Michael Goi, ASC has been elected to serve a third term as president of the American Society of Cinematographers (ASC). The other ASC officers also voted in are VPs Richard Crudo, Owen Roizman and John C. Flinn, III; treasurer Victor J. Kemper; secretary Fred Goodich; and sergeant at arms Stephen Lighthill.
Members elected to the ASC board of governors include John Bailey, Stephen H. Burum, George Spiro Dibie, Richard Edlund, Fred Elmes, Francis Kenny, Isidore Mankofsky, Robert Primes, Kees Van Oostrum, Haskell Wexler and Vilmos Zsigmond.
“I am honored to be re-elected by a membership that is filled with tremendously talented and accomplished artists,” said Goi. “It is a privilege to represent an organization that is committed to educating aspiring filmmakers, as well as advancing and protecting our art form.”
Some highlights for the ASC over Goi’s last term include the organization’s first International Cinematography Summit Conference (ICSC), and the successful launch of the Friends of the ASC program. The ASC hosted cinematographers from around the world at the ICSC to discuss the tools and techniques that are being used in different regions, address where the profession is headed, and establish an open dialogue about issues, concerns, innovations, and common goals. Friends of the ASC was introduced in 2010 to support the ASC’s primary goal of educating budding filmmakers. The program includes unprecedented access to exclusive content about lighting, camerawork and associated technologies, as well as access to industry events featuring ASC members.
Goi is a Chicago native who studied filmmaking at Columbia College Chicago. He launched his career shooting PBS documentaries while he was still a student. After completing his education in 1980, Goi began shooting local commercials and documentaries. He also opened a studio, where he concentrated on fashion and product still photography. Goi earned his first narrative film credit for Moonstalker in 1987.
He has subsequently earned some 50 narrative credits for feature films and episodic television programs. Goi earned ASC Outstanding Achievement Awards nominations for the telefilms The Fixer (1999) and Judas (2005) and an Emmy® nomination for an episode of My Name is Earl (2009).
His credits also include Witless Protection, Fingerprints, Red Water, What Matters Most, Who Killed Atlanta’s Children?, Christmas Rush, Funky Monkey, Welcome to Death Row, The Dukes, the Emmy® Award-winning documentary Fired-Up: The Story of Public Housing in Chicago, and the TV series The Wedding Bells, The Mentalist, Mr. Sunshine, Web Therapy, and The Nine Lives of Chloe King. He also wrote, produced and directed the narrative film Megan is Missing.
Goi is a member of both the Academy of Motion Picture Arts and Sciences and the Academy of Television Arts And Sciences, and serves on the national executive board of the International Cinematographers Guild.
Review: Director Michael Morris’ “Bridget Jones: Mad About the Boy”
It is a truth universally acknowledged, as Bridget Jones herself might write in her diary, that at the end of any Bridget Jones movie, our heroine has triumphed over all doubts and obstacles and is finally happy.
With a man. Well, so far, with one particular man: Mark Darcy, the stuffy-yet-dashing man of her dreams.
This, dear viewer, is not a spoiler for the new fourth movie, "Bridget Jones: Mad About the Boy." In fact, if you've seen the trailer, you'll know that Bridget (Renée Zellweger, still pretty delightful), who finally married Mark at the end of the third film, is now a widow.
We're not supposed to divulge exactly what happens next. But remember, folks, this is a classic romantic comedy franchise. Rom-coms can be sad and deep, but they still need to be romantic.
What makes "Bridget Jones: Mad About the Boy" especially enjoyable, then — and the best since the 2001 original — is not that Bridget finds a way yet again to triumph over doubts and obstacles. It's that she still makes us care so darned much.
How does she do it after all these years? All I know is, I was rooting harder for her at the end of this film than I was with the others, even the original where she's kissing Mark in the snowy street in underwear and sneakers.
There are various possible explanations. One is Zellweger herself, who has brought her character gracefully into her 50s, retaining Bridget's goofiness and deep-set optimism while reflecting hard-won life experience.
And there are subtle changes to the equation. The relationships in this latest film are more interesting — old ones and new.
Bridget's relationship with herself is more interesting, too — and healthier. Sure, she can swig a full bottle of Chardonnay on a bad... Read More