BAFTA Best Cinematographer
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- Camera and Electrical Department
- Cinematographer
John Alcott, the Oscar-winning cinematographer best known for his collaboration with director Stanley Kubrick, was born in 1931, in Isleworth, England, the son of movie executive Arthur Alcott, who would become the production controller at Gainsborough Studios during the 1940s.
Alcott began his film career as a clapper boy, the lowest member of a camera crew. By the early 1960s he had worked his way up to focus puller, the #3 position on a camera crew after the lighting cameraman and camera operator. As a focus puller Alcott was responsible for measuring the distances between the camera and the subject being shot, which is critical during traveling shots, and more vitally, he was tasked with adjusting the lens when the camera is following a subject.
By the mid-'60s Alcott was a member of the camera team of master cinematographer Geoffrey Unsworth, working on Kubrick's 2001: A Space Odyssey (1968). When Unsworth had to leave the project during its two-year-long shoot to meet other commitments, Alcott was elevated to lighting cameraman by Kubrick. Thus began a collaboration that would reach its zenith a decade later with Barry Lyndon (1975). His association with Kubrick propelled him to the top of his craft, in terms of both style and in pushing the technical aspects of the discipline.
Alcott preferred lighting that appeared natural and did not draw attention to itself. His ideas meshed perfectly with those of Kubrick, and the two developed their ideas about "natural" lighting in two landmark films, A Clockwork Orange (1971) and "Barry Lyndon", which incorporated scenes shot entirely by candlelight. The idea of using candlelight solely for illumination was discussed by Alcott and Kubrick after the wrap of "2001" for Kubrick's planned film about the life of Napoleon, but there wasn't a fast-enough lens in existence then.
After a search, Kubrick located three unique 50mm f/0.7 still-camera camera lenses designed by the Zeiss Corporation for use by NASA in its Apollo moon-landing program in order to shoot still pictures in the low light levels of outer space. The lens was 2 f stops faster than the fastest movie camera lens made at the time.
Kubrick tasked Cinema Products Corp. to adapt a standard 35mm non-reflexed Mitchell BNC movie camera so that the camera could accept the lens. The camera was outfitted with a side viewfinder from one of the old Technicolor three-strip cameras that used mirrors rather than prisms (like a modern camera) to show what it "sees", the mirrors providing a much brighter image than did a prism-based single-lens reflex system, which could not obtain enough light to register an image. There was no real problem with parallax, as the viewfinder was mounted close to the lens.
Cinema Products also created two special lenses by mating a 70mm projection lens with the remaining 0.7 Zeiss 50mm lenses. This battery of three lenses allowed Kubrick and Alcott to shoot the indoor scenes using nothing but candlelight. It was a formidable task, as the lenses could not be focused by eye. Metal shields also had to be installed above the sets, which were filmed in actual castles and manor houses in Ireland and England, to keep the heat and smoke from the candles from damaging the ceilings. Fortitously, the shields also reflected the candlelight back into the scene (this approach was later used successfully by lighting cameraman Alwin H. Küchler on the western The Claim (2000), which shot its saloon interiors in very low light). The candles had to be constantly replaced to keep continuity during the scenes, and shooting was hampered by the fact that many of the manor houses were open to the public and the crew had to wait until the intervals between tours to film a scene.
Alcott told "American Cinematographer" in a December 1975 interview that the ultra-fast lens had no depth of field at all. This necessitated the scaling of the lens by doing hand tests. Alcott's focus puller, Douglas Milsome (who would succeed him as Kubrick's cinematographer), used a closed-circuit video camera at a 90-degree angle to the film camera to keep track of the distances to maintain focus. A grid was placed over the TV screen and, by taping the various actors' positions in the set, the distances could be transferred to the TV grid to allow the actors a limited scope of movement during the scene, while keeping in focus.
Alcott won an Academy Award for his work on "Barry Lyndon", which is considered one of the most visually beautiful movies ever made. (Three of Alcott's movies were ranked in the top 20 of "Best Shot" movies in the period after 1950-97 by the American Society of Cinematographers: "2001" at #3, "Barry Lyndon" at #16, and "A Clockwork Orange", for which he won the British Academy Award, at #19.) Alcott realized Kubrick's vision by evoking the paintings of Corot, Gainsborough, and Watteau, creating gorgeous tableaux. It was the aesthetic opposite of the cubism evoked by "A Clockwork Orange",
While shooting what would turn out to be his last film for Kubrick, The Shining (1980), Alcott lit the hotel sets with "practicals" (sources of lighting that are visible on screen as part of the set, such as lighting fixtures). As on "Barry Lyndon", Alcott supplemented the lighting with illumination coming into the set from outside the windows, though the "windows" on "The Shining" were part of a set. The high temperatures (110 degrees Fahrenheit) caused by the 700,000 watts of illumination outside the set's "windows" Alcott used to create the high white effect favored by Kubrick caused the set to burn down.
Alcott, who shot films and TV commercials for other directors in the UK, moved to the US in 1981 in order to obtain more steady work than was possible in the ailing British film industry. His non-Kubrick projects as a cinematographer included three films with director Stuart Cooper and two with Roger Spottiswoode. Alcott could not shoot Kubrick's Full Metal Jacket (1987), which commenced shooting in 1985 and -- like any Kubrick shoot -- would involved a substantial commitment of time, as Alcott was committed to other projects (Kubrick hired Douglas Milsome, who had been Alcott's focus puller on "Barry Lyndon" and "The Shining", to shoot "Jacket"). His non-Kubrick oeuvre was eccentric, and included the Canadian slasher film My Bloody Valentine (1981), but he was able to bring his outstanding visual quality to such movies as Fort Apache the Bronx (1981), The Beastmaster (1982), Under Fire (1983) and Hugh Hudson's Greystoke: The Legend of Tarzan, Lord of the Apes (1984).
Alcott suffered a massive heart attack and died on July 28, 1986, in Cannes, France. At the time of his death he was considered one of the film industry's great artist-technicians, someone who through his ability to push back the boundaries of what was technically possible, linked technology to aesthetic needs and contributed to the development of cinema as an art form. His last film, No Way Out (1987), was dedicated to his memory. The British Society of Cinematographers named one of its awards the "BSC John Alcott ARRI Award" in his honor to commemorate his role as a lighting cameraman in the development of film as an art form."Barry Lyndon" +- Cinematographer
- Camera and Electrical Department
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Along with László Kovács, a fellow student who fled Hungary in 1956, Zsigmond rose to prominence in the 1970s. He is known for his use of natural light and vivid use of color on features such as The Long Goodbye (1973) and Close Encounters of the Third Kind (1977)."The Deer Hunter" +- Cinematographer
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Giuseppe 'Peppino' Rotunno entered the film industry as a still photographer at Cinecitta but lost his job due to his anti-fascist views. Conscripted and sent to Greece in 1942, he then served as a newsreel cameraman with the Italian army film unit. A year later, he was captured during the German occupation of Greece and spent two years internment in Germany. Freed by US troops in April 1945, Rotunno returned to Italy. During the following decade, he worked his way up the ladder from a humbly paid assistant cameraman to director of photography. The romantic comedy Scandal in Sorrento (1955) was the first motion picture he shot in that capacity and he has since worked with some of Italy's leading post-war directors. His most famous collaborations were with Luchino Visconti, whom he regarded as his mentor (White Nights (1957), Rocco and His Brothers (1960), The Leopard (1963)) and with Federico Fellini (Fellini Satyricon (1969), Amarcord (1973)). Rotunno acquired a well-deserved reputation for creating realistic, opulent, nostalgic or uncanny atmospheres through ingenious use of lighting techniques. His work in the international field has included the Ava Gardner starrers The Naked Maja (1958) and The Angel Wore Red (1960), Stanley Kramer's On the Beach (1959), Arthur Hiller's Man of La Mancha (1972), Bob Fosse's All That Jazz (1979) (1981 BAFTA winner and 1980 Oscar nominee) and the remake of Sabrina (1995), starring Harrison Ford. In 1966, Rotunno became the first non-US citizen admitted to join the American Society of Cinematographers. From 1988, he taught at the Centro sperimentale di cinematografia in Rome where he died on February 7 2021 at the age of 97.."All That Jazz" +- Cinematographer
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Ghislain Cloquet was born on 18 April 1924 in Antwerp, Antwerp, Belgium. He was a cinematographer and actor, known for Tess (1979), Love and Death (1975) and The Young Girls of Rochefort (1967). He was married to Sonia Salvy-Matossian and Sophie Becker. He died on 2 November 1981 in Montainville, Yvelines, France."Tess" (with Geoffrey Unsworth) +- Cinematographer
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Jordan Cronenweth was born on 20 February 1935 in Los Angeles, California, USA. He was a cinematographer and actor, known for Blade Runner (1982), Peggy Sue Got Married (1986) and Altered States (1980). He was married to Carolyn June Ervin. He died on 29 November 1996 in Los Angeles, California, USA."Blade Runner" +- Cinematographer
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Sven Nykvist was considered by many in the industry to be one of the world's greatest cinematographers. During his long career that spanned almost half a century, Nyvist perfected the art of cinematography to its most simple attributes, and he helped give the films he had worked on the simplest and most natural look imaginable. Indeed, Mr. Nykvist prided himself on the simplicity and naturalness of his lighting schemes. Nykvist used light to create mood and, more significantly, to bring out the natural flesh tones in the human face so that the emotion of the scene could be played out on the face without the light becoming intrusive.
Nykvist entered the Swedish film industry when he was 19 and worked his way up to becoming a director of photography. He first worked with the legendary Swedish director Ingmar Bergman on the film Sawdust and Tinsel (1953), but his collaboration with Bergman began in earnest with The Virgin Spring (1960). From that point on, Nykvist replaced the great Gunnar Fischer as Bergman's cameraman, and the two men started a collaboration that would last for a quarter of a century. The switch from Fischer to Nykvist created a marked difference in the look of Bergman's films. In many respects, it was like the difference between Caravaggio and Rembrandt. Fischer's lighting was a study in light and darkness, while Nykvist preferred a more naturalistic, more subtle approach that in many ways relied on the northern light compositions of the many great Scandinavian painters.
Nykvist's work with Bergman is one of the most glorious collaborations in movie history. Nykvist created a markedly different look for each installment of Bergman's Faith Trilogy. Through a Glass Darkly (1961) had an almost suffocating quality to it, and The Silence (1963) hearkened back to the days of German Expressionism. Winter Light (1963), the middle part of the trilogy, may very well be the most perfect work of Nykvist's repertoire. Having studied the light in a real provincial church carefully, he then recreated the subtle changes in the light as the day went on on a Stockholm sound stage. Indeed, it's hard to believe that the film was shot on a stage and not in a real church in Northern Sweden. For Persona (1966), Nykvist relied heavily on Sweden's famous Midnight Sun. In The Passion of Anna (1969), Nykvist was able to capture the chilly, soggy, and melancholy look of Faro, one of Nykvist's first color films. Both Nykvist and Bergman were both very reluctant to film in color. He created a fascinating study of white and red in Cries & Whispers (1972), for which Nykvist won an Oscar. He won an Oscar again for the last feature-length theatrical film that Bergman made, Fanny and Alexander (1982).
During the late 1970s, Nykvist began making films elsewhere in Europe and in the United States, working for directors such as Louis Malle (Pretty Baby (1978)), Philip Kaufman (The Unbearable Lightness of Being (1988)), Bob Fosse (Star 80 (1983)), Nora Ephron (Sleepless in Seattle (1993)), Woody Allen (Another Woman (1988), Crimes and Misdemeanors (1989)), Richard Attenborough (Chaplin (1992)), and fellow Swede Lasse Hallström (What's Eating Gilbert Grape (1993)). The documentary Ljuset håller mig sällskap (2000) paid homage to Nykvist, although it does not grant us any real secrets about his working methods. Nykvist died in 2006."Fanny och Alexander" +- Cinematographer
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Miroslav Ondrícek was born on 4 November 1934 in Prague, Czechoslovakia [now Czech Republic]. He was a cinematographer, known for Amadeus (1984), Hair (1979) and A League of Their Own (1992). He was married to Eva. He died on 28 March 2015 in Prague, Czech Republic."Amadeus" +- Cinematographer
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David Watkin was born on March 23rd 1925 to a middle class family in Kent, England. Being fond of classical music, he originally wanted to become a pianist despite the lack of support from his religious father.
Watkin served shortly in World War II before finally beginning his career in cinema. His break into the film world arrived when he shot the memorable title sequence for the film 'Goldfinger', in 1964. Being an innovator in cinematography, he was known as having an artistic technique- almost picturesque. His most famous works are 'Jesus of Nazareth', 'Moonstruck', 'Out of Africa', and many other known titles."Out of Africa" +- Cinematographer
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Peter Biziou was born on 8 August 1944 in Bangor, Caernarvonshire, Wales, UK. He is a cinematographer and producer, known for Mississippi Burning (1988), The Truman Show (1998) and Time Bandits (1981)."Mississippi Burning" +- Cinematographer
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Janusz Kaminski is a Polish cinematographer and film director. He has established a partnership with Steven Spielberg, working as a cinematographer on his movies since 1993. He won the Academy Award for Best Cinematography for his work on Schindler's List (1993) and Saving Private Ryan (1998).
His other film's as an cinematographer includes Amistad (1997), A.I. Artificial Intelligence (2001), Catch Me If You Can (2002), The Diving Bell and the Butterfly (2007), War Horse (2011), Lincoln (2012), Bridge of Spies (2015), The BFG (2016), and Ready Player One (2018)."Schindler's List" +- Cinematographer
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Philippe Rousselot was born on 4 September 1945 in Briey, Meurthe-et-Moselle, France. He is a cinematographer and director, known for Interview with the Vampire: The Vampire Chronicles (1994), A River Runs Through It (1992) and Big Fish (2003)."Interview with the Vampire: The Vampire Chronicles" +- Cinematographer
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John Toll is an American cinematographer. His filmography spans a wide variety of genres, including epic period drama, comedy, science fiction, and contemporary drama. He won the Academy Award for Best Cinematography in both 1994 and 1995 for Legends of the Fall and Braveheart respectively.
He has collaborated with several noteworthy directors, including Francis Ford Coppola, Edward Zwick, Terrence Malick, Mel Gibson, John Madden, The Wachowskis, and Ang Lee. Outside of film, he has shot several commercials, the pilot episode of Golden Globe-winning drama series Breaking Bad, and has served as chief cinematographer on the Netflix original series Sense8.
Toll was also nominated for an Academy Award for his work on The Thin Red Line (1998)."Braveheart" +- Camera and Electrical Department
- Cinematographer
- Director
John Seale was born on 5 October 1942 in Warwick, Queensland, Australia. He is a cinematographer and director, known for Mad Max: Fury Road (2015), The English Patient (1996) and Witness (1985). He has been married to Louise Seale since 23 September 1967. They have two children."The English Patient" +- Cinematographer
- Camera and Electrical Department
Remi Adefarasin was born on 2 February 1948 in London, England, UK. He is a cinematographer, known for Elizabeth (1998), Match Point (2005) and Everest (2015)."Elizabeth" +- Cinematographer
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John Mathieson came up through the traditional camera ranks. Before his start as a cinematographer in feature films he shot many music videos, documentaries and TV commercials. He also worked in cutting rooms and has always considered himself as a film maker, interested in all areas of the process, rather than a dedicated cinematographer."Gladiator" +- Cinematographer
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Andrew Lesnie was an Australian cinematographer who frequently worked with Peter Jackson. He did the photography for The Lord of the Rings and The Hobbit film trilogies. He also did the photography for Babe, King Kong, Rise of the Planet of the Apes, I Am Legend and The Lovely Bones. He passed away in April 2015 due to a heart attack."The Lord of the Rings: The Return of the King" +- Cinematographer
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Dion Beebe is an Australian-South African cinematographer. He is best known for his collaboration with Rob Marshall in the films Chicago (2002), Memoirs of a Geisha (2005), Nine (2009), Into the Woods (2014) and Mary Poppins Returns (2018);
Beebe also worked with Michael Mann in Collateral (2004) and Miami Vice (2006).
He studied cinematography at the Australian Film Television and Radio School from 1987 to 1989.
For his work on Memoirs of a Geisha he won an Oscar for best achievement in cinematography.1) "Collateral" (with Paul Cameron) (1/2)- Cinematographer
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Paul Cameron, ASC's visually groundbreaking work as a director and a director of photography has helped shape the craft of cinematography in the 21st century. Cameron recently directed multiple episodes of "Special Ops: Lioness", created by Taylor Sheridan for Paramount+, as well as multiple episodes of HBO's acclaimed "Westworld" series. Previously, Cameron was Cinematographer on "Reminiscence", starring Hugh Jackman and Rebecca Ferguson, "21 Bridges", and "The Commuter", starring Liam Neeson. His other DP credits include: "Pirates of the Caribbean: Dead Men Tell No Tales", "Man on Fire", "Déjà Vu", "Collateral", "Dead Man Down", "Total Recall", "Swordfish", and "Gone in Sixty Seconds", among others. Cameron is on the Board of Governors for The Academy of Motion Picture Arts and Sciences, has won both Clio and AICP awards, and is represented by DDA."Collateral" (with Dion Beebe) +- Cinematographer
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Anthony Dod Mantle was born on 14 April 1955 in Oxford, Oxfordshire, England, UK. He is a cinematographer, known for Slumdog Millionaire (2008), Antichrist (2009) and The Last King of Scotland (2006)."Slumdog Millionaire" +- Cinematographer
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Barry Ackroyd was born on 12 May 1954 in Oldham, Lancashire, England, UK. He is a cinematographer and director, known for The Hurt Locker (2008), Captain Phillips (2013) and United 93 (2006)."The Hurt Locker" +- Cinematographer
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Guillaume Schiffman is known for The Artist (2011), OSS 117: Cairo, Nest of Spies (2006) and Populaire (2012)."The Artist" +- Cinematographer
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Claudio Miranda was born in March 1965 in Valparaíso, Chile. He is a cinematographer and actor, known for Life of Pi (2012), Top Gun: Maverick (2022) and The Curious Case of Benjamin Button (2008). He has been married to Kelli Bean since February 2009."Life of Pi" +- Cinematographer
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Linus Sandgren is an Academy Award winning Swedish cinematographer. He is best known for his work with Damien Chazelle on La La Land (2016) and his collaboration with David O Russell on the films American Hustle (2013) and Joy (2015).
He also worked with Gus Van Sant on Promised Land where he shot the film in a unique format, Super 35mm 1.3x anamorphic.
In La La Land he shot in the classic Cinemascope ratio 2.55:1."La La Land " +- Producer
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Alfonso Cuarón Orozco was born on November 28th 1961 in Mexico City, Mexico. From an early age, he yearned to be either a film director or an astronaut. However, he did not want to enter the army, so he settled for directing. He didn't receive his first camera until his twelfth birthday, and then immediately started to film everything he saw, showing it afterwards to everyone. In his teen years, films were his hobby. Sometimes he said to his mother he would go to a friend's home, when in fact he would go to the cinema. His ambition was to know every theatre in the city. Near his house there were two studios, Studios Churubusco and Studios 212. After finishing school, Cuarón decided to study cinema right away. He tried to study at C.C.C. (Centro de Capacitación Cinematográfica) but wasn't accepted because at that time they weren't accepting students under twenty-four years old. His mother didn't support that idea of cinema, so he studied philosophy in the morning and in the afternoon he went to the C.U.E.C. (Centro Universitario de Estudios Cinematográficos). During that time he met many people who would later become his collaborators and friends. One of them was Luis Estrada. Cuaron also became good friends with Carlos Marcovich and Emmanuel Lubezki. Luis Estrada directed a short called "Vengance is Mine", on which Alfonso and Emmanuel collaborated. The film was in English, a fact which bothered many teachers of the C.U.E.C. such as Marcela Fernández Violante. The disagreement caused such arguments that in 1985, Alfonso was expelled from the university.
During his time studying at C.U.E.C. he met Mariana Elizondo, and with her he had his first son, Jonás Cuarón. After Alfonso was expelled, he thought he could never be a director and so went on to work in a Museum so he could sustain his family. One day, José Luis García Agraz and Fernando CáMara went to the museum and made an offer to Cuarón. They asked him to work as cable person in "La víspera (1982)", a job which was to prove to be his salvation. After that he was assistant director in Garcia Agraz's "Nocaut (1984)", as well as numerous other films.
He was also second unit director in "Gaby: A True Story (1987)", and co-wrote and directed some episodes in the series "A Hora Marcada (1967)". One New Year's Eve, he decided he would not continue to be an assistant director, and with his brother Carlos started writing what would be his first feature film: "Love in the Time of Hysteria (1991)" (Love in the time of Hysteria). After the screenplay was written, the problem became how to get financial backing for the movie. I.M.C.I.N.E. (Instituto Mexicano de Cinematografia), which supports movies financially, had already decided which projects it would support that year, much to Alfonso's initial chagrin. However, the director of one of those already-chosen projects was unable to direct it, so his project was canceled, and "Sólo con tu pareja" took its place. Despite this being chosen, there was a lot of tension between Alfonso and the I.M.C.I.N.E. executives. Nevertheless, after the movie was finished, it was a huge success. In Toronto festival the films won many awards, and Alfonso started to be noticed by Hollywood producers. Sydney Pollack was the first one to invite him to shoot in Hollywood. He proposed a feature film to be directed by Alfonso, but the project didn't work and was canceled. Alfonso moved to Los Angeles without anything concrete, and stayed with some friends, as he had no money. Soon after that, Pollack called him again to direct an episode called "Murder, Obliquely (1993)" of the series "Fallen Angels (1993)", that was the first job he had in U.S., and also the first time he worked with Alan Rickman.
After a while, and no real directing jobs, Alfonso wanted to direct something as he needed money. He finally signed a contract with Warner Brothers to direct the film Addicted to Love (1995). However, one night, he read the screenplay for another film, A Little Princess (1995) and fell in love with it. He talked to Warner Brothers and after some meetings he gave up directing "Addicted to Love" in order to do "A Little Princess". Even thought it wasn't a great box office success, the film received two nominations for the Oscars, and won many other awards. After "A Little Princess" Alfonso developed a project with Richard Gere starring. The project was canceled, but Cuarón got an offer from Twentieth Century Fox to direct the modern adaptation of the Charles Dickens' classic Great Expectations (1998). He initially didn't want to direct it but the studio insisted, and in the end he accepted it. The experience was very painful and difficult for him mainly because there was never a definitive screenplay.
He then reunited with producer Jorge Vergara and founded both Anhelo Productions and Moonson Productions. Anhelo's first picture was also Alfonso's next film, the erotic road movie "And Your Mother Too (2001)", which was a huge success. During the promotion of the film in Venice, Alfonso met the cinema critic Annalisa Bugliani. They started dating and married that same year. "Children of Men (2006)" was to be Alfonso's next film, a futuristic, dystopian story. During the pre-production of the film, Warner Brothers invited Alfonso to direct the third Harry Potter film, "Harry Potter and the Prisoner of Azkaban (2004)", an offer which he accepted after some consideration. The film would prove to be the greatest box office success of his career.
In 2003, he had a daughter named Bu Cuaron, and in February 2005 another son, called Olmo Teodoro Cuarón. Alfonso Cuarón signed a three-year first-look deal with Warner Brothers, which allowed his films to be distributed world-wide. He directed one five-minute segment of the anthology film Paris, I Love You (2006) with Nick Nolte and Ludivine Sagnier. His next project, the futuristic film Children of Men (2006) with Clive Owen, Julianne Moore and Michael Caine premiered at the Venice Film Festival in 2006 having been nominated for three Academy Awards. After his youngest son was diagnosed with autism and the divorce from Annalisa Bugliani he took a break from directing and settled in London where he plans to work on his next projects.
In 2013, Alfonso directed the space thriller Gravity (2013), which would go win 7 academy awards.
Alfonso is the only filmmaker to have ever won twice for a clean sweep for the awards, for "Gravity" and "Roma", for Best Director at the Oscars, Golden Globes, BAFTAs, and DGA Awards."Roma" +