John A. Alonzo
| John A. Alonzo | |
|---|---|
| Born |
Juan A. Alonzo June 12, 1934 Dallas, Texas, United States |
| Died | March 13, 2001 (aged 66) Brentwood, California, United States |
| Occupation | Cinematographer, actor, film director |
| Years active | 1967–2002 |
| Spouse(s) |
Suzanne Heltzel Jan Murray (?-2001) (his death) |
| Children | Cristiana Mary Murray, Angela Argenzia, Gorgiana Alonzo |
Suzanne Heltzel
John A. Alonzo, ASC (June 12, 1934 – March 13, 2001) was an American cinematographer.
Alonzo pioneered hand held work, lighting techniques and HD development during his career. He will probably be remembered mainly for Chinatown (1974) and Scarface (1983).
Alonzo was the first American cinematographer of Mexican-American and Latino heritage to become a member of the Cinematographer's Union in Los Angeles, as well as the first to be inducted into the ASC.
Alonzo's career began as part of the clean-up crew at television station WFAA in Dallas. However, within a short time he had made himself indispensable, not only building sets, hanging lights and moving cameras, but also directing cooking and children's shows. Eventually he and actor Hank Williamson created a popular comedy duo: Alonzo became the voice and puppeteer of the irreverent “Señor Turtle,” who with Williamson as his sidekick, introduced movies and cartoons. In 1956, the show was picked up by station KHJ in Hollywood, where it lasted only 26 weeks. So Alonzo worked for a time as a still photographer, and as an actor, with appearances in several well-known shows such as Twilight Zone (Season 2 – Episode 12 in Dust as Luis Gallegos, Combat, 77 Sunset Strip and The Alfred Hitchcock Hour."
A seminal moment came during the shooting of The Magnificent Seven, in which Alonzo had a small role, when he met the cinematographer Charles Lang. This inspiring encounter, as well as the chance to briefly collaborate with James Wong Howe a few years later, finally gave Alonzo the impetus to devote his life to cinematography. By the mid-'60s, he was photographing many documentaries for National Geographic and the David L. Wolper Company, and greatly influencing the innovative "Look" of the New Hollywood that became so powerful in the late '60s and early '70s.
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