Press > Escape From L.A.
> Exclusive Interviews > Leo Napolitano (Camera Operator)
How did you end up
being a camera operator?
Actually, I kind of stumbled into it. I was a machinist in the Navy after high
school. I didn't go to college. I took a class in school for the United States
Navy and after I graduated I was taking coach courses. As I said, I was a
machinist mate for the Navy so I happened to hear about a job at Technicolor.
Technicolor was a company that processed all the color films for Disney, Warner.
All the biggest studios. Everything was colored by Technicolor in those days. I
had an opportunity to meet the hiring manager and I told him one of my jobs was
in the Navy and he hired me because they built process machines. Those are the
machine that do the developing and processing on the film and they use a lot of
machinists so I started working there and at night I took film classes because
everyone was telling me to take three classes. So I thought I take film classes
and to make a long story not too long eventually I got a job at Universal
Studios in the camera repair shop. I would build parts for different cameras and
stuff like that and learned all about the cameras inside and out and became a
technician for Universal Studios but I realized what I really wanted to do was
to become a cameraman. After I became well-known in the studio business I put it
out there to people that if there ever was an opportunity I would like do it and
I would be willing to start all over and work my way up. In a short time I was
offered jobs and got into the camera local. That was a very big deal in those
days. There weren't that many studios. It was a closed operation but because I
knew how to fix the camera and work the camera and test the camera I became
first choice for the people that were renting new equipment. At that
time a lot of new cameras were coming out. Arriflex was getting big in the
business. They had the BL's and Mitchell's and Panavision had the Panaflex,
Panagold and stuff like that. I knew these cameras inside and out so camera
crews would hire me so that I could be with them in case they got troubles with
the cameras and eventually I worked my way up to camera assistant. I only did
one movie as a second assistant then I moved to first assistant. Then after
about five years I was offered a job as a camera operator with Paul Lohman who
was a notable camera man at the time. It was for a big project in Israel called
Masada. 13 hours of television all shot in the desert and stuff like that.
Anyway, so I went to Israel with him and eventually became his camera operator
and people get familiar with you, good work and stuff like that so I worked for
the next 20 years. I've done over 80 movies and I've probably done about 1000
commercials. I've done various photography because of my technical skills and
stuff like that.
How did you get the assignment to be a Camera
Operator for Escape From L.A.?
Like I said, on any large scale picture like this one had troubles. They
had to work in the rain, the wind, the dirt and stuff. Somehow I got the reputation for doing rough projects that were difficult for
the cameras because I knew it really well. I knew the camera, knew when to fix
it or not to fix it and this and that. Gary (B.) Kibbe who I knew from Universal
Studios, he was the DP (Director of Photography) for John Carpenter
(Director/Co-Writer/Co-Composer) at the time and he had somebody.
Actually, I must confess I did not start the picture. Somebody else started it
and being honest I don't know what happened to them but after a few weeks on the
production they called me up and said, "We need you, Leo. Are you available?" and I
was finishing up another project and it worked out. So I went over to Gary and
did the picture with John Carpenter. The rest is history.
How did you, Jud Kehl
(Camera Operator), Chris Squires (Camera Operator), Gary B. Kibbe (Director of
Photography) and John
Carpenter (Director/Co-Writer/Co-Composer) collaborate and how were the shots prepared?
I've since worked with John Carpenter on other pictures. He's pretty
much a laid-back guy. He knows exactly what he wants which is the best thing for
a camera crew because some directors are more difficult to understand and get
what they're trying to achieve but John it pretty specific and so is Gary who is
my immediate boss. John works very. How do you say it? He doesn't work by status
or things like that. He'll go talk to everybody and makes himself known. Camera,
actors, stunt men anything although he's a man of few words but you understand
those few words because he's got a vision in his head. He's a reserved person.
He's not a loud leader type. He's very knowledgeable. He's very easy to work
with and so is Gary Kibbe. The leaders of the production. A pleasure to work
for. So we all worked together. We all knew each other. Jud Kehl I knew the
least. Chris Squires had worked for me as an assistant and I hired him on many
pictures before. Of course I told you I knew Gary Kibbe from Universal Studios.
We just became a team right away. We become like a football team if you can
imagine. We didn't have any preparatory because like I said, I was replacing
someone although when they hire you the first thing they do is to send you a
script. In those days you had to drop by the office to pick up the script and
then you have a meeting with the production manager and
of course with Gary Kibbe, the director of photographer. He would explain what
we're doing, how we're doing it, how it's going, what to expect, what to look
out for and what to prepare for.
Is it true that it was a tough project for Gary B. Kibbe and did John Carpenter have any specific requests during production?
It was. For cameramen. Especially in those days. Nowadays it's at least 50
percent easier to do anything because the electronic cameras are so much more
forgiving and it required much more light. So everything had to be lit and
luckily Gary had an old school background. He started out as a very young man
and he knew about the big lights and lighting. When you light for that scope it
takes dozens of men and dozens of huge lights that we set and you can't move
them around. You have to make a decision and stick with it and you will be be
making decisions during broad daylight. You're standing there, it's nine in the
morning, it's broad daylight and you're trying to figure out what it's
going to look like at darkest. It has to be dark enough to sell the story so
that everybody understands it when something comes by. You see what actors and
what car, what's going on at the time, then explosions. It all has to be
visualized. It was difficult for any cameraman to do that project. It took a lot
of preparation. Huge electrical department. Maybe 100 men.
Out of the ordinary you mean? Well, during the rain sequence and hang gliding
sequence which was very difficult I became much more important because of the
technical aspects. Protecting the cameras and stuff like that. Of course I was a
camera operator I would operate in some difficult circumstances. I actually
flew. John came to me first and asked me if I was afraid of heights and flying
and I said, "No. What do you mean?" He says, "We want to put you in one of those
hang gliders wheel." By the way, I was also the smallest person of the camera
operators and anytime you're dealing with flying weight is a factor so if you're
going to carry a camera you want to pick somebody that knows what he's doing but
you pick somebody that's not too large because of the weight of it. So John
asked me if I would do a favor and get in there and fly one of these things
carrying a camera and looking down at the ground and stuff like that and do what
they call POV. Point Of View of the actor. That was something that was unique to
myself. It was very adventuresome. I like the adventure of these things. The best analogy would be a sport during the exciting
part when the clock is running out and everyone has to get an adrenalin thing
and after a while you like that part of it. It becomes the part you look forward
to when things are exciting. I've never flown in a hang glider. I didn't know
how to operate it or anything and of course it was all done with wires and stuff
like that. I wasn't completely set free although it seems to be when you watch
the movie. They were all controlled very much by the technicians and stuff like
that. I enjoy this stuff.
Which scenes were the most
challenging, problematic and time consuming to prepare for or film and did you
encounter any technical issues during production? The Sunset Boulevard (Carson),
Beverly Hills Hotel sewer (The Belmont Tunnel) and basketball (Los Angeles
Memorial Coliseum) scenes comes to mind.
Oh yes we did. There was a number of technical issues but they were all minor
and they didn't have any big consequence in the movie. We had cameras that got
wet and got dirty. Things like that. We had cameras that water got into the
batteries and stuff like this but we're prepared for that. They had duplicate
equipment. The hang gliding sequence was one of the most difficult. We did it at
Universal Studios in the back lot and a lot of people working all night long. We
would come in six in the evening and go home six in the morning when the sun was
coming up. That was pretty fatiguing day after day. It was a big sequence and
had a lot of technology involved for those times. That was one of those things
that took extra effort plus everybody is tired. Everybody is working nights.
Nights are the most difficult because you have to work from sunset to sun up.
It's harder to adjust at first and especially with water and rain, lightening,
explosions and fires so that was the tough part of it. Working night. If you
remember the picture, except for the straight up dialogue it's a lot of action.
Going from places to other places and nights, running through hallways and
corridors and junkyard kind of things and stuff like that.
That was also a very big deal with the cars coordinating all that stuff at
night. You have stunt crews and a stunt coordinator and all that. Just imagine
all the building, creating those images. Much more difficult in those days. You
actually had to do it. Nowadays with electronics they can make it look like
Paris if they want to. There was nothing out of the ordinary. It's like combat
or being a part of a football team and in case something goes wrong you adjust
to it and sometimes John would use that. Sometimes things would fall over and
block the camera and he would use that. He's very inventive that way.
Well, that was very interesting. It was something we've never been around
before. I can't think of anything unusual. There was no accidents or something
unpredictable. It was all handled by top people in the industry. They knew what
they were doing and were prepared way in advance and things like that.
It was planned out. It wasn't complicated at all. It seems so but it was
all set up and had been rehearsed by Kurt (Russell) (Snake Plissken/Producer/Co-Writer) before they even started production.
Do you know why the Snake Plissken (Kurt Russell) on horseback chasing Cuervo Jones (George Corraface) at Sunset
Boulevard sequence in the script was dropped?
I don't know about that. Like I said, I came in a little bit late.
How was the experience
working with the cast and crew and
what went on behind the scenes?
Also, do you know why Chris Squires
left during production?
It was a very good crew.
A lot of us knew each other.
In fact, my son was on
it. He was a camera assistant.
We had a long history of it and
it was a joy to get together and do it because it was such a great project.
I remember good memories on it.
I've worked with John Carpenter since. I did John Carpenter's Vampires some
years later so I had a working relationship with John and I enjoyed that. He
called me to do another picture with him. I've never worked with Peter Fonda
I've worked with Kurt Russell years earlier (Captain Ron) but we never knew each
other as friends. We did recognize each other and said hello. I don't think I
was a camera operator then. I was an assistant. He's a great guy to work with
too. Easy going guy. He's as good as you can imagine. He's a cool guy. Easy to
get along with. He's funny. If something goes wrong he makes a joke out of
something. Keeps the crew in a good mind set. There wasn't a tough
person in the project. Everyone was very professional. They knew what they were
No, I don't. I think he had another project. Sometimes projects overlap each
other near the end and sometimes we stop shooting too because we have
corrections to make. We did retakes of some things and Chris Squires wasn't
available for that if I remember correctly.
What did you film additionally for
There weren't any retakes really. There were pick-up shots where the editor and
director decide we need some more cuts of like the car sequences and I think we
did some more explosion and additional shots for the hang glider sequence. I
think we did some pick-up shots for that. Some establishing shots are sometimes
done at the end. A picture of a city or something like that. We do shots like
that later because we want to stay with the action and do the most
difficult shots first. We did some afterwards. I can't remember
anything significant. It was kind of routine stuff at the time.
What's your favorite memory or memories of working on the
Working with Kurt Russell because he was such a joy. He made it easy for us. He
knew where the camera was at all times and we didn't have to do have shots that
were awkward. You know, had to do retakes and stuff like that. He just had a
sense about my job as I did with his job so he became very easy to work with
under those difficult circumstances. Like I said, night, rain, wind, fire,
explosion and some of that stuff is pretty dangerous. It was a lot of
stress but Kurt Russell made it a pleasure to be working for and so did John but
John is a more quiet man.
What do you think of the movie personally?
I like it. It's fun. I mean, you gotta like the movie. It's a great action movie and it
got humor. It got drama. It got twists and turns like a
murder mystery and stuff to think about too. We had a virus. We had an
atomic weapon. We had an earthquake. It's all in this movie which
makes it very timely. Actually, when you think about it nowadays we have this
corona virus going on too. That was considered a lie in those days but now those
are the same things that are in headlines. Could be in tomorrows newspaper.
Stuff like that.
What are you currently doing and what do you enjoy
doing in your spare time? Also, have you ever considered doing more genres that
are less demanding?
I'm pretty much retired. I worked much longer than most people do in the
industry. I worked into my 70s as a camera guy. I became an action kind of guy
because I enjoyed that and I don't have to work as much. They pay me a little
more to do it. My last picture was done in actually China. It was a picture for the Chinese called
Streets of Fury and pretty much retired
after that. I've worked on like I said 80 movies. I do aerial photography with helicopters.
Now they use drones. I've done a lot of that remote stuff with the high-tech
cameras. Fast &
Furious, I worked on three or four of those. I've worked on three of four Clint
Eastwood movies. I know Clint very well and his family and those guys over at
Warner Brothers. I did Star Wars too. Return of the Jedi. I'll tell
you a funny story. Because I have a long resume on large pictures that's how I
got to do the Chinese thing. When they hire you to go to China they want people
that's been a long time in a skill. Have a lot of background. You know, have a
deep resume. So when Gary and stunt coordinator were doing it they said, "Why
won't you get Leo? He can do aerials for you and mount cameras for you." so he
called me to do it and got over there and Gary kept telling all the Chinese who
I am. "Who is this guy?" "Don't worry, this guy has done over 80 movies. He's done
Star Wars." I only worked on them. I didn't do the whole movie. He had
them believing I was very important to them when I got there. It was kind of
humorous because many young people look me up and they see it. You did this, you
did this and whatever. They began calling me the legend. I said, "You're only
calling me a legend because I'm old." That was my last film project. It was time
to finish then. That was difficult enough. Working with the Chinese and stunts
and crashes and stuff like that. They're not as skilled as we are so it becomes
much more dangerous. I'm living in San Diego now with my wife. My son is still a
camera guy in Hollywood. My daughter-in-law is a make-up person. She was a
make-up person for this new movie called Tenet. It's a big picture that's
about to come out in a month or so. I'm still attached to the business because
of that and I have a lot of people and friends that contact me but I moved away
from Hollywood to just give myself a break somehow so not every conversation was
about movies I've done and stuff like that. Although I enjoy doing this for you.
Now I've learned to embrace it. It's a pleasure to share. I'm currently doing a thing called
Arlington Cemetery. It's a big
cemetery in Washington, DC (District of Columbia) with all the heroes and soldiers and it's got an old
history that goes back to the civil war. I'm doing a documentary using this one
person as a guide that takes you through what happened there and more of this
man Bob Hammerquist who died recently. He was buried at Arlington which is a big
honor. He had five purple hearts. He had fought in the second world war, Korean
war and the Vietnam war. He's been wounded five times. He was an army coronal.
His life was so historical. It's amazing and nobody ever heard from him. He's
like an unsung hero. Nobody knows who Bob Hammerquist is. I've been in the
Vietnam a little bit before while I was in the Navy and the destroyers. I'm
doing his life and how it ends in Arlington Cemetery. It's different than
fantasy because we're dealing with a real story with real people. A friend of
mine who is an editor and I just shot the whole funeral and now we're in
post-production. Kind of a work of love rather than money. I mean, it's
possible it might be on television and stuff like that.
If you think of all those action movies and explosions and fires and stuff like
that there's a certain degree of danger definitely but it's done very
professionally. I've seen very few serious accidents. I saw a couple in China
when I was there but some of the most difficult pictures I've worked on. I did
Eye for an Eye with Sally Field and Kiefer Sutherland. They had fired
somebody else and some of the stress on that movie set was so much because the
story is about a woman that has children and she leaves for work in the morning.
She lives in L.A. Kiefer Sutherland plays a criminal like a sex pervert kind of
thing and he breaks into the house with the kids and he takes over and she's in
a car in downtown L.A. on the phone and he's telling her, "I'm in your house and
I have your daughter." and she's in her car stuck in traffic. This is the premise
of the story and eventually she gets her revenge. That's why it's called Eye
for an Eye. It was the most stressful film that I've ever worked on and the
least fun coming to work everyday because of the subject matter. It's something
that's horrible that can happen for anybody. It was not a happy crew. It's not a
joyful thing. That's a different end of the spectrum. There were no danger. We
were shooting on the lot, on stages. It was just going through the story and
having the kids screaming. Conversely, if you're doing a comedy. I've done more
than a few comedies. They're the opposite generally. In some of them you know
people get feisty. Directors and stuff like that and yelling and screaming but
most comedies are the most fun to work with.
Thank you for your time, Leo.