40th ASC Awards: “We're All Part of One Cinematic Family”

Kicking off the 40th ASC Awards ceremony, ASC Awards Committee Chair Charles Minsky reflected that four decades ago, the first ceremony was held at the ASC Clubhouse and attended by roughly 100 guests. This year, more than 1,000 were packed in the International Ballroom at the Beverly Hilton.

Highlighting the evening, Michael Bauman’s work on One Battle After Another topped the Theatrical Feature Film category, which was presented by Phedon Papamichael, ASC, GSC, GCA. Accepting the award, Bauman reflected on the camaraderie within the community — a theme throughout the evening — by first acknowledging his fellow nominees, Autumn Durald Arkapaw, ASC; Darius Khondji, ASC, AFC; Dan Laustsen, ASC, DFF; and Adolpho Veloso, ABC, AIP. These are cinematographers that he said “I’m so proud to call my friends.”

Bauman also saluted director Paul Thomas Anderson, his crew, and his wife. “So much of this movie is about the love of a parent and a child," he said, prompting a final dedication to his son, Miles, "who is at the University of Rochester, which is the home of Kodak. And we shot this on film!”

Actor Owen Wilson presented the Lifetime Achievement Award to Robert Yeoman, ASC, and also introduced a video message from their long-time collaborator, director Wes Anderson.

Anderson related that he met Yeoman three decades ago, and not only did they make many movies together, including Moonrise Kingdom and The Grand Budapest Hotel, “He taught Owen Wilson, Luke Wilson and me how to survive on a movie set. He’s been a crucial part of my own experience of making movies.

“He took a chance on us at a time when not a lot of people were lining up to bet on us," Wilson added of Yeoman. "Thankfully, he did. He was not only our first DP, but, in a way, our first audience. Our relationship has been like one beautiful long tracking shot.”

Yeoman acknowledged the ASC and staff; directors, especially William Friedkin, Paul Feig and Anderson; his vendors; and cinematographers including Robby Müller, NSC, BVK and John Toll, ASC.

“I want to thank all the crews I've had the pleasure to work with throughout the world," said Yeoman. We're all part of one large cinematic family,” he said, concluding by sharing some principles that have shaped his approach to the craft: “Be true to the script, be loyal to the director's vision, be able to adapt and change your style. Don't be afraid to venture outside of your comfort zone. Simplicity is the most beautiful and effective approach, and once you start shooting each film, it takes on its own life. Enjoy the ride. We’re so fortunate to do what we do.”

Jason Reitman presented the Board of Governors Award to Frankenstein director Guillermo del Toro. “He sees humanity in monsters," Reitman said, adding, "Guillermo loves people.”

Del Toro related that the “most intimate” relationship on set is the one the director shares with the cinematographer, and he warned about the misuse of emerging technology.

“We have to commit to create excellent images, in a world that thinks you can do that with a prompt," del Toro said, before asking, "But is it eloquent? We live in a a very dangerous moment in which we are being told that image is something you can get on an app — that anyone can create. And I say, f*** no.”

He concluded, “It doesn't matter what the media does, doesn't matter what you can get on the phone or on the tablet. I don't give a f***. When we commit to the spiritual power of images, we can do everything.”

M. David Mullen, ASC (The Marvelous Mrs. Maisel) received the Career Achievement in Television Award, which was presented by Mrs. Maisel herself, actor Rachel Brosnahan, who praised the cinematographer's ability to continually raise the bar on the series.

Brosnahan also described how Mullen takes time to share advice with fellow cinematographers — “a true testament to the teaching aspect of the ASC that David really embodies. When we began working on The Marvelous Mrs. Maisel, our creator, Amy Sherman-Palladino, immediately nicknamed him ‘the professor.’”

Mullen acknowledged the many people who touched his career included his crews. “I want to thank all the mentors I've had over the years [including] the cinematographers of the past, who I've never met, but who thankfully left their thoughts behind on the pages of American Cinematographer,” he said, also citing cinematographers that he was “lucky enough to meet and talk with, like [ASC legends] Conrad Hall, Vilmos Zsigmond, and Allen Daviau.

The nod to ASC bible American Cinematographer was fitting, as later in the evening, ASC President Mandy Walker presented the ASC Award of Distinction (only the third time it’s been presented) to Stephen Pizzello, who, as AC’s editor-in-chief, has been the “guiding voice of the magazine that defines our craft” for the past 35 years.

“Each article is a master class, each issue is a textbook, and a complete collection is quite literally a film school," Walker said. "It’s not just a magazine, it's a member of our crew. What Stephen understands is that behind every technical choice is artistic intent. He eloquently translates not only the how, but more importantly, the why — the reasoning, the expression, the emotional truth within the frame. Stephen preserved our history, elevated our craft and inspired generations of filmmakers.”

“Everywhere I look, I see friends and filmmaking heroes,” said Pizzello. “We all refer to the ASC as the family, but for me, it literally is my family. I met my wife to be [ASC general manager Delphine Figueras] in 1999 [at the ASC].”

He related that a favorite part of his job is “discovering talented cinematographers at the beginning of their careers, and then watching them become full-fledged rock stars. Their success always gives me great joy.”

He also recalled some unforgettable experiences. “I sat with Gordon Willis in his den on Cape Cod, watching the Godfather trilogy while he gave me a live commentary, and I was 10 feet away from Sam Jackson as he delivered his iconic monologue in Pulp Fiction,” he remembered. “Somehow, this movie geek had landed the job of a lifetime. I learned filmmaking from the best in the world. I tell your stories, and I get to be part of this incredible community. So, the award may have my name on it, but this distinction really belongs to all of you. Thank you for the inspiration, the friendships and the amazing ride."

Giovanni Ribisi presented the Curtis Clark Technology Award to the “foundation of cinema,” the century-old Kodak. Extending gratitude to Kodak's executive team and its CEO Jim Continenza, Ribisi said, "We recognize that you've been through enormous shifts in our industry — technology, workflow, economics — but when you determined to continue investing in film stocks and research, it meant more to us, because we saw it as an investment in the artists who depend on film. The cinema team cares for filmmakers and our vision like no other." Ribisi also thanked Kodak vice president and head of motion picture Vanessa Bendetti, "our biggest ally and advocate, [whose] commitment has allowed generations of cinematographers to keep practicing their craft the way they want to practice."

Bendetti accepted the award on behalf of the iconic company, standing “on the shoulders of George Eastman's legacy and nearly 150 years of image science.” She acknowledged those who have worked at Kodak, shot film, and contributed to the film ecosystem.

“Our partnership with the ASC is integral to the past, present and future of film," she said. "The ASC helps to ensure that film is accessible to the motion picture community."

Bendetti also gave a shout out to a pair of Kodak veterans in attendance, Jeff Hansen and Jim Fitzgerald, “the lead wizards behind the curtain in Rochester and the new Anti-Halation Undercoat film structure for Vision3.”

She thanked the pair for “all you do to provide the gold standard image that filmmakers rely on. Thank you for the countless times you've walked me through sensitometry curves and indulge my inquiries about resurrecting older film stocks. And thank you, Ed Lachman [ASC], for driving that request home yesterday at the Honorees Brunch.”

Bendetti concluded her speech by asserting that “Kodak is fully committed to its film business. This award is important recognition of the investments we're making in our film infrastructure.” Speaking to the cinematographers in attendance, she added, “It’s been my absolute honor to know and work with so many of you. Kodak is very proud to be a part of some of this year's most celebrated movies.”

Another honor, the President’s Award, was presented to Cynthia Pusheck, ASC by Baz Idoine, ASC and Pusheck’s Vision Committee co-chair, Society member John Simmons. Simmons called Pusheck his “ASC wife” and Idione got a big laugh as he added, “Cynthia is my actual wife.” He continued, “I'm resigned to the fact that I must share her with Johnny and the ASC. I'm okay with that, because she gives so much to the Society. We're all better for it.”

Pusheck acknowledged members, associates, sponsors, staff, mentors and all of the members of the ASC community. As the Awards were held on International Women’s Day, she especially saluted the women of the ASC. “It’s especially meaningful to be receiving this honor from a female president — especially one I've admired for years,” Pusheck said. “Mandy may be our first female president, but I'm pretty sure she won't be our last.” Pusheck acknowledged the “strong women helping to run our society,” including Patty Armacost, Delphine Figueras and Sharon Bruneau.

She also recognized the pioneering women who came before her and helped change the image of what a cameraperson looks like. Among them, she cited ASC members Ellen Kuras, Nancy Schreiber, Sandi Sissel, Amy Vincent, Tami Reiker and others.

The theme of community and giving back was also reflected when Michael Goi, ASC, ISC took the stage to acknowledge many from the community who donated funds to the ASC Relief Fund, which helped aid members and their crews most affected by the 2025 wildfires — especially Rare Breeds Camera Rentals, which raised more than $70,000, and Sony, which donated $250,000.

Goi then presented the Bud Stone Award to ASC associate member Tom Fletcher, who Goi said was "instrumental in opening up new sponsorships for this awards, at a really critical time.” Remembering the advice of Richard Crudo, ASC to keep remarks brief at ASC ceremonies, Fletcher spoke concisely about the importance of “the relationships with the ASC, and being a sponsor. You get back what you give.”

In the competitive categories, there was a tie in the category of One-Hour Regular Series Episode. Marshall Adams, ASC and Karolina Wydra announced the winners as Alex Disenhof, ASC for the episode of Task entitled “Crossings,” and Christophe Nuyens, SBC (who was unable to attend the ceremony) for the episode of Andor entitled “I Have Friends Everywhere."

“This was an amazing category to be part of, and everyone should be proud of their work,” Disenhof said, before thanking the Task family. “In such a fractured world, to be able to go to work each day and be a part of a community of artists who are working together toward a common goal is a privilege and an honor.”

Adam Newport-Berra’s work on an episode of The Studio entitled “The Oner” earned the ASC Award for Half-Hour Series Episode, which was presented by Kira Kelly, ASC and Edu Grau, ASC, AEC. Accepting the award, Newport-Berra said, “Our entire crew became an unstoppable machine that, moving along, became so much bigger than some of its parts. I'm just really lucky to have been a part of it.”

Patrick Cady, ASC and actor John Carroll Lynch presented the Limited or Anthology Series or Motion Picture Made for Television award to Pete Konczal, ASC for an episode of Black Rabbit entitled “Isle of Joy." Konczal acknowledged the cast and crew — starting with cinematographer Igor Martinović, who was also nominated in the category for a Black Rabbit episode — as well as ASC friends and mentors.

Team Deakins — comprised of Roger Deakins, ASC, BSC and James Deakins — presented the Documentary Award to Mstyslav Chernov and Alex Babenko for 2000 Meters from Andriivka.

Chernov accepted, noting that Babenko was in Kyiv: “He keeps filming. So, I am really grateful that there are people who are always there to record the truth.

“Any image of truth is now under attack, and by extension, a person with a camera is under attack,” Chernov continued. “And that is extending over from documentary, to journalism, to art, to all of you — because those people who tell truth, those people who speak about ideals of humanity with their eyes, their work and their cameras, are targeted by those who want to destroy those ideals.”

Filmmaker Boots Riley and Natasha Braier, ASC, ADF presented the Spotlight Award to Mátyás Erdély, ASC, HSC for Orphan, director László Nemes’ post WWII Hungary-set drama. “His vision constantly challenges us to search for honesty in the image, and to remember that cinematography is not about beauty, but about perspective, presence and emotional truth,” Erdély said of director Nemes.

Erdély added that he was “deeply grateful to our entire crew. I also want to thank our actors, who trusted the camera enough to let to come very close. Cinematography becomes meaningful when it is in a dialogue with the human face, and their honesty gave the images their power.”

Tommy Maddox-Upshaw, ASC and actor Gail Bean announced the winner of the Music Video competition: Rodrigo Prieto, ASC, AMC for Taylor Swift’s “The Fate of Ophelia.” Prieto was unable to attend the ceremony; his agent, Paul Hook, accepted on his behalf.

The ceremony was hosted by Kerri Kenney-Silver, who said, “The more chaotic our world is — the more chaotic our industry is — the more inspired images you create.”