By Ray Pride Pride@moviecitynews.com

American Society of Cinematographers Reveals Feature Film Nominees

Posted Wednesday, January 8th, 2014 - 1 Comment »
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LOS ANGELES, January 8, 2014  – The American Society of Cinematographers (ASC) has announced nominations in the theatrical motion picture category of the 28th Annual ASC Awards for Outstanding Achievement. The nominees are:

• Sean Bobbitt, BSC for 12 Years a Slave
• Barry Ackroyd, BSC for Captain Phillips
• Philippe Le Sourd for The Grandmaster
• Emmanuel Lubezki, ASC, AMC for Gravity
• Bruno Delbonnel, ASC, AFC for Inside Llewyn Davis
• Phedon Papamichael, ASC for Nebraska
• Roger Deakins, ASC, BSC for Prisoners

The winner will be revealed at the awards ceremony on February 1, at the Hollywood & Highland Ray Dolby Ballroom.

“Our members believe these cinematographers have set the contemporary standard for artful, theatrical motion picture cinematography,” says ASC President Richard Crudo. “They have mastered a complex craft which contributes vitally to the storytelling process, and augments the intentions of everyone involved with the production.”

Traditionally, the organization selects five nominees, but a three-way tie this year boosts that number to seven.

This year’s nomination brings Deakins’ total to 12. He won last year for Skyfall, and previously for The Shawshank Redemption (1995) and The Man Who Wasn’t There (2002). His other nominations were for Fargo (1997), Kundun (1998), O Brother, Where Art Thou? (2001), No Country for Old Men (2008), The Assassination of Jesse James by the Coward Robert Ford (2008), Revolutionary Road (2009), The Reader (2009) and True Grit (2011). He was also the recipient of the organization’s Lifetime Achievement Award in 2011.

Lubezki has won ASC Awards for The Tree of Life (2012) and Children of Men (2007), and was also nominated in 2000 for Sleepy Hollow.

Delbonnel earned top honors for A Very Long Engagement (2005), as well as a nomination for Amélie (2002).

Ackroyd was previously nominated for The Hurt Locker (2010).

Papamichael earned previous nominations in the television movie and miniseries category for White Dwarf (1996) and Wild Palms (1994), respectively.

This is the first ASC nomination for Bobbitt and Le Sourd.

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 facebook.com/The.ASC and American Cinematographer magazine fan page at facebook.com/AmericanCinematographer.

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Posted in Awards Watch, Movie City News, Note Pad | 1 Comment »

One Response to “American Society of Cinematographers Reveals Feature Film Nominees”

  1. Jumbled Mess of Images says:
    January 8, 2014 at 3:44 pm

    Captain Phillips with its inane zoom ins, close up shots, and Parkinson’s camera hands. What’s next, they get a nomination for the chop job editing? Unbelievable…

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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