|
|
Post by sterlingarcher86 on Aug 6, 2023 18:23:35 GMT
There Will Be Blood – Robert Elswit
The Assassination of Jesse James by the Coward Robert Ford – Roger Deakins
Atonement – Seamus McGarvey
The Diving Bell and the Butterfly – Janusz Kamiński
No Country for Old Men – Roger Deakins
Can we talk about this all timer lineup? I legitimately would have been happy with any of them winning and any could have won in a lesser year and I wouldn’t have batted an eye. Two questions. Who would you have voted for and what are some of your other favorite cinematography lineups?
I suppose I would vote for No Country. I like my Deakins a little more low key.
|
|
|
|
Post by futuretrunks on Aug 6, 2023 18:34:19 GMT
I don't get Diving Bell's nomination. The cinematography was not extraordinary to me in any way.
I'd have nominated something like:
NCFOM
Atonement
The Assassination of Jesse James
Sunshine
Into the Wild
I also thought TWBB had the second-weakest cinematography of the nominees (Diving Bell being the weakest). I'd probably give Jesse James the win for how magnificent the lighting is at times, though I don't think the film is 1/50th as good as NCFOM or Atonement (to compare it to other nominees).
|
|
|
|
Post by JangoB on Aug 6, 2023 19:31:38 GMT
I think it's one of the very few times that the Academy literally got a category right. Not only did they pick the very best achievements of the year but they also chose the right winner!
As for your questions:
1. I would've voted for Elswit.
2. Some other favorite Cinematography lineups? Nice.
I love 2021: Dune, West Side Story, Nightmare Alley, The Tragedy of Macbeth & The Power of the Dog.
2015 is fantastic (although I wish Bridge of Spies was there too): The Revenant, Carol, Fury Road, The Hateful Eight & Sicario.
Love 2012: Life of Pi, Lincoln, Skyfall, Django Unchained & Anna Karenina.
Those are my favorite ones. All very recent. But 2007 trumps them all.
|
|
|
|
Post by mikediastavrone96 on Aug 6, 2023 19:38:16 GMT
I'm torn between The Assassination of Jesse James by the Coward Robert Ford and The Diving Bell and the Butterfly. Both are just incredibly expressive in terms of how they use lighting, focal length, and depth of focus, much more so than you would see even from many winners in this category's history. I'll go with Diving Bell since I think it's the more difficult achievement in terms of what it's meant to visually express and for being the rare kind of movie to evoke the same kind of feelings I get from Boris Kaufman's work on Jean Vigo's L'Atalante.
|
|
|
|
Post by Tommen_Saperstein on Aug 6, 2023 20:51:07 GMT
switch out Diving Bell for Zodiac and it'd be literally flawless, but still an uncommonly great year for cinematography. Jesse James is definitely my pick but I can't argue against Elswit.
2021 was another terrific lineup (Dune, Nightmare Alley, The Power of the Dog, The Tragedy of Macbeth, West Side Story) and the only other one that comes close is 2005, with Batman Begins, Brokeback, Good Night and Good Luck, Memoirs of a Geisha and New World. Looking back over the older lineups there's either movies I haven't seen or at least one of two really weak nominees that pull the whole crowd down. In 2007, 2021 and 2005 there isn't a single weak nominee.
|
|
|
|
Post by mhynson27 on Aug 7, 2023 0:11:38 GMT
No Country by a hair over TWBB and Atonement.
|
|
|
|
Post by stephen on Aug 9, 2023 0:08:53 GMT
As undeniably beautiful as The Assassination of Jesse James is on a technical level, it also kinda distracts for me and feels like Deakins and Dominik are showboating. I actually prefer Deakins's work in No Country for Old Men that same year, as it feels like it is augmenting the experience rather than overtaking it.
But with all that said, Oscar got it right. Elswit was on a whole 'nother level and the derrick fire alone clinches the win for me that year.
|
|
