Other than the fact that Anthony Dod Mantle should walk this category for “Antichrist” but almost certainly won’t? Can’t help you, really ;)
Mr. Gittes
My thoughts: Strike “The Hurt Locker” from your cinematography category – and direction, picture, etc. I just saw it last night. Talk about the most overrated movie of the year so far. Pic is shot like an episode of 24. Did anyone else find Renner and his two pals incredibly incompetent soldiers? And I could go on…yikes.
Waiting for Greengrass and Damon to set the record straight, not that no one hasn’t ( Re: David Simon).
Gittes: Your opinion and its validity aside, you’re clearly not on the pulse of what the industry is thinking, so, no, it stays.
Jake
Harry Potter is deserving, if maybe not a safe bet considering the series’ relative lack of Oscar attention thus far. If Amelia catches on and takes advantage of the material, I can see it getting a nod. Nine is probably a safe bet too.
red_wine
From the released movies, The Hurt Locker has gotten appreciative notices for its realistic gritty look. Also Inglorious Basterds. From trailers, Bright Star certainly(didn’t you atleast like the photography?), Amelia, Nine.
Avatar does not even have photography. And like Guy said, EVERYBODY loved Antichrist’s cinematography. Even reviewers who found the film offensive grudgingly admitted to its visual beauty. The White Ribbon, Tetro & Broken Embraces have got good notices. A Malick film surely equals a Cinematography nod. In the foreign titles, Red Cliff was also well done but I’m not sure about its release date in the US.
AmericanRequiem
I think the movies being over looked for cinematography are Where the Wild Things Are, The Lovely Bones looks absolutely gorgeous as well, i can see it winning here easily. Also I think that The Road looks to have some startling imagery in the post apocalyptic world that could fair well in this category, id say avatars out, Nine seems like a good bet but who knows with that movie, and I guess the Hurt lockers could fill the last spot. So Nine, The Hurt Locker, Where the Wild Things Are, The Road, and The Lovely Bones
AmericanRequiem
oop Tree Of Life will steal one of those spots
Loyal
The safest bet is probably Dion Beebe (Nine) at this point.
Andrew Lesnie (The Lovely Bones), Anthony Dod Mantle (Antichrist), and Robert Richardson (Inglourious Basterds) should be towards the top of any list.
Second tier could include Javier Aguirresarobe (The Road), Christian Berger (White Ribbon), and Mauro Fiore (Avatar).
Lance Acord (Where The Wild Things Are) and
Emmanuel Lubezki (Tree of Life) are true wild cards.
All and all, a great group.
AmericanRequiem
Kris I have to ask, why is it you feel The Lovely Bones wont be a large contender? It seems great in costumes, film editing, picture, special effects cinematography and on but you either done have it in the top 10 or very low on the lists
I was impressed with some of the visual ideas in The Road, but I wonder about that film’s chances on the whole. It’s not entirely satisfying, but that’s just one guy’s opinion.
Requiem: I’ll probably insert Lesnie in the cinematography category this time around, and maybe film editing, too. But hopes aren’t even high for major Oscar possibilities at the studio, so the rest is very much wait and see.
John
The cinematography of Broken embraces is gorgeous but I don’t know if will be nominated, afterall is a foreign film. (and the score is also great and Cruz is outstanding). I also think that Harry Potter deserves to be nominated in that category.
AmericanRequiem
what do you mean hopes arent even high for major oscar possibilities at the studio? and are you doing an update of all the categories kris?
Miguel Angel
I think Rodrigo Prieto’s work won’t make the cut, even if “Broken embraces” succeeds in other categories. Emmanuel Lubezki has real chance with “The tree of life”, after all, he’s been overlooked for years and a win is truly deserved for him…
Loyal
I wish someone would do a proper write up on The Lovely Bones’ troubles.
All I’m getting are bits and pieces and if the film is in major disarray, it’s kind of a huge story.
SALO
The three locks are the following …
-Bright Star, Greig Fraser
-Nine, Dion Beebe
-Tree of Life, Emmanuel Lubezki
While The Hurt Locker is the closest thing we have to a lock in the major categories and a probable nominee in Film Editing and Sound Mixing, Barry Ackroyd’s handheld, multi-camera 16mm cinematography is no definite here in the least.
Antichrist will not be recognized by the Academy at all.
Amelia looks like a bad Oscar-baiting parody across the board.
In regard to The Lovely Bones and Where the Wild Things Are, I just think that both will be such massive bombs that their awards potential in any category will drastically decrease. Also, anyone else feel the Jackson film’s rendering of limbo looks far too CGI-heavy?
So, the remaining slots will most likely be filled by two of the following …
-Inglourious Basterds, Robert Richardson
-Public Enemies, Dante Spinotti
-Harry Potter … , Bruno Delbonnel
-Invictus, Tom Stern
-The Road, Javier Aguirresrobe
-Broken Embraces, Rodrigo Prieto
-The White Ribbon, Christian Berger
-Cheri, Darius Khondji
John
Yeah, I don’t get ‘The Lovely Bones’ drama.
There’s drama, at all?
I think the trailer looks great, the pedigree is all there. When has there been negative studio talk?
It’s still to be relased in 3.5 months, right? I thought that once ‘SI’ was moved to February there was talk that this would help ‘Lovely Bones’ moreso?
Yeah, could someone shed some light?
Troy
Don’t forget about Roger Deakins and A Serious Man.
Matt
As much as I adored Delbonnel’s work with Half Blood Prince, my gut feeling is that he will be snubbed. Perhaps if it were released in November if would have an outside shot. HBP has a better shot with Art Direction and Makeup.
@Loyal…i have never heard that the film is in “major disarray”
…all i know is that Jackson showed the studio the film in 2008 before its original march release date and after that they moved its release date up 9 months to December…which seems pretty positive.
Loyal: There aren’t “troubles,” it’s just that “Up in the Air” is seen as the most likely awards film from the studio’s slate. Nothing more than that, and at the end of the day, it’s not so surprising to think that “The Lovely Bones” might not have made for an Oscar picture.
SALO: Bright Star is no lock. I’m in fact taking it out of my predix on Monday. Nice, moody work, but there are other names and projects that are much more likely to appeal to the branch, I think.
And to call “The Tree of Life” (or anything, for that matter) a “lock” when we haven’t seen one inch of film is a bit much.
Vito
How about Star Trek Kris? I personally loved the cinematography in it.
John
I’m slightly surprised, at this point, that ‘Up in the Air’ is getting more … “studio buzz”?? … seeing as ‘The Lovely Bones’ looks to rack up, maybe, 9-12 nominations (if it’s good); whereas, at it’s best, ‘Up in the Air’ would max out at around 4 or so (if it’s good).
John
I may be completely naive to Up in the Air’s strengths. That’s just how I see it right now.
It’s only August; have to keep reminding myself. :-)
John
Oh, and my input of CIN right now …
Nine, The Lovely Bones, Harry 6, Tree of Life (even with NO visuals,yet, hahaha), and Avatar.
Tetro is beautiful, but AMPAS members won’t see it, let alone vote for it.
Speaking English
Yeah, “The Hurt Locker” is the same old shaky hand-held cinema-verite stuff. Not impressive. One impressive shot, though (right at the beginning when the bomb explodes).
So far my choice, from what I’ve seen, would be “Harry Potter” first with “Public Enemies” in second.
Steven Kar
Avatar will not be nominated for best cinematography. It’s all CGI; if they nominate it then why not nominate the Pixar movies, or the Star Wars movies?
Definitely not feeling “Hurt Locker” for cinematography. Doesn’t have any of the prettiness that the Academy prefers (even in work that is similar, ala “City of God”). I don’t reckon “Harry Potter” will make it either, but perhaps that’s just because I didn’t think it was as impressive as some of the others.
It’s a shame that “The White Ribbon” probably won’t factor it, because it definitely deserves to. Some of starkest black and white photography ever captured on film.
I think we’re looking at “Nine”, “Tree of Life” (it it truly does get a release in ’09), “Inglourious Basterds” (just for a bit of a surprise), “Bright Star” (for the classical prestige) and I’m going to say “The White Ribbon” just because this branch has never been fond of Almodovar and they occasionally do nominate foreign films.
Mr. Gittes
Kris: Clearly. Confusion is the state of mind right now.
Fingers crossed that Malick and perhaps Peter Weir shake up the game late in the fourth quarter. If not, and with Greengrass and Marty moved to 2010, this year is shaping up to be a clunker for movies. I might have to look to Toronto and the rest of the indie circuit for solace and peace of mind.
Speaking English
I don’t think “Tree of Life” is a lock. Obviously that’s silly right now. But you can really never bet against Malick, or Lubezki for that matter. They ARE major contenders.
And by the way, “prettiness” shouldn’t be considered such a significant factor for the nod. DPs know the difference between good and bad cinematography, “pretty” or not.
I’m starting to think “The White Ribbon” might slide in.
SALO
I think The White Ribbon and Bright Star will be the two films that will receive the most recognition from the critics awards in this category.
Troy: Roger Deakins is always a contender, especially when working with the Coens, but I would hate to see him go 0 for 9 after this coming Oscars. There is just NO WAY he would ever win for this small film, even if he was to be nominated.
Kris: While it might be a tad silly to call any title and/or anybody a lock in any category, aside from Christoph Waltz in Supporting Actor, I stand by my above predictions that the CLOSEST we have to THREE locks in Cinematography would be the three titles I mentioned for the following reasons …
-Bright Star – the film LOOKS GORGEOUS; combo of period + Anglo theme/origin have an inarguable history of doing well in this category; the film’s emphasis on natural lighting makes this work stand out in 2009, just as The New World did in 2005
-Tree of Life – 3 of Malick’s 4 previous films have all gained recognition here, producing one winner; DP Lubezki was nominated for Malick’s The New World, and, after Roger Deakins, is the working cinematographer considered most overdue for a win; it’s also period, epic, and the majority most likely shot outdoors, which are all pluses
-Nine – DP Dion Beebe was nominated for his two previous Rob Marshall collaborations and won an Oscar for the second, the dreadful Memoirs of a Geisha; this is big razzle dazzle spectacle and, as a huge budget holiday release, surely the film the Weinsteins will put all of their campaigning powers behind in virtually EVERY category
Kris, what I meant by “prettiness” in regards to “The Hurt Locker” was that there aren’t a lot of camera tricks, crazy angles and plays with light. It’s good work, but I’m not sure there’s anything there to make it standout as one of the five best efforts of the year.
As much as I’d be incredibly surprised if “The White Ribbon” made it, I do think it’ll win a few cinematography prizes from critics and maybe then the branch will HAVE to take notice of it. I’d love it to be nominated since the photography is so very good, but I still just can’t quite picture it happening. I’m predicting it currently more out of wishful thinking than anything else.
Blake
Simply throwing it out there since nobody’s mentioned it, but if “Me and Orson Welles” gets released this year, Dick Pope could be a contender. He’s already been nominated for lighting “The Illusionist” and his use of practical light here seems to be up the academy’s alley.
Milan
Let’s all pray Transformers 2: Revenge of the Fallen never ever gets nominated.
Anything but that.
Robert Hamer
I wouldn’t lose sleep worrying about that, Milan. The first one was much more well-recieved and it couldn’t even manage a single Tech victory. It’ll grab Sound and Visual Effects nominations at best.
Comments
72 responses to “Thoughts on Best Cinematography?”
Other than the fact that Anthony Dod Mantle should walk this category for “Antichrist” but almost certainly won’t? Can’t help you, really ;)
My thoughts: Strike “The Hurt Locker” from your cinematography category – and direction, picture, etc. I just saw it last night. Talk about the most overrated movie of the year so far. Pic is shot like an episode of 24. Did anyone else find Renner and his two pals incredibly incompetent soldiers? And I could go on…yikes.
Waiting for Greengrass and Damon to set the record straight, not that no one hasn’t ( Re: David Simon).
Gittes: Your opinion and its validity aside, you’re clearly not on the pulse of what the industry is thinking, so, no, it stays.
Harry Potter is deserving, if maybe not a safe bet considering the series’ relative lack of Oscar attention thus far. If Amelia catches on and takes advantage of the material, I can see it getting a nod. Nine is probably a safe bet too.
From the released movies, The Hurt Locker has gotten appreciative notices for its realistic gritty look. Also Inglorious Basterds. From trailers, Bright Star certainly(didn’t you atleast like the photography?), Amelia, Nine.
Avatar does not even have photography. And like Guy said, EVERYBODY loved Antichrist’s cinematography. Even reviewers who found the film offensive grudgingly admitted to its visual beauty. The White Ribbon, Tetro & Broken Embraces have got good notices. A Malick film surely equals a Cinematography nod. In the foreign titles, Red Cliff was also well done but I’m not sure about its release date in the US.
I think the movies being over looked for cinematography are Where the Wild Things Are, The Lovely Bones looks absolutely gorgeous as well, i can see it winning here easily. Also I think that The Road looks to have some startling imagery in the post apocalyptic world that could fair well in this category, id say avatars out, Nine seems like a good bet but who knows with that movie, and I guess the Hurt lockers could fill the last spot. So Nine, The Hurt Locker, Where the Wild Things Are, The Road, and The Lovely Bones
oop Tree Of Life will steal one of those spots
The safest bet is probably Dion Beebe (Nine) at this point.
Andrew Lesnie (The Lovely Bones), Anthony Dod Mantle (Antichrist), and Robert Richardson (Inglourious Basterds) should be towards the top of any list.
Second tier could include Javier Aguirresarobe (The Road), Christian Berger (White Ribbon), and Mauro Fiore (Avatar).
Lance Acord (Where The Wild Things Are) and
Emmanuel Lubezki (Tree of Life) are true wild cards.
All and all, a great group.
Kris I have to ask, why is it you feel The Lovely Bones wont be a large contender? It seems great in costumes, film editing, picture, special effects cinematography and on but you either done have it in the top 10 or very low on the lists
I was impressed with some of the visual ideas in The Road, but I wonder about that film’s chances on the whole. It’s not entirely satisfying, but that’s just one guy’s opinion.
Requiem: I’ll probably insert Lesnie in the cinematography category this time around, and maybe film editing, too. But hopes aren’t even high for major Oscar possibilities at the studio, so the rest is very much wait and see.
The cinematography of Broken embraces is gorgeous but I don’t know if will be nominated, afterall is a foreign film. (and the score is also great and Cruz is outstanding). I also think that Harry Potter deserves to be nominated in that category.
what do you mean hopes arent even high for major oscar possibilities at the studio? and are you doing an update of all the categories kris?
I think Rodrigo Prieto’s work won’t make the cut, even if “Broken embraces” succeeds in other categories. Emmanuel Lubezki has real chance with “The tree of life”, after all, he’s been overlooked for years and a win is truly deserved for him…
I wish someone would do a proper write up on The Lovely Bones’ troubles.
All I’m getting are bits and pieces and if the film is in major disarray, it’s kind of a huge story.
The three locks are the following …
-Bright Star, Greig Fraser
-Nine, Dion Beebe
-Tree of Life, Emmanuel Lubezki
While The Hurt Locker is the closest thing we have to a lock in the major categories and a probable nominee in Film Editing and Sound Mixing, Barry Ackroyd’s handheld, multi-camera 16mm cinematography is no definite here in the least.
Antichrist will not be recognized by the Academy at all.
Amelia looks like a bad Oscar-baiting parody across the board.
In regard to The Lovely Bones and Where the Wild Things Are, I just think that both will be such massive bombs that their awards potential in any category will drastically decrease. Also, anyone else feel the Jackson film’s rendering of limbo looks far too CGI-heavy?
So, the remaining slots will most likely be filled by two of the following …
-Inglourious Basterds, Robert Richardson
-Public Enemies, Dante Spinotti
-Harry Potter … , Bruno Delbonnel
-Invictus, Tom Stern
-The Road, Javier Aguirresrobe
-Broken Embraces, Rodrigo Prieto
-The White Ribbon, Christian Berger
-Cheri, Darius Khondji
Yeah, I don’t get ‘The Lovely Bones’ drama.
There’s drama, at all?
I think the trailer looks great, the pedigree is all there. When has there been negative studio talk?
It’s still to be relased in 3.5 months, right? I thought that once ‘SI’ was moved to February there was talk that this would help ‘Lovely Bones’ moreso?
Yeah, could someone shed some light?
Don’t forget about Roger Deakins and A Serious Man.
As much as I adored Delbonnel’s work with Half Blood Prince, my gut feeling is that he will be snubbed. Perhaps if it were released in November if would have an outside shot. HBP has a better shot with Art Direction and Makeup.
Hurt Locker.
Going from movies I’ve seen and trailers:
Where the Wild Things Are
The Lovely Bones
The Hurt Locker
Nine
HP
I could also see Broken Embraces getting a nod.
And John, I totally agree. From what we’ve seen I think it looks amazing.
A lot of The Lovely Bones drama is tied in tightly with Spielberg’s drama.
Medicine for Melancholy!
My five predix at this very early stage:
Broken Embraces
Inglourious Basterds
Nine
The Road
Tree of Life
I think if both Malick and Weir’s films make it for an 09 release…both could be contenders for the cinematography race.
@Loyal…i have never heard that the film is in “major disarray”
…all i know is that Jackson showed the studio the film in 2008 before its original march release date and after that they moved its release date up 9 months to December…which seems pretty positive.
Loyal: There aren’t “troubles,” it’s just that “Up in the Air” is seen as the most likely awards film from the studio’s slate. Nothing more than that, and at the end of the day, it’s not so surprising to think that “The Lovely Bones” might not have made for an Oscar picture.
SALO: Bright Star is no lock. I’m in fact taking it out of my predix on Monday. Nice, moody work, but there are other names and projects that are much more likely to appeal to the branch, I think.
And to call “The Tree of Life” (or anything, for that matter) a “lock” when we haven’t seen one inch of film is a bit much.
How about Star Trek Kris? I personally loved the cinematography in it.
I’m slightly surprised, at this point, that ‘Up in the Air’ is getting more … “studio buzz”?? … seeing as ‘The Lovely Bones’ looks to rack up, maybe, 9-12 nominations (if it’s good); whereas, at it’s best, ‘Up in the Air’ would max out at around 4 or so (if it’s good).
I may be completely naive to Up in the Air’s strengths. That’s just how I see it right now.
It’s only August; have to keep reminding myself. :-)
Oh, and my input of CIN right now …
Nine, The Lovely Bones, Harry 6, Tree of Life (even with NO visuals,yet, hahaha), and Avatar.
I’m sure only 2 or 3 of those will make it.
Coppola’s Tetro
Tetro is beautiful, but AMPAS members won’t see it, let alone vote for it.
Yeah, “The Hurt Locker” is the same old shaky hand-held cinema-verite stuff. Not impressive. One impressive shot, though (right at the beginning when the bomb explodes).
So far my choice, from what I’ve seen, would be “Harry Potter” first with “Public Enemies” in second.
Avatar will not be nominated for best cinematography. It’s all CGI; if they nominate it then why not nominate the Pixar movies, or the Star Wars movies?
I think “The Hurt Locker” and “Public Enemies” are too shaky for AMPAS. I say scratch ’em.
Best bets: “Nine” and “Bright Star”.
I know we haven’t seen anything from “Tree of Life” yet, but I just have a good feeling about this one, not to mention unwaivering faith in Lubezki.
And what Malick hasn’t been nominated here (save for his first feature)? Exactly.
Silly comment. If he had made 10-plus films, maybe you’d have a point. To call it a lock is ridiculous, that’s MY point.
Definitely not feeling “Hurt Locker” for cinematography. Doesn’t have any of the prettiness that the Academy prefers (even in work that is similar, ala “City of God”). I don’t reckon “Harry Potter” will make it either, but perhaps that’s just because I didn’t think it was as impressive as some of the others.
It’s a shame that “The White Ribbon” probably won’t factor it, because it definitely deserves to. Some of starkest black and white photography ever captured on film.
I think we’re looking at “Nine”, “Tree of Life” (it it truly does get a release in ’09), “Inglourious Basterds” (just for a bit of a surprise), “Bright Star” (for the classical prestige) and I’m going to say “The White Ribbon” just because this branch has never been fond of Almodovar and they occasionally do nominate foreign films.
Kris: Clearly. Confusion is the state of mind right now.
Fingers crossed that Malick and perhaps Peter Weir shake up the game late in the fourth quarter. If not, and with Greengrass and Marty moved to 2010, this year is shaping up to be a clunker for movies. I might have to look to Toronto and the rest of the indie circuit for solace and peace of mind.
I don’t think “Tree of Life” is a lock. Obviously that’s silly right now. But you can really never bet against Malick, or Lubezki for that matter. They ARE major contenders.
Possibilities so far:
Star Trek
Moon
Inglourious Basterds
Not out yet possibilities:
Where the Wild Things Are
Avatar
The Lovely Bones
Star Trek? No way.
Moon. Almost impossible.
And they’ve never warmed to Lance Acord’s warm yellow glowy hues so I doubt “Where the Wild Things Are” can make it.
I think people who haven’t seen Bright Star are overstating its chances here.
And by the way, “prettiness” shouldn’t be considered such a significant factor for the nod. DPs know the difference between good and bad cinematography, “pretty” or not.
I’m starting to think “The White Ribbon” might slide in.
I think The White Ribbon and Bright Star will be the two films that will receive the most recognition from the critics awards in this category.
Troy: Roger Deakins is always a contender, especially when working with the Coens, but I would hate to see him go 0 for 9 after this coming Oscars. There is just NO WAY he would ever win for this small film, even if he was to be nominated.
Kris: While it might be a tad silly to call any title and/or anybody a lock in any category, aside from Christoph Waltz in Supporting Actor, I stand by my above predictions that the CLOSEST we have to THREE locks in Cinematography would be the three titles I mentioned for the following reasons …
-Bright Star – the film LOOKS GORGEOUS; combo of period + Anglo theme/origin have an inarguable history of doing well in this category; the film’s emphasis on natural lighting makes this work stand out in 2009, just as The New World did in 2005
-Tree of Life – 3 of Malick’s 4 previous films have all gained recognition here, producing one winner; DP Lubezki was nominated for Malick’s The New World, and, after Roger Deakins, is the working cinematographer considered most overdue for a win; it’s also period, epic, and the majority most likely shot outdoors, which are all pluses
-Nine – DP Dion Beebe was nominated for his two previous Rob Marshall collaborations and won an Oscar for the second, the dreadful Memoirs of a Geisha; this is big razzle dazzle spectacle and, as a huge budget holiday release, surely the film the Weinsteins will put all of their campaigning powers behind in virtually EVERY category
The film isn’t nearly the visual splendor of The New World…
Kris, what I meant by “prettiness” in regards to “The Hurt Locker” was that there aren’t a lot of camera tricks, crazy angles and plays with light. It’s good work, but I’m not sure there’s anything there to make it standout as one of the five best efforts of the year.
As much as I’d be incredibly surprised if “The White Ribbon” made it, I do think it’ll win a few cinematography prizes from critics and maybe then the branch will HAVE to take notice of it. I’d love it to be nominated since the photography is so very good, but I still just can’t quite picture it happening. I’m predicting it currently more out of wishful thinking than anything else.
Simply throwing it out there since nobody’s mentioned it, but if “Me and Orson Welles” gets released this year, Dick Pope could be a contender. He’s already been nominated for lighting “The Illusionist” and his use of practical light here seems to be up the academy’s alley.
Let’s all pray Transformers 2: Revenge of the Fallen never ever gets nominated.
Anything but that.
I wouldn’t lose sleep worrying about that, Milan. The first one was much more well-recieved and it couldn’t even manage a single Tech victory. It’ll grab Sound and Visual Effects nominations at best.