Cinematographer Adam Greenberg, who earned an Oscar nomination for his work on James Cameron’s “Terminator 2: Judgment Day,” began to learn the craft of filmmaking working in the Israeli Army’s pho…
’s “Terminator 2: Judgment Day,” began to learn the craft of filmmaking working in the Israeli Army’s photo section.
Landing a technician job in a one-room production lab in Tel Aviv, he used his downtime wisely. “Reading old copies of Cinematographer magazine was my training,” says Greenberg , who wound up in the Middle East at age 3, after fleeing from the Nazi war machine in his native Krakow in 1942 with his two sisters. “The articles taught me how to shoot newsreels.
Eventually earning an assistant’s job, Greenberg interned on David Perlov’s seminal 1963 short documentary “In Jerusalem.” That led to work on Israel Becker’s far-out Hebrew-language musical comedy “The Flying Matchmaker.” He reunited with Perlov in 1967, lensing the documentary “Theatre in Israel,” and crewed on the director’s celebrated 1969 doc “42:6 — Ben Gurion.” To film aerial coverage, Greenberg parachuted from an airplane and shot while plummeting earthward.
’s “The Terminator.” When Cameron asked him why he wanted the job, Greenberg responded: “I need exposure. I need people to see what I can do, and I think this will be a very big movie.” He proved himself right. Shooting Arnold Schwarzenegger from the thighs up to look larger — and lit in full blues and half-greens — he strove to give the film a signature cold and static look that audiences would remember.
Currently retired, Greenberg lives with his wife, Varda, in Brentwood. But, he admits, he’s “still looking for a great script.”
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