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19 wins
- In the seven years from 1971 to 1977, six films shot by Willis accumulated 39 Oscar nominations with 19 wins, including three for Best Picture.
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Did You Know?In the seven years from 1971 to 1977, six films shot by Willis accumulated 39 Oscar nominations with 19 wins, including three for Best Picture.For “All the President’s Men” (1976), he put a winch in the dome of the Library of Congress that enabled his remote-controlled camera to pull back from a desktop to a full view of the ...
Oct 16, 2009 · In one seven-year stretch in the 1970s, Willis was the director of photography on a seven movies that received 39 nominations and won 19 Oscars, including three best-picture awards – all without...
- A Groundbreaking Style
- The Prince of Darkness
- Telling The Story Through Lighting
- Stylized Naturalism
- Confidence and Patience
- A Timeless Masterpiece
“The Godfather” was released only three years after Gordon Willis’ feature debut as a cinematographer, on Aram Avakian’s 1969 cult favorite “End of the Road.” In the period between “End of the Road” and “The Godfather” Willis shot six movies including “Klute,” (1971) a modern day film noir in which Willis pushed the limits of what was considered ac...
“The Godfather” announced its boldness with the opening shot, a slow reverse zoom that started in a close-up on actor Salvatore Corsitto as Bonasera and pulled back to show him surrounded by darkness before revealing the title character played by Marlon Brando. The sequence that followed not only established the visual template for the film but int...
Willis’ willingness to let his frames go dark was easily replicable by cinematographers looking to recreate his striking effects, but the real power of his technique was its inextricable connection to theme and his use of contrast — he knew that for a film to look truly dark, there had to be light for the darkness to react against. Nancy Schreiber ...
Perhaps the most influential aspect of Willis’ cinematography was not its innovations, but its marriage of those innovations to classical Hollywood storytelling. For all his new techniques, his end goal was still the same as that of the old guard: to make the filmmaking invisible and draw the audience into the narrative. John Matysiak (“Old Henry,”...
Part of what pulled the audience into “The Godfather” was Willis and director Francis Ford Coppola’s supreme visual confidence; from that opening scene in Brando’s office, the compositions, lighting, and cutting were so purposeful and deliberate that the viewer subconsciously registered that they’re in good hands — a feeling that made audiences wil...
Checco Varese: Cinematographers paint with light — Gordon Willis painted with shadows to make sure you were only seeing what he wanted you to see or what the director wanted you to see. He was the first one to say that there are some things you don’t needto see. In 1972 that was groundbreaking — it was like watching the first movie in color, or wit...
- Jim Hemphill
Sep 14, 2009 · And he never got a nomination, even as he was lauded on Oscar night by the likes of supporting-actor winner John Houseman, who said that Willis’ camera work “did a great deal to create the...
Jun 11, 2023 · In his career, Gordon Willis only ever received one more Academy Award nomination for Best Cinematography, and it is probably the most obvious mea culpa in Oscars history.
- Mike Shutt
Mar 24, 2022 · 8. The wedding scene took four days to shoot and employed at least 350 extras. 9. Cinematographer Gordon Willis called the look of the film “a newspaper photograph in bad color” and ensured that the distinctive vision would be preserved in the negative through his own technique of photochemical exposure.
May 18, 2014 · Oscars Wiki. in: Individuals with 2 nominations, Individuals with 1 win, 1984 nominated individuals, and 2 more. Gordon Willis was an American cinematographer. He is best known for his work on Francis Ford Coppola 's The Godfather series as well as Woody Allen 's Annie Hall and Manhattan.
