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Emmanuel Lubezki Net Worth

Emmanuel Lubezki Net Worth, Biography, Wiki in 2017-2016

How rich is Emmanuel Lubezki Morgenstern?

Emmanuel Lubezki Morgenstern net worth:
$5 Million

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Emmanuel Lubezki Net Worth, Biography, Wiki 2017-2016

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

A bit more about Emmanuel Lubezki Morgenstern:

  • Filmography
  • Awards
  • Salaries
  • Facts
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  • Trademarks
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Cinematographer

Cinematographer

TitleYearStatusCharacter
Weightless 2017 director of photography completed
Untitled Legendary VR Project 2017 Short filming
Roma filming
The Devil's Teeth director of photography announced
The Revenant 2015 director of photography
Knight of Cups 2015 director of photography
Last Days in the Desert 2015 director of photography
Birdman or (The Unexpected Virtue of Ignorance) 2014 director of photography
Gravity 2013 director of photography
To the Wonder 2012 director of photography
The Tree of Life 2011 director of photography
Dick Tracy Special 2010 TV Movie director of photography
Write the Future 2010 TV Short director of photography
Burn After Reading 2008 director of photography
Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence 2007 segment "Anna"
Children of Men 2006 director of photography
The New World 2005 director of photography
A Series of Unfortunate Events 2004 director of photography
The Assassination of Richard Nixon 2004 director of photography
The Cat in the Hat 2003 director of photography
De Mesmer, con amor o Té para dos 2002 Short director of photography
Ali 2001 director of photography
Y Tu Mamá También 2001 director of photography
Things You Can Tell Just by Looking at Her 2000 director of photography
Sleepy Hollow 1999 director of photography
Meet Joe Black 1998 director of photography
Great Expectations 1998 director of photography
The Birdcage 1996 director of photography
A Walk in the Clouds 1995 director of photography
A Little Princess 1995
Ámbar 1994 director of photography
Reality Bites 1994 director of photography
Fallen Angels 1993 TV Series director of photography - 2 episodes
Miroslava 1993 director of photography
Twenty Bucks 1993 director of photography
The Harvest 1992 director of photography
Como agua para chocolate 1992 director of photography
Sólo con tu pareja 1991 director of photography
Bandidos 1991 director of photography
El motel de la muerte 1990 TV Movie director of photography
Hora Marcada 1989-1990 TV Series 8 episodes
La muchacha 1990 Short director of photography
Los buzos diamantistas 1988 Short director of photography
Sera por eso que la quiero tanto 1985 Short director of photography
Vengeance Is Mine 1983 Short director of photography

Producer

Producer

TitleYearStatusCharacter
El ingeniero 2012/I Documentary producer
Lección relámpago 2007 Short co-producer
The Assassination of Richard Nixon 2004 associate producer
Camino largo a Tijuana 1991 producer
Caifanes 1990 Documentary short producer
Hora Marcada 1988 TV Series producer - 1 episode

Director

Director

TitleYearStatusCharacter
Caifanes 1990 Documentary short
Marlena en la pared 1986 Short
Ejercicio de 20 año 1985 Short

Camera Department

Camera Department

TitleYearStatusCharacter
Shine a Light 2008 Documentary camera operator
10 Items or Less 2006 first assistant camera

Editor

Editor

TitleYearStatusCharacter
Caifanes 1990 Documentary short
Ejercicio de 20 año 1985 Short

Writer

Writer

TitleYearStatusCharacter
Ejercicio de 20 año 1985 Short

Assistant Director

Assistant Director

TitleYearStatusCharacter
Gaby: A True Story 1987 second assistant director

Thanks

Thanks

TitleYearStatusCharacter
Bored Games 2012 Short additional acknowledgments
Morning 2010/II special thanks
Laurel Canyon 2002 special thanks
Hearts in Atlantis 2001 thanks

Self

Self

TitleYearStatusCharacter
The 88th Annual Academy Awards 2016 TV Special Himself - Winner: Best Cinematography
The 87th Annual Academy Awards 2015 TV Special Himself - Winner: Best Cinematography
The 86th Annual Academy Awards 2014 TV Special Himself - Winner: Best Cinematography
19th Annual Critics' Choice Movie Awards 2014 TV Special Himself - Winner (credit only)
Exploring 'The Tree of Life' 2011 Video documentary short Himself
Making 'The New World' 2006 Video documentary Himself (as Emmanuel 'Chivo' Lubezki)
A Terrible Tragedy: Alarming Evidence from the Making of the Film - A Woeful World 2004 Video documentary Himself - Director of Photography (as Emmanuel Lubezki aka 'Chivo')
A Terrible Tragedy: Alarming Evidence from the Making of the Film - Costumes and Other Suspicious Disguises 2004 Documentary short Himself, Cinematographer (uncredited)
The 72nd Annual Academy Awards 2000 TV Special Himself - Nominee: Best Cinematography
The 68th Annual Academy Awards 1996 TV Special Himself - Nominee: Best Cinematography

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2016 Oscar Academy Awards, USA Best Achievement in Cinematography The Revenant (2015)
2016 BAFTA Film Award BAFTA Awards Best Cinematography The Revenant (2015)
2016 ASC Award American Society of Cinematographers, USA Outstanding Achievement in Cinematography in Theatrical Releases The Revenant (2015)
2016 Critics Choice Award Broadcast Film Critics Association Awards Best Cinematography The Revenant (2015)
2016 COFCA Award Central Ohio Film Critics Association Best Cinematography The Revenant (2015)
2016 Gold Derby Award Gold Derby Awards Cinematography The Revenant (2015)
2016 HFCS Award Houston Film Critics Society Awards Best Cinematography The Revenant (2015)
2016 OFTA Film Award Online Film & Television Association Best Cinematography The Revenant (2015)
2015 SLFCA Award St. Louis Film Critics Association, US Best Cinematography The Revenant (2015)
2015 WAFCA Award Washington DC Area Film Critics Association Awards Best Cinematography The Revenant (2015)
2015 Oscar Academy Awards, USA Best Achievement in Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 BAFTA Film Award BAFTA Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 EDA Award Alliance of Women Film Journalists Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 ASC Award American Society of Cinematographers, USA Outstanding Achievement in Cinematography in Theatrical Releases Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 ACCA Awards Circuit Community Awards Best Cinematography The Revenant (2015)
2015 Critics Choice Award Broadcast Film Critics Association Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 DFWFCA Award Dallas-Fort Worth Film Critics Association Awards Best Cinematography The Revenant (2015)
2015 GFCA Award Georgia Film Critics Association (GFCA) Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 Gold Derby Award Gold Derby Awards Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 HFCS Award Houston Film Critics Society Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 Independent Spirit Award Independent Spirit Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 IOFCP Award International Online Film Critics' Poll Best Cinematography Gravity (2013)
2015 Sierra Award Las Vegas Film Critics Society Awards Best Cinematography The Revenant (2015)
2015 NFCS Award Nevada Film Critics Society Best Cinematography The Revenant (2015)
2015 NTFCA Award North Texas Film Critics Association, US Best Cinematography The Revenant (2015)
2015 PFCS Award Phoenix Film Critics Society Awards Best Cinematography The Revenant (2015)
2014 SEFCA Award Southeastern Film Critics Association Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 SLFCA Award St. Louis Film Critics Association, US Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 VES Award Visual Effects Society Awards Outstanding Virtual Cinematography in a Live Action Feature Motion Picture Gravity (2013) · Tim Webber
· Richard McBride
· Dale Newton
2014 WAFCA Award Washington DC Area Film Critics Association Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 Oscar Academy Awards, USA Best Achievement in Cinematography Gravity (2013)
2014 BAFTA Film Award BAFTA Awards Best Cinematography Gravity (2013)
2014 ASC Award American Society of Cinematographers, USA Outstanding Achievement in Cinematography in Feature Film Gravity (2013)
2014 Austin Film Critics Award Austin Film Critics Association Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 ACCA Awards Circuit Community Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 BFCC Award Black Film Critics Circle Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 BOFCA Award Boston Online Film Critics Association Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 BSFC Award Boston Society of Film Critics Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 Critics Choice Award Broadcast Film Critics Association Awards Best Cinematography Gravity (2013)
2014 COFCA Award Central Ohio Film Critics Association Best Cinematography Gravity (2013)
2014 CFCA Award Chicago Film Critics Association Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 CinEuphoria CinEuphoria Awards Best Cinematography - International Competition Gravity (2013)
2014 DFWFCA Award Dallas-Fort Worth Film Critics Association Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 DFCS Award Denver Film Critics Society Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 GFCA Award Georgia Film Critics Association (GFCA) Best Cinematography Gravity (2013)
2014 Gold Derby Award Gold Derby Awards Cinematography Gravity (2013)
2014 Hollywood Film Award Hollywood Film Awards Cinematographer of the Year Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 ICP Award Indiewire Critics' Poll Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 ICS Award International Cinephile Society Awards Best Cinematography Gravity (2013)
2014 Sierra Award Las Vegas Film Critics Society Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 LAFCA Award Los Angeles Film Critics Association Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 NYFCO Award New York Film Critics, Online Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 OFTA Film Award Online Film & Television Association Best Cinematography Gravity (2013)
2014 PFCS Award Phoenix Film Critics Society Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2013 SDFCS Award San Diego Film Critics Society Awards Best Cinematography To the Wonder (2012)
2013 SFFCC Award San Francisco Film Critics Circle Best Cinematography Gravity (2013)
2013 SEFCA Award Southeastern Film Critics Association Awards Best Cinematography Gravity (2013)
2013 UFCA Award Utah Film Critics Association Awards Best Cinematography Gravity (2013)
2013 WAFCA Award Washington DC Area Film Critics Association Awards Best Cinematography Gravity (2013)
2013 Best Cinematography Wine Country Film Festival Gravity (2013)
2013 EDA Award Alliance of Women Film Journalists Best Cinematography Gravity (2013)
2013 Austin Film Critics Award Austin Film Critics Association Best Cinematography Gravity (2013)
2013 ACCA Awards Circuit Community Awards Best Cinematography Gravity (2013)
2013 BFCC Award Black Film Critics Circle Awards Best Cinematography Gravity (2013)
2013 BSFC Award Boston Society of Film Critics Awards Best Cinematography Gravity (2013)
2013 Best 3D Feature Film Camerimage Gravity (2013)
2013 CFCA Award Chicago Film Critics Association Awards Best Cinematography Gravity (2013)
2013 DFWFCA Award Dallas-Fort Worth Film Critics Association Awards Best Cinematography Gravity (2013)
2013 DFCC Dublin Film Critics Circle Awards Best Cinematography Gravity (2013)
2013 FFCC Award Florida Film Critics Circle Awards Best Cinematography Gravity (2013)
2013 HFCS Award Houston Film Critics Society Awards Best Cinematography Gravity (2013)
2013 ICP Award Indiewire Critics' Poll Best Cinematography Gravity (2013)
2013 Sierra Award Las Vegas Film Critics Society Awards Best Cinematography Gravity (2013)
2013 LAFCA Award Los Angeles Film Critics Association Awards Best Cinematography Gravity (2013)
2013 NFCS Award Nevada Film Critics Society Best Cinematography Gravity (2013)
2013 NYFCO Award New York Film Critics, Online Best Cinematography Gravity (2013)
2013 NTFCA Award North Texas Film Critics Association, US Best Cinematography Gravity (2013)
2013 OFCS Award Online Film Critics Society Awards Best Cinematography Gravity (2013)
2013 PFCS Award Phoenix Film Critics Society Awards Best Cinematography Gravity (2013)
2012 EDA Award Alliance of Women Film Journalists Best Cinematography The Tree of Life (2011)
2012 ASC Award American Society of Cinematographers, USA Outstanding Achievement in Cinematography in Theatrical Releases The Tree of Life (2011)
2012 International Award Australian Cinematographers Society The Tree of Life (2011)
2012 Critics Choice Award Broadcast Film Critics Association Awards Best Cinematography The Tree of Life (2011)
2012 COFCA Award Central Ohio Film Critics Association Best Cinematography The Tree of Life (2011)
2012 GFCA Award Georgia Film Critics Association (GFCA) Best Cinematography The Tree of Life (2011)
2012 Gold Derby Award Gold Derby Awards Cinematography Tree of Life (2010)
2012 ICS Award International Cinephile Society Awards Best Cinematography The Tree of Life (2011)
2012 IOMA Italian Online Movie Awards (IOMA) Best Cinematography (Miglior fotografia) The Tree of Life (2011)
2012 NSFC Award National Society of Film Critics Awards, USA Best Cinematography The Tree of Life (2011)
2012 OFTA Film Award Online Film & Television Association Best Cinematography The Tree of Life (2011)
2012 OFCS Award Online Film Critics Society Awards Best Cinematography The Tree of Life (2011)
2011 SDFCS Award San Diego Film Critics Society Awards Best Cinematography The Tree of Life (2011)
2011 SFFCC Award San Francisco Film Critics Circle Best Cinematography The Tree of Life (2011)
2011 SEFCA Award Southeastern Film Critics Association Awards Best Cinematography The Tree of Life (2011)
2011 SLFCA Award St. Louis Film Critics Association, US Best Cinematography The Tree of Life (2011)
2011 WAFCA Award Washington DC Area Film Critics Association Awards Best Cinematography The Tree of Life (2011)
2011 Austin Film Critics Award Austin Film Critics Association Best Cinematography The Tree of Life (2011)
2011 ACCA Awards Circuit Community Awards Best Achievement in Cinematography The Tree of Life (2011)
2011 BSFC Award Boston Society of Film Critics Awards Best Cinematography The Tree of Life (2011)
2011 CFCA Award Chicago Film Critics Association Awards Best Cinematography The Tree of Life (2011)
2011 DFWFCA Award Dallas-Fort Worth Film Critics Association Awards Best Cinematography The Tree of Life (2011)
2011 FFCC Award Florida Film Critics Circle Awards Best Cinematography The Tree of Life (2011)
2011 Hollywood Film Award Hollywood Film Awards Cinematographer of the Year The Tree of Life (2011)
2011 HFCS Award Houston Film Critics Society Awards Best Cinematography The Tree of Life (2011)
2011 ICP Award Indiewire Critics' Poll Best Cinematography The Tree of Life (2011)
2011 LAFCA Award Los Angeles Film Critics Association Awards Best Cinematography The Tree of Life (2011)
2011 NYFCC Award New York Film Critics Circle Awards Best Cinematographer The Tree of Life (2011)
2011 NYFCO Award New York Film Critics, Online Best Cinematography The Tree of Life (2011)
2011 PFCS Award Phoenix Film Critics Society Awards Best Cinematography The Tree of Life (2011)
2007 BAFTA Film Award BAFTA Awards Best Cinematography Children of Men (2006)
2007 ASC Award American Society of Cinematographers, USA Outstanding Achievement in Cinematography in Theatrical Releases Children of Men (2006)
2007 Austin Film Critics Award Austin Film Critics Association Best Cinematography Children of Men (2006)
2007 International Award Australian Cinematographers Society Children of Men (2006)
2007 Gold Derby Award Gold Derby Awards Cinematography Children of Men (2006)
2007 ICS Award International Cinephile Society Awards Best Cinematography Children of Men (2006)
2007 IOMA Italian Online Movie Awards (IOMA) Best Cinematography (Miglior fotografia) Children of Men (2006)
2007 NSFC Award National Society of Film Critics Awards, USA Best Cinematography Children of Men (2006)
2007 OFTA Film Award Online Film & Television Association Best Cinematography Children of Men (2006)
2007 OFCS Award Online Film Critics Society Awards Best Cinematography Children of Men (2006)
2006 Golden Osella Venice Film Festival Outstanding Technical Contribution Children of Men (2006)
2006 ACCA Awards Circuit Community Awards Best Cinematography Children of Men (2006)
2006 CFCA Award Chicago Film Critics Association Awards Best Cinematography Children of Men (2006)
2006 ICP Award Indiewire Critics' Poll Best Cinematography Children of Men (2006)
2006 IOMA Italian Online Movie Awards (IOMA) Best Cinematography (Miglior fotografia) The New World (2005)
2006 Sierra Award Las Vegas Film Critics Society Awards Best Cinematography Children of Men (2006)
2006 LAFCA Award Los Angeles Film Critics Association Awards Best Cinematography Children of Men (2006)
2006 Kodak Award Mar del Plata Film Festival The New World (2005)
2005 SDFCS Award San Diego Film Critics Society Awards Best Cinematography The New World (2005)
2000 SFFCC Award Santa Fe Film Critics Circle Awards Best Cinematography Sleepy Hollow (1999)
2000 Golden Satellite Award Satellite Awards Best Cinematography Sleepy Hollow (1999)
2000 OFCS Award Online Film Critics Society Awards Best Cinematography Sleepy Hollow (1999)
1999 BSFC Award Boston Society of Film Critics Awards Best Cinematography Sleepy Hollow (1999)
1994 Best Cinematography Sitges - Catalonian International Film Festival Ámbar (1994)
1994 Silver Ariel Ariel Awards, Mexico Best Cinematography (Mejor Fotografía) Ámbar (1994)
1994 CableACE CableACE Awards Direction of Photography and/or Lighting Direction in a Comedy or Dramatic Series Fallen Angels (1993)
1993 Silver Ariel Ariel Awards, Mexico Best Cinematography (Mejor Fotografía) Miroslava (1993)
1993 Best Cinematography Havana Film Festival Miroslava (1993)
1993 Best Cinematography Mystfest The Harvest (1992)
1992 Best Artistic Contribution Award Tokyo International Film Festival Como agua para chocolate (1992) · Steven Bernstein (cinematographer)
1992 Silver Ariel Ariel Awards, Mexico Best Cinematography (Mejor Fotografía) Como agua para chocolate (1992)

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
2016 Seattle Film Critics Award Seattle Film Critics Awards Best Cinematography The Revenant (2015)
2016 EDA Award Alliance of Women Film Journalists Best Cinematography The Revenant (2015)
2016 Best Cinematography Award British Society of Cinematographers Best Cinematography in a Feature Film The Revenant (2015)
2016 GFCA Award Georgia Film Critics Association (GFCA) Best Cinematography The Revenant (2015)
2016 ICS Award International Cinephile Society Awards Best Cinematography The Revenant (2015)
2015 SFFCC Award San Francisco Film Critics Circle Best Cinematography The Revenant (2015)
2015 Satellite Award Satellite Awards Best Cinematography The Revenant (2015)
2015 Austin Film Critics Award Austin Film Critics Association Best Cinematography The Revenant (2015)
2015 Best Cinematography Award British Society of Cinematographers Best Cinematography in a Feature Film Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 COFCA Award Central Ohio Film Critics Association Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 CFCA Award Chicago Film Critics Association Awards Best Cinematography The Revenant (2015)
2015 Chlotrudis Award Chlotrudis Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 FFCC Award Florida Film Critics Circle Awards Best Cinematography The Revenant (2015)
2015 ICP Award Indiewire Critics' Poll Best Cinematography The Revenant (2015)
2015 IOFCP Award International Online Film Critics' Poll Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 IOMA Italian Online Movie Awards (IOMA) Best Cinematography (Miglior fotografia) Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 ALFS Award London Critics Circle Film Awards Technical Achievement of the Year Birdman or (The Unexpected Virtue of Ignorance) (2014)
2015 OFCS Award Online Film Critics Society Awards Best Cinematography The Revenant (2015)
2014 SFFCC Award San Francisco Film Critics Circle Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 Satellite Award Satellite Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 Best Cinematography Award British Society of Cinematographers Best Cinematography in a Feature Film Gravity (2013)
2014 Golden Frog Camerimage Main Competition Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 GFCA Award Georgia Film Critics Association (GFCA) Best Cinematography To the Wonder (2012)
2014 IOMA Italian Online Movie Awards (IOMA) Best Cinematography (Miglior fotografia) Gravity (2013)
2014 OFCS Award Online Film Critics Society Awards Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2013 SDFCS Award San Diego Film Critics Society Awards Best Cinematography Gravity (2013)
2013 Satellite Award Satellite Awards Best Cinematography Gravity (2013)
2013 ICP Award Indiewire Critics' Poll Best Cinematography To the Wonder (2012)
2012 Oscar Academy Awards, USA Best Achievement in Cinematography The Tree of Life (2011)
2012 Best Cinematography Award British Society of Cinematographers Best Cinematography in a Feature Film The Tree of Life (2011)
2012 Chlotrudis Award Chlotrudis Awards Best Cinematography The Tree of Life (2011)
2012 IOFCP Award International Online Film Critics' Poll Best Cinematography The Tree of Life (2011)
2011 Satellite Award Satellite Awards Best Cinematography The Tree of Life (2011)
2011 Golden Frog Camerimage Main Competition The Tree of Life (2011)
2007 Oscar Academy Awards, USA Best Achievement in Cinematography Children of Men (2006)
2006 Oscar Academy Awards, USA Best Achievement in Cinematography The New World (2005)
2006 Best Cinematography Award British Society of Cinematographers Children of Men (2006)
2006 CFCA Award Chicago Film Critics Association Awards Best Cinematography The New World (2005)
2006 OFCS Award Online Film Critics Society Awards Best Cinematography The New World (2005)
2005 Golden Satellite Award Satellite Awards Best Cinematography A Series of Unfortunate Events (2004)
2003 Chlotrudis Award Chlotrudis Awards Best Cinematography Y tu mamá también (2001)
2002 MTV Movie Award MTV Movie Awards, Latin America MTV North Feed (mostly Mexico) - Best Mexican Working in a Foreign Movie (Mejor Fuga de Talento Mexicano al Extranjero) Ali (2001)
2000 Oscar Academy Awards, USA Best Cinematography Sleepy Hollow (1999)
2000 ASC Award American Society of Cinematographers, USA Outstanding Achievement in Cinematography in Theatrical Releases Sleepy Hollow (1999)
2000 CFCA Award Chicago Film Critics Association Awards Best Cinematography Sleepy Hollow (1999)
2000 Chlotrudis Award Chlotrudis Awards Best Cinematography Sleepy Hollow (1999)
2000 Sierra Award Las Vegas Film Critics Society Awards Best Cinematography Sleepy Hollow (1999)
2000 OFTA Film Award Online Film & Television Association Best Cinematography Sleepy Hollow (1999)
1996 Oscar Academy Awards, USA Best Cinematography A Little Princess (1995)
1996 CFCA Award Chicago Film Critics Association Awards Best Cinematography A Walk in the Clouds (1995)
1992 Silver Ariel Ariel Awards, Mexico Best Cinematography (Mejor Fotografía) Sólo con tu pareja (1991)

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
2015 SDFCS Award San Diego Film Critics Society Awards Best Cinematography The Revenant (2015)
2015 UFCA Award Utah Film Critics Association Awards Best Cinematography The Revenant (2015)
2015 BSFC Award Boston Society of Film Critics Awards Best Cinematography The Revenant (2015)
2015 INOCA International Online Cinema Awards (INOCA) Best Cinematography Birdman or (The Unexpected Virtue of Ignorance) (2014)
2014 NSFC Award National Society of Film Critics Awards, USA Best Cinematography Gravity (2013)
2013 SLFCA Award St. Louis Film Critics Association, US Best Cinematography Gravity (2013)
2013 NYFCC Award New York Film Critics Circle Awards Best Cinematographer Gravity (2013)
2011 UFCA Award Utah Film Critics Association Awards Best Cinematography The Tree of Life (2011)
2006 DFWFCA Award Dallas-Fort Worth Film Critics Association Awards Best Cinematography Children of Men (2006)
2005 VVFP Award Village Voice Film Poll Best Cinematography The New World (2005)
2005 DFWFCA Award Dallas-Fort Worth Film Critics Association Awards Best Cinematography The New World (2005)
2000 NSFC Award National Society of Film Critics Awards, USA Best Cinematography Sleepy Hollow (1999)
1999 NYFCC Award New York Film Critics Circle Awards Best Cinematographer Sleepy Hollow (1999)

3rd place awards

3rd place awards

YearAwardCeremonyNominationMovieAward shared with
2006 NSFC Award National Society of Film Critics Awards, USA Best Cinematography The New World (2005)
2006 NYFCC Award New York Film Critics Circle Awards Best Cinematographer Children of Men (2006)
2005 NYFCC Award New York Film Critics Circle Awards Best Cinematographer The New World (2005)


Looks like we don't have Emmanuel Lubezki Morgenstern salary information. Sorry!


#Fact
1 The 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.
2 Was personally thanked (as "Chivo") by Leonardo DiCaprio in his acceptance speech on winning the Best Actor Golden Globe Award for The Revenant (2015).
3 2007 - Ranked #24 on EW's The 50 Smartest People in Hollywood.
4 In 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.
5 Son of Muni Lubezki and brother of Alejandro Lubezki.

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


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