William Klages
Lighting Director
About This Interview
William Klages was interviewed for four-and-a-half hours in Los Angeles, CA. Klages describes at length the craft of lighting for television, from his first interest in pursuing the field, to the challenges involved in the lighting of various types of programs. He talks about his early years learning to use light in the relatively new medium of television, and touches on the companies that supplied the equipment in those days. He recounts his entrance into the business as a video maintenance engineer at NBC, working on such shows as Robert Montgomery Presents, and details the anthology series Playwrights '56, his first job as a lighting director. Klages recalls his significant contributions to The Perry Como Show (and Como's later Kraft Music Hall ) and outlines several examples of lighting setups on this variety series. He discusses the many specials on which he served as lighting director, including Merman on Broadway (Ethel Merman), Herb Alpert and the Tijuana Brass, and Sills and Burnett at the Met (Beverly Sills and Carol Burnett), as well as specials he did featuring Dolly Parton, Barbra Streisand, Dorothy Hamill, and Olivia Newton-John. Additionally, he speaks of working on such varied programs as the Ali vs. Frazier title fight to the series Hullabaloo and Faerie Tale Theatre. Henry Colman conducted the interview on February 12, 2001.
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Highlights
William Klages on working on JFK's inauguration
Clip begins at: 23:37, Duration: 03m 59s
William Klages on the role of a lighting director and HMI; on early unions for lighting technicians
Clip begins at: 22:18, Duration: 07m 36s
William Klages on lighting The Ernie Kovacs Show
Clip begins at: 04:22, Duration: 04m 08s
William Klages on lighting the Miss America Pageants
Clip begins at: 16:30, Duration: 04m 42s
William Klages on working on the Barbra Streisand Specials
Clip begins at: 00:23, Duration: 04m 11s
Interview
- Part 1
- On his childhood and early influences; on excelling in high school; on attending engineering/Polytechnic school; on getting a higher degree at Columbia University and becoming a video maintenance engineer for NBC; on his interest in lighting; on attending the 1939 World's Fair
Clip begins at: 0:46 - On his first job at NBC; on the early equipment at NBC; on the influence of cinematography on him; on lighting techniques and lighting faces
Clip begins at: 10:36 - Part 2
- On NBC's Studio 8H; on early kinescopes; on working on Your Hit Parade and All Star Revue; on early color TV; on his responsibilities as a video control engineer; on control rooms for live television
Clip begins at: 0:3 - On rehearsals for live television; on working with Milton Berle; on being a video man on Your Hit Parade and Robert Montgomery Presents; on returning to the Navy; on becoming lighting director at NBC
Clip begins at: 16:07 - Part 3
- On his role as lighting director at NBC; on working with Delbert Mann and Fred Coe on Playwrights '56; on lighting mishaps
Clip begins at: 0:0 - On the role of a lighting director; on his preparations for lighting on Playwrights '56; on unions
Clip begins at: 22:18 - Part 4
- On the role of a lighting designer; on the greatest compliment he's ever received; on putting a design together and happy accidents from which he learned techniques
Clip begins at: 0:0 - On lighting equipment; on techniques he developed on The Perry Como Show
Clip begins at: 19:56 - Part 5
- On flattering lighting for actors and actresses; on working with Liza Minnelli; on lighting tricks; on lighting and makeup working together; on lighting in multi-camera shows
Clip begins at: 0:28 - On basic shots a director uses on TV shows - single shots, reactions, etc.; on lighting an Ethel Merman Special; on lighting and pre-lighting The Perry Como Show; on losing power during a Dick Clark show
Clip begins at: 13:33 - Part 6
- On working on a Dick Clark show when the power went out; on shooting on location all over the world; on the toughest show he ever did - a Dolly Parton Christmas Special;on how color TV changed lighting; on how lighting can help create a mood for a show - lighting for romance, suspense, etc.;
Clip begins at: 0:0 - On contrast ratios; on lighting for film and video; on color temperature; on doing commercials at NBC
Clip begins at: 20:04 - Part 7
- On lighting safety; on lighting The Ernie Kovacs Show, Ray Bolger's Washington Square, and The Grammys; on lighting The Nat King Cole Show
Clip begins at: 0:25 - On lighting Queen for a Day, The Miss America Pageants, and The Kraft Music Hall; on working on JFK's inauguration; on Pat Boone's Coca Cola Special and Barbra Streisand's TV Specials
Clip begins at: 15:52 - Part 8
- On working on the Barbra Streisand Specials ;on lighting Barbra Streisand on The Rosie O'Donnell Show; on lighting Hullabaloo; on leaving NBC in 1970 and moving to Los Angeles
Clip begins at: 0:23 - On working on the Joe Frazier-Muhammed Ali fight; on Alex Segal; on his Emmy nominations and wins; on lighting award shows; on Fairy Tale Theater with Shelley Duvall; on special effects
Clip begins at: 12:30 - Part 9
- On entertainers with whom he's worked
Clip begins at: 0:37 - On technological improvements in lighting during his career; on working on In Living Color; on his current projects; on directors with whom he's enjoyed working; on lighting equipment; on advice to aspiring lighting directors; on how he'd like to be remembered
Clip begins at: 21:02


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