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The Mailer Review/Volume 1, 2007/The Untold Story Behind The Executioner’s Song: A Conversation with Lawrence Schiller: Difference between revisions
The Mailer Review/Volume 1, 2007/The Untold Story Behind The Executioner’s Song: A Conversation with Lawrence Schiller (view source)
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Schiller and I spent only six hours together, but in that time he revealed to me details of his often stormy relationship with Mailer, his encounters with Gary and Nicole, and the many deals he pulled off in making the book and film. | Schiller and I spent only six hours together, but in that time he revealed to me details of his often stormy relationship with Mailer, his encounters with Gary and Nicole, and the many deals he pulled off in making the book and film. | ||
''JS'': You started your career as a sports photographer, correct? | '''JS''': You started your career as a sports photographer, correct? | ||
''LS'': My younger brother and I were raised as athletes. We enjoyed playing tennis. When he beat me in the 11-and-under I realized that I was more heavy than he was. My way of participating in athletics from then on was to become a sports photographer. My father was a photographer and ran a portrait studio in San Diego and eventually opened a camera store in Pacific Beach. He gave me a camera when I was young, about 12, 13 years old. So I started taking pictures at a very young age of sports people because it was my way of taking part in athletics. | '''LS''': My younger brother and I were raised as athletes. We enjoyed playing tennis. When he beat me in the 11-and-under I realized that I was more heavy than he was. My way of participating in athletics from then on was to become a sports photographer. My father was a photographer and ran a portrait studio in San Diego and eventually opened a camera store in Pacific Beach. He gave me a camera when I was young, about 12, 13 years old. So I started taking pictures at a very young age of sports people because it was my way of taking part in athletics. | ||
I learned the skill of anticipation. To be a good sports photographer in those days, you had to, because there were no motorized cameras. If you throw a ball in the air there is a moment in which the ball is motionless before it starts to come down. And if you capture it at that moment, even at the slow shutter speed needed for shooting in color, it will be needle sharp. | I learned the skill of anticipation. To be a good sports photographer in those days, you had to, because there were no motorized cameras. If you throw a ball in the air there is a moment in which the ball is motionless before it starts to come down. And if you capture it at that moment, even at the slow shutter speed needed for shooting in color, it will be needle sharp. | ||