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Karl Freund

Karl Freund

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Also Known As: Died: May 3, 1969
Born: January 16, 1890 Cause of Death:
Birth Place: Profession: director of photography, director, producer, apprentice projectionist, projectionist, newsreel cameraman, assistant cameraman, screenwriter

Biography CLOSE THE FULL BIOGRAPHY

At the age of 16, Karl Freund -- who would photograph some of the great expressionist films as well as "I Love Lucy" -- began his long, illustrious career in motion pictures as a projectionist. Within two years, he had graduated to camera operator and received a variety of assignments, including newsreels and shorts, particularly for Pathe. Always an innovator, Freund was experimenting with sound film as early as 1908, and also developed his own camera. In the 1920s, Freund worked at the UFA studios during what has become known as the Golden Age of German cinema. Collaborating with such film artists as Fritz Lang, F.W. Murnau, Paul Wegener and E.A. Dupont, Freund helped to create some of the most beautiful and highly regarded films of the silent era. Freund was renowned for his daring camera angles, and his lighting effects, the latter a hallmark of the expressionism school. In 1924, he worked on "The Last Laugh" with Murnau and screenwriter Carl Mayer. Mayer collaborated closely with Freund to write a script exploiting the potentials of a moving camera. The camera became an integral part of the narrative, interpreting and visualizing the central character's state of mind. To film one scene where...

At the age of 16, Karl Freund -- who would photograph some of the great expressionist films as well as "I Love Lucy" -- began his long, illustrious career in motion pictures as a projectionist. Within two years, he had graduated to camera operator and received a variety of assignments, including newsreels and shorts, particularly for Pathe. Always an innovator, Freund was experimenting with sound film as early as 1908, and also developed his own camera. In the 1920s, Freund worked at the UFA studios during what has become known as the Golden Age of German cinema. Collaborating with such film artists as Fritz Lang, F.W. Murnau, Paul Wegener and E.A. Dupont, Freund helped to create some of the most beautiful and highly regarded films of the silent era. Freund was renowned for his daring camera angles, and his lighting effects, the latter a hallmark of the expressionism school. In 1924, he worked on "The Last Laugh" with Murnau and screenwriter Carl Mayer. Mayer collaborated closely with Freund to write a script exploiting the potentials of a moving camera. The camera became an integral part of the narrative, interpreting and visualizing the central character's state of mind. To film one scene where the main character is intoxicated, Freund strapped the camera to his chest, batteries to his back for balance, and stumbled about like a drunken man.

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Filmographyclose complete filmography

DIRECTOR:

1.
  Mad Love (1935) Director
2.
  Gift of Gab (1934) Director
3.
  Uncertain Lady (1934) Director
4.
  Madame Spy (1934) Director
5.
6.
  I Give My Love (1934) Director
7.
  Moonlight and Pretzels (1933) Director
8.
  The Mummy (1932) Director

CAST: (feature film)

1.
 Michael (1924) Leblanc--Art Dealer
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Milestones close milestones

:
Moved to Germany as child
1906:
Worked as an apprentice projectionist in Berlin
1907:
Became assistant cameraperson for Pathe
1907:
First film as director of photography (short) on "Der Hauptman von Kopenick"
1908:
First experimented with sound
1910:
Was DP on "Der Liebling der Frauen
1919:
Opened own film processing laboratory
1924:
Was DP on the classic "The Last Laugh"
1926:
Production head of Fox-Europa
1926:
Co-produced and co-wrote documentary "Berlin - A Symphony of a Big City"
1928:
Founded Movie Colour Ltd. In Great Britain
1929:
Moved to Hollywood
1930:
Signed contract with Universal
1932:
Made directorial debut, "The Mummy"
1935:
Signed contract with MGM
1937:
Won Academy Award as DP of "The Good Earth"
1944:
Founded Photo Research Corporation of Burbank
1950:
Left films for TV
1951:
Designed cinematography for "I Love Lucy" setting standard for all future three-camera film TV programming; became chief cinematographer for Desilu Productions
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