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American cinematographer From Wikipedia, the free encyclopedia
Robert David Yeoman, ASC (born March 10, 1951) is an American cinematographer, best known for his collaborations with directors Wes Anderson and Paul Feig. He was nominated for an Academy Award and a BAFTA Award for The Grand Budapest Hotel (2014), and has won numerous other awards including an Independent Spirit Award.
Robert Yeoman | |
|---|---|
,_in_Panaji,_Goa_on_November_26,_2016.jpg) Yeoman in 2016 | |
| Born | Robert David Yeoman March 10, 1951 Erie, Pennsylvania, U.S. |
| Alma mater | Duke University |
| Occupation | Cinematographer |
| Organization | American Society of Cinematographers |
Born in Erie, Pennsylvania, Yeoman spent his childhood in the northern suburbs of Chicago. He received a Bachelor of Arts from Duke University in 1973 and a Master of Fine Arts from the University of Southern California School of Cinematic Arts in 1979.[1]
Yeoman's first filmwork was done as a second unit director of photography on To Live and Die in LA, directed by William Friedkin in 1986. He went on to shoot many independent films including Gus Van Sant's Drugstore Cowboy — for which he won the Independent Spirit Award for Best Cinematography[2] — Noah Baumbach's The Squid and the Whale, Roman Coppola's CQ and Kevin Smith's Dogma. He has worked on every live-action feature film by Wes Anderson, including Bottle Rocket (1996), Rushmore (1998), and The Royal Tenenbaums (2001) as cinematographer, as well as The Life Aquatic with Steve Zissou (2004), The Darjeeling Limited (2007), Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014), credited as director of photography. He was nominated for an Academy Award for Best Cinematography for his work on The Grand Budapest Hotel.
Yeoman is a member of the American Society of Cinematographers.[3]
Yeoman frequently collaborates with director Wes Anderson. His style in Anderson's films consists of using color palettes to highlight the colors of the set and costumes. Anderson and Yeoman shoot the movies with film stock, anamorphic lenses, soft lighting, and theater-like composition, giving them the distinctive visuals for which Anderson's films are known.
Documentary film
| Year | Title | Director | Notes |
|---|---|---|---|
| 1982 | Booming | Dennis Lanson | |
| 2016 | Sky Ladder: The Art of Cai Guo-Qiang | Kevin Macdonald | With Florian Zinke |
Direct-to-video
| Year | Title | Director | Notes |
|---|---|---|---|
| 1987 | Playboy: Bedtime Stories | Anthony Spinelli | Segments "The Ring and the Garter" and "The Virgin's Cup" |
| 1997 | Dogwatch | John Langley |
Short film
| Year | Title | Director |
|---|---|---|
| 2007 | Hotel Chevalier | Wes Anderson |
| 2023 | The Wonderful Story of Henry Sugar | |
| The Rat Catcher | ||
| Poison |
TV movies
| Year | Title | Director |
|---|---|---|
| 1986 | C.A.T. Squad | William Friedkin |
| 1991 | Perfect Harmony | Will Mackenzie |
| 1993 | Double Deception | Jan Egleson |
| 1998 | The Pentagon Wars | Richard Benjamin |
TV series
| Year | Title | Director | Notes |
|---|---|---|---|
| 1988 | Vietnam War Story | Todd Holland | Episode "Separated" |
| 1989 | The Big Room | ||
| 2012 | Tiny Is My Girl | Mike Bradecich | Miniseries |
| 2021 | Bite Size Halloween | Jess Coulter | Episode "Skincare" |
TV short
| Year | Title | Director | Notes |
|---|---|---|---|
| 2016 | The Toycracker: A Mini-Musical Spectacular | Andreas Nilsson Henry Sedler Paul Nguyen |
With Peter Deming |
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