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Imero Fiorentino
Imero (Immie) Fiorentino (July 12, 1928 – October 1, 2013) was an American lighting designer, considered one of the most respected pioneers and leaders in the American entertainment industry.〔''Media Marvels for Hire'', "New York Magazine," April 19, 1976, John Mariani〕〔(【引用サイトリンク】 title=Silver Circle Awards 1992 Inductees ) (Cached version ).〕〔"(Q&A: Imero Fiorentino, independent Lighting Designer )." ''StudioDaily.com''. August 22, 2006. Retrieved on 4 December 2008.〕〔''Management, Imero Fiorentino'', "On Location," March/April, 1978〕 Beginning his career as a lighting designer in the Golden Age of Television, he designed productions for such celebrated series as ''Omnibus'', ''U.S. Steel Hour'', ''Pulitzer Prize Playhouse'' and ''Kraft Television Theatre''.〔() Kraft Television Theater-Credited as Lighting Director for unknown episodes〕 Fiorentino's expertise was often called upon by industry professionals throughout the world to consult on the planning and development of major productions,〔 exhibits, museums and architectural projects;〔Vogel, David B (20 April 2007). "(Are Schools Adequately Training Technical Directors for Professional Careers? )" USITT. Retrieved on 4 December 2008.〕 from the Republican National Convention and Democratic National Convention and numerous United States presidential election debates, major concert tours and television specials to the environmental lighting for Epcot’s World Showcase at Walt Disney World.〔Lampert-Gréaux, Ellen (11 June 2002). "(Imero Fiorentino, James C. Fuller, and John McGraw, 2002 Wally Nominees )." ''LiveDesign Online''. Retrieved on 4 December 2008.〕 His consulting work on major corporate events with clients included: Anheuser-Busch,〔''Command Performance: Producing an Affair for Blacktie and Beer'', "Video Systems," April, 1979, Suzanne Mead〕 Michelin, Electrolux, American Express and Xerox.
==Early life and education==
Fiorentino was born in Brooklyn, New York, the son of Sicilian parents Margaret Viola (a doll dress maker who later worked for a real estate agency) and Dominick Fiorentino (an artist who painted the faces on the Dy-Dee Dolls), who met in New York. As a young boy, he enjoyed trips to Radio City Music Hall with his uncle as he became more and more fascinated with theatre, especially lighting and set design. He turned to books to learn everything he could on the art. In junior high school and later at Lafayette High School in Brooklyn, he joined the stage squad and did the lighting and set design for plays. In high school he was encouraged by a wonderful teacher, Florence Druss, who understood immediately his aptitude for lighting design and encouraged him to pursue it as a career and to go on to college. In his junior year, his life’s plan was mapped out for him and he was accepted to Carnegie Tech, now Carnegie Mellon University. One year before graduating, there was a horrible accident and he lost one eye. He knew his great plans were in shambles because without depth perception, he thought it would be impossible to design lighting. However, his teacher and mentor came to the hospital and told him that no one would know he only had one eye, and he “would still be the best lighting designer ever.” The teacher saw the course the young man needed to be on, and convinced him to continue with his plans. With great sacrifice from his family, Fiorentino attended Carnegie Tech majoring in theatre.〔Spiller, Marshall (1 November 2002). "(History Project: Imero Fiorentino )." ''LiveDesign Online.'' Retrieved on 4 December 2008.〕
After graduation, his plans to teach and design at Indiana State University the following fall were circumvented by the loss of his father and he undertook the new role as breadwinner for his family. He made the rounds at NBC, DuMont and ABC looking for immediate employment. When interviewed for a position with ABC, Fiorentino admitted he knew nothing about television lighting to which the interviewer replied, “So what? Nobody does.” Television was a new medium in 1950 and everything was a learning curve. Fiorentino recalls, “The man called back later and said, ‘I can hire you as a lighting director for television.’ I said, ‘Who's going to teach me?’ He said, ‘Nobody's going to teach you.’ I said, ‘Well, how will I know if it's right?’ He said, ‘If it looks good, remember how you did it.’ I started the next day.”〔
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