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  • John Bailey, ‘Ordinary People’ Cinematographer and Former Film Academy President, Dies at 81

    John Bailey, ‘Ordinary People’ Cinematographer and Former Film Academy President, Dies at 81

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    John Bailey, the cinematographer on Ordinary People, Groundhog Day, As Good as It Gets and dozens of other notable films who endured two “stressful” terms as president of the Academy of Motion Picture Arts and Sciences, died Friday. He was 81.

    Bailey died in Los Angeles, his wife, Oscar-nominated film editor Carol Littleton (E.T. the Extra-Terrestrial), announced.

    ”It is with deep sadness I share with you that my best friend and husband, John Bailey, passed away peacefully in his sleep early this morning,” she said in a statement. “During John’s illness, we reminisced how we met 60 years ago and were married for 51 of those years. We shared a wonderful life of adventure in film and made many long-lasting friendships along the way. John will forever live in my heart.” 

    They worked on more than a dozen features together.

    The Southern California-raised Bailey served as the director of photography for director Paul Schrader on American Gigolo (1980), Cat People (1982), Mishima: A Life in Four Chapters (1985), Light of Day (1987) and Forever Mine (1999) and collaborated with Lawrence Kasdan on The Big Chill (1983), Silverado (1985), The Accidental Tourist (1988) and Wyatt Earp (1994).

    He had another fruitful relationship with director Ken Kwapis, working with him on six films: Vibes (1988), The Sisterhood of the Traveling Pants (2005), License to Wed (2007), He’s Just Not That Into You (2009), Big Miracle (2012) and A Walk in the Woods (2015), where he reunited with Ordinary People director Robert Redford.

    Bailey also shot Michael Apted’s Continental Divide (1981), Stuart Rosenberg’s The Pope of Greenwich Village (1984), Wolfgang Petersen’s In the Line of Fire (1993), Robert Benton’s Nobody’s Fool (1994), Sam Raimi’s For Love of the Game (1999) and Callie Khouri’s Divine Secrets of the Ya-Ya Sisterhood (2002).

    In a 2020 interview for American Cinematographer magazine, Bailey said his philosophy was “imbued with an international perspective” — one of his touchstone movies was the Vittorio Storaro-shot The Conformist (1970) — and that he had “a singular focus on the kinds of films I wanted to make, even from the time I was an assistant and [camera] operator.”

    “I did not want to do tawdry films,” he added. “I did not want to do exploitive films or violent ones. I really held out, sometimes at great personal expense, literally, in terms of money, to do films that I knew were building a résumé that when I did become a director of photography, that was part of who I was.” 

    A member of the American Society of Cinematographers since 1985, he received a lifetime achievement award from the group in 2015.

    John Bailey (right) with director Lawrence Kasdan on the set of 1983’s ‘The Big Chill’

    Bailey also was a longtime board member at the Academy when he followed Cheryl Boone Isaacs as AMPAS president in August 2017, becoming the only one to come from the cinematography branch. He won reelection the next summer before being succeeded by David Rubin in August 2019.

    His tenure was marked by a huge increase in members, especially for international and non-Hollywood folks; the ousters of Harvey Weinstein, Bill Cosby and Roman Polanski from the Academy; a Kevin Hart hosting imbroglio; and three moves meant to boost Oscar TV ratings that were torpedoed amid great criticism: the creation of a “popular Oscar,” the elimination of three live best song performances on the show, and the sidelining of four winners’ speeches to commercial breaks.

    “I had no idea how stressful that job was going to be,” he said.

    The son of a machinist, John Ira Bailey was born on Aug. 10, 1942, in Moberly, Missouri, and raised in Norwalk, California. He edited the school newspaper at Pius X High School in Downey, California, then attended Santa Clara University and Loyola Marymount University, graduating in 1964.

    He decided to pursue cinematography while spending two years at USC in a new graduate program for film studies.

    Bailey spent more than a decade as an apprentice cinematographer/camera operator for the likes of Néstor Almendros, Vilmos Zsigmond and Charles Rosher Jr. on such films as Monte Hellman’s Two-Lane Blacktop (1971), Terrence Malick’s Days of Heaven (1976) and Robert Altman’s The Late Show and 3 Women, both released in 1977.

    The first studio feature he shot as D.P. was Boulevard Nights (1979), directed by Michael Pressman.

    Bailey broke through when two films he worked on back-to-back — the stylish neo-noir American Gigolo, just the third film that Schrader directed, and the restrained Oscar best picture winner Ordinary People, Redford’s directorial debut — were released within seven months of each other in 1980.

    Boulevard Nights producer Tony Bill had recommended Bailey to Redford. “Not that many first-time directors back then would have hired an inexperienced cinematographer,” Bailey said in 2015 on an ASC podcast, “but Redford certainly had the experience and the confidence [from his years as an actor] to do that.”

    For Bailey, the script was always paramount when it came to taking a job, and he had great screenplays to work with on Groundhog Day (1993), co-written by director Harold Ramis, and the best picture Oscar nominee As Good as It Gets (1997), co-written by director James L. Brooks.

    His cinematography résumé also included Honky Tonk Freeway (1981), That Championship Season (1982), Without a Trace (1983), Racing With the Moon (1984), Brighton Beach Memoirs (1986), Swimming to Cambodia (1987), My Blue Heaven (1990), Extreme Measures (1996), Living Out Loud (1998), The Anniversary Party (2001), How to Lose a Guy in 10 Days (2003), The Producers (2005) and The Way Way Back (2013).

    Bailey also directed a handful of films, including Lily Tomlin’s The Search for Signs of Intelligent Life in the Universe (1991), China Moon (1994), Mariette in Ecstasy (1996) and Via Dolorosa (2000).

    Bailey said he sought the Academy presidency primarily to support the organization’s film archive, the Margaret Herrick Library, the Nicholl screenwriting programs and international cinema. “I didn’t want to worry about the Oscars so much,” he said in 2021. “The studios are invested in the Oscars, the studios are going to make sure the Oscars take care of themselves, one way or another.

    “Everybody seems to have an idea — and they think their idea is best — about what the Academy Awards should be. The absolute inanity, coupled with the hubris that comes with it sometimes, especially on the part of certain trade and media critics … it just really bothered me that whole Oscar season, day after day, having to read the drivel by some of these journalists that said they knew how to fix the Oscars.”

    He and Littleton, who is to receive an honorary Oscar at the delayed Governors Awards in January, had no children.

    “All of us at the Academy are deeply saddened to learn of John’s passing,” Academy CEO Bill Kramer and Academy president Janet Yang said in a joint statement. “John was a passionately engaged member of the Academy and the film community. He served as our president and as an Academy governor for many years and played a leadership role on the cinematographers branch. His impact and contributions to the film community will forever be remembered. Our thoughts and support are with Carol at this time.”  

    Donations in his memory can be made to the Academy Foundation.  

    Bailey said his formative years in Hollywood taught him that becoming a successful cinematographer had more to do with just learning how to operate the equipment.

    “It’s about learning how people work together, forging relationships, dealing with the stresses and the sort of unexpected accidents and gifts that you’re given day to day and developing a perspective that when you go to work in the morning, you’re not executing a blueprint based on storyboards or discussions or anything,” he said. “You are in a living, changing, spontaneous, human flux. Anything can happen at any given moment.”

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    Mike Barnes

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  • You’ve Probably Seen Yourself in Your Memories

    You’ve Probably Seen Yourself in Your Memories

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    Pick a memory. It could be as recent as breakfast or as distant as your first day of kindergarten. What matters is that you can really visualize it. Hold the image in your mind.

    Now consider: Do you see the scene through your own eyes, as you did at the time? Or do you see yourself in it, as if you’re watching a character in a movie? Do you see it, in other words, from a first-person or a third-person perspective? Usually, we associate this kind of distinction with storytelling and fiction-writing. But like a story, every visual memory has its own implicit vantage point. All seeing is seeing from somewhere. And sometimes, in memories, that somewhere is not where you actually were at the time.

    This fact is strange, even unsettling. It cuts against our most basic understanding of memory as a simple record of experience. For a long time, psychologists and neuroscientists did not pay this fact much attention. That has changed in recent years, and as the amount of research on the role of perspective has multiplied, so too have its potential implications. Memory perspective, it turns out, is tied up in criminal justice, implicit bias, and post-traumatic stress disorder. At the deepest level, it helps us make sense of who we are.

    The distinction between first- and third-person memories dates back at least as far as Sigmund Freud, who first commented on it near the end of the 19th century. Not for another 80 years, though, did the first empirical studies begin fleshing out the specifics of memory perspective. And it was only in the 2000s that the field really started picking up steam. What those early studies found was that third-person memories were far less unusual than once thought. The phenomenon is associated with a number of mental disorders, such as depression, anxiety, and schizophrenia, but it is not merely a symptom of pathology; even among healthy people, it is quite common.

    Just how common is tricky to quantify. Peggy St. Jacques, a psychology professor at the University of Alberta who studies perspective in memory, told me that roughly 90 percent of people report having at least one third-person memory. For the average person, St. Jacques estimates, on the basis of her research, that about a quarter of memories from the past five years are third-person. (At least a couple of papers have found that women tend to have more third-person memories than men do, but a third study turned up no statistically significant difference; on the whole, research on possible demographic disparities is scant.) In certain rare cases, people may have only third-person memories. As you try to recall your own, be warned that things can get confusing fast. Perhaps you can call to mind early-childhood scenes that you picture from a third-person perspective. But it’s hard to know whether these are genuine memories translated from the first person to the third person, or third-person scenes constructed from stories or photographs. To some people, third-person memories are second nature; to others, they sound like science fiction.

    Why any given memory gets recalled from one perspective rather than the other is the result of a whole bunch of intersecting factors. People are more likely to remember experiences in which they felt anxious or self-conscious—say, when they gave a presentation in front of a crowd—in the third person, St. Jacques told me. This makes sense: When you’re imagining how you look through an audience’s eyes in the moment, you’re more likely to see yourself through their eyes at the time of recall. Researchers have also repeatedly found that the older a memory is, the more likely you are to recall it from the third person. This, too, is fairly intuitive: If first-person recollection is the ability to adopt the position—and inhabit the experience—of your former self, then naturally you’ll have more trouble seeing the world the way you did as a 6 year old than the way you did last week. The tendency for older memories to be translated into the third person may also have to do with the fact that the more distant the memory is, the less detail you’ll likely have, and the less detail you have, the less likely you are to be able to reassume the vantage point from which you originally witnessed the scene, David Rubin, a Duke University psychology professor who has published dozens of papers on autobiographical memory, told me.

    Less intuitive, perhaps, is the reverse: People are able to recall a scene in greater detail when they’re asked to take a first-person perspective than when they’re asked to take a third-person perspective. “Sometimes in a courtroom, an eyewitness to a holdup might be asked to recall what happened from the perspective of the clerk,” St. Jacques told me. But if her research is any indication, such tactics may blur rather than sharpen the witness’s memory. “Our research suggests that might actually be more likely to make the memory less vivid, make the eyewitness less likely to remember the specifics.”

    Even without an examiner’s instructions, such an eyewitness might be predisposed to recall the robbery in the third person: Researchers have found that people often translate traumatic or emotionally charged memories out of the first person. This may be because first-person memories tend to elicit stronger emotional reactions at the time of recall, and by taking a third-person perspective, we can distance ourselves from the painful experience, Angelina Sutin, a psychologist at Florida State University, told me. It may also be a function of the information at our disposal. In charged situations, Rubin said, people tend to zero in on the object of their anger or fear. Take the bank-robbery scenario: The police “want the teller to describe the person who’s robbing them, and instead he describes in great detail the barrel of the gun pointed at his head.” He can’t remember much beyond that. And so, lacking the information necessary to situate himself in his original perspective, he floats.

    This distancing effect has some fairly mind-bending potential applications, none more so, perhaps, than to the problem of near-death experiences. For many years, philosophers and psychologists have documented instances of people reporting that, in moments of trauma, they felt as though they were floating outside—usually above—their body. Rubin points out, however, that such reports are not in-the-moment descriptions but after-the-fact accounts. So he has a controversial idea: What in retrospect seems like an out-of-body experience may in fact be only the trauma-induced translation of a first-person memory into a third-person memory, one so compelling that it deceives you into thinking the experience itself occurred in the third person. The recaller, in this theory, is like a person peering through a convex window, mistaking a distortion of the glass for a distortion of the world.

    Traumatic dissociations are dramatic but by no means isolated cases of what Rubin calls the “constructive nature of the world.” In a 2019 review article on memory perspective, St. Jacques noted that shifting your vantage and fabricating an entirely new scene rely on the same mental processes occurring in the same regions of the brain. So similar are recollecting the past and projecting into the future that some psychologists lump them into a single category: “mental time travel.” Both are acts of construction. The distinction between memory and imagination blurs.

    At some level, people generally understand this, but rarely do we get so incontrovertible an example as with third-person memories. If you and a friend try to recall the decor at the restaurant where you got dinner last month, you might find that you disagree on certain points. You think the wallpaper was green, your friend thinks blue, one of you is wrong, and you’re both sure you’re right. With third-person memories, though, you know the memory is distorted, because you could not possibly have been looking at yourself at the time. If, without even realizing it, you can change something so central as the perspective from which you view a memory, how confident can you really be in any of the memory’s details?

    In this way, third-person memories are sort of terrifying. But shifts in perspective are more than mere deficiencies of memory. In her lab at Ohio State University, the psychologist Lisa Libby is investigating the relationship between memory perspective and identity—that is, the way shifts in our memory play a role in how we make sense of who we are. In one experiment, Libby asked a group of female undergraduates whether they were interested in STEM. The students then participated in a science activity, some in a version designed to be engaging, others in a version designed to be boring. Afterward, when she surveyed the undergrads about how they’d found the exercise, she instructed some to recall it from a first-person perspective and others from a third-person perspective. The first-person group’s answers corresponded to how interesting the task really was; the third-person group’s corresponded to whether they’d said they liked STEM in the initial survey.

    Libby’s takeaway: Each type of memory seems to have its own function. “One way to think about the two perspectives is that they help you represent … two different components of who you are as a person,” Libby told me. Remembering an event from a first-person perspective puts you in an experiential frame of mind. It helps you recall how you felt in the moment. Remembering an event from a third-person perspective puts you in a more narrative frame of mind. It helps you contextualize your experience by bringing it in line with your prior beliefs and fitting it into a coherent story. Memory is the—or at least a—raw material of identity; perspective is a tool we use to mold it.

    Maybe the most interesting thing about all of this is what it suggests about the human proclivity for narrative. When we shift our memories from one perspective to another, we are, often without even realizing it, shaping and reshaping our experience into a story, rendering chaos into coherence. The narrative impulse, it seems, runs even deeper than we generally acknowledge. It is not merely a quirk of culture or a chance outgrowth of modern life. It’s a fact of psychology, hardwired into the human mind.

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    Jacob Stern

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