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John DeFazio is most known for his raw, visceral, and emotionally driven cinematography. DeFazio is a Los Angeles based cinematographer, producer, and mixed-media artist and holds degrees from Carnegie Mellon University's Design and Art programs and a Masters from USC's Film Production Program. He is an active member of Film Independent, the International Cinematographer's Guild Local 600, and also Local 80.
DeFazio's latest crime thriller stars Oscar winners Mira Sorvino and Richard Dreyfuss and was distributed by Paramount Home Entertainment. Most recently John has produced and shot "Gan Bei" in Taiwan for director Peilin Kuo starring Taiwanese star Fandy Fan and USA's Jessica Lee. He has shot a multitude of award-winning and internationally recognized films, some of which have hit Sundance ("Crossing", "Roam") and the Cannes International Film Festival ("9:30"). DeFazio has shot for legendary Hollywood directors and producers such as Joe Dante ("Gremlins"), Paul Schrader ("American Gigalo" and screenwriter of "Taxi Driver" & "Raging Bull", as well as James Franco, Eli Roth and Roger Corman. DeFazio has served as the cinematographer on the controversial film "The Canyons" starring Lindsay Lohan and written by Bret Easton Ellis (American Psycho, Less Than Zero). He has also shot Joe Dante's "Splatter" horror series for Netflix and Bloodheist for producer/writer James Franco.
Outside of movies, DeFazio is the creator and author of "The Caitlyn R. Kamden Project"-an ongoing narrative and performance-based, multi-media art project operating across literature, social commentary, video, fashion, and digital platforms. The project examines visibility, femininity, authorship, and power within contemporary media systems, using controlled performance, spoken-word commentary, and commercial collaboration as artistic materials.
In parallel with his film career, DeFazio produces mixed-media works rooted in distortion, corruption, and material breakdown. He works with industrial remnants-rust, grease, resin, glass, plaster, and steel-treating process as the central subject. The finished pieces are typically destroyed after documentation. The work exists briefly. The record lasts forever.
