{"id":7898,"date":"2017-07-18T23:31:34","date_gmt":"2017-07-18T21:31:34","guid":{"rendered":"http:\/\/camernew.klienci.052b.com\/john-toll-z-nagroda-camerimage-za-caloksztalt-tworczosci-2\/"},"modified":"2017-09-19T09:29:58","modified_gmt":"2017-09-19T07:29:58","slug":"john-toll-z-nagroda-camerimage-za-caloksztalt-tworczosci-2","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/john-toll-z-nagroda-camerimage-za-caloksztalt-tworczosci-2\/","title":{"rendered":"JOHN TOLL WILL RECEIVE CAMERIMAGE LIFETIME ACHIEVEMENT AWARD"},"content":{"rendered":"

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We are very proud to announce that\u00a0John Toll, ASC,<\/strong>\u00a0will be the recipient of\u00a0Camerimage Lifetime Achievement Award<\/strong>\u00a0during the upcoming 25th<\/sup>\u00a0anniversary edition of the\u00a0International Film Festival of the Art of Cinematography<\/strong>, which will be held in Bydgoszcz between 11th<\/sup>\u00a0and 18th<\/sup>\u00a0November 2017.\u00a0Toll<\/strong>\u00a0is an American cinematographer and two-time Academy Award\u00ae<\/sup>\u00a0winner with over four decades of experience in film and television. He has collaborated with such filmmakers as\u00a0The Wachowskis<\/strong>,\u00a0Ang Lee<\/strong>,\u00a0Mel Gibson<\/strong>,\u00a0Francis Ford Coppola<\/strong>,\u00a0Terrence Malick<\/strong>,\u00a0Carroll Ballard<\/strong>,\u00a0Cameron Crowe<\/strong>,\u00a0Edward Zwick<\/strong>,\u00a0and\u00a0Vince Gilligan<\/strong>, among many others. When working on epic Hollywood films, he used light, shadow and camera movement to create striking moments of intimacy that define characters, while infusing smaller projects with beautiful scope and a sense of exceptionality. He has photographed war movies, crime dramas, SF\/fantasy films, melodramas, comedies and westerns, in each and every one of them being at the service of the director and his vision, while at the same time making them somehow his own.<\/div>\n
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John Toll on the set of “The Last Samurai,”<\/em><\/div>\n
photo from John Toll’s private archive<\/em><\/div>\n<\/div>\n
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Before he became a world-renowned director of photography,\u00a0John Toll<\/strong>\u00a0worked on every level of the world of cinematography, from gathering experience as a production assistant to shooting films as a camera operator. Such an organic development of his career made\u00a0Toll<\/strong>\u00a0perfectly in sync with all aspects of his future profession and allowed him to learn under the watchful eye of some of the film industry\u2019s veterans. As camera operator he worked with\u00a0John A. Alonzo<\/strong>\u00a0on director\u00a0Martin Ritt’s\u00a0<\/em><\/strong>Norma Rae<\/span><\/em>\u00a0and\u00a0Brian De Palma\u2019s<\/strong>\u00a0Scarface<\/span><\/em>,<\/span><\/span>\u00a0as well as with other distinguished filmmakers such as\u00a0Jordan Cronenweth<\/strong>\u00a0on\u00a0Francis Ford Coppola\u2019s<\/strong>\u00a0Peggy Sue Got Married<\/em><\/span>,\u00a0Conrad Hall<\/strong>\u00a0on\u00a0Bob Rafelson’s\u00a0<\/strong>Black Widow<\/em><\/span>,\u00a0Allen Daviau<\/strong>\u00a0on\u00a0John Schlesinger’s<\/strong>\u00a0Falcon and the Snowman<\/em><\/span>, and\u00a0Robbie Greenberg<\/strong>\u00a0on\u00a0Karel Reisz’s\u00a0<\/strong>Sweet Dreams<\/em><\/span>.<\/div>\n
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At the same time,\u00a0Toll<\/strong>\u00a0was very conscious of his career choices and never rushed his debut as a cinematographer, preferring to wait for the right opportunity.<\/div>\n
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This turned to be\u00a0Carroll Ballard\u2019s<\/strong>\u00a01992\u2019s\u00a0Wind<\/em><\/span>, a tale of young and ambitious America\u2019s Cup sailor who faced both uncontrollable forces of nature and his inner limitations as a human being.\u00a0Toll\u2019s<\/strong>\u00a0eye for detail and light made the story authentic and shaped by many shades of human nature. It was very similar\u00a0to his next project,\u00a0Edward Zwick\u2019s<\/strong>\u00a0romantic epic\u00a0Legends of the Fall<\/em><\/span>, in which the main characters live in isolation surrounded by wild and beautifully photographed nature, but are forced to join once more the brutal and ruthless world of men.\u00a0Toll<\/strong>\u00a0received an Academy Award\u00ae<\/sup>\u00a0for his work on\u00a0Legends of the Fall<\/em><\/span>, as well as an Academy Award\u00ae\u00a0<\/sup>a year later for his cinematography on\u00a0Mel Gibson\u2019s<\/strong>\u00a0Braveheart<\/em><\/span>, in which he complemented the romantic pathos of the struggle for independence with the down-to-earth bravery of people who went to war to protect their loved ones.\u00a0John Toll<\/strong>\u00a0is one of only four cinematographers who won two Academy Awards\u00ae<\/sup>\u00a0back to back.<\/div>\n
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Still from “Wind”<\/em><\/div>\n
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Still from “Legends of the Fall”<\/em><\/div>\n
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Still from “Braveheart,”<\/em><\/div>\n
photo from John Toll’s private archive<\/em><\/div>\n<\/div>\n
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His third Academy Award\u00ae<\/sup>\u00a0nomination came for his collaboration with\u00a0Terrence Malick<\/strong>\u00a0on\u00a0The Thin Red Line<\/em><\/span>, a philosophical war film in which the cinematographer contrasted the constant cruelty of the human kind with the eternal beauty of nature. By binding the effective spectacle of depicting the Guadalcanal campaign with the intimacy of experiences of individual American soldiers,\u00a0Toll<\/strong>\u00a0has yet again proven that he is above all interested in human beings, with all of their weaknesses and doubts. He took the same approach with\u00a0Edward Zwick\u2019s<\/strong>\u00a0The Last Samurai<\/em><\/span>, building with his set of tools a bridge between 19th<\/sup>-century Japan\u2019s culture and mentality and the West. This may be the common denominator of most of\u00a0Toll\u2019s<\/strong>\u00a0films, from\u00a0Cameron Crowe\u2019s<\/strong>\u00a0musical drama\u00a0Almost Famous<\/em><\/span>\u00a0to\u00a0The Wachowskis<\/strong>\u00a0and\u00a0Tom Tykwer\u2019s<\/strong>\u00a0Cloud Atlas<\/em><\/span>, a tale set in six different time periods in the past, the present and the future.<\/div>\n
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John Toll<\/strong>\u00a0selects his projects very carefully \u2013 in the quarter of a century that has passed since his debut on\u00a0Wind,<\/span><\/em><\/span>\u00a0he shot twenty-two feature films and took part in filming two TV shows, returning to the television medium in which he learned some of his craft in the 1970s and the 1980s. It was\u00a0Toll<\/strong>\u00a0who shot with\u00a0Vince Gilligan<\/strong>\u00a0the pilot episode of\u00a0Breaking Bad<\/em><\/span>, setting the visual tone of the project that has since become known as one of the best TV series ever made. And while working on all of 23 episodes of\u00a0The Wachowskis<\/strong>\u00a0and\u00a0J. Michael Straczynski\u2019s<\/strong>\u00a0Sense8<\/em><\/span>, he bravely entered many areas usually associated with feature films.\u00a0Toll<\/strong>\u00a0is also in constant search for new ways of cinematic expression; this could be seen in last year\u2019s\u00a0Billy Lynn’s Long Halftime Walk<\/em><\/span>\u00a0which he shot for director\u00a0Ang Lee<\/strong>\u00a0in 4K, 3D and 120 frames per second.<\/div>\n
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Still from “The Thin Red Line”<\/em><\/div>\n
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Still from the pilot episode of\u00a0“Breaking Bad”<\/em><\/div>\n
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Still from\u00a0“Sense8,”<\/em><\/div>\n
photo from John Toll’s private archive<\/em><\/div>\n<\/div>\n
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During a career spanning over four decades and numerous low and high-profile jobs of the film industry\u00a0John Toll<\/strong>\u00a0has become both a distinguished craftsman who can face any technological and logistical challenge on a set, and a true artist of cinema sensitive to light, shadow, color and other aspects of the film language. This year\u2019s recipient of\u00a0Camerimage Lifetime Achievement Award<\/strong>\u00a0will be more than glad to share his knowledge and experiences with the festival\u2019s participants during a series of meetings that will take place in Bydgoszcz. We sincerely invite you to join those events.<\/div>\n
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We are very proud to announce that\u00a0John Toll, ASC,\u00a0will be the recipient of\u00a0Camerimage Lifetime Achievement Award\u00a0during the upcoming 25th\u00a0anniversary edition…<\/p>\n","protected":false},"author":1,"featured_media":10104,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[141],"tags":[],"class_list":["post-7898","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wiadomosci"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/7898"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=7898"}],"version-history":[{"count":5,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/7898\/revisions"}],"predecessor-version":[{"id":10320,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/7898\/revisions\/10320"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media\/10104"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=7898"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=7898"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=7898"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}