NEW YORK, NY.- Bill Butler, an Oscar-nominated cinematographer who played a prominent role in the American new wave movement of the 1970s and whose credits included “Jaws,” “One Flew Over the Cuckoo’s Nest” and three of the “Rocky” sequels, died Wednesday. He was 101.

His death was announced by the American Society of Cinematographers, which did not say where he died.

Butler worked with a number of directors credited with re-imagining American filmmaking in the ’70s, including Steven Spielberg, for whom he was the director of photography on “Jaws,” the 1975 blockbuster about a man-eating great white shark that established Spielberg’s reputation and changed the way Americans looked at both film and the beach.

Open-water shooting posed many challenges on what was a notoriously troubled set.

The crew faced problems not only with their malfunctioning mechanical shark but with seasickness, uncooperative tides, random boats sailing into the frame and even sets that sank.

Butler designed a submersible camera box and a platform that allowed for shooting below the water and on its surface to convey the viewpoint of a swimmer. The American Society of Cinematographers, which presented Butler with a lifetime achievement award in 2003, also credited him in 2012 in its magazine, American Cinematographer, with “heroically” saving footage from a camera that went down in the Atlantic Ocean. His calculation: that seawater would be similar to saline-based developing solutions.

“We got on an airplane with the film in a bucket of water, took it to New York and developed it,” Butler recalled in his commentary for a 2012 release of “Jaws” on Blu-ray. “We didn’t lose a foot.”

In a statement, Spielberg praised Butler’s work on “Jaws.” “Bill’s outlook on life was pragmatic, philosophical and so very patient,” he said, “and I owe him so much for his steadfast and creative contributions to the entire look of ‘Jaws.’”

Over his six-decade career, Butler shot several noteworthy television dramas, including “Raid on Entebbe” (1976) and “A Streetcar Named Desire” (1984), both of which won him Emmy Awards for outstanding cinematography; “The Thorn Birds” (1983), which earned him an Emmy nomination; and “The Execution of Private Slovik” (1974).

For his work on “One Flew Over the Cuckoo’s Nest” (1975), Butler received an Oscar nomination that he shared with Haskell Wexler, a colleague with whom he had an unusual association: On two of his more influential and well-regarded films — Francis Ford Coppola’s “The Conversation” (1974) was the other — Butler was brought in as the director of photography only after the mercurial Wexler had been fired.

Wilmer Cable Butler was born April 7, 1921, in Cripple Creek, Colorado, and raised in a log cabin. His parents, Wilmer and Verca Butler, were farmers. After graduating from the University of Iowa with a degree in engineering, he started his career in broadcasting at WGN-TV in Chicago, where he was a camera operator for live programs and commercials.




His first feature-length film, directed by WGN colleague William Friedkin, was “The People vs. Paul Crump,” a 1962 documentary about an African American prisoner on death row who claimed his murder confession had been coerced through torture. Although the movie never aired — the contents were deemed too incendiary — it made its way to then-Illinois Gov. Otto Kerner, who commuted Crump’s sentence to life without parole.

“When you see the power a little piece of 16 mm film will bring to you, you are inspired to go ahead and pursue a career in the field,” Butler said in 2005 at a career retrospective at the Victoria Film Festival in British Columbia. “And that’s exactly what I did.”

He was already 40 by the time he started shooting motion pictures. (“He reinvented himself multiple times,” said Michael Moyer, who worked alongside Butler as chief electrician on “Child’s Play” and other films.) But he immediately went to work for some of the period’s more promising young talents: Friedkin, on “The Bold Men” (1965); Philip Kaufman, on “Fearless Frank” (1967); Coppola, on “The Rain People” (1969); and Jack Nicholson, on “Drive, He Said” (1971), one of only three films he directed.

“I did some work with director Phil Kaufman on the Universal Studios lot as a writer while I was still trying to get into the Los Angeles camera guild,” Butler said in a 2005 Moviemaker magazine interview. “That’s when I met Steven Spielberg. He had just finished his ‘Night Gallery’ projects. I shot ‘Savage’ and ‘Something Evil,’ a couple of one-hour TV movies, with him.”

When work began on “Jaws,” it was Butler who convinced Spielberg that he could shoot in the water.

“Panavision had just introduced a lightweight, smaller camera,” Butler recalled. “It was also quiet, so you could use it to cover dialogue. Steven thought it would be too shaky; I didn’t try to press the issue. If he hired me, I could show him when we got to Martha’s Vineyard.”

Butler’s later credits included “The Bingo Long Traveling All-Stars & Motor Kings” (1976); “The Sting II” (1983); “Graffiti Bridge” (1990), starring and directed by Prince; “Hot Shots!” (1991); and “The Chauffeur” (2008); as well as the TV series “Brooklyn Bridge” (1991). He remained active professionally well into his 80s, working in a variety of genres and often with fledgling directors.

“The harder films are usually the big ones that require controlling a lot of people and a lot of cameras, and over a large area or sometimes many locations,” he said at the Victoria Film Festival. “Keeping that organized is something that some cinematographers are not capable of, so they do smaller films.”

But smaller films can be just as difficult for them, he added, “because the pressure of a small film means that they may not have the time to properly gather their footage, and that’s another definite pressure that’s equally challenging.”

Butler is survived by his wife, Iris (Schwimmer) Butler, whom he married in 1984, and their daughters, Genevieve and Chelsea, both actresses, as well as three daughters from his marriage to Alma Smith, which ended in divorce: Judy Rawson, Patricia Pekau and Pam Fraser. He is also survived by a number of grandchildren and great-grandchildren.

Butler never attended film school. When he started shooting movies, he said, he bought the manual of the American Society of Cinematographers (“the bible of filmmaking”) and would refer to it whenever he needed. But really, he said in 2005, the way he learned to shoot pictures “was to go directly to the movies and see what somebody else was doing on screen, and then going out and trying to do it myself. And that was it.”

This article originally appeared in The New York Times.