By Ray Pride Pride@moviecitynews.com

The ASC Nominates 2017

Posted Tuesday, January 9th, 2018 - Comments Off on The ASC Nominates 2017
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American Society of Cinematographers Unveils Nominees in All Categories

 

LOS ANGELES (January 9, 2018) — The American Society of Cinematographers (ASC) has announced the nominees in all categories of the 32nd Annual ASC Awards for Outstanding Achievement. Winners will be revealed at the organization’s February 17 ceremony, which will be emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM). 

This year’s nominees are:

Theatrical Release

  • Roger Deakins, ASC, BSC for Blade Runner 2049
  • Bruno Delbonnel, ASC, AFC for Darkest Hour
  • Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk
  • Dan Laustsen, ASC, DFF for The Shape of Water
  • Rachel Morrison, ASC for Mudbound

Spotlight Award

  • Máté Herbai, HSC for On Body and Soul
  • Mikhail Krichman, RGC for Loveless
  • Mart Taniel for November

Episode of a Series for Non-Commercial Television

  • Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon
  • Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
  • Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
  • Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
  • Alasdair Walker for Outlander (“The Battle Joined”) on Starz

 Episode of a Series for Commercial Television

  • Dana Gonzales, ASC for Legion (“Chapter 1”) on FX
  • David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
  • Kurt Jones for The Originals (“Bag of Cobras”) on The CW
  • Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
  • Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox

Motion Picture, Miniseries, or Pilot Made for Television

  • Pepe Avila del Pino for The Deuce pilot on HBO
  • Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
  • Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
  • Shelly Johnson, ASC for the Training Day pilot (“Apocalypse Now”) on CBS
  • Christopher Probst, ASC for the Mindhunter pilot on Netflix

For information regarding the 32nd ASC Awards for Outstanding Achievement in Cinematography visit www.theasc.com.

 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, visit www.theasc.com, or join American Cinematographeron Facebook, Twitter and Instagram (@the_asc).

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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