Grandfather was the city editor of a newspaper in Wisconsin.
Wally Pfister is an American cinematographer and director, best known for his work on Christopher Nolan’s films. He has been nominated for four Academy Awards, winning for Inception (2010).
Pfister was born in Chicago, Illinois, on July 8, 1961. His father, Walter Pfister Sr., was a doctor, and his mother, Joan Pfister, was a homemaker. He has two sisters, Julie and Lisa. Pfister was raised in the suburb of Glen Ellyn, Illinois.
He attended the University of Southern California School of Cinematic Arts, where he earned a Bachelor of Arts degree in 1983. After graduation, he worked as a camera operator on music videos and commercials.
In 1998, Pfister met Christopher Nolan, who was looking for a cinematographer for his first feature film, Following. Nolan was impressed with Pfister’s work on music videos and commercials, and hired him to shoot Following. The two have collaborated on all of Nolan’s films since then, including The Dark Knight trilogy (2005-2012), Inception (2010), and Interstellar (2014).
Pfister has also worked on a number of other films, including Moneyball (2011), The Amazing Spider-Man 2 (2014), and Transcendence (2014).
He has been married to wife Anna since 1987. They have two children together, Emma and Max.
As of 2021, Wally Pfister’s net worth is $5 million. He has earned his wealth through his successful career as a cinematographer and director.
General Info
Full Name
Wally Pfister
Date Of Birth
July 8, 1961
Profession
Film director, Cinematographer
Education
AFI Conservatory
Nationality
American
Family
Spouse
Anna Julien
Children
Claire Pfister, Nick Pfister, Mia Pfister
Parents
Wally Pfister
Accomplishments
Awards
Academy Award for Best Cinematography, Critics' Choice Movie Award for Best Cinematography, American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases, Satellite Award for Best Cinematography, Chicago Film Critics Association Award for Best Cinema...
Nominations
Independent Spirit Award for Best Cinematography, National Society of Film Critics Award for Best Cinematography, BAFTA Award for Best Cinematography
Movies
Transcendence, Inception, The Dark Knight, The Dark Knight Rises, Batman Begins, Memento, The Prestige, Moneyball, Insomnia, The Italian Job, Laurel Canyon, Scotland, PA, The Hi-Line, The Unborn, The Granny, Marley, Rustin, Amityville: A New Generation, Stepmonster, Breakfast with Einstein, Sharing ...
My work will not be seen on screen the way I want it to if I'm forced to compromise my tools and my integrity. I can't short-change my director by taking a chance that the perfect shot is going to be ruined because we're using a format of lesser quality than film.
2
Film has an enormous amount of exposure latitude and dynamic range, which gives us infinite creative ability in creating images. I can underexpose it by 3 stops and overexpose it by 5 stops within the same frame and see the entire spectrum on the screen. That's simply not possible in any digital format I've seen. Every digital camera is trying hard to emulate 35mm film, and there's a reason for that.
3
I liked photographing people kind of on the sly with a long lens. I tried to capture stolen moments and find humor in them. I took pictures in natural light with interesting colors and shapes. But photography wasn't my main interest. I loved music. I played guitar in high school bands and that's still one of my passions.
4
Sadly, some people think of good cinematography as a beautiful sunset or a spectacular vista. I believe we affect the audience in a much more subtle way. We're manipulating them emotionally with light, darkness, colors, contrast and composition. I know the Dogme 95 theories, but I believe actors respond to light. Just look at a Rembrandt or Caraveggio painting or any of the Dutch masters, and tell me light isn't important. The pictures have to be true to the narrative, but I like to test the boundaries and see how far I can go.
5
The battle that we have to fight as cinematographers is to not let anybody treat us like we are consumers by using marketing techniques to push technology that's not better than what we have. Good enough isn't good enough. 24P is nowhere near the resolution of 35mm film, and if you put it side by side with anamorphic it's off the charts. There's not even a comparison. I don't see why we should settle for that and I don't see why the public should settle for it. I don't understand why we would use an inferior product to capture our images, when we want to see all the nuances and into the darkest details. I want to push the envelope. I don't think we have the power to fight this battle alone. The technology vendors have enough power and money to influence our art form. We need to get the directors on our side, because they have the clout.
Facts
#
Fact
1
Caught the film bug after seeing Shamus (1973) with Burt Reynolds being shot on location in his New York neighborhood when he was just a 10-year-old boy.
2
Graduated from the AFI Cinematography program in 1989 where he befriended cinematographers Janusz Kaminski, Mauro Fiore and Phedon Papamichael. All four friends apprenticed together on various low budget Roger Corman films early in their careers.
3
Member of the American Society of Cinematographers (ASC) since 2002, and the British Society of Cinematographers (BSC) since 2011.
4
As of 2013, he is the only cinematographer that has worked with Director Christopher Nolan since and including "Memento" (2000).
5
Grandfather was the city editor of a newspaper in Wisconsin.
6
The Batman Begins (2005) video game includes a character who does not appear in the film named "Walter Pfister". This character was voiced by the real-life Pfister.
