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A group of unique directors and the essential works that you've got to see.

||| John Ford |||
John Ford

One of the art form's grand masters of all time, Ford is responsible for influencing the seminal directors of generation after generation. Strongly associated with the impressive body of work created over a lifetime with collaborator John Wayne, it is nearly impossible to choose just threeÖ but here it goes.

This powerful winner of the Best Picture Academy Award is set in Wales at the turn of the 19th century, and tells the story of a family of miners, whose lives are filled with danger and repression. The film is beautifully crafted, lovingly depicting the gut wrenching sacrifices and light-hearted moments that are elemental to family life, making this film a true representation of the craft that is unmistakably John Ford.

This film is told in flashback as James Stewart, after a long absence, returns home for the funeral of a friend who saved his life from a sadistic outlaw. This classic covers every essential element required to qualify as a western epic from unlikely friends to the girl who comes between them, to the enemy they both despise, but handle with extremely different approaches, to Fords signature cast of supporting characters, all combine to make this a staple for every fan of this uniquely American genre.

This romantic comedy seen through the eyes of John Ford has John Wayne ( an American-raised boxer) go to Ireland to the village of his birth, fall for feisty Maureen O'Hara, and fight with town ruffian Victor McLaglen in one of the all time classic screen brawls. This is an exceptionally fine romantic movie that with Fordís capable bravado manages to be a film that any manís man can openly enjoy.

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Oscar Handicap 2014: Cinematography

By EdwardHavens

March 1st, 2014

For this article, we will examine how the directors of photography stack up against each other.

Oscar Handicap 2014: Cinematography

(For explanations as to how our scoring system works, make sure to read our first article in the series, Best Picture of the Year, linked at the bottom of this article.) The discipline of making lighting and camera choices when recording photographic images, the Cinematographer works with the director to decide the overall look of the film. Purists have lamented the rise of digital intermediate technology, where the director and cinematographer can fine-tune the look of individual scenes and even single frames by computer, is quickly killing the fine art of cinematography, but until the Academy creates a Best DI category, this is what we'll have to deal with.

The Breakdowns
1) Oscar winning cinematography has come from lensers also nominated for the same award at the BAFTAs 31 of the last 35 ceremonies (88.57%). Advantage: Delbonnel, Lubezki, Papamichael
2) Shooters of stories predominantly set outside the past twenty years have won 30 of 35 (85.71%). Advantage: Delbonnel, Le Sourd
3) As long as you're not the nominee in the lowest grossing film at the time of the nominations, you've won 29 of 35 (82.86%). Advantage: Deakins, Delbonnel, Lubezki, Papamichael
4) Cinematography winners have come from films whose directors have also been nominated 28 of 35 (80%). Advantage: Lubezki, Papamichael
5) Cinematography awards have been given to films also nominated for Best Achievement in Production Design 27 of 35 (77.14%). Advantage: Lubezki
6) Winners here have come from Best Picture nominees 27 of 35 (77.14%). Advantage: Lubezki, Papamichael
7) A previous nominee for Best Cinematography has gone on to win 20 of 35 (57.14%). Advantage: Deakins, Delbonnel, Lubezki
8) The winner of the Best Cinematography Award from the American Society of Cinematographers has won here 10 of the 27 years the ASC has given out awards (37.04%). Disadvantage: Lubezki

By The Numbers
Lubezki's work in helping to create zero-gravity will likely win here, while eleven-time nominee Deakins, inarguably the greatest living cinematographer, will once again go home empty handed.
Roger Deakins, "Prisoners": -1, -2, +3, -4, -5, -6, +7, -8 (98 of 272, 36.03%)
Bruno Delbonnel, "Inside Llewyn Davis": +1, +2, +3, -4, -5, -6, +7, -8 (150 of 272, 55.15%)
Phillipe Le Sourd, "The Grandmaster": -1, +2, -3, -,4 -5, -6, -7, -8 (68 of 272, 25%)
Emmanuel Lubezki, "Gravity": +1, -2, +3, +4, +5, +6, +7, +8 (177 of 272, 65.07%)
Phedon Papamichael, "Nebraska": +1, -2, +3, +4, -5, +6, -7, -8 (116 of 272, 42.65%)


All articles in this series:
Best Picture of the Year
Best Director
Best Actor and Best Actress
Best Supporting Actor and Best Supporting Actress
Best Cinematography
Best Original Screenplay and Best Adapted Screenplay
Best Foreign Language Film
Best Animated Feature