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"After I went to NYU Grad Film, I worked as an assistant cameraman for three really good cinematographers. Early on I assisted Pierre-Willie Glenn, who had photographed Truffaut's La Nuit Américaine (Day for Night). He taught me cinema vérite documentary - long before it became reality TV. Steven Fierberg went on to do lots of TV movies and HBO. He had this really polished approach and from him I got the importance of putting a light in exactly the right place. Richard Robertson has won two Academy Awards for his Cinematography. He showed me the importance of imagination and being bold, being willing to try something new. Of course all three demanded technical perfection".
Pale in your shadow
building blocks rollover image
Kent Moorhead

 

Documentary
Advertising Promotional

 

 

 

 

 

 

 

Kent Moorhead has worked with:
(click to go to Imbd:s website for credits)
Stephen Fierberg, Hollywood Cameraman
Morgan Freeman, Actor
Pierre-William Glenn, French cameraman
Robert Parrish, Hollywood director
Robert Richardson, Hollywood Cameraman
Rudd Simmons, New York producer
Bertrand Tavernier, French director
John Thomas, New York cameraman
Kent Moorhead's education:
New York University
Graduation Institute of Film & TV
"Masters of Fine Arts", 1981
American Film Institute, 1991
His teachers:
Laslo Benedek- Hollywood director
George Cukor- Hollywood director
John Badham- Hollywood director
Samuel Fuller- Hollywood director
Robert Papazian- Hollywood producer
James Hirsch- Hollywood producer
Beda Batka- Czech Director of Photography

 

What the Old Man Told Me
The first thing in any camera work is communication. I want to find out what the producer or director wants and needs. I like news and documentary cinema vérité because you have to move quickly - while figuring out what's going on so you can get the camera into the right spot. It's demanding and tough work, but it's also a lot of fun. If it's a drama and there's a special look I need to create, that's another approach, and I have a lot of experience with lighting, filters and lenses".

 

 

 

 

"Photographing both documentary and drama makes me better as a cameraman. I've learned to work with all kinds of lights and all kinds of situations as a result. I've used cheap IKEA paper lanterns to light a scene and at other times I've worked with a complete grip truck and a full HMI light package. It all depends on what look the film needs while factoring in the available budget. I've done shoots where I had both a crane and dolly for the camera, and other times when I sat in a wheelchair with a hand-held camera to fake a dolly. It's easier to work with a real dolly, but you don't always have the money to solve a problem the easy way".
The Eulogy rollover
KAYSA ROLLOVER
Pale running 2
Pale running 3
Pale running 4
Pale running 5
Pale running 6
Above, clockwise: Red Dawns, What the Old Man Told Me, Tjejer på stan, The Eulogy. Click to open video in new window.
Brices Crossroads
Adventures in Pizza
Standing on my sisters shoulders rollover
Mississippi Remembers WWII rollover
Morgan Freeman
Standing on my sisters shoulders

Left to right:
Adventures in Pizza

The Battle of Brices Crossroads

Morgan Freeman Ole Miss Ad

Mouseclick brings up video clip in a new window.

Left to right:
The Most Segregated Hour

Mississippi Remembers WWII

Standing on My Sister's Shoulder (webpage on click)

Mouseclick brings up video clip in a new window.

KM photographs rollover

Kent Moorhead worked for these DOPs in the 1980's.
He was first assistant cameraman for Robert Richardson & Steven Fierberg; 2nd assist. for Pierre William Glenn:

Robert Richardson
winner of academy awards for JFK and The Aviator
IMDB Credit List



Pierre William Glenn
French cameraman
IMDB Credit List

Steven Fierberg
IMDB Credit List

Front image: Kent Moorhead filmming for Standing on My Sisters' Shoulders
Rollover image: Kent Moorhead checking shot for Pale in Your Shadow, with scenes from film.