By ROBERT GOLDRICH

On this week’s front page, there’s a story in which professionals from different walks of the commercialmaking business discuss prospects for the new year. Indeed, it’s a time to look ahead—whether you’re an optimist, a pessimist, an idealist or a pragmatist.

But the recent passing of several industry notables also has us looking back. The "Your Shot" column below is a remembrance of cinematographer James O’Dea, and also in this week’s edition are obituaries for directors Herb Ritts and David Elliot (see p. 7). In reflecting on their accomplishments, there are perhaps some lessons to be learned for the future.

Creative director Barry Vetere, a co-founder of Euro RSCG MVBMS Partners, New York, recalled his experience teaming with director/cameraman Elliot on hundreds of productions, many of which were central to the success of MVBMS. "Some days, David’s speed and fearlessness allowed us to produce otherwise unachievable numbers of setups, all lit beautifully with the highest overall production value," related Vetere. "It seemed anything was possible when I worked with this wonderful man. Here’s the list of things that David couldn’t do—it was impossible for him to lose his sense of self-effacing humor, his kindness to all who surrounded him, his sense of loyalty and friendship."

As for Ritts, I only got the chance to talk to him twice—the first time when he began directing at now defunct O. Pictures—but I was struck by how unassuming he was, despite having become a celebrity in his own right for his ability to capture and define celebrity on film. The recurring observation in his obituaries was that he made the subject of his photos the star, and that his unassuming nature enabled him to get at the truth and beauty of a person photographically. In a remembrance of Ritts in the Los Angeles Times, photographer Greg Gorman was quoted as saying, "Doing what we do, photographing personalities, you have to get them to drop their guard. Sometimes they don’t even know who they are, and it takes a photographer to draw that out. Herb was very good at that."

And DP Sean O’Dea recalled that his late dad, cinematographer James O’Dea, "approached life—whether it was work or play—with determination, tenacity and warmth. The lesson to be learned from his life is to work hard and play hard; you can never be sure when your plans may be suddenly changed. Be as compassionate towards your co-workers as you are to the work itself. We are lucky to work in the commercial industry. It provides visual freedom and a lifestyle few other professions can offer. Make a point of remembering it, and be thankful."

The human traits that stand out—in this reflection on James O’Dea, in Vetere’s recollection about Elliot’s "kindness to all who surrounded him, his sense of loyalty and friendship" and in Ritts’ dedication to his work and to capturing the essence of a person on film without superimposed artiste egomania—are qualities to be treasured. And while it’s easy to be cynical about the future, the legacies left behind by these three late filmmakers and their admirable core values influence us, hopefully, to skew a bit closer to idealism, optimism and excitement about the challenges that lie ahead.

Happy New Year.

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