When the ASC launched its awards in 1986, a single statue was given for feature film cinematography, presented by Gregory Peck to Jordan Cronenweth for his work on Francis Ford Coppola’s “Peggy Sue…
When the ASC launched its awards in 1986, a single statue was given for feature film cinematography, presented by Gregory Peck to Jordan Cronenweth for his work on Francis Ford Coppola’s “Peggy Sue Got Married.”Awards is returning to the smaller scale of yore even as it promises to celebrate a wide range of image-makers. The ceremony will take place on March 20th at the ASC Clubhouse, the org’s modest, if stylish, headquarters in Hollywood, rather than in a cavernous ballroom.
The feature nominations are a reminder that great filmmaking requires deep and complex human interaction — an aspect of the cinematographer’s skill set that is often overlooked in favor of technical expertise. “Every film’s different, obviously,” says Wegner. “Our extended prep meant that we could draft ideas, with the ability to interconnect and cross-reference those ideas with all the other departments. There’s an intricate kind of work going on, a methodical weaving, not unlike the rope in the film.”
Zambarloukos’ experience on “Belfast” was informed by Branagh’s autobiographical connection to the story. “Looking back to when I started, I remember being focused on learning the craft,” he says. “What’s surprising to me at this point in my career is the personal relationships that evolve while we’re trying to create together.
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