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Roger Deakins Leads ASC Cinematography Nominations for ‘1917’

Also scoring nominations were Robert Richardson ("Once Upon a Time in Hollywood"), Phedon Papamichael ("Ford v. Ferrari"), Rodrigo Prieto ("The Irishman"), and Lawrence Sher ("Joker").

George MacKay as Schofield in "1917," the new epic from Oscar®-winning filmmaker Sam Mendes.


Photo Credit: Universal Pictures


Roger Deakins (“1917”) will compete against theatrical cinematographers Phedon Papamichael (“Ford v Ferrari”), Rodrigo Prieto (“The Irishman”), Robert Richardson (“Once Upon a Time in Hollywood”), and Lawrence Sher (“Joker”) in the 34th annual ASC Awards. They will be held January 25 at the Ray Dolby Ballroom at Hollywood & Highland.

Additionally, competing for the indie Spotlight Award were first-time nominees Jarin Blaschke (“The Lighthouse”), Natasha Braier (“Honey Boy”), and Jasper Wolf (“Monos”).

There were no surprises among the five theatrical nominees, which are all Best Picture Oscar contenders. Deakins, who finally landed his first Oscar after 14 nominations with “Blade Runner 2049,” is the frontrunner again with the bravura, one-shot achievement of Sam Mendes’ World War I thriller, “1917.” He is a four-time ASC winner (“The Shawshank Redemption,” “The Man Who Wasn’t There,” “Skyfall,” “Blade Runner 2049”), and this marks his 16th nomination.

"Once Upon a Time in Hollywood"

“Once Upon a Time in Hollywood”

Sony Pictures

Three-time Oscar winner Richardson (“Hugo,” “The Aviator,” “JFK”) earned his 11th nomination, while Papamichael and Prieto have each been recognized three times by the ASC. For Sher, this represents his first nomination.

Deakins debuted ARRI’s new Alexa Mini LF on “1917,” the lightweight, large-format camera, paired with a 40mm Signature Prime lens. This provided higher resolution and shallow depth of field in keeping with the period look of World War I photography. Richardson shot Quentin Tarantino’s love letter to Hollywood on Kodak 35mm film but with a color saturation that transcended the period look of 1969.

Meanwhile, Papamichael shot James Mangold’s Le Mans’ racing biopic with the new ARRI Alexa LF in a very classical way, in keeping with the 1966 period. Prieto used a hybrid approach to shoot Martin Scorsese’s mob epic. He used the Arricam ST and LT to shoot on Kodak 35mm film (evoking Kodachrome for the ’50s and Ektachrome for the ’60s), and the digital Red Helium to accommodate the innovative VFX de-aging from Industrial Light & Magic. And Sher shot Todd Phillips’ “Joker” origin story on the large-format ARRI 65 to convey the late ’70s period with the best looking close-ups for Joaquin Phoenix’s bravura performance.

Theatrical Release

Roger Deakins, ASC, BSC for “1917”
Phedon Papamichael, ASC, GSC for “Ford v Ferrari”
Rodrigo Prieto, ASC, AMC for “The Irishman”
Robert Richardson, ASC for “Once Upon a Time in Hollywood”
Lawrence Sher, ASC for “Joker”

Spotlight Award

Jarin Blaschke for “The Lighthouse”
Natasha Braier, ASC, ADF for “Honey Boy”
Jasper Wolf, NSC for “Monos”

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