About
"Directors of photography create the mood of the show. They create the dimension. They tell a story with their lights."
In his five-hour interview, Gerald Perry Finnerman (1931-2011) speaks about his early years and working as a cinematographer in the army. He talks about working as the cinematographer for Star Trek, where he gained a reputation for being able to properly light planets and female actors. He discusses his relationship with Star Trek creator Gene Roddenberry and actors William Shatner and Leonard Nimoy. Finnerman recalls working on several films for actor Sidney Poitier, as well as working on the series Night Gallery, Emergency!, and Kojak, for which he was nominated for an Emmy award. He details his tumultuous years as cinematographer for Moonlighting, including shooting the infamous episode "The Dream Sequence Always Rings Twice." Karen Herman conducted the interview on October 8, 2002 in Studio City, CA.
Highlights
Gerald Perry Finnerman on the challenge of making planets look real on Star Trek
Gerald Perry Finnerman on the Star Trek episode "Space Seed" starring Ricardo Montalban
Gerald Perry Finnerman on his professional fears as a cinematographer on Star Trek
Gerald Perry Finnerman on working with Barbara Bain on Mission: Impossible
Gerald Perry Finnerman on lighting Cybill Shepherd on Moonlighting
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Full Interview
Chapter 1
On his early life and influences; on becoming a cinematographer; on his earliest experiences with television, during his time in the Army
On how he came to be hired by Gene Roddenberry as cinematographer on Star Trek; on how Star Trek was initially described to him, and on his early ideas for the show
Chapter 2
On his ideas as cinematographer for Star Trek, and on being "too artsy"; on his mentor, Harry Stradling, and on various experiences of directors of photography
On the colors of Star Trek; on the challenge of making planets look real on Star Trek
On being cinematographer for Mission: Impossible; on working with Barbara Bain on Mission: Impossible
On working with Gene Roddenberry on Star Trek; on working with producer Robert Justman on Star Trek
Chapter 3
On his professional fears as a cinematographer on Star Trek; on dealing with the color scheme on Star Trek, and on the visual style of the show; on working with Leonard Nimoy's deep set eyes and William Shatner's hair pieces on Star Trek
On the equipment used to shoot Star Trek, and on the special effects of the show; on working with the crew on Star Trek; on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior
On creating the special effects that made the Enterprise fly on Star Trek; on working with William Shatner and as "Captain James T. Kirk" and the rest of the cast on Star Trek; on working with his friend DeForest Kelley as "Dr. Leonard 'Bones' McCoy," and on using "diffusion" on women and men
On working with Walter Koenig as "Pavel Chekov" and Nichelle Nichols as "Lt. Nyota Uhura" on Star Trek; on working with, and sometimes conflicting with, the directors of Star Trek including Joseph Pevney
Chapter 4
On Star Trek directors Ralph Senensky, Marc Daniels, and Joseph Pevney; on dealing with the budgets of Star Trek as the cinematographer; on specific episodes of Star Trek
On various episodes of Star Trek, including "Space Seed" with Ricardo Montalban; on his favorite Star Trek episodes
On color correction on Star Trek; on exiting Star Trek in 1968 to work on a feature starring Sidney Poitier and directed by Robert Alan Aurthur
Chapter 5
On working in feature film with Sidney Poitier; on his decision to leave television for a while, and on surviving a plane crash
On lighting episodes of Night Gallery and Emergency!; on his more "gritty" work on Kojak; on working with Telly Savalas on Kojak, and on being nominated for an Emmy for the show
Chapter 6
On being director of photography on the Planet of the Apes series; on the challenge of filming Planet of the Apes with the prosthetics the actors wore; on being director of photography for Police Woman, being signed to work at Columbia Television, and working with different types of film stock
On working with Buzz Kulik on the made for television movies Kill Me if You Can, Ziegfeld: The Man and His Women, and From Here to Eternity; on coping with not working during a long strike, and on various director of photography jobs in feature films; on the challenges of doing cinematography for made-for-television movies
Chapter 7
On turning down the opportunity to be the cinematographer for Star Trek again, and on working with Gene Roddenberry; on Larry Parks and the Hollywood Blacklist
On working with Lloyd Bridges while he was starring on Capital News; on missing out on work with Buzz Kulik
On working on Moonlighting; on lighting Cybill Shepherd on Moonlighting
Chapter 8
On being director of photography on Moonlighting, and on lighting Cybill Shepherd; on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
On working with Bruce Willis on Moonlighting, and on his five Emmy nominations; on the musical numbers on Moonlighting, including one staged by Stanley Donen; on directing a Moonlighting episode guest-starring Imogene Coca
Chapter 9
On directing an episode of Moonlighting; on doing a takeoff of Casablanca on Moonlighting ; on the Moonlighting episode "Atomic Shakespeare," and on the crazy shooting schedule
On working with show creator Glenn Gordon Caron on Moonlighting, and on battles with show stars Cybill Shepherd and Bruce Willis; on the end of Moonlighting
Chapter 10
On Orson Welles appearing in the Moonlighting episode "The Dream Sequence Always Rings Twice"; on shooting Room for Two with Linda Lavin; on shooting Double Rush for producer Diane English
On shooting New York Daze; on retiring from the business
On the cinematographer's relationship with the director, and on what he looks for in a gaffer; on how he would like to be remembered
Shows
Capital News
Gerald Perry Finnerman on working on Capital News
Double Rush
Gerald Perry Finnerman on shooting Double Rush for producer Diane English
Emergency!
Gerald Perry Finnerman on lighting Emergency!, and on problems he had lighting the fire station exterior
Emmy Awards, The (Primetime and Daytime)
Gerald Perry Finnerman on working with Telly Savalas on Kojak, and on being nominated for an Emmy for the show
Kojak
Gerald Perry Finnerman on his more "gritty" work on Kojak
Gerald Perry Finnerman on working with Telly Savalas on Kojak, and on winning an Emmy for the show
Mission: Impossible
Gerald Perry Finnerman on being cinematographer for Mission: Impossible
Gerald Perry Finnerman on working with Barbara Bain and Steven Hill on Mission: Impossible
Moonlighting
Gerald Perry Finnerman on working on Moonlighting
Gerald Perry Finnerman on lighting Cybill Shepherd on Moonlighting
Gerald Perry Finnerman on being director of photography on Moonlighting, and on lighting Cybill Shepherd
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on working with Bruce Willis on Moonlighting, and on his five Emmy nominations
Gerald Perry Finnerman on the musical numbers on Moonlighting, including one staged by Stanley Donen
Gerald Perry Finnerman on directing a Moonlighting episode guest-starring Imogene Coca
Gerald Perry Finnerman on directing an episode of Moonlighting featuring Allyce Beasley as "Agnes DiPesto" and guest-starring Imogene Coca
Gerald Perry Finnerman on doing a takeoff of Casablanca on Moonlighting
Gerald Perry Finnerman on the Moonlighting episode "Atomic Shakespeare," on the crazy shooting schedule, and shooting Cybill Shepherd
Gerald Perry Finnerman on working with show creator Glenn Gordon Caron on Moonlighting, and on battles with show stars Cybill Shepherd and Bruce Willis
Gerald Perry Finnerman on the end of Moonlighting
Gerald Perry Finnerman on the legacy of Moonlighting
Moonlighting: "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on Orson Welles appearing in the Moonlighting episode "The Dream Sequence Always Rings Twice"
Night Gallery
Gerald Perry Finnerman on lighting episodes of Night Gallery
Planet of the Apes
Gerald Perry Finnerman on being director of photography on the Planet of the Apes series
Gerald Perry Finnerman on the challenge of filming Planet of the Apes with the prosthetics the actors wore
Police Woman
Gerald Perry Finnerman on being director of photography for Police Woman
Room for Two
Gerald Perry Finnerman on shooting Room for Two
Star Trek
Gerald Perry Finnerman on how he came to be hired by Gene Roddenberry as cinematographer on Star Trek
Gerald Perry Finnerman on how Star Trek was initially described to him, and on his early ideas for the show
Gerald Perry Finnerman on his ideas as cinematographer for Star Trek, and on being "too artsy"
Gerald Perry Finnerman on the colors of Star Trek
Gerald Perry Finnerman on the challenge of making planets look real on Star Trek
Gerald Perry Finnerman on working with Gene Roddenberry on Star Trek
Gerald Perry Finnerman on working with producer Robert Justman on Star Trek
Gerald Perry Finnerman on his professional fears as a cinematographer on Star Trek
Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show
Gerald Perry Finnerman on working with Leonard Nimoy's deep set eyes and William Shatner's hair pieces on Star Trek
Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show
Gerald Perry Finnerman on working with the crew on Star Trek
Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior
Gerald Perry Finnerman on creating the special effects that made the Enterprise fly on Star Trek
Gerald Perry Finnerman on working with William Shatner and as "Captain James T. Kirk" and the rest of the cast on Star Trek
Gerald Perry Finnerman on working with his friend DeForest Kelley as "Dr. Leonard 'Bones' McCoy," and on using "diffusion" on women and men
Gerald Perry Finnerman on working with Walter Koenig as "Pavel Chekov" and Nichelle Nichols as "Lt. Nyota Uhura" on Star Trek
Gerald Perry Finnerman on working with, and sometimes conflicting with, the directors of Star Trek including Joseph Pevney
Gerald Perry Finnerman on Star Trek directors Ralph Senensky, Marc Daniels, and Joseph Pevney
Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer
Gerald Perry Finnerman on the pilot episode of Star Trek, "The Cage"
Gerald Perry Finnerman on the Star Trek episode "The Enemy Within"
Gerald Perry Finnerman on the Star Trek episode "Space Seed" starring Ricardo Montalban
Gerald Perry Finnerman on the Star Trek episode "Errand of Mercy"
Gerald Perry Finnerman on the Star Trek episode "The City on the Edge of Forever" starring Joan Collins as "Edith Keeler"
Gerald Perry Finnerman on the Star Trek episode "The Trouble with Tribbles"
Gerald Perry Finnerman on his favorite Star Trek episodes
Gerald Perry Finnerman on color correction on Star Trek
Gerald Perry Finnerman on exiting Star Trek in 1968 to work on a feature starring Sidney Poitier and directed by Robert Alan Aurthur
Gerald Perry Finnerman on turning down the opportunity to be the cinematographer for Star Trek again, and on working with Gene Roddenberry
Star Trek: "The City on the Edge of Forever"
Gerald Perry Finnerman on the Star Trek episode "The City on the Edge of Forever" starring Joan Collins as "Edith Keeler"
Topics
Classic TV Series Episodes
Gerald Perry Finnerman on Orson Welles appearing in the Moonlighting episode "The Dream Sequence Always Rings Twice"
Comedy
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on Orson Welles appearing in the Moonlighting episode "The Dream Sequence Always Rings Twice"
Emmy Awards
Gerald Perry Finnerman on working with Telly Savalas on Kojak, and on being nominated for an Emmy for the show
Hollywood Blacklist
Gerald Perry Finnerman on Larry Parks and the Hollywood Blacklist
Industry Crossroads
Gerald Perry Finnerman on Larry Parks and the Hollywood Blacklist
Pop Culture
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on Orson Welles appearing in the Moonlighting episode "The Dream Sequence Always Rings Twice"
Television Industry
Gerald Perry Finnerman on Larry Parks and the Hollywood Blacklist
Professions
Cinematographer
Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show
Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior
Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show
Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer
Gerald Perry Finnerman on being director of photography for Police Woman, being signed to work at Columbia Television, and working with different types of film stock
Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on the cinematographer's relationship with the director, and on what he looks for in a gaffer
Production Professionals
Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show
Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior
Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show
Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer
Gerald Perry Finnerman on being director of photography for Police Woman, being signed to work at Columbia Television, and working with different types of film stock
Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on the cinematographer's relationship with the director, and on what he looks for in a gaffer
Genres
Adventure/Espionage Series
Gerald Perry Finnerman on being cinematographer for Mission: Impossible
Comedy Series
Gerald Perry Finnerman on shooting Moonlighting
Gerald Perry Finnerman on shooting Moonlighting
Gerald Perry Finnerman on Orson Welles appearing in the Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on shooting Room for Two with Linda Lavin
Gerald Perry Finnerman on shooting Double Rush
Gerald Perry Finnerman on shooting New York Daze
Cop/Detective/Mystery Series
Gerald Perry Finnerman on his more "gritty" work on Kojak
Gerald Perry Finnerman on shooting Moonlighting
Medical Dramas
Gerald Perry Finnerman on lighting Emergency!, and on problems he had lighting the fire station exterior
Sci-Fi/Supernatural Series
Gerald Perry Finnerman being the cinematographer for Star Trek
Gerald Perry Finnerman on being cinematographer for Star Trek
Gerald Perry Finnerman on being cinematographer for Star Trek
Gerald Perry Finnerman on being cinematographer for Star Trek
Gerald Perry Finnerman on being cinematographer for Star Trek
People
Robert Alan Aurthur
Gerald Perry Finnerman on exiting Star Trek in 1968 to work on a feature starring Sidney Poitier and directed by Robert Alan Aurthur
Barbara Bain
Gerald Perry Finnerman on working with Barbara Bain and Steven Hill on Mission: Impossible
Lloyd Bridges
Gerald Perry Finnerman on working with Lloyd Bridges when he was starring on Capital News
Glenn Gordon Caron
Gerald Perry Finnerman on working with show creator Glenn Gordon Caron on Moonlighting and on battles with show stars Cybill Shepherd and Bruce Willis
Imogene Coca
Gerald Perry Finnerman on directing a Moonlighting episode guest-starring Imogene Coca
Joan Collins
Gerald Perry Finnerman on the Star Trek episode "The City on the Edge of Forever" starring Joan Collins as "Edith Keeler"
Marc Daniels
Gerald Perry Finnerman on Star Trek directors Ralph Senensky, Marc Daniels, and Joseph Pevney
Diane English
Gerald Perry Finnerman on shooting Double Rush for producer Diane English
Steven Hill
Gerald Perry Finnerman on working with Barbara Bain and Steven Hill on Mission: Impossible
DeForest Kelley
Gerald Perry Finnerman on working with his friend DeForest Kelley as "Dr. Leonard 'Bones' McCoy," and on using "diffusion" on women and men
Walter Koenig
Gerald Perry Finnerman on working with Walter Koenig as "Pavel Chekov" on Star Trek
Buzz Kulik
Gerald Perry Finnerman on working with Buzz Kulik on the made for television movies Kill Me if You Can, Ziegfeld: The Man and His Women, and From Here to Eternity
Gerald Perry Finnerman on missing out on work with Buzz Kulik
Linda Lavin
Gerald Perry Finnerman on shooting Room for Two with Linda Lavin
Ricardo Montalban
Gerald Perry Finnerman on the Star Trek episode "Space Seed" starring Ricardo Montalban
Nichelle Nichols
Gerald Perry Finnerman on working with Nichelle Nichols as "Lt. Nyota Uhura" on Star Trek
Leonard Nimoy
Gerald Perry Finnerman on working with Leonard Nimoy's deep set eyes and William Shatner's hair pieces on Star Trek
Larry Parks
Gerald Perry Finnerman on Larry Parks and the Hollywood Blacklist
Joseph Pevney
Gerald Perry Finnerman on working with, and sometimes conflicting with, the directors of Star Trek including Joseph Pevney
Gerald Perry Finnerman on Star Trek directors Ralph Senensky, Marc Daniels, and Joseph Pevney
Sidney Poitier
Gerald Perry Finnerman on exiting Star Trek in 1968 to work on a feature starring Sidney Poitier and directed by Robert Alan Aurthur
Gerald Finnerman on working in feature film with Sidney Poitier
Telly Savalas
Gerald Perry Finnerman on working with Telly Savalas on Kojak, and on being nominated for an Emmy for the show
Ralph Senensky
Gerald Perry Finnerman on Star Trek directors Ralph Senensky, Marc Daniels, and Joseph Pevney
William Shatner
Gerald Perry Finnerman on working with Leonard Nimoy's deep set eyes and William Shatner's hair pieces on Star Trek
Gerald Perry Finnerman on working with William Shatner and as "Captain James T. Kirk" and the rest of the cast on Star Trek
Cybill Shepherd
Gerald Perry Finnerman on lighting Cybill Shepherd on Moonlighting
Gerald Perry Finnerman on being director of photography on Moonlighting, and on lighting Cybill Shepherd
Gerald Perry Finnerman on working with show creator Glenn Gordon Caron on Moonlighting and on battles with show stars Cybill Shepherd and Bruce Willis
Orson Welles
Gerald Perry Finnerman on Orson Welles appearing in the Moonlighting episode "The Dream Sequence Always Rings Twice"
Bruce Willis
Gerald Perry Finnerman on working with Bruce Willis on Moonlighting, and on his five Emmy nominations
Gerald Perry Finnerman on working with show creator Glenn Gordon Caron on Moonlighting and on battles with show stars Cybill Shepherd and Bruce Willis