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Ron Howard’s Jim Henson Idea Man led all comers in the documentary categories as the nominations for the 67th Primetime Emmy Awards were announced, racking up eight altogether, three more than the next most-nominated doc.

Among its nominations are Outstanding Documentary or Nonfiction Special, Outstanding Directing for a Documentary/Nonfiction Program for Howard, recognition for writer Mark Monroe, cinematographers Igor Martinovic and Vanja Cernjul, picture editors Sierra Neal and Paul Crowder, the film’s sound editing and sound mixing teams, as well as David Fleming’s score.

“We’re so thrilled. What an honor from the Academy,” said Imagine Documentaries President Sara Bernstein, herself nominated for producing Jim Henson Idea Man. “We’re so excited.”

Jim Henson with Kermit the Frog, ca. early 1970s

The documentary explores the life and extraordinary creative output of the late Jim Henson, who created the Muppets and Fraggle Rock, directed Labyrinth, The Dark Crystal,...

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...

“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...

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...

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,...

“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...

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...

“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...

Over the course of his 45-year career, documentary filmmaker Errol Morris has interviewed an eclectic array of subjects ranging from physicist Stephen Hawking and execution technician Fred A. Leuchter to controversial figures like Defense Secretary Donald Rumsfeld and political strategist Steve Bannon. Yet when he sat down with novelist David Cornwell (aka John le Carré) for his latest film “The Pigeon Tunnel,” Morris realized he had finally met his match. “He was perhaps the most articulate person I have ever interviewed,” Morris told IndieWire’s Filmmaker Toolkit podcast. “I got the sense that he was really prepared — probably better prepared than I was.”

The director sat down to interview Cornwell, and before he knew what was happening, his interview subject was interviewing him. “He was interrogating me! The question [he asked]: ‘Who are you?’ It’s so strange and disarming. How do you answer such a question?” In trying to find out who Cornwell was,...

Errol Morris is one of the greatest living documentarians, having created some of the best films of the past 45 years. Over the past three decades, most of his films have focused on singular individuals — Stephen Hawking, Robert McNamara, Donald Rumsfeld, Joyce McKinney, Steve Bannon. He continues that trend with The Pigeon Tunnel, though in several ways, it feels like a kind of autobiography, despite his subject being the legendary spy writer, John le Carré.

The film opens with an explicit mention of interrogations, something Morris is quite familiar with; after all, his clever 'intelligent camera' set-up for interviews is called 'The Interrotron,' which adds two-way mirrors and video monitors to the usual interview set-up and enables the subject to feel and look comfortable staring straight into the camera. The Pigeon Tunnel itself is notable for its kaleidoscopic use of mirroring and splitting, as if the nature of truth is...

Igor Martinovic is an Emmy-nominated cinematographer whose work includes “House of Cards,” “The Night Of,” “What Happened, Miss Simone?” and the Showtime limited series “George & Tammy,” but the best advice he ever got was not from a fellow cinematographer, a teacher or even a director he was working with.

Instead, Martinovic told TheWrap, it came from “Taxi Driver” and “Raging Bull” screenwriter and “American Gigolo” and “First Reformed” director Paul Schrader, in an interview Schrader gave about what he and director Martin Scorsese were trying to do when they made “Taxi Driver.”

“He was talking about (Robert De Niro’s character) Travis Bickle, and he said they were trying to make a documentary of Travis’ mind,” Martinovic said. “That was the idea that taught me the most about filmmaking, the idea that you’re actually making visuals that represent somebody’s state of mind.

“So on ‘George & Tammy,...

When you’re reading a good book, you can picture it in your mind. And the same goes for cinematographers when they read a script. “It’s inevitable that you imagine things as you read the script,” M. David Mullen (“The Marvelous Mrs. Maisel”) tells Gold Derby at our Meet the Experts: Cinematography roundtable with fellow Emmy nominees Christian Sprenger (“Atlanta”), Igor Martinovic (“George and Tammy”), Anastas N. Michos (“Guillermo del Toro’s Cabinet of Curiosities”), Sean Porter (“The Old Man”) and Jon Joffin (“Schmigadoon!”).

Watch the exclusive video interview above for the roundtable. Click on each name above to watch that person’s individual chat.

Mullen tries hard not to visualize the script if he has not met with the director yet. “You want to talk to the director and get a sense of their vision first before you’re too far on the wrong track,” he says. “I...

Tammy Wynette and George Jones are easily two of the most influential artists in country music history. Their marriage started as a passionate meeting of two musical minds but descended into tragic toxicity before their divorce and the increasingly unfortunate circumstances that followed. "George & Tammy," Showtime's new entry in the thriving stream of music biopics, is a testament to that cavalcade of events leading up to Wynette's tragic fate.

The series, created by Abe Sylvia ("The Eyes of Tammy Faye") and directed and executive produced by John Hillcoat ("The Road"), is, of course, based on the real-life relationship and catastrophes of the country music legends. It nonetheless enters a crowded field of media highlighting a relationship between entertainers, one rising, the other struggling to cope (think every adaptation of "A Star Is Born" among others). The longer-form medium that is the limited series is a friend here, giving more time...

Holly uncovers more and more about just what sort of person, or creature, has been causing all these doppelganger crimes on The Outsider.

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This The Outsider review contains spoilers.

The Outsider Episode 5

In a car conversation, after repeating something that happened to his grandmother during World War II, Yunis (Yul Vazquez) comments to Ralph (Ben Mendelsohn), “Dreams are messages, bro.” Throughout the series, dreams have played an important role in just how whatever spirit that's attacking Cherokee City communicates.

Jessa's dreams of the man who kind of looks like her dad allowed her to pass messages to Ralph, and now other people in Ralph's orbit are having dreams of their own, particularly Jeannie (Mare Winningham). Much like Jessa's dreams, Jeannie's dreams blur the line between electrochemical images in the brain and a dangerous, threatening reality.

Holly has seen, throughout her investigation, that the Tear-Drinker—another clever name...

Seven months after Shannan Gilbert went missing, a body was found on a desolate stretch of a Long Island parkway. It wasn’t Shannan’s body, and neither was the next one or the next one or even the next one; it wasn’t until authorities had discovered ten bodies on that same stretch of Ocean Parkway that Shannan was found. By then, her mother Mari had already spent months knocking on doors, imploring the police to investigate, and bonding with the other women left in the wake of what would end up being one of America’s most mysterious serial killers. It’s the kind of ripped-from-the-headlines drama that seems like Garbus, who has long been motivated by stories about remarkable women and horrible crimes, makes a strong showing with “Lost Girls,” her first narrative feature in her decades-long career.

Adapted from Robert Kolker’s book by “Extremely Wicked,...

Midway through HBO’s new mystery/horror hybrid The Outsider, a character buys a half-dozen lamps at a hardware store, takes them out to the woods, and dumps them in a field. The series doesn’t make room for humor, but this is a very funny moment, albeit an unintentional one. It’s as if the people making The Outsider — an impressive group that includes Richard Price (The Wire, The Night Of) as lead writer and Emmy winner Jason Bateman as lead director — want to make abundantly clear what contempt...

Having survived the end of “Game of Thrones” with buzzy new series like “Euphoria,” “Watchmen,” and “His Dark Materials,” in addition to well-watched new seasons of “Succession,” “Barry,” and “Big Little Lies,” HBO is preparing for its first post-Westeros year with a similar onslaught of exciting adaptations, enticing follow-ups, and shows skewing toward a younger demographic.

The latter point is perhaps more important than ever, given that 2020 marks another milestone for HBO: the debut of HBO Max, WarnerMedia’s all-in-one streaming platform that bundles its various networks (and their programs) in one app. HBO Max will have its own originals, but HBO is still the service’s crown jewel (as evidenced by those three telling letters right before “Max”). It’ll be up to the former Home Box Office as much as, if not more than, any other WarnerMedia network to drive subscriptions, and that’s harder to do without the No.

Errol Morris’ “Wormwood,” a six-part nonfiction series for Netflix, investigates what really happened to Frank Olson, a biological warfare scientist working for the CIA who supposedly jumped out the window of a New York hotel (room 1018A) in 1953. It’s a mystery that spans 60 years of history of the CIA and is often told through personal lens of his son Eric Olsen who, now in his early seventies, is still determined to discover the truth of his father’s death.

“This is not, in any sense, a live action, vérité account of something that is transpiring in front of the camera,” Morris said in an interview with IndieWire. “The camera is trying to bore into the past, into history, is trying to discover what did happen using all of the tools that we have at our disposal.”

Those tools involve a rich archive of documentation, both personal and governmental, but also the tools of cinema,...

Errol Morris has been ahead of the curve ever since he broke out with pet cemetery documentary “Gates of Heaven” in 1978. A decade later, “The Thin Blue Line” wowed critics but alienated the hidebound documentary community with its use of “reenactments” and a rousing Philip Glass score. Decades before Netflix created “Making a Murderer,” “The Keepers,” and “Witness,” Morris’ film actually solved a murder mystery and freed an innocent Death Row convict in a Texas prison.

Since then, Glass became a go-to movie composer, earning three Oscar nominations — and could score a fourth for this year’s Oscar documentary frontrunner “Jane.” Reenactments have become standard issue for nonfiction films, filling the void between talking heads, archival footage, cinéma vérité observation, and what isn’t visually available. And Morris isn’t the only filmmaker who is a presence in his films, yelling at his subjects from behind his invention, the Interrotron.

Errol Morris has been ahead of the curve ever since he broke out with pet cemetery documentary “Gates of Heaven” in 1978. A decade later, “The Thin Blue Line” wowed critics but alienated the hidebound documentary community with its use of “reenactments” and a rousing Philip Glass score. Decades before Netflix created “Making a Murderer,” “The Keepers,” and “Witness,” Morris’ film actually solved a murder mystery and freed an innocent Death Row convict in a Texas prison.

Since then, Glass became a go-to movie composer, earning three Oscar nominations — and could score a fourth for this year’s Oscar documentary frontrunner “Jane.” Reenactments have become standard issue for nonfiction films, filling the void between talking heads, archival footage, cinéma vérité observation, and what isn’t visually available. And Morris isn’t the only filmmaker who is a presence in his films, yelling at his subjects from behind his invention, the Interrotron.

While Damien Chazelle predictably took the DGA Award for “La La Land” on Saturday night, the ASC rejected the self-reverential Hollywood musical in favor of the more dramatic and politically impactful “Lion,” honoring Australian cinematographer Greig Fraser. “Lion” director Garth Davis took home Best First Director at the DGAs.

However, “La La Land’s” cinematographer, Linus Sandgren, still remains the Oscar favorite, despite the fact that, in the last 20 years, the ASC winner has taken the Academy Award 11 times.

With “Lion,” the incredibly true story of Saroo Brierley (Dev Patel), the Indian who used Google Earth to locate his birth family several decades after his separation and adoption in Australia, Fraser essentially made two movies in one. Fortunately, the top Camerimage prize winner had previous experience shooting in India.

“Trying to capture the essence of India is almost like trying to bottle magic, which is hard to do because India...

DGA Film Winners Outstanding Director, Feature Film: Damien Chazelle, La La Land Outstanding Director, Documentary: Ezra Edelman, Oj: Made in America Outstanding Director, First-Time Feature Film: Garth Davis, Lion Asc...

The American Society of Cinematographers (Asc) have announced the television nominees for their 31st annual Outstanding Achievement Awards.

This year “Game of Thrones” received two nominations, more than any other show. Anette Haellmigk and Fabian Wagner are both receiving their third nominations for the HBO show. Haellmigk was previously nominated for the series in 2014 and 2015, and Wagner in 2015 and 2016.

Other notable nominees include Christopher Norr who is receiving his third consecutive nomination for his work on “Gotham,” and Richard Rutkowski gets his second nomination for “Manhattan.” New series receiving praise this year include “Westworld” and “The Exorcist.”

Read More: Sundance 2017 Announces Short Selections, With New Films From Kristen Stewart, Laura Poitras and Many More

The nominees were selected by Asc active members who voted on submissions. This year’s winners will be revealed on February 4, 2017, at the organization’s annual ceremony at the Hollywood & Highland Ray Dolby Ballroom in Los Angeles.

She's worked on some of the most acclaimed indies in recent years, including previous Sundance features "Little Accidents" for director Sara Colangelo and Ryan Coogler's "Fruitvale Station," which won the coveted Grand Jury Prize and the Audience Award in 2013. Morrison also lensed director Daniel Barnz’s "Cake" starring Jennifer Aniston, which premiered at the 2014 Toronto International Film Festival. This year she's back at Sundance with "Dope," the modern-day coming-of-age story from Rick Ramuyiwa and the opening-night film, Liz Garbus' "What Happened, Miss Simone?," on which she shares Dp credit with Igor Martinovic and Ronan Killeen. You were one of three DPs on "Miss Simone." How did that work? I had my own task on that one, which was exciting. I was tasked with shooting 16-mm film interpretations of Nina [Simone]'s childhood. So my job wasn't a very typical documentary aesthetic. I wasn't...

Hannibal and True Detective—about serial killers who are the devil personified—as well as House of Cards—about a devilish politician—all embrace lighting and camera work that is cinematic yet subtle, manipulating audiences into the suspense of the moment and helping frame some of the most unforgettable characters on television. House of Cards director of photography Igor Martinovic, who was enlisted for the second season, used lighting to reflect a marked shift in story surrounding the dastardly Francis Underwood, played by Kevin Spacey. “The cynical attitude and a crime story that happened toward the end of season one could be represented through low-key lighting,” Martinovic says. “For season two, we decided to change the lighting completely. We very carefully tried to wrap characters in shadows, into half-lights, turn them into silhouettes, and overall kept them on the edge of darkness.” The shift owed much to the influence of...

Half a dozen years since she first broke out at Sundance with the micro-budgeted Sherrybaby (Sundance ’05) which still stands as Maggie Gyllenhaal’s most raw performance to date, Laurie Collyer finally returns with her sophomore fiction project, her third film when you include her docu Nuyorican Dream (Sundance ’00). With the of trio of players of Norman Reedus, Naomi Watts and Matt Dillon (see collage above from set), Sunlight Jr. is perhaps the most readied film among our predictions set – as filming began in Florida back all the way back in November of 2011. Tech folk includes cinematographer Igor Martinovic and Production Designer Jade Healy.

Gist: Sunlight Jr. is a love story set in the ruins of the American dream. Melissa is a convenience store clerk who lives in a motel with her paraplegic boyfriend, Richie. When they learn they are going to have a baby, they are genuinely excited. But when...

Chicago – “Silent House” inspires the same strange mixture of feelings that I felt while watching fascinating yet severely flawed pictures like “The Life Aquatic” or “I Heart Huckabees.” My rational mind recognizes that the film doesn’t quite work, and yet my inner cinephile urges me to recommend it anyway. Here’s a movie that’s nearly worth seeing in spite of itself.

The directing team of Chris Kentis and Laura Lau made an enormous impression on horror fans with their 2003 indie hit, “Open Water,” which remains one of the scariest films of the last decade. For the majority of its running time, the film centered on the bobbing heads of a couple hopelessly stranded in the middle of shark-infested waters. By following the premise to its logical conclusion, the film refused to loosen its grip on viewers’ imaginations, while masterfully playing on their most primal fears.

Blu-ray Rating: 2.5/5.0

In their latest feature effort,...

Silent House

Directed by Chris Kentis and Laura Lau

Written by Laura Lau

USA, 2012

Silent House is the sort of movie that actresses would like and critics would hate. The actresses would love it because it’s almost a one-woman show: Elizabeth Olsen is in almost every frame of the film and has the vast majority of the dialogue. The critics would hate it because it’s nearly impossible to describe why this movie fails without spoiling the ending for all of their readers.

Olsen, drafted into her role before it was even known that Martha Marcy May Marlene would be an indie hit, plays Sarah, who is helping her father and uncle fix up her childhood home. Strange things start happening to Sarah over the course of the movie’s 88 minutes, which are observed in real time with no cutaways – or, more accurately, with very well-hidden cutaways in the style of Hitchcock’s Rope.

The unbroken shot that makes up "Silent House" is a unique visual gimmick, but there’s another big factor at hand: the close camerawork that almost never leaves Elizabeth Olsen’s side, giving us an intensely personal perspective throughout the film. As harrowing as that camerawork is to experience as an audience member, it doesn’t compare to how it must’ve felt to film it firsthand.

Talking to MTV News, Olsen tried to explain how the filming process broke down, and how comfortable she was with the closeness by the end of shooting.

Asked how close the camera was, Olsen stuck her hand out about a foot away from her face. "The Dp [director of photography] who shot it, Igor Martinovic, he does lots of documentaries so he’s really good at not getting a shadow or reflection anywhere," she said. "He and I felt like we were dancing together the whole time.

The prospect of a horror movie filmed in one continuous shot is a herculean feat to say the least. La Casa Muda, aka Silent House, the first Latin American film to be shot entirely with a professional photo camera that also happened to be filmed in one single 80-minute sequence shot, achieved this feat. So of course we have to remake it here!

According to Screen Daily French sales outfit Elle Driver is moving into full-on financing with an English-language reimagining of the Uruguayan horror film Silent House.

The Us film will be directed by Chris Kentis and Laura Lau, the team behind the chilling shark tale Open Water. The original Silent House, which ran in Cannes Directors Fortnight this year, was directed by Gustavo Hernandez and told in 80 minutes of “real time” during one continuous take.

In tackling the project, Kentis and Lau say they were “fascinated by this...