{"id":1318,"date":"2008-01-27T21:15:14","date_gmt":"2008-01-27T20:15:14","guid":{"rendered":"http:\/\/www.filmdetail.com\/archives\/2008\/01\/27\/robert-elswit-wins-the-asc-award-for-there-will-be-blood\/"},"modified":"2008-01-29T04:15:50","modified_gmt":"2008-01-29T03:15:50","slug":"robert-elswit-wins-the-asc-award-for-there-will-be-blood","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2008\/01\/27\/robert-elswit-wins-the-asc-award-for-there-will-be-blood\/","title":{"rendered":"Robert Elswit wins the ASC Award for There Will Be Blood"},"content":{"rendered":"

Robert Elswit<\/strong> has won the American Society of Cinematographers<\/a> Award for his work on There Will Be Blood<\/a>.<\/p>\n

\"Trade<\/a><\/p>\n

Variety report<\/a>:<\/p>\n

<\/span><\/span><\/p>\n

Robert Elswit<\/a> staved off a tough field Saturday night at the American Society of Cinematographers<\/a> awards ceremony when he topped the feature competition for his work on Paul Thomas<\/a> Anderson\u2019s \u201cThere Will Be Blood.\u201d Elswit, who has shot all of Anderson\u2019s movies dating back to the filmmaker\u2019s 1996 feature debut \u201cHard Eight,\u201d is also vying for an Oscar.<\/p>\n

In fact, the Academy\u2019s nominees are in perfect alignment with those of the ASC for only the second time in the ASC\u2019s 22 years of bestowing awards, with Roger Deakins<\/a> (\u201cNo Country for Old Men,\u201d \u201cThe Assassination of Jesse James<\/a> by the Coward Robert Ford\u201d) having claimed two slots in both competitions. The last time the two organizations matched noms, John Seale<\/a> won both contests for \u201cThe English Patient,\u201d a film with which this year\u2019s \u201cAtonement\u201d \u2014 shot by ASC and Oscar nominee Seamus McGarvey<\/a> \u2014 has been often compared.<\/p>\n

Whether Deakins\u2019 two noms created a split vote among the ASC\u2019s 298 members can only be left to conjecture. And if one were to view Elswit\u2019s ASC win as an Oscar bellwether, one must consider that the ASC\u2019s membership represents only a fraction of the Acad\u2019s 6,500-plus members who are eligible to vote for Oscar\u2019s winning cinematographer.<\/p>\n

Elswit\u2019s mastery, like that of Deakins\u2019, is evident in more than one film released this year; he also shot \u201cMichael Clayton,\u201d whose star, George Clooney<\/a>, worked with Elswit on \u201cGood Night and Good Luck,\u201d for which the d.p. also gained ASC and Academy nominations.<\/p><\/blockquote>\n

It has been a truly exceptional year for cinematography and you have to feel for Roger Deakins, whose brilliance behind the camera on two films probably did split the vote.<\/p>\n

However, credit must go to Elswit who has done some incredible work with Paul Thomas Anderson<\/a> on this and previous films<\/a>.<\/p>\n

I’m also starting to get the feeling that There Will Be Blood is gaining momentum in the build up to the Oscars.<\/p>\n

> Robert Elswit at the IMDb<\/a>
\n> Extensive article in American Cinematographer magazine on Elswit’s work in There Will Be Blood<\/a>
\n> An interview with Robert Elswit and production designer Jack Fisk about There Will Be Blood<\/a>
\n> An interview with Robert Elswit from January 2006
\n<\/a>> <\/a>Article on Elswit’s work on Magnolia<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Robert Elswit has won the American Society of Cinematographers Award for his work on There Will Be Blood. Variety report: Robert Elswit staved off a tough field Saturday night at the American Society of Cinematographers awards ceremony when he topped the feature competition for his work on Paul Thomas Anderson\u2019s \u201cThere Will Be Blood.\u201d Elswit, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21,2],"tags":[],"_links":{"self":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts\/1318"}],"collection":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/comments?post=1318"}],"version-history":[{"count":0,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts\/1318\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/media?parent=1318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/categories?post=1318"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/tags?post=1318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}