COVER STORY

Jan Maliszewski

by Judy Kermis Blotnick


A breathtaking panorama of cinematographer Jan Maliszewski
on assignment in Iceland. Photo by Chris Allingham.

When Jan Maliszewski flew out to the West Coast to attend the Academy Awards this past March he was relatively calm. True, his short-subject documentary, ON TIPTOE:

GENTLE STEPS TO FREEDOM was nominated for an award and true, he and his wife of 7 years, Rena, a talent scout, were going to walk down that famous red carpet but the reality of it all didn't hit him until he was surrounded by the press.

"Going to the Oscars was very far removed from making a personal documentary," he said. "Quite a contrast from Stow, Massachusetts to the glitz and glamour of Hollywood.

left to right: Jan Maliszewski (DP), Corine Marinan (AP), Eric Simenson (Director), Paul Simon, Leelai Demoz (Producer) of documentary film "TIPTOE: GENTLE STEPS TO FREEDOM." January 1999

It was unreal and overwhelming but what I found most strange is to be on the other side of the camera."

Predictable reaction, given that the 39-year-old Maliszewski is a veteran cameraman who works as director of photography for DGA Productions in Watertown. The film he shot in 1998 and 1999 did not win an Oscar but Maliszewski is far from bitter about it.

"I was so pleased to be included," he commented. "I found out that the Academy looks at over 100 films in this category. I was proud and honored to have made the final list. Some films one makes to pay the bills while others because of pure interest and curiosity. This was the latter."

Jan Maliszewski (DP) and
Jill Tufts (Camera Asst.) at
Music Video Shoot 1996.

He is reluctant to talk about what the nomination will do for his career because that wasn't a consideration at all when he agreed to work on the project. He was caught up in the subject matter, featuring the South African music group Ladysmith Black Mambaso, and taken with their charismatic founder, Joseph Shabalala, who wanted to make the documentary to raise funds for a school that would help preserve Zulu culture. Maliszewski became interested in learning about the culture himself and wanted to help the cause. He spent 3 days shooting in Boston and then traveled to South Africa for 5 more, as well as to New York to interview Paul Simon whose "Graceland" album included the group's music.

Born and raised in Hartford, Connecticut, Maliszewski got his BFA from Emerson College. He can't define the moment when he knew he wanted to be a photographer but recalls many "little events along the way" that now make sense in his journey.

"I wasn't good at math and hated being chained to a desk. I need to be out and about, moving around. I guess this job suits me perfectly," he laughed.

He met his wife while he was a cameraman on a talk show at WCVB, "The Jane Whitney Show," but they didn't start dating until after they both left the show. They are now parents of a 19-month old girl and he is grateful that his wife understands the line of work he is in with its crazy hours. He has been a part owner of DGA Productions for the past 9 years, having apprenticed there with Dean Gaskill, who is 17 years his senior.

Jan and Rena Maliszewski at The Academy Awards. Rena's dress by Denise Haggar, Boston.
"Dean knew my father who was also a photographer. I'd go hang around him and promised to do anything in order to get my hands on a camera, get an opportunity to shoot." Maliszewski recalls showing Gaskill his music videos that he made and being in Gaskill's debt for bringing him along, teaching him much of what he knows. "I owe him," he said solemnly.

The company counts A La Carte, 60 Minutes, NASA, ESPN and BBC among their long list of clients. Maliszewski's other recent project was a feature film titled RENDEZVOUS IN SAMARKAND, shot in Portugal, Morocco, and Spain, that he made in 1998. Based on the experiences of the director and former classmate at Emerson, Tim Bridwell, the film toured the festival circuit, finishing its run at the Coolidge Corner Cinema. To the question of whether he prefers film versus digital his answer comes quickly.

"I don't take the position that it is a "versus," he said. " There is room for all formats. As we've seen, moving stories can be told in any medium."

Despite his newfound fame, he has no intention of leaving New England. He is very fond of the production community here and finds no obstacles to anything he wants to do.

"One thing that I think is fairly certain about the future of New England production: some producers will continue to serve cold pizza for lunch," Maliszewski remarked. "It was serendipitous that the director, Eric Simenson, happened to be in Boston at the time that Joseph Shabalala and he dreamed up the project. The only reason I came to be involved is because I was here. I like that word, serendipity."

In addition to raising money for a good cause, HBO will be distributing the documentary at a later date, which makes Maliszewski happy. The other thing that makes him really happy is to be behind the camera.

"As a cameraman, there are times when I am looking through the lens and I get this strong feeling that we are going to use this shot, this particular shot. It only happens now and then, usually in the 19th out of 20 hours, but it renews the magic," he recounts. " So much of the time the work is drudgery that when this fleeting feeling comes it always catches me by surprise."

He tells how "that moment" happened to him recently.

"We were making a documentary for the Lowell Police Department. It had to be filmed in three languages: English, Spanish and Khmer. The scene takes place in a Buddhist temple where an actress, playing the role of a mother who lost a child to violence, was doing her piece, in Khmer," said Maliszewski. " I knew what she was saying because I had heard it in English but as she was saying her lines I was so moved that the director asked me if I was alright. I knew, just knew, that this was the take."

The only downside to his chosen career that he can think of are the long hours but he is quick to quote David Quaid, a retired cinematographer friend of his father's, who told him that, "there is still always time to become an accountant." Jan Maliszewski?

Not a chance.

Judy Kermis Blotnick is a free-lance writer and former Executive Director of Women in Film & Video, New England. She attends the Museum School full time.