Guy Green Rip

[Malcolm]

Oscar-winning cinematographer Guy Green, who also wrote, produced and

directed, died Thursday in Los Angeles. He was 91.

Green's black-and-white filming of "Great Expectations" nabbed him the

1947 Academy Award and made him the first British d.p. honored by the

Acad.

Born in Somerset, England, Green started his career as a portrait

photographer in London. He worked his way up through the ranks and

became a prominent d.p.

After lensing many films, including "Oliver Twist," "The Way Ahead" and

"Captain Hornblower," Green expanded his career to directing,

screenwriting and producing.

Green helmed the 1958 British "Sea of Sand," which earned an Intl. Crix

Award at the Berlin Film Festival. In 1961, Green directed Stuart

Whitman to an Academy Award in "The Mark." His directing credits

include "Light in the Piazza," "Diamond Head" and "The Devil's

Advocate."

Green's 1965 adapted screenplay "A Patch of Blue" earned him a Writers

Guild nomination. He also produced and directed the pic that won

Shelley Winters an Oscar for supporting actress and earned a lead

actress nomination for Elizabeth Hartman.

The Hollywood Foreign Press recognized the film with nominations for

picture -- drama; director; screenplay; actor in a leading role ---

drama for Sidney Poitier; actress in a leading role -- drama for

Hartman; and a win for Hartman as new star of the year.

The British government awarded Green an Officer of the British Empire

in 2004 for his distinctive style and creativity in the film industry,

and he received a special lifetime achievement kudo from the British

Academy of Film and Television Arts.

"Guy was a leading figure in cinema both in the U.K. and the United

States for over 40 years. I had a great respect for his remarkable

talent," said director Richard Attenborough, former president of BAFTA.

"He was a great friend and will be sorely missed on both sides of the

Atlantic."

He is survived by wife Jo, a daughter, a son-in-law and grandchildren.

[Jim]

Oscar-winning cinematographer Guy Green, who also wrote, produced and

directed, died Thursday in Los Angeles. He was 91.

Green's black-and-white filming of "Great Expectations" nabbed him the

1947 Academy Award and made him the first British d.p. honored by the

Acad.

Born in Somerset, England, Green started his career as a portrait

photographer in London. He worked his way up through the ranks and

became a prominent d.p.

After lensing many films, including "Oliver Twist," "The Way Ahead" and

"Captain Hornblower," Green expanded his career to directing,

screenwriting and producing.

Green helmed the 1958 British "Sea of Sand," which earned an Intl. Crix

Award at the Berlin Film Festival. In 1961, Green directed Stuart

Whitman to an Academy Award in "The Mark." His directing credits

include "Light in the Piazza," "Diamond Head" and "The Devil's

Advocate."

Green's 1965 adapted screenplay "A Patch of Blue" earned him a Writers

Guild nomination. He also produced and directed the pic that won

Shelley Winters an Oscar for supporting actress and earned a lead

actress nomination for Elizabeth Hartman.

The Hollywood Foreign Press recognized the film with nominations for

picture -- drama; director; screenplay; actor in a leading role ---

drama for Sidney Poitier; actress in a leading role -- drama for

Hartman; and a win for Hartman as new star of the year.

The British government awarded Green an Officer of the British Empire

in 2004 for his distinctive style and creativity in the film industry,

and he received a special lifetime achievement kudo from the British

Academy of Film and Television Arts.

"Guy was a leading figure in cinema both in the U.K. and the United

States for over 40 years. I had a great respect for his remarkable

talent," said director Richard Attenborough, former president of BAFTA.

"He was a great friend and will be sorely missed on both sides of the

Atlantic."

He is survived by wife Jo, a daughter, a son-in-law and grandchildren.

Since my first introduction to this BritMovie site, I was never interested in the directors; camermen/women or any others behind the camera, so over the past months in this section, I am now more aware.



It never occured to me to think of the 'makers', only the story, actors, etc. So, from now on I shall make more of an effort to learn about those who made my favourite films.

[Steve Crook]

Since my first introduction to this BritMovie site, I was never interested in the directors; camermen/women or any others behind the camera, so over the past months in this section, I am now more aware.



It never occured to me to think of the 'makers', only the story, actors, etc. So, from now on I shall make more of an effort to learn about those who made my favourite films.

Cinema is the ultimate collaborative art. Everyone's job is equally important whichever side of the camera they are on and whatever billing they get.



If the make-up, costume, lighting etc. people do a bad job it's often immediately noticible.

If they do their job well you usually don't notice.

Every performer, even the extras, are as important as the stars when the camera is focussed on them for a few seconds.



Steve

[MrDrakesDuck]

Personally I'm not much interested in producers/directors/cinematographers etc.



For me it detracts from the escapism of the films to know to much.

[DB7]

Always find it interesting to see a film-makers grounding and how it might have influenced his visual style and output.



Back to Guy Green, was only a couple of weeks ago I watched his enjoyable filler River Beat on MM, his first feature if memory serves. The Snorkel happens to be another low-budget favourite directed by him.

[smudge]

Another significant loss.



Mind you, 91 is a fine innings...



Some of his work for Lean was absolutely awesome. You can rarely beat the effectiveness of monochrome.



RIP



Respect,



SMUDGE

[JamesM]

I repeatedly suggested to Carlton and then Granda to engage in the activity of recording audio commentaries for "In Which We Serve", "This Happy Breed", "Great Expectations" andf "Oliver Twist" etc with Guy Green and Ronlad Neame to enhance DVD releasesn but my ideas fell on deaf ideas. I can no longer persuade them of this idea.

[Jim]

Personally I'm not much interested in producers/directors/cinematographers etc.



For me it detracts from the escapism of the films to know to much.

Yes MDD, I think that must have been my reasons for not wanting to know the credit list at the end of the film. But, I watch them now - even those that go on for 7, 8 or 10 minutes - sad or what?