Greig Fraser Latest Celebrity News & Gossip

greenlit in Oct. 2021, sci-fi fans will be pleased to know that production has officially begun this month.

Initially scheduled for fall 2025, writer/director Matt Reeves’ “The Batman” sequel, tentatively known as “The Batman – Part II,” has been delayed an entire year. Once set for October 3, 2025, Warner Bros.

If we’re going to praise the visual rapture of Denis Villeneuve’s “Dune” movies—and we should—and in particular, the newly released “Dune: Part Two,” there’s no conversation that can happen without mention of Academy Award-winning cinematographer Greig Fraser, who won his first Oscar for “Dune” in 2022. READ MORE: Denis Villeneuve Calls ‘Dune: Part Two’ A “Dark Tragedy,” Talks Potential ‘Messiah’ Sequel & More [Interview] While “Dune: Part Two” is genuinely unanimously praised by critics (read our review here)—and this weekend, it grossed $178.5 million worldwide, and with $81 domestic, that’s the biggest opening since “Barbie”— it does have a small group of detractors.

Nick Vivarelli International Correspondent For “Dune: Part Two,” Denis Villeneuve delved deep into the Arabian desert and spent almost a month shooting in Abu Dhabi’s Liwa Oasis, which provided a substantial portion of the landscape of the desert planet Arrakis, home to the monstrous sandworms. Villeneuve praised the location and services provided by the Abu Dhabi Film Commission and UAE-based production services company Epic Films in a promotional behind-the-scenes video, to which Variety has been given exclusive access.

Jazz Tangcay Artisans Editor It took a village of Denis Villeneuve‘s most trusted artisans to pull off “Dune: Part Two’s” epic Harkonnen arena fight scene. As epic as its predecessor, Villeneuve’s sequel raises the bar with striking visuals. None is more jaw-dropping than Feyd-Rautha’s (Austin Butler) celebration sequence.

Denis Villeneuve’s stunningly realized film adaptations of Frank Herbert’s sci-fi saga Dune take an epic leap forward in Dune: Part Two, the sequel to the Oscar-winning first film starring Timothée Chalamet as possible Chosen One, Paul Atreides.Last seen at the end of Dune trekking into the desert like a twink Lawrence of Arabia, Paul is still a refugee on the desert planet Arrakis. Following the massacre of his father and the House of Atreides by savage Harkonnen forces, he’s hiding among the native Fremen, plotting to avenge his House, while also evading death or capture by his clan’s universe of enemies, including ruler of all, Emperor Shaddam IV (Christopher Walken).The first film felt mostly like a long-winded setup for a protagonist who took little action.

Dune: Part Two, and critics are full of praise for Denis Villeneuve’s “epic” sci-fi sequel.Part Two concludes the adaptation of Frank Herbert’s 896-page, 1965 novel, following Paul Atreides (Timothée Chalamet) as he unites with Chani (Zendaya) and the Fremen to learn the ways of the desert, wage war on the forces that destroyed his family, and fulfil his destiny as the supposed chosen one.At present, the film holds a score of 97% from 115 reviews on Rotten Tomatoes, with only three negative write-ups to be found.Many have praised the sequel for its gigantic scope and ambition, including Rolling Stone‘s David Fear, who wrote: “Villeneuve has outdone himself. More importantly, he’s done justice to the scope and scale and sheer weirdness of a stoner-lit touchstone’s back half without, pun intended, sanding away its edges.”The Guardian‘s Peter Bradshaw said Dune: Part Two is “superb at showing us an entire created world, a distinct and now unmistakable universe, which will probably be much imitated: a triumph for cinematographer Greig Fraser and production designer Patrice Vermette.

Dune co-star Timothée Chalamet that will be published as part of a companion book for the movie.Excerpts of the coffee table book – titled Dune: Exposures and documenting the shooting of director Denis Villeneuve‘s sci-fi franchise – were shared with Variety last week. One of the poems, alongside a black-and-white image of Chalamet, sees Brolin refer to his co-star’s “cheekbones,” “youth-laden eyes,” and “lips of a certain poetry.”Brolin also wrote of Chalamet’s youth and its impact on his own thoughts of mortality.

Jazz Tangcay Artisans Editor Actor Josh Brolin and cinematographer Greig Fraser have documented the shooting of “Dune: Part One” and “Dune: Part Two” in a new coffee table book titled “Dune: Exposures.” Out Feb. 13, the book is published by Insight Editions and features rare on-set moments with the cast and crew. Brolin, who plays Warmaster Gurney Halleck in the two films, shares his on-set experience through poetry.

Jazz Tangcay Artisans Editor Oscar-winning cinematographer Greig Fraser was “devastated” when Warner Bros. announced that “Dune: Part Two” was shifting its release date from Nov. 2023 to March 2024.

With a budget of $80 million—a pittance compared to the budgets of most modern blockbusters— Gareth Edwards has made his long-awaited return to science-fiction on the big screen with “The Creator,” a provocative sci-fi adventure set roughly 50 years in the future, where Western society is devastated by and at war with artificial intelligence (read our review). Whereas the East, having not undergone a similar tragedy, has embraced and fostered the technology.

If you’re anything of a film-gear head or even just have a passing understanding of VFX—bluescreen, greenscreen, etc.—you probably have a basic understanding of the Volume.  The use of the Volume is pretty prevalent these days, and it’s used a lot, but it first came to light to the public and those who write about movies with the ”Star Wars” series, “The Mandalorian” because the Lucasfilm series was basically the first production to use it.

Roger Deakins, legendary cinematographer and knight of the British realm, cut to the chase: In his view several of the best examples of cinematography are missing from this year’s Oscars list.

Jazz Tangcay Artisans Editor The American Society of Cinematographers handed out its best visual storytelling in feature film award to “Elvis” on Sunday night, and in doing so, Mandy Walker has become the first woman to win the top prize in the society’s history. Walker triumphed over Greig Fraser (“The Batman”), Darius Khondji (“Bardo, False Chronicle of a Handful of Truths”), Claudio Miranda (“Top Gun: Maverick” and Roger Deakins (“Empire of Light”) in a very competitive race.  Walker‘s win comes as Oscar voting ends on March 7, where she is also nominated. She became only the third woman ever nominated for cinematography for her work on “Elvis.” Rachel Morrison (“Mudbound”) made history as the first female DP to land a nom in 2018, while Ari Wegner was nominated last year for “The Power of the Dog.”

THEATRICAL FEATURE FILM NOMINEESRoger Deakins, ASC, BSC for “Empire of Light”Greig Fraser, ASC, ACS for “The Batman”Darius Khondji, ASC, AFC for “Bardo, False Chronicle of a Handful of Truths”Claudio Miranda, ASC for “Top Gun: Maverick”Mandy Walker, ASC, ACS for “Elvis” *WINNERSPOTLIGHT AWARDSturla Brandth Grøvlen, DFF for “War Sailor” *WINNERKate McCullough, ISC for “The Quiet Girl”Andrew Wheeler for “God’s Country” EPISODE OF A ONE-HOUR NON-COMMERCIAL TELEVISION SERIESJohn Conroy, ASC, ISC for “Westworld” – “Années Folles” Catherine Goldschmidt for “House of the Dragon” – “The Lord of the Tides” Alejandro Martinez for “House of the Dragon” – “The Green Council” M. David Mullen, ASC for “The Marvelous Mrs. Maisel” – “How Do You Get to Carnegie Hall?” *WINNERAlex Nepomniaschy, ASC for “The Marvelous Mrs.

The American Society of Cinematographers is handing out its 37th annual ASC Awards tonight at the Beverly Hilton, and Deadline is posting the winners as they’re announced. See the list below.

The ADG had its say and now the American Society of Cinematographers is the latest artisan organization to announce its year-end honors. The 37th ASC Awards will find Roger Deakins (“Empire of Light”), Greig Fraser (“The Batman”), Darius Khondji (“Bardo”), Claudio Miranda (“Top Gun: Maverick”), and Mandy Walker (“Elvis”) vying for the theatrical feature film honor.

The American Society of Cinematographers has unveiled the nominations for its 37th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography.

THEATRICAL FEATURE FILM NOMINEES (Category sponsored by Keslow Camera)Roger Deakins, ASC, BSC for Empire of Light (Searchlight Pictures)Greig Fraser, ASC, ACS for The Batman (Warner Bros.)Darius Khondji, ASC, AFC for Bardo, False Chronicle of a Handful of Truths (Netflix)Claudio Miranda, ASC for Top Gun: Maverick (Paramount Pictures)Mandy Walker, ASC, ACS for Elvis (Warner Bros.)SPOTLIGHT AWARD (Category sponsored by Panavision)Sturla Brandth Grøvlen, DFF for War Sailor (DCM Film)Kate McCullough, ISC for The Quiet Girl (Super)Andrew Wheeler for God’s Country (IFC Films)EPISODE OF A ONE-HOUR NON-COMMERCIAL TELEVISION SERIES (Category sponsored by Panavision)John Conroy, ASC, ISC for Westworld – “Années Folles” (HBO/HBO MAX)Catherine Goldschmidt for House of the Dragon – “The Lord of the Tides” (HBO/HBO MAX)Alejandro Martinez for House of the Dragon – “The Green Council” (HBO/HBO MAX)M. David Mullen, ASC for The Marvelous Mrs.

Jazz Tangcay Artisans EditorHans Zimmer is starting to hint at his work on the score to “Dune: Part Two.”During awards season, director Denis Villeneuve would often joke how Zimmer would continue to send him music long after fellow Oscar-winner editor Joe Walker had finished working on the film. Said Villeneuve: “[Joe] didn’t hear from Hans for a long time.

EXCLUSIVE: UTA has signed almost a dozen senior production figures to its Production Arts division in the wake of the Oscar telecast snub to several major categories, including those who’ve worked on Dune, You and Mrs America. 

The 2022 Oscar Winners and Nominees

Greig Fraser and editor Joe Walker were among those who spoke out about the Academy’s decision to cut eight categories from the live telecast at Sunday’s Oscars.Earlier this week, dozens of sound designers, engineers and mixers signed a petition challenging the move to award the sound Oscar during its pre-telecast hour on Sunday. As threatened, guild members wore their badges upside down as a form of silent protest.In the press room after winning the cinematography Oscar, Fraser, whose category was shown in main part of the show, said, “Everybody in this crowd realizes why this happens, we understand the economics.

Jenelle Riley Deputy Awards, Features EditorThere’s going to be shocks at every Academy Awards ceremony, though no one could have predicted just how dramatic things would get this year after Will Smith took umbrage to a joke Chris Rock made about his wife Jada Pinkett Smith.But in the end, there were very few surprises throughout the night, with most of the top awards going to the predicted frontrunners, particularly in the acting categories, which matched the SAG Award wins. Apple made history by being the first streaming service to win best picture with “CODA,” which also won best adapted screenplay and best supporting actor for Troy Kotsur — who goes into the record books as the first deaf winner in the category.Here are some of the surprises and snubs throughout the night: SNUB: “The Power of the Dog”Jane Campion’s Western went into the evening with 12 nominations, more than any other film.

Oscars was a celebration of some of cinema's most beloved and indelible classics, and the show invited Wesley Snipes, Rosie Perez and Woody Harrelson to take the stage to commemorate the 30th anniversary of their film, .The trio dressed to the nines for the star-studded gala, and they were all smiles as they came together to reflect on their movie, which hit theaters March 27, 1992.«Oh my gosh, thank you so much! It's just hard to believe that it's been 30 years since ,» Perez said, overwhelmed with emotion.«You mean 30 years since I proved they could,» Harrelson quipped.«I don't know about that. You still look like a slow, geeky chump to me,» Snipes shot back.«I'm not slow. In fact, I'm in the best shape of my life. I am in the zone,» Harrelson suggested.«More like zoned out.

At the 94th Academy Awards, Dune‘s Greig Fraser landed his first Oscar for Best Cinematography, joking that he was happy his award was up early in the broadcast, so that he could “get out and get to the bar.”

It’s hard to have a better start to a year than cinematographer Greig Fraser. After starting the year with a slew of critical accolades for his work on Matt Reeves‘s “The Batman,” Fraser has now taken home the 2022 Academy Award for Best Cinematography for his work on Denis Villeneuve‘s adaptation of “Dune.” This is the second nomination for Fraser after 2016’s “Lion” and his first victory.

TheWrap’s Steve Pond predicts that Wegner will take home the trophy, giving her the edge over “Dune” DP Greig Fraser (the cinematographer of Campion’s previous movie “Bright Star”), who has scored the BAFTA and ASC precursors. But Wegner’s nomination alone still marks a milestone.She joined Rachel Morrison (who photographed 2017’s “Mudbound”) as the only women ever nominated in the category. That’s two out of more than 500 cinematography nominees since the first Oscars in 1929.

Tim Gray Senior Vice PresidentWith “Dune,” Denis Villeneuve confirms that he is a visionary director. Adapted from Frank Herbert’s 1965 novel, “Dune” is set in the year 10191 and Villeneuve salutes his artisans who helped him create the look and sound of the film, which covers multiple interplanetary cultures and locations. Patrice Vermette, production design Patrice preps a lot.

It’s the middle of Oscar voting, “CODA’s” win at the PGA Awards has everyone buzzing and we’re exactly one week away from the big show. Sunday, March 20 features the last day of guild honors.

Jazz Tangcay Artisans EditorThe American Society of Cinematographers handed out its top prize in feature film visual storytelling to “Dune.” Last year’s winner, Erik Messerschmidt for “Mank,” presented the feature film prize to Greig Fraser.The 36th Annual ASC Awards ceremony returned to a limited in-person component at the the ASC Clubhouse in Hollywood. Debbie Allen served as the night’s host.Other winners included “Pig,” which won the spotlight award ,and James Laxton, who took home the motion picture, limited series, or pilot made for television award for “The Underground Railroad.”Rachel Morrison, Stephen Hopkins and Jay Holben were among the cinematographers who presented the honoree awards.

Clayton Davis This past weekend proved to be a wild ride on the awards circuit.The Producers Guild of America Awards bestowed their top honors upon Apple Original Film’s “CODA” on Saturday night while the Cinema Audio Society went with Warner Bros’ “Dune.”At the Writers Guild of America Awards, several of the Oscar nominees for screenplay – “Belfast” (Kenneth Branagh), “Drive My Car” (Ryûsuke Hamaguchi, Takamasa Oe), “The Lost Daughter” (Maggie Gyllenhaal) and “The Power of the Dog” (Jane Campion) – were not eligible for recognition. So instead, the group went with “Don’t Look Up” from Adam McKay and David Sirota in original, with “CODA” tacking another trophy for adapted following BAFTA.And the final shoe to drop was the American Society of Cinematographers delivering Greig Fraser (“Dune”) the statuette, his second win following “Lion” (2016).

**WINNER.Feature FilmBruno Delbonnel, ASC, AFC for “The Tragedy of Macbeth”** WINNER Greig Fraser, ASC, ACS for “Dune”Dan Laustsen, ASC, DFF for “Nightmare Alley”Ari Wegner, ACS for “The Power of the Dog”Haris Zambarloukos, BSC, GSC for “Belfast”SpotlightRuben Impens, SBC for “Titane”** WINNER Pat Scola for “Pig”Adolpho Veloso, ABC for “Jockey”Documentary** WINNER Jessica Beshir for “Faya Dayi”Isabel Bethencourt and Parker Hill for “Cusp”Daniel Schönauer for “The Hidden Life of Trees”Motion Picture, Limited Series, or Pilot Made for TelevisionSteve Annis for “Foundation” – Pilot Episode: “The Emperor’s Peace”Tim Ives, ASC for “Halston” – Episode: “The Party’s Over”** WINNER James Laxton, ASC for “The Underground Railroad” – Episode: “Chapter 9: Indiana Winter”Christophe Nuyens, SBC for “Lupin” – Pilot Episode: “Chapter 1”Ben Richardson, ASC for “Mare of Easttown” – Episode: “Illusions”Episode of a One-Hour Television Series – Non-CommercialStuart Biddlecombe for “The Handmaid’s Tale” – Episode: “The Wilderness”David Garbett for “Sweet Tooth” – Episode: Big ManDavid Greene, ASC, CSC for “Chapelwaite” – Episode: “The Promised”** WINNER Jon Joffin, ASC for “Titans” – Episode: “Souls”Boris Mojsovski, ASC, CSC for “Titans” – Episode:“Home”Kate Reid, BSC for “The Nevers” – Episode: “Hanged”Episode of a One-Hour Television Series – CommercialThomas Burstyn, CSC, NZSC for “Snowpiercer” – Episode: “Our Answer for Everything”** WINNER Tommy Maddox-Upshaw, ASC for “Snowfall” – Episode: “Weight”Ronald Paul Richard for “Riverdale” – Episode: “Chapter Eighty-Nine: Reservoir Dogs”Brendan Steacy, CSC for “Clarice” – Episode: “Silence is Purgatory”David Stockton, ASC for “Mayans M.C.” – Episode: “The Orneriness of Kings”Gavin Struthers,

The American Society of Cinematographers is framing it 36th annual ASC Awards tonight, and Deadline is updating the winners as they’re announced. See the list below.

Daron James Denis Villenuve’s “Dune” is a visceral epic, propelled by practical and visual effects that shape the destiny of Paul Atreides (Timothée Chalamet) following a vengeful plot that kills his father, Leto (Oscar Isaac), on the spice-producing planet Arrakis.The approach for visual-effects supervisor Paul Lambert was to avoid “fixing something in post” but to find ways on set that provided the “best base” to create any necessary elements. One such moment is a stirring scene in which Paul and Leto visit a spice harvester only to be attacked by a terrifying sandworm.The sequence was a massive collaboration among the behind-the-scenes artisans and starts with the characters flying an ornithopter, a dragonfly-like helicopter, which was practically built from blueprints by production designer Patrice Vermette.

Tim Gray Senior Vice PresidentDenis Villeneuve, the director, co-writer and a producer of WB/Legendary’s “Dune,” talked with Variety about the four creative stages of filming — scriptwriting, preproduction, production and post — as they related to his adaptation of Frank Herbert’s 1965 novel. The film has been Oscar-nominated in each of those four stages, with 10 well-earned bids.“I’m very proud of my team.