Magazine article American Cinematographer

Winners and Nominees: 1987 Emmys

Magazine article American Cinematographer

Winners and Nominees: 1987 Emmys

Article excerpt

In the world of television awards, none is more comprehensive insofar as creative skills are concerned than the Emmys.

Though this magazine is concerned with exemplary work in the field of cinematography, the Emmys are concerned with all phases of production which develop that seven-day-a-week crunch on inumerable channels known as entertainment for the masses. Out of the hours and hours of labor come a top few who win awards, although the nominees are themselves all worthy.

This year's prizes in cinematography were won by two members of the American Society of Cinematographers: Philip Lathrop for Christmas Snow; and Sherwood "Woody" Omens, for Heart of the City pilot.

At the Pasadena, Calif. Civic Center on Sept. 12 and Sept. 20 of this year, the Emmys were given in two batches. The category for outstanding cinematography for a series, won by Omens, included nominees James A. Contner for a "Crime Story" episode, John McPherson, ASC, for an "Amazing Stories" segment, Robert Seaman for an episode of "L.A. Law." and Ted Voigtlander, ASC for one of the "Highway to Heaven" stories.

During the second session, because there are so many categories and nominees, the award for cinematography of a mini-series or a special was given to Lathrop. Other nominees, all A.S.C. members, were John Elsenbach for his work on The Alamo: 13 Days to Glory, Victor J. Kemper for Kojak, the Price of Justice, Brianne Murphy for There Were Times, Dear and Gayne Rescher for Promise.

Acceptance speeches for prizes awarded to producers, directors, and even some actors, seemed to give cinematography greater prestige this year. A good many thanked their directors of photography by name and others inferred that television work, though severely limited by time considerations, is better and better.

About Christmas Snow, Lathrop said he and director Gus Triconis strove for a "warm Norman Rockwell" look for the scenes of mother and children facing a bleak Christmas. "I know that sounds corny, but it is true," Lathrop said, adding that "extreme time limitations made it more difficult to achieve our 'look' than usual on television shoots. We had only ten days for completion."

The picture was photographed in Vancouver, Canada in October and since much of the story hinged on the fact that the children wanted to see snow for Christmas, a lot of snow had to be manufactured for several large scenes. …

Search by... Author
Show... All Results Primary Sources Peer-reviewed

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.