Tony Gaudio Net Worth is
$19 Million

Mini Biography

Tony Gaudio was created Gaetano Antonio Gaudio on November 20, 1883, in Cosenza, Italy, to a specialist photographer. After went to art college in Rome, he became an helper to his dad and elder sibling, who were family portrait photographers. Ultimately he segued into movie theater, you start with “Napoleon Crossing the Alps” in 1903, and he ultimately shot a huge selection of brief topics for Italian film businesses before shifting to the united states in 1906. Both he and his youthful sibling Eugene Gaudio, who offered the same apprenticeship with both family studio room and with Italian filmmakers, would emigrate to America and be prominent cinematographers (Eugene was among the founders from the American Culture of Cinematographers in 1919; Tony would enroll in the organization and serve as leader). In NY in 1906 Tony was utilized by Al Simpson to create “song slides” that might be shown in theaters so patrons could sing combined with the music. After stopping Simpson in 1908, he proved helpful in Vitagraph’s film advancement laboratories in NY, then moved to Carl Laemmle’s IMP (Separate Shifting Picture Co.) to supervise the structure of IMP’s NY laboratories. From 1910-12 he became the principle of cinematographers at IMP, where he shot Mary Pickford’s movies for movie director Thomas H. Ince (he’d later capture The Gaucho (1927) on her behalf hubby, Douglas Fairbanks.) Laemmle had wooed Pickford from Biograph by supplying her $175 weekly, thus supporting create the superstar system (Pickford shortly still left Laemmle for Adolph Zukor’s Famous Players, where she was paid $10,000 weekly; she still left Zukor for First Country wide, where she was paid $350,000 per film). Referred to as “Uncle Carl”, Laemmle was well-known for his nepotism, which expanded even to another cousin from Alsace, France, the near future movie director William Wyler. Tony’s own sibling Eugene works for IMP seeing that the superintendent of its advancement lab before turning to cinematography himself. For Tony, he still left IMP to function for Biograph and others before selecting a house at Metro Images by 1916, where his sibling Eugene now proved helpful as a movie director. At Metro Tony shot 10 movies for movie director Fred J. Balshofer and finally wound up initially National in the first 1920s through his are a cameraman for sisters Constance Talmadge and Norma Talmadge. From 1922-25 he shot nine Norma Talmadge images. Eugene had died in 1920, and from 1923-24 Tony served seeing that president from the American Culture of Cinematographers, the professional body his sibling had helped create to market standardization on the market also to serve seeing that a clearinghouse for details for cameramen. Tony was on the forefront of specialized technology in his build; in 1922 he created a viewfinder for the brand new Mitchell surveillance camera. In the 1920s the Hollywood film sector was dominated by Bell+Howell surveillance cameras, but Mitchell set up a foothold and broke through by the finish of the 10 years. As the Bell+Howell created a superior picture because of its innovative pressure dish behind the zoom lens, it was as well noisy for audio work, which exposed the marketplace to Mitchell. The ASC helped promote enhancements like the viewfinder. This is rooted in the actual fact that in the initial generation of movie theater, cameramen possessed their own surveillance cameras and improved them themselves. To be always a cameraman one also needed to be a tinkerer (Tony also would afterwards invent the surveillance camera focusing microscope). Tony also was an expert–as were many early cameramen–in the introduction of film, because so many cinematographers took a hands-on method of development to be able to ensure not only the grade of their pictures, but to accomplish results in the laboratory. It had been while he was utilized by First Country wide as the superintendent from the studio’s film labs in 1925 that he directed two feature movies released from the Poverty Row studio room Columbia Photos Corp. In the 1920s he helped photograph Douglas Fairbanks’ The Mark of Zorro (1920), pioneering the usage of montage, and was lighting cameraman on Fairbanks’ 1927 “The Gaucho”, which presented among the earliest two-strip Technicolor sequences (Gaudio also shot two-strip Technicolor scenes for On using the Show! (1929) and General Split (1929)). He produced his reputation through the 1920s as the principle cameraman for such best directors as Allan Dwan, Frank Borzage and Marshall Neilan, aswell for tyro movie director Howard Hughes’ dialogue moments with Harry Perry around the aerial moments of Hell’s Angels (1930). When First Country wide was acquired by Warner Bros. in 1928, Gaudio relocated over to the brand new studio room, putting your signature on a long-term agreement with Warners in 1930. With time, he and his fellow Italian immigrant Sol Polito would end up being the co-chief-cinematographers in the studio room and help style the unique Warner Bros. “appear” that was affected by German Expressionism. The opinionated Tony Gaudio was susceptible to clash along with his directors, and Oscar-winning director Lewis Milestone’–who won his first Oscar on the film lensed simply by Gaudio, Two Arabian Knights (1927)–almost fired him from LEADING Web page (1931) (Gaudio served as the next cameraman about Milesteone’s anti-war masterpiece All Quiet around the European Front (1930), that the director won his second Oscar, and would shoot his last film for Milestone: The Crimson Pony (1949), which is renowned because of its mastery of color). The studio room tolerated his character as he was a grasp of dark and white cinematography, earning six Academy Award nominations and one Oscar from 1930 through 1946, when he was nominated for Greatest Color Cinematography for the very first time. Gaudio, fellow co-cinematographer-in-chief Polito, Barney McGill and Sidney Hickox had been instrumental in creating the Warner Bros. “appear” from the 1930s. Warners, probably the most intensifying studio room in Hollywood, was susceptible to filming topics torn from your day’s headlines; the Brothers Warner, as displayed by studio manager Jack port L. Warner, didn’t demand a attractive aesthetic as do MGM, for example (Gaudio shot Mervyn LeRoy’s gangster traditional Small Caesar (1931) while Polito shot I Am a Fugitive from a String Gang (1932) for Leroy 2 yrs later on). Gaudio, Polito as well as the additional cinematographers they supervised therefore could actually light their units to evoke feeling and atmosphere. The versatile Gaudio shot all sorts of movies atlanta divorce attorneys genre, from your exclusive A-pictures to B-movies. Along with Polito, Gaudio shot Warners’ most prestigious motion pictures, earning an Oscar for his dark and white cinematography about Anthony Undesirable (1936). He shot Warners’ 1st three-strip Technicolor film, God’s Nation and the girl (1937), aimed by William Keighley, and, consequently, the studio designated Gaudio and Keighley from what was their most ambitious picture ever: The Activities of Robin Hood (1938), that was also to become shot in the hard Technicolor. The film would ultimately price $4 million, rendering it the priciest film ever sold to enough time, but Gaudio and Keighley had been taken off the task by maker Hal B. Wallis for operating too gradually. The film was completed by Polito and movie director Michael Curtiz, though all ultimately shared display credit around the picture and Gaudio’s video footage continued to be in the film. Gaudio was a normal cameraman for Bette Davis, who also became the studio’s greatest celebrity through the 1930s. Gaudio originally offered Davis the glamor treatment, but by enough time he shot Bordertown (1935), starring Paul Muni like a Mexican-American attorney inside a corrupt city, Gaudio didn’t flinch when–shooting the film having a stark realism–he deglamorized Davis, as he’d later on in two period movies, Juarez (1939) as well as the Aged Maid (1939). Critics think that Gaudio reached the zenith of his art on another Davis automobile, movie director ‘William Wyler (We)”s version of W. Somerset Maugham’s book, The Notice (1940). For the picture Gaudio’s video camera evoked a moodiness pregnant with assault. The starting shot from the film, a gradual monitor through the Malaysian silicone plantation this is the placing for the storyplot going to transpire, is incredibly memorable. When Gaudio shot High Sierra (1941) for Raoul Walsh, he worked within an ultra-realistic, documentary-like style that was a precursor of film noir. He parted business with Warners in 1943 after capturing Background to Risk (1943) to look freelance. His following picture, Universal’s Corvette K-225 (1943), brought him an Oscar nomination. He earned his last Oscar nomination, for color cinematography, in 1946, to get a Song to keep in mind (1945). Tony Gaudio died on August 10, 1951. He was 67 years of age.

Known for movies