Robert Yeoman

Robert Yeoman

Highest Rated: 100% Sky Ladder: The Art of Cai Guo-Qiang (2016)

Lowest Rated: Not Available

Birthday: Mar 10, 1951

Birthplace: Philadelphia, Pennsylvania, USA

Without the cinematography of Robert Yeoman, the world may never have gotten the iconic aesthetics so rigidly associated with filmmakers like Wes Anderson, Noah Baumbach, and Paul Feig. Prolific photographer Yeoman started shooting renowned feature films in the 1980s, mounting a stellar résumé over the decades to follow. In 2015, Yeoman earned his first Academy Award nomination for "The Grand Budapest Hotel" (2014), a movie that exemplified his mastery of framing and aesthetic rhythm better than just about any other of his past works. Robert David Yeoman was born in Erie, Pennsylvania, on March 10, 1951, but grew up in the suburbs of Chicago, Illinois. Yeoman graduated from Duke University in 1973, and pursued film studies at the University of Southern California School of Cinematic Arts until graduating with a Master's degree in 1979. Shortly after completing his academic career, Yeoman began finding work shooting movies. His first job as a cinematographer was "Hero" (1983), an Indian film directed by the well-known Subhash Ghai, though it didn't take long for Yeoman to move into the world of mainstream American cinema. Throughout the remainder of the 1980s, Yeoman managed to collaborate with iconic directors like William Friedkin on "To Live and Die in L.A." (1985) and "Rampage" (1987) and Gus Van Sant on "Drugstore Cowboy" (1989). In the '90s, Yeoman began forming partnerships that would shape his career, most notably that with writer/director Wes Anderson. Yeoman shot Anderson's directorial debut, "Bottle Rocket" (1996), marking the first of seven collaborations between the two artists; that group included "Rushmore" (1998), "The Royal Tenenbaums" (2001), and "The Life Aquatic with Steve Zissou" (2004). Yeoman even developed a relationship with "Zissou" co-writer Noah Baumbach, shooting his film "The Squid and the Whale" (2005) shortly after. Despite working principally in indie cinema through the early 2000s, Yeoman went on to showcase a flair for mainstream comedies, leading photography on the Jim Carrey rom-com "Yes Man" (2008), the Jonah Hill/Russell Brand buddy comedy "Get Him to the Greek" (2010), and Paul Feig's popular female-led comedies "Bridesmaids" (2011) and "The Heat" (2013). Yeoman earned his first bit of awards attention with yet another Wes Anderson film, the period piece "The Grand Budapest Hotel" (2014), landing a nomination for Best Cinematography.




75% 76% The French Dispatch Cinematographer $13.3M 2021
79% 66% Mamma Mia! Here We Go Again Cinematographer $120.6M 2018
100% 84% Sky Ladder: The Art of Cai Guo-Qiang Cinematographer - 2016
74% 49% Ghostbusters Cinematographer - 2016
95% 78% Spy Cinematographer - 2015
89% 85% Love & Mercy Cinematographer $12.5M 2014
92% 86% The Grand Budapest Hotel Cinematographer $59.1M 2014
66% 71% The Heat Cinematographer $159.6M 2013
93% 86% Moonrise Kingdom Cinematographer $45.5M 2012
90% 76% Bridesmaids Cinematographer $169.1M 2011
72% 62% Get Him to the Greek Cinematographer $60.9M 2010
84% 74% Whip It Cinematographer $13.0M 2009
46% 66% Yes Man Cinematographer $97.7M 2008
35% 72% Martian Child Cinematographer $7.5M 2007
69% 78% The Darjeeling Limited Cinematographer $11.9M 2007
92% 81% The Squid and the Whale Cinematographer $7.4M 2005
56% 82% The Life Aquatic With Steve Zissou Cinematographer $24.0M 2004
66% 69% CQ Cinematographer $411.0K 2001
81% 89% The Royal Tenenbaums Cinematographer $52.4M 2001
16% 55% Beautiful Cinematographer $3.1M 2000
3% 49% Down to You Cinematographer $20.0M 2000
67% 85% Dogma Cinematographer $30.7M 1999
58% 54% Permanent Midnight Cinematographer $1.2M 1998
90% 91% Rushmore Cinematographer $17.1M 1998
85% 79% Bottle Rocket Cinematographer $488.6K 1996
No Score Yet No Score Yet White Lies Cinematographer - 1996
No Score Yet 12% Somebody to Love Cinematographer $10.3K 1994
100% 85% Drugstore Cowboy Cinematographer $4.2M 1989
11% 49% Dead Heat Cinematographer $2.9M 1988
0% 30% Johnny Be Good Cinematographer $15.5M 1988