Best Cinematography Oscar winners since 1967
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- Cinematographer
- Camera and Electrical Department
Entering films in 1923 as an assistant cameraman, Burnett Guffey was picked by John Ford to handle second-unit photography on The Iron Horse (1924). After that film, however, Guffey returned to his assistant cameraman position, a job he held until 1928, when he became a camera operator. In that capacity he photographed such major productions as Ford's The Informer (1935), Alfred Hitchcock's Foreign Correspondent (1940) and Charles Vidor's Cover Girl (1944), among others. Guffey was finally hired as a director of photography by Columbia. Highly regarded by his colleagues for his crisp imaging and superb compositions, Guffey won two Academy Awards, for From Here to Eternity (1953) and Bonnie and Clyde (1967).Bonnie and Clyde, 1967
Nominees:
Richard H. Kline- Camelot
Robert Surtees- Doctor Dolittle
Robert Surtees- The Graduate
Conrad L. Hall- In Cold Blood- Cinematographer
- Camera and Electrical Department
Pasqualino De Santis was born on 24 April 1927 in Fondi, Lazio, Italy. He was a cinematographer, known for Romeo and Juliet (1968), Death in Venice (1971) and Three Brothers (1981). He died on 23 June 1996 in Lviv, Ukraine.Romeo and Juliet, 1968
Nominees:
Harry Stradling- Funny Girl
Daniel L. Fapp- Ice Station Zebra
Oswald Morris- Oliver!
Ernest Laszlo- Star!- Cinematographer
- Camera and Electrical Department
- Writer
Born in Tahiti, the son of writer James Norman Hall, author of "Mutiny on the Bounty," Conrad Hall studied filmmaking at USC. He and two classmates formed a production company and sold a project to a local television station. Hall's company branched out into making industrial films and TV commercials. They were hired to shoot location footage for several feature films, including's Disney's The Living Desert (1953). In the early 1960s, Hall was hired as a camera assistant on several features and worked his way up to camera operator. He received his first cinematographer credit in 1965. Hall won acclaim for his rich and complex compositions, especially for In Cold Blood (1967) and won an Academy Award for Butch Cassidy and the Sundance Kid (1969). He won two more Oscars, for American Beauty (1999), in 2000, and Road to Perdition (2002).Butch Cassidy and the Sundance Kid, 1969
Nominees:
Arthur Ibbetson- Anne of the Thousand Days
Charles Lang- Bob & Carol & Ted & Alice
Harry Stradling- Hello, Dolly! (posthumously)
Daniel L. Fapp- Marooned- Cinematographer
- Camera and Electrical Department
- Director
Freddie Young was a British cinematographer. He is best known for his work on David Lean's films Lawrence of Arabia (1962), Doctor Zhivago (1965) and Ryan's Daughter (1970), all three of which won him Academy Awards for Best Cinematography.
Young was an cinematographer on 130 films, including Goodbye, Mr Chips (1939), 49th Parallel (1941), Ivanhoe (1952), Lust for Life (1956), The Inn of the Sixth Happiness (1958), Lord Jim (1965), You Only Live Twice (1967) and Nicholas and Alexandra (1971).
He was also the first British cinematographer to film in CinemaScope.
Young died from natural causes in 1998 at the age of 96.
In 2003, a survey conducted by the International Cinematographers Guild placed Young among the ten most influential cinematographers in history.Ryan's Daughter, 1970
Nominees:
Ernest Laszlo- Airport
Fred J. Koenekamp- Patton
Charles F. Wheeler, Osamu Furuya, Shinsaku Himeda, and Masamichi Satoh- Tora! Tora! Tora!
Billy Williams- Women in Love- Cinematographer
- Camera and Electrical Department
- Additional Crew
Oscar-winning cinematography Oswald Morris was one of the most outstanding directors of photography of the 20th Century, making his reputation by expanding the parameters of color cinematography. Born in November 1915 in Hillingdon, Middlesex, England, a month short of his 17th birthday, he became a factotum and clapper boy at Wembley Studios, which churned out quota quickies. The studio made one movie a week at a cost of one pound per foot of film. He left the studio in the spring of 1933 to go to work at British International Pictures at Elstree Studios, but soon returned to Wembley after it was taken over by Fox and became a camera assistant.
In World War II, he served as a Royal Air Force bomber pilot, flying missions over France and Germany before being transferred to transport planes. After being demobilized, Morris joined Independent Producers at Pinewood Studios in January 1946, where he became a camera operator for director of photography Ronald Neame. When Neame became a director, he was promoted to d.p. on Golden Salamander (1950) (1950). He soon made his name shooting Moulin Rouge (1952) (1952) for John Huston, which was famous for its use of color suggesting the palette of Henri de Toulouse-Lautrec, the subject of the film. The British Society of Cinematographers awarded him its Best Cinematography Award for his work on the film.
"Ossie" Morris had a distinguished career as a director of photography for 30 years, working with some of the top directors in English-language film, including Huston, Stanley Kubrick and Sidney Lumet. He was nominated three times for an Academy Award, for Oliver! (1968), Fiddler on the Roof (1971), and The Wiz (1978). He won an Oscar for "Fiddler" plus three BAFTA Awards and was honored with the International Award by the American Society of Cinematographers in 2000.Fiddler on the Roof, 1971
Nominees:
Owen Roizman- The French Connection
Robert Surtees- The Last Picture Show
Freddie Young- Nicholas and Alexandra
Robert Surtees- Summer of '42- Cinematographer
- Camera and Electrical Department
- Actor
Goeffrey Unsworth was one of the great cinematographers of the 20th Century, the winner of two Oscars, five BAFTA awards, and three awards from the British Society of Cinematographers for his work as a director of photography. Born in 1914 in Lancashire, England, Unsworth started in the industry in 1932 at Gaumont-British before joining Technicolor in 1937. He worked as a camera assistant and operator on a many of the most important color movies made in England.
In contrast to the Technicolor aesthetic, when Unsworth became a director of photography (starting in 1946 with the musical The Laughing Lady (1946), he used a somber palette. Moving to Rank at Pinewood Studios, he shot adventure films, comedies, and thrillers in black and white.
His breakthrough into the top ranks of cinematographers was Becket (1964) in 1964, for which he received his first Academy Award nomination. He did not get Oscar-nominated for his spectacular work on 2001: A Space Odyssey (1968) because Stanley Kubrick generally was given credit for the visual style of the film, but his ability to integrate cinematography and special effects was put to great effect with Superman (1978) (1978). He was in demand for period pieces, winning his first Oscar for Bob Fosse's Cabaret (1972) and his second Oscar posthumously for shooting Roman Polanski's Tess (1979).
Geoffrey Unsworth died in Brittany on the set of "Tess" after suffering a heart attack. He was 64 years old.Cabaret, 1972
Nominees:
Charles Lang- Butterflies Are Free
Harold E. Stine- The Poseidon Adventure
Harry Stradling Jr.- 1776
Douglas Slocombe- Travels with My Aunt- Cinematographer
- Director
- Actor
Sven Nykvist was considered by many in the industry to be one of the world's greatest cinematographers. During his long career that spanned almost half a century, Nyvist perfected the art of cinematography to its most simple attributes, and he helped give the films he had worked on the simplest and most natural look imaginable. Indeed, Mr. Nykvist prided himself on the simplicity and naturalness of his lighting schemes. Nykvist used light to create mood and, more significantly, to bring out the natural flesh tones in the human face so that the emotion of the scene could be played out on the face without the light becoming intrusive.
Nykvist entered the Swedish film industry when he was 19 and worked his way up to becoming a director of photography. He first worked with the legendary Swedish director Ingmar Bergman on the film Sawdust and Tinsel (1953), but his collaboration with Bergman began in earnest with The Virgin Spring (1960). From that point on, Nykvist replaced the great Gunnar Fischer as Bergman's cameraman, and the two men started a collaboration that would last for a quarter of a century. The switch from Fischer to Nykvist created a marked difference in the look of Bergman's films. In many respects, it was like the difference between Caravaggio and Rembrandt. Fischer's lighting was a study in light and darkness, while Nykvist preferred a more naturalistic, more subtle approach that in many ways relied on the northern light compositions of the many great Scandinavian painters.
Nykvist's work with Bergman is one of the most glorious collaborations in movie history. Nykvist created a markedly different look for each installment of Bergman's Faith Trilogy. Through a Glass Darkly (1961) had an almost suffocating quality to it, and The Silence (1963) hearkened back to the days of German Expressionism. Winter Light (1963), the middle part of the trilogy, may very well be the most perfect work of Nykvist's repertoire. Having studied the light in a real provincial church carefully, he then recreated the subtle changes in the light as the day went on on a Stockholm sound stage. Indeed, it's hard to believe that the film was shot on a stage and not in a real church in Northern Sweden. For Persona (1966), Nykvist relied heavily on Sweden's famous Midnight Sun. In The Passion of Anna (1969), Nykvist was able to capture the chilly, soggy, and melancholy look of Faro, one of Nykvist's first color films. Both Nykvist and Bergman were both very reluctant to film in color. He created a fascinating study of white and red in Cries & Whispers (1972), for which Nykvist won an Oscar. He won an Oscar again for the last feature-length theatrical film that Bergman made, Fanny and Alexander (1982).
During the late 1970s, Nykvist began making films elsewhere in Europe and in the United States, working for directors such as Louis Malle (Pretty Baby (1978)), Philip Kaufman (The Unbearable Lightness of Being (1988)), Bob Fosse (Star 80 (1983)), Nora Ephron (Sleepless in Seattle (1993)), Woody Allen (Another Woman (1988), Crimes and Misdemeanors (1989)), Richard Attenborough (Chaplin (1992)), and fellow Swede Lasse Hallström (What's Eating Gilbert Grape (1993)). The documentary Ljuset håller mig sällskap (2000) paid homage to Nykvist, although it does not grant us any real secrets about his working methods. Nykvist died in 2006.Cries & Whispers, 1973
Nominees:
Owen Roizman- The Exorcist
Jack Couffer- Jonathan Livingston Seagull
Robert Surtees- The Sting
Harry Stradling Jr.- The Way We Were- Cinematographer
- Camera and Electrical Department
Fred J. Koenekamp was born on 11 November 1922 in Los Angeles, California, USA. He was a cinematographer, known for The Towering Inferno (1974), Patton (1970) and The Adventures of Buckaroo Banzai Across the 8th Dimension (1984). He died on 31 May 2017 in Bonita Springs, Florida, USA.The Towering Inferno, 1974
Nominees:
John A. Alonzo- Chinatown
Philip H. Lathrop- Earthquake
Bruce Surtees- Lenny
Geoffrey Unsworth- Murder on the Orient Express- Cinematographer
- Camera and Electrical Department
Joseph Biroc was destined to become one of the most versatile cinematographers in Hollywood, working on films of almost every genre. He started as a lab assistant in 1918, based at Paragon Studio, located in America's first 'film capital', Ft.Lee, New Jersey. From there, he moved on to the Paramount facility in Long Island as a camera assistant, and, by 1927, found himself in Hollywood. Under contract to RKO, he took on a number of jobs as second cameraman, frequently uncredited. One of his first A-grade features was the western Cimarron (1931), assisting Edward Cronjager. Serving his apprenticeship under George J. Folsey, Biroc became a fully-fledged lighting cameraman in 1940, but World War II put his career on hold.
During the war years, Biroc advanced to the rank of captain with the U.S. Army Signal Corps and was afforded the unique distinction of being the first American cameraman to film the liberation of Paris in 1944. After the war, he worked with Joseph Walker as co-director of photography on the perennial Christmas favourite It's a Wonderful Life (1946). During the 1950's, Biroc tackled a variety of subjects, ranging from the tough film noir Cry Danger (1951) to the sci-fi cult classic Red Planet Mars (1952). He also filmed the first ever movie shot in 3-D, Bwana Devil (1952). A turning point in his career came when he met the idiosyncratic director Robert Aldrich, while shooting an episode of the TV series China Smith (1952). This led to a productive collaboration, encompassing sixteen motion pictures. The most memorable of these include the brilliantly atmospheric thriller Hush...Hush, Sweet Charlotte (1964), (Biroc used candles, shadows and silhouettes to effectively convey mystery and impending danger); and the sun-drenched all-star character study, The Flight of the Phoenix (1965).
Another fruitful collaboration was with producer Irwin Allen, who hired Biroc to head the Action Unit (with Fred J. Koenekamp leading the First Unit) for the filming of his 14 million dollar disaster epic, The Towering Inferno (1974), undertaken on eight of 20th Century Fox's biggest sound stages. In charge of shooting the most dramatic (and dangerous) scenes , Biroc worked with legendary special effects men A.D. Flowers and L.B. Abbott (who was persuaded to come out of retirement for this project). Biroc employed eight cameras in tandem, covering as many angles and positions as possible, zoom lenses used to conveying a sense of movement where physical space was restrictive. Timing was also of critical importance: the LA Fire Department overseeing the security aspects of the propane-fed pyrotechnics, limited periods where the fire was at its most intense to no more than 20 to 30 seconds. Scenes had to be shot within this limited time frame. As destroyed sets were rebuilt or repaired, there were delays with continuity, sometimes over several weeks. As Biroc later remarked "it wasn't only a question of everyone and everything having to be in the right place after that long an interval of time, it was also a matter of our being able to pick up on the look and mood created by Fred's unit" (American Cinematographer, Feb. 1975). For his work on 'Towering Inferno', Biroc became - deservedly- co-recipient (with Koenekamp) of the 1974 Academy Award for Best Cinematography.
For the remainder of the decade, Biroc did some of his best work for the small screen. He imbued a sense of realism (and was accordingly nominated for an Emmy) to one of the best political mini-series ever filmed, the gripping Washington: Behind Closed Doors (1977), a fictionalisation of Watergate and the Nixon administration. In stark thematic contrast, he worked with Mel Brooks on the seminal comedy western Blazing Saddles (1974), and with Jim Abrahams and David Zucker on the equally hilarious airborne farce Airplane! (1980). With an impressive 159 credits as cinematographer to his name, Biroc retired in 1986 and was two years later awarded the ASC Lifetime Achievement Award.The Towering Inferno, 1974
Nominees:
John A. Alonzo- Chinatown
Philip H. Lathrop- Earthquake
Bruce Surtees- Lenny
Geoffrey Unsworth- Murder on the Orient Express- Camera and Electrical Department
- Cinematographer
John Alcott, the Oscar-winning cinematographer best known for his collaboration with director Stanley Kubrick, was born in 1931, in Isleworth, England, the son of movie executive Arthur Alcott, who would become the production controller at Gainsborough Studios during the 1940s.
Alcott began his film career as a clapper boy, the lowest member of a camera crew. By the early 1960s he had worked his way up to focus puller, the #3 position on a camera crew after the lighting cameraman and camera operator. As a focus puller Alcott was responsible for measuring the distances between the camera and the subject being shot, which is critical during traveling shots, and more vitally, he was tasked with adjusting the lens when the camera is following a subject.
By the mid-'60s Alcott was a member of the camera team of master cinematographer Geoffrey Unsworth, working on Kubrick's 2001: A Space Odyssey (1968). When Unsworth had to leave the project during its two-year-long shoot to meet other commitments, Alcott was elevated to lighting cameraman by Kubrick. Thus began a collaboration that would reach its zenith a decade later with Barry Lyndon (1975). His association with Kubrick propelled him to the top of his craft, in terms of both style and in pushing the technical aspects of the discipline.
Alcott preferred lighting that appeared natural and did not draw attention to itself. His ideas meshed perfectly with those of Kubrick, and the two developed their ideas about "natural" lighting in two landmark films, A Clockwork Orange (1971) and "Barry Lyndon", which incorporated scenes shot entirely by candlelight. The idea of using candlelight solely for illumination was discussed by Alcott and Kubrick after the wrap of "2001" for Kubrick's planned film about the life of Napoleon, but there wasn't a fast-enough lens in existence then.
After a search, Kubrick located three unique 50mm f/0.7 still-camera camera lenses designed by the Zeiss Corporation for use by NASA in its Apollo moon-landing program in order to shoot still pictures in the low light levels of outer space. The lens was 2 f stops faster than the fastest movie camera lens made at the time.
Kubrick tasked Cinema Products Corp. to adapt a standard 35mm non-reflexed Mitchell BNC movie camera so that the camera could accept the lens. The camera was outfitted with a side viewfinder from one of the old Technicolor three-strip cameras that used mirrors rather than prisms (like a modern camera) to show what it "sees", the mirrors providing a much brighter image than did a prism-based single-lens reflex system, which could not obtain enough light to register an image. There was no real problem with parallax, as the viewfinder was mounted close to the lens.
Cinema Products also created two special lenses by mating a 70mm projection lens with the remaining 0.7 Zeiss 50mm lenses. This battery of three lenses allowed Kubrick and Alcott to shoot the indoor scenes using nothing but candlelight. It was a formidable task, as the lenses could not be focused by eye. Metal shields also had to be installed above the sets, which were filmed in actual castles and manor houses in Ireland and England, to keep the heat and smoke from the candles from damaging the ceilings. Fortitously, the shields also reflected the candlelight back into the scene (this approach was later used successfully by lighting cameraman Alwin H. Küchler on the western The Claim (2000), which shot its saloon interiors in very low light). The candles had to be constantly replaced to keep continuity during the scenes, and shooting was hampered by the fact that many of the manor houses were open to the public and the crew had to wait until the intervals between tours to film a scene.
Alcott told "American Cinematographer" in a December 1975 interview that the ultra-fast lens had no depth of field at all. This necessitated the scaling of the lens by doing hand tests. Alcott's focus puller, Douglas Milsome (who would succeed him as Kubrick's cinematographer), used a closed-circuit video camera at a 90-degree angle to the film camera to keep track of the distances to maintain focus. A grid was placed over the TV screen and, by taping the various actors' positions in the set, the distances could be transferred to the TV grid to allow the actors a limited scope of movement during the scene, while keeping in focus.
Alcott won an Academy Award for his work on "Barry Lyndon", which is considered one of the most visually beautiful movies ever made. (Three of Alcott's movies were ranked in the top 20 of "Best Shot" movies in the period after 1950-97 by the American Society of Cinematographers: "2001" at #3, "Barry Lyndon" at #16, and "A Clockwork Orange", for which he won the British Academy Award, at #19.) Alcott realized Kubrick's vision by evoking the paintings of Corot, Gainsborough, and Watteau, creating gorgeous tableaux. It was the aesthetic opposite of the cubism evoked by "A Clockwork Orange",
While shooting what would turn out to be his last film for Kubrick, The Shining (1980), Alcott lit the hotel sets with "practicals" (sources of lighting that are visible on screen as part of the set, such as lighting fixtures). As on "Barry Lyndon", Alcott supplemented the lighting with illumination coming into the set from outside the windows, though the "windows" on "The Shining" were part of a set. The high temperatures (110 degrees Fahrenheit) caused by the 700,000 watts of illumination outside the set's "windows" Alcott used to create the high white effect favored by Kubrick caused the set to burn down.
Alcott, who shot films and TV commercials for other directors in the UK, moved to the US in 1981 in order to obtain more steady work than was possible in the ailing British film industry. His non-Kubrick projects as a cinematographer included three films with director Stuart Cooper and two with Roger Spottiswoode. Alcott could not shoot Kubrick's Full Metal Jacket (1987), which commenced shooting in 1985 and -- like any Kubrick shoot -- would involved a substantial commitment of time, as Alcott was committed to other projects (Kubrick hired Douglas Milsome, who had been Alcott's focus puller on "Barry Lyndon" and "The Shining", to shoot "Jacket"). His non-Kubrick oeuvre was eccentric, and included the Canadian slasher film My Bloody Valentine (1981), but he was able to bring his outstanding visual quality to such movies as Fort Apache the Bronx (1981), The Beastmaster (1982), Under Fire (1983) and Hugh Hudson's Greystoke: The Legend of Tarzan, Lord of the Apes (1984).
Alcott suffered a massive heart attack and died on July 28, 1986, in Cannes, France. At the time of his death he was considered one of the film industry's great artist-technicians, someone who through his ability to push back the boundaries of what was technically possible, linked technology to aesthetic needs and contributed to the development of cinema as an art form. His last film, No Way Out (1987), was dedicated to his memory. The British Society of Cinematographers named one of its awards the "BSC John Alcott ARRI Award" in his honor to commemorate his role as a lighting cameraman in the development of film as an art form.Barry Lyndon, 1975
Nominees:
Conrad L. Hall- The Day of the Locust
James Wong Howe- Funny Lady
Robert Surtees- The Hindenburg
Haskell Wexler and Bill Butler- One Flew Over the Cuckoo's Nest- Cinematographer
- Camera and Electrical Department
- Director
Two-time Academy Award-winning cinematographer Haskell Wexler was adjudged one of the ten most influential cinematographers in movie history, according to an International Cinematographers Guild survey of its membership. He won his Oscars in both black & white and color, for Who's Afraid of Virginia Woolf? (1966) (1966) and Bound for Glory (1976) (1976). He also shot part of Days of Heaven (1978) (1978), for which credited director of photography Nestor Almendros -- won a Best Cinematography Oscar that Wexler initially felt should have been jointly shared by both. Later he admitted he was just finishing the work of Almendros and when Bert Schneider offer him more credit in the Criterion Dvd release of the film, he turned down the offer. In 1993, Wexler was awarded a Lifetime Achivement award by the cinematographer's guild, the American Society of Cinematographers. He received five Oscar nominations for his cinematography, in total, plus one Emmy Award in a career that has spanned six decades.
In addition to his masterful cinematography, Wexler directed the seminal late Sixties film Medium Cool (1969) and has directed and/or shot many documentaries that display his progressive political views. He was the subject of a 2004 documentary shot by his son Mark Wexler, Tell Them Who You Are (2004).Bound for Glory, 1976
Nominees:
Richard H. Kline- King Kong
Ernest Laszlo- Logan's Run
Owen Roizman- Network
Robert Surtees- A Star is Born- Cinematographer
- Camera and Electrical Department
- Actor
Along with László Kovács, a fellow student who fled Hungary in 1956, Zsigmond rose to prominence in the 1970s. He is known for his use of natural light and vivid use of color on features such as The Long Goodbye (1973) and Close Encounters of the Third Kind (1977).Close Encounters of the Third Kind, 1977
Nominees:
Fred J. Koenekamp- Islands in the Stream
Douglas Slocombe- Julia
William A. Fraker- Looking for Mr. Goodbar
Robert Surtees- The Turning Point- Cinematographer
- Director
- Camera and Electrical Department
One of the highest appraised contemporary cinematographers. He was born in Spain but moved to Cuba by age 18 to join his exiled anti-Franco father. In Havana, he founded a cineclub and wrote film reviews. Then, he went on to study in Rome at the Centro Sperimentale. He directed six shorts in Cuba and two in New York. After the 1959 Cuban revolution, he returned and made several documentaries for the Castro-regime. But after two of his shorts (Gente en la playa (1960) and La Tumba Francesca) had been banned, he moved to Paris. There he became the favourite cameraman of Éric Rohmer and François Truffaut. In 1978, he started his impressive Hollywood-career. In his later years, he co-directed two documentaries about the human rights situation in Cuba: Improper Conduct (1984) (about the persecution of gay people) and Nadie escuchaba (1987). He shot several prestigious commercials for Giorgio Armani and Calvin Klein. Nestor Almendros died of cancer.Days of Heaven, 1978
Nominees:
Vilmos Zsigmond- The Deer Hunter
William A. Fraker- Heaven Can Wait
Robert Surtees- Same Time, Next Year
Oswald Morris- The Wiz- Cinematographer
- Camera and Electrical Department
- Actor
Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. At the age of 11, he began studying photography at a technical school. He enrolled at C.I.A.C (Italian Cinemagraphic Training Centre) and subsequently continued his education at the state cinematography school Centro Sperimentale di Cinematografia. When he enrolled at the school at the age of 18, he was one of its youngest students ever.
At the age of 20, he was employed as an assistant cameraman and was promoted to camera operator within a year. Storaro spent several years visiting galleries and studying the works of great painters, writers, musicians and other artists. In 1966, he went back to work as an assistant cameraman on Before the Revolution (1964), one of the first films directed by Bernardo Bertolucci. Storaro earned his first credit as a cinematographer in 1968 for "Giovinezza, giovinezza". His third film was "The Spider's Stratagem (1970)" which began his long collaboration with Bertolucci. He also shot "The Conformist (1970)", "Last Tango in Paris (1972)", "Luna (1979)", "The Sheltering Sky (1990)_", "Little Buddha (1993)," for Bertolucci.
He won his first Oscar for the cinematography of "Apocalypse Now (1979)", for which director Francis Ford Coppola gave him free rein to design the visual look of the picture. Storaro originally had been reluctant to take the assignment as he considered Gordon Willis to be Coppola's cinematographer, but Coppola wanted him, possibly because of his having shot "Last Tango in Paris (1972), which had starred Marlon Brando. Brando's performance in the film had been semi-improvised, and Coppola has planned on a similar tack for his scenes in the jungle with Brando's character Colonel Kurtz.
The results of their collaboration were masterful, and he later shot the 3-D short "Captain EO (1986)", the feature films "One from the Heart (1981)" and "Tucker: The Man and His Dream (1988)," and the "Life without Zoe" segment of "New York Stories (1989)" for Coppola. He won his second Oscar as the director of photography on Warren Beatty's "Reds (1981)" and subsequently shot "Dick Tracy (1990)" and "Bulworth (1998)" for Beatty He won his third Oscar as the director of photography on Bertolucci's Best Picture Academy Award-winner "The Last Emperor (1987)".
"All great films are a resolution of a conflict between darkness and light," Storaro says. "There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art."
According to Storaro, "Some people will tell you that technology will make it easier for one person to make a movie alone but cinema is not an individual art." Storaro disagrees. "It takes many people to make a movie. You can call them collaborators or co-authors. There is a common intelligence. The cinema never has the reality of a painting or a photograph because you make decisions about what the audience should see, hear and how it is presented to them. You make choices which super-impose your own interpretations of reality."
Storaro believes that, "It is our obligation to defend the audiences' rights to see the images and to hear the sounds the way we have expressed ourselves as artists,".
During the 1970s, the metaphor of cinematography as 'painting with light' took hold. Storaro, however, adds motion to the mix. Cinematography, to the great D.P., is writing with light and motion, the literal translation of the word cinematography, which derives from Greek
"It describes the real meaning of what we are attempting to accomplish," Storaro says. "We are writing stories with light and darkness, motion and colors. It is a language with its own vocabulary and unlimited possibilities for expressing our inner thoughts and feelings."
As a cinematographer, he is highly innovative. He had Rosco International fabricate a series of custom color gels for his lighting, which he used to implement his theories about emotional response to color. The "Storaro Selection" of color gels is available for other cinematographers from Rosco.
He created the "Univision" film system, which is a 35mm format based on film stock with three perforation that provides an aspect ratio of 2:1, which Storaro feels is a good compromise between the 2.35:1 and 1.85:1 wide-screen ratios favored by most filmmakers. Storaro developed the new technology with the intention of 2:1 becoming the universal aspect ratio for both movies and television in the digital age. He first shot the television mini-series "Dune" with the Univision system.
Storaro is the youngest person to receive the American Society of Cinematographer's Lifetime Achievement Award, and only the second recipient after Sven Nykvist not to be a U.S. citizen.Apocalypse Now, 1979
Nominees:
Giuseppe Rotunno- All That Jazz
Frank V. Phillips- The Black Hole
Nestor Almendros- Kramer vs. Kramer
William A. Fraker- 1941- Cinematographer
- Camera and Electrical Department
- Actor
Goeffrey Unsworth was one of the great cinematographers of the 20th Century, the winner of two Oscars, five BAFTA awards, and three awards from the British Society of Cinematographers for his work as a director of photography. Born in 1914 in Lancashire, England, Unsworth started in the industry in 1932 at Gaumont-British before joining Technicolor in 1937. He worked as a camera assistant and operator on a many of the most important color movies made in England.
In contrast to the Technicolor aesthetic, when Unsworth became a director of photography (starting in 1946 with the musical The Laughing Lady (1946), he used a somber palette. Moving to Rank at Pinewood Studios, he shot adventure films, comedies, and thrillers in black and white.
His breakthrough into the top ranks of cinematographers was Becket (1964) in 1964, for which he received his first Academy Award nomination. He did not get Oscar-nominated for his spectacular work on 2001: A Space Odyssey (1968) because Stanley Kubrick generally was given credit for the visual style of the film, but his ability to integrate cinematography and special effects was put to great effect with Superman (1978) (1978). He was in demand for period pieces, winning his first Oscar for Bob Fosse's Cabaret (1972) and his second Oscar posthumously for shooting Roman Polanski's Tess (1979).
Geoffrey Unsworth died in Brittany on the set of "Tess" after suffering a heart attack. He was 64 years old.Tess, 1980 (posthumously)
Nominees:
Nestor Almendros- The Blue Lagoon
Ralf D. Bode- Coal Miner's Daughter
James Crabe- The Formula
Michael Chapman- Raging Bull- Cinematographer
- Camera and Electrical Department
- Actor
Ghislain Cloquet was born on 18 April 1924 in Antwerp, Antwerp, Belgium. He was a cinematographer and actor, known for Tess (1979), Love and Death (1975) and The Young Girls of Rochefort (1967). He was married to Sonia Salvy-Matossian and Sophie Becker. He died on 2 November 1981 in Montainville, Yvelines, France.Tess, 1980
Nominees:
Nestor Almendros- The Blue Lagoon
Ralf D. Bode- Coal Miner's Daughter
James Crabe- The Formula
Michael Chapman- Raging Bull- Cinematographer
- Camera and Electrical Department
- Actor
Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. At the age of 11, he began studying photography at a technical school. He enrolled at C.I.A.C (Italian Cinemagraphic Training Centre) and subsequently continued his education at the state cinematography school Centro Sperimentale di Cinematografia. When he enrolled at the school at the age of 18, he was one of its youngest students ever.
At the age of 20, he was employed as an assistant cameraman and was promoted to camera operator within a year. Storaro spent several years visiting galleries and studying the works of great painters, writers, musicians and other artists. In 1966, he went back to work as an assistant cameraman on Before the Revolution (1964), one of the first films directed by Bernardo Bertolucci. Storaro earned his first credit as a cinematographer in 1968 for "Giovinezza, giovinezza". His third film was "The Spider's Stratagem (1970)" which began his long collaboration with Bertolucci. He also shot "The Conformist (1970)", "Last Tango in Paris (1972)", "Luna (1979)", "The Sheltering Sky (1990)_", "Little Buddha (1993)," for Bertolucci.
He won his first Oscar for the cinematography of "Apocalypse Now (1979)", for which director Francis Ford Coppola gave him free rein to design the visual look of the picture. Storaro originally had been reluctant to take the assignment as he considered Gordon Willis to be Coppola's cinematographer, but Coppola wanted him, possibly because of his having shot "Last Tango in Paris (1972), which had starred Marlon Brando. Brando's performance in the film had been semi-improvised, and Coppola has planned on a similar tack for his scenes in the jungle with Brando's character Colonel Kurtz.
The results of their collaboration were masterful, and he later shot the 3-D short "Captain EO (1986)", the feature films "One from the Heart (1981)" and "Tucker: The Man and His Dream (1988)," and the "Life without Zoe" segment of "New York Stories (1989)" for Coppola. He won his second Oscar as the director of photography on Warren Beatty's "Reds (1981)" and subsequently shot "Dick Tracy (1990)" and "Bulworth (1998)" for Beatty He won his third Oscar as the director of photography on Bertolucci's Best Picture Academy Award-winner "The Last Emperor (1987)".
"All great films are a resolution of a conflict between darkness and light," Storaro says. "There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art."
According to Storaro, "Some people will tell you that technology will make it easier for one person to make a movie alone but cinema is not an individual art." Storaro disagrees. "It takes many people to make a movie. You can call them collaborators or co-authors. There is a common intelligence. The cinema never has the reality of a painting or a photograph because you make decisions about what the audience should see, hear and how it is presented to them. You make choices which super-impose your own interpretations of reality."
Storaro believes that, "It is our obligation to defend the audiences' rights to see the images and to hear the sounds the way we have expressed ourselves as artists,".
During the 1970s, the metaphor of cinematography as 'painting with light' took hold. Storaro, however, adds motion to the mix. Cinematography, to the great D.P., is writing with light and motion, the literal translation of the word cinematography, which derives from Greek
"It describes the real meaning of what we are attempting to accomplish," Storaro says. "We are writing stories with light and darkness, motion and colors. It is a language with its own vocabulary and unlimited possibilities for expressing our inner thoughts and feelings."
As a cinematographer, he is highly innovative. He had Rosco International fabricate a series of custom color gels for his lighting, which he used to implement his theories about emotional response to color. The "Storaro Selection" of color gels is available for other cinematographers from Rosco.
He created the "Univision" film system, which is a 35mm format based on film stock with three perforation that provides an aspect ratio of 2:1, which Storaro feels is a good compromise between the 2.35:1 and 1.85:1 wide-screen ratios favored by most filmmakers. Storaro developed the new technology with the intention of 2:1 becoming the universal aspect ratio for both movies and television in the digital age. He first shot the television mini-series "Dune" with the Univision system.
Storaro is the youngest person to receive the American Society of Cinematographer's Lifetime Achievement Award, and only the second recipient after Sven Nykvist not to be a U.S. citizen.Reds, 1981
Nominees:
Alex Thomson- Excalibur
Billy Williams- On Golden Pond
Miroslav Ondricek- Ragtime
Douglas Slocombe- Raider of the Lost Ark- Cinematographer
- Camera and Electrical Department
- Additional Crew
Billy Williams was born on 3 June 1929 in Walthamstow, London, England, UK. He is a cinematographer, known for Gandhi (1982), On Golden Pond (1981) and The Exorcist (1973).Gandhi, 1982
Nominees:
Jost Vacano- Das Boot
Allen Daviau- E.T. the Extra Terrestrial
Nestor Almendros- Sophie's Choice
Owen Roizman- Tootsie- Camera and Electrical Department
- Cinematographer
Brilliant, much-respected camera operator and cinematographer, who worked for some of the biggest names in British, American and Italian Cinema. Starting out as an operator and working on many beautifully shot films throughout his career, he later served as cinematographer for Dario Argento and Richard Attenborough, sharing the Best Cinematography Oscar with the great Billy Williams for "Gandhi". He collaborated three times with Italian horror master, Dario Argento, most notable on the audaciously shot 1987 film, "Opera".Gandhi, 1982
Nominees:
Jost Vacano- Das Boot
Allen Daviau- E.T. the Extra Terrestrial
Nestor Almendros- Sophie's Choice
Owen Roizman- Tootsie- Cinematographer
- Director
- Actor
Sven Nykvist was considered by many in the industry to be one of the world's greatest cinematographers. During his long career that spanned almost half a century, Nyvist perfected the art of cinematography to its most simple attributes, and he helped give the films he had worked on the simplest and most natural look imaginable. Indeed, Mr. Nykvist prided himself on the simplicity and naturalness of his lighting schemes. Nykvist used light to create mood and, more significantly, to bring out the natural flesh tones in the human face so that the emotion of the scene could be played out on the face without the light becoming intrusive.
Nykvist entered the Swedish film industry when he was 19 and worked his way up to becoming a director of photography. He first worked with the legendary Swedish director Ingmar Bergman on the film Sawdust and Tinsel (1953), but his collaboration with Bergman began in earnest with The Virgin Spring (1960). From that point on, Nykvist replaced the great Gunnar Fischer as Bergman's cameraman, and the two men started a collaboration that would last for a quarter of a century. The switch from Fischer to Nykvist created a marked difference in the look of Bergman's films. In many respects, it was like the difference between Caravaggio and Rembrandt. Fischer's lighting was a study in light and darkness, while Nykvist preferred a more naturalistic, more subtle approach that in many ways relied on the northern light compositions of the many great Scandinavian painters.
Nykvist's work with Bergman is one of the most glorious collaborations in movie history. Nykvist created a markedly different look for each installment of Bergman's Faith Trilogy. Through a Glass Darkly (1961) had an almost suffocating quality to it, and The Silence (1963) hearkened back to the days of German Expressionism. Winter Light (1963), the middle part of the trilogy, may very well be the most perfect work of Nykvist's repertoire. Having studied the light in a real provincial church carefully, he then recreated the subtle changes in the light as the day went on on a Stockholm sound stage. Indeed, it's hard to believe that the film was shot on a stage and not in a real church in Northern Sweden. For Persona (1966), Nykvist relied heavily on Sweden's famous Midnight Sun. In The Passion of Anna (1969), Nykvist was able to capture the chilly, soggy, and melancholy look of Faro, one of Nykvist's first color films. Both Nykvist and Bergman were both very reluctant to film in color. He created a fascinating study of white and red in Cries & Whispers (1972), for which Nykvist won an Oscar. He won an Oscar again for the last feature-length theatrical film that Bergman made, Fanny and Alexander (1982).
During the late 1970s, Nykvist began making films elsewhere in Europe and in the United States, working for directors such as Louis Malle (Pretty Baby (1978)), Philip Kaufman (The Unbearable Lightness of Being (1988)), Bob Fosse (Star 80 (1983)), Nora Ephron (Sleepless in Seattle (1993)), Woody Allen (Another Woman (1988), Crimes and Misdemeanors (1989)), Richard Attenborough (Chaplin (1992)), and fellow Swede Lasse Hallström (What's Eating Gilbert Grape (1993)). The documentary Ljuset håller mig sällskap (2000) paid homage to Nykvist, although it does not grant us any real secrets about his working methods. Nykvist died in 2006.Fanny and Alexander, 1983
Nominees:
Donald Peterman- Flashdance
Caled Deschanel- The Right Stuff
William A. Fraker- WarGames
Gordon Willis- Zelig- Cinematographer
- Camera and Electrical Department
- Director
As an Academy Award-winning cinematographer who made the successful segue to directing features, Chris Menges has carved out a successful, but understated career. Menges got his start as an assistant editor and camera operator and even worked as a sound recordist several times, before working his way up to director of photography. Menges had his first real break as a documentary camera person and editor in the 1960s and 1970s, traveling wherever there was war and insurrection - Burma, Angola, Vietnam and Tibet - while working with filmmaker Adrian Cowell. Once he made the permanent jump to feature films in the 1980s, Menges developed a style as a cinematographer that never overwhelmed audiences with gaudy colors or outlandish camera moves In fact, Menges understood the oft-accepted theory that color could be less realistic than black and white, because it focused the audience away from emotion to an object. Menges' work was defined by a low-key naturalism, plain composition, and a mix of lenses to tug at the audience at the appropriate moments, which helped him craft memorable images in several award-winning films, including "The Killing Fields" (1984), "Michael Collins" (1996) and "The Reader" (2008).The Killing Fields, 1984
Nominees:
Miroslav Ondricek- Amadeus
Caleb Deschanel- The Natural
Ernest Day- A Passage to India
Vilmos Zsigmond- The River- Cinematographer
- Camera and Electrical Department
- Additional Crew
David Watkin was born on March 23rd 1925 to a middle class family in Kent, England. Being fond of classical music, he originally wanted to become a pianist despite the lack of support from his religious father.
Watkin served shortly in World War II before finally beginning his career in cinema. His break into the film world arrived when he shot the memorable title sequence for the film 'Goldfinger', in 1964. Being an innovator in cinematography, he was known as having an artistic technique- almost picturesque. His most famous works are 'Jesus of Nazareth', 'Moonstruck', 'Out of Africa', and many other known titles.Out of Africa, 1985
Nominees:
Allen Daviau- The Color Purple
William A. Fraker- Murphy's Romance
Takao Saitô, Shôji Ueda, and Asakazu Nakai- Ran
John Seale- Witness- Cinematographer
- Camera and Electrical Department
- Director
As an Academy Award-winning cinematographer who made the successful segue to directing features, Chris Menges has carved out a successful, but understated career. Menges got his start as an assistant editor and camera operator and even worked as a sound recordist several times, before working his way up to director of photography. Menges had his first real break as a documentary camera person and editor in the 1960s and 1970s, traveling wherever there was war and insurrection - Burma, Angola, Vietnam and Tibet - while working with filmmaker Adrian Cowell. Once he made the permanent jump to feature films in the 1980s, Menges developed a style as a cinematographer that never overwhelmed audiences with gaudy colors or outlandish camera moves In fact, Menges understood the oft-accepted theory that color could be less realistic than black and white, because it focused the audience away from emotion to an object. Menges' work was defined by a low-key naturalism, plain composition, and a mix of lenses to tug at the audience at the appropriate moments, which helped him craft memorable images in several award-winning films, including "The Killing Fields" (1984), "Michael Collins" (1996) and "The Reader" (2008).The Mission, 1986
Nominees:
Jordan Cronenweth- Peggy Sue Got Married
Robert Richardson- Platoon
Tony Pierce-Roberts- A Room with a View
Donald Peterman- Star Trek IV: The Voyage Home- Cinematographer
- Camera and Electrical Department
- Actor
Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. At the age of 11, he began studying photography at a technical school. He enrolled at C.I.A.C (Italian Cinemagraphic Training Centre) and subsequently continued his education at the state cinematography school Centro Sperimentale di Cinematografia. When he enrolled at the school at the age of 18, he was one of its youngest students ever.
At the age of 20, he was employed as an assistant cameraman and was promoted to camera operator within a year. Storaro spent several years visiting galleries and studying the works of great painters, writers, musicians and other artists. In 1966, he went back to work as an assistant cameraman on Before the Revolution (1964), one of the first films directed by Bernardo Bertolucci. Storaro earned his first credit as a cinematographer in 1968 for "Giovinezza, giovinezza". His third film was "The Spider's Stratagem (1970)" which began his long collaboration with Bertolucci. He also shot "The Conformist (1970)", "Last Tango in Paris (1972)", "Luna (1979)", "The Sheltering Sky (1990)_", "Little Buddha (1993)," for Bertolucci.
He won his first Oscar for the cinematography of "Apocalypse Now (1979)", for which director Francis Ford Coppola gave him free rein to design the visual look of the picture. Storaro originally had been reluctant to take the assignment as he considered Gordon Willis to be Coppola's cinematographer, but Coppola wanted him, possibly because of his having shot "Last Tango in Paris (1972), which had starred Marlon Brando. Brando's performance in the film had been semi-improvised, and Coppola has planned on a similar tack for his scenes in the jungle with Brando's character Colonel Kurtz.
The results of their collaboration were masterful, and he later shot the 3-D short "Captain EO (1986)", the feature films "One from the Heart (1981)" and "Tucker: The Man and His Dream (1988)," and the "Life without Zoe" segment of "New York Stories (1989)" for Coppola. He won his second Oscar as the director of photography on Warren Beatty's "Reds (1981)" and subsequently shot "Dick Tracy (1990)" and "Bulworth (1998)" for Beatty He won his third Oscar as the director of photography on Bertolucci's Best Picture Academy Award-winner "The Last Emperor (1987)".
"All great films are a resolution of a conflict between darkness and light," Storaro says. "There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art."
According to Storaro, "Some people will tell you that technology will make it easier for one person to make a movie alone but cinema is not an individual art." Storaro disagrees. "It takes many people to make a movie. You can call them collaborators or co-authors. There is a common intelligence. The cinema never has the reality of a painting or a photograph because you make decisions about what the audience should see, hear and how it is presented to them. You make choices which super-impose your own interpretations of reality."
Storaro believes that, "It is our obligation to defend the audiences' rights to see the images and to hear the sounds the way we have expressed ourselves as artists,".
During the 1970s, the metaphor of cinematography as 'painting with light' took hold. Storaro, however, adds motion to the mix. Cinematography, to the great D.P., is writing with light and motion, the literal translation of the word cinematography, which derives from Greek
"It describes the real meaning of what we are attempting to accomplish," Storaro says. "We are writing stories with light and darkness, motion and colors. It is a language with its own vocabulary and unlimited possibilities for expressing our inner thoughts and feelings."
As a cinematographer, he is highly innovative. He had Rosco International fabricate a series of custom color gels for his lighting, which he used to implement his theories about emotional response to color. The "Storaro Selection" of color gels is available for other cinematographers from Rosco.
He created the "Univision" film system, which is a 35mm format based on film stock with three perforation that provides an aspect ratio of 2:1, which Storaro feels is a good compromise between the 2.35:1 and 1.85:1 wide-screen ratios favored by most filmmakers. Storaro developed the new technology with the intention of 2:1 becoming the universal aspect ratio for both movies and television in the digital age. He first shot the television mini-series "Dune" with the Univision system.
Storaro is the youngest person to receive the American Society of Cinematographer's Lifetime Achievement Award, and only the second recipient after Sven Nykvist not to be a U.S. citizen.The Last Emperor, 1987
Nominees:
Michael Ballhaus- Broadcast News
Allen Daviau- Empire of the Sun
Phillipe Rousselot- Hope and Glory
Haskell Wexler- Matewan- Cinematographer
- Camera and Electrical Department
- Producer
Peter Biziou was born on 8 August 1944 in Bangor, Caernarvonshire, Wales, UK. He is a cinematographer and producer, known for Mississippi Burning (1988), The Truman Show (1998) and Time Bandits (1981).Mississippi Burning, 1988
Nominees:
John Seale- Rain Man
Conrad L. Hall- Tequila Sunrise
Sven Nykvist- The Unbearable Lightness of Being
Dean Cundey- Who Framed Roger Rabbit