American Society of Cinematographers

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010

WINNERS

Best Cinematography – Feature Film
John Schwartzman – Seabiscuit

Best Cinematography – Episodic Television
“Pick a Number” – Carnivale – Jeffrey Jur

Best Cinematography – Television Moive, Miniseries, or Pilot – Cable or Pay
Carnivale “Pilot” – Tami Reiker

Best Cinematography – Television Movie, Miniseries, or Pilot – Network Television
Hitler: The Rise of Evil – Pierre Gill

Outstanding Achievement Award
Kevin Brownlow
Howard A. Anderson Jr.

Board of Governors Award
Irwin Winkler

International Achievement Award
Miroslav Ondricek

Lifetime Achievement Award
Michael Chapman

Conrad L. Hall Heritage Award
Nelson Cragg
Bill Fernandez

President’s Award
Howard Anderson Jr.

AWARDS NOMINATIONS

Best Cinematography – Feature Film
Russell Boyd – Master and Commander: The Far Side of the World
Andrew Lesnie – The Lord of the Rings: The Return of the King
John Schwartzman – Seabiscuit
John Seale – Cold Mountain
John Toll – The Last Samurai

Best Cinematography – Episodic Television
“Dead Wives Club” – Crossing Jordan – John Aronson
“7AWF83429” – The West Wing – Thomas Del Ruth
“Pick a Number” – Carnivale – Jeffrey Jur
“Dr. Germ” – Threat Matrix – Chris Manley
“Time to Hate” – Cold Case – Eric Schmidt

Best Cinematography – Television Moive, Miniseries, or Pilot – Cable or Pay
Angels in America – Stephen Goldblatt
The Pentagon Papers – Michael Mayers
Out of the Ashes – Donald M. Morgan
Carnivale “Pilot” – Tami Reiker
The Roman Spring of Mrs. Stone – Ashley Rowe

Best Cinematography – Television Movie, Miniseries, or Pilot – Network Television
Hitler: The Rise of Evil – Pierre Gill
“The Calling” – Miracles – Ernest Holzman
The Lyon’s Den pilot – Michael Mayers
Las Vegas pilot – Bill Roe
Brush with Fate – Eric Van Haren Noman

Outstanding Achievement Award
Kevin Brownlow
Howard A. Anderson Jr.

Board of Governors Award
Irwin Winkler

International Achievement Award
Miroslav Ondricek

Lifetime Achievement Award
Michael Chapman

Conrad L. Hall Heritage Award
Nelson Cragg
Bill Fernandez

President’s Award
Howard Anderson Jr.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon