John Bartley
Cinematographer
About This Interview
On his approach to The X-Files, John Bartley says: “They thought it was crazy to go that dark, to get things down that far. Sometimes it's a little nail-biting and you’ve got to make sure that it's actually there— or something’s there. Directors would look at me and say, you okay with that? They still do that today too.” John Bartley won an Emmy Award for his influential cinematography of The X-Files and also served as the DP on such series as Lost and Roswell.
In his Archive interview, Bartley talks about breaking into TV in Australia and his move to Canada and the US, where he became a gaffer in TV and films. He discusses his transition from gaffer to Director of Photography, initially with the feature film Beyond the Stars, a film that he later says was among his hardest projects to light. He then speaks about his work in series television, starting with the police drama The Commish, and then The X-Files.
For The X-Files, he recalls how he came to be hired, discusses the dark look to the series and his efforts to add color as it continued, and recalls working with the series leads. He recounts being hired on Lost and describes the challenges posed by the series’ location work in Hawaii; he also notes the significant use of camera movement on Lost, and speaks about the show’s production team.
Other TV projects Bartley touches on include: fantasy/adventure series Early Edition, sci-fi series Roswell, and the television movie Odd Girl Out. Throughout the interview, he comments on being concerned with matching the lighting throughout a project, shooting in the 16 x 9 format but being aware of “TV safe,” and how the introduction of HD effects his work.
John Bartley was interviewed in North Hollywood, CA on May 8, 2009; Stephen J. Abramson conducted the two-and-a-half hour interview.
In his Archive interview, Bartley talks about breaking into TV in Australia and his move to Canada and the US, where he became a gaffer in TV and films. He discusses his transition from gaffer to Director of Photography, initially with the feature film Beyond the Stars, a film that he later says was among his hardest projects to light. He then speaks about his work in series television, starting with the police drama The Commish, and then The X-Files.
For The X-Files, he recalls how he came to be hired, discusses the dark look to the series and his efforts to add color as it continued, and recalls working with the series leads. He recounts being hired on Lost and describes the challenges posed by the series’ location work in Hawaii; he also notes the significant use of camera movement on Lost, and speaks about the show’s production team.
Other TV projects Bartley touches on include: fantasy/adventure series Early Edition, sci-fi series Roswell, and the television movie Odd Girl Out. Throughout the interview, he comments on being concerned with matching the lighting throughout a project, shooting in the 16 x 9 format but being aware of “TV safe,” and how the introduction of HD effects his work.
John Bartley was interviewed in North Hollywood, CA on May 8, 2009; Stephen J. Abramson conducted the two-and-a-half hour interview.
Related To This Video
Featured Content
Video: Lost: "Through the Looking Glass: Part 1" [season 3, episode 22] (airdate: 5/23/07), from Hulu.
Resources
Links:
DVD: The X-Files: The Complete Collector's Edition
DVD: Roswell: The Complete Series
DVD: Lost: The Complete First Season [Blu-Ray]
IMDb page on John Bartley
Wikipedia page on John Bartley
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Highlights
Director of Photography John Bartley on shooting Lost on location in Hawaii(03m 00s)
John Bartley on the responsibilities of a Director of Photography (02m 45s)
John Bartley on how the DPs rotated on Early Edition (00m 44s)
John Bartley on lighting The X-Files when he first started (01m 54s)
Director of Photography John Bartley on the importance of the camera operator (and other camera crew) (01m 21s)
John Bartley on the set of The X-Files and the long hours he and the crew put in (01m 51s)
Director of Photography John Bartley on working with X-Files leads David Duchovny and Gillian Anderson (01m 26s)
Director of Photography John Bartley on the look of The X-Files (01m 04s)
Director of Photography John Bartley on leaving The X-Files (00m 48s)
Director of Photography John Bartley on the amount of darkness in the lighting of The X-Files (00m 38s)
Director of Photography John Bartley on his experience working on Early Edition following The X-Files (01m 20s)
John Bartley on set security to keep the plot secret on Lost(01m 26s)
Chapters
- Chapter 1
- On his background and the interest in theater and photography; on his first television work in Australian TV; on moving to Toronto and getting non-union work; on transitioning from gaffer to DP
- On shooting The Commish in 16mm; on film stocks and the HD format; on the schedule of The Commish and on the series' star Michael Chiklis; on matching in lighting; on how the DPs rotated on Early Edition; on shooting TV versus features
- On getting hired for The X-Files; on his impressions of the X-Files pilot, and his own work on the series; on lighting The X-Files when he first started
- On the set of The X-Files and the long hours he and the crew put in; on adding color to The X-Files as he continued with the show; on the kinds of equipment he used on The X-Files; on watching The X-Files on TV while he worked on the show
- Chapter 2
- On the importance of the camera operator (and other camera crew); on roaming the set during shots; on insert shots; on the directors of The X-Files; on a typical workday on The X-Files; on working with X-Files leads David Duchovny and Gillian Anderson
- On the look of The X-Files; on leaving The X-Files; on the amount of darkness in the lighting of The X-Files; on his experience working on Early Edition following The X-Files
- On "fast" workdays on Lost; on the 16 x 9 format; on the challenges of shooting Lost in daylight; on shooting Lost with frequent camera movement; on getting hired for Roswell and the show's "look"
- On the cast of Roswell; on X-Files / Roswell producer-director David Nutter; on the established routine on Lost when he started and his production team; on the producers of Lost; on Lost as a groundbreaking series; on shooting Lost on location in Hawaii
- Chapter 3
- On conveying time travel on Lost; on his initial reading of Lost scripts; on set security to keep the plot secret on Lost
- on the directors and cast of Lost; on shooting underwater scenes (employing camera operator Don King) on Lost; on advice to newcomers; on his proudest career achievements



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