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Hoyte van Hoytema ASC (Dutch: [ˈɦɔitə vɑn ˈɦɔitəmaː]; born 4 October 1971) is a Dutch and Swedish cinematographer.Renowned for his handheld camera work and for shooting primarily on film, he has received two Academy Award for Best Cinematography nominations, for the Christopher Nolan–directed films Dunkirk (2017) and Oppenheimer (2023), winning the Oscar for the latter.
Cinematographer Hoyte van Hoytema and director Alfredson invented a technique they called "spray light". In an interview, van Hoytema describes it as follows: "If you could capture dull electrical light in a can and spray it like hairspray across Eli’s apartment, it would have the same result as what we created".
Dallas–Fort Worth Film Critics Association Awards: December 15, 2014: Best Cinematography: Hoyte van Hoytema: Runner-up [26] Best Musical Score: Hans Zimmer: Won Dorian Awards: March 1, 2015 Visually Striking Film of the Year Interstellar: Nominated [27] Empire Awards: March 29, 2015: Best Director: Christopher Nolan: Won [28] Best Film ...
Weekly Commentary (Updated March 7, 2024): Hoyte Van Hoytema took the top honors at the 38th annual American Society of Cinematographers Awards for his work on “Oppenheimer.” In its 38-year ...
Van Hoytema, who was born in Switzerland, educated at Poland’s legendary Lodz Film School (Krzysztof Kieslowski supervised one of his student projects) and started his career in Sweden with ...
[35] [36] Nope was shot by cinematographer Hoyte van Hoytema using Kodak film, including 65mm film in IMAX, making it the first horror film in history to be shot in this format. [37] [38] Two cameras were used for the nighttime scenes — one for infrared light with narrow bandwidth, and another that captured 70mm film.
Hoyte van Hoytema, who captured an atomic bomb test in Christopher Nolan’s “Oppenheimer” and an ice planet in “Interstellar,” is known for intimate closeups and awe-inspiring vista shots ...
In his place, Jonze hired Hoyte van Hoytema. [26] In discussing the film's look, Jonze told Van Hoytema that he wanted to avoid a dystopian look, instead the two decided on a style that Van Hoytema termed "kind of a hybrid between being a little bit conceptual and being very theoretical", [26] Van Hoytema took particular inspiration from ...