Directors
Emmanuel Lubezki Net Worth
Emmanuel Lubezki Net Worth 2023: Wiki Biography, Married, Family, Measurements, Height, Salary, Relationships
Emmanuel Lubezki Morgenstern net worth is
$5 Million
Emmanuel Lubezki Morgenstern Wiki Biography
Emmanuel Lubezki was born in 1964 in Mexico City, Distrito Federal, Mexico as Emmanuel Lubezki Morgenstern. He is a cinematographer and producer, known for Gravity (2013), Birdman: Or (The Unexpected Virtue of Ignorance) (2014) and Children of Men (2006). | Full Name | Emmanuel Lubezki |
| Net Worth | $5 Million |
| Date Of Birth | 1964-01-01 |
| Place Of Birth | Mexico City, Distrito Federal, Mexico |
| Profession | Cinematographer, Producer, Director |
| Education | National Autonomous University of Mexico |
| Nationality | Mexican |
| Spouse | Lauren Beth Strogoff |
| Parents | Muni Lubezki, Raquel Lubezki |
| Siblings | Alejandro Lubezki, Pola Lubezki |
| IMDB | http://www.imdb.com/name/nm0523881 |
| Awards | Academy Award for Best Cinematography, Critics' Choice Movie Award for Best Cinematography, BAFTA Award for Best Cinematography, Independent Spirit Award for Best Cinematography, American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases, New York... |
| Movies | The Revenant, Birdman, Gravity, The Tree of Life, Children of Men, Y Tu Mamá También, The New World, Sleepy Hollow, A Little Princess, To the Wonder, Knight of Cups, Great Expectations, Lemony Snicket's A Series of Unfortunate Events, Burn After Reading, Love in the Time of Hysteria, The Birdcage,... |
| # | Quote |
|---|---|
| 1 | A Little Princess (1995) was the first big movie that I did in America with big stages where we had kind of a different schedule to work. We had a great production designer, Bo Welch, and we had time to think about the movie in pre-production. And Alfonso [Alfonso Cuaron] really bloomed during that movie. It was exciting to see him working on a big movie as if he had done it 20 times before. The look and the language and the colors, it was amazing, and obviously a movie on the stage, very controlled, every shot is lit. It was a wonderful experience. We were very excited and nervous. [2016] |
| 2 | [on his first Academy Award nomination] I couldn't believe it. Nobody could believe it. Even my agent, she was so surprised. It came out of nowhere. Right now there's people publishing and doing studies and the tracking of the movies and what they think is going to happen. There's a lot of buzz. In those days it was quiet, quiet, quiet, then the phone rings: 'Chivo, you got a nomination.' And it's like, 'What? Are you sure?' It was very different. And also to realize the movie didn't have any support. We didn't have a PR team working on the movie or anything like that. I would arrive sometimes to an event and nobody at the event knew what A Little Princess (1995) was. But it was very interesting and an incredible shock. [2016] |
| 3 | I did a movie called Meet Joe Black (1998), and there was an accident at the beginning of the movie where the character of Brad Pitt gets killed in a traffic accident and I remember convincing Marty [director Martin Brest] instead of using his storyboards where there were tons of cuts with the car etc., to do it as a one shot where you see him going away and you see the car hitting him and he leaning the shot and so on, how powerful was that? And it's not anything I created; real time has a tremendous power on film. It's just another way to express. [2015] |
| 4 | [on Ali (2001) and Michael Mann] I think Michael was very gutsy and jumped into the digital world years early when the cameras were very primitive. I mean they didn't have any dynamic range and they were probably 8-bit cameras. So they don't have the range and tonalities that you want from any camera. Basically it was kind of suicidal, what he did. But he was able to - for example, in Collateral (2004) I think it paid off. [2015] |
| 5 | [on Ali (2001)] It was really the first movie I remember where we used digital. It was very primitive, the equipment, super primitive - like for a consumer camera. We did a few things with this consumer camera, for him running at the beginning of the movie and the police car kind of stops by and they say something to him. There's the rooftop scene [after the Martin Luther King Jr. assassination] and there's one or two other scenes. There's one in a trolley in a bus in Chicago. And then we had another technology that was also digital, this tiny lipstick camera that was not even 1K. It was a piece of sh-t. I had this idea of using two and have the visual effects guys stitch it together to create almost 1K, but it was probably a 4-bit camera. They were terrible. I mean we are talking about a very, very early version of digital. We used that for a few shots in the fight. Michael [director Michael Mann] came from TV and he's always trying to experiment and that's something really amazing about Michael, that he's trying to find the right language for each of his films. But I was doing the location scout and I had a little video camera. I don't even remember which one but like a consumer, crappy camera. And I was able to see in this camera things that film could not give us, like seeing the night sky lit by the urban pollution, you know, the light pollution and the clouds. There was something beautiful about the dark skin of Will [Will Smith] separated against the dark sky, something you have never seen before because film cannot do it. [2015] |
| 6 | I don't miss film projecting. I always hated it. The [35mm film] negative is great but the positive, the material that we printed on, was very bad. It doesn't have the same dynamic range as the negative. [2015] |
| 7 | The most important thing in imaging for me is the dynamic range. The dynamic range means the tones that you can capture from highlights to dark and the bits, the depth of color that you can capture. So if you have a camera that is four bits or eight bits, the difference between the tones, you know - there's no gradation between the tones, so you see weird artifacts and it looks very video-y. But there's nothing like that right now. I mean these new cameras, to my taste, exceed the quality of film by a lot. They exceeded the quality but not the dynamic range. Film still has more dynamic range. [2015] |
| 8 | [on how he shot the bear attack in The Revenant (2015)] I think in this shot you can see most of the ideas of how we shot the movie, in the sense that we wanted to have a movie that was very immersive, very visceral, and to have a certain naturalistic base, a foundation that is naturalism, even if some of the scenes have different degrees of reality. So we didn't use artificial light for that same reason and we used very, very wide lenses for that same reason, to be able to immerse the audience and to be able to tell the intimate together with the environment, to be able to capture the close-ups and the surroundings at the same time and allow the audience to be immersed and to pick what they want to see within the frame. And we used a lot of moving cameras, either handheld or Steadicam cranes, but the camera is constantly moving. We did a lot of these shots that we call the elastic shots where we go from a very objective view from the audience's point of view, to a very subjective point of view that is the point of view of the character, because we wanted to feel what he's feeling but also see it as he would be if you were standing close to the action. So this scene has all those elements. And it took a long, long time to figure out how to do this scene. (...) Obviously there is no book or instruction manual to tell you how to do a bear attack. Most of the animal attacks that you've seen in other movies have multiple cuts and that's because they are using puppets or pieces of an animal or stuff like that and they feel very stylized, in a way. So we wanted to find how to get to this immersive world and this visceral world. As we were rehearsing with the stunt guys, who started working with Alejandro in trying to figure out this dance, I stumbled upon a little piece on the Internet of this man that falls in a zoo pit where they have the bears and there's this tourist that's shooting it - probably a tourist, is my guess. You see this man falls and the bear comes close and suddenly attacks him. It's very, very impressive. But what makes it very visceral and very touching and very dramatic and what was, to me, the most effective thing about this video, besides that it was absolutely real, was that there were no cuts. (...) So when we saw that we knew that our hypothesis of not having cuts was a good one, that it was going to make it more powerful. And then little by little we started working on the tempo and on the behavior of the bear and the actions of Leo. Once we found the location we rehearsed a little bit in the location and then we created a proxy set on the stage and started rehearsing with Leo to find the methodology on how to do it. It became very hard to go to that location because it was raining so hard the river just took away the road, the access to this location. It washed it away. So we had to reschedule. Some of our trucks were trapped on the other side of the river. And we could not find any other location like that one. So we had to wait a little bit. The weather gave us a surprise, one of the million surprises we got in the movie. And then we got access to the place and we shot it. And obviously I cannot tell you how we did it because it would be like a magician telling you before the trick. [2015] |
| 9 | [on the transition to digital cinematography] We're living in what I call "the gap," and it's this moment where film has been amazing and it got so good. The last years of film were just incredible and the cameras worked better than ever. But suddenly these digital cameras come, film distribution collapses in the sense that [35mm] film theaters collapse and suddenly you're in a little gap where there's no standard. Digital is not yet great. The dynamic range of the digital camera is pretty crappy compared to film, (...). It's going to hurt a lot of the movies that we did in this gap because I think they are going to look very old very soon. [Dec.2015] |
| 10 | [on shooting The Revenant (2015) with the new Arri Alexa 65] Somehow this camera truly translated what I was living and feeling in that place into images. Usually you look up into the landscape and it's never there - you're shooting fragments. But this one, because of the size of the chip [54.12 x 25.58 mm] and the quality of the image [6560 x 3102 resolution] and how clean it is, it does feel like a window into that place. That was the other reason to shoot digital instead of film. I didn't want to have grain, I didn't want it to feel like a representation of the experience of Glass. I wanted to feel as if you are walking with him. I wanted it to be visceral, I wanted you to feel his breath and see his sweat, the tears coming out of his eyes. (...) When we started making the movie, we experimented with film because you can see highlights and shadows. And it just didn't work for this movie because the sensitivity of film was not enough for us to capture these moments in this very dark light and in this magic hour and at night. And it was getting very grainy. (...) [At the same time, he looks forward to improvements in the Alexa 65:] It's very important that they improve the dynamic range, being able to see more into the highlights. I think we're like 3 stops short. That's a must. And then the other thing that is very exciting is the combination of this technology with Dolby laser projection. The DCP for Dolby laser is the first time in the history of film that directors and cinematographers can project pitch black. I like IMAX laser projection too. I find it immersive but a bit more assaultive on the senses. [2015] |
| 11 | [on The New World (2005)] Terry came to me and said, 'I would love to try this, and if we fail, I will never use it. I would never put anything in the movie that would humiliate you or makes you feel uncomfortable, but let's just try to go to the edge of the abyss, because that's where the best images are.' Once he said that and allowed me that freedom to fail, I was free of all those rules and regulations that were imposed by going to film school and reading all those manuals.[2013] |
| 12 | [on Birdman or (The Unexpected Virtue of Ignorance) (2014)] I didn't want to make a gimmicky film for no reason or just to do it in one take to show off. But Alejandro's script had the seed of the idea in it and was perfectly written, it reads like one continuous take, where you go into the madness of Riggan Thomson [Michael Keaton] and the collapse of his life. So it did make sense. I think it works.(...) The making of it, as you can imagine, was incredibly complicated. Part of the movie was made in a different way from all the other movies I've done and from most of the movies I know that are being made right now. That is, it has a lot to do with theater in the sense that we had to build a proxy stage and learn how to do the movie and do a lot of rehearsing. (...) And just the proposition of doing a comedy in one shot or what feels like one shot with very long takes, most of the editing is in the way the camera moves and the way the actor moves. All that rhythm has to be determined in pre-production and as we are shooting the movie. And that's very scary because most comedy directors will tell you that editing is the most important tool to create rhythm and to make jokes work.[2015] |
| 13 | [shooting selected scenes of To the Wonder (2012) on 65mm] And there was an interesting reason for that. There's a moment where you fall in love where light feels enhanced, where things look bigger than what they are. You experience life in a much more powerful way. And we felt like capturing this moment with a bigger negative, with more resolution, was going to help you feel a little bit of what he's going through in that moment.[2013] |
| 14 | On Y Tu Mamá También (2001), we started exploring shots that are longer, where the camera is moving around the actors and there are no cuts and you feel like you're there. When Alfonso Cuaron started talking to me about the scene in Children of Men (2006), he said, 'I would love to do it in one shot, and I have an idea: Why don't we put the car on a stage and surround it with a green screen?' Basically, to shoot it as a visual effect. For probably a week, I was thinking that way, until I realized it was absolutely the wrong way to do it. The rest of the movie was going to have a very naturalistic, almost documentary-like feel to it, and maybe the best way to shoot it was to really be in the car with the actors. (...) It was very, very scary. At that time, we didn't have much support for doing those very long scenes, because the other people around us were used to cutting and doing these scenes in a very Burbank way. They'd say, 'Why bother? What a waste of effort.' (...) In reality, we could not shoot it more than two or three times, because the scene is so long and the choreography is so complex that it takes hours to reset between takes. So we did our first attempt, and when we said, 'Cut,' we had achieved it on the first take, and the actors were screaming. They couldn't believe it! I've never seen something like that, where they were shouting like little kids, 'Yeah, we did it!' The guy who was operating the crane? He was crying. It was that release of tension.[2013] |
| 15 | [on To the Wonder (2012)] Maybe for some people it doesn't feel honest, because he's shot tall grass before, but it's a very honest thing. It's not forced, it's not that he's trying to make it pretty - it's his backyard! It's like Woody Allen shooting in New York; why do you see these tall buildings over and over in his movies? This is a place he knows well.[2013] |
| 16 | [on the 12-minute-long, single-take opening scene Gravity (2013)] I have to say something about that: Alfonso Cuarón tried to make the shot much longer! I felt a little bit like the inquisition, coming in and saying, 'Cuarón, this is too long.' It felt contrived, like we were pushing it. I don't like it when a movie becomes a series of 'tour de force' shots, and in a way, I was disappointed that with Children of Men (2006), people noticed that the car scene was one shot with no cuts. If people notice that, it's like they're noticing my trick, you know what I mean? I'm doing it so people will get immersed in the movie, not to show off. (...) Cuarón told me, 'I want to it be the most immersive movie we've ever done.' It was incredibly difficult to make. We wanted this movie to feel as naturalistic as possible, and that's really hard to do in CG. (...) If the audience starts to sense your trick, it's good to stop the trick at some point and start again. It's like erasing your tracks, so that the people cannot trace and follow you.[2013] |
| 17 | [on The Tree of Life (2011)] The camera needed to capture that sense of freedom and joy and life you have when you're young. But it was very, very difficult, and it required a great camera operator and an incredible focus-puller and another person helping me expose as I moved through the rooms. If I hadn't done Y Tu Mamá También (2001), I would have been terrified about the difference in exposure between interior and exterior, about the direction of the lighting at certain moments, the overexposure from the windows. It took me a long time to get to that point where I could accept that. I had to be a more mature cinematographer so I could be less mature in my work.[2013] |
| 18 | [on managing Sandra Bullock's physical performance in Gravity (2013)] We literally had puppeteers controlling her. I couldn't stand being in the rig for more than thirty seconds, and she would be up there for hours. Sandra is an athlete, an acrobat, a ballerina and a total Buddhist. |
| 19 | [on Terrence Malick] Working with Terry has changed my life. I'm a different parent, I'm a different husband, and I'm a different friend. I see nature in a different way since I started working with Terry. I have much more respect for things that I wasn't aware of as much. He is one of the most important teachers in my life. And I'm a much better cinematographer in helping directors in a much more comprehensive way.[2012] |
| 20 | [on The Tree of Life (2011)] The language of film is further and further away from the language of theater and is closer to music. It's abstract but still narrative. Everything feels less rehearsed. It's more experimental than classical.[2012] |
| # | Fact |
|---|---|
| 1 | The first man to win for an Academy Award for Best Cinematography three years in a row, for his work on Gravity (2013), Birdman or (The Unexpected Virtue of Ignorance) (2014) and The Revenant (2015). He is the seventh individual to win a three-peat in any Oscar category. He is the first cinematographer in history to win three Academy Awards in a row. |
| 2 | Was personally thanked (as "Chivo") by Leonardo DiCaprio in his acceptance speech on winning the Best Actor Golden Globe Award for The Revenant (2015). |
| 3 | 2007 - Ranked #24 on EW's The 50 Smartest People in Hollywood. |
| 4 | In 2007, he was one of 11 Mexican Academy Award-nominees. The others were Alejandro G. Iñárritu, Guillermo Arriaga, Guillermo del Toro, Alfonso Cuarón, Guillermo Navarro, Adriana Barraza, Eugenio Caballero, Pilar Revuelta, Fernando Cámara and Alex Rodríguez. |
| 5 | Son of Muni Lubezki and brother of Alejandro Lubezki. |
Cinematographer
| Title | Year | Status | Character |
|---|---|---|---|
| Weightless | 2017 | director of photography completed | |
| Untitled Legendary VR Project | 2017 | Short filming | |
| Roma | filming | ||
| The Devil's Teeth | director of photography announced | ||
| The Revenant | 2015 | director of photography | |
| Knight of Cups | 2015 | director of photography | |
| Last Days in the Desert | 2015 | director of photography | |
| Birdman or (The Unexpected Virtue of Ignorance) | 2014 | director of photography | |
| Gravity | 2013 | director of photography | |
| To the Wonder | 2012 | director of photography | |
| The Tree of Life | 2011 | director of photography | |
| Dick Tracy Special | 2010 | TV Movie director of photography | |
| Write the Future | 2010 | TV Short director of photography | |
| Burn After Reading | 2008 | director of photography | |
| Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence | 2007 | segment "Anna" | |
| Children of Men | 2006 | director of photography | |
| The New World | 2005 | director of photography | |
| A Series of Unfortunate Events | 2004 | director of photography | |
| The Assassination of Richard Nixon | 2004 | director of photography | |
| The Cat in the Hat | 2003 | director of photography | |
| De Mesmer, con amor o Té para dos | 2002 | Short director of photography | |
| Ali | 2001 | director of photography | |
| Y Tu Mamá También | 2001 | director of photography | |
| Things You Can Tell Just by Looking at Her | 2000 | director of photography | |
| Sleepy Hollow | 1999 | director of photography | |
| Meet Joe Black | 1998 | director of photography | |
| Great Expectations | 1998 | director of photography | |
| The Birdcage | 1996 | director of photography | |
| A Walk in the Clouds | 1995 | director of photography | |
| A Little Princess | 1995 | ||
| Ámbar | 1994 | director of photography | |
| Reality Bites | 1994 | director of photography | |
| Fallen Angels | 1993 | TV Series director of photography - 2 episodes | |
| Miroslava | 1993 | director of photography | |
| Twenty Bucks | 1993 | director of photography | |
| The Harvest | 1992 | director of photography | |
| Como agua para chocolate | 1992 | director of photography | |
| Sólo con tu pareja | 1991 | director of photography | |
| Bandidos | 1991 | director of photography | |
| El motel de la muerte | 1990 | TV Movie director of photography | |
| Hora Marcada | 1989-1990 | TV Series 8 episodes | |
| La muchacha | 1990 | Short director of photography | |
| Los buzos diamantistas | 1988 | Short director of photography | |
| Sera por eso que la quiero tanto | 1985 | Short director of photography | |
| Vengeance Is Mine | 1983 | Short director of photography |
Producer
| Title | Year | Status | Character |
|---|---|---|---|
| El ingeniero | 2012/I | Documentary producer | |
| Lección relámpago | 2007 | Short co-producer | |
| The Assassination of Richard Nixon | 2004 | associate producer | |
| Camino largo a Tijuana | 1991 | producer | |
| Caifanes | 1990 | Documentary short producer | |
| Hora Marcada | 1988 | TV Series producer - 1 episode |
Director
| Title | Year | Status | Character |
|---|---|---|---|
| Caifanes | 1990 | Documentary short | |
| Marlena en la pared | 1986 | Short | |
| Ejercicio de 20 año | 1985 | Short |
Camera Department
| Title | Year | Status | Character |
|---|---|---|---|
| Shine a Light | 2008 | Documentary camera operator | |
| 10 Items or Less | 2006 | first assistant camera |
Editor
| Title | Year | Status | Character |
|---|---|---|---|
| Caifanes | 1990 | Documentary short | |
| Ejercicio de 20 año | 1985 | Short |
Writer
| Title | Year | Status | Character |
|---|---|---|---|
| Ejercicio de 20 año | 1985 | Short |
Assistant Director
| Title | Year | Status | Character |
|---|---|---|---|
| Gaby: A True Story | 1987 | second assistant director |
Thanks
| Title | Year | Status | Character |
|---|---|---|---|
| Bored Games | 2012 | Short additional acknowledgments | |
| Morning | 2010/II | special thanks | |
| Laurel Canyon | 2002 | special thanks | |
| Hearts in Atlantis | 2001 | thanks |
Self
| Title | Year | Status | Character |
|---|---|---|---|
| The 88th Annual Academy Awards | 2016 | TV Special | Himself - Winner: Best Cinematography |
| The 87th Annual Academy Awards | 2015 | TV Special | Himself - Winner: Best Cinematography |
| The 86th Annual Academy Awards | 2014 | TV Special | Himself - Winner: Best Cinematography |
| 19th Annual Critics' Choice Movie Awards | 2014 | TV Special | Himself - Winner (credit only) |
| Exploring 'The Tree of Life' | 2011 | Video documentary short | Himself |
| Making 'The New World' | 2006 | Video documentary | Himself (as Emmanuel 'Chivo' Lubezki) |
| A Terrible Tragedy: Alarming Evidence from the Making of the Film - A Woeful World | 2004 | Video documentary | Himself - Director of Photography (as Emmanuel Lubezki aka 'Chivo') |
| A Terrible Tragedy: Alarming Evidence from the Making of the Film - Costumes and Other Suspicious Disguises | 2004 | Documentary short | Himself, Cinematographer (uncredited) |
| The 72nd Annual Academy Awards | 2000 | TV Special | Himself - Nominee: Best Cinematography |
| The 68th Annual Academy Awards | 1996 | TV Special | Himself - Nominee: Best Cinematography |
Won Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | Oscar | Academy Awards, USA | Best Achievement in Cinematography | The Revenant (2015) |
| 2016 | BAFTA Film Award | BAFTA Awards | Best Cinematography | The Revenant (2015) |
| 2016 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Theatrical Releases | The Revenant (2015) |
| 2016 | Critics Choice Award | Broadcast Film Critics Association Awards | Best Cinematography | The Revenant (2015) |
| 2016 | COFCA Award | Central Ohio Film Critics Association | Best Cinematography | The Revenant (2015) |
| 2016 | Gold Derby Award | Gold Derby Awards | Cinematography | The Revenant (2015) |
| 2016 | HFCS Award | Houston Film Critics Society Awards | Best Cinematography | The Revenant (2015) |
| 2016 | OFTA Film Award | Online Film & Television Association | Best Cinematography | The Revenant (2015) |
| 2015 | SLFCA Award | St. Louis Film Critics Association, US | Best Cinematography | The Revenant (2015) |
| 2015 | WAFCA Award | Washington DC Area Film Critics Association Awards | Best Cinematography | The Revenant (2015) |
| 2015 | Oscar | Academy Awards, USA | Best Achievement in Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | BAFTA Film Award | BAFTA Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | EDA Award | Alliance of Women Film Journalists | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Theatrical Releases | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | ACCA | Awards Circuit Community Awards | Best Cinematography | The Revenant (2015) |
| 2015 | Critics Choice Award | Broadcast Film Critics Association Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | DFWFCA Award | Dallas-Fort Worth Film Critics Association Awards | Best Cinematography | The Revenant (2015) |
| 2015 | GFCA Award | Georgia Film Critics Association (GFCA) | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | Gold Derby Award | Gold Derby Awards | Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | HFCS Award | Houston Film Critics Society Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | Independent Spirit Award | Independent Spirit Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | IOFCP Award | International Online Film Critics' Poll | Best Cinematography | Gravity (2013) |
| 2015 | Sierra Award | Las Vegas Film Critics Society Awards | Best Cinematography | The Revenant (2015) |
| 2015 | NFCS Award | Nevada Film Critics Society | Best Cinematography | The Revenant (2015) |
| 2015 | NTFCA Award | North Texas Film Critics Association, US | Best Cinematography | The Revenant (2015) |
| 2015 | PFCS Award | Phoenix Film Critics Society Awards | Best Cinematography | The Revenant (2015) |
| 2014 | SEFCA Award | Southeastern Film Critics Association Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | SLFCA Award | St. Louis Film Critics Association, US | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | VES Award | Visual Effects Society Awards | Outstanding Virtual Cinematography in a Live Action Feature Motion Picture | Gravity (2013) |
| 2014 | WAFCA Award | Washington DC Area Film Critics Association Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | Oscar | Academy Awards, USA | Best Achievement in Cinematography | Gravity (2013) |
| 2014 | BAFTA Film Award | BAFTA Awards | Best Cinematography | Gravity (2013) |
| 2014 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Feature Film | Gravity (2013) |
| 2014 | Austin Film Critics Award | Austin Film Critics Association | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | ACCA | Awards Circuit Community Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | BFCC Award | Black Film Critics Circle Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | BOFCA Award | Boston Online Film Critics Association | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | BSFC Award | Boston Society of Film Critics Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | Critics Choice Award | Broadcast Film Critics Association Awards | Best Cinematography | Gravity (2013) |
| 2014 | COFCA Award | Central Ohio Film Critics Association | Best Cinematography | Gravity (2013) |
| 2014 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | CinEuphoria | CinEuphoria Awards | Best Cinematography - International Competition | Gravity (2013) |
| 2014 | DFWFCA Award | Dallas-Fort Worth Film Critics Association Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | DFCS Award | Denver Film Critics Society | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | GFCA Award | Georgia Film Critics Association (GFCA) | Best Cinematography | Gravity (2013) |
| 2014 | Gold Derby Award | Gold Derby Awards | Cinematography | Gravity (2013) |
| 2014 | Hollywood Film Award | Hollywood Film Awards | Cinematographer of the Year | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | ICP Award | Indiewire Critics' Poll | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | ICS Award | International Cinephile Society Awards | Best Cinematography | Gravity (2013) |
| 2014 | Sierra Award | Las Vegas Film Critics Society Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | NYFCO Award | New York Film Critics, Online | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | OFTA Film Award | Online Film & Television Association | Best Cinematography | Gravity (2013) |
| 2014 | PFCS Award | Phoenix Film Critics Society Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2013 | SDFCS Award | San Diego Film Critics Society Awards | Best Cinematography | To the Wonder (2012) |
| 2013 | SFFCC Award | San Francisco Film Critics Circle | Best Cinematography | Gravity (2013) |
| 2013 | SEFCA Award | Southeastern Film Critics Association Awards | Best Cinematography | Gravity (2013) |
| 2013 | UFCA Award | Utah Film Critics Association Awards | Best Cinematography | Gravity (2013) |
| 2013 | WAFCA Award | Washington DC Area Film Critics Association Awards | Best Cinematography | Gravity (2013) |
| 2013 | Best Cinematography | Wine Country Film Festival | Gravity (2013) | |
| 2013 | EDA Award | Alliance of Women Film Journalists | Best Cinematography | Gravity (2013) |
| 2013 | Austin Film Critics Award | Austin Film Critics Association | Best Cinematography | Gravity (2013) |
| 2013 | ACCA | Awards Circuit Community Awards | Best Cinematography | Gravity (2013) |
| 2013 | BFCC Award | Black Film Critics Circle Awards | Best Cinematography | Gravity (2013) |
| 2013 | BSFC Award | Boston Society of Film Critics Awards | Best Cinematography | Gravity (2013) |
| 2013 | Best 3D Feature Film | Camerimage | Gravity (2013) | |
| 2013 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | Gravity (2013) |
| 2013 | DFWFCA Award | Dallas-Fort Worth Film Critics Association Awards | Best Cinematography | Gravity (2013) |
| 2013 | DFCC | Dublin Film Critics Circle Awards | Best Cinematography | Gravity (2013) |
| 2013 | FFCC Award | Florida Film Critics Circle Awards | Best Cinematography | Gravity (2013) |
| 2013 | HFCS Award | Houston Film Critics Society Awards | Best Cinematography | Gravity (2013) |
| 2013 | ICP Award | Indiewire Critics' Poll | Best Cinematography | Gravity (2013) |
| 2013 | Sierra Award | Las Vegas Film Critics Society Awards | Best Cinematography | Gravity (2013) |
| 2013 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Cinematography | Gravity (2013) |
| 2013 | NFCS Award | Nevada Film Critics Society | Best Cinematography | Gravity (2013) |
| 2013 | NYFCO Award | New York Film Critics, Online | Best Cinematography | Gravity (2013) |
| 2013 | NTFCA Award | North Texas Film Critics Association, US | Best Cinematography | Gravity (2013) |
| 2013 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | Gravity (2013) |
| 2013 | PFCS Award | Phoenix Film Critics Society Awards | Best Cinematography | Gravity (2013) |
| 2012 | EDA Award | Alliance of Women Film Journalists | Best Cinematography | The Tree of Life (2011) |
| 2012 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Theatrical Releases | The Tree of Life (2011) |
| 2012 | International Award | Australian Cinematographers Society | The Tree of Life (2011) | |
| 2012 | Critics Choice Award | Broadcast Film Critics Association Awards | Best Cinematography | The Tree of Life (2011) |
| 2012 | COFCA Award | Central Ohio Film Critics Association | Best Cinematography | The Tree of Life (2011) |
| 2012 | GFCA Award | Georgia Film Critics Association (GFCA) | Best Cinematography | The Tree of Life (2011) |
| 2012 | Gold Derby Award | Gold Derby Awards | Cinematography | Tree of Life (2010) |
| 2012 | ICS Award | International Cinephile Society Awards | Best Cinematography | The Tree of Life (2011) |
| 2012 | IOMA | Italian Online Movie Awards (IOMA) | Best Cinematography (Miglior fotografia) | The Tree of Life (2011) |
| 2012 | NSFC Award | National Society of Film Critics Awards, USA | Best Cinematography | The Tree of Life (2011) |
| 2012 | OFTA Film Award | Online Film & Television Association | Best Cinematography | The Tree of Life (2011) |
| 2012 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | SDFCS Award | San Diego Film Critics Society Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | SFFCC Award | San Francisco Film Critics Circle | Best Cinematography | The Tree of Life (2011) |
| 2011 | SEFCA Award | Southeastern Film Critics Association Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | SLFCA Award | St. Louis Film Critics Association, US | Best Cinematography | The Tree of Life (2011) |
| 2011 | WAFCA Award | Washington DC Area Film Critics Association Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | Austin Film Critics Award | Austin Film Critics Association | Best Cinematography | The Tree of Life (2011) |
| 2011 | ACCA | Awards Circuit Community Awards | Best Achievement in Cinematography | The Tree of Life (2011) |
| 2011 | BSFC Award | Boston Society of Film Critics Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | DFWFCA Award | Dallas-Fort Worth Film Critics Association Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | FFCC Award | Florida Film Critics Circle Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | Hollywood Film Award | Hollywood Film Awards | Cinematographer of the Year | The Tree of Life (2011) |
| 2011 | HFCS Award | Houston Film Critics Society Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | ICP Award | Indiewire Critics' Poll | Best Cinematography | The Tree of Life (2011) |
| 2011 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | NYFCC Award | New York Film Critics Circle Awards | Best Cinematographer | The Tree of Life (2011) |
| 2011 | NYFCO Award | New York Film Critics, Online | Best Cinematography | The Tree of Life (2011) |
| 2011 | PFCS Award | Phoenix Film Critics Society Awards | Best Cinematography | The Tree of Life (2011) |
| 2007 | BAFTA Film Award | BAFTA Awards | Best Cinematography | Children of Men (2006) |
| 2007 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Theatrical Releases | Children of Men (2006) |
| 2007 | Austin Film Critics Award | Austin Film Critics Association | Best Cinematography | Children of Men (2006) |
| 2007 | International Award | Australian Cinematographers Society | Children of Men (2006) | |
| 2007 | Gold Derby Award | Gold Derby Awards | Cinematography | Children of Men (2006) |
| 2007 | ICS Award | International Cinephile Society Awards | Best Cinematography | Children of Men (2006) |
| 2007 | IOMA | Italian Online Movie Awards (IOMA) | Best Cinematography (Miglior fotografia) | Children of Men (2006) |
| 2007 | NSFC Award | National Society of Film Critics Awards, USA | Best Cinematography | Children of Men (2006) |
| 2007 | OFTA Film Award | Online Film & Television Association | Best Cinematography | Children of Men (2006) |
| 2007 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | Children of Men (2006) |
| 2006 | Golden Osella | Venice Film Festival | Outstanding Technical Contribution | Children of Men (2006) |
| 2006 | ACCA | Awards Circuit Community Awards | Best Cinematography | Children of Men (2006) |
| 2006 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | Children of Men (2006) |
| 2006 | ICP Award | Indiewire Critics' Poll | Best Cinematography | Children of Men (2006) |
| 2006 | IOMA | Italian Online Movie Awards (IOMA) | Best Cinematography (Miglior fotografia) | The New World (2005) |
| 2006 | Sierra Award | Las Vegas Film Critics Society Awards | Best Cinematography | Children of Men (2006) |
| 2006 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Cinematography | Children of Men (2006) |
| 2006 | Kodak Award | Mar del Plata Film Festival | The New World (2005) | |
| 2005 | SDFCS Award | San Diego Film Critics Society Awards | Best Cinematography | The New World (2005) |
| 2000 | SFFCC Award | Santa Fe Film Critics Circle Awards | Best Cinematography | Sleepy Hollow (1999) |
| 2000 | Golden Satellite Award | Satellite Awards | Best Cinematography | Sleepy Hollow (1999) |
| 2000 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | Sleepy Hollow (1999) |
| 1999 | BSFC Award | Boston Society of Film Critics Awards | Best Cinematography | Sleepy Hollow (1999) |
| 1994 | Best Cinematography | Sitges - Catalonian International Film Festival | Ámbar (1994) | |
| 1994 | Silver Ariel | Ariel Awards, Mexico | Best Cinematography (Mejor Fotografía) | Ámbar (1994) |
| 1994 | CableACE | CableACE Awards | Direction of Photography and/or Lighting Direction in a Comedy or Dramatic Series | Fallen Angels (1993) |
| 1993 | Silver Ariel | Ariel Awards, Mexico | Best Cinematography (Mejor Fotografía) | Miroslava (1993) |
| 1993 | Best Cinematography | Havana Film Festival | Miroslava (1993) | |
| 1993 | Best Cinematography | Mystfest | The Harvest (1992) | |
| 1992 | Best Artistic Contribution Award | Tokyo International Film Festival | Como agua para chocolate (1992) | |
| 1992 | Silver Ariel | Ariel Awards, Mexico | Best Cinematography (Mejor Fotografía) | Como agua para chocolate (1992) |
Nominated Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | Seattle Film Critics Award | Seattle Film Critics Awards | Best Cinematography | The Revenant (2015) |
| 2016 | EDA Award | Alliance of Women Film Journalists | Best Cinematography | The Revenant (2015) |
| 2016 | Best Cinematography Award | British Society of Cinematographers | Best Cinematography in a Feature Film | The Revenant (2015) |
| 2016 | GFCA Award | Georgia Film Critics Association (GFCA) | Best Cinematography | The Revenant (2015) |
| 2016 | ICS Award | International Cinephile Society Awards | Best Cinematography | The Revenant (2015) |
| 2015 | SFFCC Award | San Francisco Film Critics Circle | Best Cinematography | The Revenant (2015) |
| 2015 | Satellite Award | Satellite Awards | Best Cinematography | The Revenant (2015) |
| 2015 | Austin Film Critics Award | Austin Film Critics Association | Best Cinematography | The Revenant (2015) |
| 2015 | Best Cinematography Award | British Society of Cinematographers | Best Cinematography in a Feature Film | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | COFCA Award | Central Ohio Film Critics Association | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | The Revenant (2015) |
| 2015 | Chlotrudis Award | Chlotrudis Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | FFCC Award | Florida Film Critics Circle Awards | Best Cinematography | The Revenant (2015) |
| 2015 | ICP Award | Indiewire Critics' Poll | Best Cinematography | The Revenant (2015) |
| 2015 | IOFCP Award | International Online Film Critics' Poll | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | IOMA | Italian Online Movie Awards (IOMA) | Best Cinematography (Miglior fotografia) | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | ALFS Award | London Critics Circle Film Awards | Technical Achievement of the Year | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2015 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | The Revenant (2015) |
| 2014 | SFFCC Award | San Francisco Film Critics Circle | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | Satellite Award | Satellite Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | Best Cinematography Award | British Society of Cinematographers | Best Cinematography in a Feature Film | Gravity (2013) |
| 2014 | Golden Frog | Camerimage | Main Competition | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | GFCA Award | Georgia Film Critics Association (GFCA) | Best Cinematography | To the Wonder (2012) |
| 2014 | IOMA | Italian Online Movie Awards (IOMA) | Best Cinematography (Miglior fotografia) | Gravity (2013) |
| 2014 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2013 | SDFCS Award | San Diego Film Critics Society Awards | Best Cinematography | Gravity (2013) |
| 2013 | Satellite Award | Satellite Awards | Best Cinematography | Gravity (2013) |
| 2013 | ICP Award | Indiewire Critics' Poll | Best Cinematography | To the Wonder (2012) |
| 2012 | Oscar | Academy Awards, USA | Best Achievement in Cinematography | The Tree of Life (2011) |
| 2012 | Best Cinematography Award | British Society of Cinematographers | Best Cinematography in a Feature Film | The Tree of Life (2011) |
| 2012 | Chlotrudis Award | Chlotrudis Awards | Best Cinematography | The Tree of Life (2011) |
| 2012 | IOFCP Award | International Online Film Critics' Poll | Best Cinematography | The Tree of Life (2011) |
| 2011 | Satellite Award | Satellite Awards | Best Cinematography | The Tree of Life (2011) |
| 2011 | Golden Frog | Camerimage | Main Competition | The Tree of Life (2011) |
| 2007 | Oscar | Academy Awards, USA | Best Achievement in Cinematography | Children of Men (2006) |
| 2006 | Oscar | Academy Awards, USA | Best Achievement in Cinematography | The New World (2005) |
| 2006 | Best Cinematography Award | British Society of Cinematographers | Children of Men (2006) | |
| 2006 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | The New World (2005) |
| 2006 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | The New World (2005) |
| 2005 | Golden Satellite Award | Satellite Awards | Best Cinematography | A Series of Unfortunate Events (2004) |
| 2003 | Chlotrudis Award | Chlotrudis Awards | Best Cinematography | Y tu mamá también (2001) |
| 2002 | MTV Movie Award | MTV Movie Awards, Latin America | MTV North Feed (mostly Mexico) - Best Mexican Working in a Foreign Movie (Mejor Fuga de Talento Mexicano al Extranjero) | Ali (2001) |
| 2000 | Oscar | Academy Awards, USA | Best Cinematography | Sleepy Hollow (1999) |
| 2000 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Theatrical Releases | Sleepy Hollow (1999) |
| 2000 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | Sleepy Hollow (1999) |
| 2000 | Chlotrudis Award | Chlotrudis Awards | Best Cinematography | Sleepy Hollow (1999) |
| 2000 | Sierra Award | Las Vegas Film Critics Society Awards | Best Cinematography | Sleepy Hollow (1999) |
| 2000 | OFTA Film Award | Online Film & Television Association | Best Cinematography | Sleepy Hollow (1999) |
| 1996 | Oscar | Academy Awards, USA | Best Cinematography | A Little Princess (1995) |
| 1996 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | A Walk in the Clouds (1995) |
| 1992 | Silver Ariel | Ariel Awards, Mexico | Best Cinematography (Mejor Fotografía) | Sólo con tu pareja (1991) |
2nd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2015 | SDFCS Award | San Diego Film Critics Society Awards | Best Cinematography | The Revenant (2015) |
| 2015 | UFCA Award | Utah Film Critics Association Awards | Best Cinematography | The Revenant (2015) |
| 2015 | BSFC Award | Boston Society of Film Critics Awards | Best Cinematography | The Revenant (2015) |
| 2015 | INOCA | International Online Cinema Awards (INOCA) | Best Cinematography | Birdman or (The Unexpected Virtue of Ignorance) (2014) |
| 2014 | NSFC Award | National Society of Film Critics Awards, USA | Best Cinematography | Gravity (2013) |
| 2013 | SLFCA Award | St. Louis Film Critics Association, US | Best Cinematography | Gravity (2013) |
| 2013 | NYFCC Award | New York Film Critics Circle Awards | Best Cinematographer | Gravity (2013) |
| 2011 | UFCA Award | Utah Film Critics Association Awards | Best Cinematography | The Tree of Life (2011) |
| 2006 | DFWFCA Award | Dallas-Fort Worth Film Critics Association Awards | Best Cinematography | Children of Men (2006) |
| 2005 | VVFP Award | Village Voice Film Poll | Best Cinematography | The New World (2005) |
| 2005 | DFWFCA Award | Dallas-Fort Worth Film Critics Association Awards | Best Cinematography | The New World (2005) |
| 2000 | NSFC Award | National Society of Film Critics Awards, USA | Best Cinematography | Sleepy Hollow (1999) |
| 1999 | NYFCC Award | New York Film Critics Circle Awards | Best Cinematographer | Sleepy Hollow (1999) |
3rd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2006 | NSFC Award | National Society of Film Critics Awards, USA | Best Cinematography | The New World (2005) |
| 2006 | NYFCC Award | New York Film Critics Circle Awards | Best Cinematographer | Children of Men (2006) |
| 2005 | NYFCC Award | New York Film Critics Circle Awards | Best Cinematographer | The New World (2005) |
Known for movies
Gravity (2013)
as Cinematographer
The Revenant (2015)
as Cinematographer
Birdman or (The Unexpected Virtue of Ignorance) (2014)
as Cinematographer
Children of Men (2006)
as Cinematographer
