Peter Zeitlinger

Cinematographer | Editor | Camera and Electrical Department
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Queen of the Desert (2015) | Bad Lieutenant: Port of Call New Orleans (2009) | Rescue Dawn (2006)
5 wins & 5 nominations More »
Jun 6, 1960 (age 57)
6' 0¼" (1.83m)
Film | Television
Cinematography | Writing | Editing | Directing | Producing  Less
Austria (with valid passport) (Authorized to work in United States)
* Starred info submitted by page owner via IMDb Resume (has not been verified by IMDb).

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Projects in Development (4 titles)YEARBUDGETSTATUS
Films in Production (2 titles)YEARBUDGETSTATUS
Past Film & Video (50 titles)YEARBUDGETUS Gross / WORLDWIDE
Past Television (35 titles)YEAREPISODE COUNT

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Education & Training (submitted by page owner via IMDb Resume)

  • Film Academy * – magister artium 1987 Vienna Austria

Additional Awards (submitted by page owner via IMDb Resume)

  • Independant Spirit Award * – Best Cinematography )Nominated) 2009
  • Cinema Eye Honors * – Best Cinematography (won) 2009
  • Romy Gala * – Best Cinematography (won) 2007
  • Williamsburg Fim Festival * – Best Cinematography (won) 2011
  • Romy Gala * – Best CInamatorgaphy (won) 2013
  • German Cinematography Award * – Best Cinematography (won) 2012

Prior Job Titles (submitted by page owner via IMDb Resume)

  • cinematographer *
  • director *
  • writer *

Additional Resume Info (submitted by page owner via IMDb Resume)

  • * Peter Zeitlinger (Director of Photography) biography

    Peter Zeitlinger is an accomplished filmmaker whose career encompasses
    cinematography, directing, writing and editing. Zeitlinger is working
    with Werner Herzog since 1995 when he was director of photography on
    the director´s documentary DEATH FOR FIVE VOICES. That film began an
    intensive collaboration that has yielded such documentaries as LITTLE
    BAD LIEUTENANT/Port of Call New Orleans and
    SON MY SON WHAT HAVE YE DONE. His work has garnered a lot of awards and nominations:
    2007-2013 Peter Zeitlinger won two Romy Awards for best Cinematography.
    2008 Cinema Eye Honors for best Cinematography
    2012 German Cinematography Award
    Almost all the movies he photographed amassed several top awards all
    over the world. 2006 Herzogs film Grizzly Man was awarded by the
    Directors Guild of America as the best non feature film, Encounters at the End of the World
    was nominated for the Academy Award and elevated
    Peter Zeitlinger into the top class of Cinematographers..
    At the time, Peter Zeitlingers work was known as number one in Germany
    like the action thriller The Streets of Berlin and the melodrama
    Dreamhotel was seen around the world.
    Mr. Peter Zeitlinger is one of the finest cinematographers working in
    the entertainment industry today. His work speaks for itself he is a
    truly gifted, sensitive and enormously talented artist. His dedication
    to his craft is unprecedented.

    Work with Werner Herzog
    After Werner Herzog watched Peter Zeitlingers outstanding hand held
    camera work in Ulrich Seidls "Prepared for losses", Herzog hired Peter
    Zeitlinger for the documentary "Death for Five Voices" which
    immediately won the Prix d Italia.
    Peter Zeitlinger has been Herzogs favorite DP since that time. They
    worked together on the Hollywood Production Rescue Dawn which is
    released by MGM. Peter Zeitlingers meticulous attention to detail and
    the whole context, his unique visual style of the camera movements
    added immeasurably to the quality of the film. 2006 Peter Zeitlinger
    and Werner Herzog were selected for the US-Antarctic Programm by the
    US National Science Foundation as writer and artist.

    Peter Zeitlinger was born in Prague.
    Due to the turbulences during the Soviet occupation in 68 and the
    political instability he left the country with his mother and moved
    to the neighbouring and neutral country of Austria. Not even 10 years
    old young Peter Zeitlinger had to learn a new mother tongue. Being
    forced to express himself in a new way Peter Zeitlinger started
    painting and sketching a lot.

    School Years
    Aged thirteen Peter Zeitlinger discovered the possibility of making
    images move. A friend's father had an 8mm camera and kept it in his
    gynecologist's practice. When during the heights of puberty Peter
    Zeitlinger and his friend secretly observed the gynecologist at work,
    they discovered the camera. During the night Peter Zeitlinger would
    sneak into the practice and borrow the camera. For many nights he used
    the operating light in the practice and worked on his own animated
    films before he sneaked out of the practice at the crack of dawn. One
    night he was discovered by his friend's father but strangely enough he
    was not told off! Instead, the wealthy doctor was so deeply moved by
    the animated films that he gave his camera to the "poor refugees'
    child". Now it became possible for Peter Zeitlinger to work in the
    outside world during the daytime. For one of his first films "We
    Walked" he was awarded a youth film festival prize and was given a
    camera with zoom and audio recording features. That was when filmig
    really lifted off. Until he was accepted at the Academy for Film he
    had produced a good 70 short or animated films. Peter Zeitlinger's
    first animated film "Der Geburtstag" (The Birthday) was his ticket to
    university, because being a taciturn person he otherwise would not
    have survived amongst all the talkative chatter boxes.

    University Years
    Michael Snow and Peter Kubelka became Peter Zeitlinger's admired and
    most influential teachers. Peter Zeitlinger had met Kubelka in Linz
    and had been impressed by the latter's all-encompassing concept of
    art. Kubelka introduced him to the interrelations between music,
    cooking and film making. All of these three forms of expressing life
    obey the same rules: composing (i.e. montage, composition) and
    preceptions in the course of time (dramatic plot). In addition to the
    courses at the academy Peter Zeitlinger also attended lectures by
    Lachmayer and Prof Mader who read at the Vienna philosophical
    institute. He also studied Management of Arts under Jungblut and
    Dieter Ronte trying to graduate as an MA. The theoretical essays by
    Peter Zeitlinger, first published in the University newsletter brought
    about a remarkable uproar amongst his teachers, because in
    "Abschaffung der Montage" (Abolishing Montage), which was based on
    profound philosophical knowledge, Peter Zeitlinger meticulously
    managed to proof that a "Filmgrammatik" (Grammar of Films) does not
    exist. Although Peter Zeitlinger was not enrolled in directing it was
    the lecturers from the directing department (A. Stummer and A. Corti)
    who strongly spoke out in favour of Peter Zeitlinger being admitted to
    the exams, which were quite threatened at the time. Peter Zeitlinger
    graduated with excellency.

    The First Full-Length Film
    During his university years Peter Zeitlinger had already written a
    number of scripts. One of the scripts co-written by Peter Zeitlinger
    and Erhard Riedlsperger was "Tunnelkind" (Tunnel Child). The film is
    set at the Czech-Austrian border where the Iron Curtain was erected
    during the late 60s. Borders and marginalization are recurring topics
    in Peter Zeitlinger's work. Although many of the films Peter
    Zeitlinger had produced during his uiversity years were awarded
    several prizes it was due to the highly bureaucratic structures in
    Austria that it first seemed impossible for a young graduate from
    university to work as a Director of Photography (DOP). Normally, years
    of assistance and begging were to be endured first. After a debate
    sparked of by Peter Zeitlinger the directorate of the film institute
    decided to allow an exception to the rule: for the first time a first-
    time director was allowed to select the DOP of his choice, Peter
    Zeitlinger, for his first full-length film. The media, as well as the
    film business and the fellow students were keen to observe the making
    of this film at the Czech-Austrian border. On a daily basis the latest
    shots were assessed by a committee even before the director or the DOP
    had seen them, and the comittee then had to grant permission to
    continue with the project. An experienced replacement crew was kept on
    call to take over, in case the project would fail. After one week at
    work the replacement crew was sent home. A little later the film was
    invited to the International Berlin Filmfestival.
    The film tells the story of a little girl who manages to convince the
    chief builder at a construction site for the electric fence to build
    the fence above a secret tunnel in order to leave an escape into
    freedom. During the production of Tunnelkind the Iron Curtain for
    Czechoslovakia was abolished. Reality seemed to catch up with fiction.
    The Berlin Film Festival was also dominated by the liberalisation of
    the communist countries and the film was applauded as dealing
    marvellously with current affairs.

    Bryan Hillman 2008
* Starred info submitted by page owner via IMDb Resume (has not been verified by IMDb).
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