By Ray Pride Pride@moviecitynews.com

The American Society of Cinematographers Nominates The Artist, The Girl with the Dragon Tattoo, Hugo, Tinker Tailor Soldier Spy and The Tree of Life

LOS ANGELES, January 11, 2012 – Guillaume Schiffman, AFC (The Artist), Jeff Cronenweth, ASC (The Girl with the Dragon Tattoo), Robert Richardson, ASC (Hugo), Hoyte van Hoytema, FSF, NSC (Tinker Tailor Soldier Spy), and Emmanuel Lubezki, ASC, AMC (The Tree of Life) have been nominated in the feature film category of the 26tb Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards. The winner will be announced at the ASC Awards celebration at the Hollywood and Highland Grand Ballroom on February 12.

“These five cinematographers have created works of art that serve the story and director’s vision in unique and engaging ways,” says ASC Awards Committee Chairman Richard Crudo. “Their talent for translating the script and performances to the screen demonstrates the phenomenal power of the visual image.”

This is the second consecutive ASC Award nomination for Cronenweth who was recognized last year for The Social Network.

Richardson earns his tenth nomination. He was previously acknowledged for Inglourious Basterds (2010), The Good Shepherd (2007), The Aviator (2005), Snow Falling on Cedars (2000), The Horse Whisperer (1999), Heaven & Earth (1994), A Few Good Men (1993), JFK (1992), and Born on the Fourth of July (1990).

Lubezki won the ASC Award in 2007 for Children of Men, and was also nominated in 2000 for Sleepy Hollow.

Schiffman and van Hoytema are both first-time ASC nominees.

“Every year, the nominees in this category have expanded the boundaries of cinematography with their consummate artistry and their mastery of the technological tools required to achieve their vision,” says ASC President Michael Goi. “In an intensely competitive field, these are the best of the best.”

Last year, Wally Pfister, ASC, BSC won the ASC feature film award for Inception, and went on to take home the Oscar as well.

For more information regarding the ASC Awards, visit the ASC website at www.theasc.com.

About The American Society of Cinematographers
The American Society of Cinematographers (ASC) is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. For additional information about the ASC, visit www.theasc.com.

Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer.
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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