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Robert Elswit is an American cinematographer. He is best known for Boogie Nights (1997), Magnolia (1999), Good Night, and Good Luck (2005), There Will Be Blood (2007), Mission: Impossible - Ghost Protocol (2011), Inherent Vice (2014), and Nightcrawler (2014).
- Robert Elswit
- April 22, 1950
Robert Christopher Elswit, ASC (born April 22, 1950) is an American cinematographer. He has collaborated with Paul Thomas Anderson on six of his films and won the Academy Award for Best Cinematography for There Will Be Blood.
- American
- AFI Conservatory
- Robert Christopher Elswit, April 22, 1950 (age 73), Los Angeles, California, U.S.
- Cinematographer
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Cinematographer: There Will Be Blood. Robert Elswit is an American cinematographer. He is best known for Boogie Nights (1997), Magnolia (1999), Good Night, and Good Luck (2005), There Will Be Blood (2007), Mission: Impossible - Ghost Protocol (2011), Inherent Vice (2014), and Nightcrawler (2014).
Apr 4, 2024 · Director Steven Zaillian and cinematographer Robert Elswit reveal the methods, ideas, and secrets of their new series’ meticulous black-and-white visuals. By David Canfield. April 4, 2024....
- An Eclectic Aesthetic
- In Search of “Interesting”
- Modest Beginnings
- Film to Digital — Reluctantly
- A Matter of Taste
- Finishing Touches
Elswit studied film at USC in the 1970s. “It was a great era for filmmaking in general, but it seemed to me that the films produced in New York City were the most creative and challenging American movies of the ’70s,” he says. “It was a remarkable era when directors like Sidney Lumet, William Friedkin, Woody Allen, Alan Pakula and Martin Scorsese w...
The scale and formats of Elswit’s recent projects have also been varied. He shot the indie romcom Write When You Get Work (2018) on Super 16mm; the blockbuster Skyscraper (2018) on the Arri Alexa 65; the satirical horror flick Velvet Buzzsaw (2019) on the Panavision Millennium DXL2; and Judd Apatow’s comedic drama The King of Staten Island (2020) o...
Elswit cites one of his early features, the low-budget, mid-’80s drama Desert Hearts, as one of his most rewarding experiences. Directed by Donna Deitch, it tells the story of a soon-to-be-divorced professor (played by Helen Shaver) who embarks on an affair with a young, free-spirited sculptor (played by Patricia Charbonneau) in Reno, Nev. Several ...
The cinematographer’s career has encompassed the transition from film to digital capture, a progression he did not warmly welcome. Referring to digital cameras in a 2005 interview with Studio Daily, he insisted, “I’m trying to stay away from them as long as I can.” But embracing the evolution of the artform was inevitable. He is shooting Ripley on ...
The fact that he still does his own operating is another aspect of Elswit’s process that could be considered old-school. “A few of us still do it, even though we’re getting up there in age,” he says. “It’s a matter of taste. Steve Zaillian is sensitive to what the operator does, and what he wants is very specific. Sometimes it’s just more efficient...
During theRipley shoot, Elswit participated in the final color grade onKing Richardremotely, working with Company 3 senior colorist and ASC associate member Stefan Sonnenfeld, a longtime collaborator. “The way the movie looked in editing was pretty close to finished,” Elswit says, “so I spent a few days just making sure I was happy with the color-c...
- Mark Dillon
1. Nightcrawler (2014) Nightcrawler stands as a testament to Robert Elswit’s mastery of the cinematographic arts. The film delves into the dark underbelly of crime journalism in Los Angeles, encapsulating the city’s nocturnal pulse through the lens of a sociopathic anti-hero. Elswit’s cinematography in Nightcrawler is a character in its own right.
Jan 27, 2022 · During his 40-year career as a cinematographer, Robert Elswit has shot movies in practically every genre: “The Hand That Rocks The Cradle,” “Syriana,” “Good Night and Good Luck,” two...
