A Cinematographer's Memoir
Includes his training, the origins and development of his art, key moments in his career
his experiences with movie stars and directors, and more!

. $12.95 (Black & White version)
. EVEN LESS for the Kindle version!
Click on pic

$15.99 (Full color-at a special price--while they last)

AMAZON REVIEW: "I thoroughly enjoyed this book and would even like to see it made into a documentary. The section regarding cinematography, both positive and negative was very informative. I was captivated reading how much work goes into making movies and T.V. shows. I certainly recommend this book to anyone. 5 stars!"

- Phyllis


AMAZON REVIEW: "Shooting Stars is a great read. Informative, humorous and very insightful about the inner workings of the movie industry. The author offers fascinating anecdotes and personal stories based on his 50 years of experience. He also offers great advice and tips of immense value to anyone considering working in the industry in any capacity. I highly recommend and consider it a must read for anyone aspiring to a career in film making. 5 stars!"

- Steve Oakley

"You're still the best shooter
I've ever worked with."

- Ed Nielsen
(Jules Brenner's assistant and
camera operator on many projects)

What do John Milius' "Dillinger," Steven King's "Salem's Lot," Dan O'Bannon's "Return of the Living Dead," Tom Gries's "The Glass House," and "Helter Skelter" and "Dalton Trumbo's "Johnny Got His Gun" have in common? All these movies were photographed by DP Jules Brenner. In his memoir he recalls some of his colorfully unique experiences with actors and directors, such as how he met (and shot) Paul Newman; got fired by Kirk Douglas, lit Donald Sutherland as Christ, got kissed by Geraldine Page, and speared a fish for lunch with Cheech Marin. He also develops a few theories about how a one-man, 2nd-unit assignment may have led to a significantly larger one, and relates (with irony and humor) how he got started on the journey that made all that (and MORE) possible. Included are his army training and the networking that opened critical doors; plus the painstaking process of getting into the union; the development of his visual aesthetic as it related to the story, its style, and to the director' vision; the difficulties of working with a few (new) directors vs. inspiring collaborations with well-established pros. His hope is that the recounting of his career path may provide useful ideas and guidelines to a new generation of camera talent wanting in on the movie industry. He also covers the sort of qualifications required to being accepted as a voting member of the motion picture academy (AMPAS).