Imero Fiorentino
About This Interview
Imero Fiorentino was interviewed for two hours plus in New York, NY. Fiorentino discusses his early years and influences - going to Radio City Music Hall and being intrigued by theater arts, and joining the “stage squad” in high school theater. He talks about the devastating moment in his life when he lost an eye and how he used the experience as a driving force in his pursuit of success. He recalls his start in television in 1950, working, trial-by-fire as a staff lighting director at ABC. Fiorentino describes developing creative lighting and working for ABC anthology series Paul Whiteman’s Goodyear Revue, Tales of Tomorrow, and Omnibus (on which used leaves to create a shadow effect). He tells tales of some “live” television mishaps (too much flash powder once knocked over a camera; a bed in a tender scene fell down twice; a boom shadow appeared through an entire scene...). He details lighting the first televised appearance of the Bolshoi Ballet, a particular favorite; speaks of forming his own company, Imero Fiorentino Associates; and recounts lighting the 1960 presidential debates, the Telstar satellite broadcast in 1962, and the World Showcase Pavillions at Disney’s Epcot Center. Throughout the interview, Fiorentino speaks of the craft of lighting -- working with crews and talent, utilizing equipment and how the tools of the trade have changed over the years, and creating mood with light. Karen Herman conducted the interview on September 15, 2006.
Related To This Video
Highlights
Lighting Director Imero Fiorentino on lighting the 1960 Presidential debates starting with the second one, following the first debate wherein Richard Nixon looked badly, making the best improvements he could (06m 04s)
Imero Fiorentino on lighting Neil Diamond
(05m 43s)
Imero Fiorentino on how lighting can create a mood (02m 54s)
Imero Fiorentino on how losing an eye changed him and affected his chosen profession
(02m 41s)
Lighting Director Imero Fiorentino on lighting Disney's Epcot Center (01m 43s)
Imero Fiorentino on Telstar I, the satellite that relayed the first live transatlantic transmission on July 10, 1962— the American flag outside the sending station at Andover, Maine (03m 24s)
Chapters
- Chapter 1
- On his childhood in Brooklyn; on radio shows and hobbies he enjoyed as a kid; on wanting to be a lighting designer from the time he was a little boy; on joining the Stage Squad in high school - building scenery and hanging lights for school productions; at attending Carnegie Tech (now Carnegie Mellon) and studying lighting and design
- On losing an eye before he went to college; on how losing an eye changed him and affected his chosen profession; on his father's death; on becoming the breadwinner of the family and how he got into television
- Chapter 2
- On getting hired at ABC television; on working with the lighting director engineer; on lighting experimental television programs at ABC; on the equipment with which he worked in the early days; on the role of a lighting director and lighting designer
- On the tools of a lighting director and how the tools have changed over the years; on daily changes to a lighting setup
- Chapter 3
- On how lighting can create a mood; on a color palette for a show; on how he works with directors; on working with performers and on-camera talent;
- On performers he's worked well with over the years - Neil Diamond; on lighting The U.S. Steel Hour at ABC; on lighting Omnibusand trying to give depth and shadow; on some of his favorite productions that he worked on
- Chapter 4
- On Paul Whiteman's Goodyear Revue, with Glenn Osser (conducting) and Paul Whiteman; on an accident that happened in filming the live opening of Tales of Tomorrow; on a shadow thrown on the actors from a microphone on live TV, during the first U.S. Steel Hour production "P.O.W." with Richard Kiley
- On the first televised appearance of the Bolshoi Ballet, Best of the Bolshoi (local ABC stations, 1959; edited and re-aired on network ABC, 1965), directed by Charles S. Dubin
- On leaving ABC and starting his own company
- Chapter 5
- On Telstar I, the satellite that relayed the first live transatlantic transmission on July 10, 1962— the American flag outside the sending station at Andover, Maine; on working with Presidents on their television appearances; on lighting the 1960 Presidential debates starting with the second one, following the first debate wherein Richard Nixon looked badly, making the best improvements he could
- On working on lighting Disney's Epcot Center; on then-current projects; on studio lighting; on advice to aspiring lighting directors; on creating a good lighting plan; on working with new technology; on how he'd like to be remembered


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