Yesterday saw a deluge of precursor results hit the Oscar race, including one of the biggest Guilds chiming in. Obviously, we know already that last night the Directors Guild of America gave their top prize to Sam Mendes for 1917, but Saturday evening also saw the American Society of Cinematographers Awards, the Annie Awards, the Cinema Audio Society Awards, and the USC Scripter Awards, in addition to the Directors Guild of America Awards. Below, we’ll run down the results of the various shows, though obviously we already covered DGA in a previous post. Together, you can begin to piece together more of the awards season, as the races head into the home stretch… First up, the Asc results: Theatrical Release Roger Deakins, Asc, Bsc for “1917” – Winner Phedon Papamichael, Asc, Gsc for “Ford v Ferrari” Rodrigo Prieto, Asc, AMC for “The Irishman” Robert Richardson, Asc for “Once Upon a Time in Hollywood” Lawrence Sher,...
- 1/26/2020
- by Joey Magidson
- Hollywoodnews.com
Cinematographer Roger Deakins won the top prize Saturday night at the 34th annual Asc Awards (at the Ray Dolby Ballroom at Hollywood & Highland) for his bravura camera work on “1917,” the continuous-shot, World War I extravaganza, directed by Sam Mendes.
Deakins beat Phedon Papamichael (“Ford v Ferrari”), Rodrigo Prieto (“The Irishman”), Robert Richardson (“Once Upon a Time in Hollywood”), and Lawrence Sher (“Joker”). The latter three are Oscar-nominated with Deakins. The fifth nominee, Jarin Blaschke (“The Lighthouse”), earned the Asc Spotlight Award for his gritty, Gothic-looking black-and-white cinematography.
Additionally, Fejmi Daut and Samir Ljuma took the Asc Documentary category for “Honeyland.”
Given the Best Picture momentum and universal acclaim for the technical feat, Deakins moves a step closer to his second Oscar. He finally landed his first with “Blade Runner 2049″ after 14 Academy Award nominations. Deakins leads the Asc with five wins.
“1917” is not only the tour de force of the season,...
Deakins beat Phedon Papamichael (“Ford v Ferrari”), Rodrigo Prieto (“The Irishman”), Robert Richardson (“Once Upon a Time in Hollywood”), and Lawrence Sher (“Joker”). The latter three are Oscar-nominated with Deakins. The fifth nominee, Jarin Blaschke (“The Lighthouse”), earned the Asc Spotlight Award for his gritty, Gothic-looking black-and-white cinematography.
Additionally, Fejmi Daut and Samir Ljuma took the Asc Documentary category for “Honeyland.”
Given the Best Picture momentum and universal acclaim for the technical feat, Deakins moves a step closer to his second Oscar. He finally landed his first with “Blade Runner 2049″ after 14 Academy Award nominations. Deakins leads the Asc with five wins.
“1917” is not only the tour de force of the season,...
- 1/26/2020
- by Bill Desowitz
- Indiewire
Four of the five nominees at Saturday’s 34th American Society of Cinematographers ceremony matched up with the Oscar list for Best Cinematography: Rodrigo Prieto for “The Irishman,” Lawrence Sher for “Joker,” Roger Deakins for “1917” and Robert Richardson for “Once Upon a Time in Hollywood.” The guild’s fifth nominee was Phedon Papamichael for “Ford v Ferrari,” while the Oscar’s fifth choice is Jarin Blaschke for “The Lighthouse.” Scroll down to see who won all of the film and TV categories at the 2020 Asc Awards, which took place January 25 at the Hollywood & Highland Center in a ceremony hosted by Ben Mankiewicz.
SEEJanuary 25 is busiest day on 2020 Oscars calendar: DGA Awards plus cinematographers, sound mixers and Annies
Blaschke did pop up in the Spotlight Award category, which honors movies that screen at festivals, internationally, or in limited release. He was joined there by Natasha Braier for “Honey Boy” and Jasper Wolf for “Monos.
SEEJanuary 25 is busiest day on 2020 Oscars calendar: DGA Awards plus cinematographers, sound mixers and Annies
Blaschke did pop up in the Spotlight Award category, which honors movies that screen at festivals, internationally, or in limited release. He was joined there by Natasha Braier for “Honey Boy” and Jasper Wolf for “Monos.
- 1/26/2020
- by Marcus James Dixon
- Gold Derby
The features “Honeyland,” “Antopocene: The Human Epoch” and “Obscuro Barroco” were each recognized Monday with nominations for the brand-new documentary award from the American Society of Cinematographers’ Outstanding Achievement Awards.
The Asc also announced nominees in various TV categories for the 34th annual ceremony, which will be held at the Ray Dolby Ballroom at Hollywood & Highland in Los Angeles on Jan. 25, 2020.
The Asc, which celebrated its 100th year in 2019, is a nonprofit organization dedicated to advancing the art of cinematography.
Also Read: Eddie Murphy to Receive Career Achievement Award from Critics Choice Association
New to this year’s ceremony is the Asc Documentary Award, which was added to recognize exceptional cinematography in non-fiction filmmaking.
First-time nominees this year are Fejmi Daut, Nicholas de Pencier, Evangelia Kranioti, Samir Ljuma, C. Kim Miles, Polly Morgan, Peter Robertson, Chris Seeger and Craig Wrobleski. This year’s honorees include Frederick Elmes, Donald A. Morgan,...
The Asc also announced nominees in various TV categories for the 34th annual ceremony, which will be held at the Ray Dolby Ballroom at Hollywood & Highland in Los Angeles on Jan. 25, 2020.
The Asc, which celebrated its 100th year in 2019, is a nonprofit organization dedicated to advancing the art of cinematography.
Also Read: Eddie Murphy to Receive Career Achievement Award from Critics Choice Association
New to this year’s ceremony is the Asc Documentary Award, which was added to recognize exceptional cinematography in non-fiction filmmaking.
First-time nominees this year are Fejmi Daut, Nicholas de Pencier, Evangelia Kranioti, Samir Ljuma, C. Kim Miles, Polly Morgan, Peter Robertson, Chris Seeger and Craig Wrobleski. This year’s honorees include Frederick Elmes, Donald A. Morgan,...
- 11/25/2019
- by Margeaux Sippell
- The Wrap
Asc Awards Nominees: ‘Honeyland’, ‘The Marvelous Mrs. Maisel’ Make The Cut In Docu And TV Categories
American Society of Cinematographers (Asc) revealed the nominees in documentary and television categories for the 34th Annual Asc Outstanding Achievement Awards which will take place January 25, 2020, at the Ray Dolby Ballroom in Los Angeles.
Nominees in the newly created documentary category include Honeyland, Anthropocene: The Human Epoch and Obscuro Barroco. On the TV side, nominees include awards season favorites The Marvelous Mrs. Maisel and The Handmaid’s Tale in the Non-Commercial Television category while FX’s Legion received two noms in the Commercial Television category. Meanwhile, the AMC series The Terror: Infamy and CBS All Access’ new take on The Twilight Zone were among those in the Motion Picture, Miniseries, or Pilot Made for Television category.
Earlier this year, the Asc announced the new documentary category to recognize exceptional cinematography in nonfiction filmmaking. The category was open to all features and episodes 30 minutes or longer that are released in theaters, at film festivals,...
Nominees in the newly created documentary category include Honeyland, Anthropocene: The Human Epoch and Obscuro Barroco. On the TV side, nominees include awards season favorites The Marvelous Mrs. Maisel and The Handmaid’s Tale in the Non-Commercial Television category while FX’s Legion received two noms in the Commercial Television category. Meanwhile, the AMC series The Terror: Infamy and CBS All Access’ new take on The Twilight Zone were among those in the Motion Picture, Miniseries, or Pilot Made for Television category.
Earlier this year, the Asc announced the new documentary category to recognize exceptional cinematography in nonfiction filmmaking. The category was open to all features and episodes 30 minutes or longer that are released in theaters, at film festivals,...
- 11/25/2019
- by Dino-Ray Ramos
- Deadline Film + TV
FX’s science-fiction series “Legion” scored a leading two nominations for the American Society of Cinematographers Awards.
“Legion” received nods in the commercial television category, along with “Project Blue Book,” “Vikings” and “Gotham.”
Non-commercial TV series recognition went to “Das Boot,” “The Marvelous Mrs. Maisel,” “Carnival Row,” “Titans” and “The Handmaid’s Tale.”
Winners will be announced at the organization’s gala on Jan. 25 at the Ray Dolby Ballroom at Hollywood and Highland.
See the full list of nominees below:
Documentary
Fejmi Daut and Samir Ljuma – Honeyland
Nicholas de Pencier – Anthropocene: The Human Epoch
Evangelia Kranioti – Obscuro Barroco
Episode of a Series for Non-Commercial Television
David Luther – Das Boot, “Gegen die Zeit” (episode 6) (Sky)
M. David Mullen, Asc – The Marvelous Mrs. Maisel, “Simone” (Amazon)
Chris Seager, Bsc – Carnival Row, “Grieve No More” (Amazon)
Brendan Steacy, Csc – Titans, “Dick Grayson” (DC Universe)
Colin Watkinson, Asc, Bsc – The Handmaid’s Tale, “Night” (Hulu)
Episode...
“Legion” received nods in the commercial television category, along with “Project Blue Book,” “Vikings” and “Gotham.”
Non-commercial TV series recognition went to “Das Boot,” “The Marvelous Mrs. Maisel,” “Carnival Row,” “Titans” and “The Handmaid’s Tale.”
Winners will be announced at the organization’s gala on Jan. 25 at the Ray Dolby Ballroom at Hollywood and Highland.
See the full list of nominees below:
Documentary
Fejmi Daut and Samir Ljuma – Honeyland
Nicholas de Pencier – Anthropocene: The Human Epoch
Evangelia Kranioti – Obscuro Barroco
Episode of a Series for Non-Commercial Television
David Luther – Das Boot, “Gegen die Zeit” (episode 6) (Sky)
M. David Mullen, Asc – The Marvelous Mrs. Maisel, “Simone” (Amazon)
Chris Seager, Bsc – Carnival Row, “Grieve No More” (Amazon)
Brendan Steacy, Csc – Titans, “Dick Grayson” (DC Universe)
Colin Watkinson, Asc, Bsc – The Handmaid’s Tale, “Night” (Hulu)
Episode...
- 11/25/2019
- by Dave McNary
- Variety Film + TV
Never meet your heroes. Or so states the tagline for Andy Goddard’s feature-length debut. Far from a paint-by-numbers biopic, the Downton Abbey alumnus makes the leap to silver screen with an understated elegance, only snowflakes and the swirling of cigarette smoke fracturing Chris Seager’s crisp black and white casing. This may be a world of post-war dreamers, but the choice of monochrome certifies Set Fire to the Stars worthy of timeless status.
Harvard graduate and poetry teacher John Brinnin’s (Elijah Wood) precise opening steps accompany his equally meticulous repetition of tour dates prepared for literary hero, Dylan Thomas (Celyn Jones, also on writing duties). But it is clear from the initial jazz-dowsed introductions that Brinnin will remain the steady bassline, Thomas the improvising drums and brass. Recounting the celebrated Welsh poet’s first trip to America, breaking their first host’s Crock-Pot is the least of this magnificently cast duo’s worries.
Harvard graduate and poetry teacher John Brinnin’s (Elijah Wood) precise opening steps accompany his equally meticulous repetition of tour dates prepared for literary hero, Dylan Thomas (Celyn Jones, also on writing duties). But it is clear from the initial jazz-dowsed introductions that Brinnin will remain the steady bassline, Thomas the improvising drums and brass. Recounting the celebrated Welsh poet’s first trip to America, breaking their first host’s Crock-Pot is the least of this magnificently cast duo’s worries.
- 6/27/2014
- by Emma Thrower
- HeyUGuys.co.uk
One of the first television dramas to be filmed at the Bottle Yard in Hengrove has been nominated for three Bafta television awards.Five Daughters was nominated in the categories of Best Writer (Stephen Butchard), Best Actress (Natalie Press) and Best Photography & Lighting Fiction (Chris Seager) at the awards, which will take place in London on 22 May.Five Daughters, the drama about events surrounding the discovery of five young women tragically murdered in Ipswich in 2006, filmed at the Bottle Yard in autumn 2009.It has already won numerous ...
- 4/28/2011
- BusinessofCinema
If you’re like most Americans, you have a friend that likes to quote films and television shows as, more or less, a substitute for having any original things to say. For a lot these friends, The Simpsons and Anchorman seem to be the go-to sources, but frequently, something that they heard five minutes ago (that you also heard) will do, in the exact same inflection as it was spoken then. If you can imagine an entire play composed of nothing but these quotes, you can imagine the modern day challenge of performing Hamlet. To those well-versed in Shakespeare (not to say that I am), there is hardly a line delivery, a movement, or a thematic element that has not been all but completely established over the last 400 years, with most attempts at significantly modernizing them coming off as gimmicky (‘hey guys, what if we set it in corporate America?...
- 5/16/2010
- by Anders Nelson
- JustPressPlay.net
Chicago – Having been a theater major who openly knelt at the altar of William Shakespeare for many of my formative stage years and then later became a film critic, I believe the number of versions of “Hamlet” I have seen to number around eight - three times on stage and five on celluloid. And yet I still was blown away by BBC’s production of the Royal Shakespeare Theatre version of the timeless play.
Blu-Ray Rating: 4.5/5.0
The first version of “Hamlet” available on Blu-ray (Branagh’s 1996 version will be available in August) also happens to be the best in years. The modernized-but-faithful telling of the Bard’s classic tale of betrayal and revenge was a critical smash when it premiered at the Royal Shakespeare Theatre and someone at the BBC was smart enough to suggest that perhaps a filmed record of the show might be in order.
To be fair,...
Blu-Ray Rating: 4.5/5.0
The first version of “Hamlet” available on Blu-ray (Branagh’s 1996 version will be available in August) also happens to be the best in years. The modernized-but-faithful telling of the Bard’s classic tale of betrayal and revenge was a critical smash when it premiered at the Royal Shakespeare Theatre and someone at the BBC was smart enough to suggest that perhaps a filmed record of the show might be in order.
To be fair,...
- 5/12/2010
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Even though logic takes a holiday in White Noise, Geoffrey Sax, a British television director making his theatrical debut, lavishes enough craft on the paranormal thriller to send more than a few chills down the spine. This U.S.-Canadian-British co-production should scare up boxoffice coin in the post-holiday season and could achieve cult status as the film delves into the incorporeal world of the "other side" of death in a much more convincing manner than most ghost stories.
The film is, of course, a studio movie, so such staples as a serial killer and diaphanous villains get tossed into the mix. The movie could also have done a better job of explaining and selling its key gimmick -- Electronic Voice Phenomenon, or EVP. Yet White Noise is made with intelligence. Cinematographer Chris Seager's shadowy lighting and ominous camera moves and editor Nick Arthurs' choice of cuts and angles pull you into the movie as things get creepier by the minute.
Michael Keaton plays Jonathan Rivers, an architect whose life is thrown into an emotional tailspin by the mysterious disappearance and death of his second wife, Anna (Chandra West), a best-selling writer. During the mourning period, Jonathan brusquely dismisses a stranger, Raymond (Ian McNeice), who claims Anna is trying to communicate with him through EVP.
When Jonathan receives two telephone calls from Anna's cell phone, which he knows to be turned off, he drops by Raymond's home. What he finds is an electronic headquarters for contact with the dead. He also meets Sarah Deborah Kara Unger), who, thanks to Raymond, believes she has made contact with her late fiance. The two become fellow students in EVP.
The introduction to this phenomenon is hurried, but essentially EVP adherents believe those beyond the grave send out constant messages to us using modern technology. The "white noise" of sound and images from TV sets and radios can be recorded and studied via a process known as video or photographic instrumental transcommunication to detect such transmissions.
The movie nearly grinds to a halt in the middle section as Jonathan sits in front of fuzzy and static TV screens, fiddling with computers and recording devices, determined to pick up a message from Anna. What's he watching though, one wonders, an upper-dial cable network called the Hereafter Channel?
Gradually, the movie enters a spooky realm where voices threaten those trying to communicate with the dead. They can't all be nice, shrugs Raymond, who turns up dead soon afterward. Eventually, Jonathan gains the eerie impression that he is being contacted not by the dead but rather those who soon will be. Then Jonathan's TV screen, seen by us but not by him, shows shadowy figures whose presence briefly fills the room. Here the movie develops a genuine sense of dread as the menace seems directed at both Jonathan and Sarah.
Yet fuzziness extends beyond the TV monitors. The film accepts Jonathan's growing obsession with EVP as normal and fails to explain why the police never show any interest in the mounting number of injured or dead bodies in Jonathan's life. By taking the film in the direction of horror, writer Niall Johnson must settle for a conventional third act that strains credibility, confuses the whole issue about EVP and verges on pure hokum.
Keaton quietly underplays his role, which helps, and his fellow actors in this thinly populated film tone down the histrionics, letting the mysterious events speak for themselves. Production values, including cool, modern interiors and splendid location work in and around Vancouver, are top drawer.
WHITE NOISE
Universal Pictures
Universal Pictures and Gold Circle Films present a White Noise UK
and Brightlight Pictures production
Credits:
Director: Geoffrey Sax
Screenwriter: Niall Johnson
Producers: Paul Brooks, Shawn Williamson
Executive producers: Simon Brooks, Stephen Hegyes, Scott Niemeyer, Norm Waitt
Director of photography: Chris Seager
Production designer: Michael S. Bolton
Music: Claude Foisy
Costumes: Karen Matthews
Editor: Nick Arthurs
Cast:
Jonathan Rivers: Michael Keaton
Anna Rivers: Chandra West
Sarah: Deborah Kara Unger
Raymond: Ian McNeice
Jane: Sarah Strange
Mike: Nicholas Elia
MPAA rating: PG-13
Running time -- 109 minutes...
The film is, of course, a studio movie, so such staples as a serial killer and diaphanous villains get tossed into the mix. The movie could also have done a better job of explaining and selling its key gimmick -- Electronic Voice Phenomenon, or EVP. Yet White Noise is made with intelligence. Cinematographer Chris Seager's shadowy lighting and ominous camera moves and editor Nick Arthurs' choice of cuts and angles pull you into the movie as things get creepier by the minute.
Michael Keaton plays Jonathan Rivers, an architect whose life is thrown into an emotional tailspin by the mysterious disappearance and death of his second wife, Anna (Chandra West), a best-selling writer. During the mourning period, Jonathan brusquely dismisses a stranger, Raymond (Ian McNeice), who claims Anna is trying to communicate with him through EVP.
When Jonathan receives two telephone calls from Anna's cell phone, which he knows to be turned off, he drops by Raymond's home. What he finds is an electronic headquarters for contact with the dead. He also meets Sarah Deborah Kara Unger), who, thanks to Raymond, believes she has made contact with her late fiance. The two become fellow students in EVP.
The introduction to this phenomenon is hurried, but essentially EVP adherents believe those beyond the grave send out constant messages to us using modern technology. The "white noise" of sound and images from TV sets and radios can be recorded and studied via a process known as video or photographic instrumental transcommunication to detect such transmissions.
The movie nearly grinds to a halt in the middle section as Jonathan sits in front of fuzzy and static TV screens, fiddling with computers and recording devices, determined to pick up a message from Anna. What's he watching though, one wonders, an upper-dial cable network called the Hereafter Channel?
Gradually, the movie enters a spooky realm where voices threaten those trying to communicate with the dead. They can't all be nice, shrugs Raymond, who turns up dead soon afterward. Eventually, Jonathan gains the eerie impression that he is being contacted not by the dead but rather those who soon will be. Then Jonathan's TV screen, seen by us but not by him, shows shadowy figures whose presence briefly fills the room. Here the movie develops a genuine sense of dread as the menace seems directed at both Jonathan and Sarah.
Yet fuzziness extends beyond the TV monitors. The film accepts Jonathan's growing obsession with EVP as normal and fails to explain why the police never show any interest in the mounting number of injured or dead bodies in Jonathan's life. By taking the film in the direction of horror, writer Niall Johnson must settle for a conventional third act that strains credibility, confuses the whole issue about EVP and verges on pure hokum.
Keaton quietly underplays his role, which helps, and his fellow actors in this thinly populated film tone down the histrionics, letting the mysterious events speak for themselves. Production values, including cool, modern interiors and splendid location work in and around Vancouver, are top drawer.
WHITE NOISE
Universal Pictures
Universal Pictures and Gold Circle Films present a White Noise UK
and Brightlight Pictures production
Credits:
Director: Geoffrey Sax
Screenwriter: Niall Johnson
Producers: Paul Brooks, Shawn Williamson
Executive producers: Simon Brooks, Stephen Hegyes, Scott Niemeyer, Norm Waitt
Director of photography: Chris Seager
Production designer: Michael S. Bolton
Music: Claude Foisy
Costumes: Karen Matthews
Editor: Nick Arthurs
Cast:
Jonathan Rivers: Michael Keaton
Anna Rivers: Chandra West
Sarah: Deborah Kara Unger
Raymond: Ian McNeice
Jane: Sarah Strange
Mike: Nicholas Elia
MPAA rating: PG-13
Running time -- 109 minutes...
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