Emmanuel Lubezki Net Worth

Emmanuel Lubezki Net Worth 2017: Short Bio & Wiki

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Emmanuel Lubezki net worth is
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Emmanuel Lubezki Net Worth, Biography & Wiki 2017

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). Wikipedia

Quick Facts

Birth date: 1964-01-01
Birth place: Mexico City, Distrito Federal, Mexico
Profession:Cinematographer, Producer, Director
imdb.com/name/nm0523881
en.wikipedia.org/wiki/?curid=692895


Interesting Facts

#Fact
1The 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.
2Was personally thanked (as "Chivo") by Leonardo DiCaprio in his acceptance speech on winning the Best Actor Golden Globe Award for The Revenant (2015).
32007 - Ranked #24 on EW's The 50 Smartest People in Hollywood.
4In 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.
5Son of Muni Lubezki and brother of Alejandro Lubezki.


Quotes

#Quote
1A 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]
3I 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]
6I 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]
7The 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]
14On 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]


Pictures

All Emmanuel Lubezki pictures »

Won Awards

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2016OscarAcademy Awards, USABest Achievement in CinematographyThe Revenant (2015)
2016BAFTA Film AwardBAFTA AwardsBest CinematographyThe Revenant (2015)
2016ASC AwardAmerican Society of Cinematographers, USAOutstanding Achievement in Cinematography in Theatrical ReleasesThe Revenant (2015)
2016Critics Choice AwardBroadcast Film Critics Association AwardsBest CinematographyThe Revenant (2015)
2016COFCA AwardCentral Ohio Film Critics AssociationBest CinematographyThe Revenant (2015)
2016Gold Derby AwardGold Derby AwardsCinematographyThe Revenant (2015)
2016HFCS AwardHouston Film Critics Society AwardsBest CinematographyThe Revenant (2015)
2016OFTA Film AwardOnline Film & Television AssociationBest CinematographyThe Revenant (2015)
2015SLFCA AwardSt. Louis Film Critics Association, USBest CinematographyThe Revenant (2015)
2015WAFCA AwardWashington DC Area Film Critics Association AwardsBest CinematographyThe Revenant (2015)
2015OscarAcademy Awards, USABest Achievement in CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015BAFTA Film AwardBAFTA AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015EDA AwardAlliance of Women Film JournalistsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015ASC AwardAmerican Society of Cinematographers, USAOutstanding Achievement in Cinematography in Theatrical ReleasesBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015ACCAAwards Circuit Community AwardsBest CinematographyThe Revenant (2015)
2015Critics Choice AwardBroadcast Film Critics Association AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015DFWFCA AwardDallas-Fort Worth Film Critics Association AwardsBest CinematographyThe Revenant (2015)
2015GFCA AwardGeorgia Film Critics Association (GFCA)Best CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015Gold Derby AwardGold Derby AwardsCinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015HFCS AwardHouston Film Critics Society AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015Independent Spirit AwardIndependent Spirit AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015IOFCP AwardInternational Online Film Critics' PollBest CinematographyGravity (2013)
2015Sierra AwardLas Vegas Film Critics Society AwardsBest CinematographyThe Revenant (2015)
2015NFCS AwardNevada Film Critics SocietyBest CinematographyThe Revenant (2015)
2015NTFCA AwardNorth Texas Film Critics Association, USBest CinematographyThe Revenant (2015)
2015PFCS AwardPhoenix Film Critics Society AwardsBest CinematographyThe Revenant (2015)
2014SEFCA AwardSoutheastern Film Critics Association AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014SLFCA AwardSt. Louis Film Critics Association, USBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014VES AwardVisual Effects Society AwardsOutstanding Virtual Cinematography in a Live Action Feature Motion PictureGravity (2013)· Tim Webber
· Richard McBride
· Dale Newton
2014WAFCA AwardWashington DC Area Film Critics Association AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014OscarAcademy Awards, USABest Achievement in CinematographyGravity (2013)
2014BAFTA Film AwardBAFTA AwardsBest CinematographyGravity (2013)
2014ASC AwardAmerican Society of Cinematographers, USAOutstanding Achievement in Cinematography in Feature FilmGravity (2013)
2014Austin Film Critics AwardAustin Film Critics AssociationBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014ACCAAwards Circuit Community AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014BFCC AwardBlack Film Critics Circle AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014BOFCA AwardBoston Online Film Critics AssociationBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014BSFC AwardBoston Society of Film Critics AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014Critics Choice AwardBroadcast Film Critics Association AwardsBest CinematographyGravity (2013)
2014COFCA AwardCentral Ohio Film Critics AssociationBest CinematographyGravity (2013)
2014CFCA AwardChicago Film Critics Association AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014CinEuphoriaCinEuphoria AwardsBest Cinematography - International CompetitionGravity (2013)
2014DFWFCA AwardDallas-Fort Worth Film Critics Association AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014DFCS AwardDenver Film Critics SocietyBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014GFCA AwardGeorgia Film Critics Association (GFCA)Best CinematographyGravity (2013)
2014Gold Derby AwardGold Derby AwardsCinematographyGravity (2013)
2014Hollywood Film AwardHollywood Film AwardsCinematographer of the YearBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014ICP AwardIndiewire Critics' PollBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014ICS AwardInternational Cinephile Society AwardsBest CinematographyGravity (2013)
2014Sierra AwardLas Vegas Film Critics Society AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014LAFCA AwardLos Angeles Film Critics Association AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014NYFCO AwardNew York Film Critics, OnlineBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014OFTA Film AwardOnline Film & Television AssociationBest CinematographyGravity (2013)
2014PFCS AwardPhoenix Film Critics Society AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2013SDFCS AwardSan Diego Film Critics Society AwardsBest CinematographyTo the Wonder (2012)
2013SFFCC AwardSan Francisco Film Critics CircleBest CinematographyGravity (2013)
2013SEFCA AwardSoutheastern Film Critics Association AwardsBest CinematographyGravity (2013)
2013UFCA AwardUtah Film Critics Association AwardsBest CinematographyGravity (2013)
2013WAFCA AwardWashington DC Area Film Critics Association AwardsBest CinematographyGravity (2013)
2013Best CinematographyWine Country Film FestivalGravity (2013)
2013EDA AwardAlliance of Women Film JournalistsBest CinematographyGravity (2013)
2013Austin Film Critics AwardAustin Film Critics AssociationBest CinematographyGravity (2013)
2013ACCAAwards Circuit Community AwardsBest CinematographyGravity (2013)
2013BFCC AwardBlack Film Critics Circle AwardsBest CinematographyGravity (2013)
2013BSFC AwardBoston Society of Film Critics AwardsBest CinematographyGravity (2013)
2013Best 3D Feature FilmCamerimageGravity (2013)
2013CFCA AwardChicago Film Critics Association AwardsBest CinematographyGravity (2013)
2013DFWFCA AwardDallas-Fort Worth Film Critics Association AwardsBest CinematographyGravity (2013)
2013DFCCDublin Film Critics Circle AwardsBest CinematographyGravity (2013)
2013FFCC AwardFlorida Film Critics Circle AwardsBest CinematographyGravity (2013)
2013HFCS AwardHouston Film Critics Society AwardsBest CinematographyGravity (2013)
2013ICP AwardIndiewire Critics' PollBest CinematographyGravity (2013)
2013Sierra AwardLas Vegas Film Critics Society AwardsBest CinematographyGravity (2013)
2013LAFCA AwardLos Angeles Film Critics Association AwardsBest CinematographyGravity (2013)
2013NFCS AwardNevada Film Critics SocietyBest CinematographyGravity (2013)
2013NYFCO AwardNew York Film Critics, OnlineBest CinematographyGravity (2013)
2013NTFCA AwardNorth Texas Film Critics Association, USBest CinematographyGravity (2013)
2013OFCS AwardOnline Film Critics Society AwardsBest CinematographyGravity (2013)
2013PFCS AwardPhoenix Film Critics Society AwardsBest CinematographyGravity (2013)
2012EDA AwardAlliance of Women Film JournalistsBest CinematographyThe Tree of Life (2011)
2012ASC AwardAmerican Society of Cinematographers, USAOutstanding Achievement in Cinematography in Theatrical ReleasesThe Tree of Life (2011)
2012International AwardAustralian Cinematographers SocietyThe Tree of Life (2011)
2012Critics Choice AwardBroadcast Film Critics Association AwardsBest CinematographyThe Tree of Life (2011)
2012COFCA AwardCentral Ohio Film Critics AssociationBest CinematographyThe Tree of Life (2011)
2012GFCA AwardGeorgia Film Critics Association (GFCA)Best CinematographyThe Tree of Life (2011)
2012Gold Derby AwardGold Derby AwardsCinematographyTree of Life (2010)
2012ICS AwardInternational Cinephile Society AwardsBest CinematographyThe Tree of Life (2011)
2012IOMAItalian Online Movie Awards (IOMA)Best Cinematography (Miglior fotografia)The Tree of Life (2011)
2012NSFC AwardNational Society of Film Critics Awards, USABest CinematographyThe Tree of Life (2011)
2012OFTA Film AwardOnline Film & Television AssociationBest CinematographyThe Tree of Life (2011)
2012OFCS AwardOnline Film Critics Society AwardsBest CinematographyThe Tree of Life (2011)
2011SDFCS AwardSan Diego Film Critics Society AwardsBest CinematographyThe Tree of Life (2011)
2011SFFCC AwardSan Francisco Film Critics CircleBest CinematographyThe Tree of Life (2011)
2011SEFCA AwardSoutheastern Film Critics Association AwardsBest CinematographyThe Tree of Life (2011)
2011SLFCA AwardSt. Louis Film Critics Association, USBest CinematographyThe Tree of Life (2011)
2011WAFCA AwardWashington DC Area Film Critics Association AwardsBest CinematographyThe Tree of Life (2011)
2011Austin Film Critics AwardAustin Film Critics AssociationBest CinematographyThe Tree of Life (2011)
2011ACCAAwards Circuit Community AwardsBest Achievement in CinematographyThe Tree of Life (2011)
2011BSFC AwardBoston Society of Film Critics AwardsBest CinematographyThe Tree of Life (2011)
2011CFCA AwardChicago Film Critics Association AwardsBest CinematographyThe Tree of Life (2011)
2011DFWFCA AwardDallas-Fort Worth Film Critics Association AwardsBest CinematographyThe Tree of Life (2011)
2011FFCC AwardFlorida Film Critics Circle AwardsBest CinematographyThe Tree of Life (2011)
2011Hollywood Film AwardHollywood Film AwardsCinematographer of the YearThe Tree of Life (2011)
2011HFCS AwardHouston Film Critics Society AwardsBest CinematographyThe Tree of Life (2011)
2011ICP AwardIndiewire Critics' PollBest CinematographyThe Tree of Life (2011)
2011LAFCA AwardLos Angeles Film Critics Association AwardsBest CinematographyThe Tree of Life (2011)
2011NYFCC AwardNew York Film Critics Circle AwardsBest CinematographerThe Tree of Life (2011)
2011NYFCO AwardNew York Film Critics, OnlineBest CinematographyThe Tree of Life (2011)
2011PFCS AwardPhoenix Film Critics Society AwardsBest CinematographyThe Tree of Life (2011)
2007BAFTA Film AwardBAFTA AwardsBest CinematographyChildren of Men (2006)
2007ASC AwardAmerican Society of Cinematographers, USAOutstanding Achievement in Cinematography in Theatrical ReleasesChildren of Men (2006)
2007Austin Film Critics AwardAustin Film Critics AssociationBest CinematographyChildren of Men (2006)
2007International AwardAustralian Cinematographers SocietyChildren of Men (2006)
2007Gold Derby AwardGold Derby AwardsCinematographyChildren of Men (2006)
2007ICS AwardInternational Cinephile Society AwardsBest CinematographyChildren of Men (2006)
2007IOMAItalian Online Movie Awards (IOMA)Best Cinematography (Miglior fotografia)Children of Men (2006)
2007NSFC AwardNational Society of Film Critics Awards, USABest CinematographyChildren of Men (2006)
2007OFTA Film AwardOnline Film & Television AssociationBest CinematographyChildren of Men (2006)
2007OFCS AwardOnline Film Critics Society AwardsBest CinematographyChildren of Men (2006)
2006Golden OsellaVenice Film FestivalOutstanding Technical ContributionChildren of Men (2006)
2006ACCAAwards Circuit Community AwardsBest CinematographyChildren of Men (2006)
2006CFCA AwardChicago Film Critics Association AwardsBest CinematographyChildren of Men (2006)
2006ICP AwardIndiewire Critics' PollBest CinematographyChildren of Men (2006)
2006IOMAItalian Online Movie Awards (IOMA)Best Cinematography (Miglior fotografia)The New World (2005)
2006Sierra AwardLas Vegas Film Critics Society AwardsBest CinematographyChildren of Men (2006)
2006LAFCA AwardLos Angeles Film Critics Association AwardsBest CinematographyChildren of Men (2006)
2006Kodak AwardMar del Plata Film FestivalThe New World (2005)
2005SDFCS AwardSan Diego Film Critics Society AwardsBest CinematographyThe New World (2005)
2000SFFCC AwardSanta Fe Film Critics Circle AwardsBest CinematographySleepy Hollow (1999)
2000Golden Satellite AwardSatellite AwardsBest CinematographySleepy Hollow (1999)
2000OFCS AwardOnline Film Critics Society AwardsBest CinematographySleepy Hollow (1999)
1999BSFC AwardBoston Society of Film Critics AwardsBest CinematographySleepy Hollow (1999)
1994Best CinematographySitges - Catalonian International Film FestivalÁmbar (1994)
1994Silver ArielAriel Awards, MexicoBest Cinematography (Mejor Fotografía)Ámbar (1994)
1994CableACECableACE AwardsDirection of Photography and/or Lighting Direction in a Comedy or Dramatic SeriesFallen Angels (1993)
1993Silver ArielAriel Awards, MexicoBest Cinematography (Mejor Fotografía)Miroslava (1993)
1993Best CinematographyHavana Film FestivalMiroslava (1993)
1993Best CinematographyMystfestThe Harvest (1992)
1992Best Artistic Contribution AwardTokyo International Film FestivalComo agua para chocolate (1992)· Steven Bernstein (cinematographer)
1992Silver ArielAriel Awards, MexicoBest Cinematography (Mejor Fotografía)Como agua para chocolate (1992)

Nominated Awards

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
2016Seattle Film Critics AwardSeattle Film Critics AwardsBest CinematographyThe Revenant (2015)
2016EDA AwardAlliance of Women Film JournalistsBest CinematographyThe Revenant (2015)
2016Best Cinematography AwardBritish Society of CinematographersBest Cinematography in a Feature FilmThe Revenant (2015)
2016GFCA AwardGeorgia Film Critics Association (GFCA)Best CinematographyThe Revenant (2015)
2016ICS AwardInternational Cinephile Society AwardsBest CinematographyThe Revenant (2015)
2015SFFCC AwardSan Francisco Film Critics CircleBest CinematographyThe Revenant (2015)
2015Satellite AwardSatellite AwardsBest CinematographyThe Revenant (2015)
2015Austin Film Critics AwardAustin Film Critics AssociationBest CinematographyThe Revenant (2015)
2015Best Cinematography AwardBritish Society of CinematographersBest Cinematography in a Feature FilmBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015COFCA AwardCentral Ohio Film Critics AssociationBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015CFCA AwardChicago Film Critics Association AwardsBest CinematographyThe Revenant (2015)
2015Chlotrudis AwardChlotrudis AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015FFCC AwardFlorida Film Critics Circle AwardsBest CinematographyThe Revenant (2015)
2015ICP AwardIndiewire Critics' PollBest CinematographyThe Revenant (2015)
2015IOFCP AwardInternational Online Film Critics' PollBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015IOMAItalian Online Movie Awards (IOMA)Best Cinematography (Miglior fotografia)Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015ALFS AwardLondon Critics Circle Film AwardsTechnical Achievement of the YearBirdman or (The Unexpected Virtue of Ignorance) (2014)
2015OFCS AwardOnline Film Critics Society AwardsBest CinematographyThe Revenant (2015)
2014SFFCC AwardSan Francisco Film Critics CircleBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014Satellite AwardSatellite AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014Best Cinematography AwardBritish Society of CinematographersBest Cinematography in a Feature FilmGravity (2013)
2014Golden FrogCamerimageMain CompetitionBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014GFCA AwardGeorgia Film Critics Association (GFCA)Best CinematographyTo the Wonder (2012)
2014IOMAItalian Online Movie Awards (IOMA)Best Cinematography (Miglior fotografia)Gravity (2013)
2014OFCS AwardOnline Film Critics Society AwardsBest CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2013SDFCS AwardSan Diego Film Critics Society AwardsBest CinematographyGravity (2013)
2013Satellite AwardSatellite AwardsBest CinematographyGravity (2013)
2013ICP AwardIndiewire Critics' PollBest CinematographyTo the Wonder (2012)
2012OscarAcademy Awards, USABest Achievement in CinematographyThe Tree of Life (2011)
2012Best Cinematography AwardBritish Society of CinematographersBest Cinematography in a Feature FilmThe Tree of Life (2011)
2012Chlotrudis AwardChlotrudis AwardsBest CinematographyThe Tree of Life (2011)
2012IOFCP AwardInternational Online Film Critics' PollBest CinematographyThe Tree of Life (2011)
2011Satellite AwardSatellite AwardsBest CinematographyThe Tree of Life (2011)
2011Golden FrogCamerimageMain CompetitionThe Tree of Life (2011)
2007OscarAcademy Awards, USABest Achievement in CinematographyChildren of Men (2006)
2006OscarAcademy Awards, USABest Achievement in CinematographyThe New World (2005)
2006Best Cinematography AwardBritish Society of CinematographersChildren of Men (2006)
2006CFCA AwardChicago Film Critics Association AwardsBest CinematographyThe New World (2005)
2006OFCS AwardOnline Film Critics Society AwardsBest CinematographyThe New World (2005)
2005Golden Satellite AwardSatellite AwardsBest CinematographyA Series of Unfortunate Events (2004)
2003Chlotrudis AwardChlotrudis AwardsBest CinematographyY tu mamá también (2001)
2002MTV Movie AwardMTV Movie Awards, Latin AmericaMTV North Feed (mostly Mexico) - Best Mexican Working in a Foreign Movie (Mejor Fuga de Talento Mexicano al Extranjero)Ali (2001)
2000OscarAcademy Awards, USABest CinematographySleepy Hollow (1999)
2000ASC AwardAmerican Society of Cinematographers, USAOutstanding Achievement in Cinematography in Theatrical ReleasesSleepy Hollow (1999)
2000CFCA AwardChicago Film Critics Association AwardsBest CinematographySleepy Hollow (1999)
2000Chlotrudis AwardChlotrudis AwardsBest CinematographySleepy Hollow (1999)
2000Sierra AwardLas Vegas Film Critics Society AwardsBest CinematographySleepy Hollow (1999)
2000OFTA Film AwardOnline Film & Television AssociationBest CinematographySleepy Hollow (1999)
1996OscarAcademy Awards, USABest CinematographyA Little Princess (1995)
1996CFCA AwardChicago Film Critics Association AwardsBest CinematographyA Walk in the Clouds (1995)
1992Silver ArielAriel Awards, MexicoBest Cinematography (Mejor Fotografía)Sólo con tu pareja (1991)

2nd Place Awards

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
2015SDFCS AwardSan Diego Film Critics Society AwardsBest CinematographyThe Revenant (2015)
2015UFCA AwardUtah Film Critics Association AwardsBest CinematographyThe Revenant (2015)
2015BSFC AwardBoston Society of Film Critics AwardsBest CinematographyThe Revenant (2015)
2015INOCAInternational Online Cinema Awards (INOCA)Best CinematographyBirdman or (The Unexpected Virtue of Ignorance) (2014)
2014NSFC AwardNational Society of Film Critics Awards, USABest CinematographyGravity (2013)
2013SLFCA AwardSt. Louis Film Critics Association, USBest CinematographyGravity (2013)
2013NYFCC AwardNew York Film Critics Circle AwardsBest CinematographerGravity (2013)
2011UFCA AwardUtah Film Critics Association AwardsBest CinematographyThe Tree of Life (2011)
2006DFWFCA AwardDallas-Fort Worth Film Critics Association AwardsBest CinematographyChildren of Men (2006)
2005VVFP AwardVillage Voice Film PollBest CinematographyThe New World (2005)
2005DFWFCA AwardDallas-Fort Worth Film Critics Association AwardsBest CinematographyThe New World (2005)
2000NSFC AwardNational Society of Film Critics Awards, USABest CinematographySleepy Hollow (1999)
1999NYFCC AwardNew York Film Critics Circle AwardsBest CinematographerSleepy Hollow (1999)

3rd Place Awards

3rd place awards

3rd place awards

YearAwardCeremonyNominationMovieAward shared with
2006NSFC AwardNational Society of Film Critics Awards, USABest CinematographyThe New World (2005)
2006NYFCC AwardNew York Film Critics Circle AwardsBest CinematographerChildren of Men (2006)
2005NYFCC AwardNew York Film Critics Circle AwardsBest CinematographerThe New World (2005)


Filmography

Cinematographer

Cinematographer

TitleYearStatusCharacter
Weightless2017director of photography completed
Untitled Legendary VR Project2017Short filming
Romafilming
The Devil's Teethdirector of photography announced
The Revenant2015director of photography
Knight of Cups2015director of photography
Last Days in the Desert2015director of photography
Birdman or (The Unexpected Virtue of Ignorance)2014director of photography
Gravity2013director of photography
To the Wonder2012director of photography
The Tree of Life2011director of photography
Dick Tracy Special2010TV Movie director of photography
Write the Future2010TV Short director of photography
Burn After Reading2008director of photography
Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence2007segment "Anna"
Children of Men2006director of photography
The New World2005director of photography
A Series of Unfortunate Events2004director of photography
The Assassination of Richard Nixon2004director of photography
The Cat in the Hat2003director of photography
De Mesmer, con amor o Té para dos2002Short director of photography
Ali2001director of photography
Y Tu Mamá También2001director of photography
Things You Can Tell Just by Looking at Her2000director of photography
Sleepy Hollow1999director of photography
Meet Joe Black1998director of photography
Great Expectations1998director of photography
The Birdcage1996director of photography
A Walk in the Clouds1995director of photography
A Little Princess1995
Ámbar1994director of photography
Reality Bites1994director of photography
Fallen Angels1993TV Series director of photography - 2 episodes
Miroslava1993director of photography
Twenty Bucks1993director of photography
The Harvest1992director of photography
Como agua para chocolate1992director of photography
Sólo con tu pareja1991director of photography
Bandidos1991director of photography
El motel de la muerte1990TV Movie director of photography
Hora Marcada1989-1990TV Series 8 episodes
La muchacha1990Short director of photography
Los buzos diamantistas1988Short director of photography
Sera por eso que la quiero tanto1985Short director of photography
Vengeance Is Mine1983Short director of photography

Producer

Producer

TitleYearStatusCharacter
El ingeniero2012/IDocumentary producer
Lección relámpago2007Short co-producer
The Assassination of Richard Nixon2004associate producer
Camino largo a Tijuana1991producer
Caifanes1990Documentary short producer
Hora Marcada1988TV Series producer - 1 episode

Director

Director

TitleYearStatusCharacter
Caifanes1990Documentary short
Marlena en la pared1986Short
Ejercicio de 20 año1985Short

Camera Department

Camera Department

TitleYearStatusCharacter
Shine a Light2008Documentary camera operator
10 Items or Less2006first assistant camera

Editor

Editor

TitleYearStatusCharacter
Caifanes1990Documentary short
Ejercicio de 20 año1985Short

Writer

Writer

TitleYearStatusCharacter
Ejercicio de 20 año1985Short

Assistant Director

Assistant Director

TitleYearStatusCharacter
Gaby: A True Story1987second assistant director

Thanks

Thanks

TitleYearStatusCharacter
Bored Games2012Short additional acknowledgments
Morning2010/IIspecial thanks
Laurel Canyon2002special thanks
Hearts in Atlantis2001thanks

Self

Self

TitleYearStatusCharacter
The 88th Annual Academy Awards2016TV SpecialHimself - Winner: Best Cinematography
The 87th Annual Academy Awards2015TV SpecialHimself - Winner: Best Cinematography
The 86th Annual Academy Awards2014TV SpecialHimself - Winner: Best Cinematography
19th Annual Critics' Choice Movie Awards2014TV SpecialHimself - Winner (credit only)
Exploring 'The Tree of Life'2011Video documentary shortHimself
Making 'The New World'2006Video documentaryHimself (as Emmanuel 'Chivo' Lubezki)
A Terrible Tragedy: Alarming Evidence from the Making of the Film - A Woeful World2004Video documentaryHimself - Director of Photography (as Emmanuel Lubezki aka 'Chivo')
A Terrible Tragedy: Alarming Evidence from the Making of the Film - Costumes and Other Suspicious Disguises2004Documentary shortHimself, Cinematographer (uncredited)
The 72nd Annual Academy Awards2000TV SpecialHimself - Nominee: Best Cinematography
The 68th Annual Academy Awards1996TV SpecialHimself - Nominee: Best Cinematography

Is Emmanuel Lubezki's Net Worth Deserved?