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Robert Christopher Elswit (* 22. April 1950 in Los Angeles, Kalifornien) ist ein US-amerikanischer Kameramann . Inhaltsverzeichnis. 1 Leben und Wirken. 2 Filmografie (Auswahl) 3 Weblinks. 4 Einzelnachweise. Leben und Wirken. Vor seiner Karriere im Filmgeschäft studierte Elswit an verschiedenen Universitäten.
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.
Robert Elswit (né le 22 avril 1950 dans le comté de Los Angeles [1] en Californie) est un directeur de la photographie américain. Il est principalement reconnu pour sa participation au tournage des films de Paul Thomas Anderson. Sa filmographie compte notamment Magnolia, Punch-Drunk Love, Syriana, Michael Clayton et There Will Be ...
- Américain
- Directeur de la photographie
- Robert Christopher Elswit
Robert Elswit (Los Angeles, 22 aprile 1950) è un direttore della fotografia statunitense. Vincitore del Premio Oscar 2008 per la miglior fotografia per il film Il petroliere , anche nel 2006 era stato nominato per lo stesso premio per il film Good Night, and Good Luck , non riuscendo però ad aggiudicarsi l'ambita statuetta.
Robert Elswit. 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).
- January 1, 1
- Robert Elswit
- Los Angeles, California, USA
Robert Christopher Elswit ( 22 april 1950) is een Amerikaans cameraman . Elswit werd in de staat Californië geboren en is afgestudeerd aan de University of Southern California School of Cinematic Arts in Los Angeles. Hij werkt regelmatig samen met de filmregisseur Paul Thomas Anderson. Hij is lid van de American Society of Cinematographers.
3. Sept. 2022 · Robert Elswit, ASC characterizes himself as a traditional director of photography drawn to like-minded filmmakers. “Most directors I work with don’t want to think about their movies playing on someone’s iPhone, iPad or small TV set,” he says. “They want it to be at the Cinerama Dome or someplace where people will get the theatrical ...
