Costume Design and Cinematography Guild Honors
Thursday, January 11, 2018 at 12:28AM by Nathaniel R
Sometimes all it takes is one killer lewk. You might not have thought of Three Billboards Outside Ebbing Missouri as a "costume" movie but the Costumer Designer Guild gave it one of their contemporary nominations all the same. Must've been that already famous janitor jumpsuit with bandana on Frances McDormand. It's so very "Mildred". Either that or, you know, the Guilds are just voting on their favorite movies (as they are also prone to do) without thinking too much on their own fields within those movies. Who knows what lurks in the hearts of awards voters? No one truly as they're non monolithic.
More on their nominations (and the Cinematography guild also) with commentary after the jump...
COSTUME DESIGN
Excellence in Contemporary Film
“Get Out” (Nadine Haders)
“I, Tonya” (Jennifer Johnson)
“Kingsman: The Golden Circle” (Arianne Phillips)
“Lady Bird” (April Napier)
“Three Billboards Outside Ebbing, Missouri” (Melissa Toth)
The only "off-BP conversation" surprise in this one is the stylish action flick "Kingsman". I am a huge Arianne Philips nut so I don't mean to dismiss her but it seems crazy to me that the guild acknowledged an action flick this year for this category and it's title somehow wasn't "Atomic Blonde"! I scratch my imaginary platinum bob bewigged head in confusion!
My contemporary nominations if I divvied the categories up that way I think would have gone like so: Atomic Blonde (Cindy Evans), Baby Driver (Courtney Hoffman), Girls Trip (Danielle Hollowell), I Tonya, and Lady Bird
Excellence in Period Film
“Dunkirk” (Jeffrey Kurland)
“The Greatest Showman” (Ellen Mirojnick)
“Murder on the Orient Express” (Alexandra Byrne)
“Phantom Thread” (Mark Bridges)
“The Shape of Water” (Luis Sequeira)
No real surprises here in Period though I'm a bit sad to not-see The Beguiled. It is worth noting that Oscar voting may be tighter here than people think this year. For instance, I could see I Tonya making it to Oscar for that rare "contemporary" nominee (yes, the 90s are still officially considered temporary with guilds) and among period films I could see competing for the Oscar even without a guild precursor nod it's never wise to underestimate the pull of previous players as the Guilds can be highly "clubby". It's not impossible that Oscar might go instead with Sandy Powell (Wonderstruck) or Consolata Boyle (Victoria and Abdul) or Mary Zophres (Battle of the Sexes) or the BAFTA nominated Jacqueline Durran (Darkest Hour) for one or two of the slots.
But all of these five that the CDG recognized can now be seriously hopeful that they have an actual shot at an Oscar nomination... even though the Oscar lineup is never 5/5 with the period category at CDG.
Excellence in Sci-Fi / Fantasy Film
“Beauty and the Beast” (Jacqueline Durran)
“Blade Runner 2049” (Renée April)
“Star Wars: The Last Jedi” (Michael Kaplan)
“Thor: Ragnarok” (Mayes C. Rubeo)
“Wonder Woman” (Lindy Hemming)
Delighted to see the very colorful work of Thor represented. And Wonder Woman, too, of course!
Excellence in Contemporary Television
“American Horror Story: Cult” (Sarah Evelyn Bram)
“Big Little Lies” (Alix Friedberg)
“Grace and Frankie” (Allyson B. Fanger)
“The Handmaid’s Tale” (Ane Crabtree)
“The Young Pope” (Luca Canfora, Carlo Poggioli)
Somehow The Handmaid's Tale isn't considered sci-fi even though it takes place in the future and the clothing obviously is new dysptopia stylized.
If we started covering GLOW would you read/discuss. It's so hard to know what y'all will like with small screen coverage.
Excellence in Period Television
“The Crown” (Jane Petrie)
“Feud: Bette and Joan” (Lou Eyrich)
“GLOW” (Beth Morgan)
“The Marvelous Mrs. Maisel” (Donna Zakowska)
“Stranger Things” (Kim Wilcox)
GLOW. What a nice curveball for a costume nod with their purposefully ugly and very 80s clothing and THEIR even more purposefully ugly and also 80s "costumes" within the show. I like Stranger Things just fine but a costume nod is surely indicative of how inescapable it is; everyone has seen it. I mean, how do you pass up "The Deuce" here? It boggles the mind.
Excellence in Sci-Fi / Fantasy Television
“Black Mirror: USS Callister” (Maja Meschede)
“Game of Thrones” (Michele Clapton)
“Once Upon a Time” (Eduardo Castro, Dan Lester)
“Sleepy Hollow” (Mairi Chisholm)
“Star Trek: Discovery” (Gersha Phillips)
Excellence in Short Form Design
“Assassin’s Creed” – “I Am,” Commercial (Patrik Milani)
Elton John featuring Marilyn Manson: “Tiny Dancer,” Music Video (Sara Sensoy, Dawn Ritz)
Katy Perry – “Chained to the Rhythm,” Music Video (B. Ăkerlund)
“Miu Miu Women’s Tales #14: The End of History Illusion,” Short Film (Mindy Le Brock)
P!NK – “Beautiful Trauma,” Music Video (Kim Bowen)
CINEMATOGRAPHY
And the Cinematographer's Guild (ASC = American Society of Cinematographers) also released their pre-Oscar guild nominations.
Theatrical Release
Roger Deakins, ASC, BSC for Blade Runner 2049
Bruno Delbonnel, ASC, AFC for Darkest Hour
Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk
Dan Laustsen, ASC, DFF for The Shape of Water
Rachel Morrison, ASC for Mudbound
Rachel Morrison is the first female cinematographer ever nominated by the guild. To date no female DP has ever been Oscar nominated either. Will she be the first? Color me surprised that the Cinematographers Guild (of all guilds) didn't object to the movie being non-theatrical. I thought that of all the guilds they would be most resistant to non big-screen viewing. Their lack of resistance to it might point to a history making Oscar nomination but we shall see. Generally the Oscars ditch at least one of the ASC nominees. FWIW the BAFTA list is identical but for Ben Davis's work on Three Billboards in the place of Rachel's work on Mudbound. The visuals are definitely not the strongest suit of Three Billboards so if these are our only six options we hope Oscar just copies the ASC list though we'll weep for well shot contenders that somehow didn't gain traction like, oh, The Florida Project, The Beguiled, Beach Rats, Wonderstruck, Battle of the Sexes, etcetera. There are always more than 5 worthy achievements in cinematography.
Hungary's Oscar finalist "On Body and Soul" is exquisitely shot
Spotlight
Máté Herbai, HSC for On Body and Soul
Mikhail Krichman, RGC for Loveless
Mart Taniel for November
Wow. Fantastic spotlight choices using the Foreign Film submission list. The Hungarian, Russian, and Estonian films were all real lookers.
Episode of a Series for Non-Commercial Television
Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles) on Amazon
Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
Alasdair Walker for Outlander (“The Battle Joined”) on Starz
Episode of a Series for Commercial Television
Dana Gonzales, ASC for Legion (“Chapter 1”) on FX
David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
Kurt Jones for The Originals (“Bag of Cobras”) on The CW
Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox
Motion Picture, Miniseries, or Pilot Made for Television
Mindhunter
Pepe Avila del Pino for The Deuce pilot on HBO
Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
Shelly Johnson, ASC for Training Day pilot (“Apocalypse Now”) on CBS
Christopher Probst, ASC for the Mindhunter pilot on Netflix
FINALLY... some nominations for The Deuce and Mindhunter.
What do you make of these guild honors?
Reader Comments (22)
I think a weekly on "GLOW", a TV Show about actresses actressing in Hollywood would, like, totally go over well here. Like, totally.
"Three Billboards" was not a pretty movie, both aesthetically and cinematographically. And North Carolina is beautiful. (And so is the REAL Missouri, by the way.) I don't get it.
Currently binging through TMMM, and LOVING the fashions there. They had style, they had grace back then!
Phantom Thread needs to win this and the Oscar. Damn those costumes are EXQUISITE!
In Cinematography, I would replace Darkest Hour with CMBYN but that's all.
Again, I realize this is off topic but I felt compelled to post this issue that has been bothering me (very much) for days now, and hoping to get some thoughts by other devotees of The Film Experience. Basically I am very concern about Gary Oldman's potential win for the Oscar this year. And it's eating me up.
In other words, I can't believe that Gary Oldman is STILL the front runner. Timothée Chalamet should have that Oscar in the bag.
Has Hollywood forgotten what a right wing nut-bar Oldman is? Remember, this is the guy who called the Democartic Rep from california, Nancy Pelosi, a "fucking useless cunt" without ever apologizing, and this is the guy who choked and smashed a telephone, three times, into his wife's face, preventing her from making the call for help to police. His misogyny and homophobia is documented every which way, but reactions to his fowl, nihilistic, behaviour iss barely mentioned in the press. This is the guy who supported Mel Gibson's antisemitic rants, just like he did when he supported Alex Baldwin for his use of the word "fagot". And finally, this is the guy who, a few years ago, called the Golden Globes "a meaningless event"! I guess it's only meaningless when they don't nominate you, right Gary? And, yet, here he is proudly holding one. Why is there such a black-out on this man who's behaviour and unquestionable misoginistic towards women.
When he proclaimed "boy, does this world need changing" (sic) during his Globe win, all I could think was that I hope it doesn't change into Oldman's world.
I feel sorrow for having to endure Oldman's grotesque, hateful and disgusting beliefs (as exhibited in that Penthouse (Playboy) magazine 3 years ago. If you can, try to remember that it was Steven Spielberg who ultimately changed course for the best Supporting Actor campaign in 2000. Initialtly, Oldman was the man that Spielberg and other producers of the film decided that Oldman was an easy get nomination wise for the movie "The Contender". Then suddenly, Oldman started sprouting crazy right-wing propoganda, disparaging the Left and the Progressives for supporting issues like equality and the social welfare system (in other words he showed his Randian stripes, echoing her admonishment at LBJ's monumental innitiative, 'The New Deal', and the beginning of Medicare and Pensions. Clearly Oldman was furiously against these historic programs. Countless times he has been the poster boy for bombast and agressive speech, even once claiming, in an extremely offencive manner that verges on stupidity, while implying that 'freedom of speech' is no longer tolerated in North America (which was/is rubbish then, as it is now). Mr. Oldman clearly believes that intolerence of any sort from the Democratic position, or the Progressivts stance, is evil, and a malignant on the world which is too cozy with empathey, compassion. His world view is beyond Anne Rands. His hositility towards women and gays is shockingly regressive. And I think it is safe to say that Gary Oldman could care less about homelessness, women's rights to pay equity and their right to choose, as wll as issues concerning public health or housing,etc. Oldman is positively chipper with a dog-eat-dog society. Which brings me back to "The Contendor", where Joan Allen (as a Presidential/Senatorial? hopeful) is being extorted with malicious lies and treasonous allegations if shown to be untrue. Her advosary is a Rrepugnant, composite of the Senator of Pennsilvania at the time (who's name escapes me at the moment). Shelly Runyon (the name given to Oldman's charter) is masterfully portrayed, undisputed in redacted or unredacted views. His first nomination was almost carved in stone. Then ol Gary stareted running his hateful rhetoric against the Left leaning of America, even though his hateful views were repeated again and again, without a challenge from the bothersome Left, Progressives, the Middle Class, or the Working Class, etc. In essence he began tarnishing the essence of the movie, calling it weak-willed and phony, and, in the end, proclaimed that "The Condener" was rubbish. Overnight, Jeff Bridges became the defacto supporting actor whom Speilberg and other producers wanted to represent their film. And it worked. Bridges got the nomination.
I'm sure many visitors on TFE will remember this from the year 2000. I have every issue of Premier (since it began in 1982), and trust me, Oldman's behaviour documented in that issue is much worse. Spielberg was a major force in changing the corse for best supporting actor from Oldman to Jeff Bridges, who, indeed, got the nomination, much to the chagrin of bat-shit Oldman.
I know it must seem that I am not a fan of Oldman's, but nothing could be further from the truth. I idolized him when in my teens playing Sid Vicious in Sid and Nancy. And I love the movie to this day (and it is so cool that Roger Deakins was the cinematograher for the film--the alleyway scene when in the night, lit by a foreign light, still gives me goosebumps as Chloe Webb and Oldman make-out, in slow motion, while a perfect song by Pray for Rain smothers, in a good way, this couple with a warm compassionate embrace. It still bugs the shit out of me that Chloe Webb didn't get an Oscar nomination for that, but at least she won the New York Critics for Best Actress that year. The icing on the cake would have been Oldman winning for Best Actor (at least that is what I thought back in the 80'). I'm conflicted somewhat about feelings for his performance now, and I just wish that wasn't so. But a person so hateful, misogynistic and homophobic is simply a person/actor I will never support, no matter how good a performance.Oddly (which I am still struggling with) is that if he had a lesser role in the production of Sid and Nancy (such as writer, director, cinematographer, etc.) I would have still hoped for his acceptance speech. Instead, I will always be reminded of his 2018 Golden Globe speech which was not only toxic, but laughable. And I will always be curious what he meant by "words and actions can change the world, and boy o boy does it need some change". If it is change that brings to the fore his world view, man o man, is that ever scary.
Finally, I hope Oldman's past actions catch up with him because I will be devastated if the Best Actor award goes to anyone but Timothée Chalamet, who is clearly the most deserved. As Almodavor said recently said revealing his Top 10 list of 2017 : "The light of Lombardy and very particularly Timothée Chalamet are the biggest breakthroughs of this year!". I agree!
I would love to discuss GLOW. It's a hot mess and I loved it!!
We also need to talk more about Alison Brie in general. She's well on her way to becoming one of the all time greats. (If I had to list my favourite actresses, already she'd be putting up a good fight for a top 5 place)
As for the noms, I enjoyed MOTOExpress more than most, but the costumes were drab, so that nomination feels a bit wasted, especially when The Beguiled was right there!!?
Ishmail, unfortunally if Hollywood and the Oscars gave an opportunity to Mel Gibson even with all his story of abuses and anti-semitism, Oldman is going to a cakewalk for the Oscar. Better be ready for the devastated effect than hoping for an illusion. Wait for tomorrow and you'll see.
I apologize for the many spelling errors and sentence structures. I was rabid in my in my haste. :(
Gosh, I really hope you are wrong Leon. Though I am totally bewildered by Oldman's seemingly teflon cake walk to the Oscars. Even James Franco is having his nomination threatened, and he didn't smash a telephone three times in a woman's face whilst trying to phone the police. It just seems to me that, if the accusations are not sexual, then everything else is moot. Strange world we live in!
Still processing the fact that when they voted for Eyesore in Wonderland they couldn't see the name of Colleen Atwood in the ballot. I always thought that she was super nice and kept winning unnecessary awards for that reason.
Mudbound's eligibility in these things still bugs me when the ONLY way to see it is to have a subscription to a TV network, but it especially bugs me when the name of the category includes the words "theatrical release."
How do you ignore Storaro's masterful Fassbinder-like work in Wonder Wheel? It's not only "most" cinematography. It's most cinematography woth a clear editorial purpose. Shame on them.
Atomic Blonde I think would categorize with Period as it takes place before much of I Tonya
I was also going to suggest that ATOMIC BLONDE would be period. I would be totally okay with I TONYA getting a costume nod at the Oscars. That and the sound editing were its best assets, strangely.
Oh man, MUDBOUND for cinematography is one of those few nominations I'm really hoping for on nominations morning. It just needs to happen. It's not like the other contenders are really that more egregious omissions (DARKEST HOUR and THREE BILLBOARDS especially, the latter of which is legitimately ugly to look at).
Miss Wonder Wheel in the ASC list!
Personal Shopper should certainly have made the list over something like Get Out (much less a "costume movie" than Billboards), but I guess they have short memories.
I was so hoping The Killing of a Sacred Deer would sneak in for cinematography.
Mike In Canada , I agree to a point but I feel like the talent behind Mudbound who have nothing to do with how it's distributed should be penalized for that. That said, I really hope Netflix sees the error of its ways and that they start releasing films theatrically first and follow the Amazon model. I think films like Mudbound and Beasts of No Nation that are more arthouse (ish) films really benefit in finding an audience from an Oscar bump.
Does anyone really think people would have watched / awarded Manchester By The Sea as much as they did had it been released by Netflix instead of Amazon last year for example ? (though that may have saved poor Brie Larson from having to hand awards to Affleck)
Are people supposed to vote for a performance or an actor's beliefs? Whatever Gary Oldman had to say in the past, are we supposed to ignore what he did for this role? People had no problem voting for Roman Polanski or anything Harvey.
Happy to see "The Young Pope" and "Chained to the Rhythm" noticed, sad about "Atomic Blonde"'s absence. Good call on The Deuce missing too (I agree that > Stranger Things).
At this point Phantom Thread is the favorite for the Oscar, right?
My message should have read shouldn't be penalized.
So GET OUT is a very costume-y movie after all, heh?
My disappointment this award season is how BATTLE OF THE SEXES and THE LOST CITY OF Z, both visually-dazzling movies, fail to get any kind of recognition. Even from the visual-based guilds. Mary Zophres (with Linus Sandgren) and Darius Khondji deliver their crafts big way in each movie.
For Spotlight, I’d champion A FANTASTIC WOMAN. Gorgeous and Thoughtful work.
Netflix might be in for a big night. Beside MUDBOUND circling around big categories (Picture, Supporting Actress, Adapted Screenplay, Song and now Cinematography), they also have BRIGHT and OKJA on shortlist for technical achievements (Makeup and FX).
Rami: I wouldn't argue with that - it just doesn't belong underneath the words "theatrical release"
Funnily enough I've seen Bright playing in some cinemas in the UK for longer than a week.