By Ray Pride

ASC To Honor Ed Lachman, Ron Garcia, Philippe Rousselot, Nancy Schreiber

[PR] –  The American Society of Cinematographers (ASC) has announced the honorees for the 31st annual ASC Awards for Outstanding Achievement. Edward Lachman, ASC; Ron Garcia, ASC; Philippe Rousselot, ASC, AFC; and Nancy Schreiber, ASC will be recognized for their contributions to the art of cinematography at the organization’s awards gala on February 4, 2017, at the Ray Dolby Ballroom at Hollywood & Highland. Lachman will receive the Lifetime Achievement Award. Garcia will be bestowed with the Career Achievement in Television Award. Rousselot earns the International Award, and Schreiber will take home the Presidents Award.

“The work of these individual cinematographers is varied, yet it all exemplifies a stellar level of achievement,” says ASC President Kees van Oostrum. “As a group, they also are a prime example of great careers in the industry and, over the years, they have set creative standards of the highest order.”

Lachman is a revered and award-winning cinematographer who has photographed over 90 titles in narrative, experimental and documentary forms. He has collaborated with directors such as Todd Haynes, Steven Soderbergh, Robert Altman, Paul Schrader, Todd Solondz, Sofia Coppola, Werner Herzog, Wim Wenders, Volker Schlöndorff, Ulrich Seidl and Jean-Luc Godard.

Lachman’s work with Haynes on Carol (2015) and Far From Heaven (2002) garnered him Academy Award® nominations, and the HBO miniseries Mildred Pierce (2011) earned him an Emmy® nomination. He has also received the Golden Frog for Carol, the Silver Frog for Far From Heaven, and the Bronze Frog for I’m Not There (2007) at Camerimage, as well as the Director/Cinematographer Golden Frog with Haynes (2011). He is the only American to receive the prestigious Marburg Camera Award in Germany for his body of work. Other accolades for Lachman include Independent Spirit Awards for Far From Heaven and Carol, the British Society of Cinematographers Award for Best Feature Film with Carol, and many honors from film critic associations and film festivals throughout his career. Lachman’s many memorable credits include Wiener-Dog, Paradise, Howl, Life During Wartime, Import/Export, A Prairie Home Companion, Ken Park (which he co-directed), Erin Brockovich, The Virgin Suicides, The Limey, Selena, Mi Familia (My Family), Light Sleeper, London Kills Me, Less Than Zero, andDesperately Seeking Susan, to name a few. His next project is the upcoming Haynes film, Wonderstruck (2017).

In addition to narrative features, Lachman has consistently contributed to the documentary genre, shooting Don’t Blink – Robert Frank, Collapse, Soldiers of Music, Mother Teresa, Ornette: Made in America, In Our Hands, Lightning Over Water, and La Soufrière. He also directed the documentaries In the Hearts of Africa, Life for a Child, Cell Stories, and Report From Hollywood. Lachman is also known as a visual artist who has had installations, videos and photography at The Whitney Museum of American Art, The Ludwig Museum in Germany, and many other museums and galleries throughout the world.


Garcia has collected Emmy® nominations for Murder in the Heartland (1993) and The Day Lincoln was Shot (1998), both of which received ASC Award nominations. He earned additional nods from his peers in the ASC for Thomas Carter’s Divas (1996) and the pilot ofTwin Peaks (1991). In 1991, Garcia won a CableACE Award for HBO’s movie El Diabloand another CableACE Award nomination for Peter Markle’s Nightbreaker. His long list of memorable credits includes TV hits such as Rizzoli and Isles, the first season of the current CBS series Hawaii Five-O, Numb3rs, Providence, Gilmore Girls, EZ Streets, Michael Mann’s Crime Story, and the pilots for L.A. Takedown and Stingray. He photographed numerous television movies, including Alien Nation: The Udara Legacy, Mutiny, Journey to the Center of the Earth, Baby, Deliberate Intent, Brave New World, and Diane Keaton’s Girl With the Crazy Brother, among others.


Rousselot earned an Academy Award® for A River Runs Through It (1993), as well as an ASC nomination. Furthermore, he was Oscar®-nominated for Hope and Glory (1987) and Henry & June (1990), with the former also receiving a BSC Award. His award-winning body of work includes Dangerous Liaisons(1988) and The Bear (1988), which garnered ASC nominations, and Interview with the Vampire: The Vampire Chronicles (1994), which won a BAFTA and BSC Award. Additional credits include The Miracle, Remember the Titans, Charlie and the Chocolate Factory, Planet of the Apes, Antwone Fisher, Sherlock Holmes, Sherlock Holmes: Game of Shadows, The Nice Guys, and the upcoming Fantastic Beasts and Where to Find Them.


A native of France, Rousselot won his first Cesar Award (France’s equivalent of an Oscar) for Diva (1981), and earned additional trophies for Thérèse (1986) and Queen Margot (1994). He’s compiled around 70 credits, working with renowned directors such as Tim Burton, Stephen Frears, Neil Jordan, Robert Redford, Tom Hanks and Denzel Washington, among many others.


Schreiber is a Detroit native who, after receiving her psychology degree at the University of Michigan, moved to New York and worked her way up from production assistant to gaffer. Early in her career, she was gaffer on the Academy Award®-nominated documentary The Other Half of the Sky: A China Memoir for co-directors Shirley MacLaine and Claudia Weill. As a cinematographer, Schreiber has an eclectic list of narrative film and television credits as well as commercials, music videos and documentaries. Her work includes Your Friends and Neighbors, The Nines, Visions of Light, In Plain Sight (pilot), HBO’s The Comeback, episodes of ABC’S The Family, and the new FX series Better Things.


Schreiber’s cinematography in Chain of Desire earned her an Independent Spirit Award nomination (1994), which she followed with an Emmy® nomination (1996) for her work on the documentary The Celluloid Closet. She landed on Variety’s 10 Cinematographers to Watch before taking home the coveted Best Cinematography Award at Sundance for November in 2004. She previously shared a Sundance Cinematography Award on My America… Or Honk if You Love Buddha (1997). In addition to serving on the ASC Board of Governors, she was on the board of Women In Film (WIF) and is a member of the Academy of Motion Picture Arts and Sciences. Schreiber has taught advanced cinematography at the American Film Institute and, between shooting, continues to guest lecture at film schools in California, New York, and around the world.


For information regarding the 31wt ASC Awards, visit


About the ASC
The American Society of Cinematographers (ASC) is a nonprofit organization 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,, or join American Cinematographer on Facebook, Twitter and Instagram (@the_asc).

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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