first cameraman/associate producer
was born three days late, and backwards on a rather overcast
chilly fall day in November of 1975. He grew up idolizing both
George Harrison, and Lon Chaney sr. until his attending of Ithaca
College˙s artistically focused Film program. There he found
new people to idolize on the cutting edge of the film world
who nobody˙s really heard about, and Aaron˙s exhortations on
those film maker˙s virtues only served to make him seem snobbish
to his less enlightened acquaintances. Aaron soon grew away
from the trappings of his collegiate arrogance, and began to
see the good attributes offered by a more conventional form
of cinema. That was also about the time he started working professionally
in the field.
He started as a PA in Los Angeles for the film: Baggage and
was tapped by the director to write a musical arrangement for
the song Happy Days Are Here Again for Piano. After that, Aaron
was adopted by the Grips on Baggage and learned how to rig and
Moving to New York City in 1999, Aaron worked for awhile as
a Dolly Grip and Key Grip on a few Indie Films and then found
his way into Post Production, getting a few gigs at Nevessa
Studios and Cyclops Pictures and Sound. There Aaron Learned
Pro Tools, Avid Film & Media Composer, Media 100 and a multitude
of other studio tools such as Mixers, microphones, compressors
and general computer maintenance.
Aaron Still worked on sets through Nevessa whose two Mobile
recording trucks recorded Cici Wyeinan˙s PBS special, The Clearwater
Music Festival, NRBQ˙s 30th Anniversary Concert (a portion of
which was shown on The Simpson˙ s). He also worked as a cameraman
for Nevessa˙s Video unit for Molley Zenobia ˙s concert at Bard
Aaron also did set sound for a handful of features and shorts
in and around New York City for the next few years. But it was
at Cyclops where Aaron first met James Ronald Whitney while
he was making Just Melvin. Aaron was in awe with Melvin, thinking
that it was the best documentary ever made in the history of
the world, and enjoyed working with the director.
Aaron spent the next year doing set sound as well as Post Production
at Cyclops when he started to work as an Assistant Editor for
Gary Levey on the film Face. Aaron finished that job a few weeks
before September 2001.
Coming down from the high of working as an Assistant Editor,
Aaron decided to plan something special for his future wife˙s
birthday. Her Birthday was the 11th of September. Instead of
dinner and presents, Aaron, and his future wife Raquel, spent
the day in fear and wet with tears.
On a chance meeting a few days later, Aaron ran into James Whitney
out of the blue who changed his life. While waiting on line
to volunteer to help the rescue effort, he ran into Whitney
in the midst of shooting a documentary. He asked if Aaron wanted
to shoot his movie. Aaron said yes. As fate declared, Aaron
went on to take an emotional journey unlike anything else he˙s
experienced in his entire life (except possibly marriage). That
film is Telling Nicholas.
Aaron still works in Post Production, as an Editor and Sound
Engineer and looks forward to seeing Nicholas grow up, happy
and healthy, as his mother would have wanted.