Ranking Roger Deakins' Oscar Nominations

by Cláudio Alves

Roger Deakins on the set of EMPIRE OF LIGHT | © Searchlight Pictures

Since two categories merged into one, no director of photography has amassed as many Oscar nominations as Roger Deakins. The British cinematographer earned his 16th nod this year for Sam Mendes' Empire of Light, having previously won for 1917 and Blade Runner 2049. His career spans continents and six decades, encompassing projects as varied as a Marvin Gaye video clip and pioneering work in animated cinema. What started as an early interest in the possibilities of digital filmmaking has turned into a veritable pursuit of innovation, bringing classic technique to virtual spaces. A visionary, a pioneer, a living legend, Roger Deakins is one of a kind.

To celebrate the master, let's look back at his many Oscar nominations, ranking them along the way. After all, in times of awards fever, everyone loves a good list…

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1917: Acting an Epic

by Cláudio Alves

Sam Mendes may be winning prizes left and right for his World War I epic, but a big element of the production has been ignored by awards bodies. As it happens with many epics, the actors of 1917 are forgotten amid their picture's celebration. It's difficult to consider the human element of a spectacle that calls so much attention to the craft of its construction, its beauty, and savagery. Instead of chewing on the scenery, these actors are consumed by it and fully digested.

As we start approaching the finish line of this Oscar race, one question looms over the Best Picture category. Can 1917 overcome its actorly lacunas and defeat Parasite in all its SAG-crowned glory? On the other hand, are those perceived lacunas a reality or a byproduct of the epic scale...

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Sam Mendes wins DGA again, 20 years later

by Nathaniel R

Sam Mendes was an acclaimed theater director when American Beauty hit the scene in 1999 asking audiences to "look closer" in its promotional material. They did. The film went on to become a sleeper hit and then a very big one and eventually win the Oscar for Best Picture and Best Director among others. Mendes is likely to repeat that trick at this year's Oscars 20 years later even though his film career in the interim hasn't been noteworthy enough to scream "2 time director winner!" But then Hilary Swank has two Oscars and Renee Zellweger is likely to join her while Close, Bening, Pfeiffer, Weaver, Garland, Stanwyck, Dunne, and many other genius actresses from Hollywood history have none so this is the way it goes sometimes...

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A long take is a held breath.

by Cláudio Alves

Long takes are a constant subject of fascination for filmmakers and film lovers alike. The technical challenge inherent to them makes many directors salivate at the prospect of showing off their craft. At least, that's what, as an audience member, it sometimes feels like. Though, to characterize the long take as a mere tool of formalistic showmanship would be wrong. Depending on the case, this mechanism can be transformative, capable of bending the audience's perception of time, their attachment to what they're watching and sentimental engagement.

In 1917, Sam Mendes uses the long take as a key to sensorial immersion and ever-tightening tension. Each cut is a blink, a breath, a repositioning of the eye and recalibration of the senses. It's something that's a convention and brings comfort to the viewer. When you take it away, one feels as if the action never stops, like there's no time to breathe or to disengage with the narrative. A long take is a held breath and it can be a gloriously suffocating thing to experience…

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Almost There: Kate Winslet in "Revolutionary Road"

Here's Cláudio Alves with a new series on performances that got lots of precursor love but no Oscar nomination. Previously we discussed Emma Thompson in Saving Mr Banks...

January 11th, 2009 was Kate Winslet's night. After years of scoring endless nominations and very few victories, her effortful Oscar campaign was finally kicking into high gear. She had not one, but two triumphant victories on the Golden Globes' stage. In Best Supporting Actress, she won for her (leading) role inThe Reader and secured her frontrunner status. In Best Actress - Drama, she won for Revolutionary Road. After such a merry evening, many were expecting a double citation come Oscar morning. One thing was for sure – one way or the other, Kate Winslet would end the Awards Season with a little golden man in her hands.

Still, the campaign manipulations that worked hard to secure her two nominations failed at the last minute, when the Academy showed rare lucidity against the folly of category fraud...

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