By Ray Pride Pride@moviecitynews.com

American Society of Cinematographers Reveals Feature and Television Nominees

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American Society of Cinematographers Reveals

Feature and Television Nominees

 

LOS ANGELES (January 7, 2019) — The American Society of Cinematographers (ASC) has announced the nominees for all categories of the 33rd Annual ASC Outstanding Achievement Awards. Winners will be named at the awards gala on February 9 at the Ray Dolby Ballroom at Hollywood & Highland.

 This year’s nominees are:

 Theatrical Release

  • Alfonso Cuarón for Roma
  • Matthew Libatique, ASC for A Star is Born
  • Robbie Ryan, BSC, ISC for The Favourite
  • Linus Sandgren, ASC, FSF for First Man
  • Łukasz Żal, PSC for Cold War Spotlight Award*
  • Joshua James Richards for The Rider
  • Giorgi Shvelidze for Namme
  • Frank van den Eeden, NSC, SBC for Girl Episode of a Series for Non-Commercial Television
  • Gonzalo Amat for The Man in the High Castle, “Jahr Null”
  • Adriano Goldman, ASC, ABC for The Crown, “Beryl”
  • David Klein, ASC for Homeland, “Paean to the People”
  • Colin Watkinson, ASC for The Handmaid’s Tale, “The Word”
  • Cathal Watters, ISC for Peaky Blinders, “The Company”
  • Zoë White, ACS for The Handmaid’s Tale, “Holly” Episode of a Series for Commercial Television
  • Nathaniel Goodman, ASC for Timeless, “The King of the Delta Blues”
  • Jon Joffin, ASC for Beyond, “Two Zero One”
  • Ben Richardson for Yellowstone, “Daybreak”
  • David Stockton, ASC for Gotham, “A Dark Knight: Queen Takes Knight”
  • Thomas Yatsko, ASC for Damnation, “A Different Species” Motion Picture, Miniseries, or Pilot Made for Television
  • James Friend, BSC for Patrick Melrose, “Bad News”
  • Mathias Herndl, AAC for Genius: Picasso, “Chapter 1”
  • Florian Hoffmeister, BSC for The Terror, “Go for Broke”
  • M. David Mullen, ASC for The Marvelous Mrs. Maisel (pilot)
  • Brendan Steacy, CSC for Alias Grace, “Part 1”

This year’s awards ceremony will not only honor the most artful cinematography of 2018 but will also celebrate the ASC’s 100thanniversary.

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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