An overview of my education, career summery, working background, working style and professional retrospective.

1. Dan Zarlengo
My Career Summary:
Thank you for your consideration time in viewing“My Career Summery”, a brief look at my personal
background and professional credentials. Attached you will find: “My Combined Filmography – 1976
to the Present”, “The Box Score Card” and related information about Zephyr Graphics Production
Services. Please review my page on: The IMDB.com/danzarlengo/nm/0953528
I am offering my talent, experience and services, to assist in the visualization and in actualizing any
well crafted project. I am confident that my background and skill set, qualifies me as a great candidate
and valuable asset to any production.
You will find me to be professional, hard working, detail oriented, easy going and a very collaborative
team player. I'm always fascinated by emerging technology, eager to meet new contacts and look
forward to discover better methods to convey their vision to the screen.
Recently:
I have recently returned to Los Angeles after spending some personal time helping with family, at my
childhood home in Wheat Ridge, Colorado. Due to my absence, I am temporarily off the “Producers
Experience Roster”. Until I jump through a few hoops and resolve that issue, I can't work on I.A.T.S.E.
(union) shows. I have entered the Local #80(Grips) “Off-Roster Program” to regain “Roster status”.
Before my return to L.A., I worked as the Chief Lighting Technician on“The Looking Glass”. A
feature film crafted from the screenplay“Swan Song”, by Dorothy Tristen and Directed by Academy
Award nominee John D. Hancock (“Bang the Drum Slowly”).
This film opened in Los Angeles and New York in October, 2015. It is available on Netflix and is
released throughout the U.S. and overseas markets.“The Looking Glass” has screened at Cannes,
Chicago, Toronto, Hoboken and other festivals. Last April, leading lady Dorothy Tristen received the
Best Actress Award at the Riverbend Film Festival, for her compelling portrayal of Karen. Karen in the
early stages of dementia, is desperately trying reach out and help her troubled teenage granddaughter.
Film Acres Productions utilized beautiful locations throughout Northern Indiana and Southern
Michigan, during the forty-one days of principal photography. Award winning Director of Photography
Misha Suslov captured this project on Digital Red cameras. This film marks my sixteenth feature with
Misha since 1980. This is the fifth project we have done together for John. In 1987, I lit some
additional material for Misha on John's Golden Globe nominated film“Weeds” - Starring Nick Nolte.
My working background:
I grew up with a tremendous interest in photography, film and television as a visual art and a keen
interest in Cinematography as a career pursuit. During my college years in Western Colorado, I studied
Political Science, Technical Theater and Fine Arts. My college pursuits included creating images as a
fine art photographer, graphic designer, illustrator, sculptor and serigraph print maker. I worked for
student publications as a magazine/ news photographer and was a Stagehand for plays and a Lighting
Director for The Repertory Dance Company.
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2. On Summer break in 1974, I worked on my first professional job as a Camera Grip for WGBH/ Boston.
This live remote broadcast from The Red Rocks Amphitheater in Morrison, Colorado. This experience
solidified my interest in the motion picture/ television industry, which led to my summer of film study
at UCLA in 1975 and the Summer Film Workshop of 1976.
Late in August of 1976, I was finishing my documentary film “24 Hours at the Original Pantry” and
answered a posting near the editing rooms at UCLA. An independent company was looking to crew a
feature film project released as “Slipping into Darkness”. Initially, I was hired by the Production
Department for two weeks as the Construction Grip for the Production Designer. The location was an
old home in the Larchmont District that required minor work and modification to facilitate filming.
During pre-production the Director of Photography observed the work I was doing and hired me to
work on-set as a Grip, subsequently I was designated the Key Grip on the film. During the production
he taught me a lot of valuable Grip skills, rigging, the safe operation of camera dollies and Set Lighting
techniques. He also qualified me in the basic skills of a Second Camera Assistant, how to properly load
film magazines, change lenses, oil, prep, and thread the Mitchell BNCR and Arriflex 2-C cameras.
Notably, he explained how “the industry” worked and the chain of command. Taught me proper
industry protocols, on-set etiquette, the importance of good communication and collaboration. Most
significantly, he enlightened me about the critical importance of possessing both the right skills and
mind set for survival in the Los Angeles film market.
At the end of that project, I landed a ten-month staff job as an Assistant Film Editor at Topar Films a
small Beverly Hills feature film distribution company. I maintained and repaired release prints and
occasionally assisted the Film Editor in cutting trailers. I learned more practical skills in the first three
days, than I had at UCLA. Although I enjoyed cutting film, my career path led me toward live action.
Following that assignment, I worked for fifteen months for Cine-Video. Located in Hollywood, it was a
just opening as a new motion picture equipment rental house and production facility. The owner was
beginning the process of re-converting a warehouse space on the property back into production offices
and a sound stage for television commercials. Again, my construction background helped me get hired
as the Manager of Sound Stage Operations, Set Lighting and Grip Departments.
I was very privileged to observe and learn in the presence of “A” list Commercial Companies,
Producers, Directors, Camera, Set Lighting and Grip crews working on the sound stage and with many
customers in the rental house. Those experiences acquainted me with great contacts and various clients
who hired me on weekends and after hours, as an additional Set Lighting Technician and Grip.
I was hired as a Dolly Grip on my first syndicated television show titled “Comeback”, because of a
client who generously gave me the chance. From those jobs I acquired skills and knowledge which
greatly aided my confidence and transition into the Los Angeles freelance market.
By late 1978, I was freelancing on small commercials and independent films working almost
exclusively as a Grip, Best Boy, Dolly, Camera Crane, Rigging and Key Grip. During this time period I
established my company; Zephyr Graphics Production Services. (Detailed in my included “Combined
Filmography – 1976 to the Present”).
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3. During the mid '80s I was working as a Key Grip, Set Lighting Technician and Lighting Gaffer, I began
to change my career path a bit. By 1984, my clients and career focus changed and I was mainly
working as a Chief Lighting Technician.
In 1985, I concluded my last T.V. pilot as a Key Grip on the “Bonanza-The next Generation”. While I
continued working as a Chief Lighting Technician and I additionally begin to working as “B” Camera
Operator. By 1990, I was shooting short films, commercials and Second Unit as a Cinematographer.
Eventually, I became a member of both I.A.T.S.E. Local #728 (Set Lighting) as a Chief Lighting
Technician and Local #600 (The International Cinematographers Guild) as a Director of Photography.
My union status in California is temporarily non-roster/ inactive.
My working style:
My inclination is to be an affable and calm presence on-set. I have a long-standing commitment in
building creative relationships. I am a very collaborative team player, energetic, level headed, easy
going, detail oriented and a hard working professional.
Decades of on-set experience, has afforded me numerous opportunities to work closely with many new
directors, actors, artists and other technicians, who share terrific new ideas. With our combined
experience, new insights and through osmosis, we effectively blend our creative strengths efficiently
and with high visual impact.
I believe the most compelling vision of story telling is always about humanity. Believable human
beings, interacting in actual situations. Films that depict our shared emotions, life's tragedy and
triumph. How one faces and overcomes the obstacles in life is always inspiring and renewing.
A clearly conceived, well defined vision of a concept and it's elegant on-screen execution is the primary
goal. Far too often, convoluted projects, employing cockamamie characters, with ludicrous back stories
are propelled through ridiculous situations. Typically, music, sound effects, green screen are relied
upon carry the day. The mandate of story telling becomes secondary and inevitably the very purpose of
film making becomes lost.
I believe that, Pre-visualization and planning are cardinal, indispensable components in making a
successful film. It is extremely important to be decisive and efficient, consistently maintaining visual
excellence and production standards. Inevitably, these attributes will assure financial backers that the
time and money expended will not be squandered on frivolous experimentation.
Decades of on-set experience, has afforded me many amazing opportunities to work closely with a
variety Directors, Directors of Photography, actors and other technicians, who possess unique
perspectives in the creative process. Combined experience, shared knowledge, on-set experience and
osmosis, ultimately defines the creative harmony that the project requires.
Understanding and collaboration set the style, create the mood, and define the equilibrium of design
elements that a presentation requires. Working with a united vision fuels the creative process, on-set
experiences and shared knowledge enhance this procedure. Propelled by this dynamic force the project
becomes delineated, visually fine tuned and the on-screen results are unmistakable.
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4. Over the years:
I have extensive experience scheduling crews, budgeting resources and packaging equipment for shows
of any size and always bring my extensive experience and abundant skill set to the table
My background working in post production, on-set experience as a Key Grip, Chief Lighting
Technician, and Cinematographer provides me a unique overall crew perspective. I understand the
challenges that time and budget limitations can pose for the Production Department. This knowledge,
serves across-the-board by accurately budgeting of time verses resources, the management of crews
and sensibly packaging equipment.
I have always relished working on films with interesting, unique visual possibilities and marvelous
story telling. Depending on the nature of the project, I always try to remain somewhat flexible
regarding my “Day Rate”.
Through the years of making films on location around the U.S., I have become acquainted with
qualified technicians and equipment sources in almost every part of the country. Because of this
experience, I have an excellent pool of both union and non-union crew resources to draw on in Los
Angeles.
Although, I am currently a non-roster member of I.A.T.S.E. Local 600 (The International
Cinematographers Guild) as a Director of Photography and Local 728 (Set Lighting) as a Chief
Lighting Technician. Fundamentally, I believe in the union, however my participation does not include
working as a labor organizer on behalf of I.A.T.S.E..
In conclusion:
I've managed large and small crews as well as owning my own production service business. I have
worked on and managed Grip and Set Lighting Departments on big studio Feature Films like the “Fast
and the Furious” and small, sensitive Educational Films like “Mary Jo Gets a Puppy”.
I've been around long enough to have enjoyed the opportunity to meet and work for some of the best
Producers, Directors, Cinematographers and Production Designers that our industry has to offer. As a
result of observation and osmosis, I have gained a lot of knowledge, insight and understanding how to
effectively communicate ideas through visual media.
Through all of this, I have learned the value of being a calm presence on a set, working harmoniously
in conjunction with other talented individuals, who know how to collaborate and share a common
interest in creating an extraordinary finished product.
I assure you that my foremost commitment and primary dedication is the art and craft of film making. I
find great joy in working with and learning from, talented people who are committed to the creative
process. In short, I admire, respect, and identify with people who possess vision.
If you have any questions, or need any additional information please contact me via:
My email: z21552@netzero.com -- Mobile #: 661 583 7328 -- Thank you - Dan Zarlengo
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