James Steven Beverly Posted January 16, 2014 Share Posted January 16, 2014 http://oscar.go.com/nominees?fullsite=true Link to comment Share on other sites More sharing options...
Tim Tyler Posted January 16, 2014 Share Posted January 16, 2014 More specifically, the films nominated for Best CinematographyThe GrandmasterPhilippe Le SourdGravityEmmanuel LubezkiInside Llewyn DavisBruno DelbonnelNebraskaPhedon PapamichaelPrisonersRoger A. Deakins Link to comment Share on other sites More sharing options...
Premium Member Bill DiPietra Posted January 16, 2014 Premium Member Share Posted January 16, 2014 I just want to see The Hunt win for Best Foreign Language film. That's filmmaking that Ingmar Bergman would be pleased with if he were still alive today. Link to comment Share on other sites More sharing options...
James Steven Beverly Posted January 16, 2014 Author Share Posted January 16, 2014 (edited) I'm not sure about Foreign Film, but I'm betting Gravity sweeps the Oscars, wins both Best Picture, Director and Sandra Bullock wins Best Actress. I'm also certain it will win for cinematography and special effects as well. Edited January 16, 2014 by James Steven Beverly Link to comment Share on other sites More sharing options...
Young Pizzy Posted January 16, 2014 Share Posted January 16, 2014 For me, I love Roger's work on Prisoners, so I would love to see it Win :) Link to comment Share on other sites More sharing options...
Freya Black Posted January 16, 2014 Share Posted January 16, 2014 (edited) I suspect it will be Gravity or Nebraska but I'm rooting for The Grandmaster. The academy are always disappointing though. Freya Edited January 16, 2014 by Freya Black Link to comment Share on other sites More sharing options...
James Steven Beverly Posted January 17, 2014 Author Share Posted January 17, 2014 Apparently ALL the nominated pictures have alternate titles: http://www.collegehumor.com/post/6948688/honest-titles-for-2014s-oscar-nominated-movies Link to comment Share on other sites More sharing options...
Premium Member Bill DiPietra Posted January 17, 2014 Premium Member Share Posted January 17, 2014 Saw American Hustle last night and I don't understand why it garnered so many Golden Globe Awards & Oscar Nominations. Interesting cinematography but nothing truly memorable. Acting was by no means Oscar-worthy and the story structure was all over the place. I'm all for non-traditional structure, but sometimes you have to stick with what works - a three act narrative. The best part of the film was, naturally, the scene with De Niro. Otherwise, a mediocre film at best. Link to comment Share on other sites More sharing options...
John Holland Posted January 17, 2014 Share Posted January 17, 2014 I agree a very over rated film , very surprised with all its nominations . Link to comment Share on other sites More sharing options...
Tim Tyler Posted January 17, 2014 Share Posted January 17, 2014 Interesting cinematography but nothing truly memorable. What struck me about American Hustle's cinematography was that it seemed almost the whole movie was operated on a Steadicam. There were very few static or dolly shots. Link to comment Share on other sites More sharing options...
Premium Member Bill DiPietra Posted January 17, 2014 Premium Member Share Posted January 17, 2014 That's been something of a trend for a while, now and I'm still waiting for filmmakers to remember that there are these things called tripods. This constant "floating-camera" feeling just isn't appropriate for every single shot in a film. But that's something of a reflection of today's society - everyone & everything has to be in constant motion. Link to comment Share on other sites More sharing options...
Tim Tyler Posted January 17, 2014 Share Posted January 17, 2014 The Steadicam, combined with nonrestrictive lighting, might have been a creative decision allowing the actors and camera operator more freedom during the performance. 1 Link to comment Share on other sites More sharing options...
Premium Member Bill DiPietra Posted January 18, 2014 Premium Member Share Posted January 18, 2014 Possibly, but that's similar to what Michael Douglas said on Inside the Actor's Studio regarding Steven Soderbergh's directorial approach: that he uses a long lens to allow the actors more freedom to perform. That's fine if that's what you want to do, but I don't believe the director should sacrifice the visual image in favor of the performance. Part of being an actor is being able to perform under all sorts of conditions. Film is not a pseudo-stage play. The performance vs. camera thinking also really doesn't fly when you have a director like Scorsese, who has arguably moved the camera more dynamically than any other director working today, and still managed to pull some of the best performances out of his actors. My point is that you can use all the on-set techniques you want. At the end of the day, you either have a talented cast & crew or you don't. Link to comment Share on other sites More sharing options...
James Steven Beverly Posted January 18, 2014 Author Share Posted January 18, 2014 You wanna talk about talent? THIS is talent!: Link to comment Share on other sites More sharing options...
Michael LaVoie Posted January 27, 2014 Share Posted January 27, 2014 What struck me about American Hustle's cinematography was that it seemed almost the whole movie was operated on a Steadicam. There were very few static or dolly shots. He did that on his last two films The Fighter and Silver Linings Playbook. Not a fan of it. Or the rapid fire editing. It feels like you're watching the movie at 2x the normal speed. As though we'd all be bored if he slowed it down to a normal pace. It's good for a director to show some restraint when it comes to moving the camera and spinning around actors who are doing nothing more than having casual dialogue with one another. His first film Spanking the Monkey was a really great little indie that showed the performances off really well through simple modest means. Link to comment Share on other sites More sharing options...
Premium Member Gregory Irwin Posted January 27, 2014 Premium Member Share Posted January 27, 2014 What struck me about American Hustle's cinematography was that it seemed almost the whole movie was operated on a Steadicam. There were very few static or dolly shots. It was ALL steadicam. There was only one or two shots that the camera sat on a sand bag inside the front and back seat of a car. That was it! G Link to comment Share on other sites More sharing options...
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