# Michael Chapman (cinematographer)

Michael Crawford Chapman, ASC (November 21, 1935 – September 20, 2020) was an American cinematographer and film director well known for his work on many films of the American New Wave of the 1970s and in the 1980s with directors such as Martin Scorsese and Ivan Reitman. He shot more than forty feature films.

## Early life and education

Chapman was born in New York City in 1935, but raised in Wellesley, Massachusetts, a suburb of Boston, without much of an interest in film. As a youth, he was more interested in sports than photography or painting. He graduated from high school at Andover, a college preparatory school in Andover, Massachusetts. After high school, he attended Columbia College, where he majored in English. Upon his graduation, he worked temporarily as a brakeman for the Erie Lackawanna Railroad in the Midwest. In 1958, he was drafted into the U.S. Army, where he served in the Signal Corps stationed in New Jersey and Thule Air Base in Greenland.
Chapman's father-in-law, Joe Brun, got him his first job in the industry: working as an assistant cameraman and focus puller on commercials, as there were not enough feature films being shot in New York at the time.

## Career

Chapman began his film career as a camera operator, distinguishing himself on Francis Ford Coppola's The Godfather (1972) and Steven Spielberg's Jaws (1975) before making the leap to cinematographer. He fondly remembered his time as an operator and called it one of the best jobs in the movie business because "you get to see the film before anyone else does!"
As a cinematographer, he became known for his two collaborations with Martin Scorsese: Taxi Driver (1976) and Raging Bull (1980). Chapman was also the cinematographer for the remake of Invasion of the Body Snatchers (1978). He and Scorsese were huge fans of The Band, and Chapman served as the principal cinematographer for their documentary on The Band, called The Last Waltz (1978). With nine cameras shooting at once, Chapman remembered that "the strategy for filming all of their songs was planned out in enormous detail."
Chapman's style tended to feature high contrasts and an aggressive use of strong colors. He was also adept at setting up complex camera movements quickly and improvising on the set. This style was epitomized in the boxing sequences in Raging Bull, during which the camera was often strapped to an actor through improvised rigs. His bold use of black-and-white cinematography on Raging Bull proved particularly difficult and earned Chapman his first Academy Award nomination. As with his work on Jaws, Chapman used a handheld camera to shoot much of the film.
Besides his work with Scorsese, Chapman worked as Director of Photography for directors Hal Ashby, Philip Kaufman, Martin Ritt, Robert Towne, Michael Caton-Jones, Andrew Davis, and Ivan Reitman. He occasionally made small cameos in films that he shot; he had also directed several films of his own, the best known being All the Right Moves (1983), starring Tom Cruise in one of his earliest roles.
In 1987, Chapman collaborated again with Scorsese on the 18-minute short film that served as the music video for Michael Jackson's Bad.
Chapman also shot a string of comedies in the late 1980s and early 1990s, such as Ghostbusters II and Kindergarten Cop, and admitted that he did not need to alter his style very much. But he has said, "On comedies, I use a little more fill light; you tend to create a lit atmosphere where the performers can be at home, where they can move around…without having to hit a precise mark." He became a member of the American Society of Cinematographers (ASC) in 1995.
His final film was Bridge to Terabithia (2007). According to the DVD commentary, Chapman planned to retire after the film was finished, saying he would like to have the last film he shot be a good one.

## Personal life

Chapman was married to screenwriter Amy Holden Jones. His father-in-law, Joe Brun, was an Oscar-nominated cinematographer who had emigrated from France in the early 20th century.
He stated later in his life that he no longer watched films directed by frequent collaborators Martin Scorsese or Steven Spielberg, as he knew their general style would not change much. "Unless a director makes some huge sea change in what he does, that the work, the mechanical work, is going to be vaguely the same — or of the same school, anyway — but what changes is the intelligence and passion behind it in the script." He also admitted that his preferred method was to watch movies at home and that he rarely, if ever, went to a theater any more.

## Death

Chapman died from congestive heart failure on September 20, 2020, at his home in Los Angeles.

## Filmography
### Cinematographer

Film
| Year | Title | Director |
| 1973 | The Last Detail | Hal Ashby |
| 1974 | The White Dawn | Philip Kaufman |
| 1976 | Taxi Driver | Martin Scorsese |
| 1976 | The Front | Martin Ritt |
| 1976 | The Next Man | Richard C. Sarafian |
| 1978 | Fingers | James Toback |
| 1978 | Invasion of the Body Snatchers | Philip Kaufman |
| 1978 | Shoot the Sun Down | David Leeds |
| 1979 | Hardcore | Paul Schrader |
| 1979 | The Wanderers | Philip Kaufman |
| 1980 | Raging Bull | Martin Scorsese |
| 1982 | Personal Best | Robert Towne |
| 1982 | Dead Men Don't Wear Plaid | Carl Reiner |
| 1983 | The Man with Two Brains | Carl Reiner |
| 1987 | The Lost Boys | Joel Schumacher |
| 1988 | Shoot to Kill | Roger Spottiswoode |
| 1988 | Scrooged | Richard Donner |
| 1989 | Ghostbusters II | Ivan Reitman |
| 1990 | Quick Change | Howard Franklin Bill Murray |
| 1990 | Kindergarten Cop | Ivan Reitman |
| 1991 | Doc Hollywood | Michael Caton-Jones |
| 1992 | Whispers in the Dark | Christopher Crowe |
| 1993 | The Fugitive | Andrew Davis |
| 1993 | Rising Sun | Philip Kaufman |
| 1996 | Primal Fear | Gregory Hoblit |
| 1996 | Space Jam | Joe Pytka |
| 1998 | Six Days, Seven Nights | Ivan Reitman |
| 1999 | The Story of Us | Rob Reiner |
| 1999 | The White River Kid | Arne Glimcher |
| 2000 | The Watcher | Joe Charbanic |
| 2001 | Evolution | Ivan Reitman |
| 2004 | House of D | David Duchovny |
| 2004 | Eulogy | Michael Clancy |
| 2004 | Suspect Zero | E. Elias Merhige |
| 2006 | Hoot | Wil Shriner |
| 2007 | Bridge to Terabithia | Gábor Csupó |
TV movies
| Year | Title | Director |
| 1975 | Death Be Not Proud | Donald Wrye |
| 1988 | Gotham | Lloyd Fonvielle |
Miniseries
| Year | Title | Director |
| 1978 | King | Abby Mann |
Documentary film
| Year | Title | Director | Notes |
| 1978 | The Last Waltz | Martin Scorsese | Concert film |
| 1978 | American Boy: A Profile of Steven Prince | Martin Scorsese | |
Music video
| Year | Title | Artist | Director |
| 1987 | Bad | Michael Jackson | Martin Scorsese |

### Director

Film
* All the Right Moves (1983)
* The Clan of the Cave Bear (1986)
* The Viking Sagas (1995) (Also story writer)
TV movie
* Annihilator (1986)
Music video
* Dare Me, by The Pointer Sisters (1985)
Concert film
* Peter Gabriel: Live in Athens 1987 (2013)

## Awards and nominations

| Year | Association | Category | Title | Result |
| 1980 | Academy Awards | Best Cinematography | Raging Bull | Nominated |
| 1993 | Academy Awards | Best Cinematography | The Fugitive | Nominated |
| 1993 | American Society of Cinematographers | Outstanding Achievement in Cinematography | The Fugitive | Nominated |
| 2003 | American Society of Cinematographers | Lifetime Achievement Award | Lifetime Achievement Award | Won |
| 1988 | CableACE Award | Best Cinematography | Gotham | Nominated |
| 2016 | Camerimage | Lifetime Achievement Award | Lifetime Achievement Award | Won |
| 1980 | National Society of Film Critics | Best Cinematography | Raging Bull | Won |
| 1975 | Primetime Emmy Awards | Outstanding Cinematography | Death Be Not Proud | Nominated |