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Post by JangoB on Sept 19, 2019 12:08:35 GMT
This is pretty difficult...It kinda seems like the year is less filled with truly show-offy contenders than usual. At this point I'm guessing:
- Once Upon a Time in Hollywood - Even though this is definitely less flashy that the other QT/Richardson collaborations, they have a good track record at getting nominations here and I just suspect OUATIH to be a pretty big player in general so that'll help. Plus there IS stuff to recognize here, it's just not too in-your-face. I'm sure the fellow DPs will appeciate that. - 1917 - This seems like a no-brainer. Deakins, big period prestige movie, one-shot illusion. Weird to say stuff like that in September but I think Deakins can start preparing a spot for a second statuette. And just as a sidenote, he himself seems to be so enthusiastic about this! I watched a recent Collider interview with him and he seems positively giddy about the project. - The Lighthouse - Even though the DP is not a big name or anything, the work often speaks for itself. And this certainly has enough noteworthy aspects to make an impression - the B&W, the aspect ratio, the old cameras and so on. - A Hidden Life - Another unfamous cinematographer...But for some reason I expect this Malick film to make an impression on the voters. - Ad Astra - Space movies haven't been too successful in this category with some notable omissions like "First Man" or Hoytema's own "Interstellar" but I guess this can get in based on the relative weakness of the field. Plus, it's supposed to be rather gorgeous, isn't it?
Yeah, somehow these feel a little bit wrong. I suppose "Ford v. Ferrari" has a strong shot too, as well as "The Irishman". Maybe "Joker" too with its color palette seeming pretty striking from the trailers. Heck, if "The Goldfinch" weren't such a flop I'd be predicting double-Deakins.
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Post by pacinoyes on Sept 19, 2019 12:30:06 GMT
1917 and The Lightouse both look flat out astonishing, The Irishman I can't see missing unless it's a total botch - Prieto is just too damn good and it's too expansive over so many decades and different types of shots.
A dark horse might be Jojo Rabbit in how it captures a fairy tale aspect within evoking the true period horror - I have 0 interest for that film myself, but I could somehow see it if they are taken with the film in general.
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Post by TerryMontana on Sept 19, 2019 13:37:41 GMT
The Lighthouse, 1917, Once Upon, the Irishman.
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Post by DeepArcher on Sept 19, 2019 13:50:06 GMT
Well last year this category had a pretty inspired line-up ... so a couple left-field picks are actually not unreasonable. 1917 I think is the frontrunner right now, but after that it's sort of hard to say. The Irishman is sort of hard to see considering the cinematography is the one thing I found off-putting about its trailer, looks horribly tone-deaf to me, but then again it's a small sample from a three-and-a-half hour epic, and in Prieto and Marty I trust, so, the results will likely be stunning. OUATIH should be a good bet ... maybe Little Women which I think will be a fairly big tech player. The Lighthouse and A Hidden Life both feel strong, this is where the left-field picks come in ... and if this branch decides to go international again, maybe we could even consider something like Portrait of a Lady on Fire showing up? (Or Parasite of course, but I haven't seen any particular notices for its cinematography so I'm not sure.) But for now I'm gonna say ... we don't at all have a clear picture (pun intended?) of the field.
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Post by wilcinema on Sept 19, 2019 15:21:55 GMT
At the moment, I'm predicting: 1917, Ad Astra, The Lighthouse, The Irishman, Joker.
Prieto has already been nominated for a Scorsese movie before, although that was very different. Let's see what they have come up with now.
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Post by stephen on Sept 19, 2019 15:26:59 GMT
Instinctively:
1917 Ad Astra The Irishman The Lighthouse Joker
I just feel Richardson might miss for Hollywood -- it's just not as flashy as most of his Tarantino collaborations, and I think it becomes the big miss of the category. Widmer would also make sense as a nominee for A Hidden Life, but it still remains to be seen how Fox Searchlight will push it.
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Post by Tommen_Saperstein on Sept 19, 2019 16:36:13 GMT
1917 The Lighthouse Joker A Hidden Life Harriet - two-time winner John Toll coming out of retirement for this movie makes him a [oops] strong contender for a comeback nod, and the movie looked beautiful in the trailer, plus period/historical films often fare well in this category. It's wrong to count this out.
other contenders: Once Upon a Time in Hollywood Ad Astra Cats (this could totally happen)
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Post by Tommen_Saperstein on Sept 19, 2019 16:45:21 GMT
I have to see The Irishman before comfortably predicting it for cinematography, or at least without hating myself because from the trailer it looked pretty bad and not something I'd associate with an Oscar nod.
Always worth noting--none of Scorsese's crime/gangster films (Goodfellas, Casino, Departed, Wolf of Wall Street) garnered cinematography nods, the one exception being the 1840's-set period epic. So it's not Prieto and Marty I'm thinking about, it's the setting, and the fact that Marty's visual flair/style doesn't seem to garner Oscar nods within it, even with legends Richardson and Ballhaus behind the camera. And those movies looked good as hell but they weren't nominated. Aren't we being a bit overconfident of The Irishman here?
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Post by mhynson27 on Sept 19, 2019 17:12:58 GMT
How about Jojo?
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Post by pacinoyes on Sept 19, 2019 18:26:50 GMT
I have to see The Irishman before comfortably predicting it for cinematography, or at least without hating myself because from the trailer it looked pretty bad and not something I'd associate with an Oscar nod. Always worth noting--none of Scorsese's crime/gangster films (Goodfellas, Casino, Departed, Wolf of Wall Street) garnered cinematography nods, the one exception being the 1840's-set period epic. So it's not Prieto and Marty I'm thinking about, it's the setting, and the fact that Marty's visual flair/style doesn't seem to garner Oscar nods within it, even with legends Richardson and Ballhaus behind the camera. And those movies looked good as hell but they weren't nominated. Aren't we being a bit overconfident of The Irishman here? I take the opposite POV actually. First, I thought the trailer looked great but beyond that with the no nods in the past thing: * The pictures/genre have grown in esteem since he's been in it - 20 years later Scorsese returns as a BP winner instead of also ran making his work awards bait that if good is going to rack up nods - he's never been in that position. It would be like if Mann directed DePac again and people said "Heat didn't even get nominated!" - the circumstances are no longer the circumstances ........ I'm not sure past matters much........sometimes it does but ...... etc. * This is unlike any crime film he's ever done - the amount of locations, historical context and types of scenes has different opportunities for prod design (almost a stone cold lock I'd say) and cinematography. * Gordon Willis didn't get nominated for GF I and II and those were historic cinematography .......and he did for 3 (also beautiful). See first bullet point above.
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Post by JangoB on Sept 19, 2019 19:16:10 GMT
1917The LighthouseJokerA Hidden LifeHarriet - two-time winner John Toll coming out of retirement for this movie makes him a strong contender for a comeback nod, and the movie looked beautiful in the trailer, plus period/historical films often fare well in this category. It's wrong to count this out. other contenders: Once Upon a Time in Hollywood Ad Astra Cats (this could totally happen) John Toll wasn't in retirement though, he hasn't stopped working. He'll be doing the fourth "Matrix" movie next and before "Harriet" he was doing "Sense8".
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Post by TerryMontana on Sept 19, 2019 19:38:18 GMT
Maybe a wild guess but talking about cinematography, I really liked what I saw in the trailer of Motherless Brooklyn.
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Post by Tommen_Saperstein on Sept 19, 2019 20:26:07 GMT
1917The LighthouseJokerA Hidden LifeHarriet - two-time winner John Toll coming out of retirement for this movie makes him a strong contender for a comeback nod, and the movie looked beautiful in the trailer, plus period/historical films often fare well in this category. It's wrong to count this out. other contenders: Once Upon a Time in Hollywood Ad Astra Cats (this could totally happen) John Toll wasn't in retirement though, he hasn't stopped working. He'll be doing the fourth "Matrix" movie next and before "Harriet" he was doing "Sense8". Why did I read somewhere that he had retired? still think we're underestimating Harriet in the tech field.
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jakob
Full Member
Posts: 827
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Post by jakob on Sept 19, 2019 21:36:02 GMT
1917***
Ford v Ferrari
The Irishman
The Lighthouse
Once Upon A Time In Hollywood
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Post by bob-coppola on Sept 26, 2019 17:35:03 GMT
Some foreign language contenders could show up here. Parasite has some sick camera-work that should be in the conversation.
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Post by JangoB on Sept 26, 2019 17:40:53 GMT
Some foreign language contenders could show up here. Parasite has some sick camera-work that should be in the conversation. Really don't know what's so special about it - I actually think the movie lacks some extra visual flair that could've made it more impressive. Felt like pretty standard digital stuff to me, maybe a little bit more sleek than average. I haven't seen "Burning" but based on its trailer they look pretty much the same (and they of course share the cinematographer). I think of the stealth foreign contenders "The Painted Bird" must be paid some attention. That looks much more in the Academy's wheelhouse when it comes to cinematography. Although the brutal nature of the material may be a problem for the voters who may be too shocked by it or something.
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Post by bob-coppola on Sept 26, 2019 19:53:04 GMT
Some foreign language contenders could show up here. Parasite has some sick camera-work that should be in the conversation. Really don't know what's so special about it - I actually think the movie lacks some extra visual flair that could've made it more impressive. Felt like pretty standard digital stuff to me, maybe a little bit more sleek than average. I haven't seen "Burning" but based on its trailer they look pretty much the same (and they of course share the cinematographer). I think of the stealth foreign contenders "The Painted Bird" must be paid some attention. That looks much more in the Academy's wheelhouse when it comes to cinematography. Although the brutal nature of the material may be a problem for the voters who may be too shocked by it or something. I'm not a fan of its color-grading. It would've been more effective if it looked grittier, so I completely understand where you're coming from. But I think it features some impressive camera movements, I like how it moves through the sets.
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