Now Available to Stream on YouTube.
Our second industry panel at The Slasher Studies Summer Camp, Amanda Reyes in conversation with Ellen Lutter and John Newby, ASC, follows Lloyd Kaufman's earlier reflections on the landscape of independent film production and distribution in New York City in the late 1970s and early 1980s. What do Lutter and Newby's first-hand experiences, whether working in the Costume and Wardrobe Department or the Camera and Electrical Department respectively, tell us about the regional specificity of independent film production in New York City during the period? How do these experiences change the rigid definition of such independent film practices as "North American"? What influence did Lutter and Newby's work have on their early films and, most importantly, how did their early career experiences equip them with the skilled-based and creative knowledge necessary for their later, established work on major film and television production?
Ellen Lutter and John Newby, ASC join The Slasher Studies Summer Camp as Special Guest Speakers on Saturday 14 August.
Ellen Lutter and John Newby, ASC join The Slasher Studies Summer Camp as Special Guest Speakers on Saturday 14 August.
Ellen Lutter /
Costume Designer
Ellen Lutter is a native of New York, born in the Bronx and raised in Queens. She attended LaGuardia High School of Music and Art, Flushing High, and graduated with a BA in Spanish from SUNY at New Paltz. Upon graduating, Ellen taught middle school in Bogotà, Colombia.
Watching classic old films on daytime TV as a kid, or being taken by her movie-loving dad to see John Wayne or Paul Newman pictures at the old RKO Keith’s movie palace, Ellen was fascinated by the art of storytelling through film.
Back in New York City in the late 1970s, Ellen began working as a production assistant on low budget independent films. She got her feet wet with the cult favorite Troma Entertainment and then, after a few years of temp work, design classes, temp work, short projects, temp work and the requisite horror film or two — including Mother's Day (1980), He Knows You're Alone (1980) and Friday the 13th Part II (1981) — she was accepted into the young upstart union, NABET Local 15. At that time, NABET (National Association of Broadcast Employees and Technicians) had won the majority of commercial contracts in the city before being absorbed into its powerful and established rival, IATSE (International Alliance of Theatrical Stage Employees), in 1990. Ellen worked as a costumer and assistant on commercials, afterschool specials, television and film until joining United Scenic Artists, Local USA 829, as a costume designer in 1987. In 1999, she began doing bi-coastal work and joined the Costume Design Guild in Los Angeles.
In 1998, Sony hired Ellen for her first studio film, Guy Gets Kid, starring a young Saturday Night Live comedian, Adam Sandler. The film was released as Big Daddy and a 20-year collaboration with Sandler had begun.
Among Ellen's credits are: Shades of Blue (NBC, 2016-18); The Ridiculous 6 (Netflix, 2015); Max (Warner Bros., 2015); Sex and the City (HBO, 1998-2004); You Don't Mess with the Zohan (Sony, 2008); 50 First Dates (Sony, 2004); The Longest Yard (Paramount, 2005); Little Nicky (New Line Cinema, 2000); 54 (Miramax, 1998); Flirting with Disaster (Miramax, 1996); Living in Oblivion (Sony, 1995); Fresh (Miramax, 1994).
Ellen lives in Brooklyn with her husband Tom Anderson and their dog, Bouncer.
After 40 years of crack of dawn call times and late night wraps, she still loves film.
Ellen’s most recent credit is Netflix's 2018 comedy, The Week Of.
Watching classic old films on daytime TV as a kid, or being taken by her movie-loving dad to see John Wayne or Paul Newman pictures at the old RKO Keith’s movie palace, Ellen was fascinated by the art of storytelling through film.
Back in New York City in the late 1970s, Ellen began working as a production assistant on low budget independent films. She got her feet wet with the cult favorite Troma Entertainment and then, after a few years of temp work, design classes, temp work, short projects, temp work and the requisite horror film or two — including Mother's Day (1980), He Knows You're Alone (1980) and Friday the 13th Part II (1981) — she was accepted into the young upstart union, NABET Local 15. At that time, NABET (National Association of Broadcast Employees and Technicians) had won the majority of commercial contracts in the city before being absorbed into its powerful and established rival, IATSE (International Alliance of Theatrical Stage Employees), in 1990. Ellen worked as a costumer and assistant on commercials, afterschool specials, television and film until joining United Scenic Artists, Local USA 829, as a costume designer in 1987. In 1999, she began doing bi-coastal work and joined the Costume Design Guild in Los Angeles.
In 1998, Sony hired Ellen for her first studio film, Guy Gets Kid, starring a young Saturday Night Live comedian, Adam Sandler. The film was released as Big Daddy and a 20-year collaboration with Sandler had begun.
Among Ellen's credits are: Shades of Blue (NBC, 2016-18); The Ridiculous 6 (Netflix, 2015); Max (Warner Bros., 2015); Sex and the City (HBO, 1998-2004); You Don't Mess with the Zohan (Sony, 2008); 50 First Dates (Sony, 2004); The Longest Yard (Paramount, 2005); Little Nicky (New Line Cinema, 2000); 54 (Miramax, 1998); Flirting with Disaster (Miramax, 1996); Living in Oblivion (Sony, 1995); Fresh (Miramax, 1994).
Ellen lives in Brooklyn with her husband Tom Anderson and their dog, Bouncer.
After 40 years of crack of dawn call times and late night wraps, she still loves film.
Ellen’s most recent credit is Netflix's 2018 comedy, The Week Of.
John Newby, ASC /
Cinematographer
After graduating from Boston University with a degree in film production and theory, John Newby, ASC worked for six years as a motion picture projectionist, theater lighting designer and television news editor. He was also involved in film lab operations. While projecting films, he would read American Cinematographer between changeovers and arc trims of the 2,000 reels. Newby also served as an arc lamp operator on William Friedkin's 1978 film, The Brink's Job, before working on such independent productions as Friday the 13th Part II (1981), The Mutilator (1984) and Exterminator 2 (1984).
Newby moved to New York City and worked his way through the ranks of NABET Local 15's Electrical Department and was gaffer on Sergio Leone's Once Upon a Time in New York (1984) and Lindsay Anderson's The Whales of August (1987). He was also working as a cinematographer on commercials, industrials and documentaries. He served as A-camera operator on feature films and television projects such as Spike Lee's Do the Right Thing (1989) and Mo' Better Blues (1990) with Ernest Dickerson, ASC and Nicolas Roeg's Sweet Bird of Youth (1989) with Francis Kenny, ASC.
In 1990, Newby became a full-time director of photography after stepping into the role on TV series The Flash (CBS, 1990-1991). He has photographed such projects as Dead Sun Rising (1994), Desert Saints (2002), Heroes (NBC, 2006-2010), Ringer (The CW, 2011-2012), CSI: NY (CBS, 2004-2013) and Masters of Sex (CBS, 2013-2016). He has also had the rare opportunity of serving as director of photography on a Showscan large format film in Hong Kong titled Hong Kong Havoc that was shot on 65mm film and projected at 60 fps.
Newby moved to New York City and worked his way through the ranks of NABET Local 15's Electrical Department and was gaffer on Sergio Leone's Once Upon a Time in New York (1984) and Lindsay Anderson's The Whales of August (1987). He was also working as a cinematographer on commercials, industrials and documentaries. He served as A-camera operator on feature films and television projects such as Spike Lee's Do the Right Thing (1989) and Mo' Better Blues (1990) with Ernest Dickerson, ASC and Nicolas Roeg's Sweet Bird of Youth (1989) with Francis Kenny, ASC.
In 1990, Newby became a full-time director of photography after stepping into the role on TV series The Flash (CBS, 1990-1991). He has photographed such projects as Dead Sun Rising (1994), Desert Saints (2002), Heroes (NBC, 2006-2010), Ringer (The CW, 2011-2012), CSI: NY (CBS, 2004-2013) and Masters of Sex (CBS, 2013-2016). He has also had the rare opportunity of serving as director of photography on a Showscan large format film in Hong Kong titled Hong Kong Havoc that was shot on 65mm film and projected at 60 fps.
