| After 45 years in lighting, my loss of short term ‘whatcha call it’ from heart surgery in 1995 has forced my retirement. Although I miss the work I certainly can’t complain.
I’m a native son whose ancestors came up with the Spanish missions. I went to high school in San Fernando, Eagle Rock, and Redondo Beach. In 1954, after serving in the Air force in Alaska during the Korean War, I started with Natural Lighting
(Colortran). |
Aggie (right) with
Paul Caven
"Freebie and the Bean", 1973
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When the rental department moved to Hollywood, with the Beckett and Leonetti Co., I went with it and helped developed the “masterlites” and transformers till 1964. I met some of the “ol’ lighting masters”: Bobby Comer, Joe Carpenter, Charlie Beckett, Frank
Leonetti, Jimmy
Woods, Don Carstensen, Paul Butner, Don Stott, Lee Canon, Goldy Garnel and others.
I went free-lance in 1964 and gaffed my first feature; “The Hostage” (in Iowa) and wrote a feature article for the
A.S.C. magazine. My first feature with Laszlo Kovacs was “A Man Called Dagger” in 1965, in which I, doubling as a guard, got killed twice in the same scene. Then came numerous commercials, several no-budget features. Then the “I Spy” TV series overseas with the famous Fouad Said
(Cinemobile). I worked for “CBS Reports”, where my Air Force security clearance enabled me to work covering two presidents and documentaries on the early space program. There were also some unmentionables, such as “Pig Keeper’s Daughter” where, believe it or not, I got lighting credit on the theater poster! Go figure! Then in 1968 ... “Easy Rider”. The rest I guess is cult history.
Laszlo Kovacs became a hot “new wave” cinematographer and was accepted into the IA, taking me with him on “Five Easy Pieces” in 1969, but I was restricted to that producer only. Soon a Justice Department directive required a quota of minorities which took effect the very day I started on “Alex In Wonderland” at MGM.
From producers clear up to electricians and grips, I’ve been privileged to enjoy a rewarding career with some of the best from in front and behind the camera.
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My Fellow Americans (1996)
- Photo left to right: Colin McDonald, Matthew Hawkins, John Haselbusch, Paul
Caven, Leroy Hershkowitz and Aggie Aguilar seated
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I’ve worked on over 75 features. Most memorable were: “What’s Up Doc?”, “Paper Moon”, “Freebie and the Bean”, “Harry and Walter Go To New York”, “At Long Last
Love”, “F.I.S.T.”, “Chaplin”, “Mask”, “New York, New York”, “On Golden Pond”, “Sleepless In Seattle”, “My Best Friend’s Wedding”, and “Only You” (Italy). |
I did 45 features with Laszlo Kovacs. Laszlo recently saluted me at the Hollywood Film Festival when he received a Lifetime Achievement award. The ASC will honor him in February, which I will attend also, thanks to
Laszlo. I’ve lectured in workshops at AFI, CSUN. I feel privileged to have worked on 7 pictures with Sven
Nykvist, the legendary Swedish cinematographer. Over the years, the opportunity to work in Europe, Asia and Peru was priceless.
I made some of my own lighting equipment: location stands, 12 light adjustable fay lights, soft lights, (was the inventor of grids for all soft lights), and vinylite diffusion. The key grip Len Lookabaugh and I formed Mobile Cinema Service in 1970. Together we built a complete production van with unique features which was one of the first to be rented to a major studio from a crew member. Our reputation helped remove that long time barrier and promoted rentals from individuals.
I’ve had lots of help along the way. Romeo Di Santis was with us for the early years as Best Boy, and gave us a great start. Foster Denker has been with me since “Easy Rider”, off and on, and has been a tremendous help and dependable friend. My long time Best Boy, for nearly 30 years, Paul
Caven, has been a commendable technician, loyal partner, good friend and always there with a laugh and great spirit, which is a real help... a necessity. We made him our spokesman.
I sincerely appreciate all the work and cooperation from all my crews. They did a lot of good work, demanding work, and some unorthodox work, but we never used the “K” word as Frankie J. would say. They are the unsung heroes that made it possible. The proof is on the screen and they should be proud. We sometimes lose sight of the value and privilege of working in a real art form. It’s hard to appreciate that while you’re pulling cable up a hill in the rain, but if this is your profession, then do it the best you can. Your satisfaction, success, reputation and even our contract negotiations depend on it. Realize that these are the “good
ol” days and they go by all too fast.
Since becoming “inactive” I’ve written a script called “Generation Gap”, a clean, screen family comedy that has something to say. I’m also a volunteer ‘band boy’ for a swing band “The Alumni Association” made up of veterans of the big name big bands... great music! My 5 ton ‘beer’ truck (actually custom built) is for sale as I’m looking forward to moving to Mendocino where I bought a vacation house on the bluffs by the ocean, while filming ‘Strangers’ in 1979. Its great, but I’ll surely miss all the guys. I
already do.
Rich L. “Aggie” Aguilar
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