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Oscar's Best Cinematography 2020

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The Oscar for Best Cinematography belongs to...?
9.09%
1 votes
Jarin Blaschke, THE LIGHTHOUSE
81.82%
9 votes
Roger Deakins, 1917
9.09%
1 votes
Rodrigo Prieto, THE IRISHMAN
0%
0 votes
Robert Richardson, ONCE UPON A TIME IN HOLLYWOOD
0%
0 votes
Lawrence Sher, JOKER
11 votes. You may not vote on this poll




The films nominated for Best Cinematography at this year's Academy Awards are...


Jarin Blaschke, The Lighthouse


Roger Deakins, 1917


Rodrigo Prieto, The Irishman


Robert Richardson, Once Upon a Time in Hollywood


Lawrence Sher, Joker
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Haven’t seen 1917 yet, but love the work of Roger Deakins.
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I was watching the making of 1917 yesterday on YouTube. Probably from Business Insider or some channel. I dont think anyone can match that. Winner for me.
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My Favorite Films



From what I've seen from 1917, the visuals are spectacular. Deakins has his name on that Oscar.
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28 days...6 hours...42 minutes...12 seconds
1917 gets this, although I loved the cinematography of The Lighthouse.
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A system of cells interlinked
Will see The Lighthouse sometime this week. Sadly, won't be able to get to 1917 before the awards, but I adore Deakins' work, so I am kind of rooting for him to get another statue.
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Lawrence Sher worked with Todd Phillips five other times before Joker: all three Hangover movies, Due Date, and War Dogs. Some of his other credits include Garden State, Dan in Real Life, I Love You, Man, and this year's Godzilla: King of the Monsters. Like Joker itself this nomination will likely be an anomaly in his career and he'll go back to lensing comedies or more straightforward genre flicks, but he'll always be able to say he was an Oscar nominee. He will not win.



Jarin Blaschke was also the director of photography on Robert Eggers' debut The VVitch and gets his first Oscar nom for The Lighthouse. It was the only nomination the film received, though it garnered five nominations at the Film Independent Spirit Awards. Since the separate awards for color and black & white photography were merged into one category in 1967 Schindler's List and last year's Roma are the only two Best Cinematography winners shot in black in white. But a bigger stumbling block for The Lighthouse is that no film has ever won here being the sole nomination.



This is Rodrigo Prieto's third Oscar nom following Ang Lee's Brokeback Mountain (Dion Beebe won for Memoirs of a Geisha) and Scorsese's Silence (Linus Sandgren won for La La Land). His other credits include Scorsese's The Wolf of Wall Street, Affleck's Argo, Spike Lee's 25th Hour, Almodóvar's Broken Embraces, Julie Taymor's Frida, and Iñárritu's Babel, Biutiful, and 21 Grams. The controversial de-aging technique got much of the attention, and Scorsese toned back his trademark flashy editing and style to tell this slower tale. Prieto won't win this time out but the quality of filmmakers he works with means he will be back.



This is Robert Richardson's tenth Oscar nomination and he already has three wins, for Oliver Stone's JFK and Scorsese's The Aviator and Hugo. This is his fourth nom for a Tarantino movie following Inglourious Basterds, Django Unchained, and The Hateful Eight. He is a living legend but I don't think he'll win his fourth here. If he does he will join Leon Shamroy and Joseph Ruttenberg as the most Oscars ever won for cinematography. He may well get there, though Emmanuel Lubezki recently won three in a row and has taken a few years off and I would bet he'll get there first. But Richardson's legend continues to grow, whether he wins this time or not.



Speaking of living legends, Roger Deakins finally won his mysteriously overdue Oscar two years ago for Blade Runner 2049. It was his fourteenth nomination. 1917 is Deakins' fifteenth nomination, tying Robert Surtees (The Graduate, The Last Picture Show, Ben-Hur, The Bad and the Beautiful). Three more and he will tie Charles Lang (One-Eyed Jacks, Wait Until Dark, Ace in the Hole) and Leon Shamroy (Leave Her to Heaven, Cleopatra, Planet of the Apes) as the most nominated Directors of Photography ever. 1917 is designed to appear as one continuous take. It effectively straps the viewer in for a ride through the chaos of war. And it is about to make Roger Deakins two for his last two, which sounds better than 2-for-15.