{"id":791,"date":"2012-01-25T11:14:00","date_gmt":"2012-01-25T19:14:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/2012\/01\/cinematography-the-oscars-and-tree-of-life.html"},"modified":"2012-01-25T11:14:00","modified_gmt":"2012-01-25T19:14:00","slug":"cinematography-the-oscars-and-tree-of-life","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2012\/01\/cinematography-the-oscars-and-tree-of-life.html","title":{"rendered":"Cinematography, the Oscars and &quot;Tree of Life&quot;"},"content":{"rendered":"<p>AS everyone in Los Angeles knows well, Oscar nominations were just announced today. I&#8217;ve written about some of the films nominated, including <i><a href=\"http:\/\/scott-timberg.blogspot.com\/2011\/11\/making-of-artist.html\">The Artist<\/a><\/i>, which drew 10 nominations.<\/p>\n<p><a href=\"http:\/\/3.bp.blogspot.com\/-jQR-83gdCAY\/TyBUlwYgQ8I\/AAAAAAAABPw\/tAj1uAhib-I\/s1600\/Thetreeoflifeposter.jpg\" imageanchor=\"1\"><img loading=\"lazy\" decoding=\"async\" border=\"0\" height=\"400\" src=\"http:\/\/3.bp.blogspot.com\/-jQR-83gdCAY\/TyBUlwYgQ8I\/AAAAAAAABPw\/tAj1uAhib-I\/s400\/Thetreeoflifeposter.jpg\" width=\"255\"><\/a>One article I&#8217;ve not posted, because I can&#8217;t seem to find an online link, was a story in which I spoke to cinematographers from five films: <i>My Week With Marilyn<\/i>, <i>The Descendants<\/i>, <i>Drive<\/i>, <i>Margin Call<\/i> and <i>The Tree of Life<\/i>. Emmanuel Lubezki of <i>Tree of Life<\/i> was just nominated for an Academy Award which he seems to have a good shot at.<\/p>\n<p>(The Mexican-born Lubezki, by the way, also shot <i>Children of Men<\/i>, <i>The New World<\/i>,\u00a0<i>Y Tu Mama Tambien<\/i> and <i>Ali<\/i>.)<\/p>\n<p>Whatever you make of this film &#8212; which has become the love-it-or-hate-it movie of the last year &#8212; it&#8217;s visually distinctive, from its verdant recollections of 1950s Texas suburbia or its more cosmic sections that recount the history of the universe. <\/p>\n<p>Here&#8217;s a bit of what he told me &#8212; the full story is in <a href=\"http:\/\/www.deadline.com\/hollywood\/\">AwardsLine<\/a>&#8216;s Issue 5.<\/p>\n<p><\/p>\n<div><span><i>Though the film has been compared to \u201c2001: A Space Odysssey\u201d and Renaissance painting, Malick\u2019s edict was that the film capture the chaos of life itself. \u201cHe wanted the film to feel found, not rehearsed, not designed,\u201d Lubezki says. \u201cYou had to wait for a moment that felt real, before you rolled the camera. We could not control the butterfly that flew by, or the wind, or what a baby might do: It\u2019s watching, helping Terry and everybody else get to these moments that felt almost like an accident.\u201d<\/i><span><\/p>\n<p><\/span><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<p>AS everyone in Los Angeles knows well, Oscar nominations were just announced today. I&#8217;ve written about some of the films nominated, including The Artist, which drew 10 nominations. One article I&#8217;ve not posted, because I can&#8217;t seem to find an online link, was a story in which I spoke to cinematographers from five films: My [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[76,30,154,152],"tags":[],"class_list":{"0":"post-791","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-film","7":"category-los-angeles","8":"category-photography","9":"category-the-oscars","10":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/791","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=791"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/791\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=791"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=791"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=791"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}