Predictably, the cinematographers at the ASC gave their top prize to Emmanuel Lubezki after winning it last year for Gravity. Lubezki too Gravity all the way to Oscar and now he’s taking Birdman. Two out of the “three amigos” get the job done with Chivo.
- Theatrical Motion Picture: Birdman, Emmanuel Lubezki
- Episode Of A Regular Series: Boardwalk Empire, “Golden Days for Boys and Girls” (HBO), Jonathan Freeman
- Television Movie, Miniseries or Pilot: Manhattan, Pilot (WGN America), John Lindley
- Spotlight Award: Peter Flinckenberg, Concrete Night (Betoniyö)
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Lubezki should have 3-4 Oscars already instead of his lone award, so I’m happy to see he’ll be adding to the collection this year. (Even if I’d go with Mr. Turner and Dick Pope if I had a vote.)
why boyhood appears as frontrunner and has a red + as winner of the DGA?
After winning last year when Lubezki shouldn’t have, this year he absolutely should get the best cinematography Oscar. http://filmcutting.com/asc-awards-birdman-and-lubezki-take-top-cinematographers-trophy/
Here are the Top 20 films, along with their DP’s, that impressed me the most, specifically about their aesthetic/photographic/motion choices and execution.
1. Robert Elswit – INHERENT VICE
2. Mikhail Krichman – LEVIATHAN
3. Valentyn Vasyanovych – THE TRIBE
4. Bradford Young – SELMA
5. Daniel Landin – UNDER THE SKIN
6. Timo Salminen – JAUJA
7. Jeff Cronenweth – GONE GIRL
8. Seamus McGarvey – GODZILLA
9. Ryszard Lenczewski, Lukasz Zal – IDA
10. Roman Vasynov – FURY
11. Liao Pen-jung, Zhong Sung Wen – STRAY DOGS
12. Hoyte van Hoytema – INTERSTELLAR
13. Robert Elswit – NIGHTCRAWLER
14. Dick Pope – MR. TURNER
15. Denis Lenoir – EDEN
16. Nicolas Bolduc – ENEMY
17. Natasha Braier – THE ROVER
18. Andre Turpin – MOMMY
19. Tat Radcliffe – ’71
20. Darius Khondji – THE IMMIGRANT
YAAASSSSS Peter Flinckenberg!!!! SLAAAAAYYYYYYYYY!!!!!!!!!
Gravity’s cinematography was fab – alas, I wonder if many voters misinterpreted visual effects in that film for cinematography, as they have done with several other titles in recent years. That said, Chivo deserved the acclaim he got for that film, and wasn’t it great to see this oft-overlooked artist finally recognised by his industry as one of the finest among them?
He doesn’t deserve to win for Birdman, which displays little of his usual artistic qualities. It’s impressive work with a high level of difficulty, but that’s all it is. It’s a stunt, and a good one, but no more. There are so few frames in Birdman which struck me as works of art on a level with his lighting for Like Water for Chocolate, A Little Princess, Sleepy Hollow, Y Tu Mama Tambien, The New World, Children of Men, Burn After Reading, The Tree of Life, To the Wonder (his absolute best) or, indeed, Gravity.
Give it to Dick Poop.
I agree w Al Robinson. I loved Birdman and I thought the cinematography was stupendous but Hoyte Van Hoytema’s work in Interstellar was just dazzling.
As much as I love Emmanuel Lubezki’s cinematography in Birdman, I think the best of the year was between Robert D. Yeoman’s The Grand Budapest Hotel and Hoyte Van Hoytema’s Interstellar.
GO CHIVO!! 😀
On a minor note, it will continue to frustrate me that the ASC and the DGA don’t even have awards for feature-length animated films.