Team FYC: Her for Best Cinematography

Team FYC lets Film Experience contributors highlight their favourite fringe contenders for awards season. Here's Amir Soltani on Spike Jonze's Her.

In recent years, the Academy's cinematography award has been handed out in tandem with the best visual effects one. It has become an inevitability: if there is a best picture nominee that can be described as a "visual spectacle" is present, it will win both awards. This year will be no exception with Gravity, and if I were to put money on it, I'd a hazard a guess that Christopher Nolan's Interstellar will be the beneficiary of AMPAS's infatuation with big, effects driven cinema in this category next year. But Dutch cinematographer Hoyte van Hoytema shouldn't need to wait another year for his first Oscar nomination.

With Spike Jonze's Her, van Hoytema adds yet another impressive entry to a decade-long resume that already boasts an astonishing range of styles. The soft, colorless hues of Let the Right One In and Tinker, Tailor, Soldier, Spy are more easily recognizable as the works of the same DP, but the scrappy, hand-held look of The Fighter is almost a 180 degree turn. Her has shades of van Hoytema's collaborations with Tomas Alfredsson, but is infinitely more vibrant. Perhaps more than any other film this year, the cinematography here needs to be recognized as a collective achievement with the works of the production and costume design teams as it brings their colors and sleek, intimate designs to life, but contains them under extremely soft lighting. It is richly realized but also suitably representative of the cyberspace; think of it as beautifulhandwrittenletters.com incarnate.

In a way, Her's aesthetic is one of contrasts. It is bursting with reds and pinks but it feels melancholy. It is sensitive but equally icy. It seems perfectly appropriate for a film about "artificial" intelligence, creating a landscape that looks ethereally digital, but also oddly palpable. It's apt, because Her is as much about our future as it is about our modern condition and van Hoytema’s work captures that contrast beautifully. Will Academy voters recognize his genius? Does the strong critical response to the film tell us anything about its Oscar hopes? It is certainly possible. Then again, it wouldn’t be the first time a Spike Jonze finds favor with critics and no luck with AMPAS. I’ll keep my fingers crossed.

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Randomness
Salon Rashida Jones clarifies her earlier statements about pop stars #actinglikewhores 
Washington Post Shirley Maclaine gets the Kennedy Center Honors. What a career
Variety The Square takes the top prize at the International Documentary Awards. The doc Oscar race is really really competitive this year!
In Contention European Film Awards. We shared the winners earlier but Guy has extensive coverage
Daily News Madonna's daughter Lola plays Rizzo in Grease at NY's performing arts high school (aka the Fame school) 
Salon has a really interesting piece on the Coen Bros obsession with failure via Inside Llewyn Davis though I would suggest not reading it before you've seen the movie since it reveals virtually every pivotal plot point and punchline. Save it for later

CoSign!
Jonathan Rosenbaum on "the season of critical inflation" Yes, to this. Just yes.
John Forde on the loud reactions to diver Tom Daley's coming out
i09 Wicked imagined as an animated musical (no, not Frozen) 

Tis the Season of List-Making
Slant Kurt looks at 20 great shots from the film year from Spring Breakers through undersung indies like Mother of George and new treats like Her
Guardian looks at the best screen "robbers" because I guess The Great Train Robbery is coming to TV or something? (I'm not clear) from Mr Pink (interesting choice) through Bodhi (duh)
NY Post Lou Lumenick and Kyle Smith battle it out over their top ten lists - they share only Mud and Gravity
Time Magazine Richard Corliss loves The Hobbit (again? ugh) but my favorite bit is this line on Spike Jonze Her...

In a future Los Angeles so near-Utopian that no scene takes place in a car...

hee!

Podcast: Spirited Spirit Discussion

In this week's episode,  Nick channels that THR Hollywood Actress Roundtable (previously live-blogged) and Nathaniel, Katey, and Joe join in but eventually it comes around to this week's topic: Spirit Award nominations.

We haven't seen all the films but the best thing about the Spirit Awards is advocacy for smaller titles you might not be familiar with. Are they shirking that privilege and responsibility with the focus on so many future Oscar nominees in the last few years? The discussion includes but is not limited to: Inside Llewyn Davis, Afternoon Delight, Mud, Upstream Color, Frances Ha, Fruitvale Station, All is Lost, Computer Chess, Short Term 12, Blue Caprice, and Spring Breakers.

You can listen at the bottom of the post or download it on iTunes. Join in the conversation in the comments.

Spirit Awards Nomination Chat

Beauty Break / Best Shot: "Making a Scene" with Oscar Contenders

One of my favorite Oscar traditions is the New York Times short films celebrating Oscar contenders, locked contenders and longshots alike. And by short films I mean very very short. Like one minute. You might remember that previous year's editions have given Casting Directors a ton of brilliant ideas which, for the most part, they've been slow to pick up on like Viola Davis as a frightening villain. Remember that?

This year's shorts, eleven in total, are all directed by two-time Oscar winning cinematographer Janusz Kaminski who is most famous for shooting Steven Spielberg's filmography (and less famous for once being married to Holly Hunter but that's cool, too.) The shorts are sublime in concept -- they mismatch contender actors with one or two lines from screenwriting contenders (update: not from the writer's actual contending films, which I initially thought since the Bradley Cooper bit sounds like a near lift from the All is Lost's opening monologue) -- though not always in execution since this multiplied tradition can't help but be a bit uneven each year. 

Cate Blanchett with a line from the writer of "Computer Chess"

For fun, and as a shout back to the Hit Me With Your Best Shot series that's currently on hiatus, I've selected my favorite single image from each of the shorts [10 more after the jump]. But by all means go and watch the shorts. It'll only take you 15 minutes and there will be many delicious thanksgiving feasts for your eyeballs beyond the ones posted here.

Click to read more ...

Happy 98th to a Great Cinematographer!

Let's sing a big raucous happy birthday to 98 years young Oscar winner Oswald Morris who is still with us! That's a lot of candles. And a lot of great movies.

The British born Morris only ever received Oscar nominations for big screen musicals (Oliver!, Fiddler on the Roof , and The Wiz) but that's hardly the full picture of his career. Though reknowned for his use of color -- his cinematography on Moulin Rouge (1952, recently discussed) was particularly innovative -- he also won prizes for his black and white work, most notably: Moby Dick, The Pumpkin Eater, The Hill, and The Spy Who Came in From the Cold. Other well known pictures include Equus, The Guns of Navarone, Stanley Kubrick's Lolita and a couple of Liz & Dick adventures (The Taming of the Shrew and Reflections in a Golden Eye). His awards haul includes 1 Oscar, 3 BAFTAs, 3 British Society of Cinematography wins and a couple of career tribute trophies.

Curiously or too-cutely, you decide, his last two motion pictures were all about puppets. He retired after The Great Muppet Caper (1981) and The Dark Crystal (1982) thirty-some years ago. We hope he's still enjoying that good long retirement. 

The Dark Crystal was Morris's last gig before retirememt
The Pumpkin Eater with Anne Bancroft
Oswald (far left) with Deborah Kerr & Robert Mitchum on the set of "Heaven Knows Mr Allison"