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Lou Barlia, who served as a camera operator on films from Love Story, Death Wish, Jaws and The Big Chill to Brighton Beach Memoirs, Steel Magnolias and Frankie and Johnny, has died. He was 92.
Barlia died June 25 at his home in Las Vegas after a brief battle with mesothelioma, his family announced.
In his four-decade career, Barlia also looked through a viewfinder on Serpico (1973), The Prisoner of Second Avenue (1975), Next Stop, Greenwich Village (1976), Slap Shot (1977), An Unmarried Woman (1978), Eyes of Laura Mars (1978), Superman (1978), Gloria (1980), Mr. Mom (1983), The Accidental Tourist (1988), Hudson Hawk (1991) and Bruno (2000), among many other films.
He received a lifetime achievement award from the Society of Operating Cameramen in 2000, the year he retired.
Born and raised in New York, Barlia began his love affair with photography in his early teens when his dad brought home a camera that he had found on train tracks in the city.
Lou Barlia, who served as a camera operator on films from Love Story, Death Wish, Jaws and The Big Chill to Brighton Beach Memoirs, Steel Magnolias and Frankie and Johnny, has died. He was 92.
Barlia died June 25 at his home in Las Vegas after a brief battle with mesothelioma, his family announced.
In his four-decade career, Barlia also looked through a viewfinder on Serpico (1973), The Prisoner of Second Avenue (1975), Next Stop, Greenwich Village (1976), Slap Shot (1977), An Unmarried Woman (1978), Eyes of Laura Mars (1978), Superman (1978), Gloria (1980), Mr. Mom (1983), The Accidental Tourist (1988), Hudson Hawk (1991) and Bruno (2000), among many other films.
He received a lifetime achievement award from the Society of Operating Cameramen in 2000, the year he retired.
Born and raised in New York, Barlia began his love affair with photography in his early teens when his dad brought home a camera that he had found on train tracks in the city.
- 8/8/2022
- by Mike Barnes
- The Hollywood Reporter - Movie News
Veteran cameraman Lou Barlia, whose film credits include “Superman” and “Steel Magnolias,” died in his home in Las Vegas on Saturday, June 25, after a brief battle with mesothelioma cancer. He was 92.
Born and raised in New York, Barlia started his photography career in his early teens after his father brought home a camera he spotted on the train tracks. During and after his high school years, Barlia worked in a photo studio at the School of Industrial Arts in New York. He was later drafted into the army, where he received the Bronze Star and other citations for his service as a combat cameraman during the Korean War.
In the 1950s and ’60s, Barlia worked on several commercials, documentaries and TV shows before starting his career in feature films in the 1970s. He worked behind the camera for dozens of films between the ’70s and late ’90s, including “Serpico,” “Slap Shot,...
Born and raised in New York, Barlia started his photography career in his early teens after his father brought home a camera he spotted on the train tracks. During and after his high school years, Barlia worked in a photo studio at the School of Industrial Arts in New York. He was later drafted into the army, where he received the Bronze Star and other citations for his service as a combat cameraman during the Korean War.
In the 1950s and ’60s, Barlia worked on several commercials, documentaries and TV shows before starting his career in feature films in the 1970s. He worked behind the camera for dozens of films between the ’70s and late ’90s, including “Serpico,” “Slap Shot,...
- 8/3/2022
- by Michaela Zee
- Variety Film + TV
When I revisited the classic tearjerker Love Story last month, I was struck by the intimate connection between the actors and the camera; at every given moment, Ryan O’Neal and Ali MacGraw’s doomed young lovers seemed perfectly showcased for maximum emotional impact, every gesture and expression captured from the proper distance and in perfect proportion from shot to shot—undoubtedly one of the reasons the film was the most popular of its year (1970), whether audiences were conscious of the delicacy of the framing or not. What’s all the more impressive about Love Story’s camerawork is how off the cuff some […]
The post "The Second Movie I Operated On": Camera Operator Lou Barlia on Love Story first appeared on Filmmaker Magazine.
The post "The Second Movie I Operated On": Camera Operator Lou Barlia on Love Story first appeared on Filmmaker Magazine.
- 3/10/2021
- by Jim Hemphill
- Filmmaker Magazine - Blog
When I revisited the classic tearjerker Love Story last month, I was struck by the intimate connection between the actors and the camera; at every given moment, Ryan O’Neal and Ali MacGraw’s doomed young lovers seemed perfectly showcased for maximum emotional impact, every gesture and expression captured from the proper distance and in perfect proportion from shot to shot—undoubtedly one of the reasons the film was the most popular of its year (1970), whether audiences were conscious of the delicacy of the framing or not. What’s all the more impressive about Love Story’s camerawork is how off the cuff some […]
The post "The Second Movie I Operated On": Camera Operator Lou Barlia on Love Story first appeared on Filmmaker Magazine.
The post "The Second Movie I Operated On": Camera Operator Lou Barlia on Love Story first appeared on Filmmaker Magazine.
- 3/10/2021
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
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