|Born||in Toms River, New Jersey, USA|
Mini Bio (1)
Michael's interest in film began in elementary school when he would run the film projectors for school presentations. In 1972 his step-father, an amateur photographer, introduced him to black and white photography and dark-room processing. On family trips he would pass time in the car staring out the window, through the view finder of his instamatic camera, framing images inspired by the music on the radio.
In 1975, the family moved to Southern California. Michael became involved in theater at school. He borrowed a book on stage lighting from the theater's library, and began designing lighting for the many stage productions that were produced throughout the school year. At age 16 he formed his first lighting company, and began performing production services for community groups, restaurants, and schools in his area. Michael went on to community college where he spent two years taking theater courses with a continued emphasis on lighting.
In 1983 he took over the management of a small LA based stage lighting rental house which provided production services for theater, rock-n-roll shows, and corporate special events. In 1992, Michael moved to the Hollywood area and befriended a cinematographer who was interested in his theatrical back round for the shooting of some music videos. After purchasing a couple of light meters, he had now found a whole new genre of lighting - film lighting. Because of his management capabilities, and vast experience in lighting design, he succeeded in film lighting quickly. Soon he was gaffing music videos, small commercials, and ENG shoots. When the opportunity to work on a Roger Corman low budget feature came along, Michael enjoyed the opportunity to learn narrative film making. Through continued networking with independent film crews, Michael was now gaffing regularly.
In 1997 one of those films turned union in the middle of production, and his career in film took a dramatic change. Now a new member of IATSE Local 728, he could work on the largest productions in Hollywood, but did not have any union cinematographer contacts.
Michael began on the rigging crews of some big studio movies. This experience turned out to be exactly the training necessary to prepare for gaffing large union projects. There is nowhere in the non-union world to learn how the big studio movies are lit, so the rigging crew was the key to advancement. Rigging gaffer opportunities presented themselves, and then union gaffer jobs. Working now with many world renowned cinematographers, Michael continues to enjoy film lighting to this day.
- IMDb Mini Biography By: Anonymous