![]() ![]() But with Roger I trust his instinct a lot. I must say, with a regular cinematographer I’m more involved. I’m used to being part of the process of choosing the lenses and angles. It’s easier to improvise on set when you storyboard the movie in advance. He taught me how useful it was and how it gives you more freedom. It’s a thing I was not used to doing before I worked with Roger. There are discussions of esthetics, to find the specific alphabet of the movie. There’s a process of storyboarding that happens early on. ( Variety’s Scott Foundas wrote, “Villeneuve has once again delivered an impeccably well-crafted film, not least in Deakins’ arresting lensing.”)ĭenis Villeneuve: As with any cinematographer, it’s about creating poetry and strength in the imagery together. Denis was Director of “Sicario,” which opened at Cannes. During the cocktail reception prior to the event, Denis Villeneuve discussed working with Roger. Photo: D.CharriauĪt 6:30pm Friday, May 22, Roger Deakins ascended the red carpet at Cannes, on his way to receiving the Pierre Angénieux Excellens Award for Cinematography. The kind of simplicity, elegance, magnificence, and intimacy that the maestro brings to the art of visual storytelling is unparalleled and hence deserving of all the awards there are on cinematography.R-L: Pierre Andurand, James Deakins, Roger Deakins, Agnieszka Holland, Irène Jacob, Denis Villeneuve, Tanya Lapointe, Edward McDonnell, Claude Girard. This year I am going to do the same because, although there are some interesting entries ( Joker, The Lighthouse, The Irishman, Once Upon a Time in Hollywood), I don’t think none of them come even close to what Deakins has achieved in 1917. Just pause any shot in this film, which BTW came out in 1984 and didn’t have the technical freedom that movies have now, and bask in its beauty.īack in 2017, the only time I switched on the television to watch the Oscars was when the award for the best cinematography was being given out. If you ask me, every dystopian film should be shot by Deakins because no one does it better than him. So, if you want to see more of Roger Deakins, I’d suggest watching the following movies: 1. The second round of applause came when his name appeared during the end credits. ![]() ![]() In 1917, (spoilers ahead!) a chase sequence in an abandoned town lit by a burning church and a bunch of flying flares designed by Deakins received the same during its MAMI screening. ![]() You must have heard the Khans, Kumars and Kapoors receive seetis and taalis on their entry scenes. But, among many many many other things, it is Deakins’ aptitude for crafting mesmerising visuals that took this simple story to the next level. IMDbġ917 is a simple story about two people going from point A to point B to deliver a message that will stop English soldiers from getting ambushed with a clear message about the futile nature of war. And guess what I found out? Almost all of my favourite movies of all time were shot by him! So, when I learnt that he’s re-collaborating with Sam Mendes for a period film, 1917, my happiness knew no bounds. I sat down to watch Blade Runner 2049 and only after being blown away by his visuals that I started to sift through his immensely illustrious filmography (and campaigned viciously for his first Oscar win). In fact, it wasn’t until 2017 that I even knew who he was. I am a late bloomer in terms of being a film fan and hence my realisation that Roger Deakins is quite literally one of the best cinematographers (if not the best) working right now came pretty late. ![]()
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