Oppenheimer continued its dominant awards season form on Sunday night at the American Society of Cinematographers’ ASC Outstanding Achievement Awards, with Hoyte van Hoytema taking the prize for theatrical feature film.
The win was Van Hoytema’s first ASC award, after previously being nominated for Dunkirk (2018) and Tinker Tailor Soldier Spy (2012).
On the TV side, The Marvelous Mrs. Maisel‘s M. David Mullen won the ASC prize for an episode of one hour of television, Barry‘s Carl Herse won for an episode of a half-hour series and Boston Strangler‘s Ben Kutchins won for limited or anthology series or motion picture made for TV.
Also on the night, Spike Lee was awarded the ASC Board of Governors Award and Don Burgess, whose work includes Academy Award-winning best picture Forrest Gump, received the Lifetime Achievement Award. Additionally, Steven Fierberg accepted the ASC Career Achievement in Television Award, and Amy Vincent...
The win was Van Hoytema’s first ASC award, after previously being nominated for Dunkirk (2018) and Tinker Tailor Soldier Spy (2012).
On the TV side, The Marvelous Mrs. Maisel‘s M. David Mullen won the ASC prize for an episode of one hour of television, Barry‘s Carl Herse won for an episode of a half-hour series and Boston Strangler‘s Ben Kutchins won for limited or anthology series or motion picture made for TV.
Also on the night, Spike Lee was awarded the ASC Board of Governors Award and Don Burgess, whose work includes Academy Award-winning best picture Forrest Gump, received the Lifetime Achievement Award. Additionally, Steven Fierberg accepted the ASC Career Achievement in Television Award, and Amy Vincent...
- 3/4/2024
- by Abid Rahman
- The Hollywood Reporter - Movie News
Refresh for latest: Oppenheimer continued its romp through awards season by winning the top film prize at the American Society of Cinematographers’ 38th annual ASC Awards, which were handed out Sunday night at the Beverly Hilton. See the winners list below.
Hoyte van Hoytema won for Oppenheimer, which is up for Best Cinematography at the Oscars next weekend. He will vie against the same quartet he beat for the ASC prize: Edward Lachman for El Conde, Matthew Libatique for Maestro, Rodrigo Prieto for Killers of the Flower Moon and Robbie Ryan, Poor Things (Searchlight).
The group’s film winner has gone on to claim the Academy Award nearly half of the time — 17 times in its 37 years — but not last year. Mandy Walker won the ASC’s top film prize in 2023, but the Academy Award went to James Friend for All Quiet on the Western Front.
Related: Ace Eddie Awards: ‘Oppenheimer...
Hoyte van Hoytema won for Oppenheimer, which is up for Best Cinematography at the Oscars next weekend. He will vie against the same quartet he beat for the ASC prize: Edward Lachman for El Conde, Matthew Libatique for Maestro, Rodrigo Prieto for Killers of the Flower Moon and Robbie Ryan, Poor Things (Searchlight).
The group’s film winner has gone on to claim the Academy Award nearly half of the time — 17 times in its 37 years — but not last year. Mandy Walker won the ASC’s top film prize in 2023, but the Academy Award went to James Friend for All Quiet on the Western Front.
Related: Ace Eddie Awards: ‘Oppenheimer...
- 3/4/2024
- by Erik Pedersen
- Deadline Film + TV
“Oppenheimer” cinematographer Hoyte van Hoytema won Feature Film at the 38th ASC Awards, March 3 at the Beverly Hilton Hotel. The Oscar favorite beat the other four Oscar nominees: “Killers of the Flower Moon,” “Maestro,” Poor Things,” and “El Conde”.
This marked van Hoytema’s first ASC win after three nominations (including “Dunkirk” and “Tinker Tailor Soldier Spy”) and positions the Dutch-Swedish cinematographer for his first Oscar win. Significantly, “Oppenheimer” represents the culmination of his experimental IMAX collaboration with director Christopher Nolan. The duo achieved a new kind of intimate spectacle with this psychological thriller about physicist J. Robert Oppenheimer (Best Actor nominee Cillian Murphy), the “father of the atomic bomb.” Van Hoytema used the large-format IMAX camera to explore the landscape of faces; namely, Oppenheimer’s in color from his perspective and Salieri-like adversary Admiral Lewis Strauss’ (Best Supporting Actor nominee Robert Downey Jr.) in black-and-white from his.
What a...
This marked van Hoytema’s first ASC win after three nominations (including “Dunkirk” and “Tinker Tailor Soldier Spy”) and positions the Dutch-Swedish cinematographer for his first Oscar win. Significantly, “Oppenheimer” represents the culmination of his experimental IMAX collaboration with director Christopher Nolan. The duo achieved a new kind of intimate spectacle with this psychological thriller about physicist J. Robert Oppenheimer (Best Actor nominee Cillian Murphy), the “father of the atomic bomb.” Van Hoytema used the large-format IMAX camera to explore the landscape of faces; namely, Oppenheimer’s in color from his perspective and Salieri-like adversary Admiral Lewis Strauss’ (Best Supporting Actor nominee Robert Downey Jr.) in black-and-white from his.
What a...
- 3/4/2024
- by Bill Desowitz
- Indiewire
Hoyte Van Hoytema has taken top honors at the 38th annual American Society of Cinematographers Awards for his work on “Oppenheimer.”
Van Hoytema topped a field that included Edward Lachman for “El Conde, Matthew Libatique for “Maestro,” Rodrigo Prieto for “Killers of the Flower Moon” and Robbie Ryan for “Poor Things.”
The awards were handed out Sunday night at the Beverly Hilton Hotel with Ed Helms hosting the festivities.
All five theatrical feature film nominees are also nominated for best cinematography at the Oscars.
In its 38-year history, only 17 have gone on to win the Oscar. Last year, Mandy Walker made history when she became the first woman to win an ASC award for her work on “Elvis.” The Academy Award ultimately went to James Friend for “All Quiet on the Western Front.”
On the TV side, winners included Carl Herse for “Barry” and Ben Kutchins for “Boston Strangler.”
Van...
Van Hoytema topped a field that included Edward Lachman for “El Conde, Matthew Libatique for “Maestro,” Rodrigo Prieto for “Killers of the Flower Moon” and Robbie Ryan for “Poor Things.”
The awards were handed out Sunday night at the Beverly Hilton Hotel with Ed Helms hosting the festivities.
All five theatrical feature film nominees are also nominated for best cinematography at the Oscars.
In its 38-year history, only 17 have gone on to win the Oscar. Last year, Mandy Walker made history when she became the first woman to win an ASC award for her work on “Elvis.” The Academy Award ultimately went to James Friend for “All Quiet on the Western Front.”
On the TV side, winners included Carl Herse for “Barry” and Ben Kutchins for “Boston Strangler.”
Van...
- 3/4/2024
- by Jazz Tangcay
- Variety Film + TV
The American Society of Cinematographers has unveiled the nominations for its 38th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography.
The society’s marquee Theatrical Feature Film nominees are chock-full of awards-season favorite pics, with one surprise. Edward Lachman is up for the Netflix pic El Conde, joining the likes of Matthew Libatique for Maestro, Rodrigo Prieto for Killers of the Flower Moon, Robbie Ryan for Poor Things, Hoyte van Hoytema for Oppenheimer.
Prieto also lensed the year’s No. 1 movie, Barbie, but missed the ASC cut today.
The group’s film winner has gone on to claim the Academy Award nearly half of the time — 17 times in its 37 years — but not last year. Mandy Walker won the ASC’s top film prize in 2023, but the Academy Award went to James Friend for All Quiet on the Western Front.
On the small-screen front,...
The society’s marquee Theatrical Feature Film nominees are chock-full of awards-season favorite pics, with one surprise. Edward Lachman is up for the Netflix pic El Conde, joining the likes of Matthew Libatique for Maestro, Rodrigo Prieto for Killers of the Flower Moon, Robbie Ryan for Poor Things, Hoyte van Hoytema for Oppenheimer.
Prieto also lensed the year’s No. 1 movie, Barbie, but missed the ASC cut today.
The group’s film winner has gone on to claim the Academy Award nearly half of the time — 17 times in its 37 years — but not last year. Mandy Walker won the ASC’s top film prize in 2023, but the Academy Award went to James Friend for All Quiet on the Western Front.
On the small-screen front,...
- 1/11/2024
- by Erik Pedersen
- Deadline Film + TV
“El Conde,” “Killers of the Flower Moon,” “Maestro,” “Poor Things,” and “Oppenheimer” were nominated by the American Society of Cinematographers (ASC) for outstanding achievement in theatrical film cinematography. Winners will be announced during the 38th Annual ASC Awards ceremony on March 3 at the Beverly Hilton in Beverly Hills, California; the event will also be live-streamed worldwide on theasc.com.
On the television side, the ASC singled out episodes of “Barry,” “The Bear,” and the “Marvelous Mrs. Maisel” alongside sci-fi stalwarts “Star Trek: Strange New Worlds” and “Foundation,” among others. The nominees for best anthology or limited series included episodes of “George and Tammy” and “Lessons in Chemistry” as well as made-for-tv movie “Boston Strangler.”
The ASC also singled out three documentaries: the first episode of the docu-series “Murder in Big Horn,” as well as the films “King Coal” and “Kokomo City.”
Below is the full list of nominations for the...
On the television side, the ASC singled out episodes of “Barry,” “The Bear,” and the “Marvelous Mrs. Maisel” alongside sci-fi stalwarts “Star Trek: Strange New Worlds” and “Foundation,” among others. The nominees for best anthology or limited series included episodes of “George and Tammy” and “Lessons in Chemistry” as well as made-for-tv movie “Boston Strangler.”
The ASC also singled out three documentaries: the first episode of the docu-series “Murder in Big Horn,” as well as the films “King Coal” and “Kokomo City.”
Below is the full list of nominations for the...
- 1/11/2024
- by Sarah Shachat
- Indiewire
Cinematographer Rodrigo Prieto’s lensing of Martin Scorsese’s drama Killers of the Flower Moon and Robbie Ryan’s photography of Yorgos Lanthimos’ fantasy Poor Things are among the nominees in the feature competition of the 2024 American Society of Cinematographers Awards, which will be held March 3 at the Beverly Hilton.
They are nominated alongside Edward Lachman, for Pablo Larraín’s El Conde; Matthew Libatique for Bradley Cooper’s Leonard Berstein drama Maestro; and Hoyte van Hoytema for Christopher Nolan’s biopic Oppenheimer. All five Oscar-nominated DPs have been previously nominated in this ASC category and each are seeking their first win. Lachman, whose previous credits include Carol and Far from Heaven, was the ASC’s 2017 Lifetime Achievement Award winner. This year, Prieto’s work also includes Greta Gerwig’s Barbie.
A year ago, Elvis cinematographer Mandy Walker became the first woman to win the ASC feature competition. All Quiet on...
They are nominated alongside Edward Lachman, for Pablo Larraín’s El Conde; Matthew Libatique for Bradley Cooper’s Leonard Berstein drama Maestro; and Hoyte van Hoytema for Christopher Nolan’s biopic Oppenheimer. All five Oscar-nominated DPs have been previously nominated in this ASC category and each are seeking their first win. Lachman, whose previous credits include Carol and Far from Heaven, was the ASC’s 2017 Lifetime Achievement Award winner. This year, Prieto’s work also includes Greta Gerwig’s Barbie.
A year ago, Elvis cinematographer Mandy Walker became the first woman to win the ASC feature competition. All Quiet on...
- 1/11/2024
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
“Oppenheimer,” “Maestro” and “Killers of the Flower Moon” are among the films that received nominations for the American Society of Cinematographers Awards.
The ASC Award nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking.
Rounding out the feature film nominations are “El Conde” (Edward Lachman) and “Poor Things” (Robbie Ryan).
In television, “The Bear,” “Winning Time: The Rise of the Lakers Dynasty” and “The Marvelous Mrs. Maisel” were among the nominated series.
Last year’s feature film winner Mandy Walker made history when she became the first woman to win the ASC Award for her work on Baz Luhrmann’s “Elvis.” However, she did not go on to win the cinematography Oscar, which went to “All Quiet on the Western Front.” Still, seven of the past 11 ASC winners went on to win the Oscar for best cinematography.
The ASC Award...
The ASC Award nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking.
Rounding out the feature film nominations are “El Conde” (Edward Lachman) and “Poor Things” (Robbie Ryan).
In television, “The Bear,” “Winning Time: The Rise of the Lakers Dynasty” and “The Marvelous Mrs. Maisel” were among the nominated series.
Last year’s feature film winner Mandy Walker made history when she became the first woman to win the ASC Award for her work on Baz Luhrmann’s “Elvis.” However, she did not go on to win the cinematography Oscar, which went to “All Quiet on the Western Front.” Still, seven of the past 11 ASC winners went on to win the Oscar for best cinematography.
The ASC Award...
- 1/11/2024
- by Jazz Tangcay
- Variety Film + TV
“Barry” will compete for the fourth and final time at the 2023 Emmys with its last season. The HBO tragicomedy has had a successful awards showing throughout its entire run, with star and co-showrunner Bill Hader nabbing two Emmys for acting (2018 and ’19) and Henry Winkler finally claiming his first Primetime trophy (2018). Even though Season 4 nabbed “Barry’s” lowest nomination tally at the Emmys, it still sustained double digits with 11 bids, including Best Comedy Series, as part of HBO’s total of the most noms for a network at 123. Read on for a closer look at Barry’s 11 Emmy nominations for Season 4.
In the comedy series race, “Barry” is the only HBO program competing. With 11 nominations, it is tied with Hulu’s “Only Murders in the Building,” and is surpassed in sequence by Netflix’s “Wednesday” at 12, FX’s “The Bear” at 13, Amazon Prime Video’s “The Marvelous Mrs. Maisel” at 14 and...
In the comedy series race, “Barry” is the only HBO program competing. With 11 nominations, it is tied with Hulu’s “Only Murders in the Building,” and is surpassed in sequence by Netflix’s “Wednesday” at 12, FX’s “The Bear” at 13, Amazon Prime Video’s “The Marvelous Mrs. Maisel” at 14 and...
- 8/13/2023
- by Christopher Tsang
- Gold Derby
“It was more like shooting a movie than a TV series,” declares cinematographer Carl Herse about the final season of HBO’s dark comedy “Barry.” He worked on all eight episodes of the show’s final season alongside co-creator and star Bill Hader, who directed all of the installments. For his work this season, he is nominated for Best Cinematography for a Single Camera Series, his second consecutive nomination in that category. In an exclusive interview with Gold Derby (watch the video above), Herse describes working side by side with Hader on the Emmy-winning show’s final season.
Working with same director on the whole season of a show, Herse argues, streamlined the experience of filming. “For us it was a very clean way of working because we had total control,” he says. “We have a very similar sensibility, creatively. So we are able to attack the whole season as this one long story.
Working with same director on the whole season of a show, Herse argues, streamlined the experience of filming. “For us it was a very clean way of working because we had total control,” he says. “We have a very similar sensibility, creatively. So we are able to attack the whole season as this one long story.
- 7/27/2023
- by Tony Ruiz
- Gold Derby
For the final season of Barry, cinematographer Carl Herse had the opportunity to work alongside only one director, Bill Hader, for the entire season. After an escape from prison midseason, the story jumps forward 10 years, which presented an interesting challenge for Herse, who needed to visually “express that time passed, but still make the show feel like Barry.” Their solution was to focus on Barry (Hader) and Sally (Sarah Goldberg), along with their son, rather than all of the major characters, and build out from there. Although ending the show is bittersweet for Herse, he says he couldn’t be happier with how it ends.
Sarah Goldberg, Zachary Golinger and Bill Hader in ‘Barry’s series finale
Deadline: What are the biggest differences between your work on season three and season four?
Carl Herse: The biggest difference between our work on the two seasons is that we have only...
Sarah Goldberg, Zachary Golinger and Bill Hader in ‘Barry’s series finale
Deadline: What are the biggest differences between your work on season three and season four?
Carl Herse: The biggest difference between our work on the two seasons is that we have only...
- 6/19/2023
- by Ryan Fleming
- Deadline Film + TV
Spoiler Alert: This interview contains spoilers for “Tricky Legacies,” the fifth episode of “Barry” Season 4.
At the end of last week’s “Barry,” we meet John (Zachary Golinger). He’s an innocent young boy, but his existence is completely terrifying: It means that Barry (Bill Hader) and Sally (Sarah Goldberg) have brought a child into their violent, conspiratorial world. But John is being raised against a rural Midwestern landscape that matches Barry’s hallucinations from prison at the beginning of Season 4 — as though there’s a chance he’s a figment of Barry’s imagination, too.
In Episode 5, we re-meet Barry and Sally, who have aged considerably, and bear new accents and names. They’re raising John as a devout Christian, with Barry actually seeming to believe what he’s preaching. Sally, on the other hand, doesn’t have the same delusions. She puts on a messy brunette wig every...
At the end of last week’s “Barry,” we meet John (Zachary Golinger). He’s an innocent young boy, but his existence is completely terrifying: It means that Barry (Bill Hader) and Sally (Sarah Goldberg) have brought a child into their violent, conspiratorial world. But John is being raised against a rural Midwestern landscape that matches Barry’s hallucinations from prison at the beginning of Season 4 — as though there’s a chance he’s a figment of Barry’s imagination, too.
In Episode 5, we re-meet Barry and Sally, who have aged considerably, and bear new accents and names. They’re raising John as a devout Christian, with Barry actually seeming to believe what he’s preaching. Sally, on the other hand, doesn’t have the same delusions. She puts on a messy brunette wig every...
- 5/8/2023
- by Selome Hailu
- Variety Film + TV
If nothing else, “Barry” Season 4 has cemented director Bill Hader’s status as somehow the heir to both Otto Preminger and Jacques Tati. Hader and cinematographer Carl Herse’s camera, like some unholy combination of “Playtime” and “Anatomy of a Murder,” continually embrace patient, wide takes in which horror and comedy unfold one after the other after the other, staying however long it needs to in order to catch the characters out.
The length of a moment and the slow arc of the camera can themselves justify a change in location or a transition, as in Barry’s flashes to his past and to the world he desires in Episode 2, “the bestest place on earth.” But as the camerawork of the show has adapted to Hader’s preference for giving the characters enough rope, so has every other aspect of “Barry” adapted.
For Season 4, this presented production designer Eric Schoonover...
The length of a moment and the slow arc of the camera can themselves justify a change in location or a transition, as in Barry’s flashes to his past and to the world he desires in Episode 2, “the bestest place on earth.” But as the camerawork of the show has adapted to Hader’s preference for giving the characters enough rope, so has every other aspect of “Barry” adapted.
For Season 4, this presented production designer Eric Schoonover...
- 4/22/2023
- by Sarah Shachat
- Indiewire
“Elvis” director of photography Mandy Walker won Feature Film at the ASC Awards March 5, when the American Society of Cinematographers handed out its honors at the 37th annual awards at the Beverly Hilton Hotel.
Walker’s win in the feature film category could prove prescient; 17 out of the last 36 years found the ASC film winner winning the Academy Award. But it’s worth noting that Oscar nominees “Tár” and “All Quiet on the Western Front” were not among the ASC nominees.
In the TV categories, “The Old Man” took awards for Motion Picture, Limited Series, or Pilot Made for Television and Episode of a One-Hour Television Series – Commercial, while “Barry” won Episode of a Half-Hour Television Series for its Season 3 finale and “The Marvelous Mrs. Maisel” won Episode of a One-Hour Television Series – Non-Commercial for its Season 4 finale.
In addition, several honorary awards were handed out. Egot winner Viola Davis...
Walker’s win in the feature film category could prove prescient; 17 out of the last 36 years found the ASC film winner winning the Academy Award. But it’s worth noting that Oscar nominees “Tár” and “All Quiet on the Western Front” were not among the ASC nominees.
In the TV categories, “The Old Man” took awards for Motion Picture, Limited Series, or Pilot Made for Television and Episode of a One-Hour Television Series – Commercial, while “Barry” won Episode of a Half-Hour Television Series for its Season 3 finale and “The Marvelous Mrs. Maisel” won Episode of a One-Hour Television Series – Non-Commercial for its Season 4 finale.
In addition, several honorary awards were handed out. Egot winner Viola Davis...
- 3/6/2023
- by Mark Peikert
- Indiewire
Elvis cinematographer Mandy Walker cracked a glass ceiling on Sunday, becoming the first woman to win the American Society of Cinematographers Award in the feature competition during the 37th ASC Awards.
The crowd at the Beverly Hilton’s International Ballroom erupted with applause and gave Walker a lengthy standing ovation as her name was called.
“This is for all the women that win this award after me,” she said to enthusiastic applause, and she looked for to more women breaking more glass ceilings. “Thijs is an inclusive, representative community,” she said, adding, “I didn’t cry, I thought I was going to cry.”
She thanked Elvis director Baz Luhrmann for allowing her to “create magic with him;” Catherine Martin for her “support and inspiration; and her crew for “dancing with the camera and flying with the camera” during Austin Butler’s performance as Elvis.
Walker’s bold lensing of Elvis...
The crowd at the Beverly Hilton’s International Ballroom erupted with applause and gave Walker a lengthy standing ovation as her name was called.
“This is for all the women that win this award after me,” she said to enthusiastic applause, and she looked for to more women breaking more glass ceilings. “Thijs is an inclusive, representative community,” she said, adding, “I didn’t cry, I thought I was going to cry.”
She thanked Elvis director Baz Luhrmann for allowing her to “create magic with him;” Catherine Martin for her “support and inspiration; and her crew for “dancing with the camera and flying with the camera” during Austin Butler’s performance as Elvis.
Walker’s bold lensing of Elvis...
- 3/6/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
The American Society of Cinematographers handed out its best visual storytelling in feature film award to “Elvis” on Sunday night, and in doing so, Mandy Walker has become the first woman to win the top prize in the society’s history.
Walker triumphed over Greig Fraser (“The Batman”), Darius Khondji, Claudio Miranda (“Top Gun: Maverick” and Roger Deakins (“Empire of Light”) in a very competitive race.
During her speech, she dedicated her win to “all the women who will win the award after me,” and was met with rapturous applause. She hoped for more women to break glass ceilings and continued, “This is an inclusive representative community. Let us all strive for success and show our mission and create art.”
Walker‘s triumph comes as Oscar voting ends on March 7, where she is also nominated. She became only the third woman ever nominated for cinematography for her work on “Elvis.
Walker triumphed over Greig Fraser (“The Batman”), Darius Khondji, Claudio Miranda (“Top Gun: Maverick” and Roger Deakins (“Empire of Light”) in a very competitive race.
During her speech, she dedicated her win to “all the women who will win the award after me,” and was met with rapturous applause. She hoped for more women to break glass ceilings and continued, “This is an inclusive representative community. Let us all strive for success and show our mission and create art.”
Walker‘s triumph comes as Oscar voting ends on March 7, where she is also nominated. She became only the third woman ever nominated for cinematography for her work on “Elvis.
- 3/6/2023
- by Jazz Tangcay
- Variety Film + TV
Mandy Walker has won the American Society of Cinematographers feature-film award for “Elvis,” making her the first woman ever to win that award. She is only the third female nominee in the category, after Rachel Morrison for “Mudbound” in 2018 and Ari Wegner for “The Power of the Dog” last year.
Walker now has the chance to become the first woman to win the Oscar for cinematography, where she is also the third female nominee in the gender-neutral Oscars category that took the longest to nominate a woman. Her competitors at the Oscars include two who were also nominated by the ASC, Roger Deakins for “Empire of Light” and Darius Khondji for “Bardo, False Chronicle of a Handful of Truth,” along with James Friend for “All Quiet on the Western Front” and Florian Hoffmeister for “Tar.”
“This is for all the women who will win the award after me, and for...
Walker now has the chance to become the first woman to win the Oscar for cinematography, where she is also the third female nominee in the gender-neutral Oscars category that took the longest to nominate a woman. Her competitors at the Oscars include two who were also nominated by the ASC, Roger Deakins for “Empire of Light” and Darius Khondji for “Bardo, False Chronicle of a Handful of Truth,” along with James Friend for “All Quiet on the Western Front” and Florian Hoffmeister for “Tar.”
“This is for all the women who will win the award after me, and for...
- 3/6/2023
- by Steve Pond and Jason Clark
- The Wrap
The American Society of Cinematographers is handing out its 37th annual ASC Awards tonight at the Beverly Hilton, and Deadline is posting the winners as they’re announced. See the list below.
The night’s first prize went to Carl Herse for HBO’s Barry, which won for Episode of a Half-Hour Series.
The society’s nominees for its marquee Theatrical Feature Film prize are Roger Deakins for Empire of Light, Greig Fraser for The Batman, Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis. Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar.
The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years. Bardo, Elvis and Empire of Light will vie for the Best Cinematography Oscar on March 12 against All Quiet on the Western Front (James Friend...
The night’s first prize went to Carl Herse for HBO’s Barry, which won for Episode of a Half-Hour Series.
The society’s nominees for its marquee Theatrical Feature Film prize are Roger Deakins for Empire of Light, Greig Fraser for The Batman, Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis. Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar.
The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years. Bardo, Elvis and Empire of Light will vie for the Best Cinematography Oscar on March 12 against All Quiet on the Western Front (James Friend...
- 3/6/2023
- by Erik Pedersen
- Deadline Film + TV
The American Society of Cinematographers has unveiled the nominations for its 37th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography.
The society’s marquee Theatrical Feature Film nominees are Roger Deakins for Empire of Light, Greig Fraser for The Batman , Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis.
Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar. The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years.
On the small-screen front, the only program that made a return trip to the nominations was Hacks, which again is up for Episode of a Half-Hour Television Series.
Here are the nominees for the 2023 ASC Awards:
Theatrical Feature Film Nominees
Roger Deakins, Empire of Light (Searchlight Pictures)
Greig Fraser, The Batman (Warner Bros.)
Darius Khondji,...
The society’s marquee Theatrical Feature Film nominees are Roger Deakins for Empire of Light, Greig Fraser for The Batman , Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis.
Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar. The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years.
On the small-screen front, the only program that made a return trip to the nominations was Hacks, which again is up for Episode of a Half-Hour Television Series.
Here are the nominees for the 2023 ASC Awards:
Theatrical Feature Film Nominees
Roger Deakins, Empire of Light (Searchlight Pictures)
Greig Fraser, The Batman (Warner Bros.)
Darius Khondji,...
- 1/9/2023
- by Erik Pedersen
- Deadline Film + TV
The cinematographers of “The Batman,” “Bardo, False Chronicle of a Handful of Truths,” “Elvis,” “Empire of Light” and “Top Gun: Maverick” have received nominations from the American Society of Cinematographers, the ASC announced on Monday.
Last year’s winner, “Dune” cinematographer Greig Fraser, was nominated again for “The Batman.” Darius Khondji received the nomination for “Bardo,” Claudio Miranda for “Top Gun,” Mandy Walker for “Elvis” and cinematography legend Roger Deakins received his record 17th ASC nomination for “Empire of Light.”
The nomination makes “Elvis” cinematographer Mandy Walker only the third woman to be nominated in the top feature-film category by the ASC, after Rachel Morrison for “Black Panther” and Ari Wegner for “The Power of the Dog.” No female cinematographer has ever won in the category.
Also Read:
Cinematographer Roger Deakins Fears That Moviegoing Has ‘Changed Beyond Repair’
The nominations bypassed “Avatar: The Way of Water,” “The Fabelmans,” “Tar” and “Everything Everywhere All at Once,...
Last year’s winner, “Dune” cinematographer Greig Fraser, was nominated again for “The Batman.” Darius Khondji received the nomination for “Bardo,” Claudio Miranda for “Top Gun,” Mandy Walker for “Elvis” and cinematography legend Roger Deakins received his record 17th ASC nomination for “Empire of Light.”
The nomination makes “Elvis” cinematographer Mandy Walker only the third woman to be nominated in the top feature-film category by the ASC, after Rachel Morrison for “Black Panther” and Ari Wegner for “The Power of the Dog.” No female cinematographer has ever won in the category.
Also Read:
Cinematographer Roger Deakins Fears That Moviegoing Has ‘Changed Beyond Repair’
The nominations bypassed “Avatar: The Way of Water,” “The Fabelmans,” “Tar” and “Everything Everywhere All at Once,...
- 1/9/2023
- by Steve Pond
- The Wrap
Mandy Walker’s bold lensing of Baz Luhrmann’s Elvis made her the third woman to ever be nominated in the feature category of the American Society of Cinematographers’ ASC Awards, which announced it nominations on Monday.
The feature nominees in the competitive 37th ASC Awards race are Walker; Roger Deakins for Empire of Light; Greig Fraser for The Batman; Darius Khondji for Bardo, False Chronicle of a Handful of Truths; and Claudio Miranda for Top Gun: Maverick.
Walker is now in a select group of just three women who have been nominated in the ASC feature competition. Rachel Morrison was nominated in 2018 for Mudbound, followed by Ari Wegner, who was nominated in 2022 for The Power of the Dog. Morrison and Wegner both went on to earn historic Oscar nominations.
With his work on Sam Mendes’ drama Empire of Light, Deakins extends his record number of ASC feature nominations to a remarkable 17 noms.
The feature nominees in the competitive 37th ASC Awards race are Walker; Roger Deakins for Empire of Light; Greig Fraser for The Batman; Darius Khondji for Bardo, False Chronicle of a Handful of Truths; and Claudio Miranda for Top Gun: Maverick.
Walker is now in a select group of just three women who have been nominated in the ASC feature competition. Rachel Morrison was nominated in 2018 for Mudbound, followed by Ari Wegner, who was nominated in 2022 for The Power of the Dog. Morrison and Wegner both went on to earn historic Oscar nominations.
With his work on Sam Mendes’ drama Empire of Light, Deakins extends his record number of ASC feature nominations to a remarkable 17 noms.
- 1/9/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Curated by the IndieWire Crafts team, Craft Considerations is a platform for filmmakers to talk about recent work we believe is worthy of awards consideration. In partnership with HBO, for this edition we look at how director and star Bill Hader, cinematographer Carl Herse, and stunt coordinator Wade Allen have pushed the filmmaking of “Barry” to new heights.
Nothing could be in danger of looking more visually plain and unshow-y than the travails of wannabe actors in Los Angeles — even those who are reluctant hitmen. But “Barry” creator Bill Hader has always loved movies where “You’re in such a unique world that when it’s over, you’re stuck in that world.” Hader told IndieWire that he approaches filmmaking for the show from as cinematic a perspective he can, using image and especially sound to capture the thought processes and emotional plights of characters trapped by their own bad choices.
Nothing could be in danger of looking more visually plain and unshow-y than the travails of wannabe actors in Los Angeles — even those who are reluctant hitmen. But “Barry” creator Bill Hader has always loved movies where “You’re in such a unique world that when it’s over, you’re stuck in that world.” Hader told IndieWire that he approaches filmmaking for the show from as cinematic a perspective he can, using image and especially sound to capture the thought processes and emotional plights of characters trapped by their own bad choices.
- 8/11/2022
- by Sarah Shachat
- Indiewire
Spoiler Alert: Do not read if you haven’t watched “Starting Now,” the Season 3 finale of “Barry.”
Season 3 of “Barry” was the dark comedy’s darkest yet, which was achieved in no small part thanks to cinematographer Carl Herse.
“One of our big references is the Coen brothers’ balance between tragedy and comedy and how they find that line, allowing something to be meaningful but also comical and absurd at the same time,” Herse says about working with Bill Hader, who co-created the show, stars in the title role and directs many episodes, most recently including Season 3 finale “Starting Now.”
“Bill is very specific as a director. A lot of times on TV shows, you have showrunners who have a writing background but are not necessarily as visual, episodic directors who are trying to get many coverage options for the showrunners to decide what direction they want to go with,...
Season 3 of “Barry” was the dark comedy’s darkest yet, which was achieved in no small part thanks to cinematographer Carl Herse.
“One of our big references is the Coen brothers’ balance between tragedy and comedy and how they find that line, allowing something to be meaningful but also comical and absurd at the same time,” Herse says about working with Bill Hader, who co-created the show, stars in the title role and directs many episodes, most recently including Season 3 finale “Starting Now.”
“Bill is very specific as a director. A lot of times on TV shows, you have showrunners who have a writing background but are not necessarily as visual, episodic directors who are trying to get many coverage options for the showrunners to decide what direction they want to go with,...
- 6/15/2022
- by Selome Hailu
- Variety Film + TV
Beware Of Spoilers In This Article And Video About Season 1.
Even “The Afterparty” creator Christopher Miller expresses surprise at how quickly devoted fans of the Apple TV+ comedy murder mystery were able to unearth some of the clues and puzzles embedded deep within the show.
“There’s a group of folks on Reddit that got really into all the hidden coded messages and puzzles and ciphers that were nested into the show,” Miller tells Gold Derby during a special “Making of” roundtable discussion about the process behind “The Afterparty.” “Because it was a real pain in the butt doing some of these.” Watch the exclusive video interview above.
Case in point: In the show’s euphoric third episode, titled “Yasper” after the character played by Ben Schwartz, a quick shot of a T-shirt led to a complicated cipher that when decoded ruled out Detective Danner (Tiffany Haddish) as a suspect...
Even “The Afterparty” creator Christopher Miller expresses surprise at how quickly devoted fans of the Apple TV+ comedy murder mystery were able to unearth some of the clues and puzzles embedded deep within the show.
“There’s a group of folks on Reddit that got really into all the hidden coded messages and puzzles and ciphers that were nested into the show,” Miller tells Gold Derby during a special “Making of” roundtable discussion about the process behind “The Afterparty.” “Because it was a real pain in the butt doing some of these.” Watch the exclusive video interview above.
Case in point: In the show’s euphoric third episode, titled “Yasper” after the character played by Ben Schwartz, a quick shot of a T-shirt led to a complicated cipher that when decoded ruled out Detective Danner (Tiffany Haddish) as a suspect...
- 6/13/2022
- by Christopher Rosen and Joyce Eng
- Gold Derby
The elevator pitch for “The Afterparty” was pretty straightforward. It was everything that came after that got complicated.
“Just murder mystery, where every episode is a different film genre, told in a ‘Rashomon’ kind of style,” Carl Herse, the series’ cinematographer, said in the latest installment of TheWrap’s “How I Did It” video series, sponsored by Apple TV+. “As a cinematographer, it’s like the perfect project to be involved with.”
Co-creator, showrunner and director Chris Miller added that he was excited to juggle a number of different movie styles in the same show.
When an attendee of a high school reunion dies mysteriously, all the guests of the titular afterparty become suspects. Each brings a unique point of view (and genre) to their version of the night’s events. Practically, that meant that certain scenes would be shot multiple times in very different ways.
“There was a scene...
“Just murder mystery, where every episode is a different film genre, told in a ‘Rashomon’ kind of style,” Carl Herse, the series’ cinematographer, said in the latest installment of TheWrap’s “How I Did It” video series, sponsored by Apple TV+. “As a cinematographer, it’s like the perfect project to be involved with.”
Co-creator, showrunner and director Chris Miller added that he was excited to juggle a number of different movie styles in the same show.
When an attendee of a high school reunion dies mysteriously, all the guests of the titular afterparty become suspects. Each brings a unique point of view (and genre) to their version of the night’s events. Practically, that meant that certain scenes would be shot multiple times in very different ways.
“There was a scene...
- 6/10/2022
- by Libby Hill
- The Wrap
“It’s really the darkest place the show has ever been,” exclaims Carl Herse about the third season of HBO’s crime comedy “Barry.” He serves as cinematographer for five of the season’s eight episodes, all of which were directed by the show’s Emmy-winning star, writer and creator Bill Hader. In our exclusive video interview (watch above), he discusses his collaboration with Hader and how he uses the camera to support the storytelling.
Herse argues that the joy of the current season of “Barry” lies in the show’s willingness to drift into darker territory, particularly as the season progresses. “For the first six episodes, we’re still dipping our toe between comedy and tragedy,” he explains. “Bill always liked to say that fun stops in episode six and then in seven and eight, the chickens really come home to roost.”
SEESarah Goldberg interview: ‘Barry’
He describes several...
Herse argues that the joy of the current season of “Barry” lies in the show’s willingness to drift into darker territory, particularly as the season progresses. “For the first six episodes, we’re still dipping our toe between comedy and tragedy,” he explains. “Bill always liked to say that fun stops in episode six and then in seven and eight, the chickens really come home to roost.”
SEESarah Goldberg interview: ‘Barry’
He describes several...
- 6/8/2022
- by Tony Ruiz
- Gold Derby
“Now it officially gets dark,” Bill Hader says of the opening sequence in “Barry” Season 3 Episode 7 – as if this season hasn’t already been dark enough. But as the HBO series’ third season nears its conclusion, the story is barreling towards levels of darkness and intensity it hasn’t hit before.
That’s all by design, Hader said in TheWrap’s latest episodic interview with the co-creator, who also directed these final two episodes of the season. Barry finds himself in the custody of the father of Ryan Madison, the man he was originally sent to Los Angeles to kill in the show’s first episode. And while the Chechens actually did the dirty work, Fuches (Stephen Root) has told Ryan Madison’s dad that Barry was responsible for his son’s death, and it culminates in an emotional confrontation at the end of the episode.
“It’s painful, it’s really emotional,...
That’s all by design, Hader said in TheWrap’s latest episodic interview with the co-creator, who also directed these final two episodes of the season. Barry finds himself in the custody of the father of Ryan Madison, the man he was originally sent to Los Angeles to kill in the show’s first episode. And while the Chechens actually did the dirty work, Fuches (Stephen Root) has told Ryan Madison’s dad that Barry was responsible for his son’s death, and it culminates in an emotional confrontation at the end of the episode.
“It’s painful, it’s really emotional,...
- 6/6/2022
- by Adam Chitwood
- The Wrap
"Barry" just hit a high note. In episode six of season 3, "710N," there's a thrilling chase scene. Without fast cutting or obtrusive music, director Bill Hader uses silence, space, and distance to create an intense combination of action and dread. As Hader's character heads to a reunion with some old veteran pals, he's targeted by a dirt bike gang who are out for revenge, and the dirt bikes are almost like a manifestation of Barry's past sins chasing after him as he continues to try to outrun his past. The whole sequence is a perfect meeting between character and spectacle.
Cinematographer Carl...
The post Barry Cinematographer Carl Herse on Crafting That Wild Chase Sequence in Last Night's Episode [Interview] appeared first on /Film.
Cinematographer Carl...
The post Barry Cinematographer Carl Herse on Crafting That Wild Chase Sequence in Last Night's Episode [Interview] appeared first on /Film.
- 5/31/2022
- by Jack Giroux
- Slash Film
Cinematographer Carl Herse knows how to make comedy cinematic. This year alone, the director of photography has shown a versatility in two of the most visually appealing TV comedies in recent memory, "The Afterparty" and season 3 of "Barry." Prior to both shows, Herse shot episodes of "Black Monday," "Nathan For You," and "The Last Man on Earth."
The cinematographer joined Alec Berg and Bill Hader's acclaimed HBO series in 2019, but shutdown happened the day after the first table read. As a result, Herse spent years with the scripts. "Throughout Covid, we spent a lot of time talking, sharing movies," Herse explained. "Bill's a...
The post Barry Season 3 Cinematographer Carl Herse Talks About Leaning Into Darkness [Interview] appeared first on /Film.
The cinematographer joined Alec Berg and Bill Hader's acclaimed HBO series in 2019, but shutdown happened the day after the first table read. As a result, Herse spent years with the scripts. "Throughout Covid, we spent a lot of time talking, sharing movies," Herse explained. "Bill's a...
The post Barry Season 3 Cinematographer Carl Herse Talks About Leaning Into Darkness [Interview] appeared first on /Film.
- 5/11/2022
- by Jack Giroux
- Slash Film
Warning: Spoilers follow below for “Barry” Season 3, Episode 1
It’s been almost exactly three years since the last episode of HBO’s “Barry” aired, but from the opening shot of Season 3, it’s clear the series hasn’t missed a beat. In fact, in true “Barry” fashion, the new season moves the story and characters forward in exciting and bold ways, setting the table for a season that’s darker than what came before, with even higher stakes.
The idea to end the first episode of Season 3, titled “forgiving Jeff,” with Barry (Bill Hader) and Gene Cousineau (Henry Winkler) confronting one another was Hader’s idea early on in the writers room. “I was like, I think the episode should end with Cousineau knowing and Barry knowing that Cousteau knows,” the star, co-creator, co-showrunner, writer and director of the HBO series told TheWrap in a recent interview.
The acting class is gone,...
It’s been almost exactly three years since the last episode of HBO’s “Barry” aired, but from the opening shot of Season 3, it’s clear the series hasn’t missed a beat. In fact, in true “Barry” fashion, the new season moves the story and characters forward in exciting and bold ways, setting the table for a season that’s darker than what came before, with even higher stakes.
The idea to end the first episode of Season 3, titled “forgiving Jeff,” with Barry (Bill Hader) and Gene Cousineau (Henry Winkler) confronting one another was Hader’s idea early on in the writers room. “I was like, I think the episode should end with Cousineau knowing and Barry knowing that Cousteau knows,” the star, co-creator, co-showrunner, writer and director of the HBO series told TheWrap in a recent interview.
The acting class is gone,...
- 4/25/2022
- by Adam Chitwood
- The Wrap
A murder mystery is both the perfect and a slightly odd sandbox for a TV show. “The Afterparty” delights in playing different genres off of each other in each episode, as the audience and Detective Danner (Tiffany Haddish) watch each new potential suspect’s “mind movie” of what happened the night media phenom Xavier (Dave Franco) was murdered at his high school reunion afterparty. Different personalities get to take over the same set of events, retelling their version of the night through the lenses of everything from romcom to action flick to animation. But when the truth is finally revealed in the season finale, “The After Party” must create a final visual style: the truth.
Cinematographer Carl Herse spoke with IndieWire about creating a progression for the seven looks of the show with series creator/director Chris Miller, before uniting them in Episode 8. “We want it to all feel different,...
Cinematographer Carl Herse spoke with IndieWire about creating a progression for the seven looks of the show with series creator/director Chris Miller, before uniting them in Episode 8. “We want it to all feel different,...
- 3/11/2022
- by Sarah Shachat
- Indiewire
Carl Herse is as busy as cinematographers get! With shows like The Last Man on Earth and Barry under his belt, Herse is the man behind the camera of Apple TV+'s breakout comedy sensation, The Afterparty.
We caught up with Herse to delve into how he created the spectrum of different looks in this genre-defying murder mystery series.
Read on for the conversation here!
Mary Littlejohn: It seems like you're pretty busy these days. What are you working on right now?
Carl Herse: I just finished shooting the third season of Barry for HBO with Bill Hader. That's been a very long ongoing project. We started prepping it before Covid happened, and then we shut down.
We finally came back this past fall and just did two weeks of reshoots. I've got to color-correct this week, and it's going to air in April (April 24th). That's not too far away.
We caught up with Herse to delve into how he created the spectrum of different looks in this genre-defying murder mystery series.
Read on for the conversation here!
Mary Littlejohn: It seems like you're pretty busy these days. What are you working on right now?
Carl Herse: I just finished shooting the third season of Barry for HBO with Bill Hader. That's been a very long ongoing project. We started prepping it before Covid happened, and then we shut down.
We finally came back this past fall and just did two weeks of reshoots. I've got to color-correct this week, and it's going to air in April (April 24th). That's not too far away.
- 2/28/2022
- by Mary Littlejohn
- TVfanatic
Apple TV Plus series “The Afterparty” is, by definition, a murder mystery. But it’s also part action-thriller, police procedural, musical, rom-com — oh, and animation.
The series follows escape room designer Aniq (Sam Richardson), who earnestly attends his high school reunion hoping for a second chance at love with his old crush Zoë (Zoë Chao), but instead finds himself the primary suspect in a murder when the afterparty goes terribly wrong. When dweeb-turned-asshole pop star Xavier (Dave Franco) invites his former classmates to his glitzy home and winds up plummeting off a balcony to his death, Detective Danner (Tiffany Haddish) shows up to interview each partygoer about their motives and alibis.
Chris Miller created and wrote the series, executive producing alongside his longtime creative partner Phil Lord. Lord and Miller are the minds behind some of Hollywood’s zaniest projects, such as the wildly popular “21 Jump Street” and “Lego Movie” films,...
The series follows escape room designer Aniq (Sam Richardson), who earnestly attends his high school reunion hoping for a second chance at love with his old crush Zoë (Zoë Chao), but instead finds himself the primary suspect in a murder when the afterparty goes terribly wrong. When dweeb-turned-asshole pop star Xavier (Dave Franco) invites his former classmates to his glitzy home and winds up plummeting off a balcony to his death, Detective Danner (Tiffany Haddish) shows up to interview each partygoer about their motives and alibis.
Chris Miller created and wrote the series, executive producing alongside his longtime creative partner Phil Lord. Lord and Miller are the minds behind some of Hollywood’s zaniest projects, such as the wildly popular “21 Jump Street” and “Lego Movie” films,...
- 2/18/2022
- by Selome Hailu and Ethan Shanfeld
- Variety Film + TV
One of the main characters of Apple TV+’s “The Afterparty” creates escape rooms for a living, but it’s the show itself that is designed as an intricate puzzle box, able to support dips into genres as wildly divergent as action adventure is from black-and-white arthouse. The conceit of the show adds a little formal playfulness to its already hot gos–laced whodunit. As Detective Danner (Tiffany Haddish) asks guests at a high school reunion afterparty hosted by a just-murdered classmate and celebrity (Dave Franco), each guest recounts their nights as their individual “mind movies,” with each episode adopting a different tone and focus. But the locations for each guest’s wildly divergent recollections have to remain more or less the same. IndieWire spoke with production designer Bruce Hill to ask how he created such a versatile Rubik’s Cube of a set.
“It really took a lot of...
“It really took a lot of...
- 2/11/2022
- by Sarah Shachat
- Indiewire
A Planet Fury-approved selection of notable genre releases for November.
Rites of Spring (2011) Mpi Home Video DVD Available Now
After abducting the daughter of a wealthy socialite, a group of kidnappers seek refuge in an abandoned school in the middle of a wooded nowhere. Little do they know that they’ve chosen the hunting grounds of a ravenous creature that can only be sated by ritualistic sacrifices every spring. Writer/director Padraig Reynolds’ crime thriller/slasher hybrid received mixed reviews during its short festival run, but it’s a solidly crafted piece with some good performances and impressive cinematography by Carl Herse. The one-sheet art is a thing of beauty.
Heaven’s Gate (1981) Criterion Blu-ray and DVD Available Now
Michael Cimino’s critically panned revisionist western has slowly gained a reputation as an overlooked gem. While it’s no masterpiece, his director’s cut is far better than the confusing...
Rites of Spring (2011) Mpi Home Video DVD Available Now
After abducting the daughter of a wealthy socialite, a group of kidnappers seek refuge in an abandoned school in the middle of a wooded nowhere. Little do they know that they’ve chosen the hunting grounds of a ravenous creature that can only be sated by ritualistic sacrifices every spring. Writer/director Padraig Reynolds’ crime thriller/slasher hybrid received mixed reviews during its short festival run, but it’s a solidly crafted piece with some good performances and impressive cinematography by Carl Herse. The one-sheet art is a thing of beauty.
Heaven’s Gate (1981) Criterion Blu-ray and DVD Available Now
Michael Cimino’s critically panned revisionist western has slowly gained a reputation as an overlooked gem. While it’s no masterpiece, his director’s cut is far better than the confusing...
- 11/28/2012
- by Bradley Harding
- Planet Fury
The nominees for the 2010 Streamys were announced today. The Streamys celebrate online television programming and this year they have a fantastic line up of nominees. Last year was the Streamys debut year and the winners included high profile shows such as Dr. Horrible’s Sing-Along Blog and the exceptional Battlestar Galactica web series The Face of the Enemy.
This year there is even more competition with some really interesting content now being released on the web rather than through more traditional media routes. Two of my favourites from this year’s nominee list are the excellent Interview Project which is presented by davidlynch.com and the slightly flawed but thoroughly enjoyable Angel of Death, created by Ed Brubaker and starring Zoe Bell, which also received a DVD release last year.
The awards ceremony takes place on April 11th 2010 and the full list of nominees is listed below with handy links...
This year there is even more competition with some really interesting content now being released on the web rather than through more traditional media routes. Two of my favourites from this year’s nominee list are the excellent Interview Project which is presented by davidlynch.com and the slightly flawed but thoroughly enjoyable Angel of Death, created by Ed Brubaker and starring Zoe Bell, which also received a DVD release last year.
The awards ceremony takes place on April 11th 2010 and the full list of nominees is listed below with handy links...
- 3/1/2010
- by Craig Skinner
- HeyUGuys.co.uk
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