Don E. FauntLeRoy
- Cinematographer
- Camera and Electrical Department
- Director
Don E. FauntLeRoy was accepted into the American Society of
Cinematographers, with only 7 years experience as a Director of
Photography. His rise has been swift, and his reputation as one of the
most talented young cinematographers, rapid. Don's major break came in
1994, when he was given the opportunity of shooting
David L. Wolper' epic mini-series,
Nord et sud III (1994),
which culminated with the ASC honoring him with a nomination. His most
recent films have been
Double riposte (2005),
Mercenary (2006),
Stan Lee's
Lightspeed (2006) and
Once Upon a Time in the Hood (2004)
for Sony Pictures", all of them directed and photographed by Don. Don's
technical knowledge is formidable and his experience virtually
unsurpassed. Starting as an assistant cameraman in 1972, he has worked
with some of the finest directors and cinematographers in the business:
Harry Stradling Sr.,
Peter Hyams,
Michael Chapman,
Martin Scorsese,
Robert Surtees,
Herbert Ross,
Haskell Wexler,
James Cameron,
Adam Greenberg,
Richard Donner,
Sam Peckinpah,
Billy Wilder,
Steven Spielberg and
Blake Edwards, to name a few. His
style, speed, and exuberance reflect this intense professional
background. He has since gone on to direct and photograph some of the
screen's most interesting talents:
Sam Shepard,
Dean Stockwell,
Diane Keaton,
Stockard Channing,
Diane Lane,
Mimi Rogers,
Elizabeth Pena,
Rutger Hauer,
Jacqueline Bisset,
Linda Hamilton and, of course,
his gorgeous wife, Lesley-Anne Down.
Don's grandfather was a still cameraman and his father was an optical
cameraman, from them came Don's interest, then passion for this
wonderful industry, his grandfather's collection of antique cameras and
photographic equipment was handed down to Don, and he has continued to
build upon that collection, now possessing a large, rare, and virtually
irreplaceable array of film cameras and paraphernalia, which will be
inherited by his eldest daughter,
Season FauntLeRoy, who already is an
accomplished young assistant camera-person, herself. When Don works, he
insists on two things. Panavision equipment, both film and digital,
along with Eastman Kodak stock, "they are the best", he says, and
coming from one of the best, you know he is right.
