Biografi
John DeFazio is renowned for his raw, visceral, and emotionally charged cinematography. Based in Los Angeles, he is a cinematographer, producer, and mixed-media artist with degrees from Carnegie Mellon University’s Design and Art programs, as well as a Master’s from USC’s Film Production Program. He is an active member of Film Independent, the International Cinematographer's Guild Local 600, and Local 80.
DeFazio’s most recent crime thriller features Oscar winners Mira Sorvino and Richard Dreyfuss and was distributed by Paramount Home Entertainment. He recently produced and shot "Gan Bei" in Taiwan, directed by Peilin Kuo and starring Taiwanese star Fandy Fan alongside U.S. actress Jessica Lee. His portfolio includes numerous award-winning and internationally acclaimed films, some showcased at Sundance ("Crossing," "Roam") and the Cannes International Film Festival ("9:30"). DeFazio has collaborated with legendary Hollywood directors and producers such as Joe Dante ("Gremlins"), Paul Schrader ("American Gigolo" and screenwriter of "Taxi Driver" and "Raging Bull"), as well as James Franco, Eli Roth, and Roger Corman. He was the cinematographer for the provocative film "The Canyons," starring Lindsay Lohan and written by Bret Easton Ellis ("American Psycho," "Less Than Zero"). Additionally, he shot Joe Dante's "Splatter" horror series for Netflix and "Bloodheist" for producer and writer James Franco.
Beyond filmmaking, DeFazio is the creator and author of "The Caitlyn R. Kamden Project," an ongoing narrative and performance-based multimedia art endeavor spanning literature, social commentary, video, fashion, and digital platforms. This project explores themes of visibility, femininity, authorship, and power within contemporary media through controlled performance, spoken-word commentary, and commercial collaboration as artistic elements.
Alongside his film work, DeFazio produces mixed-media pieces focused on distortion, decay, and material breakdown. Utilizing industrial materials such as rust, grease, resin, glass, plaster, and steel, he treats the process itself as a central subject. Typically, these works are destroyed after being documented, existing only briefly while their record endures indefinitely.
