completely agreeMaxContract wrote: ↑January 10th, 2024, 11:37 amOn a side note, extremely happy to see Penelope Cruz getting a SAG nomination for Ferrari. Exceptional performance and one of my favs of the year
But yeah SAGs are huge. The fact Emily Blunt got in is a pretty convincing show of the awards power this film has.
Oppenheimer - Awards Speculation
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Oppenheimer has been nominated for the ASC (American Society of Cinematographers) awards and is apparently the only film so far that hasn't missed a nomination in every guild so far.
this is very relevant for the cinematography oscar later on i think, if im not mistaken the ASC has the largest representation in the cinematographers oscar voting pool
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Very interesting to see Barbie miss a nomination here. I thought it was a frontrunner to be nominated in cinematography
The guy who did Barbie cinematography also did Flower Moon. Very hard to get 2 nominations in the same category. Gotta say his versatility is impressive as hell. Barbie & Flower Moon are like polar opposites in visual style. He did great work on both movies.MaxContract wrote: ↑January 11th, 2024, 8:02 pmVery interesting to see Barbie miss a nomination here. I thought it was a frontrunner to be nominated in cinematography
in feel the differences come down mostly to set design and costumes and all that, lately Rodrigo Prieto`s work has become more homogenous, absolutely the lighting in Barbie and Killers is diametrically different and the movement of the camera is in great part dictated by the directors with Marty having a set of iconic camera moves in his bag thats been seen through multiple DoPs, but the lens choices and overall composition style is certainly in line with Prieto`s eye, i hope this doesnt come across as any sort of dig of his current work but i do find myself missing his earlier style, when he worked a lot with iñarritu, Amores Perros, 21 gramos, Babel, that era with the bold color choices and all that, same with Lubezki, i miss their mid 2000`s era personally.redfirebird2008 wrote: ↑January 11th, 2024, 8:23 pmThe guy who did Barbie cinematography also did Flower Moon. Very hard to get 2 nominations in the same category. Gotta say his versatility is impressive as hell. Barbie & Flower Moon are like polar opposites in visual style. He did great work on both movies.MaxContract wrote: ↑January 11th, 2024, 8:02 pmVery interesting to see Barbie miss a nomination here. I thought it was a frontrunner to be nominated in cinematography
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I find myself feeling that way with virtually every cinematographer working today. I think the aesthetics, lens choices, style, color composition were all a lot more bold, risky, and varied in the 2000s - early 2010s compared to now. I think only a few DPs working today have interested me with their work and that’s Hoyte, Fraser, Sandgren, and BlaschkeNicolaslabra wrote: ↑January 11th, 2024, 11:39 pmin feel the differences come down mostly to set design and costumes and all that, lately Rodrigo Prieto`s work has become more homogenous, absolutely the lighting in Barbie and Killers is diametrically different and the movement of the camera is in great part dictated by the directors with Marty having a set of iconic camera moves in his bag thats been seen through multiple DoPs, but the lens choices and overall composition style is certainly in line with Prieto`s eye, i hope this doesnt come across as any sort of dig of his current work but i do find myself missing his earlier style, when he worked a lot with iñarritu, Amores Perros, 21 gramos, Babel, that era with the bold color choices and all that, same with Lubezki, i miss their mid 2000`s era personally.redfirebird2008 wrote: ↑January 11th, 2024, 8:23 pmThe guy who did Barbie cinematography also did Flower Moon. Very hard to get 2 nominations in the same category. Gotta say his versatility is impressive as hell. Barbie & Flower Moon are like polar opposites in visual style. He did great work on both movies.MaxContract wrote: ↑January 11th, 2024, 8:02 pm
Very interesting to see Barbie miss a nomination here. I thought it was a frontrunner to be nominated in cinematography
