Greig Fraser, ASC, ACS earned the coveted Theatrical Award for best cinematography in a motion picture for Lion at the 31st Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement.
Fraser topped a field of nominees which also included: James Laxton for Moonlight; Rodrigo Prieto, ASC, AMC, for Silence; Linus Sandgren, FSF, for La La Land; and Bradford Young, ASC, for Arrival.
The ASC Spotlight Award–which recognizes outstanding cinematography in feature-length projects that are screened at festivals, internationally, or in limited theatrical release–was bestowed upon Gorka Gómez Andreu, AEC for House of Others.
Winners in the TV categories were Fabian Wagner, BSC for Game of Thrones, Tod Campbell for Mr. Robot and Igor Martinovic for The Night Of.
All the ASC Award honorees this year were first-time winners. The only winner with a previous nomination was Wagner whose work on Game of Thrones garnered him nominations in 2015 and 2016.
The awards ceremony took place tonight at the Ray Dolby Ballroom at Hollywood & Highland.
Here’s a rundown of winners:
Theatrical Release Category
Greig Fraser, ASC, ACS, Lion
Spotlight Category
Gorka Gómez Andreu, AEC, House of Others
Regular Series for Non-Commercial Television
Fabian Wagner, BSC, Game of Thrones (“Battle of the Bastards”)
Regular Series for Commercial Television
Tod Campbell, Mr. Robot (“eps2.0_unm4sk-pt1.tc”)
Movie, Miniseries, or Pilot for Television
Igor Martinovic, The Night Of (“Subtle Beast”)
Special awards presented during the ceremony
The ASC Board of Governors Award was presented to Denzel Washington (Fences, Glory, Training Day) by Samuel L. Jackson for his significant and indelible contributions to cinema through his body of work. It is the only ASC Award not given to a cinematographer, and is reserved for filmmakers who have been champions for directors of photography and the visual art form.
The ASC Lifetime Achievement Award was given to Ed Lachman, ASC (Carol, Far from Heaven, Mildred Pierce) and presented by director and frequent collaborator Todd Haynes.
The ASC Career Achievement in Television Award was presented to Ron Garcia, ASC (Murder in the Heartland, The Day Lincoln was Shot” by Steven Poster, ASC.
Philippe Rousselot, ASC, AFC (A River Runs Through It, Hope and Glory, Henry & June) received the ASC International Award from actress Rachel Nichols.
Nancy Schreiber, ASC (Your Friends and Neighbors, The Nines, The Comeback, The Family, Better Things) was presented with the ASC Presidents Award by James Chressanthis, ASC, GSC. This award is given not only for the recipient’s body of work, but dedication to the organization and its mission of advancing the art of cinematography through education.
The ASC Bud Stone Award of Distinction was given to Bruce Berke, longtime motion picture marketing and sales executive and ASC Awards show director, and Frank Kay, marketing director at J.L. Fisher and chairman of the ASC Awards Sponsorship Committee. This award is presented to an ASC associate member who has demonstrated extraordinary service to the society and/or has made a significant contribution to the motion picture industry.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More