City Hearts or making a direct donation

Below: GET HAPPY: Judy Davis as Judy Garland, 2000 by James Chressanthis, ASC archival print from 35mm black & white negative

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Don’t miss THE MAKEOVER, Sunday, January 27 on ABC

Watch the trailer here

“Prosecuting Casey Anthony” airs January 19 on Lifetime

This Saturday, January 19, at 8pm Eastern and Pacific, the Lifetime movie, which I shot, “Prosecuting Casey Anthony,” will air. Starring Rob Lowe, “Prosecuting Casey Anthony” tells the story of the eponymous trial that attempted to convict the defendant for the death of her 2-year-old daughter in Orlando, Florida in 2008. This true story of the mind-blowing trial will astonish and move you. Please tune in!

Last Thanksgiving

Last week, Toronto’s NOW columnists Susan G. Cole and Norman Wilner named Martin Scorsese’s “The Last Waltz” (1978) the best concert movie of all time. Photographed by Michael Chapman, who brought together a powerhouse cinematographic team that included Vilmos Zsigmond and László Kovács, the film documents the last concert by the 70s folk-rock group The Band, with a plethora of special guest performances by the likes of Neil Young, Eric Clapton, Van Morrison, and more. This is a fitting time of year to remember the film, as the concert took place on Thanksgiving Day 1976. Re-released in 2002, “The Last Waltz” is readily available on DVD.

And you can learn more about the remarkable careers of László and Vilmos in the documentary “No Subtitles Necessary,” which is available on DVD from Cinema Libre.

Once, twice, three times László Kovács

As previously mentioned, László Kovács worked with director Peter Bogdanovich on six full-length motion pictures, beginning with the 1968 thriller Targets. Just as directors over and over again chose Vilmos Zsigmond to be behind the camera, so too did they recognize the talent of his colleague and countryman. Dennis Hopper was another one of the first directors who recognized Kovács’ skill and put it to use on multiple occasions, producing another fruitful early relationship that helped László to cultivate the unique American New Wave style for which he and Vilmos are lauded. Kovács also worked on multiple films for directors Ivan Reitman, Richard Donner, and Graeme Clifford.


Barbara Streisand in Peter Bogdanovich’s 1972 “What’s Up Doc?”

Early in his career, László also routinely worked for the same B-movie directors–Al Adamson, Richard Rush, Peter Perry Jr.–more than once.












Learn more about the remarkable movie careers of Laszlo Kovacs and Vilmos Zsigmond at

Zsigmond shoots “Kickstart Theft”

Vilmos Zsigmond, ASC recently shot “Kickstart Theft,” directed by Fred Goodich, ASC, a modern update of the Vittorio De Sica’s Neo-Realist classic “The Bicycle Thief” (1948) using the Sony F654K cinema camera.

Producer Band Pro Film & Digital also has a “Making Of” video online

Learn more about the remarkable movie careers of Vilmos Zsigmond and Laszlo Kovacs at

Vilmos Zsigmond and Woody Allen

After nearly 50 years in the business, Woody Allen remains one of America’s most beloved and prolific filmmakers. Recently, Allen has called on Vilmos Zsigmond to direct photography on three pictures: Melinda and Melinda (2004), Cassandra’s Dream (2007), and You Will Meet a Tall Dark Stranger (2010). For someone like Allen, who has seen his fair share of productions, the choice of Zsigmond is a testament to the cinematographers refined skill and excellent reputation. Not only that, but it is increasingly the case that directors who have worked with Zsigmond once tend to return to working with him on future projects: Zsigmond has also shot multiple films for such acclaimed directors as Steven Spielberg (2 films), Robert Altman (3 films), Brian De Palma (4 films), and Mark Rydell (4 films), among others.

Will Ferrell, Radha Mitchell, and Steve Carell in Melinda and Melinda

Ashley Madekwe in Cassandra’s Dream

Lucy Punch in You Will Meet a Tall Dark Stranger

The King of Marvin Gardens (1972)

In 1972, László Kovács followed director Bob Rafelson, with whom he had worked on Five Easy Pieces, and Jack Nicholson, the film’s star, to a dreary wintertime Atlantic City, New Jersey to shoot a psychological drama in a similar vein: The King of Marvin Gardens. The real estate con at the heart of the plot tells a little about the depressed state of this pre-gambling resort town, which had seen many establishments go under in the previous decade, while new resort facilities were under construction. Kovács’ cinematography lent Rafelson’s film much of its psychological weight and dream-like feel. While not as acclaimed as Five Easy Pieces, The King of Marvin Gardens is a great film that is well worth another view.

The King of Marvin Gardens is available on DVD from the Criterion Collection.

“Mark of the Gun” coming to DVD in December

From Retromedia and BayView Entertainment comes the DVD release of Mark of the Gun (1969, dir. Walter Campos/Wally Campo), a film that was nearly lost, until a 35mm negative was recently discovered in a lab where it had sat unnoticed for nearly 45 years! Shot by László Kovacs, just prior the cinematographer embarked to make Easy Rider (1969, dir. Dennis Hopper), Mark of the Gun “is a classic western tale of outlaws and the women they love.”  The film stars Ross Hagen, a cult hero of 1960s b-movies who worked continuously until his death in 2011. The DVD will be released on December 11 and will contain bonus trailers.


Louis (2010)

A few years back, first-time director Dan Pritzker made a very special film that deserves to be lauded again: Louis, a modern take on the silent film and a re-imaging of the boyhood of jazz musician Louis Armstrong. After the interest and acclaim garnered by Michel Hazanavicius‘ The Artist, it seems relevant to take another look at Pritzker’s Louis. Shot by the legendary Vilmos Zsigmond and featuring a virtuosic performance by Oscar-nominated Jackie Earle Haley, reminiscent of the great silent screen stars, Louis follows a young Armstrong (Anthony Coleman) through a turn of the century New Orleans beset with passions and pitfalls. It’s a beautiful film with a wonderful score and it well deserves another look.

The Last Movie (1971)

Coming off of the success of 1969’s Easy Rider, László Kovács again teamed up with writer/director/actor, Dennis Hopper, on The Last Movie, a challenging and innovative industry movie shot on location in Peru. It was a movie that Hopper had tried to make for years, but was only given the latitude to do so after Easy Rider did so well at the box office. Like many forward-thinking and experimental pictures of the day, The Last Movie was not appreciated until many years later, despite earning the Critic’s Prize at the Venice Film Festival. And hopefully the film will see a DVD release in the near future.

Vilmos Zsigmond nominated for a 2012 Maverick Movie Award

Congratulations to Vilmos Zsigmond on being nominated for the 2012 Maverick Movie Award for Best Cinematography. The honored film, “Summer Children,” actually dates back to 1965, but was recently restored and remastered for DVD release. Zsigmond was instrumental in this process and contributed a special feature interview for the DVD, titled “Silhouettes in Shadow and Light.” Directed by James Bruner, “Summer Children” was made in the vein of the European Neo-Realism and New Wave, a style with which Zsigmond and László Kovács would later be credited for helping flourish in an American style. The film is remarkably beautiful and easily ranks among the masterpieces by Roberto Rossellini, Eric Rohmer, Chris Marker, and Alain Resnais in cinematographic terms.

Back Lit: László Kovács for “Shampoo” (1975)

Some of the most visually stunning moments of the film Shampoo (dir. Hal Ashby, 1975) come when László Kovács shoots the characters from the backside. Who can forget this image of Julie Christie in a deep v-backed sequin dress:

Julie Christie in “Shampoo”

Or the films ultimate scene of Warren Beatty gazing out upon a hazy Los Angeles vista:

Warren Beatty in “Shampoo”

Thanks to Here’s Looking Like You Kid for the images.


Revisiting “Heaven’s Gate” (1980)

The legendarily troubled production Heaven’s Gate (1980), which Vilmos Zsigmond shot for director Michael Cimino (The Deer Hunter), has recently garnered a sort of prominence it never achieved in its time, but one that critics agree is well deserved. Undergoing digital restoration and a re-edit for release by the Criterion CollectionHeaven’s Gate played at this year’s Venice Film Festival to great acclaim. In an interview with New York Times reporter Dennis Lim, Cimino expressed that among his favorite things about the picture are “the light and color of the images” that Zsigmond captured.

Heaven’s Gate, 1980

Heaven’s Gate, coming soon from the Criterion Collection:
Dennis Lim for the New York Times
Skylar Browning for the Missoula Independent

The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!! (1964)

Although it may have alluded some of their biographies and CVs, László Kovács and Vilmos Zsigmond worked together on The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, a campy zombie musical shot on location in Long Beach’s Pike Amusement Park. The two cinematographers may not have been proud of this film, which was has been dubbed the “worst movie ever made,” but the whole genre of camp horror has since garnered a cult following and a recent resurgence in film and television. This renaissance does not come without due credit being given to these two pioneers, who started their Hollywood careers by filming such exploitation movies after emigrating to the U.S. in the late 1950s.

“The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies,” 1964

Thanks to Tim Grobaty of the Long Beach Press-Telegram for digging up this gem:

Vilmos Szigmond in “Side by Side”

Producer Keanu Reeves’ Side by Side (2012), an industry documentary about the digital revolution in film, which opened August 31, has been gaining momentum recently, winning an opening spot at Poland’s Plus Camerimage festival of international cinematography and garnishing positive reviews. This outtake from the film, featuring Vilmos Szigmond speaking about the importance of proper lighting, was recently featured on the Tribeca Film blog:

Paradise Alley (1978), dir. Sylvester Stallone


Coming off the success of Rocky (1976), Universal Pictures green-lighted Sylvester Stallone‘s Paradise Alley, a wrestling picture that the young actor wrote, directed, and stared in. László Kovács was behind the camera, capturing the Noir atmosphere of the New York’s seedy boxing parlors of the 1940s. It was pictures like this that led the films that Kovács and Szigmond shot to be labelled “American New Wave.”

Targets (1968), dir. Peter Bogdanovich

Targets, 1968

László Kovács first worked with Peter Bogdanovich, for whom he would photograph six full-length motion pictures, on the director’s first feature, Targets (1968). The film, which had a storied production, was produced by Roger Corman and starred Boris Karloff. Bogdanovich recognized Kovács’ talent at that time and employed the cinematographer consistently for the next decade.