<\/span><\/p>\n Born in Moberly, Missouri, on August 10, 1942,\u00a0John Ira Bailey<\/strong>\u00a0is a lifelong resident of Southern California. He was already interested in literature and creative writing during his Pius X High School days in Downey. In addition to editing a school newspaper, Bailey also explored classical music, cool jazz and the 1950s Hollywood film scene.<\/p>\n Later on,\u00a0Bailey\u00a0<\/strong>briefly studied chemistry at Santa Clara University\u2014a private Jesuit University in Northern California\u2019s Silicon Valley\u2014where he began to research the history of cinema. Following a transfer to Loyola Marymount University in Los Angeles, in 1962\u00a0Bailey\u00a0<\/strong>traveled to Innsbruck, Austria, on a junior year abroad program. During his stay in Europe\u00a0Bailey\u00a0decided to focus on studying film history. Back in Los Angeles a year later, he enrolled in a new graduate program in film studies at the University of Southern California. Coming under the tutelage of professors Woody Omens and Gene Peterson and completing a required camera course at USC proved pivotal to\u00a0Bailey\u2019s<\/strong>\u00a0career choice of cinematography over cinema theory.<\/p>\n After completing USC\u2019s two-year graduate program,\u00a0Bailey\u2019s<\/strong>\u00a0first professional assignments date from the late 1960s and include working in postproduction for American Airlines\u2019 promotional films as well as assisting such cinematographers as\u00a0Charles Correll,\u00a0Erik Daarstad,\u00a0John Koester<\/strong>, and\u00a0Gary Young<\/strong>. Having joined the union in 1969, throughout the 1970s\u00a0Bailey\u00a0<\/strong>apprenticed as an assistant and operator for such Hollywood legends as\u00a0N\u00e9stor Almendros,\u00a0Jules Brenner,\u00a0Dave Meyers,\u00a0Chuck Rosher,\u00a0Gregory Sandor,\u00a0Ric Waite<\/strong>\u00a0and\u00a0Vilmos Zsigmond<\/strong>. As a result, by the mid-1970s, Bailey had the chance to work on some iconic productions, including\u00a0Monte Hellman\u2019s<\/strong>\u00a0Two-Lane Blacktop<\/em><\/span>\u00a0(1971),\u00a0Emergency!<\/em><\/span>\u00a0(1974) and\u00a0Kojak\u00a0<\/em><\/span>(1975) TV series, as well as\u00a0Terrence Malik\u2019s<\/strong>\u00a0Days of Heaven<\/span><\/em>\u00a0(1976) and\u00a0Robert Altman\u2019s<\/strong>\u00a03 Women<\/em><\/span>\u00a0(1977). <\/span><\/p>\n <\/em><\/p>\n <\/em><\/p>\n Only a few years later Bailey<\/strong> became the Director of Photography for such noted films as Boulevard Nights<\/em><\/span> (1978) directed by Michael Pressman<\/strong> and Paul Schrader\u2019s<\/strong> American Gigolo<\/em><\/span> (1980). In the 1980s and 1990s Bailey\u2019s<\/strong> collaboration with Schrader<\/strong> extended into Cat People<\/span><\/em> (1981), Mishima<\/em> <\/span>(1984), Light of Day<\/em><\/span> (1986), and Forever Mine<\/em><\/span> (1999).<\/p>\n In 1980 Bailey<\/strong> teamed up with Robert Redford<\/strong> on the iconic Ordinary People<\/span><\/em> and shortly thereafter worked on Honky Tonk Freeway<\/em><\/span> with John Schlesinger<\/strong>. Other directors who became Bailey\u2019s<\/strong> partners on numerous projects included Lawrence Kasdan<\/strong> (The Big Chill<\/em><\/span>, 1982; Silverado<\/em><\/span>, 1984; The Accidental Tourist<\/em><\/span>, 1988), Michael Apted<\/span><\/strong> (Continental Divide<\/em><\/span>, 1980; Extreme Measures<\/em><\/span>, 1996; Always Outnumbered<\/em><\/span>, 1997) and Ken Kwapis<\/strong> (Vibes<\/span><\/em>, 1987; The Sisterhood<\/em><\/span> of the Traveling Pants<\/em><\/span>, 2004; License to Wed<\/em><\/span>, 2006; He\u2019s Just Not That Into You<\/em><\/span>, 2007; Big Miracle<\/em><\/span>, 2010; and A Walk in the Woods<\/em><\/span>, 2014). John Bailey\u2019s<\/strong> long and distinguished list of credits also includes Gene Saks\u2019<\/strong> Brighton Beach Memoirs<\/em><\/span> (1985), Norman Mailer\u2019s<\/strong> Tough Guys Don\u2019t Dance<\/em><\/span> (1986), Harold Ramis\u2019<\/strong> Groundhog Day<\/em><\/span> (1992), Wolfgang Petersen\u2019s<\/strong> In the Line of Fire<\/em> (1992), and Peter Howitt\u2019s<\/strong> Antitrust<\/em> <\/span>(2000).<\/p>\n Bailey\u2019s<\/strong> salient achievements as cinematographer are fittingly complemented by his confident work as director of The Search for Signs of Intelligent Life in the Universe<\/span><\/em> (a 1990 film of Lily Tomlin\u2019s one-woman show), China Moon<\/em><\/span> (a 1994 crime mystery with Ed Harris, Madeleine Stowe and the first big role for Benicio del Toro) and Mariette in Ecstasy<\/em><\/span> (a 1996 adaptation of Ron Hansen\u2019s novel about a young nun with a stellar cast of Geraldine O\u2019Rawe, Eva Marie Saint, Rutger Hauer, Mary McDonnell, and John Mahoney).<\/p>\n <\/em><\/p>\n A member of the American Society of Cinematographers since 1985,\u00a0<\/span>John Bailey<\/strong>\u00a0has been an active and vocal member of the society. Posted under the \u201cJohn\u2019s Bailiwick\u201d tab,\u00a0<\/span>Bailey\u2019s<\/strong>\u00a0stylishly written blogs grace the ASC website and cover a wide area of topics not only centered on film and cinematic history but also covering music, literature, history and the arts. In 1972\u00a0<\/span>Bailey<\/strong>\u00a0<\/strong>married film editor,\u00a0<\/span>Carol Littleton<\/strong>; they have resided in Los Angeles ever since.<\/span><\/p>\n Bailey\u2019s<\/strong>\u00a015 years as an Academy governor includes his most recent service as the Academy\u2019s President from 2017-2019.<\/span><\/p>\n Bailey\u2019s<\/span>\u00a0professional achievements were recognized with numerous nominations, including the 1988 Film Independent Spirit Awards for Best Cinematography in\u00a0<\/span>Tough Guys Don\u2019t Dance<\/span>\u00a0and the\u00a0<\/span>1999 CAMERIMAGE Film Festival Golden Frog<\/strong>\u00a0for\u00a0<\/span>Forever Mine<\/span><\/em>. He is also the winner of the 1994 CableACE Award for\u00a0<\/span>The Search for Signs of Intelligent Life in the Universe<\/span><\/em>, the 2001 Society of Camera Operators President\u2019s Award, the 2014 William A. Fraker Cinematography Journalist of the Year Award, the 2015 ASC Lifetime Achievement Award, the 2018 Society of Camera Operators Governors\u2019 Award, and the 2019 Gianni di Venanzo Award. Recently, he was awarded by the French government with Officer of the Order of Arts and Letters.<\/span><\/p>\n <\/p>","protected":false},"excerpt":{"rendered":"
\n <\/span>![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/08\/bailey.jpg\")
\n <\/em>John Bailey, photo by Aleksander Salski<\/em>\u00a0\u00a0<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/08\/gere.jpg\")
<\/em>
\n <\/em>Still from “American Gigolo”<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/08\/mishima.jpg\"){kind=spacer}
\n Still from “Mishima”<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/08\/ordinary.jpg\")
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\n Still from “Ordinary People”
\n <\/em><\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/08\/silverado.jpg\")
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\n <\/em>Still from “Silverado”<\/p>\n