Films that should have won the oscar for cinematography

trajan

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NO COUNTRY FOR OLD MEN---IN COLD BLOOD. to name a few. Great camera work is about lighting, not pretty scenery. Roger Deakins--- Conrad Hall --You guys are great.
 
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Robin9

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Moderators: Please change the title of this thread. It's "should have" not "should of."
 
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Worth

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Citizen Kane

The Conformist

The Duellists

Blade Runner

Brazil

The Cook, the Thief, His Wife and Her Lover

Delicatessen

Seven

The City of Lost Children
 

Mike Boone

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trajan said:
NO COUNTRY FOR OLD MEN---IN COLD BLOOD. to name a few. Great camera work is about lighting, not pretty scenery. Roger Deakins--- Conrad Hall --You guys are great.
For the late Conrad Hall you could have also mentioned his terrific cinematography for The Professionals, Cool Hand Luke, Butch Cassidy and the Sundance Kid, and any number of others. IMHO, no one ever exploited the Panavision format of wide screen photography to better effect, than Mr Hall. And, BTW, the Blu-ray of 1966's The Professionals is a magnificent looking one, that I'm so grateful to have because it beautifully showcases a prime example of skilled Hollywood craftsmen working together to create one very entertaining, exciting film.


And yesterday, June 21st, happened to be the anniversary of Mr Hall's birthday, which was June, 21, 1926. Sadly, he passed away in January of 2003.
 

Lord Dalek

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Disagree about Old Men. Richardson's There Will Be Blood was just better shot overall.
 

Dr Griffin

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The Conformist (1970). This film left a lasting impression with its striking visuals of light and shadow. While I can't say it should have won over Freddie Young and Ryan's Daughter, it should have been nominated. I've read the Blu-ray transfer is not too good which is a shame.


bertolucci3.jpg



HTN-CONFORMIST-venetian-blinds.jpg



the-conformist-3.png



UNSET.png
 
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Vic Pardo

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Mario Bava's PLANET OF THE VAMPIRES and DANGER: DIABOLIK. Bava achieved extraordinary effects of design with methods that I still can't grasp, all achieved with props and flats and mirrors and stuff all on camera in real time, no optical effects or labwork, all to make us believe we're on a hostile, mysterious planet or in Diabolik's massive underground lair. It's been explained to me how he did it and John Phillip Law talked about it on the commentary on DIABOLIK and I still can't understand it. That's magic.
 

Jari K

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This list is endless. Blade Runner (DOP Jordan Cronenweth) instantly comes to mind.
 
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Josh Steinberg

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I don't remember what else was nominated in 2009 and 2013, but I don't think Avatar and Gravity should have won. They're beautiful looking films but the parts of those movies that the Academy decided to give the awards for were entirely computer generated and not shot with an actual camera. If there was an award for "Best Integration of Photo-Realistic CGI with Live Actors" I'd say those films should have gotten that. I love how those films look but I don't think they were the right choice for that specific award. But the other films those years that were nominated were more worthy for the cinematography award in my opinion.
 
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Robert Harris

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A discussion of this sort is rather like walking knee-deep in a swamp. There's no real indication of what's around you. One might just as we'll discuss any Oscar.

Should The Artist have won for wall to wall music, including ten minutes courtesy of Bernard Herrmann?
 
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Craig S

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trajan said:
NO COUNTRY FOR OLD MEN---IN COLD BLOOD. to name a few. Great camera work is about lighting, not pretty scenery. Roger Deakins--- Conrad Hall --You guys are great.
I love Roger Deakins' work, and he's WAY overdue for an Oscar, but there were two things working against him winning that year:


1) He was competing against himself. Deakins was also nominated for the little-seen but brilliant The Assassination Of Jesse James By The Coward Robert Ford. Many considered his work in that film superior to No Country.


2) There Will Be Blood was formidable competition. And it was definitely NOT a "pretty scenery" type of film. You have to give Robert Elswit his due - TWBB was a worthy winner of both the Oscar and the ASC.


I'm with Jim - Deakins should have won for Skyfall. The ASC agreed, BTW, and gave him their award for the second time. Deakins had previously won the ASC award for his stunning B&W lensing of the Coen's The Man Who Wasn't There - finally coming to Blu-ray in a few months!!! :banana:
 

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