American Society of Cinematographers Announces Nominees January 11, 2017 0 Comments Sasha Stone Posted in ASCfeatured Share on Facebook Share Share on TwitterTweet Share on Google Plus Share Share on Pinterest Share Send email Mail Print Print Greig Fraser, ASC, ACS for “Lion” James Laxton for “Moonlight” Rodrigo Prieto, ASC, AMC for “Silence” Linus Sandgren, FSF for “La La Land” Bradford Young, ASC for “Arrival” Share on Facebook Share Share on TwitterTweet Share on Google Plus Share Share on Pinterest Share Send email Mail Print Print DGA Preview (Predictions/Poll) – Why These P... January 11, 2017 0 Comments Interview: Inside the Murky World of the Ivory Tra... January 11, 2017 0 Comments Share this About author Sasha Stone Sasha Stone has been around the Oscar scene since 1999. Almost everything on this website is her fault. Related Posts 0 Comments BEST PICTUREfeatured Quick Take: Can Hidden Figures Win Best Picture? 0 Comments ContestsfeaturedNews AwardsDaily’s 18th Annual Predict the Oscar Nominations! 0 Comments BEST ACTORBEST ACTRESSBEST PICTUREfeatured Sixteen of 2016: The Best Things I Saw on Film All Year 0 Comments BEST PICTUREfeaturedNews Under the Radar: How Emily Blunt, Viggo Mortensen, Deadpool, Nocturnal Animals and Lion Emerged Awards Favorites Tags ASC nominees Aaron B “Lion” looking pretty strong fighting for one of the spots Ferdinand I can’t believe that Storaro’s work on Café Society was ignored throughout the season. He is Vittorio Storaro after all, you don’t just ignore a legend like that. Idle Time Silence. Finally. Not dead yet? creepingdoubt Go Rodrigo! Idle Time Moonlight shows up (as it should). F*ck BAFTA! Chickchaw Territory Huzzah for Silence! RossoVeneziano Lol the blandness of this list. No competence, no taste. Lion??? Seriously??Lion??? JH Where’s DEADPOOL? :(( joris-karl huysmans And Jackie is nowhere to be seen yet again. It doesn’t get any less painful. Art Vandelay I still think Nocturnal Animals, Jackie, or Hail, Caesar! could bump Lion out come nomination morning, Seamus McGarvey most likely. thatpj ASC-BAFTA-BFCA crossovers La La Land Arrival ASC-BAFTA La La Land Arrival Lion ASC-BFCA La La Land Arrival Moonlight BAFTA-BFCA La La Land Arrival Nocturnal Animals Art Vandelay Super stoked that Laxton, Prieto, and Young made the list, especially Laxton. Go Moonlight! ereyethirn I said in a previous post that if Silence would show up somewhere it’d be here (its an undeniably pretty movie for those who haven’t seen it). This could be the beginning of things picking up for Silence… Or it could signal its only Oscar nomination, let’s see how it does tomorrow! Steven Kane Boy I thought Hell or High Water would’ve landed here over Lion. Very happy for the rest, especially Young and Prieto. JH Worth noting that HELL OR HIGH WATER got into BAFTA with no crossover and that SILENCE got into ASC with no crossover. Steven Kane Who should’ve gotten in? Young, Laxton, Prieto and Sandgren is a very strong lineup. ereyethirn Lion is a good looking film regardless of what you think of the movie itself Idle Time Predictable = bland. Surprises = strong. PanopticonNYC Replace Lion with Jackie and this is a pretty good list. ereyethirn I disagree, awarding the most deserving movies = strong. Awarding undeserving movies = weak. Surprises are interesting but if they surprisingly snub a predictable but deserving film for an unpredictable but weak film, that makes them bland. RossoVeneziano Sturaro, McGarvey, Fontaine, Robbie Ryan… Chickchaw Territory Grieg Fraser has been churning out consistently good work for a number of years. It’s about time he was recognized. Jamie Teller The ASC usually matches the Academy 4/5. I’ll guess Lion is the odd one out and swap it out for Nocturnal Animals. (I’d like to swap another one of these out for Jackie, but that ship has probably sailed.) RossoVeneziano Good looking should not be enough for an Oscar nod. Now Lion is a safe bet for that. Well done ASC. In Harvey’s pocket. Chickchaw Territory Hail, Caesar! has great camerawork (like all of Deakin’s films) but I don’t think it’s making the cut this year. He’ll definitely be in next year for Blade Runner 2049. Chickchaw Territory You made me LOL. Thanks for that ereyethirn I meant good looking as in shot well so everything works aesthetically, which is almost all of what you want from good cinematography. I think everyone struggles to separate films from individual awards. Many people don’t like Lion the film (I like it but it isn’t best of the year material) but it is deserving of 2 things being recognized, that is its score and its cinematography. ereyethirn I’ll give you McGarvey and Fontaine and maybe Robbie Ryan but if you are saying Cafe society deserved a cinematography nomination (that’s about all I can assume you mean by McGarvey) you should watch that film again. It is shot in such a bland and fake looking way. GusHR Storaro’s work in CS is ravishing. The lighting and the color pop like no other Woody Allen film. ‘Bland’ is the last word to define it. Hal Jordan I was afraid of Silence doesn’t be nominated. So, at least one lock for this now. And Lion is a surprise, it have really have a good cinematography (don’t saw it yet)? But I think that Nocturnal Animals will be nominates instead. ereyethirn Maybe I’m a minority here but while I actually liked cafe society just fine my biggest criticism with it was that they tried to give it a really glossy and hyper realistic look and I found it hard to watch because it was so overdone that it looked really fake. I agree bland was a terrible word choice on my part though. Hal Jordan I stay happy with Deakins not making the cut this year. 14 nominations (15 next year with Blade Runner 2019) and no victory is just cruel. JH LION has very “digital” cinematography. Lots of backlighting… lots of shots at dusk or at night. SLUMDOG’s not a bad point of comparison. JH My picks for Best Cinematography: VOYAGE OF TIME (Atkins) AMERICAN HONEY (Ryan) CAFE SOCIETY (Storaro) EVOLUTION (Dacosse) BILLY LYNN’S LONG HALFTIME WALK (Toll) ALLIED (Burgess) THE WITCH (Blaschke) HAIL, CAESAR! (Deakins) SIERANEVADA (Balasoiu) JACKIE (Fontaine) RossoVeneziano He has it in the bag next year. RossoVeneziano I don’t expect a mid-budget, star-studded, Oscar-baity movie to have a bad cinematography. Good looking is the minimum required and that’s what Lion has. Nothing less, nothing more. To be award-worty you have to be inventive, dazzling, unique. Derek Richmond SILENCE!? https://uploads.disquscdn.com/images/e55e4308c44cb198ffa97d5e1914066ce3e00de24210a32e0aa0c515871ccdb7.jpg Idle Time I was parodying the bland comment. Some people prefer surprises. Derek Richmond Hopefully bringing the Blade Runner world back to life will finally be the key to his unbearably overdue Oscar. RossoVeneziano Anyway has it ever happened that a movie with 9 Bafta noms got 0 Oscar noms? LOL ereyethirn Oh right, my bad. Its often really hard to pick up on sarcasm or parody in forums when there is no tone involved! 😀 RossoVeneziano I’m confident it will. Locked. Idle Time Ha. How about a movie with that many nods without getting BP nod? Bryce Forestieri Who might The Academy nominate instead of Fraser? Who else is in the running? Something good please. Fontaine, maybe? Or write-in Blackhat. Silence far and away the most significant work here. So I guess these late groups have actually had the time to see it. JH SILENCE too, naturally! Bryce Forestieri Yeah, I could live with that. Bryce Forestieri I’m not exactly in love with the movie, but I don’t get how he wasn’t nom’d for Zero Dark Thirty. That was good work. Paddy Mulholland Blackhat for Best Cinematography of the Century? In an English-language feature obvs. Among a few others. A few. Paddy Mulholland SILENCE BITCHES Surprised Roger Deakins didn’t get in. I’ve had a feeling about Lion here since I saw it in October, but I’m less confident on its Oscar potential for Cinematography. My current prediction is that it and Moonlight make way for the more-established legends: Deakins for Hail, Caesar! and Robert Richardson for Live by Night. KG The list isn’t bad (notwithstanding Lion), but here are some of my picks for Best Cinematography: Stéphane Fontaine (Elle, Jackie) Chung-hoon Chung (The Handmaiden) Robbie Ryan (American Honey) Christopher Blauvelt (Certain Women) Sergio Armstrong (Neruda) I really liked James Laxton’s work in Moonlight as well. KG Sieranevada is an interesting choice. I quite enjoyed it at TIFF and haven’t heard anything since. JH No US distribution. 😐 RossoVeneziano Weird. But they just pick five and BP has a lot to do with (perceived) “importance” more than with artistic merit. Think about Gravity losing BP and you’ll get the picture. Bryce Forestieri Not just because he’s a legend. Trust me; quite a few often get in because they’re “legends.” It was good, forward-looking work. No digital period has impressed me more since Dod Mantle/Rush, and for completely different reasons. John Extremely happy with these 5. Nocturnal and Hail, Caesar! must have just missed. Yay Silence. And yay Bradford Young for Arrival! John Supposedly Casino Royale from 2006. John Lion’s cinematography is very good. But I’d be fine with that switch. Jackie was gorgeous to look at. Bryce Forestieri Sergio Armstrong always so, so good. Don’t forget he shot From Afar too. Ugh. John So LLL and Arrival looking very good for those noms. Lion, too (BAFTA is a good precursor). From there, looking like Silence/Moonlight/Nocturnal for 4-6th. But who knows. Might have another surprise pop-up (Jackie, HOHW, etc). John 🙁 Idle Time I don’t want to rehash a 3 year old debate, but 12YAS had plenty of artistic merit. I do agree that it was probably picked b/c of perceived importance. But sometimes the two align. Gravity IMO lacks the artistic merit I would be looking for in a great movie. Bryce Forestieri Cinematographers branch, FYC. Write it in: https://uploads.disquscdn.com/images/302cf63e5d3d77647f770aec7b9ff74ba8729b05b1d44d5ea1a943f6ce0d39bd.jpg RobertRoss I think Moonlight and Lion are in. If anything, it might be Jackie that upsets. Deakins didn’t get any recognition for Hail Caesar, although the Academy is probably the place where he can get it. andrevellozo Wasn’t “Dreamgirls” the lead in nominations and yet missed Screenplay, Director and Picture back in ’06/’07? RobertRoss If I had a euro for each time I’ve heard this, I’d be filthy rich. Deakins seems cursed, unfortunately. KG Mark Lee Ping Bing’s work on The Assassin was astonishing. Idle Time For Oscars, yes 8 nods. But 3 of them were for three songs. So really in 6 categories. Idle Time Good catch! NostalgiaKnight Me when I saw Silence finally getting something: https://uploads.disquscdn.com/images/9f360ba240f1f10222bbbbd07fe5fddc374c26fdb3e932ea3ef876ed59c0a1ed.gif NostalgiaKnight On a second thought, “the handmaiden” though… My list for Cinematography this year: 1) The Handmaiden 2) Silence 3) The neon demon 4) La La Land 5)Hail Ceasar I have not seen Arrival,yet. Dan Feeney Hard to Be a God is up there with German’s best, and is as unanswerable as Bela Tarr’s The Turin Horse or Hanake’s The White Ribbon – all black and white films that make The Artist look like the packaging on toilet paper rolls. NostalgiaKnight Out of those I have seen, “the handmaiden” is the most impressive imo. Neon demon is also strong, I felt cinematography was the only thing really working in that movie. Silence was gorgeous and I hope it wins( La La Land will, and I’m ok with that); but I feel like nothing will match the beauty of ” the age of innocence”(which wasn’t even nominated) when it comes to Scorsese’s movies. Dan Feeney I loved Sieranevada and it is certainly in my top five films of the year, but it really hasn’t a chance in the west. I loved the camera work on Aurora too – I felt like I was spying on the main character the whole way through. Andrew LION!!! So so happy to see Lion making the cut, and getting guild love! Aaron Reichwald Hello everyone and happpy new year to all of you. Yes i have returned and irrespective of how i feel the awards race is chugging along (believe me i have a few things to put it mildly to put to you all on that matter,) first i must ask you all how your holidays were? how was your xmas or in mine and Sasha’s case Chanukah, for no matter what race or religion we are and frankly no matter how much we agree or disagree we all respect each other existence in this world. Something that the heartless vile abomnations known as Daish (for record that NOT Islamic State and would be followers of this deluded movement do ot respect and indeed destroy as we witnessed for those poor soles in mid east and indeed europe as we lead into another bloody year) But we must all carry on disagree respectfully but acknowledge we can do so in peace without fear and intimidation (xcept for friendly slanging matches ey folks)? i set the tone for today for my first post after what i can only described as a hollywood albeit more real and credible turbulent rollercoaster and hell of a ride (in worst way possible for me last few years but esp last year living out of home) but while there was high drama (too much of it) it was depressing it was upsetting it was emotional but it was also unforgettable too. There was love i truly found and yes i suppose (sexual references too- to put it mildly) there was very coarse language lots of yelling war scenes (metaphorically speaking) and yes i intend to put that into a movie context too yes some of or lot of what i said is true personally. But it worth in my opening post (sorry i late) you know? (honestly i so disenchanted with awards race and other priorities take hold in real life..but also..hollywood continues to persist with it what i come to call ‘dream bubble) indeed while i give a especal cheerio to those been around almost and some longer than me that i see each year..there are equally a no,. like me who monitored the race for so long they feel like me it too long between times not only that bout films “I” like but films majority of us like that we want to see year upon year figure in final oscar nominatins race that dont. An industry that pr9ided itself on innovation is proving yet again that the price for politicized opportunism (no i not talking bout merryl streep address at globes) i talking about the introverted self politicization for sake of internal battle field amongst academy between progressives and conservatives and all while on conservative side that is the films that are the ‘safe’ option the ‘been done before’ option..is conservatives fight for survival against the trend of progressive films..ideas and issues. I admit but unashamedly so (for last few years i seen the eventual oscar winner and really? public are fed up with seeing the film that has the buzz cos oscar or awards season like it and just want to see a film that they believe is best that is quality and standard of truly bringing hollywood to 21st century standards. We are soooo not there it not funny. STILL in 21st century we have this years ‘Gravity’ ‘Avatar’ in ‘Arrival’ and though it getting a lot of love in awards season it not winning enough during awards season. once again we haver the great ‘sci-fi’ tease by academty in a bid to grow there ratings but to ultimately mislead a new generation of public fan base that oscar so badfly needs. No these are not the ones that insist the next Jurassic Park or Star Wars need to be nominated (though it must be said ‘Rogue one’ has raised the bar in cinematic realism through war scenes with a massive overlay of science fiction..and bigger dose of realist intensity through these scenes. Alone, Rogue One is truly stand alone star wars movie that while connected to star wars cannon is it own movie altogether..it a transformative experience..and contributes much more to innovation critique that once hollywood respected and admired. cos public respected and admired a blend in the one movie of not just that public liked it massively so, but it innovation + acting +it drama + breaking new ground + timeless artistry + fact these films were talked about debated beyond hollywood THAT what make films truly great and memorable. I learnt very quickly from 1998 when i began here ironically when awards daily was close to it debut i think? that a film with more nominations should win but that the best winner should be it wins majority of what it nominated but not necessarily all..and that so long as it wins half of what it nominated and MOST PEOPLE overwhelmingly believe that most nominated film deserves to win. Sasha, you say it abouy the industry..but does academy clear in their head and hearts of where their heading? you talk of ‘preferential ballot’ like it supposed to bring balance but since it inception, isn’t it fact that in end academy memebers are announcing this b.s. spin to public to make them think they listening to broader public and pretending to acknowledge what they really should in all honesty if they ever spend a waking damn day with self insight and self reflection on there numerous snubs theire numerous instances of ignorance (see no black film director yet to win a oscar- and yet WE IN FRIKKIN 21 ST centurty!! “Hello oscar can you come through this time wormhole please?” we are here (the public) and your stuck in limbo. and indeed oscar are. They are trying to pull against the push. When i talk public i talk bout what they care about not what breaks box office records..btu pple care about should very much be about what industry is about.. but academy resist modern trends they resist changes around them intheir own industry. We have event films worthy of best picture status like the Dark Knight but only for reason they a form of ‘comic book adaptation’ when the film script the innovation in that film made it a event film that tested conservative threshold among oscar members to see them embrace least they could do Heath ledgers role of Joker after his unfortunate death for best supporting actor..yes i credit oscar for that but public see through more and more ‘compensation effect’ oscar do. to try to bait viewers to improve their flagging ratings. If ACADEMY want a massive not marginal improvement in ratings, they be very wise to heed demands of public more and have as any industry is in real world (ie cars are made for drivers, water made for drinking and growing of plants and gardens the related industry need to provide benefits to houses ) why is any form of arts movement any different? Bauhaus reflected evolving hunger for new artistic ideas in this world to advance from then great renaiscance old style arts of world to something modern. as social standards evolved so did industry. AND OSCAR IS NO ACCEPTION. i laughed and cried too within myself at utter bemusement of ‘spokesperson for academy’ ‘triumphantly’ accouncing changes to preferential ballot’ a year or so ago and this year a change of ‘male to female’ ratio? the recurting of younger oscar members and emerging talent is great..but in that statement mentioned here didn’t it prioritise a gender rebalance>? and still acting category is worth mroe than half of oscar voters than equal important directing and technical that make art have that extra oomph factor and appeal to p0ublic? It first time i mention it and i sure many would agree surely! without a good script without a good backdrop without a good setting the acting would not have context..equally good script is reliant on acting.. when the bloody hell are academy gonna get theuir heads out of sand and try to accept for once in their uneventfuly cleched predictable miserable lives that indeed it about a film that xcels equally in everything..but not only that that respresnts changing trends that reflect todays social standards. Rogue One is not just Star wars therefore it is one of the best films of the year. I kicking myself with missing out on Arrival (my own high drama hijacked that sadly) both these films have great acting great sets and a depth of meaning and care and enthusiasm that frank;ly most other contenders sorely lack,. Now we come to oh so predictablr fsvourite la la land. and i tell you now not everyone on this site and maybe a smidget more than in past years but not much more are enthused with buzz and excitement bout this eventual sure firre winner. Sasha you pointed it out the disconnect between the more traditional Gu8ilds as prerequisite vs. the grwoign falacy that is globes. BAFTA starting to disappoint pple more and more..is BAFTA bout british base productions or imitation of acadfemy? where the industries own damn independence? being pushed around by old guard struggling for survival against the steep challenge of new guard changing guard in hollywood is ot a good look for global film industry mainstream at all. AS sick as we are of politicians who have a tin ear lie to us decieve us hence the only reason TRUMP got in at moment till we see real substance..there a growing delusionment and gulf so big..it take 50 brooklyn bridges to bridge gap. SAving private Ryan should have won in 1998. Gladiator though it won showed a warning to hopeul public academy was not fully on innovation bandwagon (if it was it would have won for set design which was as much first instance of visual effcts and set design blending in as it was single largest set piece in colloseum being rebuilt at it time and ti should have won best director too) but it showed academys beginning of reluctance to embrace true innovation. at a story level years later ‘THE AVIATOR’ Sshould have won big..as it story was innovative about innovative pioneer of all time in Howard Hughes it was more than just hollywood a overlay of a vey complicated character psychologically portrayed so flawlessly by leo whoudl should won that acting awards. The should have won common outweighs the academy choices..when you have gulf that big..it difficult to recover..until someone i hope in time comes along to smash academy model altogether and redefine it for our generation rather than their past outdated ideals. La la land is a bunch of la la frankly..pple dont want to escape to passions of their past as much as they want to embrace change in present..and though la la land is as far removed from realioty to point in it look and feel it more in common with l;esser grand musical like chicago (do i hear that 6 time oscar winner talked about much since it win? we all know such was greatness of rings trilogy th mighty two towers should have won that year and if not that movie than surely munich shoud have won that year) . And that point. ‘Saving private Ryan, Gladiator’ were deserved oscar winners in their time as was ‘REturn of the King’,. ‘the Departed;’ and i admit ‘Hurt Locker’ (but that year was still a missed opportuntiy with avatar jugegrnaut reovlutionising film in it very format) these films have matured with years and never forgotten and always referred to with other oscar winners. This year, if anything Hacksaw Ridge is inevitably inferior but still compared to grandfather of modern war epics filmmaking wise in private ryan..and of course we have the film oscar are desperate to snub for no justified reason in ‘Rogue One’. OScar appetite for true vision in their direction is beingh torn apart by their old guard and ‘la la land’ will win big unfortunately as it represents oscart self justification as to why they shoudl be stuck in the past. And Denzel Washington easily one of everyone favourite actor it a wonder if he wont win best actor and why globes refuse to acknowledghe him. then again like all of hollywood globes are as foreign as their title suggests…and hollywood as a whole in awards season context could not be more foreign from the public even if they tried..and this is why my own disenchantement i cant ignore cos my care and regard for your views as majority of what you think is best and hollywood blindsided ignorance to real changes in real world..that will catch up with them one day if they jst trust in our judgement a bit mroe and idnsutry start to reflect our tastes not industry for hollywood sake..but now it bout for most presitgious part of year public most cared about oscar own self preservation self validation. and la la land is bandaid than cannot cure a very heavy massive blooody streaming cut in it heart. anpother depressing year at oscars unless arrival wins i fear JMC There’s a lot of negativity on the Lion nom here — but I applaud it. I think much of the shade is being thrown because of the film as a whole, but this is a below-the-line craft. And though it’s subjective, I thought it’s cinematography was great. And no, it’s not because it’s “pretty.” Cinematography is more about working with light than anything else, not “pretty landscapes” or just camera framing and movement. I thought Fraser did a great job with both interior and exterior lighting portraying images that advanced the story in two very different countries, as well as two very different times (more present day vs. the ’80s). His lighting and cinematography was key to those story elements, so I find it very deserving, even if the film as a whole is by no means in my Top 5 for the year. So, let’s remember movies like Norbit can be nominated for make-up and still be deserving, even if the movie overall is dreadful…or why I wish Tron:Legacy would’ve been nominated for score that year, etc., so I appreciate it when below-the-lines go to good work, no matter the overall film. John Well said. Andrew Agreed with your comments about the cinematography but not the film as a whole. Lion is my #1 for the year. I think there is better cinematography this year, such as The Handmaiden. Lion is getting guild support so the film overall must be liked. Andrew We haven’t really mentioned it, but is Billy Lynn one of the biggest underperformers awardswise versus expectations for many years?? unclejay73 “Arrival” over “Hail, Caesar!”…give me a break. majobe The cinematography in Moonligth looks cheap JMC I actually like the film as a whole too; might be in the bottom 10 for me, and I do think it’s really underrated. I’ve seen it with two groups of folks now, and it’s been popular with a few different types of film tastes in those groups. I liked it the first time, but it really grew on me more the second time (the late second act flowed better the second time for me). I’d actually be shocked if it’s ‘not’ nominated for Best Picture at this point, as I think it probably has strength within the Academy and will get a lot of #1, 2 or 3 spots on ballots. It’s in a stronger position, I think, then Philomena was at this point and might have more passionate voters. I haven’t really laid out ‘my picks’ for cinematography, but I’d bet it’s in Top 5 there — Arrival, Hell or High Water, Lion, A Monster Calls, Nocturnal Animals and The Witch are probably my Top 7, in no order (but I was really impressed with Arrival, Hell and A Monster Calls in particular). (haven’t seen Jackie or Silence). JMC A Bigger Splash’s cinematography I’d probably add to that as well… Kastek421 Great analysis. Chickchaw Territory Not as cheap as your education. Marshall Flores Moonlight has some of the best shallow focus cinematography I’ve seen in recent memory. Ethereal and intimate, evocative of the best of Kieslowski. Claudiu Cristian Dobre Since the expansion, the ASC nominees have included three eventual BP nominees four times, four twice and five once. The year with five coming when there were 10 BP slots. Moonlight, 3L and Arrival are near-locks for BP at this point, though, and Lion is also looking very strong, so, unless there are somehow five again, I doubt this is necessarily a good sign for Silence as far as BP goes. A very good sign for a cinematography nod, though, for sure! As far as winning BP, this nomination means close to nothing – 11 BP winners have missed in the last 30 years, and 7 in the last 15. Claudiu Cristian Dobre I also thought it was overdone. I, however, also didn’t like the movie. 🙂 Claudiu Cristian Dobre Wow, that’s a bold prediction! No major precursor love for those two, right? Claudiu Cristian Dobre 🙂 I’m not gonna lie, I didn’t read all of that… But just wanted to say I also liked Rogue One (though I wouldn’t nominate it for BP, necessarily) and Arrival is the best movie I’ve seen so far. (Not also my #1 favorite, though.) It’s not winning BP, of course. MrScreenAddict Slightly off-topic, but FWIW, Pete Hammond over at Deadline is saying that the only movie with a chance of defeating LLL isn’t Moonlight and isn’t Manchester — but rather, Hidden Figures. Interesting perspective. Idk if I agree, but it’s definitely interesting… http://deadline.com/2017/01/pga-bafta-nominations-la-la-manchester-moonlight-1201882688/ JMC I don’t think Moonlight or Manchester have a shot (I loved both of them, the latter being my #1 this year). Voters just aren’t watching Moonlight enough (is the sense – happened with Brokeback), and even though some do love it, many in the Academy won’t connect to it. Manchester I think is similar in that it’ll have a lot of love, but not nearly wide enough (and a film that heavy just can’t upset the crowd pleasing musical). Hidden Figures is peaking at the right time, and it’s a crowdpleaser across the board. If it gets a DGA nom, it’d grab my attention (same with a Directing Nom by the Academy). And it has a really good shot at SAG (though, I see Manchester, Hidden Figures, Fences and Moonlight all splitting so many votes there, I could honestly see any of the four winning). But even with all three of those things happening, I still don’t see anything unseating La La at this point. Early, many said, “How could it lose?” And I still feel that way — and I’m saying this as someone who has La La in my Top 10, but behind Moonlight, Manchester, Arrival and Hell or High Water (but I obviously really like them all). JMC Agreed. And considering some of the difficult night lighting situations (interior and exterior, with many layers of light needed within multiple frames in many shots/scenes), I think it’s ‘very’ well done, especially at that budget. Joes Replace Arrival. KT IMO, “Arrival” is beautiful–stark and spare, but still poetic and vital. Not every cinematographer could make a muddy field, a dark room and some computer equipment come across as a compelling setting, but Bradford Young made that happen. Jamie Teller Right now, my top 10 in Cinematography: 1. Jackie 2. Arrival 3. Certain Women 4. American Honey 5. High-Rise 6. Nocturnal Animals 7. Snowden 8. The Neon Demon 9. Lion 10. The Handmaiden Bryce Forestieri Chris Doyle too! Bryce Forestieri Guys, may I offer an alternative to The Crown? It’s called The Royals, it’s on Amazon prime and I am addicted. cc Christophe Andrew That sounds like nothing more than campaigning for LLL, not that it needs the help. Throwing a third film into the mix with Manchester & Moonlight just cements LLL position. It might be interesting and attention seeking but I doubt it’s true Wayman Wong ”Voters just aren’t watching ‘Moonlight’ enough (is the sense – happened with Brokeback.” … Just curious: Where do you get the idea that voters aren’t watching ”Moonlight” enough? It’s been doing pretty well with the Guilds. I don’t think the problem with ”Brokeback” was that not enough voters were watching it: It DID win 3 Oscars: for Directing, Adapted Screenplay and Score. But it couldn’t get over the last hurdle for Best Picture, and I believe that was homophobia. There were enough Academy members who could recognize and reward the craftsmanship behind the filmmaking, but not enough of them who could bring themselves to endorse a gay love story for Best Picture. Again, that’s my theory, but I think it’s glaringly obvious when ”Brokeback” pretty much swept every major film award that season: Golden Globe, BAFTA, BFCA, PGA, DGA, WGA, L.A. Film Critics, N.Y. Film Critics and many more. Wayman Wong That’s very nicely stated. To me, the first half-hour of ”Lion” is especially stunning as cinema. You watch Saroo, this poor little innocent boy, trapped on a train and then have to negotiate the nightmarish streets of Calcutta, as he scrounges for food and tries to escape street thugs, the police and child abductors. I love how many of those sequences play out without any dialogue, simply driven by Fraser’s indelible images. SirKicks Jackie is dying and its breaking my heart. Wayman Wong How is it that Rodrigo Prieto has only ONE Oscar nomination (”Brokeback Mountain”)? Especially when his credits include ”Amores Perros,” ”Frida,” ”Babel,” ”Argo,” ”The Wolf of Wall Street,” to name but a few? … Hope the Academy notices him for ”Silence.” Christophe You’re catching me off guard, I thought this show was pure trash, and I was mad at it and avoided it like hell because I was developing a similar idea a few years back (who hasn’t?) but I was envisioning a classy rom-com in a Nora Ephron / Richard Curtis (‘Four Wedings and A Funeral’, ‘Notting Hill’, ‘Love Actually’) kind-of-way, with the wit of Woody Allen, the fantasy of Wes Anderson and the hip glamour of ‘The Devil Wears Prada’ into the bargain. No less! So if you say it’s any good I will try it of course! I believe the Brits have done another show with the exact same concept a few years ago, but it was so unremarkable, I can’t find it anywhere. JMC What follows is my observation of what I think the Academy responds to and what they don’t connect with, not my opinion about the films (I think Moonlight and Brokeback are fantastic…and I actually am apparently in the minority when I would be happy if anyone of the prominent contenders won this year, as I think they’re all really good films (Moonlight, La La, Manchest, Arrival, Hell or High Water, Lion…). Sasha has reported a few times she’s hearing that Moonlight is not being watched by some. And yep, it happened with Brokeback. But I think homophobia and not watching it were the same thing: there were many quotes from Nikki Finke’s reporting back in the day from voters who were saying they didn’t watch Brokeback…essentially because of their homophobia. The same thing happened with 12 Years a Slave, just for different reasons. There were many reports voters didn’t watch it and voted for it anyway. But while Moonlight did well with critics groups (doesn’t matter as much come Oscars) and is showing up in all the Guilds, still seems like La La will ‘win’ most of those guilds and will be going into the Oscars more like Brokeback in terms of strength. Of course, La La is the ‘straight,’ Oscar-y movie that’s also a crowd pleaser, a nostalgic throwback, AND about Hollywood, so it’s not only likely going in with momentum, it checks tons of Academy boxes. And then there’s Moonlight, which is not only unrelatable to many in the Academy because it’s about a gay character, it’s a lower-income African American gay character from Miami….talk about unrelatable to them. And even when there are movies like Slumdog (which they might not relate to), that movie was a crowd pleasing zeitgeist more akin to how general audiences have responded to La La or Hidden Figures. And, relating back to 12 Years, the circumstances are incredibly different. 12 Years was up against a “space” movie (I liked both) and perhaps still almost lost (though we’ll never know how close the vote was). It was a historical epic (an Academy sweet spot). Fox Searchlight ran a very explicit FYC campaign that argued, “It’s time.” It was about a ‘big’ topic (slavery), akin to other popular big historical topics that often do well with the Academy (wars, issues of the Holocaust, etc). Moonlight doesn’t fit any of those motifs, and it’s not running against a “space” movie, it’s running against a juggernaut that checks so many of their boxes. The industry is ‘recognizing’ it with so many nominations because, well, it’s a really great movie, but of course, alas, that doesn’t mean it’ll win a lot of them. So, going into this, La La may very well have the momentum of a Brokeback or 12 Years but have an even easier time than those as it already fits their Oscar-y, relatable to them mold…while its competitors (Moonlight, etc.) are likely not to win a lot of these guilds going in and are the types of films that are not hitting as many Academy boxes as La La. Again, not the way I think it ‘should’ be, just my observations of how I think it is with them. JMC Yep; the first 30-45 minutes of that movie are fantastic (I think it’s a perfect movie up until that point)…and almost entirely relies on a combination of great acting by a child and great cinematography by Fraser. (Both of course aided by the Director) ereyethirn Good point, why is no talking about the handmaiden? It was bad enough that Korea didn’t put it up for foreign feature but the fact that no one is talking about the fantastic cinematography is just crazy! Koleś IMHO Arrival is the best out of the five. Christophe Synchronicity alert: I watched Visconti’s ‘Il Gattopardo’ (‘The Leopard’) for the first time on Monday. I’m glad I can write that somewhere! Maybe there should be an ongoing thread on AwardsDaily where readers can post daily what they’ve watched, write a short blurb describing their impressions and discuss with others. Sammy Where is The Handmaiden?? Lion instead of Hell or High Water ?? Good Lord ! Please AMPAS, go and correct this !! Aku Max I thought she had died in 1994 SirKicks The movie never stood a chance. 🙁 NostalgiaKnight Frida was especially gorgeous. Robbed tbh. Koleś Linus Sandgren – age 44 Grieg Fraser – age 41 Bradford Young – age 39 Rodrigo Prieto – age 51 James Laxton – age ??? (but looks rather young) It’s nice to see the new generation of cinematographers finally getting some serious recognition. If the AMPAS go 5 out of 5 over here, it might well be the line-up with the lowest average age in history. Someone I liked cinematography of “HoHW” but “Lion” should be here – one of the best cinematography of the year (easily better than Young’s, for example). By the way: Fraser won main award on the festival of cinematographers that is held every year in Poland and is called Camerimage. And he won with Young and Laxton, among others, so you might say that his work in “Lion” is respected by his fellow cinematographers. Sammy I though It was really good. It is the best imho in that bunch of ASC nominees !! The Handmaiden is my personal best, though… Toots Indeed. The use of the camera and the framing in HOHW was exceptional. Lion was just travelogue pictures. NostalgiaKnight Did you like it? I think it’s too long and dragging, but it’s the most visually beautiful movie I’ve ever seen, the ball scene is the best ever to be captured on camera and Claudia Cardinale is otherwordly gorgeous. https://uploads.disquscdn.com/images/4f19c9bc980a87217552ac3dedb3fbd31c67e19cd794959ae2a42b1c0595a2c6.gif https://uploads.disquscdn.com/images/b63fbfc9a2b4e2023ef737f2a70d4d91329eb234c7a32541c537d6c4a90b8109.gif https://uploads.disquscdn.com/images/27f09358f091538487fdddfa6690e561d9480082e9d941f11e621b421a488e8e.jpg https://uploads.disquscdn.com/images/e324dc1b3b2a5eb87bf5a2c7a84b7f44cd048c3f59c57ba076a6789b8553bc96.png https://uploads.disquscdn.com/images/d6e8145dd2f2f257cb046a4e9df615082b4a3b3e9855b97fd881904793d68371.gif https://uploads.disquscdn.com/images/d9ee648ee18270a49b0a8f5d46e29567f07cb6cb4d0c72b82c03878f84dd0a41.png https://uploads.disquscdn.com/images/4f5e1a979d5cad02957a443d29e35b4f8b1153e0db42276a4d9d76a987a96330.png https://uploads.disquscdn.com/images/ef15c88dc8afde41656a0b87635c55e318a4a953bd438c9d3c0e9e0554c1ddb7.gif https://uploads.disquscdn.com/images/826029e1c60c7851f16c9fd6db27c8860e10032a22347ac27b53f2e5c4aeeb95.gif Toots I don’t know if it was also partly budgetary, but the setting of the film was not consistent with making it look like a Merchant/Ivory film. Good cinematography is not about making pretty pictures. It’s half about the nature and quality of the image (colours, textures, lighting) and it’s half about HOW the camera is used to frame the action and how it moves within the action. The “look” of Moonlight was appropriate for its setting and story, and the way the camera was used and framed the action was very impressive and subtle. GusHR Don’t. RossoVeneziano They will vote for Moonlight without watching it just like they did for 12 Years a Slave. unclejay73 Alright, I was a bit harsh. I love Deakins and he’s never had a bad day. It’s funny, because normally, I am all in favor of sci-fi and have gone beyond the call of duty to stand up for that particular genre (not to mention my love for Villenueve). But “Arrival” didn’t move me the way I thought it should, I felt empty handed by the end of the film…I seriously need to see it again. John Don’t see why not. Got good reviews. Some flat-out raves. Exquisite below-the-line work as well as great direction and an interesting screenplay. I think it’s a bummer the way things have turned for it. 🙁 John Kinda starting to agree with Hammond. The movie plays like gangbusters (which you can not say about Manchester or Moonlight). Great box office. Good enough reviews. SAG Ensemble, which LLL doesn’t have. Might be the anti-#OscarsSoWhite film tat the Academy rallies behind if Moonlight/Fences are too depressing or have obstacles (gay/stagey). I could see Hidden Figures landing noms for Picture, mayyyybe Henson (though very doubtful), Spencer, Screenplay, Prod Design, Costumes, Music of some sort. 5-6 noms would be enough, I would think. Though, no Director nom would hurt it greatly. Still … it’s an interesting thing to mull over. Hmm. John Yeah, if Hidden Figures somehow pops-up with DGA … I think it’s a serous, SERIOUS threat to LLL. Legit. Sammy “Good cinematography is not about making pretty pictures.” ^This. Lighting and the film texture is only a part of the cinematography. Sammy I have found out that there is a very high corrrelation between the Golden Globe BP & BD nominees and the eventual DGA nominees !! Arrival with no Globes BP & BD nod would be the movie breaking the stat !! RossoVeneziano Costume Designers Guild nominations are out. Bryce Forestieri Enjoy! Steven Kane After having rewatched Gravity last night I am absolutely convinced they made the right call honoring 12 Years a Slave. Gravity’s music, cinematography, VFX and sound still hold up extremely well. I’d still even say director is warranted. But the 3rd viewing had far less of an impact than 12 Years does, which is still, nowadays. Steven Kane I think Nocturnal Animals still easily gets in for adapted screenplay. Steven Kane It’s so interesting to see a year where neither the Coens or Scorsese have movies that are in the running for more than 1 nomination a piece. With Silence there is still a chance…but it is weird. Steven Kane Hardy and Bing did such great work… Steven Kane Fuck that looks beautiful NostalgiaKnight It’s gorgeous on every level. In Italy it’s widely regarded as one of the most beautiful movies of all time. The War scenes, for which it’s harder to find gifs and screencaps, are just as impressive. The costumes are the most beautiful I had the chanche to ever see up close(there is an exhibit in Rome), no wonder they got a rare ,for foreign movies, Oscar nomination. https://uploads.disquscdn.com/images/56bebae26e3f8f8d343a3a813bca987f3a055172d13c35e32745812d164bee3b.png Aaron Reichwald AMPAS are hell bent on makin mistakes never havin it rite and yet once more for the millionth time, AMPAS are totally out of of touch with you the REAL people that determine a films success or failure…I must reveal special mention to a film that has not been nominated and defyin all sense of tradition and yes political correctness..the vile, humorous, twisted compellin action drama in DEADPOOL which has boded so well this awards season considerin it calibre to more traditional borin predictable oscar model of several decades past….should have been mentioned as a nominee in this field.. conematokraphy sorry my letter ‘jee’ is not workin on my kb. i switch k.b. hold on sorry: well unlike oscar at least i honest if i make a mistake…ok..Deadpool is truly unique..Ryan Renholds pledje to make this comic book adaptation more accurate to any other comic book movie adaptation has payed off in spades..as it earnt a adapted screenplay wga. amazingly in in a sign the conservatives in hollywood far from get everything all their way..they gave deadpool a pga nomination too! this is fantastic news for those of us who want to finally oscar wake up to tyhemselves and embrace a a genre they all but neglected forever~! Frankly Deadpool as a adaptation is reinterpreted nevertheless as wholly original..powerfukl and provokative..and in a time and era that political correctness is being thumbed at by the voting public (see election of Donald Trump, rise of One nation and fringe far right parties rising to prominence somewhat disturbingly for some agendas like in france, austria, etc) but point is..if oscar wanty to see themselves as contributing to 21st century discourse..why not embrace a film that stirs controversy..is in your face and is one hell of a ride defying all expectations commercially, deadpool is by far the biggest surprise success of the year.. NOBODY would have possibly thought such a brutal violent unpleasant film in some of its scenes..could be sucha success..given it R rating..but credit where it due much like political correctness it been overhwlmed by the will of the public..and the result is Deadpool could? even be a outside chance of a best picture contender? a ray of hope amongst the cleched blandness..in field this year..by bland from feedback most of you convey LA LA LAND is b grade as a musical at best..manchester by the sea reeks of a ‘been done before romance/ drama’, ‘hacksaw ridge’ is merely takng in different context but same war graphic intesity of saving private ryan..and other modern day war flicks..arrival ought to be taken much more seriously as a contender than what press attention is focysing on in terms of la la land (clearly consensus amngst most of you not for first time is the ‘sure fire’ favourite has failed to convince the public largely in terms of your feedback on this site..that it worthy of breaking award winning records i totally agree.. Any film with denzel washington deserves to be a contender..and even i support a win for fences…the other film i embrace on conservative side but is very relevant to reflecting on politics today and where it all changed america’s landscape and indeed the wordl is the role of the first lady to JFK in ‘Jackie.’ There are clearly stornger films in the field for oscar much more deserving than la la land. There fore i rate the following as academt’s ideal prefernce of likely wins which they wont do they dont like common sense..or care for what any of us think even though we determine extent of success of films in their industry.. in order of my preference to win best picture: 1. Arrival 2. Jackie 3. Deadpool 4. Fences 5. La la Land 6. Hacksaw Ridge 7. Manchester by the Sea Christophe I was expecting an Italian ‘Gone With The Wind’ (same era = 1860’s, civil war background, faded grandeur of a powerful southern family…) so obviously I was disappointed by its lack of epic-ness, despite a couple action scenes with fighting revolutionaries in the first part. The film wasn’t dragging as much as lingering, like a long splendid funeral. You know the old world you’re mourning is gone but you want to keep its memory alive even though there’s not much more to say. Hence a succession of anecdotical scenes and impromptu moments that don’t really add much to the story but create a bittersweet atmosphere of lightness and nostalgia. I did very much like the sense of intimacy created by the expert direction and fine acting. And of course I was very pleased by the costumes, décors and landscapes. Beautiful people living in beautiful places and wearing beautiful clothes are all it takes to win me over. NostalgiaKnight Great analysis, I shall give your writing skills a plause! I was also expecting something along the lines of Gone with the Wind(which, btw is one of my all time loved ones) and thus I was disappointed too, in a sense. I should add that I was not new to Visconti’s direction, as I had seen “Senso” with Alida Valli, which while smaller in scope, is much more of an epic journey (I reccomend you to watch it, given your taste). It’s nice to read about what you like in movies, I think we have similiar tastes. Are you familiar with other Visconti’s works like Ludwig? Did you see the empress Sissi trilogy? Those are very good picks for costume porn and 1860′ stories backgrounds. There is no such thing as “the Leopard” waltz scene in any of those, though.(Sissi trilogy does have amazing costumes and quite some nice balls, but the budget is much smaller and the craft is not even comparable) Prince Immanuel ♑ My line-up for Cinematogaphy is Greig Fraser (Lion) James Laxton (Moonlight) Seamus McGarvey (Nocturnal Animals) Linus Sandgren (La La Land) Bradford Young (Arrival) Lion is the weakest link. Maybe Giles Nuttens (Hell or High Water) or Rodrigo Prieto (Silence) can take Lion’s 5th slot Christophe Ok so I’ve watched the first episode: sexy and fun with a glossy ‘Gossip Girl’ feel but sadly lacking its social finesse and relentless wit. I will keep watching just to know what that uncle is up to and whether those redheaded cousins (nice comic relief btw) ever manage to hold a real job. How far are you into it (Season, Episode)? Bryce Forestieri Only seen the pilot and it’s utter trash. No redeeming qualities except that blonde from Narnia is kinda hot in that trashy, slutty way. I’m done with “good” TV so I plan to watch more. I recommend you stop wasting your time with this drivel though. Wayman Wong The Hollywood Reporter chats with Rodrigo Prieto (”Silence”), Linus Sandgren (”La La Land”), John Toll (”Billy Lynn’s Long Halftime Walk”), Charlotte Bruus Christensen (”Fences”), Bradford Young (”Arrival”) and Caleb Deschanel (”Rules Don’t Apply”). https://www.youtube.com/watch?v=9iFVM319WRg&t=30s Ferdinand The quality of the work is so obvious that it doesn’t need to be mentioned. I’m just annoyed that people don’t talk about Storaro as much they do about a lot of other cinematographers. Christophe Thank you for your very kind words! Bryce told me about ‘Senso’ a few weeks ago and I’ve been eager to watch it ever since. Apparently, it also takes place during the risorgimento but this time seen from northern Italy, Venice, still under Austrian rule. I did watch ‘Ludwig’ which left me kind of cold and bored. It’s rather odd given the extravagance of the main character. I did watch the ‘Sissi’ trilogy times and times over because it’s pretty iconic over here (France) and they show it on TV every year between Christmas and New Year, so I grew up watching it, one of my first taste of live action films. It’s very different from Viscontis’ works since it could be described as naive comedy, almost fantasy given all the liberties they took with history, but absolutely lovely and enchanting: a real-life fairy tale princess story! In a similar genre, there’s also ‘Mädchenjahre einer Königin’ (‘The Story of Vickie’ aka ‘Queen Victoria in Dover’) another regal film by Ernst Marischka, starring Romy Schneider as a young Queen Victoria. It’s also a complete historical fantasy but lovely as well. NostalgiaKnight Oh you’re welcome! I thought you would be hailing from an english speaking country, so I assumed you knew nothing about Sissi and such. I saw the Queen victoria, they often make bundles that feature the sissi trilogy and that one, here. Don’t expect too much of a story insight with senso, it’s a pure and rather dry and “violent” romantic melodrama; it is oddly fast paced and eventful, given Visconti’s standard story telling. And while it is set in Venice(a city dear to my heart to the point I feel like is the most beautiful place in the whole world), the action takes place out of the city, in mainland veneto, for most of the movie, so if you’re in for some amazing Venice shot, you will be quite disappointed by how scarce those are. That said, while I loved the movie(and would rewatch it more eagerly than Gattopardo) I had issues with Alida Valli self dubbing herself in a not so great Venetian accent; that will probably be a non issue if your version is subbed or dubbed in french. I would have loved a more Venice-centered period movie, but I guess that with the city being so turistic it’s almost impossible to shoot in location, and that’s why many venice location get recreated in studios, and the few films actually shot on the island only do so for very short scenes(like Indiana Jones, Everyone says I love you, Casino Royale, and Senso) Bryce Forestieri I do prefer it to The Crown though 😉 Bryce Forestieri For my money Robert Richardson is the best working Hollywood cinematographer since Conrad Hall passed. I have never subscribed to the “Deakins’ era” view. Thing about Storaro, I think, is because his “hot streak” (i.e., The Conformist – Dick Tracy) more or less ended 27 years ago. He has sparsely worked with great directors in high profile productions since then. Beatty’s stopped working shortly after that, Bertolucci’s output diminished too (quantity and quality-wise), he’s kept doing extremely interesting work with Carlos Saura but the Spaniard isn’t also lighting it up since the early 80’s. So people assume he is a legend from the past and not a contemporary figure. There are, after all, people dying to see Spielberg, Eastwood and Scorsese silently retire into the night, imagine that. They love the young guns’ narrative. So, again, people tend not to talk about Storaro in the same sentence as Deakins, Toll, Richardson or Elswit, but alongside Willis, Wexler, Nykvist, Hall, Almendros, and Zsigmond. Hopefully Allen writes another good movie for him to shoot this year and more and more he gets back in the current conversation where he ought to be. His work in Schrader’s severely compromised Dominion is as exquisite as anything as the guys from this “era” are putting out. Claudiu Cristian Dobre Interesting! Glad it did break it, in the end! It would’ve been a bit of a shame otherwise… Claudiu Cristian Dobre Yeah, Pete “Three Votes” Hammond’s a pretty funny guy… Keifer Schultz His work on “Snow White and the Huntsman” was amazing and I thought completely overlooked that year. Fraser is a great cinematographer. He belongs on the list this year, deservedly, for his work in “Lion”. Patrick Downing It is trash Christophe I’ve only spent a few hours in Venice, on a very cold but sunny New Year’s Day. It is indeed a true jewel of a city but it would take days if not more to visit it properly. I guess the numerous tourists, the narrow streets and the water ways make it difficult to film there, but at the same time it’s a wonderful opportunity for ingenuous filmmakers to get creative and challenge their skills to show us La Serenissima and its unique lifestyle in all their glory. Aaron Reichwald I always respected your honesty mate have to ask did you miss my presence? but as always i make a late apearance but i leavbe a lastying impression to further stimulate already stimulated discussion..i confess..i always respected those who been on site as long as i have and i come to have lot o respect and admiration for what you say for what limited time i get to read it rteturning favour to you in jmost respectful way in honor of you being honest bout reading all my posts time is short in our lives we do what we can if you get gist of what i say i get gist what you say then that all that matters right> ?congrats for your obngoing commitment to awards daily ,com no i not a host member (i sure my decade plsy of loyalty and insights controbersial and on money at times may mean ryan or sasha coudl consider putting me on board their core time(but i dont have time to fo that) oop i jinxed myself now:P hope you having a great start to 2017 claudio and must ask are you french? i no idea i just guess i must go tyo europe my brother gone their twice i do confess the franchise element of star wars is overwhelming i understand if oscar wont be that couragous they wont have to be that couragouwa rhat soon to earn ym reswpect back Claudiu Cristian Dobre I was wondering where you were, a little bit… 🙂 So it’s a strategy thing – you show up a lot nearer the end than I do… (By the way, don’t think I’ve been on the site as long as you. I’m here since 2012-2013-ish.) Oh, and I’m from Romania. 🙂 I wish you a great 2017 as well! Definitely better than 2016!… Do not miss 0 Comments BEST PICTUREfeatured Quick Take: Can Hidden Figures Win Best Picture?