-
-
My personal nominations/wins given to Roger Deakins:
1991: Nominated – Best Cinematography, Barton Fink
Reply
1994: Won – Best Cinematography, The Shawshank Redemption
1996: Nominated – Best Cinematography, Fargo
1997: Nominated – Best Cinematography, Kundun
1999: Nominated – Best Cinematography, The Hurricane
2000: Nominated – Best Cinematography, O Brother, Where Art Thou?
2001: Won – Best Cinematography, The Man Who Wasn’t There
2007: Nominated – Best Cinematography, The Assassination of Jesse James by the Coward Robert Ford
2007: Nominated – Best Cinematography, No Country for Old Men
2008: Nominated – Best Cinematography, The Reader
2010: Nominated – Best Cinematography, True Grit
2012: Nominated – Best Cinematography, Skyfall
2013: Nominated – Best Cinematography, Prisoners
(13 nominations, 2 wins)It’s pretty obvious to me that DEAKINS is never
ReplyCopy URL
going to win an oscar…he must not be liked for
some reason….He’s deserved cinematography
oscars at least 4 times, IMO, for SKYFALL, FARGO
TRUE GRIT and THE MAN THAT WASNT THERE..
This year, his work on UNBROKEN will probably
lose again to BIRDMAN2007 was probably Roger Deakins’s best shot at an Oscar win with his dual nominations (one being the eventual Best Picture winner “No Country for Old Men”; for me, the superior nomination was his work in “The Assassination of Jesse James by the Coward Robert Ford”). It’s very difficult to knock Robert Elswit’s stellar work in “There Will Be Blood” though. This was also one of the last recent years that wins weren’t awarded to 3D/CGI spectacles, and whether or not that happens again depending on what the competition is, the negative stigma surrouding “Unbroken” right at the time of voting could unfortunately seep to his chances of a nomination, no less win. He’s been Oscar-worthy so many times in such diverse films. I would have loved seeing wins for “TAOJJBTCRF,” “Shawshank Redemption,” “Skyfall,” and also nodded for “Dead Man Walking.”
ReplyCopy URL2007 was probably Roger Deakins’s best shot at an Oscar win with his dual nominations (one being the eventual Best Picture winner “No Country for Old Men”; for me, the superior nomination was his work in “The Assassination of Jesse James by the Coward Robert Ford”). It’s very difficult to knock Robert Elswit’s stellar work in “There Will Be Blood” though. This was also one of the last recent years that wins weren’t awarded to 3D/CGI spectacles, and whether or not that happens again depending on what the competition is, the negative stigma surrouding “Unbroken” right at the time of voting could unfortunately seep to his chances of a nomination, no less win. He’s been Oscar-worthy so many times in such diverse films. I would have loved seeing wins for “TAOJJBTCRF,” “Shawshank Redemption,” “Skyfall,” and also nodded for “Dead Man Walking.”
I very much agree with this. There’s also the chance that his two films sort of canceled each other out.
ReplyCopy URLInteresting that Deakins won ASC award 3 times and has never won Oscar, whereas Robert Richardson, a 3-time Oscar winner, has never won ASC.
Deakins’s first ASC win was for Shawshank, but I wouldn’t have given him the Oscar over Piotr Whatshisname for Three Colours: Red. I think I prefer Fargo’s cinematography to English Patient’s – that angry red glow contrasting against the white snow in the first murder scene stays with me far more than sweeping shots of the desert, no matter how beautiful. Skyfall I think was more deserving than Life of Pi, partly because of how much the images of the latter were manipulated in post (though it’s still a visually stunning movie). So Fargo and Skyfall are my personal choices for Deakins, though unfortunately I haven’t seen The Man Who Wasn’t There, which everyone seems to think he deserved to win for.
His double nom in 2007 came in one of the best years for the category, with not only Robert Elswit’s superb, suffocating images in There Will Be Blood but also Janusz Kaminski’s innovative use of POV in The Diving Bell and the Butterfly, which is at least as impressive as anything he’s done for Spielberg; the whole screen blinks and blurs as the main character’s one good eye, his only way of communication, gets irritated. Even Deakins’s double whammy can’t beat these two in my opinion.
ReplyCopy URL
-bpfull.jpg){kind=avatar}
