"Lighting changes all the time. Lighting is a living thing. Lighting a program is not light it and walk away from it. Sometimes you can do that, but it is ever-changing, just as the face is ever-changing. You don't get up in the morning looking exactly the same as you did yesterday."
About This Interview
In his two-hours plus Archive interview, Imero Fiorentino (1928-2013) 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 he 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, how the tools of the trade have changed over the years, and creating mood with light. Karen Herman conducted the interview in New York, NY. on September 15, 2006.