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When has Roger Deakins deserved to win?

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  • Actriz
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    #169858

    My personal nominations/wins given to Roger Deakins:

    1991: Nominated – Best Cinematography, Barton Fink
    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) 

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    Basketball
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    #169860

    Shawshank, Fargo, Jesse James, Country, Skyfall making it 5 wins for him.

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    Emmys2011
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    #169861

    As far as Im concerned, he did oscar worthy work in his last 3 nominated films, specially skyfall. But then I think of the competition, and Im not so sure he should’ve been the winner before the actual winners…

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    CAROL-CHANNING
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    #169862

    I wasn’t a big fan of True Grit, but I’ll be damned if it didn’t deserve the cinematography award.  Inception beating it was a huge surprise, especially considering how many nominations True Grit got and how much the Academy seemed to like it.

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    Tyler The Awesome Guy
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    #169863

    Pretty much every single fucking time!!!

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    Tye-Grr
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    #169864

    ‘The Assassination of Jesse James’/’No Country For Old Men’. Either one was worthy.

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    Junk
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    #169865

    I wasn’t a big fan of True Grit, but I’ll be damned if it didn’t deserve the cinematography award.  Inception beating it was a huge surprise, especially considering how many nominations True Grit got and how much the Academy seemed to like it.

    I second this, especially over Inception.  

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    Matthew
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    #169866

    Kundun. What an extraordinarily beautiful film. I was really hoping cinematography and Phillip Glass’ magnificent score would trip up the Titanic juggernaut. Alas, it just wasn’t going to happen.

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    benbraddock
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    #169867

    It’s pretty obvious to me that DEAKINS is never
    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 BIRDMAN

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    Cheshire
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    #169868

    I thought his cinematography was the best thing about Skyfall.

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    Atypical
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    #169869

    2007 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.”

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    Tye-Grr
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    #169870

    2007 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.  

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    AMG
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    #169871

    Should’ve won for SKYFAAAAAAALLLLLL.
    But he’s lost ’em aaaaaaaalllllllllll
    He has crumblllllllleeddddd
    And has no Oscar rewaaaaaard!

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    babypook
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    #169872

    When did this master deserve to win?

     

    Every single freaking time! That’s when….

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    Eddy Q
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    #169873

    Interesting 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. 

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