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Imero Fiorentino

Lighting Designer

"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

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

  • Shows
  • People
  • Topics
  • Genres

Shows

  • Best of the Bolshoi, The
  • Omnibus
  • Paul Whiteman’s Goodyear Revue
  • Tales of Tomorrow
  • U.S. Steel Hour, The

People

  • Charles Dubin
  • John Frankenheimer
  • Tad Mosel
  • Rod Serling

Topics

  • TV’s Golden Age (1940s & ‘50s)
  • Technological Innovation
  • Television and the Presidency

Genres

  • Classic Anthology Series
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  • Highlights
  • Chapters
  • Shows
  • People
  • Topics
  • Genres

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)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 <br/> (05m 43s)Imero Fiorentino on lighting Neil Diamond
    (05m 43s)
  • Imero Fiorentino on how lighting can create a mood (02m 54s)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 <br/> (02m 41s)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)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)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

Shows

  • Best of the Bolshoi, The
    • Lighting Director Imero Fiorentino 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 (11m 41s)
  • Omnibus
    • Imero Fiorentino on lighting Omnibus (02m 58s)
    • Imero Fiorentino on lighting Agnes DeMille in a ballet production on Omnibus - one of his favorite moments (02m 17s)
  • Paul Whiteman’s Goodyear Revue
    • Lighting Director Imero Fiorentino on Paul Whiteman's Goodyear Revue, with Glenn Osser (conducting) and Paul Whiteman; a story about an opera singer who refused to sing the show's finale (04m 26s)
  • Tales of Tomorrow
    • Lighting Director Imero Fiorentino on an accident that happened in filming the live opening of Tales of Tomorrow (02m 58s)
  • U.S. Steel Hour, The
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program
      (02m 24s)
    • Lighting Director Imero Fiorentino on mishaps on live TV including one he briefly recalls from U.S. Steel Hour: "Fearful Decision" (02m 58s)
    • Lighting Director Imero Fiorentino 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 (03m 05s)

People

  • Tallulah Bankhead
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program (01m 41s)
  • Vic Damone
    • Imero Fiorentino on learning from the Stage Squad adviser in school and lighting a young Vic Damone (02m 12s)
  • Agnes DeMille
    • Imero Fiorentino on lighting Agnes DeMille in a ballet production on Omnibus - one of his favorite moments (02m 17s)
  • Neil Diamond
    • Imero Fiorentino on lighting Neil Diamond (05m 43s)
  • Charles Dubin
    • Lighting Director Imero Fiorentino 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 (11m 41s)
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program and on other dramas
      (01m 41s)
  • John F. Kennedy
    • 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; also the issues he had lighting JFK due to RFK's interference (06m 04s)
  • Robert F. Kennedy
    • Lighting Director Imero Fiorentino on the issues he had lighting JFK due to RFK's interference (06m 04s)
  • Douglas Fairbanks, Sr.
    • Imero Fiorentino on lighting experimental television at ABC
      (05m 04s)
  • John Frankenheimer
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program and on other dramas (01m 41s)
  • Dustin Hoffman
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program and on other dramas (01m 41s)
  • Grace Kelly
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program and on other dramas (01m 41s)
  • Richard Kiley
    • Lighting Director Imero Fiorentino 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 (03m 05s)
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program (01m 41s)
  • Richard M. Nixon
    • 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; also the issues he had lighting JFK due to RFK's interference (06m 04s)
  • Tad Mosel
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program and on other dramas (01m 41s)
  • Reginald Rose
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program and on other dramas (01m 41s)
  • William S. Paley
    • 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; also the issues he had lighting JFK due to RFK's interference (05m 37s)
  • Robert Saudek
    • Imero Fiorentino on lighting Omnibus (02m 58s)
  • George Schaefer
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program and on other dramas (01m 41s)
  • Rod Serling
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program (01m 41s)
  • Dinah Shore
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC and the people he worked with on the program and on other dramas (01m 41s)
  • Paul Whiteman
    • Lighting Director Imero Fiorentino on Paul Whiteman's Goodyear Revue, with Glenn Osser (conducting) and Paul Whiteman; a story about an opera singer who refused to sing the show's finale (04m 26s)

Topics

  • TV’s Golden Age (1940s & ‘50s) > Drama
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC
      (02m 24s)
    • Lighting Director Imero Fiorentino on Paul Whiteman's Goodyear Revue, with Glenn Osser (conducting) and Paul Whiteman; a story about an opera singer who refused to sing the show's finale (04m 26s)
    • Lighting Director Imero Fiorentino 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 (03m 05s)
  • Technological Innovation
    • Imero Fiorentino on the equipment with which he worked in the early days (03m 19s)
    • Imero Fiorentino on the tools of a lighting director and how the tools have changed over the years (09m 21s)
    • Lighting Director 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 28s)
    • Lighting Director Imero Fiorentino on working with new technology (22m 36s)
  • Television and the Presidency
    • 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; also the issues he had lighting JFK due to RFK's interference (06m 04s)

Genres

  • Classic Anthology Series
    • Imero Fiorentino on lighting The U.S. Steel Hour at ABC (02m 24s)
    • Imero Fiorentino on lighting Omnibus (05m 15s)
    • Lighting Director Imero Fiorentino on Paul Whiteman's Goodyear Revue, with Glenn Osser (conducting) and Paul Whiteman; a story about an opera singer who refused to sing the show's finale (04m 26s)
    • Lighting Director Imero Fiorentino 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 (03m 05s)
  • News and Documentary
    • 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; also the issues he had lighting JFK due to RFK's interference (06m 04s)
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